the procrastinator’s mind will invent distractions you’ve never conceived of in order to avoid tasks even a dog could do.
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the procrastinator’s mind will invent distractions you’ve never conceived of in order to avoid tasks even a dog could do.

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Theodore Besterman - Crystal-Gazing - University - 1965
Practical Magic: Everday Items You Can Use in Witchcraft; Part 1
by Keziah Zibelmann | Support on Ko-fi
One common misconception about witchcraft is that it requires tools, plants, and magical allies that are difficult to come by. This certainly is the case in some works, but it needn't be. Witchcraft should be both accessible and adaptable to meet the needs of the practitioner, and the witch's toolset should be the same.
There are countless everyday tools and allies that one can put to good use in magical craft, with such items laying around the house or readily available at your local grocery store, hardware store, or even dollar store, and not enough witchcraft resources take the time to show these types of tools love. This piece, though, aims to remedy that, because, as I've previously written in Simple Methods of Magical Protection, —
'...witchcraft shouldn’t be locked away behind a paywall, doled out by practitioners convincing others that magic can only be accessed via a pay-to-play system...'
To add to this, one's magical toolset or arsenal of allies need not consist of expensive, difficult to access items or plants. Consider instead incorporating some of the tools and herbal allies included in this piece, a dedicated exploration of commonly accessible goods that provide a wealth of magical aid; or take inspiration from this piece and consider your own readily available alternatives in similar items.
Now, without further ado, allow me to present to you a collection of everyday items for working craft. May it serve those in need of it.
AROUND THE HOUSE
This section focuses on items one can typically find around their house, things that are commonly kept in stock in one's home or are easy enough to come by at a local hardware store, dollar store, or shop.
Why You Should Learn Multiple Divination Methods
Divination is a powerful tool for gaining insight, guidance, and clarity in life. While many practitioners have a preferred method, learning multiple forms of divination offers unique advantages and deepens your spiritual practice. Here’s why expanding your divinatory skill set is beneficial.
Different Tools for Different Questions
Each divination method excels in certain areas. By knowing more than one, you can choose the most effective tool for each situation, for example:
• Tarot provides in-depth storytelling and psychological insight.
• Runes offer direct, ancient wisdom with a no-nonsense approach.
• Pendulum dowsing gives quick yes/no answers for direct guidance.
• Scrying (mirrors, water, flames) connects you with visions and subconscious messages.
Having multiple techniques allows you to select the best one for your needs.
Cross-Validation for Stronger Readings
Using multiple forms of divination to confirm a message strengthens its reliability. If tarot, runes, and pendulum dowsing all point to the same answer, you can be more confident in your reading.
Adaptability in Different Environments
Some divination methods require more space or time than others. Having multiple techniques lets you practice divination anywhere, for example:
• Tarot and runes are great for detailed readings but require physical tools.
• Numerology or astrology can be done mentally when you’re without tools.
• Pendulums and scrying can be subtle enough for on-the-go divination.
Deeper Understanding of Symbolism and Intuition
Each system has its own symbolic language. Learning multiple forms of divination enhances your ability to recognize patterns and messages from the universe. For example:
• Studying astrology deepens your understanding of tarot’s planetary influences.
• Learning numerology helps with interpreting numbers in divination spreads.
• Scrying sharpens your intuitive abilities for other methods.
The more symbols and correspondences you understand, the stronger your divinatory skills become.
Personal and Spiritual Growth
Every divination system has its own philosophy and historical roots. By exploring multiple methods, you:
• Gain a broader perspective on the unseen forces in your life.
• Connect with different spiritual traditions and expand your knowledge.
• Strengthen your intuitive and psychic abilities through diverse practices.
Enhanced Connection with Spirits and Deities
Some deities or spirits prefer specific divination methods. Expanding your knowledge allows you to communicate more effectively with different energies.
• Hekate is often associated with scrying and key-based divination.
• Odin, a god of wisdom, is connected to the runes.
• Mercury/Hermes aligns with dice and lot casting.
• Many demons are associated with divination practices, such as Gremory, Dantalion, Flereous, Delepitore, and more.
