Using Published Campaign Settings

Wizards of the Coast

Making your own homebrew campaign setting can be a daunting undertaking. World-building can be very time-consuming, and if you’re not really that interested in cartography, demographics, cosmologies, pantheons, and so forth, you might find yourself reaching for a someone else’s work.

How should you go about using a published campaign setting?

Where to start?

A published campaign setting can be overwhelming because of the sheer volume of lore you are drawing upon. The Forgotten Realms Campaign Set was released in 1987. Greyhawk, Gary Gygax’s home setting, was created at least a decade earlier. Even Eberron, a relative newcomer on the D&D scene, is now 16 years old and has appeared in three different editions of the game. It can be hard to know where to start.

Here are my tips.

1. Choose your flavour

Published D&D settings can be very different. Think about the general ‘vibe’ you’re going for, and go from there. To summarize a few:

  • The Forgotten Realms is the official campaign setting of 5th edition and probably the most widely played. It is a fairly ‘vanilla’ fantasy world.
  • Greyhawk, too, is something of a ‘generic fantasy setting’. (That’s not necessarily a bad thing, of course!)
  • Eberron might best be described as ‘magitek’ or ‘dungeon punk’, drawing its inspiration from pulp advenure stories and film noir.
  • Dragonlance, based on the novel series of the same name, is a bit more high fantasy. The balance of good and evil is a key theme.
  • Ravenloft is dark fantasy or gothic. Curse of Strahd gives you a good sense of its tone.
  • Dark Sun is a godless post-apocalyptic desert world with sword and sorcery elements.
  • Planescape centres around Sigil, the City of Doors, a strange metropolis that lies outside the multiverse and a hub for a vast network of magic portals.
  • Spelljammer is . . . D&D in space.

You’ve also got the Inner Sea region, the excellent setting of the Pathfinder RPG, and the various Magic: The Gathering crossovers, if that’s your thing.

It’s worth mentioning that only two of these settings have received substantial 5th edition support: Eberron and the Forgotten Realms. It’s also worth setting that many of these settings have many different flavours within them. Eberron, for example, could be a Raiders of the Lost Ark–style temple run in Xen’drik, a Chandleresque hard-boiler in Sharn, a Lovecraftian cosmic horror story from the Far Realms, or something else entirely.

2. Start local

Storytelling in All its Forms: The Dragon of Icespire Peak Campaign Diary -  Episode 1 - Welcome to Phandalin

Wizards of the Coast

This is the approach of Lost Mine of Phandelver and Dragon of Icespire Peak, both set in the small frontier town of Phandalin and its environs. ‘The Forgotten Forge’, the 1st-level adventure in the original Eberron Campaign Setting, takes place entirely in Sharn. There is no reason to cover the whole world at once. Start small and build out from there.

This is a good tip for any campaign, frankly, especially if you start at 1st level. The world that matters the most is the world you build with the players. However, there does come a point where you want to increase the scope. As a rule of thumb, consider expanding out a little with each tier of play. Go to Xen’drik in Tier 2. Have a big bust-up between nations in Tier 3. Walk the planes in Tier 4. Or mix it up. The Dungeon Master’s Guide has some good guidance on pages 36–38.

3. Steal, steal, steal

One of the advantages of using a published campaign setting is the abundance of material you can borrow from, so take advantage of it! Raid old modules, ask questions on subreddits, consult the Dungeon Masters Guild and DriveThruRPG for sourcebooks old and new. The biggest campaign settings have wikis that are fairly reliable, and creators like Ed Greenwood and Keith Baker (to name but two) are fantastic for regularly sharing their thoughts about their settings on Twitter and their own websites.

What can you steal? Maps, art, monsters, NPCs, dungeons, artifacts, storylines, lore. In short: anything! It’s your campaign, and the published material is there to make your life easier. There’s no shame whatsoever and borrowing liberally from any sources you can find.

4. Drill down the ‘aspects’

This is a trick from Fate Core that I find handy.

‘Aspects’ are Fate’s big thing. An aspect is a phrase that describes something unique or noteworthy about whatever it’s attached to. If you find the copious background reading on your campaign setting to be a bit much, try reducing the setting down to a series of aspects.

