Worldbuilding Information

Character Emotion Model

Emotion is important. Emotions are our brains pattern-matching, making assumptions, and creating an altered brain state to meet a new
challenge.

In the human mind, there are four fundamental events and questions that cause emotional reactions.

The answer to each question is either “Yes, I am capable” or “No, I am incapable”.

By pairing these answers to the questions, we see the 8 core human emotions.

Destroying Threat

There is a threat! Can I destroy it?

Yes, I am capable: Hostility

Hostility can be seen as a form of self-defense. It arises when we perceive a threat that we believe we can destroy. By promoting aggressive
behaviors, hostility can help ensure survival by eliminating threats to one's safety or resources.

No, I am incapable: Fright

Fright is a natural response to a perceived threat that we don't believe we can overcome. The adrenaline rush that accompanies fright can
enhance focus and speed, helping individuals to flee dangerous situations more effectively. Fright can thus contribute to survival by enabling
effective escape behaviors.
Predicting Future

Something is unknown! Can I identify what it is?

Yes, I am capable: Anticipation

The ability to anticipate future events allows us to prepare for them. This forward-looking emotion promotes planning and readiness, which can
improve our ability to respond effectively when the predicted event occurs. It can help us secure resources, avoid threats, and generally
navigate our environment more efficiently.

No, I am incapable: Surprise

The emotion of surprise serves to instantly focus our attention on an unexpected event. From an evolutionary perspective, this can help us
quickly adjust to new information or changes in our environment, enhancing our ability to cope with unexpected threats or opportunities.

Gaining Resource

I need a resource! Can I acquire it?

Yes, I am capable: Cheerfulness

When we successfully acquire a resource, we often feel cheerful. This positive emotion encourages the pursuit of resources by making
successful acquisition feel good. Over evolutionary time, individuals who felt cheerful upon gaining resources would likely have been more
motivated to seek resources, improving their survival prospects.

No, I am incapable: Dejection

Dejection is often a response to failure, such as being unable to acquire a needed resource. It might serve an evolutionary purpose by
discouraging wasteful expenditure of effort on unattainable goals. Over time, this could improve survival by encouraging individuals to focus
their efforts where they're more likely to be successful.

Expecting Support
Something is in my environment! Can I be supported by it?

Yes, I am capable: Trust

Trust generally arises when we perceive something in our environment as supportive. From an evolutionary standpoint, this emotion can
promote social bonding and cooperation. By fostering trust in supportive entities, this emotion could improve survival by facilitating beneficial
social relationships and alliances.

No, I am incapable: Aversion

Aversion arises when we perceive something in our environment as unsupportive or harmful. This emotion can help protect us by discouraging
engagement with harmful substances or individuals. Over evolutionary time, aversion to harmful things would have conferred a significant
survival advantage.

Combining these 8 core emotions in various ways creates a rich tapestry of emotions, but each one can be traced back to the core scenarios
that trigger the reactions.

●​ Hostility + Anticipation = Aggressiveness

●​ Hostility + Cheerfulness = Pride
●​ Hostility + Trust = Dominance
●​ Anticipation + Cheerfulness = Optimism
●​ Anticipation + Trust = Hope
●​ Cheerfulness + Trust = Love
●​ Fright + Surprise = Alarm
●​ Fright + Dejection = Shame
●​ Fright + Aversion = Horror
●​ Surprise + Dejection = Disapproval
●​ Surprise + Aversion = Revulsion
●​ Dejection + Aversion = Remorse
●​ Hostility + Surprise = Outrage
 ●​ Hostility + Dejection = Envy
●​ Hostility + Aversion = Contempt
●​ Anticipation + Dejection = Pessimism
●​ Anticipation + Aversion = Cynicism
●​ Anticipation + Fright = Anxiety
●​ Cheerfulness + Aversion = Morbidness
●​ Cheerfulness + Fright = Guilt
●​ Cheerfulness + Surprise = Delight
●​ Trust + Fright = Submission
●​ Trust + Surprise = Curiosity
●​ Trust + Dejection = Sentimentality
●​ Hostility + Fright = Frozenness
●​ Anticipation + Surprise = Confusion
●​ Cheerfulness + Dejection = Bittersweetness
●​ Trust + Aversion = Ambivalence

25 Categories of Hobbies
Hobbies are a great way to add interest and enjoyment to both our lives and the lives of our characters.

CREATE
Making: This hobby involves creating or building something, often by hand. Examples: woodworking, knitting, drawing, painting.

Synthesizing: This hobby involves combining and integrating ideas or information from multiple sources to create something new. Examples:
writing, programming, cooking, composing music.

Decorating: This hobby involves making spaces or items more attractive or festive. Examples: interior design, party planning, DIY home decor.
Experimenting: This hobby involves conducting procedures to make discoveries or test hypotheses. Examples: DIY science experiments,
kitchen chemistry, homebrew electronics.

Modeling: This hobby involves creating small, scale models of buildings, vehicles, or figures. Examples: model trains, LEGO, miniature painting.

DEVELOP
Exercising: This hobby involves activities that improve physical health and wellbeing. Examples: running, weightlifting, yoga, martial arts.

Tinkering: This hobby involves fixing or modifying things, often in a hands-on and experimental way. Examples: fixing cars, building gadgets,
customizing computers.

Competing: This hobby involves participating in competitions or tournaments to test one's skills or abilities against others. Examples: sports,
chess, card games, video games.

Learning: This hobby involves acquiring new knowledge or skills in a particular subject or area of interest. Examples: reading, studying, taking
classes, attending lectures.

Puzzling: This hobby involves the solving of intricate problems or enigmas for entertainment. Examples: crossword puzzles, Sudoku, escape
rooms, Rubik's cube.

DISCOVER
Collecting: This hobby involves acquiring and organizing items of a particular type, such as stamps, coins, sports memorabilia, or figurines.
Examples: Philately (collecting stamps), numismatics (collecting coins), sports card collecting.

Exploring: This hobby involves discovering and experiencing new places or activities, often outdoors. Examples: hiking, camping, traveling, bird
watching.

Thrill-seeking: This hobby involves taking on challenges or experiencing exciting and daring activities. Examples: rock climbing, spelunking,
white-water rafting, skydiving.
Observing: This hobby involves paying close attention to certain aspects of the world around us, often for pleasure or knowledge. Examples:
birdwatching, stargazing, nature photography.

Researching: This hobby involves systematic investigation into and study of materials and sources to establish facts and reach new
conclusions. Examples: genealogy, historical research, researching particular topics of interest.

CONNECT
Performing: This hobby involves showcasing a talent or skill in front of an audience. Examples: singing, dancing, acting, stand-up comedy.

Playing: This hobby involves engaging in leisure activities for enjoyment, often with others. Examples: sports, board games, video games,
music.

Socializing: This hobby involves spending time with others, often in a casual, relaxed setting. Examples: meeting with friends, attending parties,
joining clubs, networking.

Volunteering: This hobby involves giving time and effort to help people, animals, or organizations without expecting any reward. Examples:
animal shelter volunteering, mentoring, community service.

Counseling: This hobby involves offering guidance to others on their personal or psychological issues. Examples: peer counseling, mentoring,
life coaching.

CULTIVATE
Analyzing: This hobby involves detailed examination of the elements or structure of something, typically as a basis for discussion or
interpretation. Examples: analyzing film or literature, stock market analysis, analyzing sports statistics.

Gardening: This hobby involves the cultivation of plants for beauty, food, or enjoyment. Examples: flower gardening, vegetable gardening,
bonsai, hydroponics.
Archiving: This hobby involves keeping a record of events, thoughts, or experiences, often through writing or visual mediums. Examples:
journaling, photography, vlogging, scrapbooking.

Meditating: This hobby involves practices to train attention and awareness, and achieve a mentally clear and emotionally calm state. Examples:
mindfulness meditation, transcendental meditation, yoga.

Nurturing: This hobby involves taking care of living creatures for pleasure or relaxation. Examples: pet care, aquarium keeping, beekeeping.

4 Styles of Self-Motivation
In many different roles that we play in life, it can be useful to understand our own tendencies as well as those of others. It can be eye-opening
to realize just how differently people can perceive the world. By being able to see things from other people's perspectives, we can better
understand why, from their perspective, their actions make sense and are justified.

These styles are based on Gretchen Rubin's Four Tendencies framework, which explains how different people respond to internal and external
expectations.

There are four distinct styles of self-motivation, which are as follows:

●​ Upholders These individuals want to know what is expected of them and will work to meet those expectations. They can get stressed
when rules and schedules aren't clear, or when they break a rule.
●​ Questionnaires These individuals want to understand the reasoning behind a proposed action and will only take the action if they feel
that it is justified. They are data-driven and naturally curious, always wanting to gather as much information as possible before making a
decision.
●​ Obligers These individuals respond well to accountability and will work to meet the expectations of others or fulfill their commitments.
They may also struggle with self-care, as they're usually focused on taking care of others' needs before their own.
●​ Rebels These individuals value their independence and freedom to do things their own way. They may resist rules or expectations that
they feel are imposed upon them. They can often be motivated by a sense of self-identity and an attitude of "I'll show them!" They also
tend to avoid anything that feels like a trap of commitment.
Upholders
●​ Tend to meet both external and internal expectations easily.
●​ Are self-motivated and can work on projects and meet deadlines without much supervision.
●​ Prefer routine and may have difficulty adjusting to sudden schedule changes or disruptions to their routine.
●​ Are perfectionistic and may become angry or defensive if they are perceived to have made a mistake.
●​ Place a high value on following through with commitments.
●​ May need to be reminded that not everyone is comforted or energized by completing tasks in the same way they are.
●​ May struggle with delegating responsibilities because they may doubt others' reliability.

Stress:

●​ They feel stressed when rules, expectations, or guidelines are unclear.

●​ They are stressed by sudden changes in plans or routines.
●​ They may become stressed when they perceive that they have failed or made a mistake.

Drive:

●​ They are driven by a desire to meet both internal and external expectations.
●​ They are driven by a sense of responsibility and duty.
●​ They find motivation in maintaining routines and adhering to plans.

Questioners
●​ Only meet expectations if they believe they are justified and will question all expectations.
●​ Place a high value on reason, research, and information.
●​ Will only follow the advice of "authorities" if they trust their expertise.
●​ Rely on their own judgment, even if it goes against the advice of experts.
●​ May appear uncooperative or defiant due to their persistent questioning.
●​ Dislike anything arbitrary and may resist rules or expectations that they see as unnecessary.
 ●​ May become frustrated when they are asked to justify their decisions as they believe they have already carefully considered their
actions.
●​ May have difficulty delegating decision-making to others because they doubt their reasoning.

Stress:

●​ They are stressed by what they perceive as illogical rules or requirements.

●​ They become stressed when they feel their questions are not adequately answered.
●​ They may feel stressed when they do not have enough information to make informed decisions.

Drive:

●​ They are driven by their need to understand the why behind everything.
●​ They are motivated by logical reasoning and rational decision-making.
●​ They find motivation in gathering data, doing research, and understanding the purpose of their actions.

Obligers
●​ Easily meet external expectations but struggle to meet internal expectations.
●​ Place a high value on fulfilling commitments to others and may feel a strong sense of obligation to meet the needs of others.
●​ Thrive with deadlines, oversight, monitoring, and other forms of accountability.
●​ May find it difficult to set limits on the demands of others.
●​ May be taken advantage of by others and may feel resentful as a result.
●​ May have trouble delegating tasks as they feel that some expectations are their personal responsibility.
●​ Need systems of external accountability to help them meet their own inner expectations.

Stress:

●​ They are stressed by an excessive amount of external demands.

●​ They become stressed when they feel they are letting others down.
●​ They may be stressed by a lack of external accountability for their personal goals.
Drive:

●​ They are driven by the expectations of others and a desire to meet those expectations.
●​ They are motivated by a sense of obligation and responsibility towards others.
●​ They find motivation in structured environments with clear external expectations.

Rebels
●​ Resist both external and internal expectations.
●​ Place a high value on freedom, choice, identity, and authenticity.
●​ Tend to resist being told what to do and may be easily manipulated through their desire to resist authority.
●​ May act out of love, a sense of purpose, or belief in a cause.
●​ May have difficulty giving themselves direction, even when it is something they want to do.
●​ May enjoy meeting a challenge in their own way and on their own time.
●​ Generally do not respond well to supervision, advice, directions, or routines and schedules.
●​ May suffer in highly regulated environments such as the military, law enforcement, or large corporations.
●​ If in a long-term work or romantic relationship, their partner is likely an Obliger.

Stress:

●​ They are stressed by restrictions on their freedom and autonomy.

●​ They become stressed when they are told what to do or how to do it.
●​ They may be stressed by schedules, routines, or commitments that feel constraining.

Drive:

●​ They are driven by their need for freedom and the desire to chart their own path.
●​ They are motivated by a sense of identity, expressing authenticity, and doing things in their own unique way.
●​ They find motivation in challenges and proving others wrong.
5 Moral Spectrums
Moral spectrums are a way of representing the range of values that people consider when evaluating actions or behaviors. There are many
different moral spectrums that people might use, but here are five that are commonly discussed:

1.​ Care vs. Harm On the side of care, people value actions that prioritize the well-being and care of others. On the side of harm, people
value actions that prioritize self-interest or that may cause harm to others.
2.​ Fairness vs. Cheating On the side of fairness, people value actions that are just and equitable, and that treat everyone equally. On the
side of cheating, people value actions that are dishonest or unfair in order to gain an advantage.
3.​ Loyalty vs. Betrayal On the side of loyalty, people value actions that demonstrate commitment and faithfulness to others. On the side of
betrayal, people value actions that are disloyal or that break trust.
4.​ Authority vs. Subversion On the side of authority, people value actions that respect and follow the rules and hierarchies of society. On
the side of subversion, people value actions that challenge or undermine authority.
5.​ Sanctity vs. Degradation On the side of sanctity, people value actions that they consider as pure, holy, or sacred. On the side of
degradation, people value actions that are profane, scandalous, or that destabilize the dignity of others.

7 Types of Heroes
There are many different types of heroes that have been identified and recognized throughout history. These heroes can be found in literature,
film, television, and other forms of media, and they often serve as role models or inspirations for people around the world. Here are seven
different types of heroes that you may encounter in your reading:

1.​ Romantic Hero: This type of hero is someone who has a great talent or distinguishing trait that sets them apart from others. They are
often seen as being larger-than-life, and they may have a unique or special ability that helps them to achieve their goals. Romantic
heroes are often admired for their confidence, charisma, and courage, and they may be seen as being destined for greatness.
2.​ Everyman Hero: The everyman hero is someone who does not have any great talent or ability, but who must display heroic qualities in
order to overcome adversity. This type of hero is often seen as being relatable and relatable, and they may be seen as representing the
ordinary person who rises to the occasion when faced with challenges.
 3.​ Super Hero: The super hero is someone who does not face the same problems as most ordinary people. They may have superhuman
strength, speed, or other powers that allow them to overcome obstacles and defeat enemies. Super heroes are often seen as being
larger-than-life, and they may be admired for their bravery and selflessness.
4.​ Tragic Hero: The tragic hero is someone who is doomed to fail, despite their best efforts. They may be tragic because they are unable to
overcome the forces that are arrayed against them, or because they are unable to escape their own flaws or weaknesses. Tragic heroes
are often seen as being noble and admirable, and their stories may serve as cautionary tales that warn against hubris or other
dangerous tendencies.
5.​ Epic Hero: The epic hero is someone who rises to inspire awe, and who creates their own fortune through their heroic characteristics.
They may be seen as being larger-than-life, and their adventures may be grand and sweeping in scope. Epic heroes are often admired
for their determination, courage, and resourcefulness, and they may serve as models for people who aspire to greatness.
6.​ Iconic Hero: The iconic hero is someone who does not change, but rather faces the changing world around them. They may be seen as
being timeless and unchanging, and they may represent a set of values or ideals that are eternal. Iconic heroes are often admired for
their steadfastness, and they may serve as symbols of hope or inspiration for people who are facing difficult times.
7.​ Anti Hero: The anti hero is someone who lacks the conventional heroic qualities that are typically associated with heroes. They may
pursue noble goals, but they may do so using morally ambiguous means. Anti heroes are often seen as being complex and
multifaceted, and they may be admired for their unconventional approach to problem-solving.

25 Archetypal Character Lenses

Designing a character is a complex and nuanced process, involving deep understanding of both human psychology and narrative needs. By
examining your characters through a variety of lenses, or categories of character archetypes, you can enrich your understanding of their roles
in the narrative, their relationships with other characters, and the way they resonate with readers. These lenses provide a framework for
character development, revealing shared patterns and structures that span genres and mediums, making characters universally relatable.

More interesting perhaps, is how your character thwarts or subverts the expectation of the archetype, or provides nuance and meaning to what
would otherwise be one-dimensional, or perhaps even offensive.

The following is an non-exhaustive list of lenses you might apply to your characters, with a sample of archetypes within each.
Occupations

1.​ The Detective

2.​ The Healer
3.​ The Farmer
4.​ The Teacher
5.​ The Soldier
6.​ The Artist
7.​ The Politician
8.​ The Scientist
9.​ The Priest
10.​The Thief

Heroic Archetypes

1.​ The Chosen One

2.​ The Reluctant Hero
3.​ The Anti-Hero
4.​ The Byronic Hero
5.​ The Tragic Hero
6.​ The Hero's Ally
7.​ The Explorer
8.​ The Survivor
9.​ The Leader
10.​The Everyman Hero

Villainous Archetypes

1.​ The Tyrant

2.​ The Betrayer
3.​ The Dark Lord
 4.​ The Evil Genius
5.​ The Femme Fatale
6.​ The Monster
7.​ The Sadist
8.​ The Corruptor
9.​ The False Ally
10.​The Bully

Adversarial/Competitive Archetypes

1.​ The Rival

2.​ The Usurper
3.​ The Saboteur
4.​ The Seducer
5.​ The Challenger
6.​ The Mercenary
7.​ The Gatekeeper
8.​ The Contrarian
9.​ The Defector
10.​The Provocateur

Romantic Archetypes

1.​ The One That Got Away

2.​ The First Love
3.​ The Unrequited Love
4.​ The Forbidden Love
5.​ The Soul Mate
6.​ The Romantic Interest
7.​ The Heartbreaker
8.​ The Love Triangle Participant
 9.​ The Innocent Maiden
10.​The Secret Admirer

Humorous/Satirical Archetypes

1.​ The Trickster

2.​ The Jester
3.​ The Clown
4.​ The Sarcastic Sidekick
5.​ The Misunderstood Genius
6.​ The Bumbling Fool
7.​ The Misfit
8.​ The Eccentric Inventor
9.​ The Wise Fool
10.​The Deadpan Snarker

Spiritual/Religious Archetypes

1.​ The Prophet

2.​ The Ascetic
3.​ The Cult Leader
4.​ The Heretic
5.​ The Faithful Disciple
6.​ The Zealot
7.​ The Miracle Worker
8.​ The Spiritual Guide
9.​ The Hermit
10.​The Martyr

Race/Species Archetypes
 1.​ The Noble Elf
2.​ The Stout Dwarf
3.​ The Feral Beastman
4.​ The Ingenious Gnome
5.​ The Sinister Vampire
6.​ The Wild Werewolf
7.​ The Ghostly Specter
8.​ The Otherworldly Alien
9.​ The Loyal Canine
10.​The Ancient Dragon

Animal Archetypes

1.​ The Wise Owl

2.​ The Sly Fox
3.​ The Fierce Lion
4.​ The Loyal Dog
5.​ The Unpredictable Cat
6.​ The Majestic Eagle
7.​ The Cunning Crow
8.​ The Persistent Ant
9.​ The Serene Dolphin
10.​The Poisonous Snake

Personality Archetypes

1.​ The Innocent

2.​ The Caregiver
3.​ The Explorer
4.​ The Rebel
5.​ The Lover
 6.​ The Creator
7.​ The Jester
8.​ The Sage
9.​ The Magician
10.​The Ruler

Power/Ability Archetypes

1.​ The Telepath

2.​ The Shapeshifter
3.​ The Time Traveler
4.​ The Elemental Controller
5.​ The Invincible Warrior
6.​ The Invisible Man
7.​ The Healer
8.​ The Seer/Prophet
9.​ The Immortal
10.​The Superhuman

