Quintessential Magic: An Introduction to Charms

Chapter 1: Essential Wizarding Law

There are Wizarding Laws that young Witches and Wizards must be aware of and adhere to at all times. Failure
to abide by the law can result in punishment up to and including forfeiture of one's wand or even imprisonment
within Azkaban.
Decree for the Reasonable Restriction of Underage Sorcery - Est.1875 : This Decree imposes restrictions to
the use of magic by Witches and Wizards who are under the age of 17. Specifically, for anyone who is underage,
the use of magic outside areas such as Hogwarts, Hogsmeade and other areas designated as Exception Zones is
strictly prohibited! The intentional use of magic by an underage Witch or Wizard in the presence of a Muggle is
expressly prohibited unless there are exceptional circumstances, including situations in which the life of the
Witch or Wizard, or of other Witches, Wizards and Muggles are at risk.
The International Statute of Secrecy - Est. 1689 : Magical-Muggle relations had been growing steadily worse
since the beginning of the dark ages, culminating in the international decision to fully separate the Muggle World
and the Wizarding World in 1689. The statute was signed that year into law but not officially established by all
international magical communities until 1692. While some protested this new law, most accepted that the danger
that Muggles posed to Magical Beings and that Magical Beings posed to Muggles warranted this change. The
Statute makes each magical government responsible for hiding all evidence of magical activity as well as the
magical flora and fauna (plants and animals) within their jurisdictions. The text A History of Magic explains it best:
"Upon the signature of the International Statute of Secrecy in 1689, wizards went into hiding for good. It was
natural, perhaps, that they formed their own small communities within a community. Many small villages and
hamlets attracted several magical families, who banded together for mutual support and protection. The villages
of Tinworth in Cornwall, Upper Flagley in York shire, and Ottery St. Catchpole on the south coast of England were
notable homes to k nots of Wizarding families who lived alongside tolerant and sometimes Confunded Muggles.
Most celebrated of these half-magical dwelling places is, perhaps, Godric's Hollow, the West Country village
where the great wizard Godric Gryffindor was born, and where Bowman Wright, Wizarding smith, forged the first
Golden Snitch. The graveyard is full of the names of ancient magical families, and this accounts, no doubt, for
the stories of hauntings that have dogged the little church beside it for many centuries."-Bathilda Bagshot, A
History of Magic

Chapter 2: Spellcasting Foci

[This chapter is currently unavailable but is NOT needed for any assignments at this time.]

Chapter 3: Magic Power, Magic Blood

It is fairly obvious that Witches and Wizards are possessed of some trait, Muggles may call them "genes", that
allow them to use magic and interact with the Wizarding World in ways that Muggles cannot. Many different
animals, plants and fungi also have magical properties, being possessed of extraordinary abilities (in the case of
magical creatures) or extraordinary properties (in the case of magical plants and fungi).
The most obvious thing that Witches and Wizards can do but Muggles cannot is use magic. Muggles can neither
cast spells nor sense the presence of magic. They also are unable to brew potions, even if they happen to have
the proper magical ingredients, due to the need to infuse a potion with magical power while the potion is being
brewed. However, there are also several passive abilities that a Witch or Wizard possesses that Muggles also
lack.
A good example of this lies with the creature known as the Dementor. Dementors are responsible for guarding the
Wizard Prison Azkaban, and one of their magical talents is the draining of happiness from their surroundings.
Witches, Wizards are able to see a Dementor, though Muggles and the non-magical but wizard-born "Squibs"
cannot [1]. The only thing a Muggle can sense is the happiness being drained from them, and when they are
incapable of understanding why this is happening, the experience is even more frightening.

Witches and Wizards can inherently use devices such as Broomsticks, while Muggles cannot. Such things aren't
necessarily powered by magical energy, but instead may require only the presence or intermingling of magical
power. Some devices are magically enchanted in such a way that being magical is not necessary to "use" them,
though in these cases the items are typically prank items illegally enchanted and used against Muggles.
Examples include vicious toilets and teakettles among others.
The process by which one gains magical ability is well known. In most cases, the child of a Witch or Wizard will
themselves have magical ability. Rarely the offspring of a Witch and Wizard can be a Squib, someone who is not
able to actively use magic nor use magical devices, such as brooms, that require the user to have magic.
Occasionally it's possible that two Muggles are able to have a magical child. There is always a Witch or Wizard
somewhere within their family history, though they might be several generations removed. Being the offspring of
two Muggles or having at least one magical parent does not appear to affect a Witch or Wizard's aptitude for
magic.
The offspring of two magical parents who have never intermixed with Muggles is often referred to as "Pureblood".
Those who are known to have at least one Muggle parent, grandparent, etc. in recent memory (as well as at least
one Witch or Wizard) are known as "Halfbloods". For those who have no documented Witches or Wizards in their
ancestry the term "Muggleborn" (and occasionally the highly offensive term "Mudblood") are used, though the
offensive representation is considered a fairly egregious insult.
As their names apply, in any case, a Witch or Wizard has magic coursing through their veins in the form of
magical blood. The source of the magic is unknown, though popular theories speculate that it may come from
some unique way a magical being processes what they eat or drink, or perhaps even the air that they breathe.
The fact that it can exist in so many creatures and organisms and yet still elude Muggles is a fascinating
discussion best saved for another time.
Witches and Wizards are able to manipulate their environment without the use of a wand, though this is typically
the result of a young magical child unable to control their magic in times of emotional stress. Some find that they
can continue to use such talent even after they have control over their magic, but most don't find the need. Young
students quickly learn how to prevent magical leakage as well as to direct their power out of themselves, through
their wand, when casting spells. The next chapter deals with the components of casting such spells.

[1] This is not an error. Please see this link directly for proof.