Silver Marches | 5th Age Campaigns' home rules | Obsidian Portal

Wizards of the Coast

For example, let’s say we’re running a campaign in the Forgotten Realms. One of my favourite parts of the Realms is the Silver Marches, sometimes called Luruar. At kingdom scale, I might pick out eight to ten key sites that want to remember and then reduce them to ‘aspects’. It might look something like this:

  • Silverymoon: beautiful city of culture and magic
  • Everlund: mercantile city ruled by council of elders
  • Sundabar: harsh fortress city
  • Citadel Adbar: massive dwarven fortress
  • Citadel Felbarr: reclaimed dwarven citadel
  • Mithral Hall: dwarven mining stronghold
  • Beorunna’s Well: ancestral home of the Black Lion barbarians
  • The Evermoors: vast, foggy, troll-infested bog

This might be a bit minimalist for some, but for time-pressed DMs, it can be a useful shorthand. You can then improvise around these descriptions and make the setting your own (see the sixth point, below).

5. Three big schemers

Published campaign settings are not just a series of locations: they are also filled with people and organizations. And sometimes, the sheer number of forces at work can be a little intimidating for someone new to the setting.

My tip: restrict yourself to three big movers and shakers at any one time. In the Forgotten Realms, your campaign might revolve around the Lords’ Alliance, the Arcane Brotherhood, and the Kingdom of Many-Arrows. For Eberron, you might focus on the Aurum, the Dark Lanterns, and House Cannith. Obviously there’s no need to make this an absolute rule – by all means throw in a fourth or fifth if you want – but too many factions can lead to gambit pileup. Give your players a chance to learn more and more about the factions they know well and let the others slip into the background.

6. Break canon: kill your darlings

Wizards of the Coast

One of the biggest problems with a published campaign setting is the feeling that you have to honour it in some way. ‘What if my players know the setting better than I do?’ ‘Is my Sharn “accurate”?’ ‘Will the players want to meet Drizzt Do’Urden?’

Don’t let a published setting overshadow your own creativity. Ed Greenwood doesn’t want you to do that. Keith Baker doesn’t want you to do that. Your players don’t want you to do that.

More important than any of the other tips in this article is this one: make the setting your own. Do you want to run a Waterdeep campaign with Victorian-era technology? Go for it. Do you want an Eberron campaign where the Lord of Blades won the Last War and machines rule the world, Terminator style? Sounds fun. Fancy a Rime of the Frostmaiden–Dark Sun mash-up, with a post-apocalyptic tundra instead of a blasted desert world? Give it a try.

Whatever game you run, make sure the heroes at the heart of it. If you want to introduce Volo or Elminster or Drizzt or Mordenkainen, feel free to. But its your heroes’ story, not theirs. Treat a published campaign setting as a starting point, not an endpoint. If you want to rip it up and do your own thing with it, do. Make whatever changes you want.

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Making Combat Engaging

Wizards of the Coast

Of the three pillars of D&D, combat is the one most defined in the rules, and, for most groups, it’s going to take up a significant part of each session. D&D is a complex game, though, and, handled badly, combat has the chance to become repetitive, frustrating, or tedious. How, then, can we make combat as exciting and evocative as it should be?

1. Not all combats are equally engaging

This may feel like a cop-out, but it’s worth stating at the outset. Some combats are more meaningful, more challenging, or more memorable than others. Sometimes, the purpose of a combat is simply to give the players a chance to feel badass: a quick distraction from the rest of the session. Not every battle is a tense, vivdly described setpiece, and that’s a good thing.

2. Mix it up

Once you accept that combat comes in many different forms, embrace the variety that comes with it. Things to consider:

  • Are there lots of enemies or just a few?
  • Are they big or small? Weak or powerful? Cunning or instinctive?
  • Is this an easy fight, a deadly fight, or something in between?
  • Is there a mix of enemies?
  • Do the enemies come in waves?
  • Is there any interesting terrain?
  • Does either side have the chance to surprise the other?
  • Can the players avoid the fight through stealth or diplomacy?
  • What do the enemy want?
  • What do the players want?
  • Is there a third party involved in the fight?

A common mistake in 5e is to throw too many difficult encounters at a group. Challening ‘life or death’ encounters might seem exciting, but ultimately this style of play pushes the party into having a five-minute adventuring day, with all the problems thay come with it. Justin Alexander makes a good case for roster-style scenarios in a series of essays, starting here.

Wizards of the Coast

3. Keep it moving

This is a big one for me, especially in a group of more than four players.

