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queergodzilla  asked:

yo so i saw your beautiful purple prose rant and, like. do you have any book recs? I'm about to finally finish my education stint for a while so summer's looming and full of promise

Yes I do! (the post in question, for the curious.) 

Firstly, very nearly foremostly, do you know Catherynne M Valente, a writer who believes in indulgence rather than sparsity, who’ll DROWN you in beautiful words until you’re sort of gasping for breath under the sheer rippling weight of her sentences, until you emerge from her books in like a post-coital haze, not totally sure what happened, but dizzyingly certain it changed you? 

Deathless is my favorite, but I also love Radiance and Six Gun Snow White

If you don’t know Nabokov, NABOKOV YOURSELF UP. He is the KING of purple prose. My favorites are Lolita, Pnin, and Pale Fire, which I honestly think contain some of the most beautiful passages ever composed in the English language. Here, I’m gonna let Nabokov Nabokov at you for a second, in the guise of the protagonist of Pale Fire, talking about the miracle of writing: 

“In the large envelope I carried I could feel the hard-cornered, rubberbanded batches of index cards. We are absurdly accustomed to the miracle of a few written signs being able to contain immoral imagery, involutions of thought, new worlds with live people, speaking, weeping, laughing. We take it for granted so simply that in a sense, by the very act of brutish routine acceptance, we undo the work of the ages, the history of the gradual elaboration of poetical description and construction, from the treeman to Browning, from the caveman to Keats. What if we awake one day, all of us, and find ourselves utterly unable to read? I wish you to gasp not only at what you read but at the miracle of its being readable (so I used to tell my students). Although I am capable, through long dabbling in blue magic, of imitating any prose in the world (but singularly enough not verse–I am a miserable rhymester), i do not consider myself a true artist, save in one matter: I can do what only a true artist can do–pounce upon the forgotten butterfly of revelation, wean myself abruptly from the habit of things, see the web of the world, and the warp and the weft of that web. Solemnly I weighed in my hand what I was carrying under my left armpit, and for a moment I found myself enriched with an indescribable amazement as if informed that fireflies were making decodable signals on behalf of stranded spirits, or that a bat was writing a legible tale of torture in the bruised and branded sky. 

I was holding all of Zembla pressed to my heart.” 


Another dude I love who makes his language fucking scintillate is Marquez. Almost all magical realists favor purple prose–sentences that GRAB YOU and SEDUCE YOU and describe dark things beautifully and beautiful things darkly and leave you dizzied and hungry in the crepuscular space between adjectives. Love in the Time of Cholera and 100 Years of Solitude are my favorites. But, like. He’s Gabriel Garcia Marquez. You can’t go wrong. 

Karen Russell doesn’t always write magical realism, but her prose is magic as fuck. Swamplandia! and St Lucy’s Home For Girls Raised By Wolves are the best. A tiny representative sample: “Quiet rode outward like a wildfire after that, engulfing the ditch and me inside it. I held onto the flashlight with both hands. I listened for my sister’s movements inside the dredge; instead, I heard the creaklings of quick, hunted life in inside the ditch and the groans of the taller trees in the center of the dome.” Someone lamer than Karen Russell might have taken the same content and written: It was quiet. All I could hear were wind and crickets. Instead we get quiet RIDING like a WILDFIRE, quiet ENGULFING, trees groaning, bugs and animals CREAKLING, quick and hunted, because Karen Russell is a BAMF.

There’s always Junot Diaz, who knows exactly how to dazzle you with glittering spiked sentences and then how to punch you hard in the heart with emotions. The Brief Wondrous Life of Oscar Wao and Drown are the best, but all the Junot Diaz stories are worth your time. 

Helen Oyeymi is a little subtler and less in your face, but that’s just because her sentences are quicksand. You think you’re on solid ground, but then she sucks you in and you find yourself somewhere shadowed and strange cupping the word “rat-catcher” between your hands and wondering why it looks beautiful. Boy, Snow, Bird and what is not yours is not yours are my favorites. 

