if

by tam h
 if
a writing toolbox
& a solo game
by tam h

#g sf { hedonic.ink } 2021 g#
 Acknowledgments Copyright
This book owes a number of if is copyright Tam H of
debts; it is the culmination of hedonic.ink. The text is licensed
years of exploring two adjacent for re-use under CC-BY 4.0.
hobbies; writing and playing
roleplaying games solo. You also have my express
permission if anyone asks to print
Mechanically, it is inspired by this book for personal use and for
Zach Best’s unfinished final work, charity, donation, and gifts.
ISC, Daniel Solis’s Writer’s Dice,
and both the Otherkind and World Fonts are Ysabeau & Elstob with a
of Dungeons rpgs (there’s a nod to dash of GFS Neohellenic, and, for
In a Wicked Age in here too). the word art, Cormorant Upright.

On the writing side, it is inspired The rest of the art is from the
by the classic hero’s journey, the public domain, sourced from the
story embryo, and the beat sheet. New York Public Library
(L'Animal Dans la Décoration)
Written in October 2021, as part and from unsplash.
of a monthly game challenge.

IV
toc
the why of it pg 1
the basic procedure pg 2
core concepts pg 4
establishing basic truths pg 6
characters pg 8
rolling dice pg 10
qualifiers pg 12
help pg 14
framing basics pg 16
framing scenes pg 18
examples pg 24
brain fuel pg 26

V
VI
The Why of It
“Writing is like pulling teeth.” “I love reading what I’ve written, but
the writing process sucks.” “Writing is hard.”

Sound familiar? Odds are if you’ve ever seriously sat down to write,
you’ve either said stuff like this or heard it said around you. When
the words flow, it’s the best feeling in the world, and when they’re
stuck, it’s painful. If you’re me, that’s when you go clean the sink or
the toilet to get out of staring at the blank page for one more
minute. So… will this book fix that?

Of course not. It’s just a book. But my hope is that it’ll give you a
framework to get started writing your story, to maintain the flow
once you are writing, and, when you do get stuck, to blaze past that
block without giving up. And some solid soloing tools, too.

Rule zero: keep your seat in your seat!

What this is (and isn’t)

This is not a book that will teach you the craft of writing, grammar,
or style— only practice can do those things. It will guide you on
the path through writing a story but the quality of your prose, or if
you even write in prose at all, is up to you.

This is not a traditional role-playing game, but it is a game. It does

not expect a GM and other players, or scheduling, or homework,
just that you’ll put in the time by yourself, with this book and a way
to write stuff down. Most of the “rules” are procedures, intended to
collapse gracefully down if you forget one or lose track of them, and
to easily be leveraged or reintroduced when you need them.

Quality; are you Hemingway?

No, and don’t sweat it. This isn’t the time to refine or proofread or
scold yourself for using too many adverbs. Consider playing
through a summarized draft, or an outline, instead of a full draft, if
the latter feels too intimidating or weighty. Play things light and
loose, give yourself the freedom to be surprised and take the curves
at high speed, and you’ll find yourself on a thrilling ride as much
like reading an adventure as writing one.

1
 The Basic Procedure
The basic procedure for play is outlined opposite, and then
explained in more depth over the rest of the book. A few things to
keep in mind as you read:

Whenever you’re asked to choose, you can always roll instead. If

you are asked to roll, you can always choose the next higher option
if it fits your fiction better. Roll as often as you need to, but give
yourself permission to run with a result or with the fiction.

The text assumes one or two main characters, in classic genre

fiction style, but it can support multiple protagonists. When the
text refers to a “hero”, “main character”, or “protagonist”, you
decide which character that is. The “POV character” is the point of
view character, the character’s perspective you’re narrating from.

The challenges in this game are built on your willingness to risk

your characters, and your investment in discovering what they’re
willing to do to try to get what they want. You determine if a
challenge is a real threat or a mere diversion by how you frame it, by
the rolls you choose to make, and by the outcomes you set up and
then follow through on. You decide if the stakes of a conflict are life,
limb, hearts, or worse. Listen to your instincts and to your dramatic
sense, but don’t be afraid to surrender control to the dice.

This game is played through writing, as much as you can, letting

the momentum of that writing carry you forward. If you’re feeling
unsure or hesitant, look for the conflicts you’ve already established
and deliver on them, or look at the characters and establish a new
conflict. As you set up, and in play, you will have questions. Use the
provided oracles to answer them if they don’t interest you enough
to write out fully, but leave room for yourself to discover some
answers in play!

