#beginner resource

[daily-coral-reblogging]

Here's a 17 minute video from someone with hundreds of hours into the game. Great resource for beginners.

[batbetbitbotbut]

Low space & low budget weaving

Want to weave but don't have space for a loom? Have a few sticks and yarns but no DIY skills? Come, be tempted anyway. Weaving is a whole family of crafts, some of which don't require a loom at all.

Small-ish looms like box looms (as basic as yarn wrapped around a cardboard grocery tray), inkle looms, and rigid heddle looms exist, but I'm assuming every possible space for a box in your life is already filled. In this post we're going even smaller and cheaper. As far as possible, everything either is flat enough to stow behind/under furniture or rolls up safely into a bundle of just sticks and yarn.

Many of these crafts have some crossover - the same setup can be used for multiple styles of weaving. Most of them can be improvised at home depending on what you have on hand, or if you need to buy something there is not a huge gulf between homemade vs professional equipment. Alas I am not skilled in any of these and my descriptions will not be wholly accurate; corrections and additions welcome! If you need help, I'd only be able to tell you to seek out books and tutorials yourself, ask other weavers, and just try stuff out.

All photos included with permission. My thanks to the people allowing me to use their projects! I saw so many gorgeous and skillful projects when assembling this and I wish I could have included them all.

Fingerweaving

Projects by @kitteniestkitten (here) and @wefty-weaver (here)

Culture - I am aware of this as a Native American technique, I don't know its history with any more specific nation.

Fabric - "Warp faced" cloth of any width, insofar as warp and weft have meaning for this craft as the weaving is on a diagonal. Often used for sashes or blankets.

Method - There is no loom! A couple sticks hold the yarns to begin with, but then it is all freehand. Starting at one corner, you use your fingers to weave a strand through the other strands, and... that's it. Very simple beginnings work up to very complex patterns that no loom is capable of. The whole project can be rolled up when not active.

Backstrap loom

Projects by @calendae-creations (here) and @weavingforlooms (here)

Culture - I am most aware of this from the Andes but I think it is much more widespread than that.

Fabric - Warp faced or balanced fabric of any width up to your own reach, suitable for blankets and clothes and many other things.

Method - You are the loom! Several horizontal rods hold and manipulate the warp threads but your body provides the tension, with the other end hooked to some furniture or around your own feet. When not in use, you can roll up all the equipment into a small bundle of yarn and rods. You can also use a backstrap loom setup for other methods like tablet weaving.

Warp weighted loom

Projects by @shadowcreepling (here) and @doctormead (here)

Culture - used by ancient Greeks among many many others.

Fabric - any kind of fabric at any size. Shadowcreepling is using a warp weighted loom for a tablet-woven band, Doctormead is probably using heddle rods to make a wider piece of cloth.

Method - the warp threads are held by a bar at the top and tensioned with weights on one end that hang down towards the floor, then the weft is woven into them with any method such as tablets, heddle rods, or by hand (if you have a lot of patience) and beaten into firm fabric at the top or bottom of the loom. Warp weighted looms can be very big, but they are simple and can also be very small and taken apart when not actively weaving.

Tablet weaving / card weaving

Projects by @damage-ko (here) and @foxease (here, hardware from CellesKit on Etsy)

Culture - found as far apart as textiles (geographically and temporally) from Byzantine Egypt and the Vikings

Fabric - a warp faced fabric with patterns made by twining warp threads around each other, usually used for strong narrow bands like collars, belts, and shoelaces.

Method - the cards hold open the shed so you can pass the weft through, then rotate the cards to advance the pattern. Many people make their own with cardboard or playing cards, or you can buy some. The rest of the weaving setup can be improvised with a backstrap (or just a shower curtain hook clipped to your trousers), a cardboard box loom, or warp weights.

Rigid heddle band weaving

Projects by @pisaracraft (here) and @crookedtines (here)

Culture - small rigid heddles like the first project have been found in Roman archaeological sites across Europe. The larger rigid heddle in the second project is being used for "baltic pickup" style designs on the band.

Fabric - can be warp faced or a balanced weave, size limited by the size of your heddle.

Method - you provide tension with any setup you please such as an inkle loom, backstrap, or warp weights. The heddle creates sheds so that you can pass weft yarn through the warp easily. Infinitely many "pick-up patterns" let you weave patterns and even words into the cloth.

Pin loom / potholder loom

Projects by @pardalote (here) and @weavingmyheartout (here)

Fabric - a small square (or rectangle or triangle) of balanced weaving, which can be used alone or patched together into larger fabrics. Pin looms are finer and suitable for many knitting/crochet yarns, potholer looms are chunkier and designed for big elastics, but the method is similar.

Method - wind yarn lengthways around one set of pins and then pull yarn widthways through these strands with a hook. Or, work at 45 degrees in continuous strand weaving! Lots of room to experiment with colour and texture. You can improvise a pin loom by cutting notches in a square of sturdy cardboard.

Needle weaving / stick weaving / peg loom

Projects by @thaylepo (here) and @pastelispunx (here)

Fabric - weft-faced fabric and rugs of any size.

Method - thread long thin warp threads through the pegs, then wind a thick weft (eg heavier yarn, sheep fleece, or long scraps of fabric) around the pegs. Push the weft down along the pegs as they fill up, so that it slides off onto the warp. The pegs can be secured in a base to make a peg loom for large projects, or just handled freely. I believe these evolved as separate crafts and the nuances are different, but the overall method is similar.

Frame loom / tapestry loom

Projects by @squeakygeeky (here) and @battlestar-gasmacktica (here)

Fabric - weft-faced or balanced fabric ideal for wall hangings and upholstery, size limited to the frame being used.

Method - (usually) thinner warp threads are wound round a frame, such as heavy cardboard with notches cut in the end, a picture frame, or a small and flat purpose-made loom. Thicker weft threads are woven in by hand using needles or just small lengths of yarn. Some people make lifelike images, others make more ordinary fabrics or geometric patterns.

Bobbin lace

Projects by @crochetpiece (here) and @noxx-notions (here)

Culture - began in renaissance Italy and spread throughout Europe, often as a cottage industry.

Fabric - balanced fabric usually made of very thin threads in freeform shapes. It's not usually considered "weaving" but the basic cloth stitch is definitely a woven fabric!

Method - each thread is wound onto a bobbin (e.g. a clothespeg) and then bobbins are crossed over each other to weave threads together. The lace is pinned to a cushion to hold everything in place while the design grows.

[physalian]

How to make your writing sound less stiff

Just a few suggestions. You shouldn’t have to compromise your writing style and voice with any of these, and some situations and scenes might demand some stiff or jerky writing to better convey emotion and immersion. I am not the first to come up with these, just circulating them again.

1. Vary sentence structure.

This is an example paragraph. You might see this generated from AI. I can’t help but read this in a robotic voice. It’s very flat and undynamic. No matter what the words are, it will be boring. It’s boring because you don’t think in stiff sentences. Comedians don’t tell jokes in stiff sentences. We don’t tell campfire stories in stiff sentences. These often lack flow between points, too.

So funnily enough, I had to sit through 87k words of a “romance” written just like this. It was stiff, janky, and very unpoetic. Which is fine, the author didn’t tell me it was erotica. It just felt like an old lady narrator, like Old Rose from Titanic telling the audience decades after the fact instead of living it right in the moment. It was in first person pov, too, which just made it worse. To be able to write something so explicit and yet so un-titillating was a talent. Like, beginner fanfic smut writers at least do it with enthusiasm.

2. Vary dialogue tag placement

You got three options, pre-, mid-, and post-tags.

Leader said, “this is a pre-dialogue tag.”

“This,” Lancer said, “is a mid-dialogue tag.”

“This is a post-dialogue tag,” Heart said.

Pre and Post have about the same effect but mid-tags do a lot of heavy lifting.

They help break up long paragraphs of dialogue that are jank to look at

They give you pauses for ~dramatic effect~

They prompt you to provide some other action, introspection, or scene descriptor with the tag. *don't forget that if you're continuing the sentence as if the tag wasn't there, not to capitalize the first word after the tag. Capitalize if the tag breaks up two complete sentences, not if it interrupts a single sentence.

It also looks better along the lefthand margin when you don’t start every paragraph with either the same character name, the same pronouns, or the same “ as it reads more natural and organic.

3. When the scene demands, get dynamic

General rule of thumb is that action scenes demand quick exchanges, short paragraphs, and very lean descriptors. Action scenes are where you put your juicy verbs to use and cut as many adverbs as you can. But regardless of if you’re in first person, second person, or third person limited, you can let the mood of the narrator bleed out into their narration.

Like, in horror, you can use a lot of onomatopoeia.

Drip Drip Drip

Or let the narration become jerky and unfocused and less strict in punctuation and maybe even a couple run-on sentences as your character struggles to think or catch their breath and is getting very overwhelmed.

You can toss out some grammar rules, too and get more poetic.

Warm breath tickles the back of her neck. It rattles, a quiet, soggy, rasp. She shivers. If she doesn’t look, it’s not there. If she doesn’t look, it’s not there. Sweat beads at her temple. Her heart thunders in her chest. Ba-bump-ba-bump-ba-bump-ba- It moves on, leaving a void of cold behind. She uncurls her fists, fingers achy and palms stinging from her nails. It’s gone.

4. Remember to balance dialogue, monologue, introspection, action, and descriptors.

The amount of times I have been faced with giant blocks of dialogue with zero tags, zero emotions, just speech on a page like they’re notecards to be read on a stage is higher than I expected. Don’t forget that though you may know exactly how your dialogue sounds in your head, your readers don’t. They need dialogue tags to pick up on things like tone, specifically for sarcasm and sincerity, whether a character is joking or hurt or happy.

If you’ve written a block of text (usually exposition or backstory stuff) that’s longer than 50 words, figure out a way to trim it. No matter what, break it up into multiple sections and fill in those breaks with important narrative that reflects the narrator’s feelings on what they’re saying and whoever they’re speaking to’s reaction to the words being said. Otherwise it’s meaningless.

—

Hope this helps anyone struggling! Now get writing.

[wisdom-devotee]

Beginner’s Guide to Hellenic Polytheism

I KNOW this is a really long post but my intention was to just note down everything that I think is important for beginners and that’s A LOT. It took me forever to learn some of these things but they’re so important, so buckle in. I hope this helps some people.

If I’ve missed anything, please feel free to let me know what you’d like me to add. I’ve been working on this for two days, so if there are typos, I’m so sorry.

The sections I cover here are key terms, mythic literalism, deity work vs deity worship, FAQs and General Advice.

Some Key Terms

Hellenic Polytheism: Hellenic means Greek, and Polytheism means worshipping multiple gods. So, Hellenic Polytheism is the worship of the Greek Pantheon which is also referred to as the Theoi. The people who practice could be referred to as Hellenic Polytheists. Some also call themselves Hellenic Pagans, but not all people who practice Hellenic Polytheism consider themselves pagan.