Other writers who write just as goddamn beautifully but who I’m just going to list instead of individually reccing because I’m getting tired include: 

JIM SHEPARD, possibly my favorite short story writer of all time, check out Love and Hydrogen and Like You’d Understand Anyway and You Think That’s Bad and literally every single one of his short story collections, the man is a fucking masterclass
ANGELA CARTER
FRANCESCA LIA BLOCK
SARAH SHUN-LIEN BYNUM!!!!!!!
KEVIN BROCKHEIMER 
STEPHEN MILLHAUSER (I LIED, CHECK OUT THE WIZARD OF WEST ORANGE, IT’S SO GOOD)
KATE BERNHEIMER
ILYA KAMINKSY 
RON HANSEN (READ MARIETTE IN ECSTASY. READ MARIETTE IN ECSTASY RIGHT NOW. AND THEN READ EXILES, AND DESPERADOES, AND THEN THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD. THEY’LL ALL KILL YOU SO GOOD.) 
THOMAS HARRIS, OBVIOUSLY. 

AND I CAN’T BELIEVE I ALMOST FORGOT, BUT:

OSCAR 
FUCKING 
WILDE 

like if you haven’t read Dorian Gray, READ DORIAN GRAY. But then come back, because the language in the plays and the stories is witty and engaging and fucking bejeweled, Oscar WIlde’s language gleams and trembles like the scarlet flash of a ruby caught in the eye of a martyr’s skull in a Roman catacomb. 

Spellcasting Combat Narration for D&D

image credit: Ben Wootten

So I was gonna include this in my other article on narrating combat, but it proved far too lengthy, so I made this into part 2! 

Combat is easy to describe compared to narrating spell attacks. I ran into this problem last session when I was getting into detail telling the barbarian how they tore off an ogre’s head but then the druid just kept using Fire Bolt and I kept defaulting to “you shoot a bolt of fire at his face.” I’m going to try and vary things up with these lists and help everyone else in the process! I am organizing them by energy type.

Mode of Attack

Half of a spell’s attack is how the caster shapes their spell. The same spell can look very different with every casting if you have a creative DM. Feel free to switch it up each time it’s cast, or vary the same spell when cast by different characters of different classes.

Attack Words

Generic shapes and terms that will launch from the caster’s hand.

Helix, Spiral, Beam, Erratic, Mote, Bolt, Stream, Blast, Burst, Blade, Arc, Miasma, Cloud, Eruption, Wave, Cone, Missile, Rune, Glyph

