traps Toot

It was a perfect night for catching faeries.
I swept an area of dirt not far from the lakeshore clear of leaves and sticks, and took the silver knife from the backpack. Using the handle, I drew a circle in the earth, then covered it up with leaves and sticks again, marking the location of the circle’s perimeter in my head. I was careful to focus in concentration on the circle, without actually letting any power slip into it and spoil the trap. Then, working carefully, I prepared the bait by setting out the little cup and bowl. I poured a thimbleful of milk into the cup and daubed the bowl full of honey from the little plastic bear in my backpack.
Then I tore a piece of bread from the loaf I had brought with me and pricked my thumb with the knife. In the silver light of the moon, a bit of dark blood welled up against the skin, and I touched it daintily to the underside of the coarse bread, letting it absorb the blood. Then I set the bread, bloody side down, on the tiny plate.
My trap was set. I gathered up my equipment and retreated to the cover of the trees.
There are two parts of magic you have to understand to catch a faery. One of them is the concept of true names. Everything in the whole world has its own name. Names are unique sounds and cadences of words that are attached to one specific individual—sort of like a kind of theme music. If you know something’s name, you can associate yourself with it in a magical sense, almost in the same way a wizard can reach out and touch someone if he possesses a lock of their hair, or fingernail clippings, or blood. If you know something’s name, you can create a magical link to it, just as you can call someone up and talk to them if you know their phone number. Just knowing the name isn’t good enough, though: You have to know exactly how to say it. Ask two John Franklin Smiths to say their names for you, and you’ll get subtle differences in tone and pronunciation, each one unique to its owner. Wizards tend to collect names of creatures, spirits, and people like some kind of huge Rolodex. You never know when it will come in handy.
The other part of magic you need to know is magic-circle theory. Most magic involves a circle of one kind or another. Drawing a circle sets a local limit on what a wizard is trying to do. It helps him refine his magic, focus and direct it more clearly. It does this by creating a sort of screen, defined by the perimeter of the circle, that keeps random magical energy from going past it, containing it within the circle so that it can be used. To make a circle, you draw it out on the ground, or close hands with a bunch of people, or walk about spreading incense, or any of a number of other methods, while focusing on your purpose in drawing it. Then, you invest it with a little spark of energy to close the circuit, and it’s ready.
One other thing such a circle does: It keeps magical creatures, like faeries, or even demons, from getting past it. Neat, huh? Usually, this is used to keep them out. It’s a bit trickier to set up a circle to keep them in. That’s where the blood comes into play. With blood comes power. If you take in some of someone else’s blood, there is a metaphysical significance to it, a sort of energy. It’s minuscule if you aren’t really trying to get energy that way (the way vampires do), but it’s enough to close a circle.
Now you know how it’s done. But I don’t recommend that you try it at home. You don’t know what to do when something goes wrong. I retreated to the trees and called the name of the particular faery I wanted. It was a rolling series of syllables, quite beautiful, really—especially since the faery went by the name of Toot-toot every time I’d encountered him before. I pushed my will out along with the name, just made it a call, something that would be subtle enough to make him wander this way of his own accord. Or at least, that was the theory.
What was his name? Please, do you think wizards just give information like that away? You don’t know what I went through to get it.
About ten minutes later, Toot came flickering in over the water of Lake Michigan. At first I mistook him for a reflection of the moon on the side of the softly rolling waves of the lake. Toot was maybe six inches tall. He had silver dragonfly’s wings sprouting from his back and the pale, beautiful, tiny humanoid form that echoed the splendor of the fae lords. A silver nimbus of ambient light surrounded him. His hair was a shaggy, silken little mane, like a bird of paradise’s plumes, and was a pale magenta.
Toot loved bread and milk and honey—a common vice of the lesser fae. They aren’t usually willing to take on a nest of bees to get to the honey, and there’s been a real dearth of milk in the Nevernever since hi-tech dairy farms took over most of the industry. Needless to say, they don’t grow their own wheat, harvest it, thresh it, and then mill it into flour to make bread, either.
Toot alighted on the ground with caution, scanning around the trees. He didn’t see me. I saw him wipe at his mouth and walk in a slow circle around the miniature dining set, one hand rubbing greedily at his stomach. Once he took the bread and closed the circle, I’d be able to bargain information for his release. Toot was a lesser spirit in the area, sort of a dockworker of the Nevernever. If anyone had seen anything of Victor Sells, Toot would have, or would know someone who had.
Toot dithered for a while, fluttering back and forth around the meal, but slowly getting closer. Faeries and honey. Moths and flame. Toot had fallen for this several times before, and it wasn’t in the nature of the fae to keep memories for very long, or to change their essential natures. All the same, I held my breath.
The faery finally hunkered down, picked up the bread, dipped it in the honey, then greedily gobbled it down. The circle closed with a little snap that occurred just at the edge of my hearing.
Its effect on Toot was immediate. He screamed a shrill little scream, like a trapped rabbit, and took off toward the lake in a buzzing flurry of wings. At the perimeter of the circle, he smacked into something as solid as a brick wall, and a little puff of silver motes exploded out from him in a cloud. Toot grunted and fell onto his little faery ass on the earth.
“I should have known!” he exclaimed, as I approached from the trees. His voice was high-pitched, but more like a little kid’s than the exaggerated kind of faery voices I’d heard in cartoons. “Now I remember where I’ve seen those plates before! You ugly, sneaky, hamhanded, big-nosed, flat-footed mortal worm!”
“Hiya, Toot,” I told him. “Do you remember our deal from last time, or do we need to go over it again?”

Storm Front Chapter 13, Page 60-64