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Magic. Adventure. Mayhem. Ferrets.

How did the ferrets get involved?

Allow me to explain the planning process—or lack thereof—that resulted in the strangeness of PANTHEON.

Deus Ex Magicka (Pantheon Book 1)
  • Jeremy Thomas Fuller
  • Starmist Entertainment
  • Kindle Edition
  • English

The testing of the scenes

Every time I write a new book, I start with a test scene. I just sit down and write, and see what happens.

At this stage in the process, I don’t yet have an outline. I do have an idea of the setting, the magic system, the main character, and often some semblance of the conflict. But that’s it—no plot, no character arcs (usually), and often the magic system is fairly ill-defined. Character backstory isn’t necessarily there, yet, and neither are any of the other characters in the book.

The goal is to write the cold open, and to do it with hardly any planning in advance.

I’ll dig into why and how and other questions like where is the spiced tea we were promised, but first let me tell you how successful this method is: out of the 10 test scenes I’ve written to open a book, 9 of them survived until the final draft (albeit revised). The only book this didn’t work for was my very first novel, and that entire novel got rewritten anyway.

That’s a pretty damn good success rate.

The whys and the hows and the wherefores

At first, I did this because I needed to get some words on the page. Now I do it on purpose.


I’m not a discovery writer—not really. I’m a planner, which means I create detailed outlines and execute them according to my plan. But discovery has a way of seeping in, and there is no better place for it than right at the beginning.

Test scenes are where I have the most fun. They’re where I’m the most fresh, where I haven’t exhaustively brainstormed everything, figuring out the highs and lows and everything in between. I have a blank canvas, with just the seeds of some ideas—and the resulting space to play in is awfully entertaining.

Sure, sometimes I have to modify the results. Usually, in fact. But the stuff I come up with is often incredible, and very, very useful. This is especially the case with PANTHEON. There’s something about writing when there are no lines, no strictures, no requirements. There’s something freeing about it, but I can only do it for so long. Once I’m past that opening scene, I need that structure. I need to know where I’m going. Otherwise I have nowhere to go.

But that opening scene? That opening is gold.

The results

So there I was, sitting in a dark bar, drinking beer that was pitched somewhere between bitter grass and tears, clacking on my laptop like a hyperactive chicken with a proclivity for IPAs. I knew that I had an impossible magic system, but I hadn’t clarified how, exactly, it should work. I knew I needed a character and a villain, but I had no idea who—or what—they would be. I didn’t even know what city I was in, I don’t think. Maybe I did. It’s all a blur.

Maybe that was the ferrets’ fault.

The ferrets, you see, were born out of this test scene. They came from my beer-soaked brain, leaping off that sticky bar like that cockroach I could have sworn hadn’t been there a moment before.

Maybe I should find a different bar.

I hadn’t been expecting the ferrets.

And so the model of PANTHEON was born: strange occurrences from the sky, often involving small animals (for reasons I didn’t know at the time, but would later clarify into the system—see GODS for more detail there), and also involving things like weather, and coins, and Mayan faces, and a lot of stuff I just hadn’t designed yet.

All in all, it was a very entertaining experience.

Gods in the Machine (Pantheon Book 2)
  • Jeremy Thomas Fuller
  • Starmist Entertainment
  • Kindle Edition
  • English

The future in that scene

That opening scene became the template for the rest of the series. I took the strangeness I’d developed there, when I’d allowed my brain to just run wild, and I turned it into a system. I turned it into a plot. And sure, I had to adjust and clarify a few things. But overall, that opening scene still survives.

And so does the opening from GODS, albeit revised. That opening—with Bitteric in the subway—was entirely written in discovery mode. I had no idea what the plot of the book was going to be. And so it was that in the dim morning hours, sitting on my now-forgotten leather recliner in an empty apartment, listening to the scritch-scritch sound of my cat’s claws on the hardwood floor, I wrote the rather strange and incredibly run-on opening to book two in this series.

And turned it into an entire plot.

That’s the power of discovery. When you let it happen, sometimes it really runs away from you. Sometimes it turns into a bomb on the subway, with your characters hopelessly behind, and all of Manhattan is about to explode, and also there’s some nonsense about a tutu and glasses and Marge, your secretary who jumped out of the twenty-seventh floor window, even though she wasn’t a wizard, and dammit, where is that spice tea?

Sometimes—maybe even most of the time—that’s exactly what you need.