Class-Based Ideas

  • Bard
    • Energy manifests from thin air a foot in front of their instrument as they play
    • Energy is shaped like ribbons of written music that ripples towards enemies
    • Several tiny motes of energy appear with each note sung or played. Each point of damage comes from a mote hitting the opponent (rolls a 4 out of a d6, 4 of the 6 note-motes hit)
  • Cleric
    • Energy falls from the sky or emerges from the ground as the cleric prays
    • Beam of energy originates from holy symbol
    • Spell attack should highlight that the cleric is granted their powers from a greater power, don’t have the energy come from their hand/finger. Have the energy come TO them, and then be thrown at the enemy.
  • Druid
    • Energy is shaped like an animal.
    • Energy rushes forth from the surrounding wilderness and zooms past the druid and toward the foe.
    • Much like Cleric, energy shouldn’t come from the caster. It should come from elsewhere before being thrown at the enemy.
  • Fighter (Eldritch Knight)
    • Energy blasts from their bound weapon pointed at the enemy.
    • Energy fires from their mouth as they yell.
    • Energy surrounds their weapon and is used in tandem with it (if close enough)
  • Monk (Way of Four Elements)
    • Literally just watch Avatar: the Last Airbender and do that.
  • Paladin
    • Most Paladin spells are smite-based, so they usually happen when an attack hits. Otherwise, let the energy come from a higher power like the Cleric.
    • Energy bursts forth from within the creature hit
    • Energy surrounds weapon right as the strike lands
    • Energy falls from the sky or erupts from the ground
  • Ranger
    • Honestly, most Ranger spells often seem a lot like man-made traps like Cordon of Arrows (arrow traps), Fog Cloud (smoke grenade), or Grasping Vine (slipknot trap). But otherwise, Play it like the Cleric where the energy comes from a higher power.
    • Energy takes the form of the Ranger’s animal companion or an animal they associate with.
    • Spells seem to cast automatically whenever the Ranger is in a tight spot, almost as if nature itself is protecting them. The Ranger gives an approving nod whenever this happens in thanks.
  • Rogue (Arcane Trickster)
    • Energy is always accompanied by a shimmer of glitter
    • The Rogue plays with the energy over their fingertips as they whistle before casting the spell.
    • Energy enchants one of the Rogue’s daggers and casts the spell by tossing the dagger at the intended location or target.
  • Sorcerer (Draconic Bloodline)
    • Energy takes the shape of a dragon of your bloodline.
    • Energy surges forth from your breath
    • All energy takes the shape of your bloodline dragon’s energy type, regardless of the actual energy type. For instance, a sorcerer of a blue dragon’s bloodline that casts Burning Hands or Cone of Cold keeps the energy type but shapes the fire and cold damage into the form of a bolt of lightning. 
  • Sorcerer (Wild Magic) 
    • Energy takes on many random forms, never under the full command of the Sorcerer.
    • Energy erupts from random places in the environment when the Sorcerer calls upon them.
    • Energy bubbles and fizzes with all energy types (but mostly the one called upon), as if a piece of Limbo was thrown at the enemy.
  • Warlock (Archfey)
    • Your energy shimmers with iridescent colors and showers enemies with sparks of glitter.
  • Warlock (Great Old One)
    • Your magic corrupts and twists the flesh of the target of your spell, regardless of the energy type.
  • Warlock (Fiend)
    • Energy takes the shape of the unholy symbol of your patron.
  • Wizard (Abjuration)
    • Energy shoots forth from your magical wards, arcing towards your enemies.
  • Wizard (Conjuration)
    • You conjure a short-lived elemental of the energy type you need. It soars at the enemy.
  • Wizard (Divination)
    • You weave the glowing threads of fate in the palms of your hands, tweaking reality to cast your spell.
  • Wizard (Enchantment)
    • You enchant an object to exude the energy and toss it at the enemy.
  • Wizard (Evocation)
    • I mean, you just sorta blast them. That’s what this school’s about.
  • Wizard (Illusion)
    • Your spell usually spawns two or three illusory copies. When the attack misses, the enemy simply managed to dodge the right duplicate.
  • Wizard (Necromancy)
    • Your energy takes the shape of a skull screaming as it flies toward the enemy
  • Wizard (Transmutation)
    • You transmute the energy out of the surrounding environment and fire it at the enemy

On-Hit

So if half of a spell’s attack is the shape and travel of the spell, the other half is when the spell hits. I organized this list by energy type, as different energies will do different sorts of things when they hit a creature. This is mostly a collection of interesting effects, colorful language, and examples.

Fire

  • Your bolt of fire singes their armor (burning cloth, blackening leather, discoloring metal)
  • A tiny bead of fire explodes on contact
  • Showers them with red sparks
  • Your attack leaves behind a billowing trail of smoke
  • A fast-travelling meteor of flame soars from the sky towards the enemy.
  • Your flames leave blisters and cracked skin in its wake.
  • Your fire blackens the enemy’s flesh

Cold

  • You freeze the moisture in the air into icy daggers that fall onto your enemy
  • You freeze the water in their blood to damage them
  • Their skin turns blue and numb
  • You literally hurl a snowball at them.
  • Your spell leaves them covered in a layer of frost
  • A buildup of ice covers where your spell hit. (it’s easily shattered once they move, though)
  • A blast of icy wind and rain leaves them shivering.

Thunder

  • A crack of thunder pummels your foe
  • A high-pitched, deafening shriek focuses itself on the target
  • A thin trail of blood races from the foe’s ears from a sound no one else can hear
  • The enemy falls to their knees cupping their hands over their ears, gritting their teeth
  • You buffet the target with waves of thunderous sound
  • The ground shakes with the force of your spell. Brittle glass objects nearby shatter.

