Tag Archives: Adventures

Killing in the Name of: Dungeons & Dragons and the unbridled passion of slaying the adventuring party – A few lessons learned

For the last three gaming sessions, I’ve been guiding my players as they attempt to uncover and solve the mystery surrounding the small fishing town of Sharholme. People have gone missing. There’s a taciturn lighthouse keeper who no one likes. Weird and exotic fish are turning up in the nets of the fishermen. What did it all mean?

Well I’m not going to give you all the details, where’s the fun in that? No, I’m going to give you an insight into when the adventuring party were fooled and the Dungeon Master commits to running the adventure to its inevitable end, whether that’s the final encounter or much sooner!

‘Some of your characters may die towards the end of this adventure – I’m testing the adventure on you guys.’

These were my first words when describing the adventure idea I had to my players, a week before they started. Perhaps subconsciously I was giving them a clue to play tougher or optimised characters, or perhaps I was trying to defend myself from any fallout that may occur if it all went wrong. Whatever the reason, the very next gaming session we started the adventure.

The beginning was cryptic – they were called north, along  the Sword Coast by a voiceless whisperer who would not allow them to rest unless they were moving. A brief stop at Candlekeep is all they needed. Get there, and perhaps some clues could give them answers.

But they will never know.

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Photo by ahmed adly on Pexels.com

The first adventure was to warm them up. I was going to let them be goddam heroes and throw small hordes of easily defeated monsters at them. I was going to give them hostages to break out in a daring escape, maybe face off with the enemy leader and thwart the even stranger, deadlier nemesis who defines the backdrop of the narrative.

Alas, it was not to be. They believed they had reached the final encounter. They had not. The Prince Under the Reef was not the monster’s commander as they thought. I’m chuckling as I write this because some of them will only realise as they read this… yeah, it gives me an amusing tingle.

The adventuring party had, in fact, only reached the third to last encounter in the natural dungeon setting. They had suffered some terrible wounds and faced some unsightly horrors, many of them surprises. Up to this point they had advanced in a somnambulistic way perhaps thinking that, being the first part of a what was promised to be a long running campaign, they would have it easy. To some degree this was right.

grey skulls piled on ground
Photo by Renato Danyi on Pexels.com

Allow me to explain:

As a DM I had done my research, read endless articles by other DMs & GMs, consulted the oracle that is Reddit and gone back to basics. I even wrote this article, which, if any of them had read it, may have given them a clue into what to expect. I threw low-challenge creatures at them, made the monsters act in a fantastically pulp manner, unthinking but not to be mocked.

Then I hit them with a monster whose challenge rating was a single point higher than their party level. He was a large humanoid, fighting on even terms. He didn’t even rush them, instead he paused and waited to see if they would parley, to see if they could talk to him and see if they could find peace. They outnumbered him but they seemed tired – his minions had carried out their task of killing the adventuring party with a thousand paper cuts. All he had to do now was thrust his trident into the open wounds and finish them off.

What followed was five rounds of bloody mayhem.

The bird-man monk fell first, the priest next, followed by the halfling rogue who couldn’t quite dash into cover, leaving the archer as last-elf-standing. It was a bold gesture to cast away that bow and draw a long sword, after-all, the enemy had thrown his trident at them previously, disarming himself in the process. Both combatants were heavily wounded.

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Taken from media-waterdeep.cursecdn.com 6/2/19

The elf stood little chance.

While the fight continued, his comrades bled to death on the wet subterranean sands of the oceanic grotto. Some would stabilize but be useless to sway the flow of battle. As the sun’s final rays set against the turbulent waves above, my heroic adventuring party slumped to the ground in a final gasp below the waves.

As the DM, I had defined my dungeoneering destiny and finalised the characters fates by not holding back. I had lulled them into a false sense of security and then pounced upon them with a well calculated challenge. Or so I thought.

The daft thing is: I expected them to get to the final encounter and then suffer tremendously through a terrifying race across an underground, underwater grotto ala Indiana Jones’ cinematic dash, avoiding natural traps and pitfalls as they barrelled along heroically.

In a nutshell, the DM did not hold the player’s hands and guide them through. I realised that if there is to be any fun in the game, it has to be risky. I knew this already, but the temptation to guide the players through the story had flattened the experience for me… it had simply lost some of its fun.

As for the players, well the fun reached a happy height above our gaming table. Although they were getting ripped to pieces, bleeding all over the place and possibly facing death (well, actually they did) they all seemed happy to go along with it.

Here’s the kicker for the players though – that challenging encounter left the monster with just twelve hit points. TWELVE! That’s one good or two average hits with a long sword… but the dice rolling was poor, and I was using my specially reserved Dungeon Master Dice. They never let me down.

So there you have it:

Dungeon and Games Masters, don’t be afraid to roll up your sleeves and kick their arses if it’s all going wrong, you’ll all enjoy it!

And Players; never trust the DM. Ever.

We’re sly a bunch.

J.D. Ferris

The Godless Realm – Update and Changes Made

We’ve been quiet on the social media and website front. We’re not lazy. We’ve been busy!

Four weeks ago I enlisted the help of an experienced RPG gamer and writer named Mr James, to bring some much needed energy and creativity. In that time we’ve packed a tonne of lore and story into the Godless Realm setting, making it meaty and plausible in equal measure.

Fantasy RPG Pulp Adventure Hero Knight Cavalry D&D
Edited Image, Originally by David MacKenzie from Deviant Art https://www.deviantart.com/jagged-eye/art/Lee-Warrior-4a-435067509

We’ve decided to make the Godless Realm system neutral, meaning it is chock full of lore content, with plenty of hooks and ideas to create your own adventures in whatever RPG system you desire. We still aim to release adventures and story arcs to fit into the Godless Realm, and we have planned several evolutions to the Godless Realm setting in the future as the world populates and widens.

The extra help from Mr James has given me time to rewrite the Pulp Core rules in two important ways; firstly it is streamlined and the probabilities now work properly. For a success, a dice roll now requires a single score of a 6. Secondly, we realised that the Core Pulp system has flaws and lost its direction. Based on the feedback we received, I’ve really hit the system hard and cut out irrelevant details and mechanics to tighten everything up. The development process, based on your feedback, has really helped us get this right. I am now much happier with the system and we’ve developed some interesting mechanics.

Pulp Fantasy, as it is currently called, comes in three documents which we are releasing to our reliable readers and testers soon. These will be a Player Guide, a Games Master Guide and a tome of Creatures & Inhabitants. We felt this would help keep the attention and excitement for players new to the gaming world, and keep some of the secrets for the GM.

mistings

The magic system has had a complete overhaul and now works in a fashion more inline with a ritualistic and narrative style. It is based on ritual preparations but also allows for desperate unprepared spell casting. We hope this makes it flexible and adaptive with countless possibilities for players and GM’s to create their own spells. We’re even encouraging the players to write down their spells as they think of and use them, essentially creating a tome of personal spells which will help them improve with character advancement. Best not lose that spell book, eh?