Social Status/Rank Archetypes

1.​ The King/Queen

2.​ The Nobleman/Noblewoman
3.​ The Commoner
4.​ The Outcast
5.​ The Slave/Servant
6.​ The Recluse
7.​ The Social Climber
8.​ The Hermit
9.​ The Exile
10.​The Beggar
Age or Life Stage Archetypes

1.​ The Innocent Child

2.​ The Rebellious Teenager
3.​ The Naive Young Adult
4.​ The Midlife Crisis Sufferer
5.​ The Wise Elder
6.​ The Aging Warrior
7.​ The Wunderkind/Prodigy
8.​ The Cynical Veteran
9.​ The Late Bloomer
10.​The Old Master

Cultural Archetypes

1.​ The Noble Savage

2.​ The Wise Guru
3.​ The Star-Crossed Lovers
4.​ The Stoic Warrior
5.​ The Festive Jester
6.​ The Weary Traveler
7.​ The Mother Earth Figure
8.​ The Wily Trickster
9.​ The Sacred Healer
10.​The Community Elder

Mystical/Fantastical Beings

1.​ The Dragon

2.​ The Unicorn
3.​ The Fairy
 4.​ The Ghost
5.​ The Vampire
6.​ The Werewolf
7.​ The Mermaid/Merman
8.​ The Witch/Wizard
9.​ The Goblin
10.​The Phoenix

Magical/Supernatural Adepts

1.​ The Sorcerer/Sorceress

2.​ The Alchemist
3.​ The Necromancer
4.​ The Enchanter/Enchantress
5.​ The Conjurer
6.​ The Diviner
7.​ The Illusionist
8.​ The Elemental Mage
9.​ The Healer
10.​The Shaman

Martial/Combat Adepts

1.​ The Warrior

2.​ The Assassin
3.​ The Knight
4.​ The Archer
5.​ The Martial Artist
6.​ The Gladiator
7.​ The Mercenary
8.​ The Berserker
 9.​ The Swordsman
10.​The Strategist

Intellectual/Scientific Adepts

1.​ The Scientist

2.​ The Inventor
3.​ The Philosopher
4.​ The Historian
5.​ The Doctor
6.​ The Engineer
7.​ The Mathematician
8.​ The Astronomer
9.​ The Biologist
10.​The Linguist

Common Folk/Everyday People

1.​ The Farmer

2.​ The Blacksmith
3.​ The Cook
4.​ The Fisherman
5.​ The Shopkeeper
6.​ The Innkeeper
7.​ The Maid
8.​ The Miner
9.​ The Craftsman
10.​The Miller

Narrative Role
 1.​ The Protagonist
2.​ The Antagonist
3.​ The Mentor
4.​ The Herald
5.​ The Threshold Guardian
6.​ The Shapeshifter
7.​ The Trickster
8.​ The Ally
9.​ The Shadow
10.​The Fool

Historical/Mythological Icons

1.​ The Knight of the Round Table

2.​ The Mad Scientist
3.​ The Tragic Queen
4.​ The Charismatic Leader
5.​ The Heroic Outlaw
6.​ The Wise Oracle
7.​ The Vengeful Deity
8.​ The Martyred Saint
9.​ The Loyal Companion
10.​The Cursed Being

Family Roles

1.​ The Protective Older Brother

2.​ The Overbearing Mother
3.​ The Absent Father
4.​ The Rebellious Daughter
5.​ The Annoying Younger Sibling
 6.​ The Wise Grandparent
7.​ The Black Sheep of the Family
8.​ The Dependable Sister
9.​ The Meddling Aunt/Uncle
10.​The Orphan

Emotional Archetypes

1.​ The Stoic

2.​ The Hot-Head
3.​ The Manic Pixie Dream Girl
4.​ The Brooding Introspective Type
5.​ The Cynic
6.​ The Eternal Optimist
7.​ The Emotionally Detached
8.​ The Drama Queen/King
9.​ The Cheerful Best Friend
10.​The Melancholic Dreamer

Societal Role Archetypes

1.​ The Socialite

2.​ The Town Drunk
3.​ The Recluse
4.​ The Outcast
5.​ The Local Gossip
6.​ The Beloved Community Leader
7.​ The Eccentric Inventor
8.​ The Loner Artist
9.​ The Wise Elder
10.​The Enigmatic Stranger
Health/Ability Archetypes

1.​ The Trauma Survivor

2.​ The Mentally Ill Genius
3.​ The Character in a Wheelchair
4.​ The Amnesiac
5.​ The Terminally Ill Character
6.​ The Blind Prophet
7.​ The Veteran with PTSD
8.​ The Autistic Savant
9.​ The Survivor of Abuse
10.​The Mentally Strong Despite Adversity

Gardner’s 10 Types of Intelligences

●​ Harmonic This area of intelligence with sensitivity to the sounds, rhythms, and tones of music. People with musical intelligence normally
have good pitch or might possess absolute pitch, and are able to sing, play musical instruments, and compose music. They have
sensitivity to rhythm, pitch, meter, tone, melody or timbre.
●​ Spatial This area deals with spatial judgment and the ability to visualize with the mind's eye. Spatial ability is one of the three factors
beneath g in the hierarchical model of intelligence.
●​ Linguistic People with high verbal-linguistic intelligence display a facility with words and languages. They are typically good at reading,
writing, telling stories and memorizing words along with dates. Verbal ability is one of the most g-loaded abilities.
●​ Logical This area has to do with logic, abstractions, reasoning, numbers and critical thinking. This also has to do with having the
capacity to understand the underlying principles of some kind of causal system. Logical reasoning is closely linked to fluid intelligence
and to general intelligence (g factor).
●​ Kinesthetic The core elements of the bodily-kinesthetic intelligence are control of one's bodily motions and the capacity to handle
objects skillfully. Gardner elaborates to say that this also includes a sense of timing, a clear sense of the goal of a physical action, along
with the ability to train responses.
 ●​ Interpersonal Individuals who have high interpersonal intelligence are characterized by their sensitivity to others' moods, feelings,
temperaments, motivations, and their ability to cooperate to work as part of a group.
●​ Intrapersonal This area has to do with introspective and self-reflective capacities. This refers to having a deep understanding of the self;
what one's strengths or weaknesses are, what makes one unique, being able to predict one's own reactions or emotions.
●​ Naturalistic The individual who is readily able to recognize flora and fauna, to make other consequential distinctions in the natural world,
and to use this ability productively. This area has to do with nurturing and relating information to one's natural surroundings.
●​ Existential The adaptive use of spiritual information to facilitate everyday problem solving and goal attainment.
●​ Pedagogical This area has to do with how well we can teach concepts successfully to other people.

12 Principles of Spiritual Intelligence

The 12 Principles of Spiritual Intelligence reflect an individual's ability to understand and connect with their own spiritual or inner self, as well as
the larger world around them. Each of these principles can help an individual to grow and develop spiritually, and to live a more meaningful and
fulfilling life.

1.​ Self-awareness: Knowing what I believe in and value, and what deeply motivates me.
2.​ Spontaneity: Living in and being responsive to the moment.
3.​ Being vision- and value-led: Acting from principles and deep beliefs, and living accordingly.
4.​ Holism: Seeing larger patterns, relationships, and connections; having a sense of belonging.
5.​ Compassion: Having the quality of "feeling-with" and deep empathy.
6.​ Celebration of diversity: Valuing other people for their differences, not despite them.
7.​ Field independence: Standing against the crowd and having one's own convictions.
8.​ Humility: Having the sense of being a player in a larger drama, of one's true place in the world.
9.​ Tendency to ask fundamental "Why?" questions: Needing to understand things and get to the bottom of them.
10.​Ability to reframe: Standing back from a situation or problem and seeing the bigger picture or wider context.
11.​Positive use of adversity: Learning and growing from mistakes, setbacks, and suffering.
12.​Sense of vocation: Feeling called upon to serve, to give something back.
Light & Dark Triads
Psychologists have determined two opposing poles of personality: the light and dark triads. These opposite trait clusters can be employed to
understand your characters.

DARK TRIAD
Traits
Machiavellianism (exploitation)

Narcissism (self-importance)

Psychopathy (callousness)

Tendencies
Perceived past: unstable childhood

Perceived future: immortal legacy via reputation

Motivated by: power, perfection, achievement, status, thrills, dominance

Traits: utilitarian morals, bravery, assertiveness, leadership, entitlement, pride, stubbornness, creativity, grudges

Copes with: dualism, denial, acting out, isolation

LIGHT TRIAD
Traits
Kantianism (humans deserve respect)

Humanism (humans have value)

Faith in Humanity (humans are good)

Tendencies
Perceived past: stable childhood

Perceived future: immortal legacy via ripple effects

Motivated by: intimacy, self-transcendence, challenges, new perspective, concern for others, harmony

Traits: spirituality, satisfaction, acceptance, compassion, empathy, openness to experience, conscientiousness, enthusiasm, humility

Copes with: humor, sublimation, altruism, compartmentalization

7 Directions of Leaders
Team leaders play a crucial role in the success of any organization. They are responsible for guiding and motivating their team members to
achieve their goals, as well as coordinating with other departments and stakeholders to ensure smooth operation. However, not all team
leaders approach their roles in the same way. Here are seven common types of team leaders and how they approach their roles:
Advocate
Manages upward

An advocate is a team leader who manages upward, communicating with executives and other high-level stakeholders to explain the rationale
behind their team's decisions and to demonstrate the value of their work. An advocate is skilled at presenting and arguing clearly, and is able to
reduce frustration and build consensus among different stakeholders. They are adept at aligning their team's work with the business objectives
of the organization.

Sergeant
Manages downward

A sergeant is a team leader who emphasizes discipline, structure, and the achievement of specific, tangible results. They focus on ensuring
that their team members understand and effectively execute their individual roles and responsibilities. By setting clear expectations and
monitoring performance, a sergeant maintains order and efficiency within the team. They provide direct, often constructive, feedback to shape
the skills and behaviors of their team members, ensuring adherence to standards and procedures. Their approach is often more directive and
task-oriented, prioritizing the accomplishment of objectives and operational excellence.

Diplomat
Manages across

A diplomat is a team leader who manages across departments and teams. Their focus is on ensuring smooth communication and integration
between different groups within the organization. A diplomat acts as a mediator, coordinating with other leads to ensure that all teams are
working towards the same goals. They may also push back on unreasonable requests or demands from other departments, and advocate for
their team's needs and concerns.
Visionary
Manages forward

A visionary is a team leader who manages forward, focusing on the long-term goals and strategic direction of the organization. They are able to
think outside of the box and come up with innovative solutions to problems. They inspire and motivate their team members to think big and
strive for greatness. They are able to anticipate future trends and challenges, and guide the team in preparing for them.

Steward
Manages backward

A steward is a team leader who manages backward, focusing on preserving and maintaining the organization's legacy and values. They ensure
that the team is operating in line with the organization's mission and culture. They hold the team accountable for adhering to the established
processes and policies. They also serve as a link between the team and the organization's history, helping the team understand and appreciate
the context in which they are working.

Celebrity
Manages outward

A celebrity is a team leader who manages outward, representing the organization to external stakeholders, such as customers, partners, and
the public. They act as the face of the organization, promoting its brand and building relationships with key stakeholders. They are able to
navigate complex social dynamics and are skilled at communicating the organization's message in a compelling and authentic way.

Coach
Manages inward

A coach is a team leader who nurtures the personal and professional growth of their team members. They focus on developing a cohesive and
collaborative team culture, emphasizing trust, open communication, and mutual support. Coaches are less directive and more focused on
empowering individuals to identify and reach their potential. They facilitate self-reflection and learning, encouraging team members to set
personal goals and develop new skills. By fostering a positive and inclusive team environment, coaches help individuals feel valued and
connected, ultimately contributing to the team's overall effectiveness and morale.

A good leader is akin to a chameleon, adept at dynamically switching between various leadership roles or modes to effectively manage their
team and align with organizational objectives. These roles, as described, are Advocate, Sergeant, Diplomat, Visionary, Steward, Celebrity, and
Coach, each focusing on a different aspect of team and organizational dynamics.

Dynamic Leadership:

1.​ Contextual Awareness: Wise leaders understand the context and needs of each situation, allowing them to anticipate which mode is
most appropriate. For instance, in a crisis requiring immediate action, adopting the Sergeant role with its focus on discipline and specific
results may be essential. Conversely, during strategic planning, the Visionary role is more suitable, focusing on long-term goals and
innovation.
2.​ Flexibility: Effective leaders are flexible, seamlessly transitioning between roles. When discussing team achievements with upper
management, they might take on the Advocate role, while in team meetings, they could shift to being a Coach, fostering growth and
collaboration.
3.​ Balancing Act: The key lies in balancing these roles, ensuring no single approach dominates. A leader who remains perpetually in the
Sergeant mode may stifle creativity, while one who is always a Visionary might lose sight of day-to-day operational needs.

Anticipating the Need for Different Modes:

1.​ Understanding Team Dynamics: Leaders must understand their team's dynamics and individual needs. For example, a new team
might benefit more from the structure provided by the Sergeant role, while a more experienced team might thrive under the autonomy
granted by the Coach role.
 2.​ Aligning with Organizational Goals: Leaders must align their mode with the organization's current objectives and culture. In a phase
of rapid growth, the Celebrity role may be crucial to outwardly promote the organization, whereas in a period of consolidation, the
Steward's focus on preserving core values becomes more relevant.

Avoiding Confusion and Frustration:

1.​ Misalignment of Expectations: Confusion and frustration can arise if there's a mismatch between the leader's mode and the team's
expectations. For instance, a team facing operational challenges might expect their leader to be a Sergeant providing clear directives,
but if the leader adopts a Visionary stance, focusing on future opportunities instead of current problems, it can lead to frustration and a
feeling of being misunderstood.
2.​ Communication is Key: Leaders should communicate their role and approach clearly to the team. If a leader needs to adopt the
Diplomat role to navigate inter-departmental challenges, explaining this to the team can prevent them from feeling neglected or
sidelined.

Example Scenario:

Consider a situation where a team is underperforming. The leader, recognizing low morale, initially adopts the Coach role, focusing on building
confidence and addressing personal development needs. However, as deadlines approach, they switch to the Sergeant role to ensure timely
delivery of results. Post-project, they become a Steward, reinforcing the importance of aligning with organizational values and culture in their
work.

In summary, a good leader's ability to dynamically switch between different roles is crucial for effectively managing a team and meeting
organizational needs. It requires keen situational awareness, flexibility, and clear communication to ensure alignment of expectations and to
prevent confusion. The best leaders are those who can not only perform each role effectively but also discern when each role is most
appropriate.

7 Conditions for Flow

You may have experienced a flow state at some point — that sense of fluidity between your body and mind, where you are totally absorbed by
and deeply focused on something, beyond the point of distraction. Time feels like it has slowed down. Your senses are heightened. You are at
one with the task at hand, as action and awareness sync to create an effortless momentum. Some people describe this feeling as being “in the
zone.” This is the flow state and it’s accessible to everyone, whether you’re engaged in a physical activity, a creative pursuit, or even a simple
day-to-day task.

In positive psychology, a flow state, also known colloquially as being in the zone, is the mental state in which a person performing some activity
is fully immersed in a feeling of energized focus, full involvement, and enjoyment in the process of the activity. In essence, flow is characterized
by the complete absorption in what one does, and a resulting transformation in one's sense of time.

There are 7 conditions for the flow state to arise:

1.​ Knowing what to do: This refers to having a clear understanding of the goals and objectives of the task or activity that one is engaged in.
2.​ Knowing how to do it: This refers to having the necessary knowledge and skills to complete the task or activity successfully.
3.​ Knowing how well you are doing: This refers to having a clear sense of progress and understanding of one's own performance during
the task or activity.
4.​ Knowing where to go: This refers to having a clear sense of direction and understanding of the steps needed to reach the end goal of
the task or activity.
5.​ High perceived challenges: This refers to feeling that the task or activity presents a significant challenge, but one that is within one's
abilities to overcome.
6.​ High perceived skills: This refers to feeling confident in one's abilities to successfully complete the task or activity.
7.​ Freedom from distractions: This refers to being able to fully concentrate on the task or activity without being interrupted or distracted by
external factors.

6 Types of Thinking
These six types of thinking can be used in various combinations to approach and solve problems in different ways. By understanding and
developing these different modes of thinking, individuals and organizations can become more flexible, adaptable, and innovative in their
approach to problem-solving.
Systems thinking

solve by understanding

This type of thinking involves understanding how different parts of a system work together and influence one another. It can be used to solve
problems by considering the whole system, rather than just its individual parts.

Agile thinking

solve by adapting

Agile thinking involves a focus on action and continuous improvement. It involves constantly adapting to change and taking a flexible approach
to problem-solving.

Design thinking

solve by creating

Design thinking is a creative approach to problem-solving that involves empathy for the user, prototyping, and iterative testing. It is often used to
create innovative products, services, and experiences.

Game thinking

solve by manipulating

Game thinking involves applying principles from the design of games to solve problems in other domains. It can involve setting goals, creating
rules, and designing feedback systems to motivate and engage people.

Poetry thinking

solve by relating
Poetry thinking involves using language and communication in creative and expressive ways. It can be used to relate to others, convey
emotions, and generate new ideas.

Revolution thinking

solve by destroying

Revolution thinking involves challenging the status quo and fundamentally changing the way things are done. It involves a willingness to take
risks and think outside the box in order to bring about significant change.

4 Types of Attachment
Attachment styles refer to the way that individuals form and maintain emotional bonds with others. There are four main types of attachment
styles: secure, anxious, dismissive, and fearful. Secure attachment is characterized by a sense of comfort with emotional intimacy and the
ability to both depend on and be depended on by others. Anxious attachment is marked by a strong desire for intimacy and a fear that one's
needs for connection will not be met. Dismissive attachment is characterized by a strong desire for independence and a reluctance to depend
on or be depended on by others. Fearful attachment is marked by a mix of desire for intimacy and fear of being hurt or rejected in close
relationships.

Secure
"It is relatively easy for me to become emotionally close to others. I am comfortable depending on others and having others depend on me. I
don't worry about being alone or having others not accept me. I enjoy both deep intimacy and pure independence."

Anxious
"I want to be completely emotionally intimate with others, but I often find that others are reluctant to get as close as I would like. I am
uncomfortable being without close relationships, but I sometimes worry that others don't value me as much as I value them. I seek high levels
of approval and responsiveness."

Dismissive
"I am comfortable without close emotional relationships. It is very important to me to feel independent and self-sufficient. I prefer not to depend
on others or have others depend on me. I desire a high level of independence."

Fearful
"I am somewhat uncomfortable getting close to others. I want emotionally close relationships, but I find it difficult to trust others completely, or to
depend on them. I sometimes worry that I will be hurt if I allow myself to become too close to others. I idealize relationships, but feel extreme
discomfort in them. Sometimes I think I am unworthy of responsiveness from others, and I don't usually trust the intentions of partners."

9 Principles of Persuasion
There are many different techniques and strategies that can be used to persuade others. Some of the most well-known and widely used
principles of persuasion include reciprocity, commitment, social proof, authority, liking, and scarcity. These principles are based on various
psychological and social phenomena, and can be effective in influencing the decisions and behaviors of others.

Reciprocity
“People tend to return a favor.”
Reciprocity is the idea that people tend to return a favor. This principle is rooted in the concept of social exchange, which suggests that people
are more likely to help others when they believe they will receive something in return. The concept of reciprocity can be seen in many different
forms of social interaction, from simple exchanges of goods and services to more complex interactions involving favors and assistance.

One way that the principle of reciprocity can be used in persuasion is through the use of small favors or gifts. For example, a salesperson might
give a potential customer a small gift or a sample of a product as a way of building rapport and creating a sense of obligation. By receiving
something of value, the customer may feel a sense of indebtedness and be more likely to make a purchase in return.

Commitment
“If people commit, they are more likely to honor that commitment.”

Commitment is the idea that if people commit to something, they are more likely to honor that commitment. This principle is based on the idea
that people have a natural tendency to want to be consistent with their previous actions and decisions. When people make a commitment, they
are more likely to follow through with it because they do not want to appear inconsistent or unreliable.