Lightning

  • Lightning comes from the sky to smite your foe
  • You all smell the faint odor of ozone before a bright bolt of lightning streaks toward the target of your spell
  • Before your enemy can blink they are showered in electrical sparks followed by crippling pain
  • The enemy’s back stiffens as the powerful current of lightning surges through them
  • Your attack leaves a permanent web of lightning shaped burns all over one side of their body
  • Your blast of lightning causes their skin to rupture as it travels through their body

Acid

  • Your acid sizzles as it burns a new, unnatural color into their skin
  • The attack melts their flesh, leaving them permanently disfigured at the site of the spell
  • Your spell’s acid causes blue fire to burn where it hit their skin, and bleaches their armor and belongings
  • A rancid smell fills the foe’s nostrils as the acid bubbles on their bare skin, burning through the simple cloth of their shirt.

Poison

  • You spew a poisonous cloud from your mouth at your opponent
  • A spectral viper or insect is flung at the opponent, biting them and filling them with magical venom
  • Your index and middle finger each grow a poisonous fang which you sink into your opponent’s arm (melee range spell attacks only)
  • The enemy’s mouth fills with a foul tasting liquid which forces its way down their throat

Necrotic

  • Your target’s flesh bubbles and boils as a black ichor sputters from the spell’s origin
  • The foe’s flesh festers with magical disease as boils and wounds quickly cover the affected area
  • A skeletal hand wriggles free from beneath the earth, flying towards the target
  • An incorporeal undead shrieks as it flies from your finger toward the enemy to deliver the spell’s effect
  • Black energy swirls around your arm before launching towards the enemy as if it had a life of its own
  • Your iridescent blue magic enters the target’s body and afflicts their soul, making them momentarily dazed as their eyes glaze over.

Radiant

  • A holy light shines from the skies to harm your target, regardless of time of day or obstructions
  • A halo of radiant energy surrounds your head and blinds the target as they gaze upon it
  • Enemies that aren’t of your alignment hear the whispers of your deity moments before being enveloped in a blinding white light
  • The foe’s eyes and mouth emit warm light and they howl in pain
  • A blade of radiant energy slashes through the victim, leaving a trail of blinking motes of light in its wake
  • The enemy’s skin blisters from the raw positive energy surging through them

So essentially this whole post was a creative writing assignment for myself, but I hope that it gives you guys new creative ideas for new spells or new ways to describe existing spells! They don’t much affect the mechanics of the spell at all, so most DMs I suspect will be fine with most of these descriptions if you want your character to cast spells a certain way.

The 7 Elements of a SCENE

There are few things as soul-crushing in the writing process (at least to me) than getting a bunch of characters in a room with the intention of something happening, then the characters proceed to stand around and stare at each other.  

Or worse, look at you like this. 

My characters didn’t know why they were there. I didn’t know why they were there either. I had no clue what they were supposed to be doing, so I’d start throwing random instructions at them: “Fight, characters! You guys should fight now! Maybe fighting will make this event have a purpose!” Which inevitably resulted in characters going through the motions of battle for no apparent reason, like they had all lost their minds.

What was the problem? I didn’t know how to write a scene. I didn’t know what a scene was. I had a vague definition that it was something about changing scenery, or just “something happening”.

It’s not. And once I learned what a scene was, my characters got to stop pummeling each other, while wishing they could pummel me. 

So what is a scene? 

The definition of a scene is kind of like the definition of a story. Story is change, a massive change in the life of your main character. A scene is change too, but much smaller, and part of that huge story change. You couldn’t have the BIG change without these tiny changes. Thus, a scene is not switching scenery. It’s not flipping to a new Character’s POV. It’s one segment of change, which triggers the next change, which triggers the next, which gradually build into sequences, which build into Acts, which build into story. 

So what goes into a scene? How does it work?

1. Alternating Charges

If a scene opens positive, it will turn negative by the end. If it opens negative, it will end positive. Simple. 