Hellenistic: you may see the term ‘Hellenistic Polytheism’, but this is my PSA to ask people not to use that, as it’s incorrect. Hellenistic refers to a specific period of Andient Greece, from 323-32 BC, and your worship is almost definitely not specifically focused on that period. Additionally, here is a post by a Greek person on why ‘Hellenism’ and ‘hellenismos’ are disrespectful.

Ouranic: this is the term for the heavenly gods. Be aware that there is some overlap between Ouranic and Chthonic deities. Whether a deity is Ouranic or Chthonic will effect things like prayer position (palms up for Ouranic) and whether offerings can be eaten or drank (yes for Ouranic)

Chthonic: this is the term for the underworld gods. Be aware that there is some overlap between Ouranic and Chthonic deities. Whether a deity is Ouranic or Chthonic will effect things like prayer position (palms down for Chthonic) and whether offerings can be eaten or drank (no for Chthonic) side note - when it comes to hero worship, I personally treat them as if they’re chthonic.

Kharis: this means reciprocity, and also refers to the relationship formed between us and the gods. Arguably the most important aspect of Hellenic Polytheism is that when you ask something of a deity, you must give an offering in return. Size of what you’re asking for should correspond to size of the offering, or if you’ve given many little offerings without asking for anything you can use that as why you should be given the Big Thing.

Xenia: guest-friendship, hospitality. The idea that any stranger could be a God in disguise, so treat everyone respectfully. It’s an Ancient Greek social custom that a lot of Hellenic Polytheists see as important today. Simply put, in modern times this most often just means being kind to strangers. There’s a lot more to it than that though, so look here. Know that Xenia is a two-way thing, so you have to be generous to your guests but they must also respect your home.

Eusebeia: basically, piety. Respecting the Gods. This is really the only ‘rule’ of Hellenic polytheism. There’ll be different ideas of what is considered respectful, but as long as you have good intentions and don’t do anything you KNOW would be offensive, you’re okay. Don’t insult the gods (any of them), don’t ask for anything without offering something else, and don’t treat yourself as equal to or higher than the theoi.

Hubris: excessive pride or dangerous overconfidence, often the fatal flaw of a lot of Greek heroes in mythology. Specifically, this is when you act better than or equal to the gods. You are not.

Libations: a type of offering, in the form of a liquid. Usually poured on the ground but can be drank (unless it’s to a chthonic deity) if you’re a closeted Hellenic polytheist who can’t just pour some liquid on the floor every time you want to offer it. My advice for food offerings/libations to chthonic deities if you’re not openly a hellenist is to offer leftovers, rotting food, or something you otherwise know will go to waste.

Altar: traditionally a place used to put physical offerings and food offerings for deities. Some people have an altar to each deity, some people have one altar for all their deities. These can be as big or as small as you want. People may use shelves, drawers, boxes, windowsills, etc, and I don’t even use mine for food offerings, only for physical ones because I usually eat the food offering (I don’t like the idea of wasting food). My altars also just serve as a dedicated space for that deity in my life.

Hero worship: this is the worship of ‘heroes’ in Greek mythology, which includes literally any mortal. For example, I worship Odysseus of Ithaca, Penelope of Ithaca, Helen of Sparta, and Tiresias of Thebes. I’ve been asked a lot about how hero worship differs from deity worship, and you can find that answer here.

Devotee: there is a lot of disagreement on what the difference between a devotee and worshipper is, but for me, I’m devoted to Athena as I feel I have the closest bond with Her of all my deities and I honour Her the most. This partly comes from my feeling that She has been with me for much longer than I’ve been aware of Her presence, and that also so much of who I am and what I value comes under Her domains.

Patron: this basically means that if part of your identity comes under the domain of a deity, then that deity is your patron. There can be occupational patrons (like Hermes is the patron of merchants) or to do with things like gender (Hera is a patron for women. Yes this includes trans women, transphobes are not welcome here.) You can have more than one patron, and you don’t need to worship all of the deities who would be considered your patron.

Epithets: these are titles given to deities. There are two types - cult epithets, which describe the aspect of a deity you’re focusing on (like Athena Ageleia, meaning ‘Protector of the People’) since they have a lot of domains and it’s important in prayers to specify what you want. Then there’s poetic epithets, which are adjectives, often used to compliment a deity. I like using these to make my prayers seem more sophisticated to be honest (example: white-armed Hera)

Unverified Personal Gnosis: gnosis is spiritual knowledge. If it’s unverified, that means that it has no basis in historical sources as far as the person is aware, and they don’t know anybody else who has the same experience. You will often see this abbreviated as UPG. Personally, I think UPG is really valid, considering a lot of things are unknown to us due to the loss of sources overtime.

Shared Personal Gnosis: gnosis is spiritual knowledge. Like UPG, Shared Personal Gnosis (often abbreviated as SPG) doesn’t have any historical backing as far as the people who believe it are aware, but it is shared by multiple different people and therefore seen by some as more valid than UPG (though I’d argue that all SPG is UPG before you know that other people agree)

Verified Personal Gnosis: gnosis is spiritual knowledge. It being verified means that there are historical sources to back up the belief, and this is commonly abbreviated to VPG. You are more likely to come across the terms UPG than SPG or VPG, and most of what Helpol people on tumblr discuss is UPG, even if they don’t state that directly.

Reconstructionist: these are people who try to ‘reconstruct’ the ancient religion, recreating ancient rituals as best they can and doing things as close as they can get to how the ancient Greeks did based on our historical sources. An important note here is that we will never be able to do this perfectly and that’s okay. When it comes to things like animal sacrifices, most of us outside of agricultural areas almost definitely don’t have the means to be doing that properly, but you can use symbolism in place of a real animal, an example an anon gave me is cutting bread into animal shapes

Revivalist: these are people who try to recreate the ‘spirit’ of the religion, though not with the exact practices that the Ancient Greeks used. Revivalists are more concerned with the values and beliefs of the ancient religion than they necessarily are with how it was practiced. I personally feel like I fall somewhere between the two, but I also think both are really valid!

Mythic Literalism

Mythic Literalism is the debate in modern Hellenic Polytheism about whether or not the myths should be taken literally — and it’s common in Helpol spades online to say that the answer is ‘no, they’re metaphorical’. But I’d actually argue that they are.

Think of the Epics like the Iliad and the Odyssey — these begin with invoking the muses, goddess of inspiration said to have perfect memory. These goddesses know every event that has ever happened and are believed to guide and speak through the poets as they recite the myths, which means that they would be reciting history. That suggests the myths happened.

This isn’t ignoring the fact there are cultural reasons behind the myths and that parts of exist to them fulfil specific functions of that god or have parts of the world that they’re trying to explain.

For example, the myth of Hades kidnapping Persephone fulfils an aspect of Hades and has a cultural aspect about marriage in Ancient Greek society. First, it’s one of the myths we have of a youth being taken too soon by death (think Apollo and Hyacinthus, Zeus and Ganymedes, Thetis and Achilles, maybe even Castor and Pollux) and the grief that causes, Hades role being of the underworld. But also in terms of Greek society it was reflective of mothers losing their daughters to marriage, too. Both these things coexist in the ‘meaning’ of the myth; but just because it has metaphors, doesn’t mean it wasn’t believed to have happened. The Greeks did view their myths as having happened.

Zeus has so many children and so many affairs and rape myths, not because it’s just a metaphor and he didn’t actually do any of that, but because he’s a male fertility god, and he’s the god of kinds, and kings do abuse their power.

The Greek gods exist as how the world is, not how we want it to be or how it should be. Take Hera, for example — she doesn’t align with the passive and idealised wives described in things like Xenophon’s Economics, but is instead how women are. Real women get angry when their husbands are awful to them, so Hera, Goddess of Women, can be angry.

It’s good to learn the ways in which these deities were understood and what their domains can represent. Myths also help us to feel more familiar with our deities. Additionally the myths tell us not to be hubristic, and things like the Iliad tell us about Oaths and Offerings and Xenia. These are important parts of helpol.

I understand the want to disregard some of the more distasteful myths that depict things not only distasteful now but that would’ve even been viewed as wrong IN antiquity. But the Greek gods are not supposed to be perfect by human standards of morals. They have good and bad aspects based on their domains.

Deity Work vs Deity Worship

I’m going to preface this section by saying that I worship deities, I don’t work with them, so even though I’m doing research on this please take everything I say about deity work with a grain of salt and note that the rest of this post might apply more to worship, because that’s what I’m familiar with. Lastly, my intention here is not to place a value judgement on either type, I just want to try and make a full explanation for anyone out there looking for one, since I’ve found it to be kind of difficult to find.

From my understanding, deity work is common among witches, and usually involves asking a deity to help with your spells or other forms of magick. When you work with a deity, you are asking them to mentor you in a sense, and there’s often a specific goal in mind that they’re hoping to achieve with help of the deity. Additionally, because of that goal-oriented relationship, deity work has deadlines(?). Like, once you’ve achieved the goal you had, the deity will stop working with you

There are similarities, as both seem to involve reciprocity and offerings, and both involve cultivating a relationship with deities, even if the nature of that relationship and the reason for offering is different.

Deity worship doesn’t have a set end-goal. You CAN stop actively worshipping a deity, but this doesn’t usually come after a specific goal is achieved because there isn’t a goal in mind. Worship is more about honouring the deity. Khakis is built out of admiration, respect and love for the deity. This is why we pray, make offerings, etc. it’s all to honour the gods. We do ask for things in deity worship, but that’s not the entire point like it is for deity work.

FAQs

Do I need to be called to worship/work with a deity?

Nope! You are 100% allowed to reach out first. You can do that by praying or making an offering. Remember to research the deity first, so you know what epithets to use, know what symbols they’re associated with, have ideas for offerings, etc. Also, if a deity calls to you, you are not obligated to worship them. Acknowledge them and move on if you don’t have time, energy, or interest in worshipping them at that time.

Where can I find information on deities?

The main site that I think everyone uses is theoi.com, which has really in-depth pages on a lot of deities, with their myths, lists of epithets, family trees, etc. it’s a really useful resource!

Do I need an altar?

No. They’re nice to have but you don’t need one straight away. It took me two years of worshipping to get any altars, and even now I don’t really use them how you’re ‘supposed’ to.

Are there any sins in Hellenic Polytheism?

No, just don’t disrespect a god (don’t disrespect any of them, even the ones you don’t worship should be respected). Also don’t show hubris.

Deity X and Deity Y don’t get along, but I want to worship both, what do I do?

Disregard mythic literalism and remember this is a polytheistic religion. The gods know they are not the only god you will be worshipping, and they are chill with that. If you really want, you can separate their altars if you have an altar per deity, but it’s up to you completely.

Other General Advices

This post is a starting point, nothing here is very in-depth. Do more research if anything on here is still confusing to you. Feel free to ask people here on tumblr, I’m sure most of us would be happy to help.

Don’t believe everything you see on tiktok/tumblr. We’re all still learning, a lot of us are wrong about stuff. Do other research and let yourself form your own beliefs. As I’ve said, even parts of this post should be taken with a grain of salt. I’m no expert, I just want to try to help.

If you’re going to make your own posts about helpol stuff, advice I’ve seen before that really stuck with me is ‘keep some things scared’. You don’t have to post everything. I, at the moment, don’t post my prayers or photos of my altars. Those things are what I keep scared, you should have your own things. They don’t have to be the same as mine.