Bad Guys

Monsters have been a bit of a bugbear but we’ve settled on some nice ideas to break the mold of typical gaming habits. The biggest change we’ve implemented is the size and actions of larger creatures.

Larger monsters, though rare, will not act at a single point in the combat process each turn. Instead they will be able to act as several individuals, making special attacks based on the number of limbs and special abilities they posses. Now, a player will have to think twice about charging forward to get stuck in, because that Dragon hasn’t blown all its actions targeting the warriors in the party just yet, so getting too close is still dangerous. Players will have to think about their actions and weigh the chances of getting too close too soon.

femaleknight

Artwork Desires

On a little side project, we’ve been seeking artwork to help bring the world and documents to life and poke some imagination back into our minds. This has been difficult. We are not in a situation yet where we can pay artists to bring our world to life, so instead we’ve been relying on stock images and editing what we can get our hands on.

We’re working hard to make sure that the images we use are properly credited – we’re the Creator Consortium, we want people to be recognised for their hard work.

One problem we have encountered is the over sexualisation of female adventuring style stock photos. While this may prove titillating to some, it isn’t very inclusive. Since we’re looking for more realistic fantasy stock images, we may have to dig deeper to find something less bosom-heaving for something like more gritty realism. Watch this space!

We’re focusing on a process which will allow us to take any stock images and create some cohesion to make it less jarring to look at. Hopefully some nice black and white water colour effects will help the mystery blossom too. There’s a couple of examples dotted throughout this article, and we’re accepting criticism if you can show us a few tricks!

But we realise that people may want to print our documents at some point, so we’re going to be supplying some print easy options too. No one likes to spend a fortune on inks!

There’ll be a blog post this week to show how we’ve been editing our chosen stock images and I’ll go into detail about how to credit and reference people correctly for their hard work! It’s been a fun learning curve.

Until then…

Thanks for reading, I’ll be back with another update soon.

Mr Ferris

Here’s how we made our images!

Fantasy RPG Pulp Adventure Hero Knight Cavalry D&D

An Intro To The Pulp RPG Modular Framework.

An Intro To The Pulp RPG Modular Framework.

The Future Of Pulp RPG And You.

Dev Blog: Pulp Play-Test, Feedback, Zombies & Editing

Warhammer Quest, Blackstone Fortress – Hero Quest in Space or More?

Blackstone Fortress is the latest adventure board game to come from Games Workshop set in the grim darkness of the 41st millennium, Warhammer 40K to most nerds. It is labelled as Warhammer Quest. For those you in your thirties this will take you back to the glory days of heroic ineptitude – the golden age of adventure. For everyone else, it’s the latest in the Warhammer Quest Series. Alongside Blackstone Fortress in the Warhammer Quest series are Silver Tower (currently discontinued) and Shadows of Hammerhal both of which are set in GW’s fantasy setting, Age of Sigmar. All of these games follow similar game styles and mechanics, so if you’ve played one you should be able to pick up the others with relative ease.

Blackstone Fortress promises exploration and adventure in the grim darkness of the 41st Millenium, a vast void of horror and terror.

It delivers.

With character choices ranging from outlawed Artificial Intelligence robot, rogue trader and Imperial Navigator to fanatic, Ratling snipers (who are twins) and alien hunters, there should be something for anyone who has an interest in grim and gritty science fiction.

A few of you older players out there who have not ventured in table top adventure games in some time may be thinking ‘is this just Hero Quest in the modern era of gaming?’ I think it’s a fair and realistic question. So is it just Hero Quest in space? Well yes, at least in concept.

The Goal

The whole point of Blackstone Fortress is to find your way into the Hidden Vault, deep inside the drifting hulk of the mysterious Blackstone Fortress. To do this, players need to discover clues during their expeditions. These clues will lead to special scenarios called Strongholds, which will eventually lead to the hidden vault. Even when a stronghold attack can be mounted, the players still need to get to them, with a 4 card expedition, purely of combat – more of this later. Getting to the hidden vault will take a lot of gaming hours, but I am certain that it will be a challenge and a worthy one at that!

In the game fluff, the Blackstone Fortress learns and adapts after each incursion of adventurers. Legacy cards add to the danger in this aspect, increasing the threat level for some monsters, such as the Spindle Drone. They up the ante during the expeditions. Once in play they stay and generally add flair and layers of danger to the expeditions. Once there are no more legacy cards in left in play, you’ve run out of time, and lose the game, no matter where you’re up to!

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The Precipice section of the board game, from Games Workshop’s Blackstone Fortress, with the character ships, two varieties of the Grav-lifts and the Leader token.

Let’s take a look at the goods first though…

Manufacturing Quality

The important bit to most gamers and war-gamers: are the miniatures any good? Yes. The miniatures are amazing and better still, they clip together – no glue required. You just need something to cut them from the plastic sprue. This took me a couple of hours whilst watching a series on Netflix so anyone with more experience may get it done in half that time.

The miniatures are constructed in such a way that they appear seamless, which took a bit of jigsaw magic to see how they fitted together – but as previously mentioned, no glue is required, so you can take your time. The same great GW quality of miniature manufacture is found throughout. I think my Kill Team just got bigger too – the models are in hot demand, check out ebay if you don’t believe me.

The game tiles are a really thick and good quality card. They pop out easily, which reduces tearing of the precious printed sides. They’re double sided but unlike Imperial Assault by Fantasy Flight, there’s not a million small pieces to get lost or confused with. The game counters are all pretty unique, with the majority of them being wound tokens (which are double sided for critical wounds). The rest are for game effects and inspiration points, which I’ll mention later on.

There are three rule-books.

Don’t despair.

warhammer blackstone fortress sci-fi horror gamesworkshop Games Workshop
Five books from Games Workshop’s Blackstone Fortress. One is fluff, one of rules for Warhammer 40K and the other three are for game play.

Each one is written chronologically for each section of the game as you progress. They are written to the usual standard for GW, guiding you through in simple steps. The terminology may be a little different if you haven’t tried GW games before, so take your time. If you are familiar with any of the GW games, such as Warhammer 40K or Age of Sigmar, you’ll find the turn sequence and rounds familiar.

Once you have the turn sequence in your mind, it’s pretty straight forward from there. There is a bit of juggling with the game on the first play through, as you consult different books to figure out when you can heal or how to carry out certain actions. This is a minor point, however it does highlight the importance of reading through the rules before the gaming session!

Blackstone Fortress is split into two game sections by exploration cards; challenges and combats, which are drawn randomly from the Exploration card deck. The exploration deck is large, 36 cards, so it should always be a different combination. You randomly pick 4 challenge cards and 4 combat cards which make up the Exploration deck for the Expedition. When combined, these are like a campaign story arc. These are shuffled and placed on the Precipice board, which is like the character staging area.