Chapter 4: The Spellcasting Process

Most spells require several different components to work effectively.
The caster must properly speak the incantation (unless sufficiently advanced enough depending upon the
spell).
The caster must perform the required wand movements.
The caster must, if the spell requires it, properly focus and target the spell's effect.
The caster must, if the spell requires it, concentrate on the correct thoughts, feelings and desires.
The caster must, if the spell requires it, have enough magical willpower.
Let us approach each of these requirements one at a time.
Almost all spells contain some form of incantation, or series of syllables spoken in a precise manner and in
exactly the right order. This is crucial, as an improperly spoken spell will do nothing, if you are lucky. The spell
may also have an effect never intended by the spellcaster. As Charms Master and Professor Filius Flitwick is
known to say, "Never forget Wizard Baruffio, who said 's' instead of 'f' and found himself on the floor with a buffalo
on his chest."
Some form of wand movement is also necessary for almost every spell. It is believed that this helps to shape the
spell, along with the incantation, toward achieving the desired effect. Witches and Wizards of exceptional renown
can cast spells without their wand, but such practiced spellcasters are few and far between. It takes
monumentally more effort of will, focus, and concentration to perform a spell without a wand.

Some spells require that the user spend some measure of their focus on a target. One of the most elementary of
spells, the Levitation Charm, requires that the caster choose a target for the spell. When a target is not properly
chosen, as was the case of the Levitation Charm's inventor Jarleth Hobart, embarrassment is the least of your
worries. Hobart's mistake resulted in the breaking of sixteen of his bones as well as the ridicule of his town, at
least for a time.
Finally, some spells simply require a sufficient amount of willpower to cast them. This power may come in the
form of direct magical strength, though often it requires knowledge of obscure magic or concepts that are difficult
for a Witch or Wizard to cast. A particular Dark Arts spell known only as Fiendfyre is obscure enough that only
a few know the incantation. Of those that know, only a handful could successfully cast the spell without
incinerating themselves by it. Such a spell requires an incredibly strong will and concentration to control at all.
Some spells require that the user invoke a specific thought, feeling or desire. One of the most well-known
examples is the Patronus Charm. This Charm requires that the user recall a very happy, very powerful memory
and keep it in their mind even as a Dementor attempts to feed upon it (see Ch. 3 if you are unfamiliar with them).
Another charm, typically used to disrupt a specific creature's shapeshifting, requires imagining the creature's
current form as somehow ridiculous before casting the spell.

Chapter 5: Wand Basics

Wand Lore is a strange and fascinating subject that could fill many volumes if fully explored. This text focuses on
the basic properties of wands that all students should be familiar with.
The wand is an extension of the witch or wizard. It is our most essential tool, and to be without it is to be severely
limited. The most important moment in any witch or wizard's career may be when they obtain their own first wand.
It is oft the saying that "The Wand chooses the Wizard". This is because different wands are inclined toward
different temperaments and personalities. A Dark Wizard would find that a wand with Unicorn Tail Hair is
extremely difficult to use, for example, and someone with evil in their heart is unlikely to find that such a wand
agrees with them.
Just as a wand's power may wane over the years, it is not uncommon for the user to change as they grow, and
they may find themselves making a trip back to the wand shop for a more suitable wand.
Wand Details
The following sections describe the specific details that almost all wands conform to. All wands are typically
classified by four parameters:
Length and Flexibility
Wood Type
Core
Length and Flexibility
Wands are usually found within the range of nine and fourteen inches (twenty-three centimeters to thirty-six
centimeters). Wands shorter than this usually only select a user in whose character something is lacking, while
wands longer than this usually select a user with a physical peculiarity that demanded the excessive length (such
as a very tall or Half-Giant wizard).
A wand's flexibility or rigidity speaks to the the degree of adaptability and willingness to change possessed by the
wand-and-owner pair. Flexible wands can be described various ways, such as pliant, spongy, springy, supple,
whippy, willowy or yielding. Rigid wands can be described as firm, inflexible, resistant, stiff, unbending, unpliable,
or unyielding.
Wood
[1]The following description of the powers and properties of various wand woods are taken from notes made, over a

long career, by Mr Garrick Ollivander, widely considered the best wandmaker in the world. As will be seen, Mr

Ollivander believes that wand wood has almost human powers of perception and preferences.
Mr Ollivander introduces his notes on wand woods thus:
Every single wand is unique and will depend for its character on the particular tree and magical
creature from which it derives its materials. Moreover, each wand, from the moment it finds its ideal
owner, will begin to learn from and teach its human partner. Therefore, the following must be seen
as general notes on each of the wood types I like to work with best, and ought not to be taken to
describe any individual wand.
Only a minority of trees can produce wand quality wood (just as a minority of humans can produce
magic). It takes years of experience to tell which ones have the gift, although the job is made easier
if Bowtruckles are found nesting in the leaves, as they never inhabit mundane trees. The following
notes on various wand woods should be regarded very much as a starting point, for this is the study
of a lifetime, and I continue to learn with every wand I make and match.
Core
A wand's core material is always made from some part of another magical being. While different materials
produce different types of wands, any Ollivander wand in recent memory has been made from only three: unicorn
tail hair, dragon heartstrings, and phoenix feathers. Other material (such as kelpie mane, veela hair, troll whiskers,
dittany stalk, or kneazle whisker) either possesses insufficient power or have a considerable drawback. Veela
hair, for example, produces wands that are temperamental. Wands with these cores are usually only found when
a witch or wizard has had to inherit it from a family member, though some wand makers may still use them on
occasion.
[2]The following description of the powers and properties of the three main wand cores used by Mr Garrick

Ollivander are taken from his own notes.

Early in my career, as I watched my wandmaker father wrestling with substandard wand core
materials such as kelpie hair, I conceived the ambition to discover the finest cores and to work only
with those when my time came to take over the family business. This I have done. After much
experimentation and research, I concluded that only three substances produce wands of the quality
to which I am happy to give the illustrious name of Ollivander: unicorn hair, dragon heartstring and
phoenix feather. Each of these costly and rare materials has its own distinct properties. The
following represents a short summary of my researches into each of the three Supreme Cores.
Readers should bear in mind that each wand is the composite of its wood, its core and the
experience and nature of its owner; that tendencies of each may counterbalance or outweigh the
other; so this can only be a very general overview of an immensely complex subject.