You have nothing to be afraid of. The gods can be intimidating when you’re starting out, but they know we don’t have as much readily available information about this stuff as the ancient greeks did. They also know you’re new, and they will be patient with you. Don’t be scared.

You can offer anything. Digital offerings are as valid as physical offerings. Devotional acts are valid too.

Know that you will never be done learning. Accept this and commit to trying to learn anyway.

Know how to tell signs from the gods apart from just General Happenings of the world. Here is a good post on that. I have a series on my blog tagged #signs from deities, to show the kinds of things I personally recognise to be signs and to show how frequently/infrequently those can occur. I would suggest keeping your own record of those, whether or not you share it is up to you. The reason is to reflect on your journey and, if you ever doubt your gods, you can look at those lists to remind yourself of how they’ve been there for you previously.

Doubt is healthy, it’s okay to doubt things. Don’t feel bad for this, the gods understand. Let yourself question everything you feel the need to question.

Similarly, anger is healthy. It’s okay to be angry at the gods, but don’t disrespect them because you’re upset. Handle your anger well. You won’t get punished for being upset.

The Hellenic Gods aren’t generally believed to be all-knowing, however it is believed that they can hear us when we call their names, which is why prayers start with invocation of a deity’s name and an epithet.

[creature-wizard]

"How can I be a witch/pagan without falling for conspiracy theories/New Age cult stuff?" starter kit

Posts & Articles

Check your conspiracy theory. Does any of it sound like this?

Check your conspiracy theory part two: double, double, boil and trouble.

QAnon is an old form of anti-Semitism in a new package, experts say

Some antisemitic dogwhistles to watch out for

Eugenicist and bioessentialist beliefs about magic

New Age beliefs that derive from racist pseudoscience

The New Age concept of ascension - what is it?

A quick intro to starseeds

Starseeds: Nazis in Space?

Reminder that the lizard alien conspiracy theory is antisemitism

The Ancient Astronaut Hypothesis is Racist and Harmful

The Truth About Atlantis

Why the Nazis were obsessed with finding the lost city of Atlantis

The Nazis' love affair with the occult

Occultism in Nazism

Red flag names in cult survivor resources/groups (all of them are far right conspiracy theorists/grifters)

The legacy of implanted Satanic abuse ‘memories’ is still causing damage today

Why Satanic Panic never really ended

Dangerous Therapy: The Story of Patricia Burgus and Multiple Personality Disorder

Remember a Previous Life? Maybe You Have a Bad Memory

A Case of Reincarnation - Reexamined

Crash and Burn: James Leininger Story Debunked

Debunking Myths About Easter/Ostara

Just How Pagan is Christmas, Really?

The Origins of the Christmas Tree

No, Santa Claus Is Not Inspired By Odin

Why Did The Patriarchal Greeks And Romans Worship Such Powerful Goddesses?

No, Athena Didn't Turn Medusa Into A Monster To Protect Her

Who Was the First God?

Were Ancient Civilizations Conservative Or Liberal?

How Misogyny, Homophobia, and Antisemitism Influence Transphobia

Podcasts & Videos

BS-Free Witchcraft

Angela's Symposium

ESOTERICA

ReligionForBreakfast

Weird Reads With Emily Louise

It's Probably (not!) Aliens

Conspirituality

Miniminuteman

Behind The Bastards

[dangerphd]

smolweaving resources

a masterpost of resources to complement that post going around the other day with a glossary of several different kinds of small weaving. design your own potholder loom squares: https://friendlyloom.com/pages/potholder-design-wizard

make a pin loom: https://windsweptmind.com/2016/07/04/adventures-in-pin-loom-making-and-so-can-you/

warp a pin loom the regular way: https://adventuresinpinloomweaving.com/2018/09/21/choose-your-warping-method/

the diagonal way: https://howdidyoumakethis.com/square-pin-loom-speed-weaving/

fingerweaving

how-to: https://www.metismuseum.ca/fingerweaving/

another how-to: https://nativetech.org/finger/beltinstr.html

additional resources: https://jumaka.com/2019/03/finger-weaving/

tablet weaving

how-to: https://www.shelaghlewins.com/tablet_weaving/TW01/TW01.htm

another how-to: https://jumaka.com/2019/02/card-weaving/

personal favorite site for designing tablet weaving drafts: https://twistedthreads.org/

backstrap rigid heddle weaving

how-to: https://spinoffmagazine.com/backstrap-rigid-heddle-basics-get-weaving-handspun-bands/

3D printed rigid heddle backstrap loom parts:

https://www.thingiverse.com/thing:6141824

3D printed rigid heddles for band weaving:

https://www.thingiverse.com/thing:3999858

inkle loom weaving

how to build a loom from pvc and get started: https://littlelooms.com/a-free-guide-to-inkle-weaving/

inkle loom/rigid heddle backstrap pattern design: https://carolingianrealm.blog/PatternGenerator.php

[topazadine]

Avoiding therapy speak in writing

I think we all know by now that therapy speak is irritating and unrealistic, especially if you are writing in a fantasy world that doesn't even have modern psychology.

Part of the reason that it is so annoying is that it is the definition of telling instead of showing: characters are just plainly informing us of their feelings rather than making us work for a better understanding. It's cheap and boring. Instead of making your characters seem like complex individuals with their own hangups and difficulties, they seem like plot points programmed to tell us things.

But obviously, you want to put these people in situations and have them talk about it! How do you do that without sounding maudlin? Here are some options.

Listen to real arguments/conversations

I cannot stress enough how important it is to listen to how actual real human beings talk to each other during heightened emotional states. They don't have to be nasty abusers, and they don't have to be perfect angels, just everyday people doing their normal thing.

Of course, I'd hope you're not seeing people argue all the time, but if you do happen to see it, listen carefully and notice how people actually address their problems. Think back to tough conversations that you have had, even if you wouldn't classify them as arguments. Consider how people acted and reacted to one another. Notice how normal humans talk about issues outside of therapy, even intelligent and emotionally evolved people.

I've had years of therapy, and even I do not talk in therapy ways about my issues when I'm talking to my family or friends. It just feels cheesy and fake outside of that particular setting - plus, it freaks other people out and can seem kind of manipulative. Try talking like that in a real conversation and see how uncomfortable it is. You'll understand why avoiding therapy speak is important.

Consider the character's own hangups

Just as everyone has their own unique speaking style and mindset, so do we all have our own argument styles. These are often informed by our pasts and upbringing; they are as varied as our own histories. However, there are a few different options.

Someone with a happy upbringing may be more assertive and willing to address their problems because they had that demonstrated to them as children.

A spoiled child will grow up to be a demanding adult who refuses to give any quarter.

Those who got yelled at a lot as children may shut down and fawn to avoid getting hurt.

Someone who grew up in a violent household may mimic that behavior and get incredibly aggressive when upset.

Individuals whose parents didn't teach them emotional regulation will lash out and get loud.

Manipulative people may stay very calm and gaslight the other person, or they may get hysterical to garner sympathy and make people focus on comforting them.

Someone who has gone to therapy may revert to their original argument style, or they may imperfectly apply what they have learned in a way that feels a bit unnatural. They may start out with rage, then force themselves to calm down through grounding techniques.

People who have been coached through previous emotional outbursts could demand a time out, then fail to actually calm themselves down.

Some may refuse to acknowledge they are upset and insist, in increasingly forceful terms, that they are fine.

Others may get quiet or crack a joke to ease the tension, but it doesn't really help.

Keep each confrontation short

IRL, emotional confrontations are generally not that long. They don't go on for hours and hours, though it can feel that way. No one is going on and on about their feelings and sharing every little detail of how they feel (at least not that I know of personally, maybe other people are different).

Even the worst arguments I have had, the real nexus of the argument was maybe an hour or two, though the fallout lasted much longer. I'd say there was an hour maximum of real, active confrontation, preceded or followed by hours/days/weeks of simmering frustration.

Why? Because arguments are exhausting. You don't have the energy for that in the heat of the moment. Yes, feuds and fights can last years, but each actual confrontation is short.

For longer, more serious issues, hash it out over a few sessions rather than all at once. It's rare to get everything out of the way immediately unless the characters already have a strong, loving relationship.

Show incongruencies

Especially for more reserved people, they will likely have their emotions leaking all over the place but won't actually say anything. As such, focus on body language while keeping the conversation more focused on the plot. For example, Character A might be crying but still trying to argue their point about whatever is going on.

Address physical complaints instead of emotional ones

In many cases, people will use "I'm tired" or "I didn't sleep well" or "I'm not feeling great" as shorthand for whatever is actually bothering them. It relieves pressure by not making them talk about upsetting matters while still addressing their discomfort in some form.

You should also consider the fact that some people can't connect physical sensations to feelings, so they may genuinely feel ill and not really understand why. This is especially common in people who can't emotionally regulate or have been through trauma.

For myself, I tend to somatize my feelings, so I might not feel upset, but I will feel physically sick. My stomach will hurt, my chest will get tight, or I'll get a headache, but my emotional state will seem calm. This isn't all that unusual, and many people experience this to different degrees.

As such, you can have your character say that their stomach hurts, or that they have a headache and can't discuss this anymore, or that they need to go lie down because they're dizzy. If we know they're relatively healthy, this can be a clue that they're getting overwhelmed but either cannot pinpoint their emotions or don't want to discuss them.

Let characters advance and retreat

A lot of the time, someone will address a scary emotion and then retreat again, sometimes over a period of hours, days, or even weeks. This is normal: most of us don't have the emotional fortitude to forge ahead through something difficult all in one go. Character A may say something vulnerable, then change the topic, laugh it off, say they're done discussing it, or even leave the situation.

Leave emotions partially unaddressed

Again, it's rare for someone to spill out everything they're feeling all in one go. As such, have Character A address the most important thing - or the least important, depending on their level of emotional maturity - and let it be done for then.

They might say their small piece, but when someone tries to probe deeper, they don't have an answer, or they get "stuck" on that one emotional level and cannot go further.

If Character B keeps pushing, then they may get incredibly upset and push back, or retreat.

Have Character B point out the feelings

Works especially well if the other character is a close companion or a parental figure. Often, people who know us really well will have better insight into our emotions than we do. Or, we might have good insight into our emotions but are still too afraid to open up. Having Character B point out the issue gives Character A grace to be more honest.

I can't tell you how many times I've been really upset, so I've distracted from the issue by getting angry about something completely different. Then, my mom will gently point out that I'm not actually crying about my new plastic cup being broken or whatever; I'm actually upset about XYZ. In that moment, I realize I've been caught out and admit that yes, that's what I'm really upset about.

Have Character A address it with a third character

Who among us hasn't gone to someone else to talk about our feelings? Having a third party serve as a sounding board is normal. Sometimes, Character A will feel such catharsis from this conversation that they don't address it as thoroughly with Character B.

Of course, you can use this to your advantage and create more tension if the third character gives bad advice or is biased.

Remember that just because the third party responded well does not mean that Character B does. You also have to avoid omniscience and remember that Character B wasn't privy to that conversation.