Note; if you prefer to use an existing tabletop RPG instead of the

included resolution and character mechanics, you can do so, with a
little adaptation. Build characters using that system, tracking
Motifs separately, and when you go to dice, use that system’s
mechanics. Swap “gaining Facts” for “gaining XP” (or similar) in a
moderate measure.

2
Establish basic truths. Select an inspiring spark like a pair of seeds
or a work of existing fiction. Explore this spark, then make a list of
six concepts. Repeat with a second spark to get twelve concepts
total. Choosing two concepts at a time, combine each pair into a
potential basic truth.

Choose a basic truth, then name two characters implied to exist by

that truth who are also implied to be in conflict.

Create three to five Facts about each character, then assign three
dice between those Facts. Give each character up to two Motifs;
first, a premise that says what they want or what’s missing from
their life, and, if you can, a core lesson they need to learn.

Roll up three seeds. For each, write one similar word, one opposite
word, and one word that exaggerates. In play, pick a row from the
list when you need quick inspiration. Replace seeds as needed.

Play through the stages. Each is broken into scenes; read over the
stage description, then select characters. Name potential scene
outcomes, and play to find out which is true. End each scene by
rolling any Fallout and adjusting Facts. When you settle the scene
question (which might be up to several scenes later), add new Facts.

If you get stuck, use the tools and tables scattered throughout the
book (look for inline and hidden tables too), but don’t get too
focused on a table’s stated purpose or intent.

Resolving Choices
Whenever you face a choice as an author, and are not sure what
should happen, first consider if it’s an interesting and meaningful
choice, then some potential outcomes. Finish by assessing each of
the following:

• Drama. If an outcome is the most interesting, and consistent

with the facts, it happens.
• Common sense. If facts or fiction make it clear who would
prevail, they do.
• Disclaiming responsibility. Go to dice if none of the above
resolves things in an exciting way or in a way you enjoy.

3
 Key Concepts
Conflict is when a want or need cannot simply be satiated, for
whatever reason. Look for places where two people want the same
thing but both cannot have it, or where one person’s needs being
met means suffering for others. Ask what this person wants, why
they want it, and why they cannot just have it. Ask who will be hurt
if they achieve it. Ask if they care.

Premise is the concepts and inherent conflicts of the story and the
characters that you intend to explore. It includes the basic truths of
the story, along with the genre tropes you’re leveraging. Seek to
establish premise in the early stages, explore it in the middle stages,
and then deliver on it at the end. Consider what interests you about
a plot or character’s premise, and use callbacks and the tool on the
facing page, transformation, to bring that into focus often.

Callbacks are references to events, images, and characters that have

already been established (motifs). Callbacks make a story feel
cohesive and alive, and are used to further the story. As you work,
you’ll first sprinkle the seeds of callbacks, then refer to and repeat
them, weeding out the ones that don’t go anywhere, and finally
finish up by harvesting the fruits in a satisfying payoff. Callbacks
are a tool to demonstrate premise; they’re both spice and sauce.

The Core Lesson is the basic thing a character needs to learn to

complete the story, whether that’s “there’s no place like home” or
that the truth of their parentage doesn’t matter. It is both a conflict
and a premise, and it fundamentally drives the story. You may need
to discover it in play, or even figure while writing that it’s not what
you thought it was. Callbacks will help you define it, demonstrate
it, and deliver on it.

The Palette. You have access to a rich and varied set of colors when
writing; the classic rpg Gamemaster’s colors of violence, attrition,
and ambition, yes, but also the writer’s colors, a palette made of all
the human motives, drives, and experiences, not just the ones that
are safest for a group of friends to explore in a shared narrative.
Love, and longing, romance and loss, growth and rebirth, all are at
your command. Use all the colors of your palette, not just the ones
you feel most comfortable with. Remember: there are no judges, no
critics, and no censors when you write, except for those you bring
with you to the table.
4
Empathy is a way to make your heroes sympathetic and your
fiction meaningful, and a way to contextualize your conflicts. Look
for personal motives. Rage against an injustice, the fear of losing a
parent’s love, revenge for a slight, all of these are human reasons to
act poorly or nobly, and are the seeds of every greater conflict. It
also means that anyone can be negotiated with, even if what they
want is horrible or the cost is beyond bearing.

Transformation
As you play, you’ll often be directed to transform an element of the
fiction as part of the rules, or want to do so to surprise yourself. You
do this by comparing, contrasting, or exaggerating that element.
You can roll a d3 for which you do, or just decide what fits your
situation and context best.