There are 18 cards each for both challenges and combats (36 cards in total). By drawing 4 of each randomly, you’re looking at 1 in 18 chance of drawing the same cards each time you create the exploration deck. The chances of drawing the same 8 cards are something like a 1 in 105,000 chance, by my shoddy calculations. That’s a lot of gaming before statistically you get the same play-through.

Challenges

The challenges are narrative encounters which do not make use of models and board pieces. They are usually a way of grabbing gear and tech (treasure, clues to future explorations), usually by causing damage to assailants. They include short narrative pieces such as ‘Get them all!’ where the players are required to inflict as much damage as they can to a fleeing group of hostiles – anyone who can deal 4 or more wound gets to draw a card from the discovery deck. Simples.

On a balancing note, these may be to help characters build up with less risk than combats or offer special cards for future explorations.

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The Precipice section of the board game, from Games Workshop’s Blackstone Fortress, with two of the character ships, the Destiny dice, Exploration cards and Discovery cards.

Combat Setup

Combats involve board pieces and miniatures and are the biggest portion of the game. Each combat exploration card shows how the map tiles are set up so anyone can setup the board while others are chasing through the rules books or determine where the bad guys and monsters are placed. They also mark where certain mission specific specials may be placed.

Keeping track of the game during combat is achieved with the Initiative tracker. The players get the option to attempt to help each other by swapping places with allies or attempting to swap their place with the enemy to get the drop on them. This all happens in the Initiative phase, followed by the Gambit phase. The Gambit phase can be costly as an action dice has to be spent, followed by an ability roll to determine success. These mechanics help to really bring the tension to the game, forcing the players to plan ahead. The players feel the pressure when the cards are redrawn each round, as their plans will likely need to change.

Hostiles and bad guys are drawn from the Encounter cards deck and placed in the starting positions according to the combat exploration card, which are given a specific place on the board and the tracker. The number of hostiles on a card are determined by where on the tracker they are, for example, you may get 2 drones on position 1, or 4 on position 2. Hostiles gain reinforcements each turn and are spawned on their turn in the Initiative track with a roll of a 20 sided dice, called the Blackstone Dice (which is black and looks like a stone if you’re not familiar with 20 sided dice). This adds threat, because even if all the bad guys are dead, they can keep re-spawning as happened with our test games!

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The Traitor Guardsmen for Warhammer Quest: Blackstone Fortress by Games Workshop

Hostiles in the game are given over to an AI system, where they react depending on a dice roll. It is not completely random, as each action they are given depends on a set few variables which allows them to act organically. Each set of rules for the monsters appears on very handy cards, giving you everything you need to know in a single place. So much easier than consulting multiple books!

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The Traitor Guardsmen for Warhammer Quest: Blackstone Fortress by Games Workshop. The reverse side shows how the AI results on a dice roll.

Hostiles are terrifying in their own specific ways; if they’re not ripping you to ribbons with frenzied claw attacks they’re punching through your armour and ignoring your save rolls with shocking power! Case in point, UR-025 (or Mr Robot man to you and I) is a heavy duty fighter, with a better chance of rolling saves against wounds, with an added re-roll too – then he gets hit by a Negavolt Cultist and suddenly he has no armour saves. Surprises await those unprepared!

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Game tiles for Games Workshops Blackstone Fortress. Double sided and durable for all your grim and gritty science fiction adventures in the hopeless voids of Warhammer 40K!

Characters in the Game

At the start of each combat round Characters are allocated action dice, regular six sided dice. The dice are stored on their character card with whatever score they rolled. These dice are used / spent on actions which require a set number on one or more of those dice. Moving require a dice with a score of 1 or more, other actions may require 4 or more on a dice etc. There are standard actions and character specific actions, which are found on the character cards, usually weapon actions.

Explore with caution. When you are wounded the dice you roll at the start of each round are blocked, covered by wound markers, meaning the potential number of actions you can make are severely impaired! Fear not however, each round an extra pool of destiny dice are rolled which any one can use – but the power of the warp means that any duplicate scores on these dice are removed, so you better roll fresh to get the most out of destiny! A lot of dice multiples came up during our game, causing tension and nail biting in equal measure.

A second type of dice rolls are attribute dice which are used to evade damage, carry out special tasks and try to recover wounds. There are wounds and then there are critical wounds – wounds can be recovered during the combat part of the game, whereas critical wounds require a trip back to your ship to try and heal. As with Warhammer Quest back in the golden age, however, there’s always a chance something may not heal fully…

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The Kroot Tracker for Warhammer Quest: Blackstone Fortress by Games Workshop

The dice rolls are easy to interpret: you either fail, succeed or critically succeed. Each of the ability dice (6, 8 and 12 sided dice) are colour coded to match the information on the character sheets. These dice rolls are not always friendly, you can feel like the end of times can result from a failed roll. On the plus side, there’s very few calculations as in some GW games – just check to see how many symbols you rolled and away you go. GW have followed Fantasy Flight in this – so don’t lose those dice! Otherwise you could end up paying for more specialist dice in the future…

Toward the end of the combat sections, characters need to escape by summoning the escape lift, usually under duress. There’s no way out otherwise! When the remaining characters get to the escape lift, they have to decide to carry on fighting the growing horde, or to head back to their ships to lick their wounds. Heading back restarts the exploration so if you really need to finish you’re gonna find it hard to do!

When a character kills a number of monsters on their turn, they can roll the Blackstone Dice to see if they gain Inspiration points, where they are required to roll under the wounds they caused on a 20-sided dice. Inspiration points are used to re-roll some dice throughout the game, usually the activation dice at the start of the round, or give flip your character card over to increase their effectiveness. A bit like leveling up!

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The ‘Inspired’ Kroot Tracker for Warhammer Quest: Blackstone Fortress by Games Workshop

At the end of each round of the game, in combat or otherwise, a leadership token passes around the table, allowing each player to call the shots in equal measure (with a discussion, of course).

First Impressions & Thoughts

In a single evening gaming session, including learning how to play the game, we managed to get through 1 challenge and 2 combats. Assuming we don’t have to relearn the game, we could probably manage drawing 4 of the Exploration cards, which equates to half an Expedition. At this rate, in theory, we could spend hundreds of hours playing this game. So unlike Hero Quest, there is a seemingly limitless combination of events from challenges, combats and encounter (monster) cards. There’s probably scope for fan made or self made encounters too, let’s watch the internet pensively for these.

The game has a very nostalgic feel to it, similar to previous board games from GW decades ago. The hostile creatures are just as deadly as you’d expect, in their own ways. Players without prior knowledge will make mistakes which make the game intense and ups the challenge rating greatly. In this way, very much like Hero Quest!