Have one confrontation be a stand-in for a larger one

I always think about the "The Iranian Yogurt Is Not the Issue" post when I think about this. Often times, things like not doing the dishes or whatever aren't actually the big deal: it's lack of boundaries, communication, or respect. A minor argument can be shorthand for a larger one that is too challenging for the characters to tackle.

This isn't just creating drama for the hell of it, though; it's about exploring the larger issues without making the characters lay it out on the table. A good reader will be able to see it's not about the Iranian Yogurt as long as you set up the relationship well.

Currently, I am writing a story where Uileac and his sister Cerie go to rescue Uileac's husband, Orrinir. On the way there, Uileac idly comments on how he wonders where a waterfall comes from because he's trying to distract himself from thinking about the fact that his husband is kidnapped and possibly dead.

Cerie, being pretty wound up too, starts arguing with him about it because she's like "why is this relevant? We're kind of too busy to think about geology right now!" Uileac gets annoyed at her for being so aggro, and she gets annoyed at him for being so irreverent. Both of them are upset about something completely different, but they're too scared and panicked to actually address that, so they release their frustrations by complaining about waterfalls.

Those bad vibes have to go somewhere, but neither of them are very good at talking about their feelings (though very good at stuffing them down). As such, they take the pressure off by sniping at one another. You've probably done this too, when you get into a dumb argument about something absolutely pointless because there's something you don't feel strong enough to discuss.

There's also the fact that if you're mad at someone about something but feel it's too stupid or petty to discuss, that frustration will leak out and everything else they do will annoy you, leading to a bunch of irrelevant arguments.

Use "reaffirmation" gestures

I talked about this in a different post, but after an argument, the "make up" stage doesn't always involve going "ohhh I forgive you" and big hugs and kisses, especially when the two characters aren't emotionally mature.

Instead, Character A makes gestures that reaffirm the relationship. This could be offering to do something Character B needs, making plans for later, or changing the topic to discuss something the other character cares about ("how are your cats doing?") etc.

Note that these "reaffirmation" gestures aren't the same as the cycle of abuse. This is more when two characters have had a difficult emotional conversation but aren't really sure how to continue being emotionally open, so they revert to something safer that still shows they care. They're not over-the-top gestures either, but more a special attention to something the other person loves. Knowing what the other person loves also demonstrates the depth of their relationship.

As always, I can't tell you what to do with your writing.

You are the crafter of your own story, and if you want people to talk like therapists for whatever reason, that's your choice. However, we want characters to feel like real people, and most real people don't lay it all out on the table every single time they're upset. If they do, they might be trauma vomiting, which is icky in and of itself.

Healthy communication isn't always perfect communication. People can have strong, loving relationships and still get things wrong - we're human. Having people calmly and rationally and easily talk about their feelings every single time is not only kind of boring, but it also feels weird, because unless we're primed to discuss those difficult topics and know we're perfectly safe, we're not going to do that.

People don't even do that in therapy, where they are paying for the service of talking about their feelings! Therapists also don't always do that IRL!

We're humans, and your characters need to feel like humans as well. That means letting them be imperfect communicators and using context clues rather than making them do all the work for the reader.

If you liked my advice, consider purchasing my book, 9 Years Yearning, for $3!

[seasaltdevotion]

Ok so,,,

I’m baffled.

I saw a post about someone’s “hot takes” on the gods. And it was tagged in Hellenic Polytheism and such-

And just boldly claimed Lord Poseidon is a terrible person and King Zeus is worse? Like hello? Are we following the same religion?

Just a reminder, you don’t pick and choose what gods are “good.” You don’t get to decide that gods are ok or not to worship based on their portrayal in myth. The gods are not their myths. Myths were written by opinionated/biased people who intended to explain the unexplained at the time. Myths are metaphors. Myths are *myths.*

Of course there is some information and lessons that we can draw from myths but our entire religion is not centered around myth literalism like other religions are such as Christianity.

The gods are not bad. They aren’t assholes or terrible people. They are Gods and Goddesses. They are the (I don’t wanna say personification but I can’t think of a better way to phrase it) personification and guardians of nature and life and knowledge and all of the beautiful things we deal with in everyday life. They’re not big story time villains that you get to write headcanons on.

Please, please research our religion and understand mythic literalism and why it’s not what the religion is founded on. Take the time to actually learn and understand that the gods are not their myths. They’re so much more than that, and they don’t mean any ill will on their followers unless you’ve terribly wronged them or someone else in an incomprehensible way.

I’m sorry for the long post but it upsets me so much to see people calling gods that are genuinely so kind and have helped me and others through so much assholes when they are anything but that.

[edensvessel]

How to Study Resources

Many people in the modern day pagan/polytheist communities are young. As such, a majority of them are neurodivergent, like I am. For me, that means a majority of the language used in resources is difficult to understand. This was originally going to be a post about that, but the more I wrote, the more I realised that many people, neurodivergent or not, just... don't know how to study resources. So, if you are someone that also struggles, I now present to you... my full guide on how to study resources.

Little disclaimer: I myself am a hellenic polytheist, but this guide is for anyone that struggles with understanding information from resources, whether you are a hellenic polytheist, norse polytheist, kemetic polytheist, etc. Though do understand that I am writing from the perspective of a hellenic polytheist, so I am bound to make mistakes when it comes to religions I am less educated on. You are always welcome to adjust anything I say here to fit your own religion accordingly.

Let's get started.

Firstly, you have to find resources. Many people happen to get stuck here, unfortunately.

How do I know what to research to begin with? When starting out, the general consensus among the polytheist/pagan communities is to research the related historical practice. How the deities were worshipped, what contexts they were worshipped in, the history of the deities, etc etc... all of these are very important factors to consider as a beginner. Only by knowing the history can you then delve deeper into specific terms and specific paths that may be right for you!

How do I find resources? Unfortunately, a lot of resources are behind paywalls or just plain hard to find. Here is a list of websites that I personally use and recommend:

scholar.google.com

academia.edu

pdfdrive.com

library.memoryoftheworld.org

libcom.org

libretexts.org

standardebooks.org

By the way, just a reminder that if you find a resource but there is a pesky paywall in your way, you can probably find it on archive.org for free!

How do I choose a resource though? If you are part of hellenic polytheism, then theoi.com is a great resource, but I always like to add primary sources into my research + not everyone reading this will be part of helpol. Try to find primary sources, first and foremost. Then read historical accounts. Then read secondary sources. Also, make sure your author is reliable! (that link is only for hellenic polytheism though, apologies. If you are not part of hellenic polytheism, then looking into who the author is/was as a person and what sort of contributions they made and beliefs they held never failed me personally!)

Found your resource? Made sure the author is reliable? Wonderful! Now what?

This is usually where the procrastination hits for me. Either that, or I get hyperfocused for a while but never complete it and then lose interest.

To avoid that, break things down and establish a routine. You do not have to finish a book in a day, or understand everything you read straight away. Setting those kinds of expectations for yourself will only make things so much more difficult.

Instead, make a routine for yourself. Outlined below is my routine:

Getting into the mindset. I always like to get myself into the mindset of studying by praying, whether this is studying for school or studying a resource. Since my entire life is devoted to lord Apollon, I pray to Him for it. However, if I am researching a specific god, I will typically pray to them instead. However, sometimes I do not have the spoons to write out a prayer, so I typically just adjust my surroundings instead. Turning my LED lights to a warmer colour and putting on some lofi music usually helps me! The studyblr community has great tips for this part! I also recommend I Miss My Cafe.

Reading. First, I try to read without annotating or taking notes. This is the time to take in the information, to try and grasp what I am reading. This is usually the most difficult part for me, because a lot of academic sources tend to use advanced language and sentence structures that are difficult for me to understand. Unfortunately, the only tip I have for this part is to read as slowly as you need. Do not be ashamed for taking your time. Typically, I only like to read one paragraph before I move onto the next step.

Annotation. This is where I re-read the paragraph I just read. Typically, I like to re-word the paragraph in a simpler way for me to understand. Sometimes I notice little patterns that may connect back to something I've read prior, whether in another book or earlier in the same book. When that happens, that is something I add too! Remember, you do not have to annotate. If it makes it easier, then perfect! If it does not, discard it.

Consult study tools. This is where I cross-reference with other resources. This is how the entire process repeats again. Though, you do not just have to use books for this part! YouTube videos, podcasts, online resources, etc etc...these always help too!

Application. After vetting the information, consider how it would apply to your life, if at all.

Of course, that's just my routine. You are always welcome to use it, but I also greatly encourage you to create your own routine so that you can cater it to your learning style!

I also recommend setting a time limit for yourself. If you have not completed a chapter within the time limit, that is okay! The most important thing about researching is making sure you are not guilting yourself into biting off more than you can chew. Take your time, you have a lot of it.

Research is vital to religions like ours, and research should be something everyone can do! Just because you may need some accommodations does not make you any less intelligent. We all learn differently. That is okay.

I hope this post can serve as something helpful for those who struggle in this area, and as a reminder that you are not alone in your struggles. If you have any questions or would like further clarification on some points, feel free to reach out!

Xaire ♡

[multidimensionalguidance]

Overlay Observations #1

Note: keep in mind that aspects and signs are also very important when reading synastry charts, and it cannot be left aside to prioritize overlays.

Sun in 1st house: this is a tricky overlay for any type of relationships, because it will depend a lot on the strength of the sun in both charts. It can either become the type of relationship where the Sun becomes an excellent guide for the house person to discover their creativity, skills, and core self. They will feel more confident and with an extra shine next to the planet person. As if a disco ball was turned on in a dark room, and there’s a spotlight right on you. The house person will also help the Sun stick to their core principles and feeling comfortable in fully expressing themselves with little judgment. Now, that is the positive expression of this overlay if both individuals are able to avoid the elephant in the room. Yes, the ego. The sour side for the house person is to feel overshadowed when they are next to the planet person, and it can therefore trigger an unnecessary need of competition that could easily ruin the relationship. It is also difficult for both individuals to ignore the triggers that they cause in each other due to the amount of similarities that they share. Their own toxic or unhealthy habits will be noticeable to both, but so will the positive ones as well. It really all boils down to how comfortable both individuals feel within their core self. If either has very low self esteem, it will be harsh to feel at ease with each other. Overall, it can be very helpful and rewarding to encounter each other and see themselves in a mirror for good or bad, especially for the house person since the planet person aspects their 7th house of relationships.

Venus + Mars in 1st house: this one takes the cake for "I saw, I wanted, and I conquered" with the planet person being the one who quite literally charges towards the house person with A LOT of passion to the point that it can be overwhelming if there isn't any other aspect to support it. The planet person recognizes in the other all the qualities that they look for when it comes to relationships and the way they move through life. They both feel extremely physically attracted to each other. Instant magnetism. They are able to see the house person as someone who naturally matches their own sexual energy, and it feels like a no brainer to desire closeness. If Saturn or any other strong aspect/overlay isn't involved in any way, it might be a short hot fling. You will both enjoy the insane chemistry and common ground, and unless Pluto, Rahu, harsh aspects are involved, there shouldn't be much of a hiccup if there's a separation at the end. You will fondly look back to remember how you both felt like an IT couple next to each other, and rekindling the fire would be quite easy if there's a reencounter.