When you compare, you show how two things are alike, you draw
parallels or highlight similarities, and you explore likeness.
Compare: they lost their father young, as I did; we’re both warriors and
understand each other.

When you contrast, you show how two things are opposite, you
contrast and highlight their differences, and you explore the
intersection of those contrasts— which is usually a place of conflict.
Contrast: they kill for pay, I fight for honor; they are a trust fund baby
and I’m barely scraping by.

When you exaggerate, you show how a thing is taken to extremes,

you show a defining characteristic and its effects, and you explore
the consequences of extreme behavior or of taking an unpopular
stance in the face of adversity. Exaggerate: I won’t let them execute
this thief who stole to feed their kids; I refuse their blood money, I’d
rather forfeit the farm.

Use transformation to adapt and adjust any and all elements you’ve
selected, including your assumptions and planned premises, relying
on, reversing, or exaggerating those elements as you play, to give
you a fresh approach! Let the random aspects of the game challenge
you. Don’t be afraid to take some time to consider how a piece could
fit before deciding if you’ll use it or discard it.

5
 Establishing Basic Truths
The first layer of your fiction, the broadest, consists of the basic
truths, the core concepts and premises. that serve as the bedrock
the rest of the story is built on. The first step is to establish them in
a formal but flexible way, by collecting ideas and then assembling
them into actionable statements full of conflict.

Start by writing down a spark. This might be a pair of seeds (“ice/

vow”), an image that speaks to you, a random passage from a book
picked up from your shelves, a card pulled from a tarot deck, or an
entire existing novel or show. Anything will do as long as the spark
represents a rich vein of material that interests and inspires you.

Take some time to explore this spark. Image search it, think about
what you enjoy about it, and consider what interests you about it.
Then make a list of six concepts that are sparked by it. This might
be a concept (“knights roam a frozen waste”), a sensory detail
(“boots crunching on old snow”), an image (“a citadel above an
endless icy plain”), a dilemma (“duty vs. warmth”), a theme (“can
running lead to redemption?”), an action (“dueling across icy
rooftops”)— whatever leaps to mind.

Repeat with a second spark to get twelve concepts total. Adjust

your earlier list as you work, if something new occurs to you that
feels like it fits better, but concentrate on getting those twelve
concepts down, divided into two lists.

Now, choosing two concepts at a time, combine each pair into a

basic truth, a core concept that defines the central conflicts and
themes of your novel. Use the structure templates to the right to
inspire you, and rearrange as you need to.

A good basic truth has at least two actors or groups in conflict;

someone wants a thing, but can’t have it, because of someone or
something else. It implies the existence of a greater world, and a
wealth of material for “if this is true, what else is true?”.

Nothing is really true until it is part of the written story, but let
these basic truths inspire you.

6
Basic Truth Structures inspired by In A Wicked Age
1 A person, verbed and verbed. 10 A person, verbed by a person, but
2 A person, on a road through problem or personal flaw.
terrain, that ends in place. 11 A person, adjective, who does-thing
3 A place belonging to an adjective but wants thing.
but adjective group. 12 A person, joined-status to group,
4 An adjective person belonging to a relationship to animal.
group with a goal. 13 A person verbing a group.
5 An item, verbed by a group, 14 A person verbed of valuable-thing or
verbed by a person. emotion, related to heritage.
6 A gathering of persons, with a 15 The event of group, verbing their
plan and a complication. adjective-noun and noun.
7 A place in a bigger-place, 16 An adjective monster, who verbs its
adjective, where restriction. victims' essence.
8 An item, possessive-verb to a 17 A person, adjective & adjective,
person, in demand by group. having verbed an item.
9 An adjective and adjective person, 18 A person, verbing, whose person was
who fame-level skill. verbed by a person.

1 seed: ice/vow 2 seed: desire/resolve

• knights roam a frozen waste • an arranged marriage, fled for love
• boots crunching on old snow • a fallen hero, resolved on their course
• a citadel above an icy plain • a phantom love calling from ahead
• duty vs. warmth • an unshaken faith, as yet untested
• can running lead to redemption? • an eternal prison
• dueling across icy rooftops • a very bad bargain

1 Basic Truths
1 [1-5] An eternal prison in a frozen waste, where grim-faced knights patrol
the walls.
2 [4-2] A fallen hero, choosing warmth over duty, resolved to rescue his
imprisoned lover.
3 [3-3] A citadel above a plain; a phantom lover calls through the walls.
4 [2-6] A bad bargain, a betrayal, and a ragtag band of criminals creeping in on
an unlikely mission.
5 [6-4] A noble, easy-going hero who has never been tested, catching a foe in a
duel and bringing them to the prison.
6 [5-1] A runaway, fleeing an arranged fate, sheltering at the citadel.