One way that the principle of commitment can be used in persuasion is through the use of public declarations or commitments. For example, a
politician might ask a group of supporters to publicly declare their support for a particular campaign or policy in order to increase their
commitment to the cause. By publicly committing to something, people are more likely to follow through with their commitment because they do
not want to appear untrustworthy or disloyal.

Social Proof
“People will do things they see other people are doing.”

Social proof is the idea that people will do things they see other people are doing. This principle is based on the idea that people often look to
others for cues about how to behave in certain situations. When people are unsure of what to do, they may look to others to see what they are
doing and then follow suit.
One way that the principle of social proof can be used in persuasion is through the use of social media and online reviews. For example, a
business might use social media to showcase the positive experiences of other customers in order to encourage others to try their product or
service. By seeing other people having positive experiences, potential customers may be more likely to make a purchase because they believe
that others are doing it and that it must be a good choice.

Authority
“People will tend to obey authority figures.”

Authority is the idea that people will tend to obey authority figures. This principle is based on the idea that people are more likely to follow the
lead of those who are perceived as experts or leaders in their field. When people see someone in a position of authority, they are more likely to
trust their expertise and follow their guidance.

One way that the principle of authority can be used in persuasion is through the use of endorsements or testimonials from experts or industry
leaders. For example, a company might use the endorsement of a well-known expert in their field to promote their product or service. By seeing
someone with credibility and authority supporting the product, potential customers may be more likely to trust the company and make a
purchase.

Liking
“People are easily persuaded by other people they like.”

Liking is the idea that people are easily persuaded by other people they like. This principle is based on the idea that people are more likely to
trust and follow those who they have a positive connection with. When people like someone, they are more likely to be influenced by their
opinions and recommendations.

One way that the principle of liking can be used in persuasion is through the use of likable and relatable spokespeople. For example, a
company might use a celebrity or influencer who is well-liked and relatable to promote their product or service through social media or other
marketing channels. By using someone who is likable and relatable, the company is more likely to be successful in persuading potential
customers to try their product.

Scarcity
“Perceived scarcity will generate demand.”

Scarcity is the idea that perceived scarcity will generate demand. This principle is based on the idea that people place a higher value on things
that are rare or in limited supply. When something is scarce, people may perceive it as more valuable and be more likely to want it.

One way that the principle of scarcity can be used in persuasion is through the use of limited time offers or limited edition products. For
example, a company might offer a special discount or promotion for a limited time in order to create a sense of urgency and encourage people
to make a purchase. By creating the perception that the offer or product is scarce, the company is more likely to be successful in persuading
potential customers to make a purchase.

Escalation
"If they agree to something small, they’ll agree to something big."

Escalation, or the foot-in-the-door technique, is a persuasion strategy where the persuader gets someone to agree to a small, initial request,
and then follows up with a larger, related request. The theory is that once a person has agreed to a small request, they are more likely to agree
to subsequent, larger requests. This technique is often used in sales and marketing, where a small initial commitment is used to eventually lead
to a larger purchase.

Halo
"People tend to assume that someone good at one thing is good at others."

The halo effect is a cognitive bias where our overall impression of a person influences how we feel and think about their character. For
example, people often rate attractive individuals more favorably for their personality traits or characteristics than those who are less attractive.
Marketers use this principle by using attractive models or well-liked celebrities to endorse their products, hoping their positive attributes will
transfer over to the products.

Decoy
"People's preference between two options can change when a third, less appealing option is presented."

The Decoy Effect is a phenomenon where the introduction of a third choice can influence which of the two original options is selected. For
example, a customer might not know whether to buy a small or medium size of something, but if a significantly less attractive large size is
added, they might be more inclined to choose the medium one. This principle is commonly used in pricing and product marketing.
The search for fulfillment in one's life is a journey that many people undertake at some point. It can be a difficult and often confusing process,
as there are so many different factors to consider and paths to explore. However, there are certain guiding principles that can help you navigate
this journey and find a fulfilling career that truly resonates with you. These principles are known as the "4 pillars of fulfillment," and they are:

1.​ What you can be paid for: This pillar refers to the skills and talents that you have that are marketable and can generate income. It's
important to consider what you can be paid for, as financial stability is a key factor in overall happiness and well-being.
2.​ What you love to do: The second pillar is all about your passions and interests. What do you enjoy doing in your free time? What are the
things that you look forward to doing every day? Finding a career that allows you to pursue your passions can bring a deep sense of
fulfillment and happiness.
3.​ What you are skilled in: The third pillar is about your natural abilities and strengths. What comes easily to you? What are you naturally
good at? Focusing on your strengths can help you excel in your career and find satisfaction in what you do.
4.​ What the world needs: The final pillar is about making a difference in the world and contributing to something bigger than yourself. What
problems or challenges do you feel most passionately about solving? How can you use your skills and talents to make a positive impact
on the world?

When all four of these pillars are present in a career, it's known as Ikigai, or "a reason for being." This concept, which originates from Japan,
refers to finding your true calling in life and experiencing a sense of purpose and meaning in your work.

8 Principles of Learning
The eight principles of learning are readiness, exercise, effect, primacy, recency, intensity, freedom, and requirements. We include the
explanation of each below.

Readiness
Readiness implies a degree of concentration and eagerness. Individuals learn best when they are physically, mentally, and emotionally ready
to learn and do not learn well if they see no reason for learning. Getting students ready to learn, creating interest by showing the value of the
subject matter, and providing continuous mental or physical challenge, is usually the instructor’s responsibility. If students have a strong
purpose, a clear objective, and a definite reason for learning something, they make more progress than if they lack motivation. In other words,
when students are ready to learn, they meet the instructor at least halfway, simplifying the instructor’s job.

Since learning is an active process, students must have adequate rest, health, and physical ability. Basic needs of students must be satisfied
before they are ready or capable of learning. Students who are exhausted or in ill health cannot learn much. If they are distracted by outside
responsibilities, interests, or worries, have overcrowded schedules, or other unresolved issues, students may have little interest in learning. For
example, we may identify the situation of an academic examination of a school, in which the cause of securing good marks in various subjects
leads to mentally and emotionally readiness of students to do more hard labor in acquiring knowledge.

Exercise
The principle of exercise states that those things most often repeated are best remembered. It is the basis of drill and practice. It has been
proven that students learn best and retain information longer when they have meaningful practice and repetition. The key here is that the
practice must be meaningful. It is clear that practice leads to improvement only when it is followed by positive feedback.

Human memory is fallible. The mind can rarely retain, evaluate, and apply new concepts or practices after a single exposure. Students do not
learn complex tasks in a single session. They learn by applying what they have been told and shown. Every time practice occurs, learning
continues. These include student recall, review and summary, and manual drill and physical applications. All of these serve to create learning
habits. The instructor must repeat important items of subject matter at reasonable intervals, and provide opportunities for students to practice
while making sure that this process is directed toward a goal. But in some or many cases, there is no need for regular practice if the skill is
acquired once. For instance if we have learnt cycling once, we will not forget the knowledge or skill even if we aren't exercising it for a long
time.

Effect
The principle of effect is based on the emotional reaction of the student. It has a direct relationship to motivation. The principle of effect is that
learning is strengthened when accompanied by a pleasant or satisfying feeling, and that learning is weakened when associated with an
unpleasant feeling. The student will strive to continue doing what provides a pleasant effect to continue learning. Positive reinforcement is more
apt to lead to success and motivate the learner, so the instructor should recognize and commend improvement. Whatever the learning situation,
it should contain elements that affect the students positively and give them a feeling of satisfaction. Therefore, instructors should be cautious
about using punishment in the classroom.

One of the important obligations of the instructor is to set up the learning situation in such a manner that each trainee will be able to see
evidence of progress and achieve some degree of success. Experiences that produce feelings of defeat, frustration, anger, confusion, or futility
are unpleasant for the student. If, for example, an instructor attempts to teach advanced concepts on the initial engagement, the student is
likely to feel inferior and be frustrated. Impressing upon students the difficulty of a task to be learned can make the teaching task difficult.
Usually it is better to tell students that a problem or task, although difficult, is within their capability to understand or perform. Every learning
experience does not have to be entirely successful, nor does the student have to master each lesson completely. However, every learning
experience should contain elements that leave the student with some good feelings. A student’s chance of success is definitely increased if the
learning experience is a pleasant one.

Primacy
Primacy, the state of being first, usually creates a strong and durable impression. Things learned first are usually learned easily and remain,
without effort, in the mind of the student. For the instructor, this provides an ideal strategy for successfully teaching the most important
fundamentals of a subject; simply starting with these fundamentals and avoiding information of secondary importance will exercise the law of
primacy to help consolidate the fundamentals quickly and for the long term. For the student, it means that learning must be right. “Unteaching”
wrong first impressions will cause confusion unless the correct version is presented logically and carefully with effort devoted to explaining why
the first version is incorrect or inferior.

The student's first experience should be positive, functional, and lay the foundation for all that is to follow. What the student learns must be
procedurally correct and applied the very first time. The instructor must present subject matter in a logical order, step by step, making sure the
students have already learned the preceding step. If the task is learned in isolation, is not initially applied to the overall performance, or if it must
be relearned, the process can be confusing and time consuming. Preparing and following a lesson plan facilitates delivery of the subject matter
correctly the first time.

Recency
The principle of recency states that things most recently learned are best remembered. Conversely, the further a student is removed time-wise
from a new fact or understanding, the more difficult it is to remember. For example, it is fairly easy to recall a telephone number dialed a few
minutes ago, but it is usually impossible to recall a new number dialed last week. The closer the training or learning time is to the time of actual
need to apply the training, the more apt the learner will be to perform successfully.

Information acquired last generally is remembered best; frequent review and summarization help fix in the mind the material covered.
Instructors recognize the principle of recency when they carefully plan a summary for a lesson or learning situation. The instructor repeats,
restates, or re-emphasizes important points at the end of a lesson to help the student remember them. The principle of recency often
determines the sequence of lectures within a course of instruction.

Intensity
The more intense the material taught, the more likely it will be retained. A sharp, clear, vivid, dramatic, or exciting learning experience teaches
more than a routine or boring experience. The principle of intensity implies that a student will learn more from the real thing than from a
substitute. For example, a student can get more understanding and appreciation of a movie by watching it than by reading the script. Likewise,
a student is likely to gain greater understanding of tasks by performing them rather than merely reading about them. The more immediate and
dramatic the learning is to a real situation, the more impressive the learning is upon the student. Real world applications that integrate
procedures and tasks that students are capable of learning will make a vivid impression on them.

In contrast to practical instruction, the classroom imposes limitations on the amount of realism that can be brought into teaching. The instructor
needs to use imagination in approaching reality as closely as possible. Classroom instruction can benefit from a wide variety of instructional
aids, to improve realism, motivate learning, and challenge students. Instructors should emphasize important points of instruction with gestures,
showmanship, and voice. Demonstrations, skits, and role playing do much to increase the learning experience of students. Examples,
analogies, and personal experiences also make learning come to life. Instructors should make full use of the senses (hearing, sight, touch,
taste, smell, balance, rhythm, depth perception, and others).

Freedom
The principle of freedom states that things freely learned are best learned. Conversely, the further a student is coerced, the more difficult it is
for him to learn, assimilate and implement what is learned. Compulsion and coercion are antithetical to personal growth. The greater the
freedom enjoyed by individuals within a society, the greater the intellectual and moral advancement enjoyed by society as a whole.

Since learning is an active process, students must have freedom: freedom of choice, freedom of action, freedom to bear the results of
action—these are the three great freedoms that constitute personal responsibility. If no freedom is granted, students may have little interest in
learning.

Requirements
The law of requirement states that "we must have something to obtain or do something." It can be an ability, skill, instrument or anything
that may help us to learn or gain something. A starting point or root is needed; for example, if you want to draw a person, you need to have the
materials with which to draw, and you must know how to draw a point, a line, a figure and so on until you reach your goal, which is to draw a
person.

Bloom’s Taxonomy of Learning

Bloom’s taxonomy is a set of three models used for classifying learning objectives. The three models are cognitive, affective, and psychomotor.

COGNITIVE
The cognitive taxonomy is a map of the 6 stages of learning.

●​ Remember This stage involves recognizing facts, terms, and basic concepts without necessarily understanding them.
●​ Understanding This stage involves demonstrating comprehension of facts and ideas by organizing, summarizing, and translating the
main ideas.
●​ This stage involves using acquired knowledge to solve problems in new situations by applying facts, techniques, and rules.
 ●​ This stage involves examining and breaking information into parts, determining how the parts relate, making inferences, and supporting
generalizations.
●​ Evaluating This stage involves presenting and defending opinions by making judgements about information, the validity of ideas, or
quality of work.
●​ This stage involves building a structure or pattern from diverse elements, and putting parts together to form a whole.

AFFECTIVE
The affective taxonomy is a map of the 5 stages of emotional reaction.

●​ Receiving The lowest level; the student passively pays attention. Without this level, no learning can occur. Receiving is about the
student's memory and recognition as well.
●​ Responding: The student actively participates in the learning process, not only attends to a stimulus; the student also reacts in some
way.
●​ Valuing The student attaches a value to an object, phenomenon, or piece of information. The student associates a value or some
values to the knowledge they acquired.
●​ Organizing The student can put together different values, information, and ideas, and can accommodate them within their own schema;
the student is comparing, relating and elaborating on what has been learned.
●​ Characterizing The student at this level tries to build abstract knowledge.

PSYCHOMOTOR
The psychomotor taxonomy is a map of the 7 stages of physical mastery.

●​ Perception The ability to use sensory cues to guide motor activity: This ranges from sensory stimulation, through cue selection, to
translation. Examples: Detects non-verbal communication cues. Estimate where a ball will land after it is thrown and then move to the
correct location to catch the ball. Adjusts heat of the stove to correct temperature by smell and taste of food. Adjusts the height of the
 forks on a forklift by comparing where the forks are in relation to the pallet. Key words: chooses, describes, detects, differentiates,
distinguishes, identifies, isolates, relates, selects.
●​ Set Readiness to act: It includes mental, physical, and emotional sets. These three sets are dispositions that predetermine a person's
response to different situations (sometimes called mindsets). This subdivision of psychomotor is closely related with the "responding to
phenomena" subdivision of the affective domain. Examples: Knows and acts upon a sequence of steps in a manufacturing process.
Recognizes his or her abilities and limitations. Shows desire to learn a new process (motivation). Keywords: begins, displays, explains,
moves, proceeds, reacts, shows, states, volunteers.
●​ Guided response The early stages of learning a complex skill that includes imitation and trial and error: Adequacy of performance is
achieved by practicing. Examples: Performs a mathematical equation as demonstrated. Follow instructions to build a model. Responds
to hand-signals of the instructor while learning to operate a forklift. Keywords: copies, traces, follows, reacts, reproduces, responds.
●​ Mechanism The intermediate stage in learning a complex skill: Learned responses have become habitual and the movements can be
performed with some confidence and proficiency. Examples: Use a personal computer. Repair a leaking tap. Drive a car. Key words:
assembles, calibrates, constructs, dismantles, displays, fastens, fixes, grinds, heats, manipulates, measures, mends, mixes, organizes,
sketches.
●​ Complex overt response The skillful performance of motor acts that involve complex movement patterns: Proficiency is indicated by a
quick, accurate, and highly coordinated performance, requiring a minimum amount of energy. This category includes performing without
hesitation and automatic performance. For example, players will often utter sounds of satisfaction or expletives as soon as they hit a
tennis ball or throw a football because they can tell by the feel of the act what the result will produce. Examples: Maneuvers a car into a
tight parallel parking spot. Operates a computer quickly and accurately. Displays competence while playing the piano. Key words:
assembles, builds, calibrates, constructs, dismantles, displays, fastens, fixes, grinds, heats, manipulates, measures, mends, mixes,
organizes, sketches. (Note: The key words are the same as in mechanism, but will have adverbs or adjectives that indicate that the
performance is quicker, better, more accurate, etc.)
●​ Adaptation Skills are well developed and the individual can modify movement patterns to fit special requirements. Examples: Responds
effectively to unexpected experiences. Modifies instruction to meet the needs of the learners. Performs a task with a machine that was
not originally intended for that purpose (the machine is not damaged and there is no danger in performing the new task). Key words:
adapts, alters, changes, rearranges, reorganizes, revises, varies.
●​ Origination Creating new movement patterns to fit a particular situation or specific problem: Learning outcomes emphasize creativity
based upon highly developed skills. Examples: Constructs a new set or pattern of movements organized around a novel concept or
theory. Develops a new and comprehensive training program. Creates a new gymnastic routine. Key words: arranges, builds, combines,
composes, constructs, creates, designs, initiates, makes, originates.
3 Requirements for Personal Change
For a character to choose to change, there are three requirements.

Decisional Balance
A growing awareness that the advantages of changing outweigh the disadvantages.

Decisional balance is the process of weighing the pros and cons of a particular decision. In the context of personal change, it refers to an
individual considering whether the benefits of changing their behavior or habits outweigh the costs or challenges.

Self-efficacy
Confidence that they can make and maintain changes in situations that tempt them to return to their old, unhealthy behavior.

Self-efficacy is an individual's belief in their ability to successfully perform a specific task or achieve a particular goal. In the context of personal
change, it refers to an individual's confidence in their ability to make and maintain changes to their behavior or habits.

Strategic Process
Strategies that can help them make and maintain change.

Strategic process refers to the strategies and steps an individual takes to make and maintain change. This can include setting specific and
achievable goals, creating a plan to achieve those goals, and seeking support from friends, family, or a therapist to help with the process of
change. It is important to have a well-thought-out plan in place in order to increase the chances of success in making and maintaining personal
change.
31 Processes for Creating Change
Any good story requires change over stagnancy. But, how do we guide our characters, players, or narratives in creating change that makes
sense?

Here we detail 31 different processes that can create change.

1.​ Consciousness-raising (Get the facts) — increasing awareness via information, education, and personal feedback about healthy
behavior.
2.​ Dramatic relief (Pay attention to feelings) — feeling fear, anxiety, or worry because of the unhealthy behavior, or feeling inspiration and
hope when they hear about how people are able to change to healthy behaviors.
3.​ Self-revaluation (Create a new self-image) — realizing that healthy behavior is an important part of who they are and want to be.
4.​ Environmental reevaluation (Notice your effect on others) — realizing how their unhealthy behavior affects others and how they could
have more positive effects by changing.
5.​ Social liberation (Notice public support) — realizing that society is more supportive of healthy behavior.
6.​ Self-liberation (Make a commitment) — believing in one's ability to change and making commitments and re-commitments to act on that
belief.
7.​ Helping relationships (Get support) — finding people who are supportive of their change.
8.​ Counter-conditioning (Use substitutes) — substituting healthy ways of acting and thinking for unhealthy ways.
9.​ Reinforcement management (Use rewards) — increasing the rewards that come from positive behavior and reducing those that come
from negative behavior.
10.​Stimulus control (Manage your environment) — using reminders and cues that encourage healthy behavior as substitutes for those that
encourage the unhealthy behavior.
11.​Risk comparison (Understand the risks) – comparing risks with similar dimensional profiles: dread, control, catastrophic potential and
novelty
12.​Cumulative risk (Get the overall picture) – processing cumulative probabilities instead of single incident probabilities
13.​Qualitative and quantitative risks (Consider different factors) – processing different expressions of risk
14.​Positive framing (Think positively) – focusing on success instead of failure framing
15.​Self-examination relate to risk (Be aware of your risks) – conducting an assessment of risk perception, e.g. personalization, impact on
others
 16.​Reevaluation of outcomes (Know the outcomes) – emphasizing positive outcomes of alternative behaviors and reevaluating outcome
expectancies
17.​Perception of benefits (Focus on benefits) – perceiving advantages of the healthy behavior and disadvantages of the risk behavior
18.​Self-efficacy and social support (Get help) – mobilizing social support; skills training on coping with emotional disadvantages of change
19.​Decision making perspective (Decide) – focusing on making the decision
20.​Tailoring on time horizons (Set the time frame) – incorporating personal time horizons
21.​Focus on important factors (Prioritize) – incorporating personal factors of highest importance
22.​Trying out new behavior (Try it) – changing something about oneself and gaining experience with that behavior
23.​Persuasion of positive outcomes (Persuade yourself) – promoting new positive outcome expectations and reinforcing existing ones
24.​Modeling (Build scenarios) – showing models to overcome barriers effectively
25.​Skill improvement (Build a supportive environment) – restructuring environments to contain important, obvious and socially supported
cues for the new behavior
26.​Coping with barriers (Plan to tackle barriers) – identifying barriers and planning solutions when facing these obstacles
27.​Goal setting (Set goals) – setting specific and incremental goals
28.​Skills enhancement (Adapt your strategies) – restructuring cues and social support; anticipating and circumventing obstacles; modifying
goals
29.​Dealing with barriers (Accept setbacks) – understanding that setbacks are normal and can be overcome
30.​Self-rewards for success (Reward yourself) – feeling good about progress; reiterating positive consequences
31.​Coping skills (Identify difficult situations) – identifying high risk situations; selecting solutions; practicing solutions; coping with relapse

6 Stages of Moral Development

The moral development of an individual can be a complex and nuanced process that can take place over the course of a lifetime. There are
generally recognized to be six stages of moral development, each characterized by a particular worldview and focus. These stages include
blind egoism, instrumental egoism, social relationships, social systems, contractual, and mutual. In the first stage, an individual only recognizes
their own self and is primarily concerned with obedience and punishment. As they progress through the stages, they begin to consider the
perspectives and motivations of others, and ultimately arrive at a universal understanding of ethics.
Blind Egoism
Worldview: Only recognizes self

Focus: Obedience and punishment

Question: How can I avoid punishment?