2. Character Goals

Everybody in a scene wants something. If they don’t want anything, they shouldn’t be in the scene. And these characters, with their often opposing goals, are going to employ different tactics on each other to get what they want. Which creates …

3. Escalating Conflict

Conflict is created when one character wants one thing and another wants something else, right? So the characters in the scene are each pushing for something different, each new tactic increasing in determination. And what are these actions called?  

4. Beats

The beats of a scene are exchanges of action and reaction. One character does something, another character reacts. All exchanges (beats) are pushing the scene onward, building tension and conflict, until finally …

5. Turns & Revelations

The scene turns. The positive has changed to negative. Something has been discovered. The story has spun in a new direction.

6. Connection to Story Objective

Every scene must be connected to the BIG goal of the story, the main character is taking small actions to reach that big goal. If it isn’t obviously connected to this big plot, it won’t make sense. Your reader won’t know why the heck they’re reading the scene. Which brings us to … 

7. Logic & Necessity  

Every scene must be necessary. It must be able to be linked with the previous scene. “Because that happened in the previous scene, THIS must happen in this scene.”

So! To see how that all works, let’s break down a scene from Tangled. (Because I used it in the last post to map out how a premise works, and my little writer heart can’t resist symmetry.)

Which scene? The one right after this happens: 

Opening Charge: Positive. She’s realized everything. 

Rapunzel’s Goal: Rise up against her mother – finally. 

Gothel’s Goal: Regain control.

Escalating Conflict: They’re fighting over who controls Rapunzel, and this battle causes them to go from “mother and daughter” to “enemies”. The conflict builds nicely in this scene, causing the story turn.

Connection to Story Objective: Throughout the movie, the big thing Rapunzel wants is freedom, she wants her life to begin, she wants to have a new dream. This is the moment she figures out how to do that; it’s not escaping the tower, it’s escaping Gothel’s control over her.

So! Here’s the scene.

Beat 1

“Rapunzel? Rapunzel, what’s going on up there?”

Ignores her. Still processing the tremendous implications of this revelation. 

Beat 2

“Are you alright?" 

"I’m the lost princess.” (Dumbfounded. Almost whispering it to herself.)


Beat 3

“Oh, please speak up Rapunzel! You know how I hate the mumbling.” (Bullying.)

“I am the lost princess! Aren’t I?” (Fighting back. She will not be bullied anymore.)

Beat 4

Gothel stares, stunned. She’s rendered temporarily speechless, because her secret’s been revealed finally, and her victim is actually fighting against her.


“Did I mumble, Mother? Or should I even call you that?” (Accusing. Drawing herself up taller. Looking down on Gothel and glaring. She’s seeing her clearly for the first time in her life.)

Beat 5

After a pause, thinking up a tactic. “Oh, Rapunzel, do you even hear yourself? How could you ask such a ridiculous question?” (Laughs. Ridicules. Attempts to make her feel childish, dumb, worthy of being mocked. Tactics which have always worked. She even begins to hug her.)


Rapunzel pushes her. “It was you! It was all you!” (Still accusing and angry, but pain is beginning to show. It’s almost like she’s giving her a chance to explain herself.)


Beat 6

“Everything I did was to protect you.” (And Gothel doesn’t say anything redeeming. She’s holier than thou, regal, bestowing kindness on an ungrateful, stupid child. Trying to control through guilt.)

Rapunzel rams her out of the way. 

Beat 7

“Rapunzel!” (Shouting. Now trying anger.)

“I’ve spent my entire life hiding from people who would use me for my power …” (Leaves her.)

Beat 8

"Rapunzel!” (Still trying the anger angle.)

“But I should have been hiding from you.” (Throwing the truth at her.)

Beat 9

“Where will you go? He won’t be there for you.” (She’s tried everything else. It’s time to attack her heart.)

“What did you do to him?” (Fear)

Beat 10

“That criminal is to be hanged for his crimes.” (She’s keeping up the disapproving mother act, but striking her right where it will hurt her most.)

“No.” (She’s stopped. Shrinking in on herself. Staring, horrified. And Gothel thinks she’s won.)

Beat 11

“Now, now.  It’s alright. Listen to me. All of this is as it should be.” She goes to pat Rapunzel’s head, a gesture symbolic of her superiority, her physical, mental, and emotional control over her victim.