The open form and random generation of each Expedition is a similar mechanic used by other games and it works just as well in Blackstone Fortress. It will take some serious play testing to get through all of the different combinations. In our initial play-through we had four players and one person acting as the games master. We felt this worked best for our first game so we could focus on the different parts of the game – just like in Hero Quest! You can play this game solo or without a games master, as the monsters follow an AI system, meaning all you need to do is move the pieces around and roll the dice.

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Dice, lots of six-sided dice, with the special ability dice, from 6, 8 & 12-sided dice. The 20-sided dice is the Blackstone dice…

What we did wrong…

We went wrong in some parts, missing the exploration round which would have made the combat a little easier if we had rolled on the event table. Although, the table isn’t all good – sometimes it can go horribly wrong… So it’s not all bad!

Why did we miss this section? It’s right at the end of the combat book, and there’s a lot in some sections. As we frenziedly played through the rounds we completely missed it! No one said nerds were thorough. So be sure to have all books to hand and refer to them often.

Value Ratio

It is a thorough and playable game. It has the same high quality of most Games Workshop products, but you will pay through the nose for it if you don’t shop around. I was lucky, I found an ebay seller with about 20% off the RRP, I then applied a free 10% discount from ebay to get it even cheaper.

If bought from a third party retailer the price becomes a little more affordable for a game of this type. The miniatures are worth a heavy bit of gold. The card tiles are sturdy. Even the box is sturdy (I mean, it has to be, it’s a heavy one). You get all the dice you need.

Edit: This may look like a silly thing to say, but £95 is a hefty price tag for any board game. Shop around, GW will get their money, so it helps smaller businesses if you go through them!

Since this is a complete game (£95.00), there’s no expansions as far as we know, and given the replay ability of expeditions is very high, it is feasible to play over a hundred games. Maybe even twice that. So you’re looking at about £0.5 – £1 per game. Let’s be conservative and say each full expedition takes 4 hours. You’re looking at £0.25 to £0.50 per hour of play. That’s really good money for a game that should be different each time. You’re snacks will cost you more to eat!

In Conclusion

The Feels – a dark, desperate setting with mechanics that fit those feelings. Thrilling, because when you do score a critical roll it feels like the cosmos is backing you up – any other time it’s trying to eat you!

No silly measuring distances, just count the hexes. Can you draw a straight line from the centre of a hex to the hex your target is standing in? Then you have line of sight, roll your dice. It’s that easy.

Edit: Downsides include what some players have described as ‘chaff’ play. This means that a few players think the amount of combats that are required to complete the game can get a bit samey. GW, do we need to go through quite so much to complete the game? On a personal level, I think it’s important to understand that the fighting during the combat sections are not about clearing the board – it is about surviving the battle and gathering the clues before time runs out. Perhaps GW could do with giving us more information on the bigger picture of the game earlier on.

So is it like Hero Quest? Yeah I think it is, it certainly has that heroic quality to it, and I’m sure it will one day be one of those nostalgic games we all reminisce about.

If you’ve got any questions or thoughts, we’d love to hear them! you can find us on our discord server.

You can get a few more articles by us on other Games Workshop products here or here.

Enjoy!

 

*Edited 24/12/18 to reflect some feedback from our gaming group and affiliates.

 

Dev Blog: Pulp Play-Test, Feedback, Zombies & Editing

It’s been a tough couple of weeks here at CC.

We have NaNoWriMo underway (John tells me he’s smashing his word count) which is taking up some of our time, but despite this we’ve managed to get some play-testing underway for Pulp RPG’s first adventure module!

In the meantime I’ve been undertaking the proofing, editing and adding to the core rule-set or Pulp. I’m happy to say that we’re going to release a file with everything you need to run your own Pulp games with less than 20 pages!

Sounds small – but I think that if you condense much of the 5th Edition Players Handbook you’d probably get about the same – except that our character creation is so easy and swift you’ll be done in a matter of minutes.

For the next play test there’s a list of things we’re hoping to iron out…

  • Currently there’s information on vehicles, weapons and objects that we’re working on and we’re certain that they will fit seamlessly into the narrative style game play of Pulp.
  • We’re working on some simple player crib sheets for character creation and guides on how to play the game.
  • Maps, handouts (including a mission slide presentation) are all on the list for things we’ll be working on soon. There’s even a chance of in-character dossiers and mission briefings, all for free of course (don’t worry, they won’t self destruct!)

In the meantime, once we have the PDF sorted out, we’ll be posting information for anyone wishing to help us out by play testing with us – if you want to be one of the first to have access to the raw core file, let us know and we’ll start a list. Alternatively join our mailing list and we’ll keep you updated.

Finally, we’ll be looking for artwork over the next few weeks which we think can really bring Pulp RPG to life – if you’re not bad at this sort of thing and reckon you could supply a handful of page fillers, get in touch so we can discuss the idea further.

Don’t forget we have our discord server up and running, which we hope will give you all a chance to discuss ideas, feedback on play tests and generally have a great time getting eager!

We also have a portion of our website set aside which will soon hold our game files for unlimited access – we’ll let you know when we start to populate it!

Anyone else notice the zombies teeth don’t line up with the rest of its mouth?

J.D Ferris, CC

How to Write Single Session Adventures for RPGs (with examples)

Whether you’re new to RPGs like D&D or you just want a fresh perspective as a veteran, we’ve got some suggestions to creating a single session adventure in a couple of hours (which, over a week isn’t that long at all when you think about it).

Writing a whole campaign for table top role-play games like Dungeons & Dragons can be daunting, especially if you’re new to the role of games master (GM) or dungeon master (DM). It doesn’t need to be difficult, which is why I’m setting out how to write a single session adventure and how make it a worthy story!

Definition

A single session adventure takes place for a single gaming session – usually around 3 hours or an evening of game play. It is designed to resolve itself by player interaction at the end of the session, allowing the players to move their characters on. It is a great way to introduce yourself as a new GM to the game because the effort involved is minimal compared to writing a full campaign. That said, extra credit for proper design such as maps and non-playing characters really helps!

Single session adventures need to be concise, so some of the work the GM has to undertake can be a bit more intense: the game needs to start succinctly, the players need to be hooked in right from the start and the game needs to build up to the end smoothly.

I’m going to be running with an adventure example so you can see how it builds up. If you’re lucky I’ll throw in some diagrams to explain what I’m talking about.

Note: I’m not writing this with any game system in mind, although I’ll use generic fantasy elements like those found in D&D. The advice and technique should apply to just about any setting or game.

First Step: The Facts

Identify what the facts are in your adventure – this is the most creative part of the design stage because what you’re doing is setting the plot. The players don’t need to know these facts – it is their job to find the clues and put the pieces of the puzzle together much like a murder mystery show. The clues culminate into the facts and then there is a resolution, in games like Dungeons & Dragons this is normally the second to last encounter: facing the enemy.