Saturn in 1st house: there is a deep sense of responsibility and seriousness that is quickly developed between these two individuals. They both feel like the relationship is one that they would prefer long term, even if there's a heaviness to it. The planet person brings a grounded energy that encourages the house person to think long term, and they will go to great lengths to please the planet person. Its almost as if the house person wants to earn the respect or admiration of the other, and depending on any other planetary aspects made, it will either be something that will lift the house planets to higher highs or will make them feel overwhelmed with the pressure. Think of it as the pressure necessary to build diamonds, meaning, a necessary discomfort to achieve greatness. There's also a very karmic tie between these two individuals, and they will recognize it. The house person will feel like the other was brough into their lives for a reason, be it good or bad. As if they attracted this person due to their previous actions in a current or past life.

Ketu in 1st house: this is the most common "I've met you before" aspect in synastry. There is a strong feeling of comfort and ease between these two individuals, and the house person will feel a breeze from the past with the planet person. This truly goes both ways, and they both recognize it as well. It can also feel like a soulmate connection and one of the two will comfortably claim it so in their mind and heart. Even if Ketu is commonly perceived as a malefic in Vedic astrology, it is also the key to unlock a higher spiritual awareness, and this is exactly what this overlay causes. So, if both individuals are not actively pursuing to expanding their spiritual side, it will gradually create separation. Ketu brings a cleansing or purifying effect that almost feels like a burning sensation when its met with resistance. Hence why this synastry overlay or even with aspects can feel so debilitating for the planet person particularly. There cannot be a spiritual resistance from either side, and growth must be consistently practiced. Meditating together, learning occult knowledge, or even doing yoga will naturally enhance the relationship and it will be much easier to manage. It will also be more comfortable for individuals who already have Ketu touching personal planets or in the 1st house, also for those that have Scorpio placements in their natal chart.

Juno in 1st house: this is the "You are wife/husband material!" synastry overlay. They both feel like the other person has the qualities that they look for in a serious committed relationship. The asteroid person will simply feel like house person matches a lot of the pointers they have for what they would like in a marriage partner. On the other hand, the house person feels like they can hear wedding bells ringing from afar whenever they interact with the other. It is generally a pleasing overlay and both individuals are able to have a good common ground on what they expect from a long term relationship.

Venus in 4th house: a definite favorite overlay for romantic or platonic relationships. They are able to break the ice easily with each other during the beginning stages because there is a strong feeling of comfort they experience together. They are the type to spend hours chilling next to each other reading, scrolling through TikTok, or watching movies for hours with no issues (unless there are harsh aspects or malefic planets). The planet person feels at home with the house person, and things like cooking, cleaning, or nurturing each other develops with a lot of ease. The planet person brings material benefits to the house person, so if they move in together, the house person quite literally gets their space improved or it gets beautified in some way. Lots of harmony when it comes to these matters in general. They are the type that redecorate their home together as a hobby. It is also a good overlay for naturally wanting to grow a family and having an ease with it since their values match when it comes to raising children.

Mars in 6th house: this is a very wholesome and motivating overlay. The planet person brings a lot of energy to get things done and actively helps the house person on their daily life. The house person on the other hand, gets activated on their sense of servicing Mars, and it is common for them to also do a lot of little AND big things to make their life easier. I've seen them cooking, cleaning, or even fixing things for the house person frequently, but it generally goes both ways regardless. Acts of service as a love language is seen here. In general, there's a lot of "I want to help you grow and develop" between the two of them. They could even work or do exercises together as well. The only downside is that one of them could be too judgmental or picky with how things get done, and it could make either feel as if their efforts go unnoticed or unappreciated. If the relationship drifts apart, they will miss each other a lot because of how present they were in their day to day. Sort of like, you will think of each other while doing mundane activities like washing the dishes or doing groceries.

Venus in 8th house: as most astrologer enthusiast explain, this is not an overlay or synastry for the weak, at all. There is a strong attachment that is developed whenever the 8th house involved. Both individuals feel like two candles that join together to create a big flame that can warm and destroy with equal strength. The negative side is very clear, a heavy and almost addictive feeling with a heavy dark intense undertone. The house person sees Venus as a princess/prince that somehow appeared in the place they try to hide the most from others, and this immediately creates a desire to get very close. They want to study Venus, understand how they got in there to begin with, and determine whether they want them in there or not. In this case, the house person holds a lot of the control. Venus will not have easy access to the house person unless it is granted. They will keep on creating obstacles to keep the planet person from getting closer until they recognize that there's no way to keep them out unless they literally walk away. The positive side is when the house person surrenders to the feeling of developing an intense and deep connection with the planet person. Once they do, it will feel like they are able to reach depths that they were unable to do so before with anyone else. It is common for both of them to share resources with each other and there is also a strong sense of loyalty that develops after the common challenges (jealousy, possessiveness, mistrust, etc) are worked out. Venus brings wealth and abundance to the house person, either through gifts or by simply attracting that towards them like a magnet. The house person on the other side shares their own resources VERY often, and have no issues with even dipping into their savings just to please Venus.

Jupiter in 10th house: I would call this the "You're my money lucky charm" overlay along with the 2nd house overlay. The planet person brings expansion, growth, and luck to the house person when it comes to their profession and public image. There is a lot of knowledge and guidance that the planet person provides, and that allows the house person to use those pointers to achieve their goals much faster than they would have been able to do so alone. For the planet person, it feels like they are very popular and/or noticeable within the work or public life of the house person. Unlike Venus, who is seen as a trophy wife/husband or as a very obvious romantic partner next to the house person, Jupiter is seen as someone who is like a sage, advisor, or foreigner. Overall, this is a very positive overlay for both to grow towards their material goals. The house person will prefer to spend more time outside with the planet person instead of being at home all the time since it aspects their 4th house. You both want to be seen together being out and about.

Moon in 12th house: this is a very complex interaction between two people, and it will depend a lot on what type of relationship they have (romantic, platonic, familiar, etc). In a general sense, the moon person will experience some confusion when it comes to acknowledging their feelings towards the house person. As if there was a veil that keeps them from taking confident steps forward. It is common for both people to develop a resistance into trusting each other at the beginning, but the other side of the coin is that they can't help but grow closer towards each other. The house person feels seen in every sense of the word, and they can notice how the other seamlessly understands what goes through their head almost as if it was telepathy. Now, even if the planet person is able to navigate somewhat well the subconscious mind of the other, there will be a constant doubt or hesitance. It will be hard for them to even understand why it feels this way, and only through identifying their own subconscious wounds will they will able to recognize the root of their confusion. Once this feeling and pattern is explored, it will feel as if they veil is lifted and they will understand the house person like the back of their hand. This is an aspect that can be rewarding if the planet person is focused on their spiritual growth, as they will gain immense knowledge to their own mind (since the moon rules the subconscious mind as well).

Hope this was an insightful and enjoyable reading~

[tenofmuses]

Free Witchcraft Resources for Beginners

A couple months ago I made a post shouting out the fact that witchcraft doesn’t require any money to get started (or to be practiced, for that matter), and I had a few people ask me about what they can do that’s free, especially as a beginner, so I wrote up this post. I was lost and broke when I was getting started with my craft, and it was really difficult to find tips for beginners that weren’t just “buy these things!” I’m hoping this will be useful for people who are looking for a place to begin.

So. You’re interested in witchcraft and would like to find out more. Maybe you keep seeing those “crystals/herbs/books/etc. beginner witches should have” posts, and you’re frustrated, because you want to begin your practice, but don’t have the money for those supplies. I was once in that spot, and even now that I’m five years into my practice, I have rarely purchased any of the supplies witchtok deems to be fundamental. Here are some places you can begin instead. Let’s get started!

Info continues below.

Foundations

By foundations, I’m referring to things that aren’t explicitly witchcraft, but that I have found very beneficial within my own practice.

1. Before anything, I recommend asking yourself a simple question: why do I want to practice witchcraft, and what do I hope to get out of it? You may not know for sure yet, and your answer will likely change over time, but having some intentions going in can be helpful when you’re in the early stages of research. When I was starting out, I felt very overwhelmed by the amount of info out there, so if you have a bit of an idea of what you’re specifically interested in, that can be helpful to get you going.

2. Meditation: not all witches meditate, but a lot of the skills you develop through meditation can be helpful within witchcraft. You can try out secular meditation (apps like Balance and Headspace, as well as Insight Timer—the former has a mix of secular and spiritual meditations), or you can find a witchcraft-specific guided meditation on YouTube. For neurodivergent folks out there, I recommend looking into active meditation, which I’ve found to be quite beneficial for myself.

For me, it’s always important to remain grounded when I’m doing any spiritual practice, and meditation is a good skill you can work on to help with that. I also find that having a background in meditation can be really helpful later down the line when/if you are attempting visualization and/or astral projection, witch’s flight, and so forth.

3. Journaling: another thing that isn’t specifically witchcraft-related, but is an important skill to harness, on my opinion. To me, it’s crucial to be in touch with what I’m feeling (especially when it comes to doing spellwork), and journaling is one great way to do that. If you’re stuck and don’t know where to begin, look up witchcraft (or general) journal prompts on here or somewhere else. A lot of the ones that come up will be shadow work, which can be intense, so only do what feels comfortable for you.

I’d also like to note that automatic writing/drawing is an entirely free option if you’re interested in communing with spirits or deities. Essentially it involves getting into a trance-like state (usually in a dark room only lit by candlelight or similar—this is to avoid distractions) with a piece of paper and pen, and you write or draw everything that comes to your head without thinking about it. And then you go back and see what sort of messages you may be receiving. It’s a bit hard to explain and I’m not very experienced in it myself, but it’s something worth looking into if it sounds interesting to you!

4. Look at what you have, instead of what you don’t: a lot of beginner witch resources will list specific items that you should have, without really explaining why. And without that knowledge of how/why having an item is important, you might find your Must Have crystal sitting unused on a shelf somewhere. So instead of focusing on the items you want or feel like you should have, look at what you do have. Are there plants or herbs in your house/yard that you feel drawn to? Do you have a collection of cool rocks and stones? How do these items make you feel?

For me, a large part of my craft is my belief in Animism (the belief that all living things have innate spiritual qualities, like a soul, spirit, or specific energy) and this can play into the way you interact with the natural world if it’s a belief you also subscribe to. Try and feel the presence of a plant to see if it gives you any specific feeling. It does? Great! Now you have a correspondance for that plant. And it’s even better than the correspondances you’ll get in a book because it’s based on your own personal connection and intuition. That’s what is most important.

5. When in doubt, use your intuition. You might find a source that says cinnamon should be used for protection. Another will say it should be used for abundance spells. What matters the most is what you think about an herb/plant/stone/colour, or whatever else you may utilize. I recommend to start keeping a list of what you associate these things with. It can take awhile to build up a personalized list, but once you have one, it’ll be a lot more useful than what a correspondances book says to do.