Instrumental Egoism
Worldview: Witnessing others conforming or deviating

Focus: Self-interest

Question: What's my incentive?

Social Relationships
Worldview: Recognizing good and bad intentions

Focus: Interpersonal accord

Question: How can I belong?

Social Systems
Worldview: Elevating abstract normativity

Focus: Authority and social-order

Question: How can I uphold law?

Contractual
Worldview: Understanding that arbitrary alliances promote welfare

Focus: Social contract

Question: How can I uphold goodness?

Mutual
Worldview: Seeing human fallibility impacted by communication

Focus: Universal ethics

Question: How can I be principled abstractly?

9 Stages of Spiritual Growth

I am my body
This is the toddler stage of spirituality. Here, if something creates a sense of security it is deemed good. This stage is preoccupied with pleasure
and security without shame or fear.

I am my behavior
This is the stage of rituals and performativity. This stage is where people first desire to appear good, but here only the appearance matters.
Tribal thinking, dualism, and hypocrisy.

I am my thoughts
This stage is where people are more sophisticated in their pursuit of false goodness, but it is still self-absorbed and ego-based. Education
becomes a substitute for actual growth.

I am my intuition
The first move into the contemplative mind, and encounter with paradox. This stage is the realization the world has meaning. However, often
this stage brings a sense of elitism for having “transcended”, and people focus too much on inner work instead of actual meaningful encounter
with mystery.

I am my shadow self
This stage is the grappling with our own mixed motives - that we blend selfishness and altruism in ways we didn’t want to admit before. We
meet ourselves in a raw state, and deal with our core needs. We learn to live with contradiction, ambiguity, and darkness.
I am empty and powerless
This is the identity transplant. Here we feel as if we know nothing, and have no capability to understand, fix, or change.

I am more than I thought I was

Here, we find true peace with emptiness, we allow the true self to take over, and stop being distracted by our own weaknesses.

I am one with the world

Unitive consciousness, and a sense of oneness. There is no need to protect yourself from anything, as who we are is unassailable.

I am
All attachment is released, and all pretense is dropped. The self is seen in all things, and all things are found within the self. Earlier rituals and
falsehoods are embraced lovingly as the pathways that brought you here.

6 Circles of Loving
The concept of love is a complex and multifaceted emotion that can be experienced in many different ways. The idea of the "six circles of
loving" highlights the different forms that love can take and the various individuals and entities that we can direct our love towards.

When writing characters, we can understand their worldview better by placing them in this model.
I can love myself
The first circle of loving is self-love. This is the foundation of all love and refers to the ability to show love and compassion towards oneself. It is
important to practice self-love as it helps to build self-esteem, confidence, and a positive sense of self-worth. Without self-love, it is difficult to
extend love to others.

I can love a friend

The second circle of love is love for a friend. Friendships are an important source of love and support, and being able to love and care for your
friends is essential to maintaining healthy relationships.

I can love a stranger

The third circle of loving is love for a stranger. This refers to the ability to show kindness and compassion towards people we do not know
personally. It is about recognizing the humanity in others and being able to extend love and compassion towards them, even if we do not have a
personal connection.

I can love an enemy

The fourth circle of loving is love for an enemy. This is perhaps the most challenging form of love, as it requires us to extend love and
understanding towards those who may have caused us harm or whom we may hold grudges against. It is about letting go of anger and
resentment and finding a way to forgive and move forward.
I can love all peoples
The fifth circle of loving is love for all peoples. This is a broader form of love that encompasses the idea of loving and accepting people from all
walks of life, regardless of their background or beliefs. It is about embracing diversity and seeing the beauty in all people.

I can love the universe

The final circle of loving is love for the universe. This refers to a deep sense of connection and appreciation for the world around us and the
interconnectedness of all living things. It is about finding beauty and meaning in the natural world and cultivating a sense of wonder and awe.

8 Essential Story Questions

As writers and creators, it's important to have a clear understanding of the direction and purpose of our stories. One way to do this is to ask
ourselves a series of essential questions about our characters and plot. Here are eight questions to consider as you develop your story:

Have your characters resolved to change, or be steadfast?

Characters who are determined to change are often driven by a sense of self-improvement or a desire to overcome a personal flaw. On the
other hand, characters who are steadfast in their beliefs and values may be more resistant to change. Both approaches can be compelling, but
it's important to consider which one is most fitting for your story.

Will your characters' growth start, or stop?

Growth can refer to a character's personal development, their understanding of the world around them, or their relationships with others. Will
your characters experience growth throughout the story, or will they hit a roadblock that prevents them from making progress?

Is your character's approach to become something, or do something?

Some characters are driven by a desire to become someone new or different, whether it's a physical transformation or a change in their identity.
Others are more focused on taking action and achieving a specific goal. Consider which approach is most fitting for your character and how it
will drive the story forward.

Is your character's problem-solving linear, or holistic?

Linear problem-solving involves tackling one issue at a time in a logical, step-by-step manner. Holistic problem-solving, on the other hand,
involves considering the big picture and finding creative solutions that address multiple issues at once. Both approaches can be effective, but
it's important to consider which one is most fitting for your character.

Is the story driven by actions, or decisions?

Some stories are driven by characters taking physical action to achieve their goals. Others are more focused on the decisions characters make
and the consequences that result from those choices. Consider which approach is most fitting for your story and how it will shape the direction
and pacing of the plot.

Is a limit imposed by limited time, or limited options?

Some stories are constrained by time, with characters racing against the clock to achieve their goals. Others are limited by the options available
to them, whether it's a lack of resources or a lack of alternatives. Consider which type of limitation is most fitting for your story and how it will
create tension and conflict.

Will the outcome be success, or failure?

Will your characters achieve their goals, or will they fall short? The answer to this question will shape the overall tone and message of your
story.

Will the outcome be felt as good, or bad?

Even if your characters achieve their goals, the outcome might not be universally perceived as a positive one. Consider how different
characters might interpret the events of your story and how it will affect their perception of the outcome.
6 Elements of Stories
Storytelling is a fundamental aspect of human nature and has been present in every culture throughout history. It is a way for people to share
experiences, lessons, and values with one another. There are many different elements that go into crafting a good story, and each one plays a
crucial role in shaping the overall narrative. Here, we will explore six key elements that are found in all great stories: plot, character, ideas,
diction, melody, and spectacle.

1.​ Plot, also known as mythos, refers to the organization of events in a story. This includes the sequence of events, the cause-and-effect
relationships between them, and the overall structure of the narrative. A good plot is well-paced, engaging, and keeps the reader or
listener interested from beginning to end.
2.​ Character, or ethos, refers to the ethical nature of the agents in a story. This includes their motivations, values, and goals. Great
characters are well-rounded and relatable, and they should be fully developed in order to be believable and engaging.
3.​ Ideas, or dianoia, refer to the reasoning used by the characters or implied by the events in a story. This includes the themes, messages,
and moral lessons that are conveyed through the narrative. A good story should have a clear idea or message that it is trying to convey,
and this should be woven seamlessly into the plot and characters.
4.​ Diction, or lexis, refers to the quality of speech used in a story. This includes the choice of words, the tone, and the overall style of the
writing or dialogue. Good diction is appropriate for the story and its characters, and it helps to create a distinct voice for the narrative.
5.​ Melody, or melos, refers to everything auditory that communicates the purpose of the story. This includes music, sound effects, and
other auditory elements that help to set the mood and atmosphere of the story. A good story should make use of melody to enhance the
overall experience for the reader or listener.
6.​ Spectacle, or opsis, refers to everything visual that communicates the purpose of the story. This includes visual elements such as
imagery, graphics, and other visual aids that help to convey the themes and ideas of the story. A good story should make use of
spectacle to help bring the narrative to life and make it more immersive for the reader or viewer.

Overall, these six elements are all crucial to crafting a great story. Whether you are a writer, filmmaker, or simply someone who enjoys a good
tale, understanding these elements can help you create more engaging and meaningful narratives.

8 Points of Plot Stakes

Goal
What is the shared objective?

To save the town from the storm before it hits.

Consequences
What will happen if the goal isn’t met?

If they fail, the town will be destroyed and many lives will be lost.

Prerequisites
What qualities must be had to pursue the goal?

They need to have knowledge of storm preparation and be willing to put themselves in danger to help others.

Requirements
What is needed to make progress towards the goal?

They need to gather supplies, evacuate residents, and fortify buildings to withstand the storm.

Forewarnings
What happens to make the consequences more dire?

As they prepare, they discover that the storm is much stronger than originally predicted and their efforts may not be enough.
Dividends
What rewards are earned for progress towards the goal?

Along the way, they gain a sense of community and camaraderie as they work together to save their town.

Costs
What is lost as progress is made towards the goal?

They lose a lot of time and resources, as well as facing the possibility of losing their homes and possessions.

Preconditions
What obstacles must be overcome to resume making progress towards the goal?

They must first convince the townspeople to take the storm seriously and take action to prepare before they can begin fortifying the town.
Additionally, they must overcome internal conflicts and disagreements within their group to work together effectively.

Pixar’s 22 Principles of Storytelling

1.​ You admire a character for trying more than for their successes.
2.​ You gotta keep in mind what’s interesting to you as an audience, not what’s fun to do as a writer. They can be different.
3.​ Trying for a theme is important, but you won’t see what the story is actually about til you’re at the end of it. Now rewrite.
4.​ Once upon a time there was []. Every day, []. One day []. Because of that, []. Because of that, []. Until finally [].
5.​ Simplify. Focus. Combine characters. Hop over detours. You’ll feel like you’re losing valuable stuff but it sets you free.
6.​ What is your character good at, comfortable with? Throw the polar opposite at them. Challenge them. How do they deal?
7.​ Come up with your ending before you figure out your middle. Seriously. Endings are hard, get yours working up front.
 8.​ Finish your story, let go even if it’s not perfect. In an ideal world you have both, but move on. Do better next time.
9.​ When you’re stuck, make a list of what WOULDN’T happen next. Lots of times the material to get you unstuck will show up.
10.​Pull apart the stories you like. What you like in them is a part of you; you’ve got to recognize it before you can use it.
11.​Putting it on paper lets you start fixing it. If it stays in your head, a perfect idea, you’ll never share it with anyone.
12.​Discount the 1st thing that comes to mind. And the 2nd, 3rd, 4th, 5th – get the obvious out of the way. Surprise yourself.
13.​Give your characters opinions. Passive/malleable might seem likable to you as you write, but it’s poison to the audience.
14.​Why must you tell THIS story? What’s the belief burning within you that your story feeds off of? That’s the heart of it.
15.​If you were your character, in this situation, how would you feel? Honesty lends credibility to unbelievable situations.
16.​What are the stakes? Give us reason to root for the character. What happens if they don’t succeed? Stack the odds against.
17.​No work is ever wasted. If it’s not working, let go and move on - it’ll come back around to be useful later.
18.​You have to know yourself: the difference between doing your best & fussing. Story is testing, not refining.
19.​Coincidences to get characters into trouble are great; coincidences to get them out of it are cheating.
20.​Exercise: take the building blocks of a movie you dislike. How d’you rearrange them into what you DO like?
21.​You gotta identify with your situation/characters, can’t just write ‘cool’. What would make YOU act that way?
22.​What’s the essence of your story? Most economical telling of it? If you know that, you can build from there.

30 Ways to use Tropes

Tropes are recurrent themes, motifs, or cliches that are commonly found in media, such as literature, film, television, and video games. They
are often used to convey certain ideas or themes, or to evoke certain emotions in the audience. In this list, we will explore 30 different ways that
tropes can be used in media, ranging from being played straight to being parodied or inverted. Understanding how tropes are used can help
you analyze and interpret media more effectively, and can also be a useful tool for creating your own stories and characters.

1.​ Played Straight Used as it is traditionally used in media

2.​ Justified Used in a way that makes sense in the context of the story
3.​ Inverted Used in the opposite way it is traditionally used in media
4.​ Backfired Used in a way that causes unintended consequences
5.​ Subverted Used in a way that goes against what is expected based on the trope
6.​ Subverted Used in a way that follows the expectations of the trope
 7.​ Double Subverted Used in a way that initially subverts the trope, but then goes back to using it as expected
8.​ Zig Zagged Used in a way that goes back and forth between subverting and using the trope as expected
9.​ Parodied Used in a way that makes fun of the trope
10.​Parodied Used in a way that does not make fun of the trope
11.​Deconstructed Used in a way that examines the negative consequences of using the trope
12.​Reconstructed Used in a way that rebuilds the trope after it has been deconstructed
13.​Averted Used in a way that avoids using the trope altogether
14.​Enforced Used in a way that emphasizes the importance of the trope in the story
15.​Implied Used in a way that suggests the presence of the trope without explicitly showing it
16.​Negated Used in a way that immediately cancels any consequences of the trope
17.​Gender Flipped Used in a way that changes the gender of the character typically associated with the trope
18.​Logical Extreme Used in a way that takes the trope to its most extreme and logical conclusion
19.​Exaggerated Used in a way that exaggerates the traits of the trope
20.​Downplayed Used in a way that downplays the importance of the trope in the story
21.​Played for Laughs Used in a way that is meant to be humorous
22.​Played for Drama Used in a way that is meant to be emotionally impactful
23.​Played for Horror Used in a way that is meant to be scary or unsettling
24.​Dressed Up Used in a way that is meant to be impressive or impressive-looking
25.​Lampshaded Used in a way that calls attention to the use of the trope
26.​Invoked Used in a way that intentionally activates the trope
27.​Defied Used in a way that goes against the expectations of the trope
28.​Exploited Used in a way that takes advantage of the conventions of the trope
29.​Discussed Used in a way that references the trope within the story
30.​Conversed Used in a way that has characters discuss the trope directly within the story

21 Basic Stories
Quest
A character-driven story that has a hero go on a journey for something that changes him in some way.

Adventure
A plot-driven story that focuses on reaching a series of goals.

Journey
The real focus of these adventures is getting there, not what happens when you get there. It's a Journey if returning home is totally irrelevant.

Pursuit
The Chase plot, very action oriented.

Rescue
A Rescue Arc as the main story, also very action oriented.

Escape
A Great Escape plot, similar to the Rescue, except the captive rescues himself/herself.

The Riddle
Basic Mystery plot revolving around a Driving Question.
Rivalry
Character-oriented story based on the interactions of two opposing characters, The Hero and The Rival.

Underdog
A story where the Underdogs Never Lose. Revolves around an underdog (maybe they are underprivileged, poor, disabled, etc.) who triumphs
despite overwhelming odds.

Temptation
The story revolves around whether or not to give into a temptation and the consequences, Pandora Box-like.

Metamorphosis
A story revolving around a physical transformation of some kind, generally a true Metamorphosis is a one-way street.

Transformation
A story revolving around an inner-change, rather than a physical one.

Maturation
A Coming-of-Age Story, where a character matures physically, emotionally or spiritually.

Love
Your basic Boy Meets Girl Romance Arc, with two characters falling in love as the main story.

Forbidden Love
Star-Crossed Lovers who spend most of the plot trying to be together despite the world trying to tear them apart.

Sacrifice
Revolves around the characters and their sacrifices, lethal or otherwise.

Discovery
A story that unearths those skeletons in a character's Mysterious Past.

Wretched Excess
Story where the character is in a downward spiral from drugs, greed, depression, insanity, etc.

Vengeance
Your basic Revenge story, very character-driven.

Ascension
Follows a character's rise to power.
Descension
Likewise to Ascension, a character falls from power.

7 Essential Arcs
1. Overcoming the Monster

A hero learns about a dangerous evil threatening their world. They decide to fight it.

Stages:

●​ The hero hears about the threat

●​ The hero has a vision or dream about the upcoming struggle
●​ The hero faces challenges and setbacks
●​ The situation gets worse, like a nightmare
●​ The hero manages to defeat the monster and escape
●​ The hero gains a reward or saves something valuable (like a treasure, a kingdom, or a princess)

2. Rags to Riches

Despite being held back and ridiculed by others, the hero grows and eventually gains success, wealth, and a perfect partner.

Stages:

●​ The hero's life is miserable, but they get a call to action

●​ They enjoy initial success
●​ They encounter a big crisis and feel despair
●​ They gain independence and face a final challenge
●​ They unite with their love and achieve fulfillment
3. The Quest

The hero hears about something very valuable or important (the MacGuffin) and sets out on a journey to find it, often with friends.

Stages:

●​ The hero is called to find the MacGuffin

●​ They embark on a journey
●​ They encounter a series of challenges (like monsters, temptations, and near-death experiences)
●​ They reach their destination but face new difficulties
●​ They go through final challenges and manage to escape
●​ They achieve their goal and get the MacGuffin

4. Voyage and Return

The hero travels to a magical place with strange rules, conquers the chaos, and returns home much wiser.

Stages:

●​ The hero anticipates the journey and then departs

●​ They are intrigued and excited by the magical world
●​ They face obstacles and become frustrated
●​ Things get really bad, like a nightmare
●​ They find a way out and return home

5. Comedy

Two characters are meant to be together, but an obstacle is preventing their union. The obstacle is removed, allowing the characters to come
together and other relationships to form.

Stages:

●​ The obstacle to the couple's union appears

 ●​ The obstacle creates further complications
●​ The obstacle is finally removed, and the couple unites

6. Tragedy

In this story, the main character is the villain. We watch as they descend into darkness until they're finally defeated, freeing the world from their
influence.

Stages:

●​ The villain's plans are revealed

●​ The villain dreams of success
●​ They face obstacles and become frustrated
●​ Things get worse, like a nightmare
●​ The villain is defeated, and the world rejoices

7. Rebirth

The story starts similarly to the Tragedy, but the protagonist realizes their mistake before it's too late and changes their ways.

Stages:

●​ The hero starts off in a dark place (metaphorically)

●​ They face obstacles and become frustrated
●​ Things get worse, like a nightmare
●​ The hero realizes their mistakes and seeks redemption

9 Aspects of Ensemble Characters

The most common mistakes writers make when writing ensemble characters, is one character dominating the narrative, characters lacking
agency, and not exploring relationships between the characters.

When writing ensemble characters, it is important to develop three key elements for each character in order to create a fully fleshed out and
believable cast. These elements include a distinct voice, a clear goal, and a defined motivation.

A character's voice refers to the unique way in which they speak and express themselves. This includes their choice of words, tone, and overall
style of communication. A strong voice can help to immediately establish a character in the reader's mind and make them stand out from the
rest of the cast.

A character's goal is the objective they are working towards, whether it be a personal ambition or a mission they have been given. A clear goal
can help to drive a character's actions and decisions, making them feel more purposeful and active within the story.

A character's motivation is the underlying reason behind their goal and actions. This can be something as simple as a desire for power or
revenge, or something more complex such as a deep-seated fear or insecurity. Understanding a character's motivation can help to give depth
and nuance to their actions and make them feel more relatable.

Once you have established these three elements, you can then move on to creating a character's perspective, impact, and intersection. A
character's perspective refers to their unique point of view and how it shapes the way they see and interact with the world around them. Impact
refers to the effect that a character has on the story and the other characters, while intersection refers to the ways in which a character's story
intersects and interacts with the stories of the other characters.