Let’s say you are playing with a group of five players and a DM. If each person spends two minutes taking their turn, you will have to wait ten minutes before you can do anything. That’s a long time of sitting around listening to other people do stuff. If each player’s turn takes 30 seconds, you’re only having to wait for two and a half minutes. Much better.

People usually take too long on their turns for one of two reasons. Either, a, they are not ready to take their turn, or, b, they are hogging the spotlight. More on this later.

If a player isn’t ready on their turn, this isn’t necessarily their fault. Perhaps something unexpected happened, and their planned course of action has been scuppered. Perhaps, frankly, they are disengaged because other players are taking too long. Perhaps you’re playing online, and they are having connection issues. Perhaps they are new to D&D. Perhaps, though, the player needs to know their character better. Have a conversation with them. Give them a hand. Make a crib sheet for what they can do on their turn. It can be particularly challenging for spellcasters or classes with lots of different options like monks and paladins. But, players, you should understand the core mechanics of your class. If the DM can manage a million different things at once, you should be able to play the same character every session without slowing down the game for everyone else.

Wizards of the Coast

4. Spotlight hogging

Like rules lawyering, this one varies by group. It may not be a huge problem for you. And like rules lawyering, it comes from a good place. If a player is waxing lyrical with florid descriptions of their character’s actions, they are probably fun and wanting to make the game fun for everyone else. But it can get a bit much.

When you deconstruct a player’s turn in D&D, they are – most of the time – making attacks and dealing damage. Do you need to describe every attack? Every hit? Every miss?

An argument can be made that describing every hit and miss is a result of misunderstanding hit points. It’s worth reiterating: hit points are an abstraction. To quote the Player’s Handbook, ‘Hit points represent a combination of physical and mental durability, the will to live, and luck.’ If a frost giant takes 16 damage from a longsword, what does that mean? A big cut? A little cut? A shock? A visible reduction in his or her ‘will to live’? I often bristle a bit when players ask ‘how damaged does it look?’ and not just because it’s blatant metagaming. It just doesn’t really make sense.

A suggestion, then. Describe the first hit, the killing blow, and the blow that puts an enemy onto half hit points (‘bloodied’ in 4th edition parlance). These are the hits that matter. And DMs, if it seems bathetic for an ancient red dragon to be killed by a club or what you, just because it only had a few hit points remaining, well . . . keep it alive! And likewise, if the paladin gives it a walloping with divine smite, but it technically still has a few hit points remaining, well, fudge it, and let the paladin describe the killing blow. Rule of cool.

5. DM hacks

There are a few tricks you can use as a DM to keep combat moving, too. Some suggestions:

  • Use average damage for NPCs.
  • Use online dice rollers for big hits
  • Pre-roll attacks and damage while players are deciding their actions
  • Have enemies run away on 40 percent of their hp (a tip from Keith Ammann at The Monsters Know What They’re Doing)
  • Round damage and hit points up and down to the nearest multiple of five. Players won’t notice, and it keeps the maths manageable.
  • Eschew the grid for theatre of the mind.

This final point is not for everyone, and it depends on the type of game you want to play. Sly Flourish makes some excellent points as to why theatre of the mind has its place, and I largely agree. In general: if a combat is simple enough that a grid would slow it down, lose the grid. And, conversely, if it is complex enough to make theatre of the mind confusing, map it out.

One more DM trick: ambience! Whether it’s an exciting soundtrack ,or an awesome DM screen, or a set of really cool miniatures, art, music and props can really flesh out a combat and make it memorable. It’s always a great moment when the DM slaps down a massive mini on the table for the big boss fight. Don’t ignore these extra things.

Marisha Ray on Twitter: "The Ascended.... #CriticalRole… "

Marisha Ray on Twitter (@Marisha_Ray)

6. Evocative description

Engaging combat isn’t all about speedy pacing, of course. Evocative description is a key part of the DM’s toolkit.

I say the DM’s toolkit, but players are just as important here. After all, in most battles, the players’ turns will take up much more time than the DM’s. As explained above, you don’t need to explain every action. But when you want to go big, how do you do that?