Rapunzel grabs Gothel’s wrist. “No! You were wrong about the world. And you were wrong about me! And I will never let you use my hair again!" 

Beat 12

Gothel wrenches free, stumbling backwards in shock and anger, breaking the mirror in the process. 

Rapunzel walks away. She’s escaped Gothel emotionally now.

Beat 13

"You want me to be the bad guy? Fine. Now I’m the bad guy.” (Well, now emotional control is over. It’s time to start stabbing Rapunzel’s boyfriend.)

This action has no reaction, interestingly. It leaves us hanging, a cliffhanger created with only beats. 

Closing Charge: Negative. She’s now a full-fledged villain, the motherly persona shed, and she’s determined to get what she wants whatever the cost. 

Turn: It changed from positive to negative,  and now we’ve got a Flynn-stabbing witch to deal with.  

Revelation: She’s always been evil. She has always been the bad guy. The motherly act was just that, an act. 

Logic & Necessity: This scene fits with the previous scene, and the one that follows.     

Though I’ve seen these concepts in many books, the place I first learned about it (and the best resource for scene design in my opinion) is the book Story by Robert McKee. It’s helped me countless times, is one of my favorite books on storytelling, and I highly recommend it if you write anything.

I realize that these definitions were a little vague, so I’ll be explaining things more thoroughly in subsequent posts. 

Western Mythic/Literary Archetypes Associated with the Signs

Aries—Ares, Athena, Adam, Lilith, Samson, Lancelot, Xena

Taurus—Narcissus, Adonis, Io, Edenic Eve, Snow White, The Evil Queen, Isis, Theseus, Edenic Adam

Gemini—Hermes, Castor & Pollux, Cain & Abel, Puck, Eris, Juliet, Peter Pan, Robin Hood, Enlightened Eve, Tinkerbell

Cancer—Greek Noah, Themis, Osiris, Selene, Heracles, Biblical Noah, Pinocchio, Cinderella, Derceto, The Fairy Godmother

Leo—Helios, Ra, Artemis, Hestia, Solomon, David, Morgain, Bathsheba, St. Genevieve, Tom Sawyer, Arthur Pendragon, Dorothy

Virgo—Prometheus, Hephaestus, Hermes, Demeter, Pandora, Cain, Mary Magdalene, Wendy

Libra—Apollo, Aphrodite, The Fates/Muses/Furies, Lucifer, Medea, Circe, Astraea, Ishtar

Scorpio—Hades, Satan, Persephone, The Sphinx, The Beast, Alice

Sagittarius—Zeus, Dionysus, Hera, Lady Godiva, Huckleberry Finn, Jane Eyre

Capricorn—Cronus, Pan, Rhea, Azazel, Moses, Titania, Mother Goose

Aquarius—Uranus, Ganymede, Hebe, Eos, John the Baptist, Merlin, Salome, St. Ambrose

Pisces—Eros, Aphrodite, Poseidon, Amphitrite, Jesus Christ, Mary, The Muses, Ondine, Uncle Tom

D&D: How to Use Character Arcs as a Dungeon Master

In my previous post on character arcs, I talked about how a player should determine how they want their character’s arc to begin and end. It was from a player’s perspective. But how does a DM write an adventure that will make that player’s arc happen?

First, get the information you need. Ask your players to each determine how their characters will begin the campaign and how they want them to change by the end of it. Then ask for copies of their character’s traits, flaws, ideals, and bonds. Note whether a player’s character is going to die tragically and if they are okay with that. With this information, you can give the players what I call a moral quandary, personalized for their own character’s arc. A moral quandary is giving the player two difficult options that the player must decide how their character would choose. The character should lean to one side of a moral quandary at the beginning of an adventure, but gradually start to lean the other way as their arc comes to completion. 

For instance, a cleric might be presented with a choice to kill an evildoer or merely capture them. If the cleric is heading down an arc where their ideal changes from “all life is precious” to “evil must be stopped at all costs” in their character arc is going to make very different choices in that situation depending on where they are on their arc.

