A magic system suddenly comes out of nowhere that allows people to influence others through speech. This magic system spreads across the world and is eventually revealed to be nothing but social engineering.

Write a melodramatic death scene in which the dying character gives his final speech to his tearful companions over the course of the story. In the end, he’s talked so long that his companions actually get him to a healer/doctor/etc. and save his life before he dies.

He knew this all along and was drawing out his speech to exploit the universe’s “last words” mechanics.

A magic system with corresponding laws banning every possible use of said magic.

Age-exclusive magic. Ages 0-3 have self-defense abilities, 4-10 have creative Minecraft-like building powers, 11-14 have conventional superpowers, 15-19 have dark, pain-inflicting magic, 20-25 have mental buffs, and so on. Use whatever makes sense (or least sense) for each age group.

Two parallel worlds in which one’s magic system depends entirely upon what the other world’s inhabitants believe in. For example, if World A’s population is mostly secular, World B’s magic is useless, for the most part. But if World A believes strongly in ghosts, then World B will have a lot of ghosts.

A hero holds the fate of the world in his hands, and rushes straight to the evil overlord’s lair without doing the obligatory princess-saving, orc-slaying, or dragon-taming, only to find that he’s still got several months before the designated fight scene, and the overlord won’t even let him into the Fortress of Doom.

Someone figures out how to wirelessly transmit kinetic energy, and releases the technology in wands and staffs and pretends it’s magic.

A student with magical powers decides to pass on the “responsibility” thing that comes with having power, and frames another student as the one with powers; he does it so well, in fact, that the other student starts to believe he actually does have powers.

A character learns he has the power to rotate the world on its axis, changing either seasons or time of day at his will. However, every time he does this, the world moves a little closer to the sun.

As a bit of a shift from the usual, draw two squiggly lines across a page, or an MS Paint canvas if you’d rather not waste paper.

Those lines now represent your hero and villain’s character arcs, whether by emotional or moral heights, or something else entirely. Possibly economic status.


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