Essentially, this is all about good descriptive writing. Some tips:

  • Focus on verbs, not adverbs. A sword can swing, slice, stab, slash, parry, whistle, impale, cut . . . These verbs are clear and vivid. Adverbs, by comparison, don’t have quite the same impact.
  • Match your description to the dice roll. A hit of ten damage does not need a paragraph.
  • Make a little thesaurus for your character! If you’re using a sword 99 percent of the time, you don’t want to run out of verbs in the first session.
  • Study action films for inspiration. Pause the action and have a go at describing what you see .
  • Don’t forget the other senses. Battle is noisy, emotional, even smelly. Capture that.

One last thought: DMs, don’t describe the players’ actions! They only have one character to roleplay: if you take that away from them, they might as well stay at home. Give them their chance to shine.

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Tomb Raider in D&D

Over the summer, I replayed through some of the latest Tomb Raider games. I’m a big fan. For me, they achieve a really nice balance between several different gameplay elements: exploration, puzzles, stealth, and, of course, combat. And these are all elements you can embrace in D&D!

In this article, I’m going to explore how you could recreate the ‘feel’ of Tomb Raider in your Dungeons & Dragons campaign. If you’re a fan of similar games – the Uncharted series or even some of the old LucasArts Indy games – much of this advice is transferable. However, this is not really a guide to recreating Lara Croft as a D&D character. But, hey: if you want to be a thief-archetype human rogue with dual hand crossbows and the noble background, I’m sure no one will mind.

A few limitations

There are a few stumbling blocks to cross with a Tomb Raider–style approach to D&D.

Firstly, Tomb Raider is a very visual video game, and many of its platformer elements – jumping, climbing, balancing, tumbling, etc – may need to be stripped back a bit for tabletop play, especially where there are multiple moving parts involved and the exploration takes place across all three dimensions at once (eg, here and here).

Secondly, D&D is a fantasy game with spells and magic, and some of the Tomb Raiderstyle puzzles are going to prove less of a challenge to groups with access fly, teleport, telekinesis, and so on. Even low-level spells like misty step and mage hand could be used imaginatively to negate many Tomb Raider puzzles.

Finally, for most of the games in the series, Lara is on her own and has to be self-sufficient, whereas D&D is fundamentally a party-based game. This last problem is arguably less significant than the others (not least because solo play is possible) but could still prove tricky for the dynamics of the game. If a puzzle requires athleticism and acrobatics, for example, and you’re playing a slow and clumsy dwarven cleric in full plate . . . you’re going to have a hard time.

Rise Of The Tomb Raider Guide: Finding The Ice Ship Optional Tomb | Attack  of the Fanboy

What are the solutions?

  • Work with the group to create characters who are better suited for the game style you have in mind. If players are happy to eschew magic and make their own versions of Lara (or Nate or Indy come to that), then it could be a very fun diversion from traditional D&D!
  • Tone down the physical aspect of the puzzles, and focus instead on puzzles that are more cerebral. Tomb Raider puzzles often involve pushing objects around, moving around a 3D map, timing a jump just right . . . as a DM, this can all be wearisome to describe without a decent visual aid to help you. Consider reducing the movement to simple skill checks and make the puzzle itself the interesting part.
  • Up the ante and give the characters multiple threats to deal with at once. Puzzles are harder to solve when enemies are trying to kill you, and the range of threats on offer will give all the players in the party something to focus on.
  • Very occasionally, use your DM powers to negate some of the party’s powers. In Tomb of Annihilation and Dungeon of the Mad Mage, for instance, many divination and teleportation spells don’t function normally. Be careful not to overuse this, though, as it can be frustrating for a player to have their character ‘nerfed’ like this.

The world of Tomb Raider

By default, D&D settings are quasi-medieval fantasy. Gun-toting Lara Croft, on the other hand, is fundamentally modern. So what makes a D&D world feel like Tomb Raider?

  • Myths and legends are real. So far, the Tomb Raider series has given us, among other things: Atlantis; Area 51; the Egyptian god Set; Excalibur; Thor’s hammer, Mjölnir; the Dragon’s Triangle; Kitezh; Baba Yaga; Paititi. Whatever the lore of your world, these people, items, and places need to be central to the story.
  • Powerful enemy organizations. Whether it’s Natla Technologies, the Fiamma Nera, R.X.Tech, or Trinity, your world needs some kind of well-outfitted international hit mob. In Faerûn, this could be the Red Wizards or the Zhentarim; in Eberron, the Order of the Emerald Claw or the Aurum would be a good fit. Make sure the leader is misguided and power-hungry
  • Ancient wonders. In Return of the Lazy Dungeon Master, Mike Shea encourages us to make locations fantastic using age and size. Never has this been more relevant.