Look on the facts of your adventure like the synopsis of a story or a film. It needs to be only be a line or two at most.

Example fact: A Hag is living near a village and has sleep-charmed one or more of the villagers to kidnap young children and take them to her grotto where she devours them or uses them in dark rituals to proliferate her coven. Travellers have also gone missing in the night, leaving all of their belongings behind in the small village inn.

From this simple factual synopsis, we have the antagonist of our story, the method and locations of their actions and finally a reason as to why – creating her own coven of hangs or witches.

Second Step: The Clues & Encounters

A single session adventure should have no more than 3-4 key encounters where the players are able to discover clues. Clues are simple bits of information that, when combined with other clues point the finger or give a direction for the players to investigate further, leading to the showdown encounter which is the resolution. Clues do not have to be combat engagements – your players will be playing different characters with different skills and abilities and you are going to want to provide something for everyone in some of your encounters. Each clue should involve a different style of play to accommodate skills and abilities. This is a story, not a series of fights.

Here’s a diagram showing ways you can organise your clues to make the adventure coherent to you and your players. It is not a comprehensive diagram, but covers the basics which should be more than enough for your single session adventure:

clues for resolutions

Route 1 is linear and fair for first time players. Route 2 starts with the first clue, requiring at least clue two or three to be discovered before heading to the final resolution. Route 3 implies that any clue may lead to the end resolution. Personally, Route 2 is my chosen style as it gives the players a natural feel for the progression of the plot and doesn’t lead right to the resolution after a single clue.

Examples clue encounters

I’ve picked four clues which the players may encounter.

The first clue is that a child vanished in the night from the family’s log cabin. The players can investigate the cabin and realise that there are no signs of forced entry, and under questioning the parents, the bar to the front door was still in place in the morning. Rogue like characters, or trap masters will enjoy setting up their own traps to see where the thief comes from, or analysing the events, possibly suspecting the parents (which is true, but the parents are not aware of their actions).

The second clue is that the elders of the village have been having dreams where they have taken up their young ones and carried them through the forest in the dead of night, to a stone altar where a beautiful woman waits in a strange scant clothing, a tall horned figure lingers in her shadow, never quite realised clearly. Stone altars, strange large creatures and witch-like individuals should inspire the lore masters and religious or cult focused characters.

The third clue involves tracking bare footprints that lead from the village into the forest. Outdoor characters and hunters / trackers will enjoy finding clues such as broken branches or torn clothing (matching the villagers nightwear). Nature characters such as druids will likely notice that the fauna of the forest is very quiet, and that there is evidence of corruption in the flora: leaves are slightly yellowed, new growth is not as vibrant or strong.

The fourth clue is optional, as the players may not try to set up a watch and see if another child or traveller goes missing. This clue / encounter should lead the party into the thick of the forest where the hag will be awaiting her sacrifice. The players will likely forcibly engage the hag, who will make her escape and let the horned figure do her fighting. Tracking the hag from here will lead to the final resolution.

If you feel the party is going too fast, you can include some other encounters as red herrings – bandits camped nearby the main road, wandering monsters which, once dealt with, turn out not to be the culprit!

You should write short introduction paragraphs for each area which gives the details the players need to start investigating. Use the clues you have already written to help you with this. My example is attached to the first clue – clues two and three can probably fit into the map of the village we’ve already given to the players.

“The abandoned cabin sits in shadow, empty of life. The door has been flung open, the bar that held it shut discarded on the floor. From the outside, the various windows have remained closed, firmly held shut by their wooden bars. Inside is cold, hidden away from sunlight and without a fire to keep the house dry. The three rooms are separated by door frames covered in heavy fabrics. The beds are disturbed.”

From this description, your players will want to begin their investigation of the various rooms, asking you questions and poking around for more clues. In this instance, it is clear that the kidnapper did not force their way in, suggesting there is another way into the cabin (which there is not). After a thorough search the players will probably conclude that the kidnapper came from inside the house and may suspect the family – which is another intense encounter which can develop from the clue.

Third Step: Draw the Players In

This is often referred to in RPGs as the plot hook – the device you use to draw the players in and make them want to participate in the adventure. For longer games that last several sessions you can play on plot hooks by enticing players one at a time, but in single sessions you can’t afford to spend the time tailoring the hook for each character.

This is usually the last step for me, as don’t often use personal character hooks (my players are pretty good at that themselves). Arguably this step could be the first or last for many GMs – it’s all down to how you feel about it.

Start the game by asking their characters why they are on the road or why they may be in the village. Take no more than 5 minutes to round this information up. If you have completely new players, you’ll want to do this before the gaming session.

You’ll find that some players are quite good at giving you a little bit of character plot themselves – likely they will provide you some of their own motivation.

Fourth Step: Extra Credits

Maps will be essential to the players immersion for a single session game. Keep them simple: a map of the village will suffice as a centerpiece for the gaming table or space. Make it larger than it needs to be so the players can add to it as they explore or learn about points of interest from the locals – particularly the outdoor type characters, your Rangers, Druids, Hunter etc.

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Have a dungeon, by all means, but keep it small, maybe 4-6 areas in said dungeon at most. Again, add elements that will give each class or character type something to play with to utilise their abilities such as traps, moral obligations, conundrums, and obviously monsters and bad-guys.

Have a two tailed ending. This is where the clues may allow for different approaches to affect the resolution of the adventure. This could be helping one faction over the other, using a faction to thwart the other or toppling both factions at once. In order for this to happen, consider two or more factions where one is a definite enemy, and the others as possible enemies.

In our current example, one of the townsfolk may have control of the hag, perhaps they hold a fetish which stop the hag from killing them, and so they use the hag for their own agenda, perhaps they suffered at the hands of the villagers years ago and now have an avenue for their revenge. You’ll need to edit your primary fact from your first step.

Fifth Step: Running the Game, Pacing and Rhythm

You should start the gaming session from this point and describe the setting to them from the outset. Leave no room for them to be in different places or occupied with other events unless you can trust the players to come together quickly. I’ve including an example opening description, feel free to use it as a template.

‘Winter in the northern reaches comes sharply this time of year and is unforgiving to the lost and weary. You have been travelling through dark forests for several days. Seeing the first village in what seems like months, you happily head to the warm glow of fires. The village is quiet as occasional snowflakes fall silently. Well wrapped stragglers hurry indoors, some clutching babies close to their chests or dragging resisting children indoors. A single guard approaches holding a torch high to see you all clearly in the growing darkness. She carries a well service sword on her hip. “We don’t see travellers much here – we’re shunned,” she points to a large, scruffy two-story building in the centre of the village, ‘You’ll find rest there, but beware, people have gone missing in the night, locals and travellers alike. If it wasn’t for the coming blizzard, I’d tell you to keep walking.” She nods curtly and continues her patrol.’