[1] This information can be found and has been obtained from the website Pottermore. More

information can be found at: http://http://www.pottermore.com/en/book1/chapter5/moment3/wandwoods . A Google search may help if you're using a device that cannot access Pottermore correctly.
[2] This information can be found and has been obtained from the website Pottermore. More

information can be found at: http://www.pottermore.com/en/book1/chapter5/moment3/wand-cores . A

Google search may help if you're using a device that cannot access Pottermore correctly.

Chapter 6: Wand Motion

Wand movement is one of the most important parts of casting a spell. All that energy isnt going to go very far if it
hasnt been properly shaped and directed. A spell spoken properly but without the correct wand movement usually
fails, though there are some exceptions. For this reason most First Year students begin by learning very simple
Charms, such as the Levitation Charm, where the consequence for improperly casting the spell may simply be

that the user has levitated the wrong thing.

One thing to note is that wand movements are made regardless of whether the witch or wizard is right-handed or
left-handed. The Levitation Charm would require the same "swish and flick" (with a swish to the right followed by
the flick) whether the caster was left-handed or right-handed.
You should always memorize and practice the proper wand movements for any spell you attempt to cast. Its not
enough just to know the incantation! The right words might get you an effect, but improper wand movement will
result in an effect you didnt intend.
The simplest backfires involve the magical energy you were building up just bursting away. This can take the form
of a shower of sparks, a loud bang, or even a small explosion. None of the Charms you will learn in your first few
years have a risk of serious damage should they fail, but that doesnt mean you should just lazily wave your wand
about and mutter the spell. You could still have minor burns or singed hair to contend with.
Another concern is longevity. If you only use your wand to practice your spells and then put it away for a week,
youll never obtain the level of endurance necessary to cast for more than a handful of minutes. There may be
times when you need to cast many spells over a longer period of time, and if your arm or hand start to get tired
you may find your spells backfiring at the worst possible moment.
Flexibility is another important quality every witch or wizard should have. It is for these reasons that every young
witch or wizard should practice wand movements daily to build better reflexes in the hand and arm they use for
casting. There will be a time where dueling will present itself in a witch or wizards lifetime and, depending upon
the opponent, they may have to fight for their survival. If one of the combatants wand movements lack in fluidity,
the duelist who has a quicker hand will definitely have a greater chance of winning. [1]
Over time you will find that you may not need to adhere as strictly to the precise wand motions. You will
understand how the energy should flow more intuitively and be able to direct it without more than a flourish of your
wand. Again, this day is several years down the road, and in the meantime you will need to conduct the proper
wand movements. Without them you can only hope that your spell fails.

[1] This section of the text was written in part by Charms Professor's Assistant Ashton Hott.

Chapter 7: The Incantation

[This chapter is currently unavailable but is NOT needed for any assignments at this time.]

Chapter 8: Mental Focus

Most of the time we as witches and wizards do not take the time to consider a very important part of casting
many spells. The particular words to speak and the wand motions to make are what come to mind, but for many
spells we also need to be mentally focused. Mental focus is the ability to close off other wandering thoughts
within your mind and focus completely upon the task at hand.
Think of focus like cutting a birthday cake. You don't want to cut yourself with the knife because you were
distracted by shouting relatives. You don't want to cut sloppy pieces or smear frosting all over everything. Your
goal is a series of neat slices that you can just cut and serve to all of the guests.
At its simplest focus requires that you are pointing your wand in the right direction so that you don't accidentally
cast a spell upon yourself (unless that's what you intended to do). Though rare, sometimes students get lazy and
distracted enough to not pay attention to where they're pointing.
You also don't want to just focus haphazardly upon whatever you're trying to cast your spell upon. If you're trying

to use the Mending Charm but you just casually wave your wand in a general direction without really focusing
upon what you're trying to mend, you may find that it was mended with extra pieces you hadn't meant to fuse
together or only partially put back together.
Even if you are focusing upon the specific target of your spell you must avoid letting stray thoughts get in the way.
If you are trying to perform the Severing Charm and you suddenly worry about cutting too deeply, you might find
that this is exactly what happens. It is important that you focus only upon what your spell is supposed to do and
upon what it is supposed to affect. Some may call this Intent, but in reality focus and intention are the same; you
want to affect a specific thing and you want the spell to work a certain way.
A great way to practice focusing is through meditation. The act of clearing your mind of thoughts and concerns
can take considerable effort, but in the long run it will make you a much better spellcaster. You should begin by
focusing on your breathing and how the air moves in and out, again and again. Should you have a thought, simply
acknowledge that it exists and let it go. This is something that Muggles call mindfulness. By practicing the
mental ability to simply let your wandering thoughts go, you will be able to keep them from popping up while
you're trying to focus on casting your spell.
Finally, it's important to note that Focus describes what happens while you are casting the spell. The moment
you've finished the incantation and wand movement, which usually occurs simultaneously, the period of focus
ends. Some spells may require Concentration (see chapter 10) after the spell has been cast, but this is
considered separate from focus in key ways.