Puzzles and exploration

Tomb of the Nine Gods | Forgotten Realms Wiki | Fandom

Wizards of the Coast

Tomb Raider has never been just an action game, and if it were a D&D game, exploration would be the most important of the three pillars. How, then, can we capture the excitement of exploring a new tomb and solving ancient puzzles?

  • Exploration is all about pathfinding. Make the journey as exciting as the destination. Give players meaningful choices and intriguing obstacles to overcome.
  • Go big on your descriptions. As alluded to above, make your locations big, old, and wondrous. Make your players gasp with awe, and make sure it keeps getting cooler and cooler. A zigguarat in the desert is one thing, but having a lost city beneath it is even cooler.
  • Don’t overthink the realism of it. In Rise of the Tomb Raider, Lara finds a lost Byzantine ship preserved in a glacial cavern. Who cares how it got there? D&D is a world of fantasy. If something seems a bit crazy and fantastical, you’re doing it right. Just say a wizard did it.
  • Make the environment interactive. Water, mud, lava, natural gas, pits, chasms, machinery, ropes: whatever it is, make your locations a playground. I have written about battlefield environments here. Don’t be afraid to change or even destroy your adventurers’ surroundings. at some point in the reboot series, Lara will always have to escape a tomb that is falling apart. It might be a cliché, but it’s fun: embrace it.
  • Steal puzzles from everywhere. Stories, films, video games, subreddits, old modules: don’t be afraid to take inspiration for your puzzles from a variety of sources. Tomb of Annihilation has some particularly good puzzles, both in Omu and within the eponymous tomb itself. Players won’t necessarily notice if you reflavour the details in some way. Heck, steal from the Tomb Raider games themselves!
  • The natural world can be Lara’s playground, too. How will your D&D characters survive in frozen mountains? Desert sands? The deepest jungles? This is more a feature of the rebooted series from 2013 onwards, but it’s a welcome addition to the game. Give your players scenarios where they lose everything and have to hunt for resources to survive.
  • Make rewards feel special and part of the game’s lore. Like Indiana Jones and Nathan Drake, Lara Croft is an archaeologist who prizes historical artefacts. Consider portioning off your treasure in small parcels, and go big on your descriptions to make them feel special. Let the players learn about the world and its stories through the items they find on their travels.

Combat

Lara Croft Fights a Bear in Rise of the Tomb Raider - YouTube

Gunfights seem to have become a bigger part of the Tomb Raider series over time, especially since the 2013 reboot, but it’s clearly an element that many fans of the series are OK with. Tomb Raider is still not a first-person shooter, though, and combat in the game comes with its own particular flavour.

  • Aim for waves of enemies over big solo boss fights. Actually, this is good advice for 5th edition D&D in general. More than ten can start to get a bit unwieldy, so start with, say, five or six enemies, and add more and more as the battle goes on.
  • Make boss fights a puzzle in their own right. In the Tomb Raider games, a boss is rarely just a bag of hit points. There needs to be some kind of vulnerability that the characters can exploit: a weakness or ‘trick’ that will bring the enemy down.
  • Give players the chance to see enemies get tougher as they level up. In the rebooted Tomb Raider series, Lara starts off against lightly armoured opponents, wolves, and the like, before progressing to better equiped soldiers and, ultimately, supernatural threats. D&D is good at simulating this anyway, but it bears mentioning. Guards (CR ⅛) are replace by veterans (CR 3) who are replaced by barbed devils, mezzoloths, or wraiths (CR 5).
  • Give players the chance to avoid combat. Sometimes Lara doesn’t have a choice, and the challenge is surviving wave after wave of enemies. But often, with a bit of planning and stealth, there’s an alternative route. Let players choose their own path.

A Tomb Raider–style game might be a fun one-shot or it could form the basis for a whole campaign. Give it a try!

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Improvising Dungeons

Wizards of the Coast

For teachers like me, this week marks the start of a new term: a busy time. If you’re a DM, real-life workload can be a significant barrier to your game prep. How do you get ready for a session when you’re completely snowed under?

This article explores how we can prep less and improvise more, with a focus on dungeons.

Option one: steal

If time is an issue, remind yourself that you don’t have to make something new for your players to have a good time! Reuse old modules, have a look at the DMs Guild, go back through old notes. If you’ve got something serviceable, be kind to yourself and spend your planning time on something else.

