I have always thought of the public, or Harnic, version of the Saga as being based on a heavily expurgated version of my notes. One that would have been composed over a long period of time, not being heard in its entirety by the general public until long after the events recorded. So, for example, when the party returns to Elshavel at the end of Book Four Daniel is still putting the finishing touches into Book Three.
It is my view that the Harnic literary tradition would be primarily an oral one. The various Churches and Kingdoms of Harn would have their own written "Official" versions of important Epics and Sagas. These would be recited to the populace on feast days, and on special occasions. However the bulk of the Harnic audience would be illiterate. They would only have real familiarity with those stories told by wandering storytellers and bards. It seems highly likely that one or more of the Colleges in Melderyn may well have written records of different versions of the same tale. Perhaps the Sindarin in Elshavel might have similar records, though undoubtedly with a different focus.
Such oral story telling would feature the heavy use of stock phrases and the use of repetition. An example of such things in the "real world" would be Homer�s famous stock phrase the wine dark sea. In this type of story all the main characters, and many of the minor ones, would have their own epithet. These would allow the audience to be quickly reminded of who is who without disrupting the narrative flow. It would also allow the tale-teller to ramble on autopilot while he remembers what comes next. Such works would also have poems and songs embedded within them. These would tend to emphasise relevant events by expanding on them in an easy to remember way.
It was in an attempt to create a flavour of such an oral version of the Panaga Saga that I wrote the introductions for the early episodes. In these the player characters, and some of the NPCs, are introduced each with their own epithet. I regret not keeping that practice up in some of the later chapters, so it will (hopeful) make a reappearance. I don�t claim to be poet or lyricist so my notes are (almost) entirely free of such devices.
Of course any use of any form of Magic by our heroes would not be out in the open. Your average Harnic man in the street fears and distrusts the users of Magic. A phenomenon we continually refer to as "Burn the Witch", but then we�ve all seen Monty Python. This means that Aruth wouldn�t be shown continually throwing "Firebolt" and "Wall" spells around, they would be completely glossed over, as would the hunting down of any witnesses.
An example of the recorded use of Magic from Book Three Chapter Four might be shown thus: "The noble Erana Sir Martyn most persuasively impressed on the lowly peasants the need to prevent the foul worshippers of Agrik of the from gaining access to their village. They saw the need for this and acceded to his reasoned request, closing the gates in those evil faces. Sir Martyn taunted those vile creatures so much that they charged prematurely, and in complete disarray, failing miserably in their desire to force those stout protective gates. Then the enraged Sorceress called upon her Black Arts and most ignobly struck Sir Martyn down."
Whereas I wrote "Sir Martyn caused the gates to be closed and then made Agrik�s lot charge. Then he fell over as a spell hit him." Sir Martyn of course used two spells here. Then the nasty evil Agrik worshippers foully used Magic on him! We don�t mind the enemy being accused of using magic, but our heroes would never stoop so low!