6. Scour your pantry and get cooking: are you wanting to try out a spell but you haven’t bought the ingredients? Look in your pantry. You may be surprised by how many commonly used witchcraft herbs you find in there. And if you have been starting to associate certain herbs or spices with specific feelings or energies, that’s a great way to get started with creating your own spell.

You can do a spell in many ways, but when I was starting out, one of my favourite ways was to incorporate a certain herb or spice into food I made. Say you’re making a soup and maybe you want a bit of protection, so you add some ground pepper with the intention of that pepper protecting you as you stir it into the soup. Same goes for any other ingredient you’d like to use. A little intention goes a long way!

7. Dedicate your actions, time, or energy: if you’re interested at all in working with deities, ancestors, and other spirits but don’t have the time/space to build an altar—or maybe you aren’t sure how involved you want to be with this part of witchcraft—you can devote an action to the entity. This can be simple. For example, when I worked with Apollo, I would use taking my meds and vitamins as an act of devotion to him. This is an offering. And offerings can be anything you want them to be. They don’t have to be expensive or fancy!

It’s also important to note that you do not need to work with deities or spirits to be a witch. You don’t even have to believe in them. Many witches are atheists or don’t work with any deities at all. But for those who are interested, simple offerings can be a good place to start.

8. Practice energy work: in my view, energy work is the most important skill to learn for your craft, since so many things build off of it. And with energy work, you don’t need to spend any amount of money on it. All you need is yourself, your intuition, and anything else—I mean that quite literally, you can practice feeling the energy of other people, pets, trees, buildings, foods, socks, your favourite pen, and whatever else you think of!

Once you get to know the energy of the things around you, you can more effectively utilize them as tools within your practice (this builds off of the intuition point I made earlier).

For example, as a child I lived in a house that was surrounded by cedar trees. It was a place where I felt very safe. To this day, when I see or smell a cedar tree, I feel safe and protected. You can read this any way you’d like—to me it’s both a spiritual and psychological phenomenon—but this is one example of sensing energy.

As a witch, you can practice that skill and use it to get to know the tools you’d like to use within your own craft (the things that connect to you personally, not what you’re told you should connect with). This isn’t an easy skill by any means, so if it doesn’t come naturally to you, that’s perfectly okay!

For more on this subject, I recommend two books: Braiding Sweetgrass by Robin Kimmerer (more on animism in particular) and Psychic Witch by May Auryn (lots of exercises to practice working with and sensing energy).

Where to Go for Learning

After you’ve thought a bit about some of the above, or skipped it altogether if it doesn’t suit you, you’re probably wanting some good resources that will actually tell you how to do the witchcraft thing. But before that, I want to reiterate again that this is your practice, and you should only do what you are interested in. So take what you want and leave what you don’t.

I’m going to point you in three primary directions for learning good information: books, podcasts, and YouTube.

But first, I want to issue a massive disclaimer for the YouTube information (and some books, for that matter). You should not have one sole source for your information. Books that have bibliographies are always the most trustworthy sources. And even though I trust the information coming from the YouTubers I’ll mention—especially because I’ve read similar information in several witchcraft books—don’t take their word at face-value. Be critical of what you’re told. Believe what you believe. This is a skill you’ll learn over time. It can be a bit overwhelming at first, but it will get easier to discern what’s good info vs. bad info, over time.

Before you get started, I highly recommend watching this helpful video by HearthWitch with info on how to vet your witchcraft sources: link.

Books

In my view, books are the Best source of information, period. Anyone can publish an article or video online, but not everyone can publish a book. So there tends to be a bit more reliable info in witchcraft books.

As far as knowing what book you should begin with, there are lots of lists out there for beginners, and I recommend just looking at one of those lists and picking what sounds interesting to you. Take what you like and leave what you don’t.

Most of the YouTubers I’ve listed below have videos recommending books for beginners.

If you’re interested in British folk witchcraft, I started out with Folk Witchcraft by Roger J. Horne and it was a brilliant beginners guide that I recommend to anyone who is interested in that branch of witchcraft.

As always, while you read witchcraft books, be critical of the information you are presented with. Unfortunately, lots of witchcraft books (especially the classic ones) can be rooted in concepts like bioessentialism, colonialism, and racism. My recommendation is to not take any author’s word as gospel and to use your critical thinking skills when reading witchcraft books.

Where I live, books are EXPENSIVE. And when you’re just starting out in your practice, you might not have the money or ability to go out and buy a book just yet. Maybe you’re still unsure if witchcraft is right for you. Or maybe you’re in the “broom closet.” Whatever the reason, here are some free places to find books.

1. The public library: a bit obvious, but a great resource to look at, because you never know what your library might have. Libraries are the best. And entirely free!

2. Library apps like Libby or Overdrive: especially helpful if you don’t want to bring home a physical witchcraft book, or if your branch doesn’t have any copies of what you’re looking for. You can also get some audiobooks on there.

3. Archive.org: aka the web archive. Entirely free and entirely legal, this works as an online library service where you can check out a book for a bit of time right from your computer. Sometimes you can download PDFs as well. I’ve found a lot of my favourite witchcraft books on there, so if you have a specific title in mind, search it there.

YouTube

First, as a bit of a caveat before recommending you to watch YouTube videos on witchcraft: in my view, books are the best source of information for any witch, as they are able to contain a large degree of nuanced and research-informed information. But books aren’t a simple solution for everyone, and I’ve learned a lot from informed YouTubers over the years (in fact, like many witches, I was first exposed to witchcraft via Harmony Nice on YouTube!).

I’m including a list here of witch YouTubers that I personally recommend because I have found that their content aligns with information I have read in books and other research-informed sources over the years, and because I find them to be generally reliable.

I want to note here that this list is rather biased, as I tend to watch witchcraft YouTubers whose practices mirror my own in some ways. So most of these practitioners have practices informed by European folk witchcraft, and are not very diverse as a result. If any practitioners have further recommendations to add on, especially for practitioners of colour and practices that are different from mine, please do so!

My recommendations:

ChaoticWitchAunt: folk witchcraft, specifically in the Italian tradition, some great beginner content, info on working with saints and spirits.

TheWitchOfWonderlust: death magic, spellwork, great beginner content, lots of excellent info on working with spirits.

HearthWitch: truly a well of information on British witchcraft, beginner videos on any topic you can think of, q&a livestreams, and there’s even a video on vetting witchcraft sources that I really recommend for beginners.

The Redheaded Witch: folk witchcraft and folklore, spirit and ancestor work, daily witchcraft ideas, some beginner videos.

TheGreenWitch: such an excellent resource for herbal/green witchcraft, videos on spellwork, ingredients, tools, and more.

Mintfaery: lots of beginner information, videos on working with the fae, nature witchcraft, and lots of fun witchy days in the life.

Ella Harrison: German folk witchcraft, great beginner resources, including some more niche traditional craft topics like witch’s ladders.

The Norse Witch: info on Norse witchcraft and Heathenry, Norse paganism, and some content about astrology.

simplywitched: lots of great everyday witchcraft content, pagan witchcraft, more vlog style.

Warrior Witch Nike: witchy book reviews, paganism, deity work, some astrology content.

Mhara Starling: the place to go for anyone interested in Welsh witchcraft and folk magic related to Wales.

Alwyn Oak: lots of witch’s guides, especially relating to sabbats (those popularized in Wicca), forest witchcraft, gorgeous videos.

Ivy The Occultist: chaos magick and lots of interviews with practitioners from a variety of paths/backgrounds.

Shadow Harvest: personal day in the life witchy content, some videos looking at working with dark goddesses and deity work in general.

Note: some of these YouTubers have written their own witchcraft books geared towards beginners, so if you enjoy their videos and want to learn more, check those out.

Podcasts

The Astrology Podcast: not specifically witchcraft, but if you want to learn about astrology in detail, this is an excellent place to begin. Link goes to YouTube.

Books and Broomsticks: all kinds of good info, especially pertaining to folk magic, witch guests invited on to share more about their own practice. Link goes to Spotify.

Southern Bramble: A Podcast of Crooked Ways: a variety of witchcraft related topics, interviews, and discussions, often revolving around folk magic and traditional craft—interviews show different traditions. Link goes to Spotify.

New World Witchery - The Search for American Traditional Witchcraft: what it says on the tin; various topics and conversations through an American traditional/folk magic lens by the author of the (amazing) book with the same name. Link goes to Spotify.

Salty Witches Podcast by Cat & Cauldron: traditional witchcraft through a modern lens, another podcast that has a wide variety of topics covered. Link goes to Spotify.

—

As always, if anyone has any additional (free!) resources to add onto these ones, please do so.

Good luck to all of the beginner witches who are embarking on their spiritual journeys, and I hope some of these tips have been helpful! :)

-Em

[cisthoughtcrime]

I’m interested in learning Latin, where would you suggest I start?

So exciting! I'll try to keep this short:

I recommend starting with this very short informal intro, especially if you don't have a strong grasp on technical terms about grammar (most textbooks take that for granted). Latin grammar follows a rigid organisational system and the earlier you understand how it works, the easier it will be to learn the rest of the language. The 18-page PDF in the link uses English examples and practice questions to go through basic Latin grammar concepts and tables. It doesn't go through less basic things like participles or conditional clauses, but it does explain everything you need to know in order to learn those more easily. It also includes a hyperlinked list of good online resources for self-taught Latin and Greek students.

If you want to work through a textbook, Wheelock's Latin is probably the most widely used and comes with a lot of accompanying resources and guides (even though the official website looks older than Rome). Ecce Romani may be a bit more approachable and there are plenty of unofficial online lessons and guides made to go along with it. Those are my top two personally; I know some people like Latin Via Ovid because the practice texts are adapted from an actual ancient text about different myths, but imho I don't think it's as good a starting point if you're teaching yourself from scratch. Keep in mind that they'll all follow different formats for conjugation/declension tables, which can make it a bit confusing to switch between them; the short intro in that first link is a good way to understand how these charts work well enough to use them no matter the format.

There are tons of free resources online, even including full recordings of lessons, live study groups to join, communities with forum posting, and written-out explanations. For any individual concept that's troubling you, there are almost definitely multiple youtube videos of someone in front of a whiteboard saying it differently from the textbooks. Again, there's a good list included in that first document.

For practice in reading and understanding without deliberately translating, it's fun to try reading Latin translations of books you already know well in English, like Harrius Potter, Hobbitus Ille, Winnie Ille Pu, Alicia In Terra Mirabili, and many, many more, most of which are free on Archive and/or can be bought as physical copies.

However, this will be much more rewarding once you've built up some vocabulary and grammar, and might be frustrating or discouraging if you try the long ones too early, especially since they sometimes use words irregularly to convey modern meanings.

There are also a handful of recently-written stories in Latin targeted at students who like this kind of practice more. The German Netflix series Barbarians has all the Roman characters speaking in real Latin, and listening to it with subtitles can help build your ear for what sounds right.

Those are my recs for where to start! If you're stuck on something and can't find a good explanation, you can also send me an ask about it and I'm always happy to lay out how I think about it (even if my response times are irregular).

Good luck and enjoy!