In my current campaign, the party was exploring a creepy rural town called Gimmerton (a name Wuthering Heights fans might recognize). I had to improvise something, and I remembered that there was a whole section of Curse of Strahd, Wachterhaus, which I had never used, despite DMing the adventure twice. So I stole it in its entirety. It worked fine, and I don’t think any of the players were particularly conscious of my stealing it.

A good map

If you can’t steal an adventure, you can at least find a good map. Dyson Logos has a fantastic range, but it’s also worth following cartographers on social media, like Mike Shley, Anna B Meyer, and 2-Minute Tabletop, to name a few. Reddit has some great mapping communities, too, like r/battlemaps, r/dndmaps, and r/mapmaking.

If none of these maps is quite what you’re looking for, you can, of course, generate one. The Dungeon Master’s Guide has random dungeon tables in Appendix A, and donjon has a great random dungeon generator with a considerable number of ‘dials’ to play with. Donjon maps can also be imported into Dungeon Scrawl, a very cool map-maker, still in beta, but well worth checking out.

A black-and-white style Dungeon Scrawl map

Five-room dungeons

These dungeons are simple enough to make in your head, and can probably provide enough for fun for a couple of hours’ play at least. You only need these five steps:

  1. Entrance with a guardian
  2. A puzzle or roleplaying challenge
  3. A trick or setback
  4. A big climax
  5. Reward and revelation

The idea is generally credited to JohnnFour, and you will find numerous examples of it in action across the Internet (eg, here). It’s such a good idea that Wizards of the Coast used it for their model adventure in the 4th edition DMG.

Wizards of the Coast

Inhabitants and treasure

This post is titled ‘Improvising Dungeons’, and a dungeon, of course, is more than just a map. If you’re having to improvise encounters and rewards, how do you do that?

Encounters can be tricky. To some extent, it takes a bit of practice to get a feel for it. There are decent online encounter calculators like Kobold Fight Club and the one on D&D Beyond (still currently in beta), but, in truth, there’s no such thing as perfect encounter balance, and 5th edition is filled with spiky edges that can make encounters unpredictable. Use these calculators to get a sense of difficulty levels and which monsters are going to be too easy or too hard, but then improvise from there. Encounter balance matters more at lower levels when characters have fewer hit points and players have fewer options to avoid difficult situations.

As a general rule of thumb:

  • avoid solos
  • aim for encounters of ‘medium’ difficulty
  • try to use one or two monsters per player

Making an encounter more challenging is always easier than making it less deadly.

Part of my prep for a session is to jot down a few monsters of different challenge ratings with a note as to how many I can use without overwhelming the party. In my campaign, characters tend to level up once every three or four sessions, so these notes remain useful for several weeks, usually.

An example of my session notes. This is for a group of four 8th-level characters.

If you’re improvising a dungeon, don’t worry too much about treasure. If you give out too much, just hold back a bit on the rewards for a few sessions before you give out any more. Be careful with major (ie, permanent) magic items, though. As a general guide, an adventuring group should only get a couple of uncommon items in Tier 2, and probably shouldn’t get to see rare, very rare, and legendary items until 10th, 16th, and 19th level, respectively. But, of course, you do you. Characters in Curse of Strahd can pick up a legendary item at level 3, so, if it fits your story, go for it.

Final thoughts: describing on the fly

6/30/18 | Heroes of Dolgetta | Obsidian Portal

Wizards of the Coast

For me, maps and monsters are the easy bit. The challenging bit is coming up with an evocative description. Some tricks, then:

  • Focus on one or two prominent features: an altar, a pit, a statue
  • Keep it brief and give players the chance to ask further questions
  • Think about the five senses, not just the visual
  • Steal! If you want your own Bridge of Khazad-dûm or rolling boulder idol trap, go for it!
  • It’s improv, not creative writing: a quick, brief, clear description is infinitely better than a long, slow, flowery one
  • Don’t worry too much about verisimilitude (your players probably won’t).

Finally – a controversial tip – ask your players to contribute to the description. ‘What does the mural show?’ ‘What are you looking for at the desk?’ ‘What do you think is beyond the door?’ Great DMing doesn’t happen in a vacuum: a great game absolutely requires players to do their bit, too. We all build the world together.

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