In this opening, we set the scene: winter and cold, the characters should be seeking shelter. We give them a location, the village. Being dark, children and being called in, which seems normal at first. The guard, although taciturn doesn’t provide the mission as such, but she does lay the ground work, suggesting the village is not a highly regarded by outsiders and that people go missing. Finally, the players are told a blizzard is coming, so they will likely want to seek shelter and stay a while. Once the players are at the Inn, they can begin questioning the suspicious and untrusting locals, which is an encounter in itself and helps you set up the clues.

So, it is a bit cliché, but this is a working example which I hope gives you an idea of how to draw the players in without making it seem forced. Nothing kills the immersion that keeping your players rigidly in the story, you need them to feel like they want to stay and investigate.

So far, we have the clues, encounters and the plot hook to get the players drawn in. You’ve already got the meat of the adventure set out, now you need to add the garnishes and side orders.

And the last bit…

Keeping the flow of the game is vital for single session adventures. More than ever the party must not dawdle about, wondering where to go next – if they do, they’re eating into the valuable session time and need to get moving. My simple advice here is to keep the players active. If they don’t seem to be doing anything, for example in the evening of the first night at the Inn, then get them to commit to sleep or carry out an action.

If the players are stumped and are not sure what to do next, bring an encounter to them, but make them work for it – don’t spoon feed them! If the following morning they are sat outside wondering where to start, add a small encounter where another child has gone missing: a mother’s shriek. If they still don’t investigate, the villagers gather around the house and begin weeping – another child is missing and then they active ask the characters to help them investigate, which should lead them to the first clue.

There you have it – a single session game planned out and underway in a couple of hours of work. If, like me, you get the odd 10 minutes here or there, jot down your ideas, add to them, let them grow.

If you give yourself a finite number of key encounters, the rest pretty much writes itself and you’ll be steaming ahead with tonnes of possible ideas, just waiting to be played!

That’s all for today!

We’ve been working hard on NaNoWriMo, Pulp RPG, adventures modules, proofing, editing and brainstorm, all whilst holding down full-time jobs. We’re getting there 😉

J.D Ferris, CC

The Awkward, the Bad and the Great – Dealing with the Players

It is often all down to the DM to run the game and make it a good one. There’s always the expectation that this game is going to be as good as the last one or better. It’s capitalism of the RPG world – they want more and more each session. But the game isn’t purely the responsibility of the DM; players are there too and the expectations of all involved should be considered.

The expectations of the players are more varied than we might think; some are there for the story, others for the thrill of the dice and fewer, thankfully, are there to roll dice and crunch the numbers like Scrooge on Tax Day. Unfortunately for you, as the DM, you have to balance all of these aspects, but you shouldn’t pander to them all – it’s your game too.

I’m going to assume that you play with people you know, that they are reasonable people. I expect there are unreasonable players out there – the internet is full of those stories, so I’ll touch on those style of players too.

This article is about the bad players, the awkward players, but also the good players – and we’ll cover how to deal with the bad ones, and encourage the good ones. But first, let’s talk about the ones that aren’t bad players, they’re just… awkward.

This is all my opinion, and you’re welcome to discuss them, share some stories of your own – we can only learn more.

human fist

The Awkward Ones

The awkward ones, like the Deep Ones, are often hidden at first. We may think that their first character is just a bit of a buffoon and that soon they’ll get into the story. Sadly however this will not always be the case; sometimes we see an Awkward One develop and we need to make sure they don’t derail the story accidentally, or otherwise.

slippery foot dangerous fall

Comedic or one-dimensional characters may seem like a little light relief the first time have a tendency to become habit for some players. The first time it’s all fun and there’s no problems, but often these players will see it as scoring social points for themselves; it will feel good for them and so the habitual pathology sets in, the player now thinking that funny = best game ever! Eventually this will ruin the flavour and immersion of the game.

How do you deal with this sort of situation? In my experience the best solution is tact. Quite often a player like this needs attention, which in itself is not a bad things; we all need attention sometimes, but for the comedic player, it feels new and good and they probably don’t realise.

Give them a bit of space to enjoy being comedic, but encourage wit and humour rather than outlandish and excessive. A quiet chat after the first session to explain to them that actually, yes it can be amusing, but the harmony of the game is broken by the ever increasing hair brained ideas. People will laugh, then chuckle, then get tired real quick of it. There’s no need to kick them out of the group, if they’re willing to keep their exaggerated theatrics in check. Promise to reassess the situation if they seem amenable to the idea.

police money finance funny

The DM who Hijacked your game thinks they know better or perhaps don’t realise they are not the focus of attention anymore. This is normally purely accidental; as DMs we can grow accustomed to the idea of being the focus of attention, since we run the game and very little interaction or action occurs without our help. This one is fairly simple, you call the shots for this game, don’t be bullied into changing your mind, unless of course the idea they put forward is sound.

Chatter boxes, or social annoyances, who talk about non game stuff and don’t know when to stop, potentially ruining the immersion and tension in the game. I tend to get this out of the system of players before the game starts by having a catch up chat, getting all the news out in the open and discussed before sitting everyone down. I also ask that all media that isn’t relevant to the game is taken away or turned off, or at least not in sight.

If it’s persistent, you can ask that player, politely and aside from the others at a later time, if they want to be there to play the game or just because their friends are there. It’s cool to hang out, but don’t detract from the fun of the game that we enjoy.

Showboaters just love the attention and want to get in on the action whenever they can. This isn’t bad for a game that needs a bit of life injected into it (especially if it has been a hard day at the office). What isn’t cool is overriding other players or butting in on their turns to act.

This is a hard juggle, but as DM you are justified to point out whose turn it is, and that if a player needs the showboaters help or advice, they can ask for it. Remember, we don’t want to cut off their enthusiasm, we just want to let them know that other players are entitled to the limelight too.

purple liquid poison on brown wooden surface

The Bad Ones

Before I get into the stereotypes of bad players, I’m going to talk about the nature of the conversation around your gaming table (or wherever). It is best to openly discuss with your players before you start playing what sort of behaviour you all find acceptable during the game and on the sidelines; I’m talking about racism and sexism, amongst others.

It is perfectly acceptable to have these as elements in the game, it is after all usually set in a backward or less liberal society than our own. For this reason, you should let people have a say in what they find comfortable. If it’s a no from them, it should be a no from you, and vice-versa. D&D is an inclusive and cooperative game, and relaxed participants make far better adventuring buddies!

If it does crop up during play, as the DM you should be able to tone it down and talk to the offenders after the game session to suggest they tighten up – it’s ok to hate another race of people in character, but it shouldn’t spill into the real world, the same applies for sexism. If it happens that either of these topics comes out into play and is directed player to player, rather than character to character, you must stop it right away. Call it out, quash it dead. You are the DM, and you run this game.