By developing these elements, you can create a cast of characters that feel believable, have a balanced focus, and emerge organically from
the story. With well-rounded and dynamic characters, your story will be all the more engaging and impactful for your readers.

Ensemble Foundation
Voice: the unique way in which a character speaks and expresses themselves.
Goal: the objective a character is working towards.

Motivation: the underlying reason behind a character's goal and actions.

Ensemble Dynamics
Perspective: a character's unique point of view and how it shapes the way they see and interact with the world.

Impact: the effect a character has on the story and other characters.

Intersection: the ways in which a character's story intersects and interacts with the stories of other characters.

Ensemble Integration
Believability: the degree to which a character feels real and authentic to the reader.

Balance: the shared focus in the story between the characters.

Relationship: the connection or bond between two or more characters, as a character itself.

33 Plot Twists
1.​ Forced Alliance​
The characters must work alongside a person or organization they'd rather not pal around with.
2.​ True Identities Revealed​ ​
The victims are really villains and the villains are really victims.
3.​ An Aid Bargain​
The characters meet others who can help them, but won't unless the characters agree to help them with their own causes.
4.​ Betrayal from Within​ ​
The villain is somebody the characters know personally, even respect or love (or someone they fall for, mid-story).
5.​ Discretion is Key​ The characters must succeed without violence, or with special discretion.
6.​ Resource Scarcity​ The characters must succeed without access to powers, equipment, or other resources they're used to having.
7.​ The Recurring Foe​ The villain is a recurring foil.
8.​ Remains of a Past Expedition​ Another group comparable to the characters has already failed to succeed, and their
bodies/equipment/etc provide clues to help the characters do better.
9.​ Protective Duty​ There are innocents nearby that the characters must keep safe while dealing with the adventure.
10.​Thrown into Action​ The adventure begins suddenly and without warning or buildup; the characters are tossed into the fire of action in
scene one.
11.​Pretend and Deceive​ The characters must pretend to be someone else, or pretend to be themselves but with very different allegiances,
values or tastes.
12.​Hard Choices​ The characters can't do everything and must choose: which evil to thwart? Which innocents to rescue? Which value or
ideal to uphold? The characters must make a personal sacrifice or others will suffer.
13.​Aid in a Crisis​ The characters aren't asked to solve the problem, just to render aid against a backdrop of larger trouble: get in a
shipment of supplies, sneak out a patient that needs medical help, or so on.
14.​Larger Than Life​ One of the characters is (or is presumed to be) a lost heir, fulfillment of a prophecy, a volcano god, or some other
savior and/or patsy, which is why the characters must do whatever the adventure is about.
15.​Competing Groups​ There is another group of characters "competing" on the same adventure, possibly with very different goals for
the outcome.
16.​Time Travel The characters are unexpectedly transported to a different time period, and must find a way to return to their own time while
also navigating the challenges of the new time period.
17.​Secret Societies The characters discover that they are part of a secret society or group, and must navigate the complex politics and
agendas of the group while also trying to accomplish their own goals.
18.​Another World The characters discover that there are multiple parallel universes or realities, and must navigate the challenges and
differences between these worlds.
19.​Alternate Histories The characters discover that history as they know it is not entirely accurate, and must unravel the truth while also
trying to prevent any unintended consequences.
20.​Lost Technologies The characters discover ancient or advanced technologies that have been lost to the modern world, and must figure
out how to use them to their advantage.
21.​Unforeseen Consequences The characters' actions have unintended consequences, and they must deal with the fallout while also trying
to fix their mistakes.
22.​Mind Control One or more of the characters is subjected to mind control, and the other characters must find a way to break the control
and restore the affected character's free will.
23.​False Memories One or more of the characters discovers that their memories are not real, and must figure out what is actually true and
what has been manipulated.
24.​Doppelgangers The characters encounter their own doppelgangers, who may or may not have the same motivations and goals as the
original characters.
25.​The Past Comes Back to Haunt Something from the characters' past comes back to haunt them, and they must confront and resolve the
issues from their past in order to move forward.
26.​The Powers That Be The characters must confront and overcome a powerful, corrupt organization or government in order to achieve
their goals.
27.​The Unforeseen Ally An unlikely ally comes to the characters' aid, and helps them overcome seemingly insurmountable obstacles.
28.​A Familiar Face A character from the characters' past unexpectedly re-enters their lives and becomes involved in their current
adventure.
29.​Rags to Riches A character who starts off with very little or nothing becomes a key player in the adventure and proves to be more
capable than anyone ever expected.
30.​Cursed Blessing A character discovers that they have a special ability or gift, but it also comes with a curse or drawback that they must
navigate.
31.​The Price of Success The characters must make a tough decision and pay a high price in order to achieve their goal.
32.​The Dark Side A character succumbs to their inner demons and becomes a threat to the rest of the group.
33.​Redemption A character who has made mistakes in the past gets the chance to redeem themselves and make things right.

50 Dramatic Events
1.​ The Powerful Protector A character appeals to a powerful figure for protection from a persecutor.
2.​ Saved from Punishment A character is saved from punishment by another character.
3.​ Seeking Justice A character seeks justice by punishing another character for a crime that has gone unpunished.
4.​ Conflict over Wrongdoing Two characters are in conflict over wrongdoing to a victim who is connected to both of them.
5.​ Fleeing Punishment A character flees punishment for a misunderstanding.
6.​ Falling from Power A defeated character falls from power after being defeated by an enemy or receiving news of their defeat.
7.​ Misfortune and Mistreatment A character suffers misfortune or mistreatment at the hands of another character.
8.​ Plotting Against the Tyrant A character plots against a tyrannical power.
9.​ The Bold Thief A bold character takes an object from an opponent by overpowering them.
10.​Taking Another from Their Guardian A character takes another character from their guardian.
11.​The Problem Solver A character reveals a problem to another character and helps them achieve their goals.
12.​Coveted Object A character tries to obtain an object from another character who refuses to give it up, or an arbitrator decides who gets
the object.
13.​Conspiring Against a Third Two characters conspire together against a third character.
14.​The Object of Rivalry One character is chosen over another for an object of rivalry.
15.​Plotting Against a Spouse Two characters plot to kill a third character's spouse.
16.​Insanity and Harm A character becomes insane and harms another character.
17.​Loss or Harm Due to Neglect or Ignorance A character loses an object or harms another character due to neglect or ignorance.
18.​Breaking a Taboo Two characters unknowingly break a taboo through their romantic relationship, and another character reveals this to
them.
19.​Killing an Unrecognized Victim A character kills another character who is not recognized.
20.​Sacrificing for Ideals A character sacrifices a person or thing for their ideals, which is then taken by another character.
21.​Sacrificing for Kinsman A character sacrifices a person or thing for their kinsman, which is then taken by another character.
22.​Sacrificing for Passion A character sacrifices a person or thing for their passion, which is then lost forever.
23.​Sacrifice of The Beloved A character harms a beloved victim out of necessity for their sacrifice.
24.​Triumphing Over an Inferior A superior character triumphs over an inferior character for an object of rivalry.
25.​Plotting Against a Spouse Two characters plot against another character's spouse.
26.​A Taboo Romance Two characters initiate a romantic relationship that intentionally breaks a taboo.
27.​Discovering Wrongdoing A character discovers wrongdoing by another character.
28.​Confronting an Obstacle in Love Two characters face an obstacle together in their love.
29.​Opposing Attitudes Toward a Beloved Enemy A character has opposing attitudes towards a beloved enemy.
30.​Seeking a Coveted Object A character seeks a coveted object and is opposed by another character.
31.​Mortal vs. Immortal Conflict A mortal character and an immortal character are in conflict.
32.​Jealousy and Suspicion A character becomes jealous of an object and suspects another character of wrongdoing due to a mistake.
33.​Judging the Wrong Victim A character passes judgment against the wrong victim due to a mistake.
34.​Regretting a Wrongdoing or Sin A character regrets committing a wrongdoing or sin and is questioned by another character.
 35.​Reuniting with a Lost Loved One A character is reunited with a lost loved one.
36.​Witnessing the Loss of a Loved One A character witnesses the loss or death of a loved one.
37.​The Difficult Decision A character is faced with a difficult decision that has consequences for themselves and others.
38.​Betrayal from a Loved One A character is faced with betrayal from a loved one or close ally.
39.​Major Loss or Setback A character experiences a major loss or setback, such as the death of a loved one or the loss of their home.
40.​Discovering a Life-Changing Secret A character discovers a secret that has the potential to change their life or the lives of those around
them.
41.​Moral Dilemma A character is faced with a moral dilemma and must decide between two conflicting options.
42.​Confronting Fears or Weaknesses A character is put in a situation where they must confront their own fears or weaknesses.
43.​Forbidden Love A character is faced with the prospect of falling in love with someone who is forbidden or taboo.
44.​Choosing Between Desires and Responsibilities A character must choose between their own desires and the needs of their community
or loved ones.
45.​Fighting for Survival A character is faced with a life-threatening situation and must fight for survival.
46.​Tempted by Dark Desires A character is faced with the temptation to give in to their darker desires or impulses.
47.​Falsely Accused A character is falsely accused of a crime and must clear their name.
48.​Confronting Past Trauma A character is forced to confront the trauma of their past and come to terms with it in order to move forward.
49.​Loyalty versus Ethics A character is torn between their loyalty to their family and their sense of right and wrong.
50.​The Threat of Losing Everything A character is faced with the prospect of losing everything they have worked for and must decide how
far they are willing to go to protect it.

35 Conflict Scenarios
NAME DESCRIPTION COMMON TWISTS
Tactical The characters must The characters must assemble
Capture secure a military target for and/or train a force to do the job
the good guys. There are with them. The characters are
bad guys there that prefer working with flawed intelligence
not to be secured. The and the target zone isn't as
fundamental tactical described. The characters must
scenario. coordinate their own efforts with
an ally group (possibly putting
aside rivalries to do so). The
target zone includes a population
of innocent people, fragile goods,
or some other precious thing that
mustn't be harmed in the
crossfire.
Cleanse There is a place where The bad things can't be beaten
the bad things live. The with direct conflict. The
Badland characters must make it characters must learn more about
safe for nice people, them to solve the problem. The
systematically clearing it Haunted House. The Alien
of danger. Infestation. The Wild Forest.
Stop the A bad guy (or a group of The characters must not harm
Troublem them, or multiple parties) the perpetrator(s); they must be
akers is kicking up a ruckus, bagged alive and well. The bad
upsetting the neighbors, guys have prepared something
poisoning the reservoirs, dangerous and hidden as
or otherwise causing "insurance" if they are captured.
trouble. The characters The "bad guy" is a monster or
have to go where the dangerous animal (or an
trouble is, locate the bad intelligent creature that
guys, and stop the party. everybody thinks is a monster or
animal). The "bad guy" is a
respected public figure, superior
officer, or someone else abusing
their authority, and the characters
might meet hostility from
normally-helpful quarters who
don't accept that the bad guy is
bad. A balance of power
perpetuates the trouble, and the
characters must choose sides to
tip the balance and fix things. The
"trouble" is diplomatic or political,
and the characters must make
peace, not war.
Chase Some bad guys have The bad guys escaped by
arrived and done some stealing a conveyance that the
bad guy things. The characters know better than they
characters were none the do. The bad guys duck down a
wiser. The bad guys have metaphorical (or literal) side-road,
now made good their trying to hide or blend into an
escape, and the environment (often one hostile to
characters have caught the characters). If the bad guys
wind of it in time to chase cross the adventure's "finish line"
them down before they (cross the county line, make the
make it back to their lair, warp jump, etc.) there's no way to
their home nation, behind pursue them beyond it.
enemy lines, etc.
alternatively, the
characters can be the
pursued, not the
pursuers. Narrow
escapes, thrilling car
chases, redlined starship
engines, false trails, and
ambushes are the
hallmarks of chase
adventures.
Compete The characters are The other contestants are less
participants in a race, honest, and the characters must
contest, tournament, overcome their attempts to win
scavenger hunt or other dishonestly. The characters are
voluntary bit of sport. competing for a deeper purpose
They must win. than victory, such as to keep
another contestant safe, or spy
on one, or just to get into the
place where the event goes
down. The characters don't wish
to win; they just wish to prevent
the villain from winning. The
event is a deliberate test of the
character's abilities (for entry into
an organization, for example).
The event becomes more deadly
than it's supposed to.
Diplomacy The characters are a The characters were chosen by
diplomatic vanguard, somebody who knew they weren't
trying to open up (or prepared for it - an agent trying to
shore up) either political sabotage the works (pinning this
or trade relations with a villain might be necessary to
strange culture. All they avert disaster).
have to do is manage for
a day or so among the
 strange customs without
offending anybody... and
what information they
have is both incomplete
and dangerously
misleading.
Defend The characters are on The "hijackers" are government
from board a populated agents pulling a complicated
Invaders conveyance (East caper, forcing the characters to
Indiaman, Cruise Ship, choose sides. The hijackers don't
Ferry, Sleeper Starship), realize there is a secondary
when it is hijacked. The danger that must be dealt with,
characters must take and any attempt to convince
action while the normals them is viewed as a trick. The
sit and twiddle. normals are unhelpful or even
hostile to the characters because
they think the characters are just
making matters worse.
Escape The characters are Something has happened in the
from imprisoned, and must outside world and the prison
Imprisonm engineer an escape, security has fallen lax because of
ent overcoming any guards, it. The characters have been
automatic measures, and hired to "test" the prison - they
geographic isolation their aren't normal inmates. Other
prison imposes on them. prisoners decide to blow the
 whistle for spite or revenge. The
characters are undercover to spy
on a prisoner, but are then
mistaken for real inmates and
kept incarcerated. The characters
must escape on a tight schedule
to get to another adventure
outside the walls.
Escort The characters have a The thing or person is
valuable object or person, troublesome, and tries to escape
which needs to be taken or sidetrack the characters. The
to a safe place or to its destination has been destroyed
rightful owner, etc. They or suborned by the enemy, and
must undertake a the characters must take upon
dangerous journey in themselves the job that either the
which one or more destination or their charge was
factions (and chance and meant to do when it got there.
misfortune) try to deprive The person is a person
them of the thing in their attempting a political defection.
care. These adventures Safe arrival at the destination
feature ambushes, doesn't end the story; the
situations that endanger characters must then bargain
the escorted character(s), with their charge as their token
bonding between escorts (exchanging money for a
and escorts, narrow hostage, for instance). The
 escapes, and thrilling characters must protect the target
set-piece chases. without the target knowing about
it.
Delivery A delivery adventure
involves getting an
inanimate “package” from
point A to point B, and
features complications en
route, ambushes,
hazards, inclement
weather, and other
obstacles that make the
journey a challenging
one.
Infiltrate The characters , while The characters must figure out
the Base traveling or exploring, how to use local resources in
come across a hornet's order to defend themselves or
nest of bad guys, have a chance against the
preparing for Big inhabitants.
Badness. They must
either find some way to
get word to the good
guys, or sneak in and
disable the place
 themselves, or a
combination of both.
Reconnai The characters are The target gets itself in trouble
ssance working surveillance - and the characters must decide
spying on a person, whether to break the no-contact
gathering information on a rule in order to mount a rescue.
beast in the wild, scouting
a new sector. Regardless
of the scale, the primary
conflict (at least at the
start) is the rule that they
are only to watch, listen
and learn. They are not to
make contact or let
themselves be known.
Dungeon The characters are The treasure itself is something
Delve treasure-hunters, who dangerous. The treasure isn't in a
have caught wind of a ruin, but in a wilderness or even
treasure-laden ruin. They hidden somewhere "civilized."
go to explore it, and must The treasure is someone else's
deal with its supernatural rightful property. The treasure
denizens to win the turns out to have a will of its own.
treasure and get out alive.
Lost in a The characters are They were brought there
Strange minding their own specifically to help someone in
Land business and find trouble. They were brought there
themselves transported to by accident, as a by-product of
a strange place. They something strange and secret.
must figure out where Some of the characters' enemies
they are, why they are were transported along with them
there and how to escape. (or separately), and now they
have a new battleground, and
innocents to convince which guys
are the good guys.
Ruins A town, castle, starship, Whatever ruined the ruins
Detective outpost, or other civilized (including mean people, weird
construct is lying in ruins. radiation, monsters, a new race,
Very recently, it was just ghosts) is still a threat; the
dandy. The characters characters must save the day.
must enter the ruins, The inhabitants destroyed
explore them, and find out themselves. The "ruins" are a
what happened. derelict ship or spaceship,
recently discovered. The "ruin" is
a ghost town, stumbled across as
the characters travel - but the
map says the town is alive and
well.
Uncharted The characters are Either the place itself is
Territory explorers, and their goal threatening (in which case the
is to enter an unknown characters must both play
territory and scope it out. National Geographic and
Naturally, the job isn't just simultaneously try to escape with
going to be surveying and their skin, sanity, and credit
drawing sketches of local rating) or the place itself is very
fauna; something is there, valuable and wonderful, and
something fascinating and something else there is keen on
threatening. making sure the characters don't
let anyone else know. Other
potential conflicts involve damage
to the characters' conveyance or
communication equipment, in
which case this becomes Don't
Eat the Purple Ones.
Heist Mission objective: enter The goal is not to extract a thing,
the dangerous place, and but to destroy a thing or interfere
retrieve the vital dingus or with a process (kill the
valuable person. force-screen generator,
Overcome the area's assassinate the evil king, stop the
defenses to do so. spell from being cast, wreck the
invasion plans, close the portal).
The goal has moved. The goal is
information, which must be
 broadcast or otherwise released
from the area as soon as it is
found. The job must be done
without alerting anyone. The
characters don't know the place
is dangerous. The characters
must replace the thing with
another thing.
Survive Usually through trickery The adventure hook involves the
Blackmail (but sometimes by characters doing the villain a
digging into the good turn, which allows him to
characters ' past), an take advantage of them (very
antagonist has something cynical!). To succeed, the
to hold over the heads of characters must contact other
the characters and make folks that are also being used.
them jump. This could be The characters aren't the victims
any kind of threat from at all, but somebody they care
physical to social, but it about/are charged to protect, is.
depends on the villain
having something - even
if it's information - that
others don't have. Now,
he is pulling the strings of
the characters, telling
them to do things they
 don't want to. The
characters must end the
cycle of blackmail,
deprive the villain of his
edge, and keep him
temporarily satisfied while
doing it.
Crime A crime or atrocity has The characters are working to
Solving been committed; the clear an innocent already
characters must solve it. accused (possibly themselves).
They must interview The characters must work
witnesses (and prevent alongside a special investigator
them from being killed), or are otherwise saddled with an
gather clues (and prevent unwanted ally. Midway through
them from being stolen or the adventure, the characters are
ruined). They must then "taken off the case" - their
assemble proof to deliver invitation/authority to pursue the
to the authorities, or serve matter is closed (often the result
as personal ministers of of political maneuvering by an
justice. antagonist). The climax is a
courtroom scene or other arena
of judgment. The scale is highly
variable for this type of
adventure, from a small-town
 murder to a planet wide pollution
scandal.
Ambushe The characters are The characters have something
d minding their own that the bad guys want - but they
business when they are don't necessarily realize it. The
attacked or threatened. bad guys are out for revenge for
They don't know why. a dead compatriot from a
They must solve the previous adventure. The bad
mystery of their attacker's guys have mistaken the
motives, and in the characters for somebody else.
meantime fend off more
attacks. They must put
two and two together to
deal with the problem.
Search Someone is gone: they've The target has been kidnapped
and run away, gotten lost, or (possibly to specifically lure the
Return simply haven't called characters). The target is
home in a while. dangerous and escaped from a
Somebody misses them facility designed to protect the
or needs them returned. public. The target is valuable and
The characters are called escaped from a place designed
in to find them and bring to keep him safe, cozy, and
them back. conveniently handy. The target
has a reason for leaving that the
characters will sympathize with.
 The target has stumbled across
another adventure (either as
protagonist or victim), which the
characters must then undertake
themselves. The missing
"person" is an entire expedition or
pilgrimage of some kind. The
target isn't a runaway or
missing/lost - they're just
someone that the characters
have been hired to track down
(possibly under false pretenses).
Missing One or more of the The forgetful characters
Memories characters wakes up with voluntarily suppressed or erased
no memory of the recent the memories, and they find
past, and now they find themselves undoing their own
themselves in some kind work.
of trouble they don't
understand. The
characters must find the
reason for the memory
lapse, and solve any
problems they uncover in
the meantime.
Return to Something both bad and The characters are somehow
Normal inexplicable is happening unwittingly responsible for the
(racial tension is being whole thing. What seems to be a
fired up in town, all the problem of one nature
power is out, the beer (technological, personal,
supply is drained, it's biological, chemical, magical,
snowing in July, Voyager political, etc) is actually a problem
still has fans, hordes of of an alternate one.
aliens are eating all the
cheese), and a lot of
people are very troubled
by it. The characters must
track the phenomenon to
its source, and stop it.
Dismantle A villain or organization is The initial tip-off was a red
the getting ready to do herring meant to distract the
Conspirac something bad, and the characters from the actual caper.
y characters have received There are two simultaneous Bad
a tip-off of some sort. Things on the way, and no
They must investigate to apparent way to stop both of
find out more about the them - how to choose?
caper, and then act to
prevent it.
Race for Within a defined area, The natives require the
the something important and competing factions to gather
Artifact valuable exists. The before them as pals to state their
characters (or their cases. The valuable thing was en
employers) want it, but so route somewhere when its
do one or more other conveyance or courier wrecked
groups. The ones that get or vanished.
it will be the ones that can
outthink and outrace the
others, deal best with the
natives of the area, and
learn the most about their
target. Each competing
group has its own agenda
and resources.
Quest for Somebody needs a The dingus is incomplete when
the dingus (to fulfill a found (one of the most irritating
Artifact prophecy, heal the and un-fun plot twists in the
monarch, prevent a war, universe). Somebody already
cure a disease, or what owns it (or recently stole it,
have you). The characters sometimes with legitimate claim
must find a dingus. Often or cause). The dingus is
an old dingus, a information, or an idea, or a
mysterious dingus, and a substance, not a specific dingus.
powerful dingus. The The characters must "go
 characters must learn undercover" or otherwise infiltrate
more about it to track it a group or society, gaining the
down, and then deal with dingus by guile or stealth.
taking it from wherever it
is.
Safari The characters are on a The creature is immune to their
hunting expedition, to devices and weapons. There are
capture or kill an elusive other people actively protecting
and prized creature. They the creature. The creature's lair
must deal with its allows the characters to stumble
environment, its own onto another adventure.
ability to evade them, and
possibly its ability to fight
them.
Distress A person (church group, The victim(s) is (are) a hostage,
Call nation, galaxy) is in a or under siege from enemy
hazardous situation and forces, and the characters must
they can't survive without deal with the captors or break the
rescue. The characters siege. There is a danger that any
are on the job. In some rescue attempts will strand the
scenarios, the hook is as rescuers in the same soup as the
simple as a distant yell or rescuees, compounding the
crackly distress signal. problem. The rescuers aren't
people, but animals, robots, or
something else. The "victim"
 doesn't realize that he needs
rescuing; he thinks he's doing
something reasonable and/or
safe. The threat isn't
villain-oriented at all; it's a natural
disaster, nuclear meltdown, or
disease outbreak. The rescues
can't leave ; something immobile
and vital must be tended to or
dealt with at the adventure
location. The characters begin as
part of the rescue, and must
escape and gather forces or
resources to bring back and
proceed as above.
Pandora's Somebody has tinkered The characters can't simply take
Box with Things Man Ought the released badness to the mat;
Not, or opened a portal to they have to collect it and shove
the Mean People it back into the source before the
Dimension, cracked a wall adventure can really end. The
at the state prison, or characters are drawn into the
summoned an ancient source and must solve problems
Babylonian god into a on the other side before returning
penthouse. Before the to this one. A secret book, code,
characters can even think or other rare element is
 of confronting the source necessary to plug the breach
of the trouble, they must (maybe just the fellow who
deal with the waves of opened it). A close cousin to this
trouble already released plot is the basic "somebody has
by it: monsters, old foes traveled into the past and
out for vengeance, messed with our reality" story.
curious aliens who think
cars/citizens/McDonald's
hamburgers resemble
food, and so forth.
Administr The characters are placed The characters are brought in
ative in charge of a large because something big is about
Balance operation (a trading to happen, and the Old Guard
company, a feudal barony, wants a chance to escape. The
the CIA) and must, peasants, neighbors, employees,
despite lack of experience etc resent the characters,
in such things, make it because their method of
work and thrive. inheritance looks outwardly bad
and everybody loved the old
boss.
Keep the In this type of adventure, They were given charge of this
Kingdom the characters are community suddenly, and they
leaders, guides, or are ill-equipped. The citizens are
protectors of a under a terrible curse, and the
community. They could be
 the rulers of a village, a characters have to restrain them
city, or a kingdom; tasked for their own good.
with protecting a
spaceport; or in charge of
establishing a new colony
— the key element is that
the community is theirs to
safeguard.
Defend The characters are The intelligence the characters
the Hill assigned to guard a were given turns out to be faulty,
single vital spot (anything but acting on the new information
from a mountain pass to a could result in greater danger -
solar system) from but so could not acting on it, and
impending or possible the characters must choose or
attack. They must plan create a compromise. The
their defensive strategy, characters learn that the enemy
set up watches, set traps, has good and sympathetic
and so on, and then deal reasons for wanting to destroy
with the enemy when it the protected spot.
arrives.
Unsafe The characters are The shelter contains the cause of
Port seeking shelter from the the threat the characters were
elements or some other trying to avoid. The shelter
threat, and come across a houses a Hidden Base. The
place to hole up. They characters must not only struggle
 find that they have for shelter, they must struggle to
stumbled across survive. The place is a legitimate
something dangerous, shelter of some kind, but the
secret, or supernatural, characters are not welcome, and
and must then deal with it must win hearts or minds to earn
in order to enjoy a little their bed for the night.
rest.
Survival The characters are The characters must survive only
stranded in a strange for a short period of time, until
place, and must survive help arrives, the ship and/or radio
by finding food and is repaired, or some such thing
shelter, and then worry (in "repair" scenarios, sometimes
about getting back home. the characters must discover
some fact about the local
environment that will make such
repairs possible).
Through The characters must The place isn't dangerous at all,
the travel through a and the various "dangers" are
Badlands hazardous area, and get actually attempts to communicate
through without being with the party by some agent or
killed, robbed, humiliated, another.
debased, diseased, or
educated by whatever is
there. The troubles they
encounter are rarely
 personal in nature - the
place itself is the "villain"
of the adventure.
On The Any of the basic The characters find themselves
Outside scenarios in this list can on the receiving end of the
be reengineered with the adventure. Take any of the plots
characters on the outside here and reverse them, placing
of it. Either the characters the characters in the position
are accompanying other where others (often the villain,
characters in the midst of fugitive, etc) normally are.
such a plot (often being Instead of hunting, they must be
called on to defend the hunted. Instead of fixing, they
plot from the outside, as it must avoid getting "fixed"
were), or they are minding themselves (ow). Alternatively,
their own business when leave a classic plot intact but turn
the others involved in the the twists upside down, making
plot show up, and must them twistier (or refreshingly un
pick sides or simply resist. twisty).
For instance, with Any
Old Port In The Storm,
the characters could
already be enjoying (or
native to) the shelter
when a strange group
arrives. If the "the
 characters are
unwelcome" variant is
employed, then perhaps
the characters will be the
only voice of reason to
still the religious fervor,
racial prejudice,
anti-monster sentiment, or
whatever else is the
source of conflict.