Chapter 9: Willpower
Typically for non-magical folk, willpower is a measure of one's self-discipline. That is, an individual's ability to
restrain themselves from doing something they might be tempted to do, to control their emotions, and to stick to
their convictions despite distraction or other impetus.
In the magical world, however, willpower means something a little different. Unlike muggles, a witch or wizard is
able to use their will to shape and control their magical ability. Casting a spell is, aside from the required
gestures, a mental effort. The caster must precisely speak the incantation, focus upon their target and the effects
of the spell, possibly consider a given feeling, thought or idea, and of course exert enough pressure, or willpower,
to keep the spell going.
Willpower, as it pertains to spellcasting, can be thought of like lifting a heavy object or weight-training. When you
first begin to use your will to cast spells you'll find yourself taxed when casting a spell that doesn't require a
minimal effort. The demand required by your mind to focus on several different thoughts at once as well as direct
your magic (consciously or subconsciously) is a mentally tiring exercise.
For most spells you will naturally learn, over time, to exert greater force of will upon them. You will be able to
produce more spectacular fire with the Fire-Making Charm or shoot things higher into the air with the Rocket
Charm. The trick to giving these spells more power is, just like lifting weights, a matter of constant practice. When
casting a spell, you should exert mental effort toward the result, feel and focus upon the magic leaving your body
and will more out.
Witches and wizards do not exhaust their supply of magic through casting spells and there is no danger in
exercising your willpower. The only caveat is that you are careful should you decide to practice with spells like the
Fire-Making Charm, where success could mean you now have a stream of fire to worry about. These exercises
are best when used on spells like the Levitation Charm or the Sticking Charm because the backfire for these
spells isn't severe and they can be honed over time.
To practice willpower without a wand, find something in the room you are in to focus upon. Look at it, and perhaps
any other aspects of the object, but keep your mind on ONLY that item for a full minute. Do not let stray thoughts
enter your mind, and if they do, dismiss them as quickly as possible. You'll find that this is a somewhat difficult
activity at first, since I'm sure several things might cross your mind or something might distract you.
It's important to also separate the idea of focus from the idea of willpower. Focus is one's ability to pinpoint what
they want to affect with a spell and how the spell should act. Willpower is the mental muscle that drives a spell
and provides the power for it to function. If focus determines where the water in a hose goes, willpower is the

amount of water being forced through the hose.

Chapter 10: Concentration and Determination

Concentration is one of the hardest things to perfect for spells. Speaking the incantation, conducting the wand
movements, focusing upon a target or intent, and having enough willpower are all important for the spells that
require them, but managing to maintain a concept or target for a prolonged period of time, even with distraction, is
often difficult. Concentrating upon something like the Dancing Lights Charm may involve concentrating on the
effects of the spell, but spells typically require that you have an idea in mind as you cast them.
The best way to discuss concentration may be to look at the spells that require it. The most well-known charm
that has this requirement is the Patronus Charm. The charm is meant to repel dementors, but it requires that the
user focus upon a very happy, very powerful memorywhile casting the spell. The memory then shapes the magic
to create a non-living embodiment of happiness that a Dementor cannot handle. Concentration is typically not
required after the spell has been cast.
Another defensive charm you'll hear more about requires that the user imagine their worst fear, and then consider
a way to make that fear seem funny. It's not easy to cast, especially as you must confront your fear just before
you say the spell. As these spells demonstrate, you need to be in a difficult position already when you are
casting the spells. Casting a spell in the comfort of your room with plenty of space and time to practice is one
thing, but having to cast the spell while the happiness is being sucked from you or your worst fear is becoming a
reality is another altogether.
There are also a series of curses, known as the Unforgivable Curses due to their effects. Each of these curses
require that the caster truly believe in them in order for them to be effective. You can get some mild effect
otherwise, but unless you truly intend and want to intentionally harm someone else they are useless. Such spells
also require a ridiculous amount of willpower and focus, and their use against another human being will earn you a
lifetime in Azkaban. Two of these spells, the Cruciatus Curse and Imperius Curse, require that you concentrate
upon their effects after they have been cast or the effect can diminish or wear off.
As demonstrated, concentration can mean several things. While it usually appears only in more advanced magic,
there are some good practice spells the beginner witch or wizard can use to understand the required mindset.
These spells, modifications of the Wand-Lighting Charm, can be found in Chapter 17. Understanding how they
work will help you significantly when casting such spells in the future.

Chapter 11: Wand-Lighting and Wand-Extinguishing Charms

One of the most important bits of magic for the aspiring witch or wizard to learn is the Wand-Lighting Charm.
Useful in a wide range of activities, easy to pronounce and with a simple wand motion, this charm is one that
every single witch or wizard should master and remember.
The Wand-Lighting Charm
Incantation: Lumos
Pronunciation: LOO-mos
Wand Movement: Single counter-clockwise loop
The first known use of the Wand-Lighting Charm was in the 18th century despite how easy it is to use. Magical
historians credit Levina Monkstanley, a Ministry of Magic employee, for its invention. It was first demonstrated in
1772 when Ms. Monkstanley had dropped her quill on the ground and used the spell to find it.
Its uses far exceed simply lighting the tip of the wand. It can provide an easy and endless source of amusement
for young witches and wizards who usually enjoy watching the color change. In government it makes for a safe
and easy method for casting a vote. It can even be used to repel incorporeal threats such as the Gytrash (a
vicious spectral hound) and other malevolent spirits.
Depending upon the amount of charge (the amount of willpower you throw behind the spell) the light might change

from a soft pearly white to a lemon-yellow (which indicates sufficient energy, or charge, has been applied), or even
scarlet if the caster has put too much into it. It is also possible to modify the effect of the spell with additional
incantation words, and these are detailed in different chapters of this text.
No text describing the Wand-Lighting Charm would be complete without its equally-simple counter, the WandExtinguishing Charm. This spell has a singular purpose, and that is to counter the Wand-Lighting Charm. It is a
personal charm, which means it will only work for your own wand, or the wand you happen to be holding should it
be lit.
The Wand-Extinguishing Charm
Incantation: Nox
Pronunciation: NOCK-ss
Wand Movement: Swift flick
The Wand-Extinguishing Charm can be quickly cast and its effect is immediate. There is no harm of backlash,
making it as safe as the charm it counters.