Let’s figure out how we can use this info as a DM and where to put moral quandaries using a 9-point story structure. These are not an entire campaign, but you can use each point as a fixed point in the narrative; a story outline based on the characters’ arcs. Plenty of different stuff can happen between each point, but the points must happen to create a robust story.

Call to Action

The player is given an initial call to action. Essentially, a moral quandary disguised as a quest hook. Try to have a separate but related call to action for each player. Ideally, the players should refuse the call to action, as they haven’t been “changed” yet. If they play to their characters’ initial backgrounds and traits, they will refuse the call. You can even enforce this by loading your call with descriptions of how the character is feeling. “You are offended that someone would even offer something so morally reprehensible to you, despite the fact that you could use the money.”

A good-hearted rogue is starting a tragic fall arc and is offered a chance to make millions from some morally questionable actions involving an evil regime, but decides it is wrong. An innocent paladin starting a coming of age arc could be offered a chance to rise against an evil regime, but values their own safety. A studious apprentice wizard starting a corruption arc is offered power in exchange for service to an evil regime, but decides they can get power on their own.

Inciting Incident

Something happens to force the player to action, whether they are ready or not. Try to come up with an inciting incident that involves all of the players, not just one. The inciting incident can act as where the adventuring party finally meets.

The evil regime in the Call to Action ends up invading the players’ quiet suburb to enforce martial law. The players escape or fight back or else they and their loved ones die or are enslaved. The rogue decides to run from their debts by joining the party. The paladin has seen firsthand what the regime can do, and will now join the party to find someone else who can help them stop it. The wizard seeks out more power to stop the regime.

1st Plot Point

The players learn the first shreds of information about the overarching narrative of the campaign. After the inciting incident, some characters might not be convinced and want to turn back. This gives them a reason to continue onward together, as a team. There should be no turning back from the 1st plot point.

Players learn how this evil regime has been spreading across the kingdom. It still holds many mysteries, but its power is great and threatening. Its power is centered in a capital city, which the players now opt to travel to in order to find the things they currently desire.

1st Pinch Point

A pinch point is the first real display of power from the antagonist or opposing force. In D&D this should be actual combat, though it doesn’t have to be. As long as the players see firsthand what the antagonist can do to their characters, this part will add the tension/drama that it should. If you want to have a 1st Pinch Point for each character, then this display of force should directly target the player’s character arc and spark the desire to change through a moral quandary. It’s an awakening. Create tension by ending a session with this pinch point.

The players come across a thieves’ guild run by the evil regime. The rogue takes note of how rich, glamorous, and lawless the life of a criminal is to spark their tragic fall arc. The paladin realizes how deep the corruption of the world runs and sparks their coming of age arc as their innocence starts to fade. The wizard realizes how much resources the evil regime has, and wonders what sorts of power they had in mind for him sparking their corruption arc.

Midpoint

More info is revealed about the antagonist and the perception of the characters change. They have an epiphany and decide to continue onward through their arc. This can, and most likely will, happen at different times for each character and their varying arcs.

The players learn about the leader of the regime. They have been pushed to the breaking point by the regime’s forces. The rogue decides join the regime and start doing crime for the regime and acting as a double agent against the party. The paladin no longer cares about finding someone else to help them stop the regime, vowing to end it themselves. The wizard gets an unholy tome and decides to learn how to make a pact with the demon the regime mentioned to overpower the regime. They are all still heading to the capital, though now with severely divergent goals.

2nd Pinch Point

The antagonist reveals their full power and threatens the completion of the characters’ arcs. The entire party should, in general, be at their lowest moment and completely without hope. This should happen at the same time for everyone. Ideally, end a session with this pinch point to create a cliffhanger and highlight the hopelessness.

The players reach the capital of the evil regime. The rogue is faced with a moral test, where they will be offered riches and allowed to live if they rat out their adventuring party. They choose to take the offer and are betrayed by the regime’s leader and sentenced to death anyway. The paladin comes face to face with the regime’s leader after being ratted out by the rogue. They fail the encounter and barely manage to escape with their life. The wizard is also defeated and their unholy tome is destroyed in the battle. The rogue is imprisoned and the paladin and rogue escape the leader and are being hunted in the capital.