30 Character Development Events

1.​ BEING INFUSED WITH GREAT RESPONSIBILITY Being trusted with great responsibility in order to achieve an important task due to
previous important achievements. Not having a safety net but knowing we are capable of assuming this high level of responsibilities and
succeed.
2.​ PREPARING FOR WAR Getting ready for a war. Having a feeling of anticipation and excitement and knowing that we are ready to fight.
Seeing massive amounts of troops getting ready. Trusting each other and our technology. Feeling a sense of eagerness for the
adventures to come during this war.
3.​ BEING ON A LONG ROAD TRIP Being on the road for days on end. Exploring nature. Feeling the freedom and timelessness of the trip.
Feeling at peace and in the flow of traveling.
4.​ VISITING LARGE MODERN CITIES Feeling the buzz of modern life around. Having a feeling that anything can happen. Being
overwhelmed with the scale of the buildings around and a sense of the adventures happening there. Exploring the different streets,
shops and restaurants. Finding unexpected and captivating venues.
5.​ BEING PART OF A STRONG MILITARY ORGANIZATION Feeling the strength of the organization we are part of. Witnessing its
technological advancement and strong soldiers. Having a feeling of eagerness and danger.
6.​ BEING DISAPPOINTED IN THE WORLD Losing hope and accepting despair. Having a feeling of despair and disappointment at the
beauty of what was lost. Feeling mature about overcoming the loss and moving forward despite the sadness and rage.
7.​ TECHNOLOGICAL PROGRESS Being in awe of the technological progress achieved. Getting inspired by the new possibilities that this
advancement brings but at the same time being conscious and afraid of its misuse and potential hidden dangers.
8.​ SEEKING REVENGE Seeking revenge for what was done to us. Feeling vilified in our rage and using that rage to fuel our fight.
Overcoming obstacles and defeating opponents in order to get justice.
9.​ BEING PART OF A GROUP OF POWERFUL PEOPLE Feeling the prestige and power coming from being part of a group of powerful
and connected people. Knowing that decisions taken by us are definitive and that we are the ultimate authority. That nobody above has
their say in discussions. Feeling the peace and calm of powerful people who are confident of their power.
10.​DISCOVERING WE HAVE A DESTINY Discovering that our life did not happen by chance but that we have a special purpose to be
here. Feeling called to do something specific and having special skills or character traits to support us. Finding out that what we thought
were negative or confusing things in ourselves were actually blessings supporting our destiny.
11.​BEING RESCUED FROM HARM Being rescued from harm by friendly military forces. Feeling the great feeling of peace and solace of
knowing that we will be safe. Having gratitude for the people who put their life at risk to save ours.
12.​DOING THE WRONG THING FOR THE RIGHT REASONS Taking the difficult decision of doing something morally questionable in
order to reach what we think is a positive outcome such as helping other people.
13.​HAVING COMPLETE FREEDOM Feeling total freedom day after day. Having no ties and no responsibilities. Having the feeling that any
adventure is possible and that the future is uncertain.
14.​BEING BETRAYED BY SOMEBODY WE TRUST Having our World blown to pieces when we are betrayed by somebody we trust. It
makes us question everything we believe in. Suddenly, we have to shift our entire perspective and cope with the pain and disbelief
about what happened.
15.​DISCOVERING HOW POWERFUL WE TRULY ARE Suddenly discovering how powerful we are. Having this internal feeling of sudden
strength and competency. Feeling empowered and a deep feeling of calm washing over us.
16.​USING FIREARMS Feeling the power of the shot in our body. Being focused on the act of shooting and the responsibility and skill
required to use firearms.
17.​BEING PROMOTED TO THE LEADERSHIP OF A GROUP Feeling the responsibility and fear of having to lead a group. Discovering
the burden of leadership and what is involved in leading people. Feeling the newfound isolation and need for emotional stability and
competency required.
18.​HAVING THE RESPECT OF THE GROUP WE LEAD Feeling the trust and respect of our team. Knowing that people do not doubt us
but follow our lead and respect our decisions.
 19.​FEELING LIKE A FRAUD Feeling like we are pretending something we are not. Usually stemming from low self-esteem. Doing
something so much out of our comfort zone that we feel like it is ridiculous and we should not do it.
20.​FIGHTING TO KEEP THE PEACE Having the feeling that our fight for keeping the peace is just and necessary.
21.​FACING A SURPRISE ATTACK Being suddenly attacked and having to fend for ourselves without preparation. Feeling the adrenaline
rush and the excitement and fear of sudden combat. Having to make quick decisions in order to deal with attackers who are prepared.
22.​HAVING AN INTUITION ABOUT SOMETHING Having the sudden inner knowing about some particular facts or event in the past,
present or future. Getting this knowledge seemingly from nowhere and having the certainty it is correct.
23.​FEELING LIKE AN OUTCAST Feeling that there is something in us that is different from everybody else. Something that makes us
different that we and others can intuitively sense but that nobody can put the finger on exactly what it is. Always being slightly off-beat
and having different reactions than everybody else. Having different ideas and perspectives about everything.
24.​Being rejected by a group of people for either real or subjective reasons. Feeling left out in the cold. Feeling isolated from the group we
would like or should belong to. Potentially having our self-esteem diminished because of the rejection.
25.​BEING INNOVATIVE AND CREATIVE Coming up with unique technologies or solutions to problems. Feeling this deep creativity and
focus inside of ourselves. Having creative ideas and working on making them real. Feeling a deep sense of satisfaction for making
progress and making something new available to others.
26.​HAVING PEACE IN DEATH AFTER SACRIFICE Feeling a deep sense of fulfillment in dying after sacrificing ourselves for a rightful
cause. Feeling that our life has been given meaning by our sacrifice.
27.​HAVING VICTORY Feeling hope, calm and satisfaction after a difficult victory. Feeling hopeful about the future. Finally having peace
after much violence and pain. Thinking about rebuilding and creating for the future. Putting war and conflict behind us.
28.​GIVING HOPE TO SOMEBODY HURT AND ALONE By our actions giving hope to somebody who needed it. Changing their
perspective and giving them what they needed.
29.​LOSING EVERYTHING Feeling like we lost everything. Feeling like a survivor who has now the freedom of following a new path. Not
feeling like we are bound to anything or anybody anymore and starting anew.
30.​DISOBEYING ORDERS FOR THE RIGHT REASONS Disobeying orders that are perceived as not smart or unfair. Taking matters into
our own hands at the risk of severe consequences because we are convinced we are doing the right thing.

Ultimate List of Dualities

1.​ Absolute - Relative
2.​ Acceptance - Rejection
3.​ Accepting - Rebellious
4.​ Accommodating - Assertive
5.​ Advance - Retreat
6.​ Alarm - Calm
7.​ Allowing - Controlling
8.​ Analysis - Synthesis
9.​ Anarchy - Authority
10.​Animate - Inanimate
11.​Attached - Detached
12.​Attraction - Repulsion
13.​Beautiful - Ugly
14.​Being - Doing
15.​Big - Small
16.​Black - White
17.​Bless - Curse
18.​Calm - Energetic
19.​Cause - Effect
20.​Chaos - Order
21.​Cold - Heat
22.​Collaborative - Competitive
23.​Collectivism - Individualism
24.​Communist - Capitalist
25.​Confusion - Confidence
26.​Conscious - Subconscious
27.​Conservation - Conquest
28.​Creative - Executive
29.​Death - Life
30.​Decrease - Increase
31.​Deduction - Induction
32.​Dependent - Independent
33.​Discreet - Obvious
34.​Downward - Upward
35.​Dream - Reality
36.​Earth - Sky
37.​Effort - Apathy
38.​Emotional - Logical
39.​Empathetic - Rational
40.​Energy - Gravity
41.​Enlightened - Base
42.​Equality - Hierarchical
43.​Essentialism - Existentialism
44.​Eternity - Moment
45.​Ethics - Aesthetics
46.​Excess - Deficiency
47.​Expressive - Distant
48.​Extrovert - Introvert
49.​Fact - Myth
50.​Faded - Vibrant
51.​Feeling - Thinking
52.​Finite - Infinite
53.​Fleeting - Forever
54.​Flexible - Solid
55.​Flowing - Stiff
56.​Fractal - Whole
57.​Full - Empty
58.​Generous - Greedy
59.​Gentle - Firm
60.​Good - Evil
61.​Graceful - Clumsy
62.​Happy - Sad
63.​Heart - Head
64.​Hero - Villain
65.​Higher - Lower
66.​Home-oriented - Worldly
67.​Honorable - Dishonorable
68.​Hypoactive - Hyperactive
69.​Idealism - Realism
70.​Indecisive - Decisive
71.​Indirect - Direct
72.​Influenced - Stubborn
73.​In-group - Out-group
74.​Innocent - Experienced
75.​Integrative - Differentiating
76.​Intent - Effect
77.​Interest - Boredom
78.​Interior - Exterior
79.​Internal Focus - External focus
80.​Intuition - Logic
81.​Isolated - Engaged
82.​Just - Unjust
83.​Kind - Cruel
84.​Knowledge - Belief
85.​Liberal - Conservative
86.​Liberty - Authority
87.​Light - Dark
88.​Listener - Speaker
89.​Living - Dead
90.​Love - Hate
91.​Love - Fear
92.​Luck - Work
93.​Madness - Sanity
94.​Male - Female
95.​Manipulation - Control
96.​Masculine - Feminine
97.​Material - Spiritual
98.​Matriarchal - Patriarchal
99.​Matter - Energy
100.​ Mental - Physical
101.​ Mind - Body
102.​ Moral - Immoral
103.​ Mutuality - Hierarchy
104.​ Nature - Nurture
105.​ Needy - Unsupportive
106.​ Negative - Positive
107.​ Night - Day
108.​ Nurturing - Protective
109.​ Open - Directive
110.​ Organic - Artificial
111.​ Passive - Active
112.​ Patient - Urgent
113.​ Peaceful - Aggressive
114.​ Pessimistic - Optimistic
115.​ Planning - Action
116.​ Pleasure - Pain
117.​ Power - Weakness
118.​ Powerless - Abusive
119.​ Pretentious - Humble
120.​ Privacy - Transparency
121.​ Process-oriented - Results-oriented
122.​ Progressive - Conservative
123.​ Prudent - Reckless
124.​ Pull - Push
125.​ Purposeful - Directionless
126.​ Quiet - Loud
127.​ Random - Structured
128.​ Rationalism - Empiricism
129.​ Receptive - Giving
130.​ Responding - Originating
131.​ Responsible - Irresponsible
132.​ Rest - Work
133.​ Retreated - Exposed
134.​ Retribution - Forgiveness
135.​ Right - Wrong
136.​ Rigid - Malleable
137.​ Rough - Smooth
138.​ Rounded - Straight
139.​ Safety - Danger
140.​ Scarcity - Abundance
141.​ Security - Adventure
142.​ Self - Others
143.​ Self-critical - Self-confident
144.​ Sensitive - Tough
145.​ Shade - Light
146.​ Singularity - Abstraction
147.​ Slow - Fast
148.​ Softness - Hardness
149.​ Something - Nothing
150.​ Spontaneous - Strategic
151.​ Static - Fluid
152.​ Stillness - Movement
153.​ Storage - Usage
154.​ Subjective - Objective
155.​ Submissive - Dominant
156.​ Success - Failure
157.​ Sympathetic - Uncaring
158.​ System-Thinking - Linear-Thinking
159.​ Tactful - Blunt
160.​ Talent - Training
161.​ Talkative - Secret
162.​ Tangible - Intangible
163.​ Tension - Relief
164.​ The Moon - The Sun
165.​ Timid - Brave
166.​ Tired - Lively
167.​ Truth - Falsehood
168.​ Urban - Rural
169.​ Validate - Refute
170.​ Verbal - Analytical
171.​ Victim - Perpetrator
172.​ Virtue - Vice
173.​ Vulnerable - Closed-off
174.​ War - Peace
175.​ Water - Fire
176.​ Weak - Strong
177.​ Weakness - Aggression
178.​ Wealth - Poverty
179.​ Wetness - Dryness
180.​ Whole focus - Details focus
181.​ Wise - Foolish
182.​ Witty - Dull
183.​ Woman - Man
184.​ Worthy - Unworthy
185.​ Yin - Yang
186.​ Zero - One
187.​ Tender - Tough
 188.​ Time - Space
189.​ Traditional - Modern
190.​ Trust - Suspicious
191.​ Trusting - Skeptical
192.​ Unity - Division
193.​ Upward - Downward
194.​ Urge - Inhibition
195.​ Value-based - Rule-based
196.​ Virtue - Vice
197.​ Warm - Cold
198.​ Weak - Strong
199.​ Whole - Part
200.​ Willful - Passive
201.​ Wise - Foolish
202.​ Young - Old
203.​ Youthful - Mature
204.​ Expansive - Binary

20 Plot Themes
Comedy

Comedy adventures can be a refreshing break from more serious fare, and feature elements like botched capers, slapstick, embarrassing
situations, “fish out of water” scenarios, and the like.