Chapter 12: Magical Flight & "Flight" Charms

Magical and non-magical folk alike have dreamed of the desire to fly since antiquity. Muggles have managed it
recently, finding a way to make giant metal birds airborne, but Witches and Wizards have been flying for over a
millenium thanks to such enchanted objects as the broom and flying carpet (the latter of which is currently illegal
in Britain). While such devices are effective, as diverse in make and model as cars and relatively fast, even the
most dedicated of Experimental Charmers has yet to find a spell that can allow the caster to fly unaided.
One notable exception involves eyewitness recounting directly from the Boy Who Lived of You-Know-Who being
able to fly without the aid of any magical device, though it is not clear whether or not he had managed to develop
some sort of spell to do so. Some believe that he may have found a way to do so through his power alone (without
the aid of spell), though such idle speculation is not worth dwelling upon. The late Professor Severus Snape was
also able to use this magic, no doubt taught by his master, though the secret has died with them.
Several spells have been developed that allow for limited forms of off-ground movement. This chapter focuses on
three fairly basic Charms that offer some modicum of flight and the most-used one that allows for the directed
movement of non-living objects. They are presented in order of discovery below.
The Hover Charm
Incantation: Levioso
Pronunciation: Lev-ee-O-so
Wand Movement: Inward Spiral then Up
One of the earliest known spells that allowed Witches and Wizards to magically move something off the ground is
known as the Hover Charm. Once cast upon an object that the caster is physically touching in some way, it
allows the caster to move that object up and down. Due to its impractical nature and the advent of more efficient
charms, the Hover Charm does not see much use.
The Rocket Charm
Incantation: Alarte Ascendare
Pronunciation: A-lar-tay a-SEN-day-ray
Wand Movement: Quick Swish at the End
This charm does not require that the caster be touching the target, which is a significant improvement. However, it
is only capable of propelling an object straight up into the air and back down again. The height obtained is
somewhat controllable depending upon the effort that is put into it, but the height is not very significant and it
again becomes a fairly impractical charm with limited use, and heavier objects tend to move less.
The Floating Charm (u)
Incantation: Fluito
Pronunciation: flew-EE-toe
Wand Movement: Jab and Upward Flick

Unlike the Hover Charm, this spell can target a distant object rather than requiring physical contact. Unlike the
Rocket Charm, this spell involves controlled vertical movement. However, the charm is not without its limitations.
Objects can only be levitated a handful of feet into the air, and they cannot be directed to move any other way
besides up and down. This charm still found some practical use however since shopkeepers and the occasional
witch or wizard doing some spring cleaning could move an object long enough to then focus on what was
underneath it.
The Levitation Charm
Incantation: Wingardium Leviosa
Pronunciation: wing-GAR-dee-um lehvee-O-sa
Wand Movement: Swish and Flick
The Levitation Charm is the closest the Wizarding World has come to true flight. The charm is well-known and
reliable, an essential spell to a Witch or Wizard of any age. It allows the caster to control not only the vertical
movement of an object but its movement back and forth or side to side. Height is also less of a restriction, though
levitating or maintaining levitation on something very far away can be difficult. The charm even allows the caster to
lift objects normally too heavy for them to lift themselves, though this also requires some effort.
The only known limitation of the Levitation Charm is that it fails to work on humans. A Witch or Wizard can charm
the clothing that a person is wearing, but (since the cloth is so close to the person) the charm allows them only to
hover slightly with no controlled movement.

Chapter 13: The Unlocking Charm & The Mending Charm

The Unlocking Charm

(click to activate/deactivate)
The Unlocking Charm
Incantation: Alohomora
Pronunciation: al-LOH-ha-MOR-ah
Wand Movement: Backward S curving up at the end
The history of the Unlocking Charm begins with words so famous that almost
all Muggles know them.Open Sesame, which I will refer to as the Undooring
Charm, splinters the door into firewood. For safety reasons the wand
movement for this charm will not be provided.
After a time another charm was developed that was a bit more advanced but
still had its problems. The incantation for this one is Portaberto, though I refer
to it as the Lock-blasting Charm because its use was to either melt through
locks or blast them off the door they were attached to.
The Unlocking Charm, Alohomora, hails from Africa and was brought to Britain
in the 17th century where it was used in a string of burglaries. The incantation
does not follow the standard for typical spells (which usually present with Latin
origins). It is an example that demonstrates how new spells can be found

anywhere language has developed. The words themselves possess a meaning

that is understood by many, and it is this association between the words and
the spell that is important.
As demonstrated, the charms wand movement is a backward S that curves
back upward at the end. The caster must focus upon the lock to be undone,
whether it is just a physical lock or of magical design. It's important to begin
the wand movement as you begin saying the spell and end it as you finish
saying the spell, regardless of how quickly you say the spell or perform the
movement. Depending upon the particular spell used to create the lock, the
Unlocking Charm may prove ineffective.
Assuming the Unlocking Charm will work on your target at all, the complexity
of the physical or magical lock must also be taken into account. Complex
physical locks arent much more of a challenge than simple ones. A magical
lock, on the other hand, takes extra willpower to overcome. The power and skill
used to make the lock as well as the age of the spell may all affect how difficult
the task is. Especially important locks may even be sealed with multiple
magical defenses, each designed to make breaking through more difficult, and
typically a lock made with this level of detail will have the Anti-Alohomora
Charm applied immediately.
This spell is typically taught to first-year students to demonstrate the need for
proper wand movements. The spell is fairly easy to pronounce; the difficulty is
in making sure that you move your wand in a precise manner and that it is
directed toward the target lock upon completion. Students should practice not
only with simple physical locks but with various forms of Locking Charms
provided by your professor.

The Mending Charm

(click to activate/deactivate)
The Mending Charm
Incantation: Reparo
Pronunciation: reh-PAH-roh
Wand Movement: Inward pointed spiral
The Mending Charm can repair most mundane (non-magical) items simply
enough, though depending upon the level of damage a sustained effort may be
necessary or multiple applications of the charm. The caster must visualize the
target of the spell as it would be fully repaired. This gives the magic, through
you, an idea of what repairs to make. Let this visualization slip and you risk the
spell unraveling, in which case youll have to start again.