2nd Plot Point

The last piece of the puzzle has come together in the second plot point. The characters finish their arc and learn how to overcome the antagonist. This can happen at different points and doesn’t have to happen quickly. For a tragic character, this is the part where they finally meet their end. Tragic characters fail to change or their change is self-destructive and they fail to overcome the antagonist of the story (tragic, isn’t it?). Think of this part as a moral quandary that characters’ finally “know the answer” to, as far as their character arc is concerned.

The rogue tries to escape, succeeds, but heads back to the thieves’ guild instead of his adventuring allies, and they ultimately betray and kill him. The paladin’s innocence is shattered and they gather rebel forces over time to take on the regime’s leader, becoming a leader themselves. They also find an unlikely ally in the wizard, who has finally succumbed to evil. The wizard still doesn’t know how to summon the demon, but they have already gotten a taste of evil’s power by performing vile rituals on captured regime members and will now use their power for vengeance against the regime’s leader.

Climax

The characters finally face off with the antagonist. The promise set out at the beginning of the campaign is fulfilled. The characters, having completed their arcs, are now changed enough to be able to defeat the antagonist. This should be the players at their most powerful and should be the most epic battle to take place in the campaign.

The paladin’s rebel army and the wizard’s evil magic face off against the evil regime’s leader. The battle is long and epic, but the characters succeed, freeing the kingdom of the evil regime.

Resolution

The game shouldn’t abruptly end after the antagonist is defeated! There needs to be closure. The players’ characters find out the results and the aftermath of defeating the antagonist, for better or for worse. In the case of an ongoing game, you should now set up the next campaign here.

The paladin and wizard regard each other as unsteady allies who no longer have a common enemy. The wizard seeks more power, even seeking to possibly usurp the void of power left from the regime’s defeat. The paladin and their rebel army gather in defiance of the wizard. The paladin tells the wizard to leave the kingdom and not threaten anyone with their evil, else the paladin will smite them down. The wizard, not having many spells left after the battle and not being ready to face an entire army, teleports away to parts unknown with a puff of green smoke. The paladin is placed in power, and the wizard now acts as a looming threat. Perhaps an NPC and villain for the next campaign?


This character arc outline is not cut-and-dry. You should use it as a guide, not a rule. Some characters might abruptly choose to change. Some will reach different parts of the outline at different times or out of order. Some characters might waffle between two sides of their arc before deciding which side they want to be on. But the more you talk to your players about it, the easier it is to come up with a generalized plan for your campaign’s story. Heck, your story might even change from what you initially intended by the end of it (a character with a bad roll can still end up dying before even finishing their arc!) But hopefully this will aid you in making the players love their characters even more and have fun as they grow and change in your campaign’s world. That’s what it’s all about, after all.

anonymous asked:

i'm in love with your story and i've been wanting to make one of my own but don't know how to get started, both story wise and gameplay wise. any tips?

Sandy’s Masterpost for writing a Sim Story!  ✍

I’m so glad you like my story! But I know how it feels not knowing where to start when it comes to writing, it’s so frustrating. So, below I’ve put together a bunch of helpful links that I’ve either used in the past or believe will be useful to you, and any other aspiring storytellers! 

🌸 Inspiration: 

🌸 Planning:

🌸 Plot Developement:

🌸 Character Development:

🌸 Dialogue:

🍁 Pose List Rec:

🍁Lot List Rec:

🍁 Mod List Rec:

🍁 Tutorials:

🍁 Reshade:

❄️ Character Page Rec: (for your blog)

❄️Editing:

❄️ Some Stories/Legacies that Inspire Me:

This is everything I could think of nonny! I am by no means a great, or even a particularly good storyteller, but I sincerely hope this post helps you, and others, get started! If you ever want to chat more, come off anon and we can talk story ideas! And that applies to all of y’all! 💖

y’all: i’m not gonna watch the trc show if [x] and [y] and [z]

me, with my popcorn already popped: ……………………………