Morality
Adventures about morality have a message, or they communicate a broader truth like “All people are created equal” or “Revenge is a
never-ending cycle of violence.” It’s easy to be too heavy handed with the scenarios, and they don’t fit in many games — but when they work,
they can pack an emotional punch.

Religion

Adventures themed around religion can involve holy quests, schisms, brainwashed cultists, religious discrimination, exorcism, oracles, spiritual
awakenings, church machinations, and more.

Diplomacy

In a diplomatic adventure, the characters might be envoys, mediators, or emissaries of peace. These scenarios involve delicate negotiations,
circumventing or negotiating treaties, forging alliances, driving a wedge between allies, convincing others to come to your aid, averting war, and
similar social elements.

Piracy

The characters are pirates, thugs, or vagabonds, and they play the seven seas/space lanes/planar rivers seeking treasure. Alternately, the
characters are privateers or naval officers tasked with stamping out piracy.

Trade

Trade adventures revolve around things like brokering deals, securing trade agreements, wheeling and dealing, smuggling, scams, scuttling
deals, mediating trade disputes, and stealing cargo.

Espionage

Espionage-themed adventures feature spying, subterfuge, learning or exposing secrets, clandestine activities, conspiracies, skullduggery, and
conflict in the shadows. The characters can be spies (professionals or thrust into the role), spymasters, or unwitting participants.

Resistance
Resistance adventures involve the underdogs fighting against those in power through subterfuge, raids, guerrilla tactics, underground
operations, and asymmetrical warfare — think Robin Hood.

War

Adventures themed around war can involve sieges (besieged or besieging), conquest, defending territory, leading armies, crashing the city
gates, playing generals, acting as scouts, guerrilla warfare, and a host of similar activities.

Disaster

From giant asteroids headed for the Earth, planet-wide earthquakes, and the wrath of the gods to hurricanes, killer viruses, and rampaging
monsters, the chaos really hits the fan in these adventures (and the characters are usually in the middle of it).

Survival

The characters are in a strange place (or a familiar place, but lacking resources), and they need to survive or help others survive. These
adventures feature scavenging, resource management, threats to food stores, hostile people or creatures who want what little you have, living
off the land, and struggling just to live another day.

Heist

Heist adventures involve the characters planning and executing a robbery, either as the perpetrators or as those trying to stop the heist. These
scenarios can involve sneaking past security, hacking systems, disguises, and elaborate schemes to outwit the authorities.

Exploration

Exploration adventures involve the characters venturing into uncharted territory, whether it be a new planet, a long-abandoned ruin, or a
mysterious forest. These scenarios involve discovering new cultures, facing unknown dangers, and mapping out the unknown.

Medical
Medical adventures involve the characters working as doctors, paramedics, or researchers, facing challenges like outbreaks of disease,
medical emergencies, and ethical dilemmas.

Time travel

Time travel adventures involve the characters traveling through time, either intentionally or unintentionally, and encountering historical events
and figures. These scenarios can involve changing the past, trying to prevent disaster, and dealing with the consequences of time travel.

Mystery

Mystery adventures involve the characters solving a puzzle or crime, using clues, interrogating suspects, and unraveling a complex plot. These
scenarios can involve detective work, forensic analysis, and piecing together a chain of events.

Horror

Horror adventures aim to terrify and unsettle players, often through the use of supernatural or otherworldly elements. These adventures might
involve fighting monsters, navigating haunted locations, and facing off against eldritch horrors.

Superhero

Superhero adventures involve characters with special powers or abilities fighting against villains and saving the world. These adventures might
involve secret identities, using powers for good, and fighting crime.

Romance

Romance adventures involve characters falling in love, navigating complicated relationships, and dealing with issues of the heart. These
adventures might involve wooing potential partners, dealing with love triangles, and navigating the ups and downs of romantic relationships.

Domestic
Domestic adventures involve characters navigating a low-stakes world of civilized life, and dealing with everyday problems and relationships.
These adventures might involve solving personal problems, managing a household or business, and dealing with issues of family and
community.

7 Metamodern Structural Values

Metamodernism is a philosophical and cultural movement that seeks to integrate and synthesize elements from modern and postmodern
thought. It can be seen as a response to the perceived limitations and polarizations of these previous movements, and seeks to bridge the gap
between the rational and irrational, the individual and the collective, and the subjective and objective.

One of the key features of metamodernism is its emphasis on structural values, which are the underlying principles that shape and guide our
actions and beliefs. These values can be seen as the foundation upon which we build our lives and our societies, and they play a vital role in
determining the direction and quality of our collective and individual experiences.

Here are seven structural values that are central to metamodernism:

1.​ Art and ego - Participation in sharing ourselves: Metamodernism recognizes the importance of art and creativity as a means of
self-expression and self-discovery. It values the sharing of ourselves and our unique perspectives with the world, and sees this as a key
aspect of personal and collective growth and development.
2.​ Social theory and cooperation - Partnership and sharing economy: Metamodernism emphasizes the importance of cooperation and
collaboration in achieving shared goals and building more harmonious and sustainable societies. It advocates for a sharing economy
model, in which resources and knowledge are shared freely and equitably, rather than hoarded and monopolized by a select few.
3.​ Psychology and motivation - Personalization and knowing thyself: Metamodernism values the importance of self-awareness and
self-understanding in achieving personal and collective well-being. It recognizes the need for personalized approaches to motivation and
growth, rather than one-size-fits-all solutions.
4.​ Philosophy and education - Pedagogy and teaching through problem solving: Metamodernism values education as a lifelong process of
learning and growth, rather than simply a means to acquire job skills or status. It emphasizes the importance of experiential and
problem-based learning, and sees education as a means of fostering critical thinking and creativity.
 5.​ Ecology and capitalism - Purpose above profit: Metamodernism recognizes the interdependence and interconnectedness of all living
beings and natural systems, and values the importance of preserving and protecting the environment. It advocates for a shift away from
capitalism as a primary economic model, towards one that prioritizes purpose and sustainability above profit.
6.​ Mythology and leadership - Power shift, leading from behind, and understanding complex natural systems: Metamodernism values
leadership that is inclusive, collaborative, and compassionate, rather than authoritarian and hierarchical. It advocates for a power shift
away from traditional leadership models, towards a more distributed and collective approach that recognizes the complexity and
interdependence of natural systems.
7.​ Globalization and democracy - Planetary shift to a more inclusive, compassionate leadership: Metamodernism recognizes the
interconnectedness and interdependence of all human societies and cultures, and values the importance of globalization as a means of
fostering greater understanding and cooperation among different nations and communities. It advocates for a more inclusive and
compassionate approach to leadership at all levels, one that seeks to build bridges rather than walls, and to find common ground rather
than creating divisions.

Overall, metamodernism offers a holistic and nuanced approach to understanding and improving the world we live in. It recognizes the
complexity and interdependence of all aspects of life, and seeks to integrate and synthesize different perspectives and approaches in order to
create a more harmonious and sustainable future for all.

18 Metamodern Narrative Mechanics

Metamodern narrative mechanics are a set of principles that guide the creation and interpretation of stories and art. These mechanics aim to
bridge the gap between the postmodern skepticism towards grand narratives and the modernist emphasis on universal truths. They encourage
self-reflection and the acknowledgement of the artificial nature of identity, while also valuing the importance of emotional and vulnerable
expression. Through techniques such as meta-reflexivity, oscillation, and paradox awareness, metamodern narrative mechanics aim to provide
a space for multiple subjectivities and the negotiation of polar opposites. Ultimately, they seek to create works that are able to evoke a sense of
both epic grandiosity and intimate vulnerability, and to encourage collaboration and constructive pastiche in the face of crises and failures.

1.​ Meta-reflexivity Reflect on an author's felt experience, which gives a model for the reader's self-reflection, and affirms their experience.
Self-aware self-ness as an artificial construction that is built to express something authentic.
2.​ Double Frame A fantastical outer frame that draws the audience into engagement and suspension of disbelief. Once engaged, they can
unironically engage with the emotional and vulnerable inner frame. The outer frame draws a boundary between narrative and real world,
so the audience is free to connect with the felt experiences of the characters as mirrors of their own inner life.
3.​ Oscillation Non-dual engagement of polar opposites in a way that does not cancel out, combine, or compromise them.
4.​ Quirky Irreducible eccentricity that provides a model for the universal set-apartness and vulnerability that everyone feels.
5.​ The Tiny (metamodern minimalism) Employing minimalism to bring the reader closer to the intimacy and felt experience in the work.
6.​ The Epic (metamodern maximalism) Employing maximalism to engage grandiose, heroic storytelling and evoke unabashed
self-expression.
7.​ Constructive Pastiche Combining unrelated cultural or genre artifacts to build a space for a felt experience that would otherwise not be
at home in either element on its own.
8.​ Ironesty Balancing sarcasm and snark with an acknowledgement of felt experience, and delivering self-expression with an
acknowledgment of corniness and absurdity.
9.​ Normcore (engagement vs exhibition) Presenting the self in such a way that you prioritize relationality and accessibility over
self-expression and categorical identity.
10.​Overprojection (Anthropomorphizing) Felt experience overflowing from the author/reader into non-human entities, as vehicles for the
author's expression.
11.​Meta-Cute Evoking childish innocence and simplicity in a way that affirms the inner child.
12.​Dialogic Negotiation Rather than conquering your opponent or rejecting progress on principle that it is not enough, dialogue and
negotiations should be conducted to see what is possible and pursue it.
13.​Paradox Awareness: What is objectively true on one level may be objectively false on another level, but we can conceive of these levels
in our head and operate between them.
14.​Multiple Subjectivity (Borderlessness) We occupy multiple contradicting categories of identity all at once, and we share subjectivities
with people who we would otherwise think of as opposite to us.
15.​Collaboration Self-expression is possible for individual group members and the group as a sum greater than its parts, simultaneously.
Working together on shared values is permissible even when you abhor your partner's other values.
16.​Pragmatic Naivete (Optimistic Response to Crisis) Choosing to live and act as if your ideal future is possible, even when you fear and
doubt that it isn't, and in the face of constant reminder that failure is likely. This perspective is not in denial, and does not reject the
reality of failure, but instead chooses to hope as principle rather than delusion.
17.​Reconstruction Recognizing that current structures are failing, and rearranging and rebuilding structures for collective growth rather than
anarchistic anti-structure rebellion. It pushes us away from entrenched ideology.
 18.​Outcome as Intention All art and expression must invariably be witnessed by an audience or consumer, so therefore all expression is
performance art. This does not make it artificial or insincere, but rather makes the author mindful that the elicited response is just as
important as the self-expression.

Universal Biome Model

This is a handy, simplified model for mapping the biomes of your world, based on rainfall and temperature.

Assign each region of your world a score from 1 to 8 in both categories, and then reference the chart to determine what biome it is.

Remember: your temperature and rainfall designations need to be justified!

What Affects Rainfall?

1.​ Distance to the Equator: Rainfall often follows patterns based on distance from the equator, with tropical areas receiving the most rain.
2.​ Altitude: At higher altitudes, air tends to cool and can't hold as much moisture, which can lead to rain.
3.​ Distance to the Nearest Ocean: Regions close to oceans are more likely to receive moisture (and thus rain) carried by winds from the
ocean.
4.​ Wind Patterns: Winds carry moisture over long distances, leading to rainfall when the air cools.
5.​ Rain Shadow Effect: Mountains can cause air to rise and lose its moisture on one side (windward), leading to rainfall, and descend and
warm up on the other side (leeward), leading to drier conditions.

What Affects Temperature?

1.​ Distance to the Equator: The equator receives more direct sunlight, leading to warmer temperatures. The further from the equator, the
cooler it generally becomes.
2.​ Altitude: Higher altitudes are typically cooler due to lower air pressure and less direct sunlight.
3.​ Distance to the Nearest Ocean: Oceans have a moderating effect on climate, leading to milder temperatures in coastal regions
compared to inland regions.
4.​ Geology and Soil Composition: The type of soil and underlying geology can influence how much sunlight is absorbed or reflected
back into the atmosphere, affecting temperature.
5.​ Man-made Factors: Human activity, such as urban heat islands, deforestation, and greenhouse gas emissions, can affect local and
global temperatures.
Biomes
Tundra
The tundra is a cold, treeless region found in the polar regions of the earth. It is characterized by long, cold winters and short, cool summers.
The ground is permanently frozen (permafrost) and the vegetation is sparse, consisting mainly of mosses, lichens, and low-growing shrubs.

Temperate Grassland
Temperate grasslands are found in regions with moderate temperatures. They are characterized by rolling hills and grasses that can reach up
to a meter in height. Trees are scarce in these regions and the soil is often deep.

Desert
Deserts are dry, arid regions with sparse vegetation and extreme heat. Deserts receive very little rainfall and the vegetation that does exist is
adapted to survive with minimal water.

Boreal Forest
Boreal forests, also known as taiga, are found in the northern parts of North America, Europe, and Asia. They are characterized by coniferous
trees, long cold winters, and short cool summers. The soil is typically thin and nutrient-poor, but the trees are able to thrive due to the long
growing season.

Woodland
Woodlands are areas with a mix of trees and open space. They can be found in a variety of climates and can range from dense forests to more
open, park-like settings. The vegetation in woodlands is typically a mix of trees, shrubs, and grasses.
Savanna
Savannas are grassland regions with scattered trees. They are found in tropical and subtropical regions and have a distinct dry season followed
by a rainy season. The vegetation is typically grasses and trees with long roots that can reach underground water sources.

Temperate Dry Forest

Temperate dry forests are found in regions with moderate temperatures and low to moderate rainfall. They are characterized by a mix of
deciduous and evergreen trees and a distinct dry season. The soil is often nutrient-poor and the trees have adapted to survive with minimal
water.

Temperate Rainforest
Temperate rainforests are found in regions with high rainfall and moderate temperatures. They are characterized by a dense canopy of tall trees
and a high level of biodiversity. The soil is typically rich and moist, supporting a wide variety of plant and animal life.

Swamp
Swamps are wetland regions that are flooded for at least part of the year. They can be found in a variety of climates and are characterized by
slow-moving water, wet soil, and a diverse mix of plant and animal life.

Tropical Rainforest
Tropical rainforests are found in the equatorial regions of the world and are characterized by high rainfall and high humidity. They are home to a
wide variety of plant and animal life and have a dense canopy of tall trees. The soil is typically rich and moist, supporting a diverse range of
plant life.
City Size & Population Models

Hamlet
As a visitor to a hamlet, you might expect to encounter a small, close-knit community with a slow pace of life. There may be a few local
businesses, such as a general store or a post office, but overall the amenities will be limited compared to larger settlements. Hamlets are often
surrounded by agricultural or natural landscapes, so there may be opportunities for hiking, farming, or other outdoor activities.

1% of earth’s livable places are Hamlets.

Population range: 20-99 people Average population: 60 people

Area range: 0.18-1.49 square miles Average area: 0.68 square miles

Width of average city if drawn as a circle: 0.93 miles

Village
In a village, you might expect to find a slightly larger community with more amenities and services than a hamlet. There may be a wider variety
of local businesses, such as restaurants, shops, and small-scale accommodation. Villages are often located in more rural areas, but may also
be within commuting distance of larger towns or cities.

23% of earth’s livable places are Villages.

Population range: 100-999 people Average population: 600 people

Area range: 0.02-96.9 square miles Average area: 2.16 square miles
Width of average city if drawn as a circle: 1.66 miles

Small Town
As a visitor to a small town, you can expect to find a community with a range of amenities and services, including restaurants, stores, and
accommodation. Small towns often have a central square or main street with local businesses and public facilities. There may be a variety of
local attractions, such as museums, galleries, or parks.

33% of earth’s livable places are Small Towns.

Population range: 1K-20K people Average population: 6K people

Area range: 0.07-2870 square miles Average area: 33 square miles

Width of average city if drawn as a circle: 6.55 miles

Large Town
In a large town, you will find a more urbanized community with a wider range of amenities and services. There may be a variety of shops,
restaurants, and entertainment options. Large towns often have more public facilities, such as libraries, hospitals, and community centers.
There may also be cultural attractions, such as theaters or sporting events.

14% of earth’s livable places are Large Towns.

Population range: 20K-100K people Average population: 60K people

Area range: 1-2701 square miles Average area: 57 square miles

Width of average city if drawn as a circle: 8.6 miles

Small City
A small city offers a more urban experience with a wider range of amenities and services than a large town. There may be a variety of
neighborhoods with different character and vibes, each with its own selection of local businesses. Small cities often have more public facilities,
such as universities, museums, and cultural centers.

21% of earth’s livable places are Small Cities.

Population range: 100K-300K people Average population: 160K people

Area range: 7-1704 square miles Average area: 72 square miles

Width of average city if drawn as a circle: 9.5 miles

Large City
As a visitor to a large city, you can expect to find a highly urbanized environment with a wide range of amenities and services. There will be a
variety of neighborhoods with different character and vibes, each with its own selection of local businesses. Large cities often have a wealth of
cultural and entertainment options, such as theaters, concerts, sporting events, and museums.

5% of earth’s livable places are Large Cities.

Population range: 300K-1M people Average population: 500K people

Area range: 27-747 square miles Average area: 174 square miles

Width of average city if drawn as a circle: 15 miles

Metropolis
In a metropolis, you will encounter a vast, highly urbanized environment with a wide range of amenities and services. There may be a variety of
neighborhoods with different character and vibes, each with its own selection of local businesses. Metropolises often have a wealth of cultural
and entertainment options, such as theaters, concerts, sporting events, and museums. There may also be major transportation hubs and a
thriving business district.

1% of earth’s livable places are Metropolises.

Population range: 1M-3.5M people Average population: 1.6M people

Area range: 135-599 square miles Average area: 372 square miles

Width of average city if drawn as a circle: 22 miles

Conurbation
A conurbation is a large, continuous urban area made up of multiple cities and towns. As a visitor to a conurbation, you can expect to find a
highly urbanized environment with a wide range of amenities and services. There may be a variety of neighborhoods with different character
and vibes, each with its own selection of local businesses. Conurbations often have a wealth of cultural and entertainment options, such as
theaters, concerts, sporting events, and museums. There may also be major transportation hubs and a thriving business district.

0.2% of earth’s livable places are Conurbations.

Population range: 3.5M-8.5M people Average population: 6M people

Area range: 302-468 square miles Average area: 385 square miles

Width of average city if drawn as a circle: 22 miles

Here are some examples of each type of place:

Hamlet:

●​ Turner, Oregon (population: 26)

●​ Smithville, Arkansas (population: 32)

Village:

●​ Rosemont, Illinois (population: 4,202)

●​ Sag Harbor, New York (population: 2,169)

Small Town:

●​ Northfield, Minnesota (population: 20,007)

●​ Statesboro, Georgia (population: 30,723)

Large Town:

●​ Rockwall, Texas (population: 45,619)

●​ Wesley Chapel, Florida (population: 63,094)

Small City:

●​ Naperville, Illinois (population: 147,122)

●​ Bethlehem, Pennsylvania (population: 74,982)

Large City:

●​ Providence, Rhode Island (population: 179,883)

●​ Des Moines, Iowa (population: 214,237)
Metropolis:

●​ Seattle, Washington (population: 744,955)

●​ Denver, Colorado (population: 716,492)

Conurbation:

●​ Phoenix, Arizona (population: 4,967,000)

●​ San Diego, California (population: 3,317,749)

Magic System Checklist

When designing a magic system for a fictional world, the four aspects to consider are accessibility, cost, effect, and acceptance.

Accessibility
●​ Source: Where does the magic come from?
●​ Rarity: Can the magic be accessed commonly, or is it rare?
●​ Eligibility: Who can access this magic?

Acceptance
●​ Ubiquity: How much does the average person encounter magic in their daily life?
●​ Taboo: What social customs or pressures are placed on using magic?
●​ Laws: What rules and requirements are placed on using the magic?
Cost
●​ Resources: What does one need in order to perform the magic?
●​ Procedure: What does one have to do physically?
●​ Trade Offs: What does one give up in order to do the magic?

Effect
●​ Limitations: What are the limits of the magic power?
●​ Consistency: Does the magic always work the same way each time?
●​ Consequences: What dangers or benefits does magic bring?