This charm originated from a witch who used it to repair damage that had
befallen the famed Colloseum in Rome. It proved so basic yet effective that the
witch was able to teach it to several Ministers of Magic and get the repairs
finished promptly.
Its important to remember that only non-magical fixes can be made with this
spell. A broomstick repaired with this spell will not have the magical properties
that had allowed it to fly previously. A wand fares even worse; the spell will
mend the wand back together, but the moment the Mending Charm is
complete the wand will simply fall apart again. Also, obviously, the magical
spells that were once laid upon an object cannot be mended if they unravel due
to age or force.
The spell also cannot restore something utterly destroyed or transformed. It
cannot turn the ashes of a chair back into the chair. A half-burned candle
cannot have its expended wax renewed (at least not via this spell). Especially
large repairs, such as sections of a structure, require additional power and
effort typically only seen in graduate students.
Despite these limitations, this charm is one of the easiest to cast and will allow
you to fix the results of small magical mishaps with ease. It is recommended
to always keep this charm in your repertoire.

Chapter 14: The Fire-Making Charm & The Locomotion Charm

The Fire-Making Charm
Incantation: Incendio
Pronunciation: in-SEN-dee-oh
Wand Movement: Curved flick up and down (as a flame)
The Fire-Making charm is one of the oldest-known spells, its incantation and wand movement both simple and
elegant. The incantation is a direct word found in the ancient Latin language, a precursor to many modern-day
languages including English, Spanish, French and Italian, to name a few. Few spells demonstrate such direct ties
to their origin language, and fewer have a wand movement so symbolic of its effects.
One challenge to casting the Fire-Making charm is that it requires a fair bit of willpower and experience in addition
to just the wand movement and the words. Other elementary charms, such as the Levitation Charm, produce the
same effect for a first-year as it does for an accomplished wizard; the only real difference is how much they can
levitate. The Fire-Making charm, on the other hand, grows in finesse and power as the user does. Anything from a
faint puff of smoke to a controlled ignition at distance are possible.
The first-year student should be able to light a candle with this spell from several inches away. Early attempts
might produce a bit of smoke or heat, and for this reason it's best to practice in an open area away from
flammable materials.
With more experience and practice, the user can typically make a small stream of fire flow from the tip of their
wand, like a flamethrower. The distance this stream can travel is usually dependent upon just how much focus
and will is applied. This usage of the charm causes the air itself to be set alight in the direction specified though it
still isn't very elegant.
A fully-experienced witch or wizard is able to target a distant object or location for the ignition and avoid excessive

use of magic to achieve their goals (no flamethrower-like effect). It's still difficult to target someone or something
on the move, and as the counter for this charm is easy and takes but a moment, it has fallen out of favor in
combat in recent memory.
The Locomotion Charm
Incantation: Locomotor
Pronunciation: LOH-koh-moh-tor
Wand Movement: Full circle with an upward flick toward the target at the end
The Locomotion Charm, not to be confused with other charms typically classified as "Flight" Charms, is
functionally similar but theoretically very different from other similar charms. The charm creates a thin barrier only
a few inches (several centimeters) between whatever is targeted and the ground. The main purpose of the charm
is to move its target from one location to another.
The Locomotion Charm has very interesting linguistic roots. It is the combination of two word from ancient Latin.
"Loco" means place or location, while "motor" means to move. Taken together it means "move to a place", which
is exactly what the charm does.
It is usually useful to specify the target of the spell verbally as well. If you want to target a nearby trunk, as most
students do when moving theirs around, you can say Locomotor Trunk to make the target clearer. Some students
find the spell not working for them when it was simply that they did not focus enough on their target and ended up
moving dust or something else around that they had not intended.
The Locomotion Charm is also useful because it can remain active without concentration. The caster must spend
a small bit of effort keeping the charm going, but otherwise they could cast another spell without having to recast
the Locomotion Charm afterward. After the target is chosen, the caster simply points toward the direction where
the object should go. Of course, in the beginning the object may swerve and shudder as it moves. With a bit of
practice and finesse, it usually becomes a rather trivial matter, much like moving a shopping trolley around a
store.

The Severing Charm

Incantation: Diffindo
Pronunciation: deef-IN-doe
Wand Movement: V-Shaped down and up, ending with a swish in the direction to cut.
The Severing Charm, invented at some point in the 1400s by a seamstress named Delfina Crimp, allows the
caster to precisely cut the target they are focused upon. The caster should finish saying the spell while performing
a swish in the direction of the cut. At this point the spell is cast, and the target is cut along the desired path.
Of course there are many possible mishaps that can occur. The simplest is, of course, that nothing happens. The
thing you are attempting to cut may also be only partially severed. In this case you may have to cast the spell
again to finish the job. Your cut could also be a bit ragged as the magic tears through the material rather than
severing it.
In other cases, you may accidentally cut something you had not intended. If your goal was to precisely cut a
single flower stem, you might find that you have instead sliced all of its neighbors if you aren't careful. If you are
attempting to cut a piece of cloth, you might find that you've also cut into the material behind or underneath it. For
these reasons it's best to practice this spell in an open area where a mistake means that you've cut neighboring
blades of grass and not chopped up your clothing or walls.
With practice it gets easier to determine precisely where to cut, how deep, and to prevent unintended items from
being cut. It's worth noting that this spell isn't nearly as effective against animals and other such complex life
forms. Despite appearances, living things are made of layers and layers of very small moving things called cells,
and the magic of this Charm does not interact well with them.
You can chop down trees or cut plants because their cells are very slow-moving and relatively simple. You may
be able to give someone a scratch or papercut, or perhaps even something a little deeper, but doing serious harm