7
 Characters
All characters are built from Facts, actionable, concrete truths
about them, and Motifs, the abstract conflicts, dilemmas, and
images that make them interesting. The also have a premise, which
is the central concept that they embody, and a core lesson, the truth
they need to learn in this story. Their premise might be a Fact or a
Motif, but the lesson is almost always a Motif.

The groups overlap, but they are drawn on in different ways. What
you choose to make a Fact says what you want to highlight about
the character or use to control the world around them, and what
you choose to make a Motif says what you want to drive and
motivate them under the surface, outside of your direct control.
What you declare as a premise and as a lesson will shape the story as
you play in a way no other aspect of the character will.

“I am a hardened warrior” is a Fact, one that will lead to a story

showcasing combat. “The search for meaning in this endless war”
is a Motif, one you can call back to in many contexts, even outside of
a fight. “A hardened warrior, searching for peace” is a Fact and a
premise. “I need to learn that violence doesn’t solve anything” is a
core lesson and a Motif.

A main character begins with a name, three Facts, and at least one
Motif, usually their premise. You should add a core lesson as soon
as it becomes apparent, either now or in play. Consider premise and
lesson carefully, as they steer the story. If a character’s premise
doesn’t make what they want, what they are acting towards, clear,
devote at least one Fact to it. Assign three dice among their Facts,
prioritizing ones that interest you right now.

Major characters have a name, one or more Facts (assign dice as

usual), and a premise that reflects their general purpose for existing
in this story (like “the hero’s angry father, a symbol of all they rebel
against”). They probably have a lesson to learn, as well.

When you’re asked to change or affect a character, except in a trivial

context, prioritize protagonists and major characters, as your
instincts suggest.

8
Minor characters are not much more than a premise like “the
servant bringing bad news”. They may be promoted, but generally
they appear on screen, fulfill their premise, and leave. Don’t waste a
lot of time developing a character until you’re sure you’ll need them.

Advancement You can always choose to add a new Motif to a

character when an image, event, another character, or a concept
becomes important to them and their story. Characters gain Facts
by suffering injuries and setbacks, and by settling scene outcomes.
To lose or change Facts, lose or change them in the fiction.

Argument Points
All characters have argument points (AP) equal to their total
number of Facts. These are a measure of their impact on the story,
and also serve as the primary mechanical way you can influence the
story on the character’s behalf once you go to dice. Harm is divided
into three groups, mild (1), major (2), and severe (3), which is also
the amount of APs lost when they suffer that type of harm. If you
don’t know how much harm a character faces, roll a d3.

Narrate how harm happens and add a Fact to reflect the injury or
setback. You can also choose to spend AP as if they were fact dice
on a roll. Lost or spent APs are assigned to scene outcomes after;
see pg. 9 for details.

When a character runs out of AP, look at the situation and the facts,
and frame the next scene as the worst possible outcome for them, or
if you pick up with a second character, consider the first to be in
dire straits, missing, captured, or worse. Characters regain all of
their AP (including any for new Facts) at the end of each stage.

Some Example Core Lessons

1 I need to learn to use my mind, not my body, to solve problems.
2 I need to learn to trust my gut, and my heart.
3 When life gives you lemons, make lemonade.
4 Wanting is not the same as having.
5 The safe path won’t get me what I want.
6 My illusions are holding me back.

9
 Rolling Dice
First, declare two things; what the protagonist wants, and what you
want. They might be the same thing (“to escape the burning
building”), but sometimes they won’t be. Maybe she wants “to walk
away” and you want “she kisses her”? Give yourself permission to
gamble, to risk uncomfortable outcomes, and to demonstrate how
your characters are flawed. Your fiction will be richer for it.

Take a moment to consider the potential bad outcomes and risks

inherent in this situation. Then take two dice. Assign each a factor,
either a quality, like Skill, Desire, Time, Finesse, Power, or Luck, or
a suitable Fact.