Dunbar's Number of Social Groups

Dunbar's number is a concept developed by British anthropologist Robin Dunbar, who proposed that the maximum number of stable social
relationships that an individual can maintain is around 150. Relationships in which an individual knows who each person is and how each
person relates to every other person.

The expanded theory posits a series of bands of recognition for social groups.

●​ 5: loved ones
●​ 15: good friends
●​ 50: meaningful relationships
●​ 150: stable relationships
●​ 500: acquaintances
●​ 1500: people you can recognize
According to Dunbar, there are several levels of social relationships, each corresponding to a different size of social group. The innermost circle
consists of loved ones, or those with whom an individual has the closest and most intimate relationships. This group typically consists of around
5 people.

The next level of social relationships is made up of good friends, numbering around 15 individuals. These are people with whom an individual
has strong and meaningful connections, but perhaps not as close as those with loved ones.

The third level includes meaningful relationships, or those with about 50 individuals. These may include close colleagues, neighbors, or
extended family members.

The fourth level consists of stable relationships, or those with around 150 individuals. These are people with whom an individual maintains
regular contact, but perhaps not as frequently or intensely as with good friends or loved ones.

The fifth level includes acquaintances, numbering around 500 individuals. These are people with whom an individual may have some level of
familiarity, but not necessarily a strong connection or regular contact.

Finally, the outermost circle includes those who an individual can recognize, but with whom they have no personal relationship. This group may
include up to around 1500 individuals.

While Dunbar's number is often cited as a hard limit, it is important to note that it is merely a theory and that individuals may vary in the number
of stable social relationships they can maintain. Some people may be able to maintain more, while others may be able to maintain fewer.
Additionally, the size and composition of an individual's social circles can change over time as relationships evolve and new ones are formed.

12 Qualities of Effective Organizations

Effective organizations are those that are able to consistently achieve their goals and objectives. To do so, they need to possess certain
qualities that allow them to function at their best. Here are 12 qualities that effective organizations should possess:
1.​ Shared sense of purpose: All members of the organization should understand and be committed to the mission and values of the
organization. This shared sense of purpose helps to align the efforts of everyone in the organization and ensures that they are all
working towards the same goals.
2.​ Focused, empowered leadership: Strong leadership is essential for any organization to be effective. Leaders should have a clear vision
for the organization, be able to inspire and motivate others, and be willing to take calculated risks. In addition, they should empower
their team members to take ownership of their work and make decisions that are in the best interests of the organization.
3.​ Empathy for those within the sphere of influence: An effective organization is one that cares about the well-being and development of its
employees. This means being empathetic and understanding of their needs and concerns, and taking steps to address them.
4.​ Value creation: An effective organization is one that creates value for its customers, shareholders, and other stakeholders. This can be
in the form of innovative products or services, cost savings, or other benefits.
5.​ Facilitates support and communication: Good communication is essential for any organization to function effectively. This means
ensuring that all team members have the support and resources they need to do their jobs, and that there are clear channels of
communication in place for everyone to stay informed and connected.
6.​ Delivers at all levels of scale: An effective organization is able to deliver high-quality products or services consistently, regardless of the
size or scope of the project. This requires strong systems and processes in place to ensure that everything runs smoothly and efficiently.
7.​ Upholds established standards of quality: An effective organization is one that is committed to maintaining high standards of quality in
everything it does. This includes using the best materials and techniques, and ensuring that all products or services meet or exceed
customer expectations.
8.​ Prioritizes output over perfection: While it is important to strive for excellence, an effective organization recognizes that perfection is not
always possible or necessary. Instead, it focuses on getting things done and meeting deadlines, while still maintaining high standards of
quality.
9.​ Values people as more than resources: An effective organization is one that values its employees as more than just a means to an end.
It recognizes that they are individuals with their own needs and goals, and works to create a positive and supportive work environment
that allows them to thrive.
10.​Diverse perspective and background: A diverse organization is one that has a mix of people with different backgrounds, experiences,
and perspectives. This can lead to more creative and innovative solutions to problems, and can help to foster a more inclusive and
welcoming culture.
11.​Collaborative environment: An effective organization is one that encourages collaboration and teamwork. This means fostering an open
and inclusive culture where everyone feels comfortable sharing ideas and working together towards a common goal.
 12.​Effective operations management: An organization can only be effective if it is well-managed. This includes having strong systems and
processes in place to ensure that everything runs smoothly, as well as effective management of resources such as time, money, and
personnel.

5 Ecologies of Human Belonging

As writers, it's important to consider the various ecologies of belonging that shape our characters. These ecologies can be thought of as the
different social systems that influence an individual's identity and sense of belonging.

MACROSYSTEM

Attitudes/ideologies of culture

The macrosystem refers to the larger cultural attitudes and ideologies that shape an individual's sense of belonging. This could include things
like the cultural values and norms of the society in which the character lives, as well as the dominant religious and political systems. These
larger cultural forces can have a significant influence on a character's identity and sense of belonging.

EXOSYSTEM

industry, social services, mass media, local politics, neighbors

The exosystem refers to external systems that indirectly shape an individual's sense of belonging. These could include the character's industry
or workplace, social services, mass media, and local politics. For example, if a character works in a heavily male-dominated industry, this could
shape their sense of belonging and identity as a woman.

MESOSYSTEM

elements from exosystem and macrosystem that have interaction

The mesosystem refers to the interactions between different elements of the exosystem and macrosystem. For example, if a character's family
has a certain set of values and beliefs, and their school or place of worship has a different set, the interaction between these two systems could
shape the character's sense of belonging and identity.

MICROSYSTEM

Family, peers, school, church, health services

The microsystem refers to the immediate social systems that shape an individual's sense of belonging. This could include things like the
character's family, peers, school, and place of worship. The values, beliefs, and behaviors of these close-knit social systems can have a strong
influence on a character's sense of belonging and identity.

INDIVIDUAL

sex, age, health, etc

Finally, the individual ecology refers to the personal characteristics of the character that shape their sense of belonging. This could include
things like their sex, age, health, and other personal characteristics. These individual traits can also interact with and be influenced by the other
ecologies of belonging.

7 Levels of Linguistics
Linguistics is the scientific study of language and its structure, including the sounds, words, and grammar used in communication. There are
several levels of linguistics, including phonetics, graphemics, morphology, lexis, syntax, semantics, and pragmatics.

Phonetics
sounds used to make words
Phonetics is the study of the sounds used to make words. It focuses on the physical properties of sounds, including how they are produced,
transmitted, and received.

Graphemics
basic components (letters)

Graphemics is the study of the basic components of language, such as letters and other written symbols. It looks at how these components are
used to represent words and sounds.

Morphology
structure of words

Morphology is the study of the structure of words, including their formation and the relationship between their parts.

Lexis
complete set of all words in a vocabulary

Lexis is the complete set of all the words in a language or vocabulary. It includes the meanings and functions of these words.

Syntax
principles of sentence structure

Syntax is the study of the principles of sentence structure in a language. It looks at how words are combined to form phrases and sentences.
Semantics
study of meaning from language

Semantics is the study of the meaning of words and sentences in a language. It deals with the interpretation of language and how meaning is
conveyed.

Pragmatics
structure of meaning within context

Pragmatics is the study of the structure of meaning within the context of language use. It looks at how language is used in different social and
cultural settings and how it is interpreted by listeners or readers.

8 Intrinsic Motivations for Play

Play is a natural and universal human activity that can bring joy, challenge, and a sense of accomplishment. There are 8 intrinsic motivations
that drive people to play.

IMMERSION

●​ Escapism​ I want to exist in a coherent and believable world

●​ Validation I want to generate creative ideas and see those affect the world state

COMPETENCE

●​ Mechanics​ I want to optimize interaction with the rules system for the best outcome
●​ Strategy​ I want to apply my skills to conquer obstacles
AUTONOMY

●​ Exploration​ I want to discover emergent spectacle

●​ Roleplay​ I want to define and express the most authentic character

NARRATIVE

●​ Closure​ I want to experience a satisfying release of dramatic tension

●​ Theme​ I want to engage with alternate views and perspectives

5 Levels of Shared Play

Shared play refers to any type of social activity that involves people coming together to engage in a shared experience, such as a game,
role-playing, or other form of collaborative storytelling. When designing a shared play experience, it's important to consider the different levels
at which it operates, as this can help ensure that the activity is enjoyable, meaningful, and engaging for all participants.

Social Contract
the real-world context in which the players gather. Relationships, logistics, physical space, and significance to the wider world.

The first level of shared play is the social contract, which refers to the real-world context in which the players gather. This includes things like
the relationships between the players, the logistics of how and when they meet, the physical space in which they play, and the significance of
the activity to the wider world. Establishing a strong social contract is essential for creating a sense of community and trust among the players,
which is necessary for any shared play activity to be successful.

Exploration
The shared imaginings that become embedded within the social context.
The second level of shared play is exploration, which refers to the shared imaginings that become embedded within the social context. This is
the process of creating the shared world or story that the players will interact with, and it can involve anything from setting the stage for the
activity to establishing the rules of the game. It's important to create a sense of wonder and excitement at this stage, as it can help to draw
players in and keep them engaged in the activity.

Agenda
What a player is trying to gain by playing the game (victory, drama, fun, community, escapism, etc) that defines where they are embedded in
the exploration.

The third level of shared play is agenda, which refers to what a player is trying to gain by participating in the activity. This can include things like
victory, drama, fun, community, escapism, and more. It's important to consider the agendas of all players when designing a shared play
experience, as this can help to ensure that everyone's needs are met and that the activity is enjoyable for all.

Techniques
The particular rules or procedures that structure and constrain the agenda.

The fourth level of shared play is techniques, which refer to the particular rules or procedures that structure and constrain the agendas of the
players. These can include anything from the mechanics of the game to the roles and responsibilities of each player. It's important to establish
clear techniques at this stage, as this can help to ensure that the activity is fair and enjoyable for all participants.

Ephemera
The actions, choices, and motion carried out in the game space as a concrete expression of the techniques.

The fifth and final level of shared play is ephemera, which refers to the actions, choices, and motion carried out in the game space as a
concrete expression of the techniques. This is the process of actually playing the game or engaging in the shared activity, and it's where the
players can really start to have fun and experience the full benefits of the activity
5 Pillars of Game Experience Design
DRAMA
●​ Theme & Narrative A strong theme and narrative can help to draw players into the game world and keep them engaged as they
progress through the story.
●​ Conflict & Uncertainty By introducing obstacles and challenges for players to overcome, designers can create a sense of drama and
keep the game feeling fresh and exciting.

ENGAGEMENT
●​ Accessibility & Approachability By creating a game that is easy to pick up and play, designers can help to ensure that players are able to
fully engage with the game and have fun from the very beginning.
●​ Balancing & Pacing A well-balanced game will provide players with a sense of progression and accomplishment, while a game with
good pacing will keep players engaged and avoid feeling repetitive or monotonous.

CHALLENGE
●​ Intricacy & Mechanics By providing players with a variety of challenges to overcome, designers can create a sense of accomplishment
and satisfaction as players progress through the game.
●​ Control & Constraint By setting limits on what players can do, designers can create a sense of challenge and reward players for finding
creative solutions within those constraints.

REALISM
●​ Detail & Fidelity By creating a game world that feels believable and realistic, designers can help to draw players into the game and keep
them engaged as they explore and interact with the environment.
 ●​ Knowledge & Solving By providing players with a variety of interaction points, designers can create a sense of realism as the players
gain earned knowledge of the game systems.

SOCIALIZATION
●​ Interaction & Sharing By creating a game that encourages social interaction, designers can create a sense of community and
connection among players.
●​ Emotion & Manipulation By evoking strong emotions in players, designers can create a more immersive and memorable gameplay
experience.

5 Rationales for Mechanics

Mechanics in role-playing games serve several purposes, including:

Limiting Player Options

These mechanics are used to prevent certain player actions or choices that are not suitable for the intended purpose of the game. Examples
include advancement rules, which require a certain level of effort to gain power within the game, and rules governing physical abilities, such as
requiring a certain strength level to break down a door or imposing limits on a character's ability to jump.

Providing Meaningful Player Choices

These mechanics present a diverse set of options that allow players to make important decisions that affect the outcome of game events. A
classic example is combat mechanics, which offer a range of tactical choices.

Inspiring Player Action

These mechanics are designed to motivate players to take certain actions or engage in specific behaviors. Examples include rules for
psychological or emotional states, such as the sanity rules in Call of Cthulhu, which suggest when and what type of insanity a player character
might experience, or drama mechanics, which encourage storytelling and role-play.

Replacing Player Choice

These mechanics are intended to eliminate the need for player or GM decision-making. Single roll combat resolutions, which determine the
outcome of a battle with a single roll of the dice, are an example of this type of mechanic. Other examples include straightforward social skills,
such as the ability to bribe, which remove the need for extended gameplay or actions that may be beyond the players' abilities or outside the
focus of the game.

Providing an Illusion
Mechanics can help to create a sense of realism or believability in the game world by establishing the rules and parameters that govern it. For
example, a game might have mechanics for hunger, thirst, and other basic survival needs to create a more immersive experience for the
players. Other mechanics, such as those that govern the use of magic or advanced technology, can help to establish the parameters and
limitations of these elements within the game world.

5 Elements of Role-Playing
Role-playing, or RP for short, is a form of interactive storytelling where players take on the roles of fictional characters and act out their actions,
thoughts, and dialogues in a virtual world or in-person. RP can be a solo activity, but it is often done in groups with a designated game master
or storyteller who sets the scene and guides the plot.

There are five essential elements that make up a successful role-playing experience: character, color, setting, situation, and system. Let's take
a closer look at each one:
Character
The first element of role-playing is the character. This is the fictional person that the player will take on during the game. The character should
have a distinct personality, background, and set of abilities or skills. The character can be based on a pre-existing archetype, such as a warrior
or wizard, or it can be entirely original. It is up to the player to bring their character to life through their actions, dialogue, and role-playing
choices.

Color
The second element of role-playing is color, also known as atmosphere or flavor. Color refers to the small details that add depth and immersion
to the game world. This could be the description of a bustling marketplace, the scent of a perfume, or the sound of a creaky door. Color helps to
set the mood and transport the players into the game world.

Setting
The third element of role-playing is the setting, which is the location in space and time where the game takes place. The setting could be a
fantasy kingdom, a futuristic city, or a modern-day town. It is up to the game master to create a believable and immersive setting for the players
to explore and interact with.

Situation
The fourth element of role-playing is the situation, or the dilemma that the characters are facing. This could be a quest to save the world from
an evil sorcerer, a search for a lost artifact, or a simple social interaction with a non-player character (NPC). The situation serves as the driving
force behind the story and gives the players a sense of purpose and direction.

System
The final element of role-playing is the system, which is the set of rules and mechanics that determine how in-game events unfold. The system
can be as simple as a coin toss to determine the outcome of an action, or as complex as a tabletop role-playing game with multiple dice rolls
and character sheets. The system provides structure and fairness to the game, allowing the players to make meaningful decisions that affect
the story.

In conclusion, the five elements of role-playing – character, color, setting, situation, and system – work together to create an engaging and
immersive storytelling experience. Whether you are new to role-playing or a seasoned veteran, these elements are essential to creating a
successful game.

5 Layers of User Experience

As an author or dungeon master, creating immersive and enjoyable stories and games for your audience is an important part of the creative
process. One way to think about the elements of storytelling and game design is to consider the five layers of user experience, each building
upon the others to create a cohesive and effective experience for your players.

Surface
The surface layer refers to the visible elements of the story or game, including the characters, settings, and events that your players encounter.
This is the most concrete layer and is what your players see and interact with first. It's important for the surface elements to be well-developed
and consistent with the overall theme, as this helps to create a positive first impression and keep your players engaged.

Skeleton
The skeleton layer refers to the underlying structure of the story or game, including the plot, the progression of events, and the way that
different elements are organized. A well-designed skeleton will make it easy for your players to follow the story or game and understand what's
happening.
Structure
The structure layer refers to the conceptual organization of the story or game, including the themes, symbols, and motifs that you use to give
deeper meaning to the events and characters. A clear and logical structure can help your players understand the underlying messages and
themes of the story or game and feel more connected to the experience.

Scope
The scope layer refers to the functional aspects of the story or game, including the rules and mechanics that you use to create the gameplay
experience. It's important for the scope to be clearly defined and for the game to work as intended, as this can greatly impact the player's
experience.

Strategy
The strategy layer refers to the overall goals and objectives of the story or game and how it fits into your creative vision. This layer helps to
guide the writing and design process and ensure that the story or game meets your goals and meets the needs of your players.

In conclusion, the five layers of user experience – surface, skeleton, structure, scope, and strategy – work together to create a cohesive and
effective story or game. By considering each of these layers, authors and dungeon masters can create immersive and enjoyable experiences
for their players.

Examples
Surface
In a mystery novel, the surface layer could be the setting, such as a small town with a dark history, the characters, such as a detective and
suspects, and the events, such as a series of mysterious deaths.
Skeleton
The skeleton layer of this mystery novel could be the progression of events, such as the detective's investigation into the deaths and the
uncovering of clues. The plot, such as the mystery behind the deaths, and the organization of the events, such as the order in which the clues
are discovered, are also part of the skeleton layer.

Structure
The structure layer of the mystery novel could include themes such as justice and morality, symbols such as a mysterious book found at the
crime scene, and motifs such as recurring dreams that help connect the events and characters in the story.

Scope
The scope layer in this mystery novel could include narrative techniques such as flashbacks and red herrings, and literary devices such as
foreshadowing and suspense. These elements contribute to the functional aspects of the story and shape the reader's experience.

Strategy
The strategy layer in this mystery novel could involve the overall goal of the story, such as solving the mystery behind the deaths, and how it fits
into the novelist's creative vision. The strategy could also include the desired reader experience, such as providing an engaging and thrilling
mystery that keeps them guessing until the end.

5 Aspects of Perception
Perception is the process by which we make sense of the world around us. It involves receiving sensory information from our environment,
interpreting that information, and reacting to it in some way. As authors, it's important to consider the various aspects of perception because
they can play a role in how our readers experience and interpret our work.
 1.​ Form: The form of an object is its physical structure or appearance. For example, the form of a tree might be tall and slender with
branches and leaves. As authors, the form of our characters and settings can help to create a visual image for our readers and can also
convey certain qualities or characteristics.
2.​ Sensation: Sensation refers to the sensory experience of an object, such as its texture, taste, smell, or sound. As authors, we can use
sensory language to help our readers experience our work in a more immersive and engaging way.
3.​ Process: The process of perception involves the mental process of registering, recognizing, and labeling sensory information. For
example, when we see an object, our brains register the visual information and then label it as a "tree" based on our prior knowledge
and experiences. As authors, it's important to consider how our readers might process and interpret the information we present in our
work.
4.​ Reaction: Perception also involves the mental imprints and conditioning that are triggered by an object. For example, if we see a spider,
we might have a negative reaction based on our previous experiences or cultural conditioning. As authors, it's important to consider how
our work might trigger certain reactions in our readers based on their prior experiences and conditioning.
5.​ Consciousness: Finally, consciousness is the awareness of an object and the ability to discriminate between its various components and
aspects. As authors, we can use our characters' consciousness to reveal their thoughts, feelings, and motivations, helping our readers
to understand and relate to them on a deeper level.

Overall, understanding the various aspects of perception can help us as authors to create more engaging and immersive experiences for our
readers. By considering how our work is perceived, we can craft stories that resonate more deeply with our audience and leave a lasting
impression.

4 Spheres of Human Understanding

As an author, it can be helpful to understand the different spheres of human understanding, as it can inform your writing and the topics you
choose to explore. These spheres can be thought of as different ways in which we understand and interact with the world around us.

Physics (Body)
Empirical + Natural Known via sense
This includes things like how our bodies function and the laws of nature that govern the physical world. We come to understand this sphere
through our senses, by observing and experiencing the world around us.

Logic (Mind)
Rational + Natural Known via thought

This includes things like reasoning and problem-solving. We come to understand this sphere through thought and analysis.

Philosophy (Soul)
Rational + Moral Known via imagination

This includes things like exploring ideas about the nature of reality and the purpose of life. We come to understand this sphere through
imagination and introspection.

Ethics (Will)
Empirical + Moral Known via intention

This includes things like moral decision-making and determining right and wrong. We come to understand this sphere through our intentions
and the choices we make.