with this spell requires years of practice and by this time it is easily overcome with a Shield Charm.
The Softening Charm
Incantation: Spongify
Pronunciation: SPUHN-jee-fye
Wand Movement: S-Shaped with a small swish half-way through
The Softening Charm temporarily modifies the properties of the target object, making it a bit squishy and slightly
bouncy like some plush toys, but not soft the way a stuffed animal is. The object grows slightly lighter, but it's
closer to the consistency of a rubber ball than anything else. If cast upon a book you could sink your finger into
the cover a bit or throw it on the ground and watch it bounce back up a little, but the cover still feels like a book
cover if you run your hand lightly across it.
This spell is much less devastating than the Severing Charm can be if improperly cast. An improper Softening
Charm will usually (instead of only occasionally) result in nothing happening. If you don't give the spell enough
charge when casting, you may find that the charm wears off almost instantly or that the item you are attempting
to soften is only very slightly softened and doesn't bounce when dropped.
The charm is also useless against living matter. Attempting to cast it upon a living thing causes nothing to happen
to their living cells, though hair, nails and fur might be a little softer for a short time. Other materials, depending
upon their hardness and density, may remain unaffected as well.
Metal and stone typically don't "absorb" the magic well enough for a noticeable effect, though an accomplished
witch or wizard may be able to temporarily soften these materials if strong enough (depending upon the material,
some cannot be softened at all by this charm). Such things are beyond most students of any grade at Hogwarts,
however.

Chapter 16: The Sticking Charm

The Sticking Charm (u)
Incantation: Astrictus
Pronunciation: a-strik-toose
Wand Movement: The infinity symbol starting and ending in the center. (IE:

Not to be confused with the Permanent-Sticking Charm, this charm's effects are long-lasting but by no means
permanent. Often taught to first-year students as an excercise in willpower, the Sticking Charm's strength and
longevity depend upon the amount of will the caster puts into the spell.
The caster's wand should begin and end pointed toward the target. As the incantation is spoken, the wand is
moved in a loop upward to the left, down and back to center, then upward to the right, down and back to the
center. The caster must focus upon the two parts that they wish to stick together or the spell may fail.
At its simplest, the Sticking Charm holds two objects, that are already touching when the spell is cast, together.
It doesn't work on living animals, though you could certainly stick a flower to a book cover, for instance. The spell
can also be used to hold two halves of a box together or a lock to the door it is attached to, though again the
willpower employed by the caster determines how difficult this is to overcome.
Spell failure for the Sticking Charm may result in the two objects not sticking, the wrong objects sticking together,
or a backfire which usually results in the caster being stuck to the floor (their shoes and the floor sticking
together) or other odd instances (such as the caster's hair being stuck together). It's better to seek help from a
skilled witch or wizard in these cases.
The first time the Sticking Charm was employed, according to historical record, it was used aboard roman battle
vessels around approximately 100 B.C. Witches and wizards would use this spell to keep objects from falling off
ships during storms and to help fasten loose doors closed. It was also used to stick fiery debris to enemy ships
or prevent cannons from firing.
Of course the Sticking Charm eventually began losing popularity to more permanent solutions and spells,
particularly after the Unlocking Charm proved an effective counterspell to the Sticking Charm. This is another

reason why the Sticking Charm is good for first-year practice; not only is it a good practice of a witch or wizard's
willpower, but it provides a means for practicing the Unlocking Charm on more than just physical locks.

Chapter 17: Wand-Lighting Charm Modifiers

A modifier is a word or short phrase added to the end of a spell to modify the target or effect. The Locomotion
Charm, for example, can be modified by including the name of the target. The Wand-Lighting Charm is another
example of a spell that can be modified in several ways, though the chosen modifier changes what the spell does,
not what the target is. Two such modified spells, the Sunlight Charm and the Dancing Lights Charm, both provide
good practice concentrating.
The Sunlight Charm (u)
Incantation: Lumos Solem
Pronunciation: LOO-mos SO-lem
Wand Movement: Single counter-clockwise loop ending with the wand pointed toward the target.
The Sunlight Charm produces a beam of intense light often compared with sunlight and possibly a concentrated
form of it. The charm is affected by several factors. The amount of willpower put into the spell determines how
powerful the effect is. The spell requires focus to precisely direct the beam and keep it on target. It also requires
concentration and determination to keep the spell from simply flickering out just after being cast.
Depending upon how much willpower you put into the spell, the beam will range in intensity from a faint white like
a flashlight (but visible) to a brilliant light golden yellow at its maximum. Unlike with the unmodified version (IE the
Wand-Lighting Charm), this charm does not turn scarlet if over-charged. Care must still be taken as an intense
beam can be a danger to your vision, though you should never point your wand toward your own face to begin
with.
This charm is also a great way to practice your ability to concentrate. If you cast the spell but are not
concentrating upon maintaining the spell to achieve the desired effect, the light will quickly fade out. The spell will
only last 5-6 seconds no matter how hard you concentrate, but if you don't concentrate enough the spell won't last
for even a second. Managing all of the requirements to cast the spell are what make it a great spell to practice
with.
The Dancing Lights Charm (u)
Incantation: Lumos Numerosa
Pronunciation: LOO-mos Noom-air-O-sa
Wand Movement: Single counter-clockwise loop, then several rapid counter-clockwise loops.
An experimental charm that has shown incredible promise, the Dancing Lights Charm produces several spheres
of light that can wander directed by the caster's will. Each orb casts about as much light as a candle. The user
doesn't have to focus on a particular target, though they need to mentally direct the orbs toward a particular area.
Concentration is a key component of the spell.
The caster must concentrate upon each orb that is conjured. The number of orbs that can be conjured by the spell
is limited by the caster's ability to concentrate upon them, though the most skilled caster can only maintain about
a dozen at a time. Preliminary testing has determined that a first-year should be able to conjure three to five orbs
at a time.
The caster must also concentrate to move the orbs and keep them from simply winking out of existence. Keeping
them clustered together is the easiest way to move them all at the same time, though an experienced spellcaster
can control them on a more individual level. Typically the caster must choose between more orbs or more control,
though practicing concentration increases either of them.