One of these dice is whether you succeed, and the other is the roll’s
qualifier. You choose which is which. On the die you read for
success, a 5 or better is a success (or “hit”). On a 6, your protagonist
gets what they want; on a 5, you do. On a 4 or less, one of the bad
outcomes occurs instead; look at your qualifier die first, before
resolving the roll.

On a success, interpret the qualifier as a good thing for the main

character, and on a failure, as a bad thing, except for “but”, which is
the reverse. Always think about how the qualifier changes the
success or failure in a natural way, before you look at any
mechanical effects.

Narrate what happens next, including the success die’s result and
the meaning of the qualifier, and incorporating the declared dice
factors (did you fail because of Luck? Did you succeed because of
your elven heritage?). Prioritize the obvious and the immediate, and
remember, you set the tone and control the difficulty for a scene by
narrating messy outcomes or simple ones.

You can wager dice from a Fact that has bearing on a roll; roll those
dice along with the others and keep any two to read. You may
assign each a unique factor, or share one. If you succeed (ie, a 5 or a
6), return any wagered dice to their Fact (why change what works?).
On a failure, set them aside, and, if either kept die is a 1, add 1 to
Fallout— things are about to get complicated.

10
Qualifiers (Nutshell Version)
1 Nor. There’s a fundamental flaw in your framing; re-frame the
question or roll a random event.
2 But. A drawback to a success or a silver lining on a setback.
3 So. A consequence that follows, carried through to the logical
extreme.
4 And. An immediate, short-term bonus or penalty.
5 Because. A callback to an earlier event, situation, or fear.
6 As. A background or remote event; weave it in later if necessary.

Always consider the actual word’s meaning, as elaborated on the

next pages, as a connection, not just a suggested game mechanic or
event. Look at the natural sense of the word!

Seeds (General)
1 3 5
1 fire 1 tree 1 resolve
2 ice 2 flesh 2 vow
3 water 3 beast 3 reticence
4 earth 4 home 4 grief
5 air 5 device 5 bravery
6 metal 6 history 6 loyalty

2 4 6
1 love 1 dusk 1 eerie
2 empathy 2 rebirth 2 angelic
3 desire 3 sun 3 human
4 hatred 4 moon 4 demonic
5 scorn 5 stars 5 other
6 fear 6 future 6 eternity

Conflict Sparks
1 wants what they can’t have 4 is protecting something
2 hiding from a duty or dread 5 is being hunted
3 struggles against their nature 6 controls an unpredictable force

11
 Qualifiers, Elaborated
When you use a qualifier, honor the definitions below, and the
natural narrative sense of the qualifier, instead of getting hung up
on using the specific word. For example, when you’ve ended up
with “but” it’s just fine to write “except” or “and then”, as long as
you’re working in a drawback or silver lining. Always look to your
fiction first, and interpret in context of it.

Nor. There’s a fundamental flaw in your framing; re-frame the

question or roll a random event. This might be in-game, as someone
realizes they’ve made a terrible mistake, or a meta “nor” as you
change something that wasn’t set in stone yet. Consider: neither.

But. A drawback to a success or a silver lining on a setback. A “but”

might be an opportunity to turn utter disaster into mere failure, or
you might be declaring that what you need is achievable, but what
you want isn’t. Consider: but first; but only if, but instead.

So. A consequence that follows, carried through to the logical extreme.

“So” says that something happens, with no chance to interrupt,
only to react. It is always causal, and predicated on the current
action that impelled it. Consider: so then; so we.

And. An immediate, short-term bonus or penalty. “And” connects

two events or an event with a dramatic reveal, though they need not
be causal or directly link to your action (that’s “so”). Consider: and
again; and then; and also.

Because. A callback to an earlier event, situation, or fear. “Because”

says why something happens, what prompted this turn of events,
and what richer meaning lies behind it. Consider: because of;
because they; due to.

As. A background or remote event. “As” might be what is going on in

the background while events unfold, or it could be what is
happening elsewhere. Sometimes it is how someone else acts to
affect us, and sometimes it is the ramifications of our own acts.
Consider rolling up a random event, weaving this “as” into the next
scene, or using it as a bridge to that scene. Consider: meanwhile;
before; in the midst of.

12
 If
You may always ignore the qualifier die and choose “if ”. When you
do, if your goal die is a failure, name a lesser version of the outcome
you (not the protagonist) hoped to achieve, and narrate paying a
suitable price to achieve it.

If your goal die is a success, declare what they are sacrificing and
what additional benefit, advantage, or better position they are
seizing at the same time.