[physalian]

How to Make Your Writing Less Stiff Part 3

Crazy how one impulsive post has quickly outshined every other post I have made on this blog. Anyway here’s more to consider. Once again, I am recirculating tried-and-true writing advice that shouldn’t have to compromise your author voice and isn’t always applicable when the narrative demands otherwise.

Part 1

Part 2

1. Eliminating to-be verbs (passive voice)

Am/is/are/was/were are another type of filler that doesn’t add anything to your sentences.

There were fireworks in the sky tonight. /// Fireworks glittered in the sky tonight.

My cat was chirping at the lights on the ceiling. /// My cat chirped at the lights on the ceiling.

She was standing /// She stood

He was running /// He ran

Also applicable in present tense, of which I’ve been stuck writing lately.

There are two fish-net goals on either end of the improvised field. /// Two fish-net goals mark either end of the improvised field.

For once, it’s a cloudless night. /// For once, the stars shine clear.

Sometimes the sentence needs a little finagling to remove the bad verb and sometimes you can let a couple remain if it sounds better with the cadence or syntax. Generally, they’re not necessary and you won’t realize how strange it looks until you go back and delete them (it also helps shave off your word count).

Sometimes the to-be verb is necessary. You're writing in past-tense and must convey that.

He was running out of time does not have the same meaning as He ran out of time, and are not interchangeable. You'd have to change the entire sentence to something probably a lot wordier to escape the 'was'. To-be verbs are not the end of the world.

2. Putting character descriptors in the wrong place

I made a post already about motivated exposition, specifically about character descriptions and the mirror trope, saying character details in the wrong place can look odd and screw with the flow of the paragraph, especially if you throw in too many.

She ties her long, curly, brown tresses up in a messy bun. /// She ties her curls up in a messy brown bun. (bonus alliteration too)

Generally, I see this most often with hair, a terrible rule of threes. Eyes less so, but eyes have their own issue. Eye color gets repeated at an exhausting frequency. Whatever you have in your manuscript, you could probably delete 30-40% of the reminders that the love interest has baby blues and readers would be happy, especially if you use the same metaphor over and over again, like gemstones.

He rolled his bright, emerald eyes. /// He rolled his eyes, a vibrant green in the lamplight.

To me, one reads like you want to get the character description out as fast as possible, so the hand of the author comes in to wave and stop the story to give you the details. Fixing it, my way or another way, stands out less as exposition, which is what character descriptions boil down to—something the audience needs to know to appreciate and/or understand the story.

3. Lacking flow between sentences

Much like sentences that are all about the same length with little variety in syntax, sentences that follow each other like a grocery list or instruction manual instead of a proper narrative are difficult to find gripping.

Jack gets out a stock pot from the cupboard. He fills it with the tap and sets it on the stove. Then, he grabs russet potatoes and butter from the fridge. He leaves the butter out to soften, and sets the pot to boil. He then adds salt to the water.

From the cupboard, Jack drags a hefty stockpot. He fills it with the tap, adds salt to taste, and sets it on the stove.

Russet potatoes or yukon gold? Jack drums his fingers on the fridge door in thought. Russet—that’s what the recipe calls for. He tosses the bag on the counter and the butter beside it to soften.

This is just one version of a possible edit to the first paragraph, not the end-all, be-all perfect reconstruction. It’s not just about having transitions, like ‘then’, it’s about how one sentence flows into the next, and you can accomplish better flow in many different ways.

4. Getting too specific with movement.

I don’t see this super often, but when it happens, it tends to be pretty bad. I think it happens because writers feel the need to overcompensate and over-clarify on what’s happening. Remember: The more specific you get, the more your readers are going to wonder what’s so important about these details. This is fiction, so every detail matters.

A ridiculous example:

Jack walks over to his closet. He kneels down at the shoe rack and tugs his running shoes free. He walks back to his desk chair, sits down, and ties the laces.

Unless tying his shoes is a monumental achievement for this character, all readers would need is:

Jack shoves on his running shoes.

*quick note: Do not add "down" after the following: Kneels, stoops, crouches, squats. The "down" is already implied in the verb.

This also happens with multiple movements in succession.

Beth enters the room and steps on her shoelace, nearly causing her to trip. She kneels and ties her shoes. She stands upright and keeps moving.

Or

Beth walks in and nearly trips over her shoelace. She sighs, reties it, and keeps moving.

Even then, unless Beth is a chronically clumsy character or this near-trip is a side effect of her being late or tired (i.e. meaningful), tripping over a shoelace is kind of boring if it does nothing for her character. Miles Morales’ untied shoelaces are thematically part of his story.

Sometimes, over-describing a character’s movement is meant to show how nervous they are—overthinking everything they’re doing, second-guessing themselves ad nauseam. Or they’re autistic coded and this is how this character normally thinks as deeply methodical. Or, you’re trying to emphasize some mundanity about their life and doing it on purpose.

If you’re not writing something where the extra details service the character or the story at large, consider trimming it.

—

These are *suggestions* and writing is highly subjective. Hope this helps!

[grey-sorcery]

[Title]: Magical Potency: Improving the Efficacy of Magic

Suggested Reading

Finding Balance Threshold Theory Correspondences  Conceptualization Vs. Visualization Visualization: Effective Implementation Basics of Energy Work Basics of Spellcasting Spell Logs Intro to Gnosis Bias in Witchcraft The Subtle Body Axioms of Energy Work The Wellsource Energy Work & Spoon Theory Shadow Work: First Steps Intro to Grounding

Introduction

Magical potency refers to the efficacy and strength with which a spell is executed. This encompasses the accuracy with which the ritual is performed, the precision of the elements involved, and the intensity of focus and energy channeled into the endeavor. In simpler terms, it's about increasing the likelihood of a spell's success, assuming all other requisite and advantageous factors are adequately addressed. 

The significance of magical potency cannot be overstated. For practitioners, the objective is not merely to perform rituals but to execute them in a way that yields measurable results. In the same manner that a scientist would aim for exactness and reliability in an experiment, a magical practitioner should aim for a high degree of potency in their workings. Achieving this standard is more than a matter of personal pride or skill; it is about the responsible wielding of one's abilities to bring about change. When potency is elevated, the outcomes are more predictable, thereby enhancing the reliability of the magical practice as a whole. Moreover, it minimizes the risk of unintended consequences, which can range from inconsequential to potentially hazardous.

The Magical Potency of a Vast Majority of Publications, From Tumblr to Books

Candle Magic

Candle magic serves as an excellent entry point for neophytes in magical practice. Its allure lies in its straightforward design and uncomplicated mechanics, making it accessible for beginners. However, the simplicity that makes it attractive also serves as its Achilles heel. A plethora of publications, ranging from social media posts to books, frequently omit crucial details that are indispensable for ensuring the spell's effectiveness. For instance, many resources neglect to delve into the nuances of "intent," often misconstrued as mere desire, even though it is actually  one's personal truth. Furthermore, these publications have a tendency to reduce the complexity of the practice to mere lists of correspondences, thereby overlooking the intricate mechanics that govern how a spell functions. This dearth of comprehensive information is a disservice to newcomers who seek a robust understanding of the practice, and it impedes their ability to enhance the efficacy of their spells.

Candles & Twine "Cord Cutting"

Another practice that has gained considerable attention is the use of candles and twine for what is commonly referred to as "cord cutting." On the surface, this practice provides valuable insights into personal relationships. However, a closer examination reveals significant shortcomings. Most notably, the ritual fails to fulfill its purported function of severing emotional or psychic connections—what is commonly referred to as "cord cutting." Instead, it remains an exercise in symbolic action that lacks the mechanics necessary to bring about real change. The information provided in popular publications often restricts itself to symbolic associations, failing to offer a comprehensive guide to the mechanics or other vital elements that could make the practice genuinely effective. Consequently, any results are likely psychological in nature, rather than stemming from genuine magical activity, unless utilized as a tool for divination.

Sigil Magic

Sigil magic enjoys widespread popularity due to its accessibility and the relatively common understanding of its mechanics—albeit mainly within the framework of the psychological model. Its versatility is another strong suit, capable of serving as a supplementary element in various other magical practices. However, it's crucial to scrutinize the limitations of this method. The preponderance of popular sigil crafting techniques derives from, or modifies, the Spare method, which operates solely within the psychological model. In essence, this approach amounts to subconscious suggestion rather than authentic magical action. As a result, practitioners may find themselves constrained by a limited scope of magical efficacy. Furthermore, the lack of accessible information on alternative methodologies exacerbates the problem, leaving practitioners with a narrow, and sometimes misleading, understanding of what sigil magic can achieve. The ubiquity of this practice also means that misinformation and misinterpretation are rife, further muddying the waters for those seeking to deepen their understanding and improve their skills.

Increasing the Magical Potency of Common Practices

Candle Magic

To augment the efficacy of candle magic, a considerate approach is essential. First, it's crucial to identify the traditional symbolic associations of various elements involved in the spell and consider whether your own personal correspondences might be more effective. Next, identifying a central point of focus, or state of gnosis, can serve to concentrate your energy more efficiently. This focus should align with your own deeply-held beliefs or personal truths to maximize the spell's efficacy.

Another vital step involves contemplating the specific means by which the spell will manifest its effects. This doesn't merely involve wishing for a particular outcome, but rather planning out the logical steps and mechanisms that will make it happen. This also involves doing conscious energy work that goes beyond mere mental imagery. Instead, one should focus on manipulating energy via the subtle body and energetic senses, perhaps using breath work, gestures, and/or vocalizations as aids.

Identifying the emotional state that will best serve the spell is another significant aspect. This emotional state should be in harmony with your personal truths and can serve to fuel the spell's energy. Additionally, writing out the specific mechanics of how the spell will function can provide clarity and enhance focus during the actual performance. Memorizing all actions or incantations can also prevent disruptions that might break your concentration during the ritual.

Cord Cutting

For those looking to enhance the efficacy of cord-cutting rituals, a complete overhaul is likely required. 

Before the working, contemplate the means through which the spell will manifest its effects as to avoid any negative or harmful outcomes. Utilizing twine and a knife—or scissors, for those concerned about safety—can create a strong symbolic action that aids the spell. It's also beneficial to use correspondences, either mental or physical, that are directly connected to the target individuals. This requires either a strong personal knowledge of the individuals involved or a potent taglock to symbolize them.

Conscious energy work is again advisable, and this should be done without relying solely on mental imagery. Maintaining a state of focus, or gnosis, throughout the entire working is essential. To deepen your understanding and improve the potency of the ritual, you might also study various philosophies or religious teachings concerning the concept of fate or destiny. 

Identifying an emotional state that aligns with your personal truth can also serve to fuel the energy of the ritual. Once the primary cord-cutting action has been performed, the common chords and candles approach can be employed as a form of divination to gauge the likely effectiveness and manifestation of the spell.

Sigil Magic

For those looking to venture beyond the well-trodden path of the psychological model in sigil magic, a multitude of avenues are worth exploring. To start, one should consider researching or contemplating how sigils could function within different paradigms or frameworks. This might involve developing an entirely new method of sigil crafting that deviates from the commonly used Spare method.