Chapter 18: The Warming Charm & The Chilling Charm

These two charms have just recently left experimental stage. Developed by the noted Magical Theorist Arameus
Szareko, the charms work in a similar manner and provide great practice for concentration over a protracted period
of time.
The Warming Charm (u)
Incantation: Focillo
Pronunciation: foh-Sill-oh
Wand Movement: Slow clockwise circles that continue while you concentrate.
The Warming Charm produces gentle warmth that radiates outward from the tip of the wand in a small cone. The
caster must focus upon the object they are warming with this charm as the spell is cast. This determines the
width of the cone of heat. The caster can make the heat a bit more intense with an effort of willpower, though the
heat is never hot enough to be dangerous. The caster must concentrate upon the thought of warmth and heat
while casting the spell. The caster can maintain the spell indefinitely as long as they continue to concentrate on
the spell and warm thoughts.
The Chilling Charm (u)
Incantation: Infrigido
Pronunciation: in-Frig-ee-doh
Wand Movement: Slow counter-clockwise circles that continue while you concentrate.
The Chilling Charm produces the opposite effect to the Warming Charm, producing gentle chill air that radiates
outward from the tip of the wand in a small cone. The caster must focus upon the object they are chilling with this
charm as the spell is cast. This determines the width of the chilling cone. The caster can make the spell a bit
colder through an effort of willpower, though the spell is never cold enough to be dangerous. The caster must
concentrate upon the thought of cold and chill while casting the spell. The caster can maintain the spell
indefinitely as long as they continue to concentrate on the spell and cold thoughts.

Chapter 19: Example Theoretical Spells

Professor Quilmane has added a few example spells that, while non-functional, demonstrate acceptable answers
for his "Create A Spell" assignment.
Grade: 100% (O)
Charm Name: The Tarot-Organising Charm (also known as Trelawneys Charm)
Incantation: Ordino (Or-DEE-noh) (from Latin ordinare; to organise)
Wand Movement: Point wand above the tarot and drag down whilst pronouncing Or, as you reach the bottom,
one pronounces DEE, and then drags back up, saying noh.
Focus Component: You must focus upon the deck of tarot cards you want to be affected. It can be simply Major
Arcana, then Minor Arcana, or Major, then Swords, Cups, Wands, Pentacles, or a different variation, depending
on how one wants their cards to be structured. Personally, I prefer to have them mixed, to focus on a mixed tarot
deck.
Willpower Component: You must will the spell to set the deck in the desired order and channel enough magical
energy to make sure it happens. If you don't, the cards wont all shuffle correctly and you could end up with a pile
on the floor.
Concentration Component: One must concentrate upon how they wish for the deck to be organised. Should
ones mind wander - even a tiny bit - the spell will fail. Stressing the dee in the incantation is vital. If one doesnt,
one could end up with the opposite of the desired effect!
Summary/Description: As the name suggests, this charm is used to organise a set of tarot cards into a deck in
they way in which you wish for them to be organised. It is not a complex spell, but requires attention to detail, a
clear throat, and a steady hand. Casting the spell correctly will cause the cards to fly upward, flying around as

they jumble themselves depending upon the casters will, and then come back down in a neat stack ready for
use. The cards ordering is considered magically divined because its impossible to cause the cards to be ordered
in a specific pattern, though you can focus upon the deck being organized Ace to King in each suite with the
Major Arcana in order (basically completely non-random).

Grade: 90% (O) - The descriptions are too short and the spell is a bit overpowered.
Charm Name: The Snowflake Charm
Incantation: Descenditis Nix (deh-sen-dih-tis nicks) The words roughly mean "falling snow".
Wand Movement: Gentle downward spiral movement, mimicking snowfall.
Focus: The focus for the spell is the area where you want the snow to fall.
Willpower: Determines the amount of snow generated.
Concentration: Determines the duration of snowfall. The spell can last up to half an hour.
Summary: As its name suggests, this charm generates genuine snow by condensing and freezing
the air and pulling moisture into the target area. The spell doesn't work as well when it's
extremely hot or extremely dry as it also has to chill the air and, when necessary, conjure the
water to make it work.
Grade: 85% (E) - There are a few spelling/grammar mistakes and the focus and
concentration seem reversed. I would expect that focusing upon the needles and fabric as
the spell is cast is the Focus component while maintaining focus on the needles and the
shifting patterns (a thought) are concentration components. The goal is to properly note
all parts of the spell.
Spell Name: The Knitting Charm
Incantation: Knacocio (nah-co-CI-O)
Wand Movement: Starting from the top right hand corner, draw a V, ending at the top left
corner, then making a U shape curve back to the top right hand corner. (Incantation said after the
wand movement)
Focus Component: The caster must focus closely on the knitting needles and how each stitch is
made. As there are different types of stitchings, the caster needs to constantly focus on the type
of stitching they would like to use during the knitting. The caster needs to visualise the knitting
design in their minds and if they were to lose focus, they will end up having a messy ball of yarn.
Will Power Component: The spell requires minimal will power as there is no backfiring effect
if the spell is casted wrongly. The caster will merely have a problem unstitching the yarn. More
willpower will be needed if the design is complex and constantly changing. Also, varying
willpower is needed when knitting different types of product. For example, knitting a scarf would
definitely need less willpower than knitting a sweater.

Concentration Component: Knitting requires two knitting needles and thus it will be a
challenge to split the concentration into two parts that are actively happening concurrently.
Summary/Description:This spell is a necessary spell as it is use for common activities. The
spell cast may seem like an easy task however, there is still some minimal complexity in terms
of concentration when it comes to controlling both needles at the same time. When spell is
successfully casted, the caster would be able to knit things such as scarf, sweats, mittens, hats
etc.