So, the Stereotypes…

Player stereotypes have come to be identified from the internet – the internet has given us names for the power gamers, the min/max’er, rules lawyer, and the metagamers. Before the internet (I know, was there ever such a time?) we just thought they were annoying players who happened to enjoy the same hobby, so we were delighted at having the new player along for the ride. How wrong we were!

I’ve run a good number of gaming groups beyond my primary group over the years, this is how I dealt with the unhelpful ones.

golden statue under blue skies during day time

Not to be confused with the player who creates an efficient or optimised character, the power-gamer and the Min/Max player are those who either have to have it all at the cost of nothing, or throw everything out of the window to maximise a single attribute, ability or power – and use it at every possible moment. Normally a maturity issue, or the feeling of helplessness in their real lives leads them to want to show the world that they can do the thing, and force it on every situation.

Dealing with these players can be tackled in two ways in my experience: critically evaluate any character sheet prior to your game, with time to allow for changes, or subject your players to constrained resources, for example, only character material from the core Player’s Handbook may be used. As much as I love unearthed arcana and supplemental material, they tend to promote niche ideas into the game which can feel over balanced. These players will then latch onto these cool ideas, and completely overplay them.

Rules Lawyers: Players who spend most of their game in the source material, or spend all their free time reading the books and remembering every single bit of detail are fine, even helpful, like little biological libraries you can call on just by asking. However, it is the ones who keeping calling you out as the DM for your mistakes or lax enforcement of the rules who are the problem. Nothing ruins a cool cinematic moment when the party are about to hit the jackpoint with an amazing idea when the Rules Lawyer calls a stop to the game with the immortal opening line “I think you’ll find…”

blur close up focus gavel

There are very simple ways to explain this or overcome the problem.

First, all the source books ever made for games like Dungeons & Dragons, every single one, are purely guidelines given the misnomer of rules. You, as the DM, are capable of overriding some of those rules now and again if you think it works or if you think for this occasion they can be fudged – heck, most of being a DM is fudging the rules to get the most out of player interactions.

Secondly, if you’re more diplomatic and want to avoid arguments in game, call upon your powers as a DM to completely override their opinion, but only with the promise to review the rules stated after the session and come to a compromise. Or, for this session only you can maintain your DM ruling, and endeavour to assess the rule for next time. Rules lawyers can be compromised with – if they don’t want that, then they are free to evaluate their expectations of your game. You’ll welcome them back with open arms if they wish to return.

Metagamers are those players who use information or knowledge beyond the scope of their character. Weirdly, if you’ve been playing D&D for decades, it is almost impossible to not metagame on some level. There are always repeat or extreme offenders though. It may seem like they’re just being lucky in their assumptions about that monster at first, but eventually you’ll realise that the metagamer is using his or her outside knowledge to influence their actions and maybe even the actions of others.

I deal with this foible in a few different ways: I can ‘reskin’ my monsters in their appearance or stats to keep the metagamer on their toes by describing monsters differently or altering their behaviour style and resistance qualities and combat abilities (which can get exhausting without proper planning). But what if the player is metagaming the plot or story?

Plot metagamers use their vast knowledge of fantasy and sci-fi to guess where your adventure story is going by relying on troupes, or popular fiction to base their predictions on. When this happens, it can be frustrating; the story is often the most creative part of the DM process. How did I deal with this? Well if you can’t avoid current popular stories from movies and fiction, I suggest you plan your adventures with an open ending – whatever the plan was, whoever is the bad guy, make them the second to last badguy, and put someone else who they’ve met previously as the badder bad guy.

Or tell them to get out. 😉

silhouette photography of group of people jumping during golden time

Good Players and Encouraging New Players

This is the nice, positive part to being the DM.

I’ll make this brief, but you get the idea:

Good players…

  • Role-play and encourage role-play from new and old players.
  • They go with the flow regarding your narrative choices and instead of sulking justify the response of their character to keep things going without selling out on their character.
  • They don’t argue with your choices but if they get really narked, they’ll talk to you about it after the session, like a grown-up.
  • They ask pertinent questions, sometimes thinking aloud and usually on their own turn.
  • They play balanced characters, even after 20 years of gaming and realise there’s more to the game than crunching the numbers.
  • Characters they create have flaws, and if they didnt at creation time, they relish the flaws that develop organically from the game – they don’t whine and resist when things go bad – its part of the game.
  • They don’t expect special treatment, but they enjoy their share of the stage lights.

Thoughts and opinions? I’m all ears!

J.D Ferris, CC

 

Opening Lines from stories of the last century – why you should master them!

“Frank; what can be more self-inspiring than the opening lines of your own novel?” – I’m not sure I cracked this first time, but here’s how your opening lines can be great if you’re willing to learn from the some of the classical heroes of literature.

All the best first lines in literature are vivid, granting us a clear image which kicks starts the story in a tone that carries us forward.

But how do they do it? What sort of ideas can you use to inject a fist full of Bruce Lee punchiness to your opening lines? Well I’ve got some ideas for you, with examples from my favourite fiction authors in horror, fantasy and adventure fiction, proving that one hundred year old ideas can still be used across genres and in modern writing.

What is a perfect opening line?

The perfect opening lines need to grab us, they need to open their broad arms and tell us that we’re to expect something more, warm arms that wrap around us and make us cosy up to the fact that we’re going on a journey. They may not need to set the tone of the whole story, but they need to grab us and either draw us in with succulent words or punch us in the face and toss us into the inferno.

Your ABCs

Some simple tips for your opening lines:

The most basic step is to name a character. Naming someone makes aspects of the content real for us from the moment we start reading. Got that Frank?

Now that we have named that fellow, it helps to see what they’re doing. Creating an action provides us with the sense of motion of going forward, even if it’s the most mundane action in the world like breathing. Frank, put that coffee down and come over here.

Next, we’re going to dabble in a bit of emotion, ideally something we can all relate to. Since we’re all humans (I guess you may not be?) we all feel, and we want to be sympathetic with the character. Sit down Frank and wipe that stupid grin from your face.

Combining these elements may not give the best or most exciting opening, but many great authors use the same ideas and ramp them up to a magnitude of thousand. We’re going to take a look at how writers tackle their opening lines, some modern and some from nearly a hundred years ago!

Howard's Conan

Here’s a classic example from The Pool of the Black One by Robert Howard, original author of the Conan tales circa 1920s:

“Sancha, once of Kordova, yawned daintily, stretched her supple limbs luxuriously, and composed herself more comfortably on the ermine fringed silk spread on the carrack’s poop-deck.”

In this grandiose opening line, we get a name, a title of sorts then an action followed by a second action and so on. I love this opening line because we get so much in one sentence that there’s no question who we are looking at; a woman with a mysterious background who is at ease and likely familiar with the finer things in life, probably a pirate!

But what if you want to set the tone in more depth?