Contemplating the mechanics of how a non-psychological sigil could function is equally important. This might involve studying different cultural practices or philosophies to gain new perspectives. Researching various methods of charging and activating a sigil can also yield valuable insights. Different modalities might be more effective depending on the specific nature of the application in which the sigil will be used.

When incorporating a sigil into another spell, it's crucial to think critically about how the two will interact and complement each other. Drawing the sigil while in a state of deep focus, or gnosis, can enhance its accuracy, If this state is backed by strong emotional energy that aligns with your personal truths, its momentum will increase. The precision of a sigil can also be highly increased by performing energy work consciously while drawing the sigil. Finally, selecting a method of charging and activation that complements both your own capabilities and the specific nature of the working can serve to greatly enhance the overall potency of the spell.

General Practices and Methods to Improve Magical Potency

Research, Study, Experimentation, and Recording

The cornerstone of enhancing magical potency lies in a rigorous approach that involves research, study, experimentation, and detailed recording. When conducting research, it's imperative to look beyond sources that merely resonate with you on a personal level; instead, aim for a diverse array of reputable sources to avoid cognitive bias. Subsequently, study these materials assiduously, revisiting them often to consider ways you might expand or refine the practices described.

The use of experimentation, formulating and documenting predictions about how a spell will manifest is invaluable. These predictions should be dated and revisited to assess the spell's effectiveness. Sharing these predictions with other practitioners can serve as a check against confirmation bias. Conducting low-stakes spells can also serve as a useful methodological testbed, helping you refine your approach based on outcomes.

Maintaining a log of your spells is an essential practice. This archival process will facilitate a retrospective analysis, enabling you to discern which variables contributed to or hindered a spell's effectiveness.

Being Critical

Critical thinking should permeate your magical practice, although it's best applied either before or after a working, not during, so as not to disrupt your focus. Discernment in planning a working can preemptively address potential issues. After the spell's completion, seek feedback from anyone aware of the working but not of its projected outcomes. In your analysis, consider mundane factors that could have influenced the result, recognizing that magical outcomes often manifest through seemingly ordinary means. Keep a record of both successes and failures, and understand that setbacks are educational opportunities, not indicators of personal inadequacy.

Helpful Practices

Regular meditation can serve as a foundational practice for enhancing focus and understanding your inner landscape. Additionally, action flow states can be achieved through rhythmic, lyric-free music coupled with physical activities in sync with the beat. This can facilitate a trance-like state beneficial for magical work. Shadow work, while in no way is necessary, can help you uncover deeply rooted personal truths, while the development of personal symbolic associations can facilitate more potent states of focused awareness.

Energy Work

Contrary to popular misconceptions, energy work is neither a form of mental imagery nor a misapplied concept often referred to as "intent." It involves a nuanced understanding of one's subtle body and its energy centers. Identifying your Wellsource—the origin point of your energy—can further deepen your practice. Mastering the art of manipulating this energy effectively can be a powerful tool in improving magical potency.

Appropriation and Decolonization

It's crucial to recognize the importance of decolonizing one's magical practice. This entails a conscious effort to eschew cultural appropriation and to respect the origins and contexts of various magical systems. While learning from diverse traditions can enrich your practice, it should never involve taking elements out of their cultural context for personal use without proper understanding and initiation. Decolonizing your magical practice is a significant endeavor that requires sustained commitment, self-awareness, and active engagement. Here are some steps to help you in this important journey:

Educate Yourself: The first step in decolonizing your practice is to become knowledgeable about the histories, cultures, and traditions from which various magical practices originate. This will help you understand the contexts in which these practices were developed and how they have been affected by colonization.

Acknowledge Origins: Always give credit to the cultures, traditions, and communities from which certain practices and tools originate. This is not only a matter of respect but also a way to counteract the erasure that often occurs when practices are appropriated.

Assess Your Sources: Evaluate the materials you are using to learn about magical practices. Are they written or produced by individuals from within the tradition? Do they provide historical and cultural context? Are they respectful and do they avoid exoticizing or commodifying the practices they describe?

Reflect on Motivations and Entitlement: Examine your reasons for incorporating specific practices or tools into your own practice. Are you doing it because it's "trendy" or because you feel entitled to pick and choose from other cultures? Such motivations can be indicative of a colonizer mindset.

Avoid Cultural Cherry-Picking: Engaging deeply with another culture's practice means more than just adopting its magical or spiritual elements. It involves an understanding and respect for the culture as a whole, including its history, struggles, and contributions.

Engage in Dialogue: If you are interested in a practice that originates from a culture different from your own, try to engage in a respectful dialogue with individuals who belong to that culture. Seek their perspectives and listen to their experiences, and ask for their insights into ethical engagement with their traditions.

Prioritize Marginalized Voices: Elevate the voices and teachings of individuals from marginalized communities who are sharing their own traditions. Their perspectives are often sidelined but are crucial for a genuine understanding of these practices.

Financial Support: Whenever possible, support practitioners from the culture of interest by paying for their services, buying their products, or donating to causes they recommend. Economic empowerment is a form of reparative justice.

Revise and Reassess Continually: Decolonization is not a one-time action but an ongoing process. Keep updating your practices as you gain more knowledge and understanding. This may mean abandoning practices or tools that you now recognize as inappropriate for you to use.

Be Accountable: If you make a mistake—and most people do when they are learning—own it. Apologize, learn from it, and make amends if possible. Then take steps to ensure you do not repeat the same mistake.

Advocate and Educate: Use your platform, however big or small, to educate others about the importance of decolonizing magical practices. Share resources, engage in conversations, and challenge instances of appropriation you encounter.

Practice Humility: Recognize that the process of decolonization involves continual learning and that you won't have all the answers. Be open to criticism and willing to change your viewpoints and practices accordingly.

How Appropriation Negatively Affects Magical Potency

The act of appropriation in magical practices not only raises ethical concerns but also has deleterious effects on the potency of the rituals involved. One of the most glaring issues arises from the isolation of a practice from its original cultural context. Traditions, rites, and spells often have deeply ingrained cultural meanings and histories. When extracted from their native milieu, these practices lose the richness and nuance that contribute to their efficacy. The symbols, words, and actions employed in a ritual are often deeply tied to the specific geography, language, and folklore of its origin. Stripping away this context can dilute the ritual's power, rendering it a mere simulacrum of its original form.

Another significant concern pertains to the connections with spirits and ancestors that are inherent in many magical systems. These relationships are often built over generations and are rooted in specific cultural narratives, myths, and practices. When one appropriates these systems without a genuine link to the cultural lineage, the connection to these spirits and ancestors becomes tenuous at best. In some cases, this could even be seen as a form of spiritual trespassing, which not only questions the ethical standing of the practitioner but also diminishes the effectiveness of the ritual. These ancestral and spiritual links act as conduits for magical energy, and without them, the practice becomes hollow.

Lastly, the issue of alignment with one's personal truth cannot be ignored. Each individual has a unique set of beliefs, experiences, and perspectives that inform their magical practice. When one adopts practices from another culture without proper understanding or respect, there is a high likelihood that these borrowed elements will not align well with one's personal truths. This dissonance can create an internal discord, which in turn weakens the potency of the magical working. A harmonious alignment with one's core beliefs and experiences often serves as the bedrock upon which effective magical practice is built.

Implementation of the Concepts Discussed

The efficacy of magical practices can be significantly bolstered by adeptly incorporating cognitive techniques related to memory and repetition. One such method involves capitalizing on short-term memory. After assimilating beneficial information, executing a straightforward magical working immediately afterward can aid in embedding the newly acquired knowledge. This rapid recall and application essentially serve as the anchoring of the information more firmly by immediate utilization. This technique leverages the brain's natural propensity for retaining recently processed information and puts it to practical use, thus enhancing the likelihood of a successful magical outcome.

Subconscious memory plays a similarly pivotal role in the refinement of magical practices. The consistent and repeated consumption of relevant information can precipitate a subconscious framework that thereafter influences your methodologies. Over time, this reservoir of deeply ingrained knowledge becomes an almost instinctive guide during magical workings. The more frequently you engage with this material, the more it seeps into your subconscious, ultimately serving as an internal compass that steers your practices toward greater potency. Hence, the diligent study of reputable materials can lay the groundwork for a more effective and nuanced magical practice.

Repetition, both cognitive and practical, stands as another invaluable tool in solidifying one's magical practices. Repetitive engagement with the material, whether it's through written summaries, vocal articulation, or mental rehearsal, can fortify the neural pathways associated with that specific information. Furthermore, the regular enactment of magical workings that incorporate these concepts can engender a form of habituation. These practices, through repetition, become ingrained behaviors, thereby increasing the ease and fluidity with which they can be executed. This habitual nature, in turn, contributes to an overall enhancement of magical potency.

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Cosmicaquamarie

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This post was reviewed and edited for easier reading by ChatGPT.

[dokushoclub]

Japanese Reading Resources for Absolute Beginners

A question I encounter often is "How much Japanese should I study before I can begin reading in Japanese?"

From my experience as a learner and reader myself and from managing a Japanese book club for other learners I can honestly say that you can start way earlier than you probably think!

There are many resources that only require knowing hiragana. Those texts usually teach vocabulary through pictures and only use basic grammar.

Some are even simpler than that: The Japan Foundation's Hiragana Books are great for those, who are still remembering hiragana characters. Every short book introduces only 1-2 new characters, so it's a great reading exercise for those who've just started.

The free graded reader 「どうぞ、どうも」 by the NPO Tagengo Tadoku only uses the words 「どうぞ」 and 「どうも」 to write an entire story. Again, this makes for a great exercise in reading hiragana and understanding context. Another "level 0" recommendation by the same NPO would definitely be 「しろい？くろい？」. This book uses the full range of hiragana characters but the grammar is simple and all used vocabulary is illustrated.

Another site with great resources for absolute beginners is Nihongo Tadoku Dōjō. If you have memorized both hiragana and katakana and know how the particles を and で work you will be able to read this text about stationary (ぶんぼうぐ) and understand everything by looking at the pictures!

The resources linked so far can all be accessed completely free on the linked websites. If you have the money to spare, please also have a look at the box 「スタート」 from the series reberubetsu nihongo tadoku raiburarī published by the NPO Tagengo Tadoku and ASK (affiliate link). This box includes 8 little books in very simple Japanese.

All these texts for absolute beginners will get you started reading in Japanese with very little knowledge of characters and vocabulary.

Reading in Japanese is a skill that requires practice. But once you get used to it, it can be such a valuable tool to reinforce new vocabulary and grammar. So please don't wait until you're "ready" before you start reading - start early at your own level!

[creature-wizard]

Great YouTube channels for witches from ReligionTube!

ReligionForBreakfast: Dr. Andrew Henry's channel covers history on all kinds of religions. Whatever you believe (or don't believe), there's something here for you!

Angela's Symposium: Dr. Angela Puca covers a lot of the history of the modern occult movement, including the modern witchcraft movement. (If you call yourself a witch today, you're part of this!)

ESOTERICA: Dr. Justin Sledge's channel covers the history of Western esotericism (which has heavily influenced the modern witchcraft movement) and talks about topics such as the early modern witch hunts.