Having multiple methods lets you tailor your practice to your spiritual allies.
Avoiding Divination Burnout or Bias
Using only one form of divination can sometimes lead to mental fatigue or a fixed perspective. Switching between different methods keeps your practice fresh and prevents over-reliance on a single tool.
Knowing multiple forms of divination makes you a more well-rounded and adaptable practitioner. It strengthens your intuition, deepens your spiritual connections, and gives you access to the best method for any question or situation.
Types Of Divination
Thoughts on the way spirits present themselves:
Sometimes, when we're calling spirits, they're arrive without us knowing. The spirit could be standing right in front of us waving, and our subtle senses just aren't fine-tuned enough to see them. Some get around this by working with a scryer. Others might build the ritual pressure in the space until the spirit is compelled into become more visible. Something i find consistently reliable is utilizing forms of passive divination.
This way, you have ways of diving a spirit's presence without having to pull your attention away from your conjurations or ritual actions.
Passive divination methods for spirit conjuration could include:
Burning incense to see figures and signs in the smoke
Letting candles melt to look for symbols in the wax
Hanging bells around the space
A water scrying set up where the surface is oily to more easily produce images
Above, I included photos from a ritual I did a while ago where I used candles and stone with a similar purpose. This stone was being consecrated as a tool to scry with in the future, and I wasn't receiving clear signs that the spirit i called had come. It wasn't until I looked down and saw the melted wax in the form of a black hand that I realized they were sitting with me. It was small and very subtle, so subtle I could've easily missed it.
Having passive ways of scrying and divining the presence of spirits can be a huge help when exploring new spirits and conjuration methods. It takes some discernment to know how to use them, but when applied well, they are a huge boon to one's setup.

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I may not be one of those Big City Wizards, with their college lectures and their designer spell pouches, but one thing I’ve learned as a simple country wizard is the value of proper divination.
Why, those city types wouldn’t know portents from poppycock as long as it comes to them in their fancy high end pondering orbs. Down on the bayou? We know that the water can be cloudy, but you cast it like a rowdy. My mama said she could get the weather forecast from now til judgement day in the back of a dirty spoon if she had enough mana reserved. Meanwhile these wizards from the big city think every scry is assured if it is from a brand preferred.
A scrying shame I tell you.
Short guide to varðlokkr
Briefly exploring ritual singing and spirit work in the nordic tradition, and their possible uses in neo-pagan practice.
Before performing divination, it's said that völur would sing, or more often than not, have someone sing a ritual song in order to "rouse the spirits". This ritual was a way to call upon nearby spirits—generally guardian spirits, to come and answer their questions. The practice of varðlokkur, or "ward songs/protection songs", is tightly interwoven with the art of seiðr. According to the few sources that mention the topic, it was performed by seeresses seeking to prophecize, or by women willing to sing it in their stead.
Before diving deeper into this topic however, it's important to note that the interpretation of the term varðlokkr, and in a sense, the very basis of its current scholarly understanding, depends on its possible etymology. Two hypotheses stand out in this regard: varðlokkr is either spelled with one or two k's, either varðlok or varðlokk. The former would refer to "locking", or "fastening", and is often associated with a passage in the Grógaldr (The Spell of Gróa) where the shamaness refers to Urðar lokur, or Urð's locks/bolts. In this case, the song is a matter of "locking" the spirits in. Whereas varðlokkr would stem from the same root (vǫrðr, meaning to guard or ward), but in this case, lokkr would come from lokka, meaning to lure, or entice. It's generally agreed upon that both these instances showcase how the idea of protection was a key element in the perception of this practice.
These so-called "Weird-songs" sometimes required the use of a rhythmical sound created using drum beating, rattles, or by hitting the ground with a staff. They served as an invocation to higher powers or local spirits, who would be keen to protect ("ward") the seeress as she glimpsed into the future. According to pre-Christian belief, the sound of these songs had the power to appease surrounding spirits, but also to entice and lock them into the space for the duration of the divination. Letting her spirit wander out of her body in order to scry, the völva/seiðrkona became vulnerable, hence the need for higher protection. Now "bound" to her until the completion of the ritual, the guardian spirits would be inclined to lend their help. Depending on the intepretations, this type of ritual singing could also have been a means to reach a trancelike state before fortune telling.