To really highlight a sense of foreboding some authors use a hindsight perspective. This hindsight gives the reader a sense of time passed and already conjures notions in our mind that we’re to expect more. This perspective makes us ask questions without really giving us enough details. We simply want more. I draw your attention to Herbert West – Reanimator by Lovecraft, from the same era as Robert Howard:

“Of Herbert West, who was my friend in collage and in other life, I can speak only with extreme terror.”

This is a classic opening from Lovecraft which crunches familiar ideas together in a great juxtaposition; ‘friend in collage and other life’ and ‘extreme terror’ are not usual bedfellows. When I first read this line I was a little stunned – what happened to these two friends to invoke such terror?

Lovecraft’s voice here is very formal, we’re probably reading a journal or a confession, but also remarkably relaxed, as if the author has come to terms with whatever happened and reflects on past deeds.

Lovecraft also states these things as facts.

Simple facts, or even complex ones can hammer home the nature of your story. One of the strangest factual opening lines I’ve read, for its mundanity, comes from Dennis Wheatley’s The Forbidden Territory:

“The Duke de Reichleau and Mr Simon Aron had gone in to dinner at eight o’clock, but coffee was not served till after ten.”

Wheatley’s opening line gives us the very simplest of tips mentioned earlier; names and actions. What strikes interest here, other than the mundanity is the fact that there’s a gap in the timescale. Most of us wouldn’t question a two-hour gap for eating, but in this post-war era the inference is that something went on; a long discussion perhaps, or an unexpected guest. It makes us question what happened and is the simplest pull into a story.

Lovecraft Stories

Being Vague

Running the same theme of factual storytelling, Anne Rice, a vivid writer with a clean voice started Tales of the Body Thief with these very simple lines:

“The Vampire Lestat here. I have a story to tell you. It’s about something that happened to me.”

If the reader is familiar with Rice, Lestat is an old Vampire with several hundred years under his belt. Lestat’s informal voice comes from his adaptation to the modern world, like we’re supposed to know him. Indeed, this isn’t the first Lestat novel but it captures Lestat’s lazy and disregarding nature of mortals (which he desperately wants to recapture). So, Rice gives us a name but there’s no action! This is fine, because in a very blatant but well executed introduction, we know there’s a story to tell here. Again, the hindsight perspective works nicely to draw us in.

One last example of using unknown past circumstances comes from Robert Jordan’s The Eye of the World one of many Wheel of Time books:

“The palace still shook occasionally as the earth rumbled in memory, groaned as if it would deny what happened.”

Simple questions arise. More vague, check out the opening line to Jane Eyre by Charlotte Bronte:

“There was no possibility of taking a walk that day.”

You can’t really get more vague – if this was Face Book I’d expect a lot of typical ‘U ok Hon’ type responses, but this is literature and we like vague; it makes us want to know; why?

What about real Action?

Hitting the reader with real, hardcore action works well in adventure style literature and can be as simple as the following, from Shadows in the Moonlight, another one of Howard’s classic sword & sorcery:

“A swift crashing of horses through tall reed; a heavy fall, a despairing cry.”

Here we are told very little, but the imagination is fired up; why are the horses crashing through a reed bed? I suspect there’s water so it’s hard work for horse and rider so must be important. Who or what fell heavily? Who cried out in desperation? Chances are this is the result of conflict, perhaps someone has escaped or is being chased? Less than fifteen words and we’re right into the action and already asking questions.

What about using the unusual?

Unusual openings are a great way to confuse and entice readers, but they must be concise so as to avoid convoluted circles which can lose your audience. I’ll draw from Lovecraft (Call of Cthulhu) and Howard (Shadows of Zamboula) for two examples.

“The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents.”

Here Lovecraft poses a statement with a hint of reflection. What contents of the human mind are we trying to correlate? The vague hints at something deep can start the mind turning! From Howard:

“Peril hides in the house of Aram Baksh!”

Here Howard makes it very clear that there’s an element of danger, whether we believe the statement or not. The fact that it is spoken word and not narrative drops us into a place of uncertainties; who do we trust, the opinion of the speaker or the fact of a statement? We also have a name and a location – the ABC’s at work. The undertone of emotion (peril, danger or horror) tempts us with the thrill of a something we should probably avoid but can’t help but read – we’re all insects buzzing closer to that blue light in a day dream. speaking of dreams, Lovecraft’s The Silver Key:

“When Randolph Carter was thirty he lost the key of the gate of dreams.”

Here Lovecraft is suggesting there is a place that is a literal door to dreams. It implies more than the normal world without having to explain with exposition what on earth is going to happen. It is unusual but also includes elements of naming and action (in the loss of something) as well as giving us a snippet of description for Mr Carter. Added to this, we ask the question: how did the character get into this?

Call of Cthulhu

Finally, formality

As mentioned before, Rice uses Lestat’s voice to bring us in close enough to get bitten by giving the vampire an informal tone. We’re expecting perhaps blood and violence right away, instead we’re given a friendly talking to, perhaps imagined on the TV screen or the phone.

The narrators voice can also be twisted to formality or otherwise to give us some perspective, allowing to see more story without literally writing it in. Another great example from Lovecraft’s Pickman’s Model:

“You needn’t think I’m crazy, Eliot – plenty of others have queerer prejudices than this.”

Here we’re being pulled into why the narrator struggles with underground transport, but we don’t really know why, and in true Lovecraftian style we’re pulled slowly and inexorably to the climax of the horror – things lurk – which the narrator never wishes to comprehend again, but we’re going to read about it and understand why.

Not Quite the beginning

A second point of interest is that Lovecraft didn’t start right at the beginning of Pickman’s Model. Rather, he started just after the beginning of the conversation between the narrator and Eliot. Yet another great way to make your start interesting. Some of the previous examples do this too – we’re trying to draw our reader in. Ever heard the phrase ‘What’s in the box!?’ well that’s what we’re tapping into when we start not quite at the beginning.

Where does the learning come in?

We’ve pointed out some great opening lines and investigated what makes them good. To get into practice of creating great opening lines you should probably consider these last few bits of advice:

  • Write your opening lines last – no one wrote a great opening line first time. Much like any other aspect of writing, you’ll probably need to plan your writing rather than trying to create the best opening line right away.
  • Read lots of great opening lines, even if you don’t read all of the book. If you have access to books, jot down a few opening lines each day and dissect them like you’re a pathologist of words. You’ll soon start to see what makes great opening lines and not. Goosebumps are a good sign!
  • If in doubt, try, try again. You’ll not this get this right first time, maybe not even second or third time. Get advice from friends and fellow authors (this bit can be hard for closet writers!) Feedback is key, as you’ll not be buying your own book!

Now that you’ve got a better idea about what makes a great introduction or opening line, have another go yourself, even if you’re nowhere near finishing your novel or story. It can be self-inspiring and refreshing to have a go.

Go forth and kindle those flaming juices of imagination!

I’m going to start on my opening line for this article…

J.D Ferris, CC