'Many spirits,' said she, 'have been present under its charm, and were pleased to listen to the song, who before would turn away from us, and grant us no such homage. And now are many things clear to me which before were hidden both from me and others.' Eiríks saga rauða, chapter 3
The trance aspect of this practice is often debated, however. Granted, it's possible to point out similarities between seiðr and the "out of body" travel of Sámi and Siberian shamans. After all, a few sources tell us that varðlokkr would also serve to bring the völva back into her own body once she'd prophecized. Still, scholars more often than not consider varðlokkr and other seiðr practices as putting oneself in a "receptive state" in order to comprehend messages sent from the spirit world.
At the beginning of the séance all those present seem to have taken part in the singing, but a special choir was appointed for continuing operations: this is in several accounts said to consist of women or one woman. Singing continues throughout the séance, the purpose being to remind the shaman of his mission. Some sources indicate that the singing was concentrated or confined to the final stages of the trance, and the aim here was to wake the shaman. Louise Bäckman & Åke Hultkrantz
Think of varðlokkr as a way to blend music, divination and spirit work. A modern practitioner who already works with Dísir, vættir, ancestors, and the like can involve these familiar spirits in the ritual, for example, by calling upon a passed loved one to protect them during divination, or even to aid in finding answers. It's generally agreed upon that during the Scandinavian pre-Christian times, the wisdom of the dead occupied a vital place in many such shamanic practices. One could seek advice from passed mentors or loved ones in this manner. Even disregarding the idea of "rousing" spirits and "locking" them, I believe that one could still use to music as ritualized invocation—especially when it comes to ancestor work, in order to ask for advice or insight.
Next to nothing is known about what varðlokkr actually sounded like. However, I think it's still interesting to explore the idea of ritual singing as a shamanic practice. For someone interested in experimenting with galdr, seiðr, or any such shamanic practices in the Nordic tradition, varðlokkr seems like a great place to start.
So how does one incorporate ritual singing into neo-pagan practice? I'm sorry to say that it's exceedingly difficult to somehow reconstruct varðlokkr, as history has left us with nothing but bits and pieces to work with. However, three main particularities stand out and aid us in tracing a general outline: 1. the Weird-song is sung before divination as an opening practice; 2. its purpose is to call upon spirits; and 3. it most likely served as a sort of short-term ward for the person performing the ritual. These three concepts may be preserved, and the freedom to build around them is yours.
For this reason, we even have the option to simply pick a song which feels sacred and play it before rune casting, or tarot reading for example (needless to say such a practice also applies to any and all methods of divination, including scrying). After all, there's really no indication that the practitionner must sing the song themselves. Even in the few accounts mentioning varðlokkr, the seeress isn't always the one singing.
But if you decide to sing the varðlokkr yourself, it's also possible to learn the lyrics to a song that's already part of your practice. If working with the spirits of the dead, and especially with passed loved ones, why not play a song that a given ancestor loved in life? Artist Einar Selvik has composed a short skaldic-type song called Vardlokk, which has understandably become my own ritual song. I play it to get into a spiritual state of mind, helping me tremendously before spirit work—which coincides in many ways with the original purpose of varðlokkr. But it's safe to say any type of music may be used. And if you're interested in trance or trance adjacent practices, chanting may be used in such a manner as well.
There are many ways for us neo-pagans to adopt the practice of varðlokkr, since in one way or another, music is always tightly intertwined with religious practice. One can choose to wholly disregard the spirit work aspect and simply explore the idea of ritual song and its ties to divination. No matter the case, shamanic practices were an inherent part of Nordic religious tradition, and I think it can be useful for modern practitioners to learn about them and explore the possibilities that they offer.
If you're interested in further reading, I've linked at the beginning of this post an ask I answered a while back pertaining to seiðr, galdr, and other shamanic practices of the Norse. Within the post are also a few suggested pieces of reading that have helped my personal understanding and research.