Things to sacrifice & seize (or flip a coin and reverse it on heads):

• My heart & their heart

• My dream & their dream
• My weapon& their footing
• My plans & their needs
• My birthright & my freedom
• My life & their future

Moving Past the Game

Use qualifiers to keep your story fresh and interesting, a surprise to
even you! And use them to challenge yourself; take the time to think
about how a result changes the fiction, and steers it, in an
unexpected direction, before you decide to discard it.

Sooner or later you may find yourself flying through your writing
without pausing to roll, or sitting down to sketch out later chapters
without relying on this system at all. Congratulations, and enjoy it!
This book will still be here for you if you need it.

13
A Little Help
This is an all-purpose table, intended to serve as a fallback when
nothing else seems to be working. Use this table when you feel
stuck, to generate random events, and to help set and drive scenes.
It can also be used to declare what a character does, if you’re just
not sure or don’t want to decide.

Each entry on the table corresponds to that number on the qualifier

chart; you can use this to interpret qualifiers by considering the
entry and the context (either an actor or the world/an event). Flip a
coin if both options seem equally dramatic or sensible. The
numbers 1-12 are there in case you want to just roll straight up for
an event; if you have no d12, roll a d6, then flip a coin twice.

An Oracle for What They Do

1. Look at it another way. The actor pauses to assess [1], or to
consider a new approach [2]. If an event, an aspect of the situation
that is uncertain is different than you assumed [1, 2].
2. Reverse course. Whatever the actor is doing, they reverse it,
perhaps due to a lack of confidence, will, or heart [3], or to a
sudden realization [4]. If an event, reveal a reversal by someone [3]
or a reversal of circumstances [4].
3. Start over. The actor gives up on either their course of action [5]
or their goal entirely [6]. If an event, a new threat interrupts [5] or
a new situation develops [6], taking precedence.
4. More of that. The actor continues what they were doing [7], or
doubles down [8]. If an event, call back to an earlier event [7] or
exaggerate what’s going on now [8].
5. Explore premise. The actor reveals or shows off part of their
premise [9] or makes a dramatic decision or reveal based on it
[10]. If an event, linger on a detail or situation, exploring it [9] or
explore the ramifications of an established premise [10].
6. Explore the hidden. An actor has a flashback or opens up about a
past experience [11] or declares a hidden feeling or emotion. [12].
If an event, reveal an unexpected nuance or surprising wrinkle
[11] or introduce a new element or actor. [12].

14
Ways to Get Unstuck
• Look for a conflict inherent in the situation or between on-screen
actors. It boils over, erupts explosively, or otherwise becomes pressing.
• Roll an oracle for what someone does (this page), and describe it.
• Roll a seed as usual and (d3) compare, contrast, or exaggerate it even
more as a sudden event.
• Roll on the POV character’s motifs, and derive an immediate action
from it, using a transform (d3, compare, contrast, or exaggerate).
• Roll a random event using the table on this page, the next, or pg. 14.
Or turn to the back of this book, and look through the tables, rolling
up results and discarding them until something clicks!
• Look at the last meaningful thing that happened, and call a do-over.
Consider first if you pulled your punches or weren’t true to the fiction;
if so, rewrite it harder. Otherwise, think of the most extreme
outcome, and replace whatever happened with that.

Mood/Emotional State [odd or even]

1 playful (enjoying a passion) or serious (pursuing long-term goals)
2 power (trying to win or control) or sympathy (trying to build)
3 conforming (fitting in) or rebellious (creating, making a change)
4 self (taking care of my needs) or other (thinking about our needs)
5 apathy (who cares?) or disgruntlement (why does it matter?)
6 roll again and intensify the result

Use this table to determine what an actor’s goals are at the moment,
and how they’ll generally behave for the scene. Watch for trends; if
an actor consistently models a particular approach, add it as a
motif, and play it up when they act contrary to it!

15
 Framing Basics
There are five basic stages, each built from one or more scenes, some of
which are required scenes (the Status Quo Stage always ends in The
Catalyst scene, for example) and some of which are more flexible (you’ll
run many Develop the Subplot and Explore the Premise scenes
throughout both the Exploration and the Escalation Stages). You
decide how many scenes comprise each stage. Trust yourself (or roll a
d6). Use bridging (pg. 18) as needed.

When you begin a new scene, declare two potential scene outcomes,
given what you’ve established so far, what your characters want, what’s
achievable, and the stage framing. Choose one outcome that is clearly an
advance from at least one protagonist’s perspective, and one that is a
setback. A simple “the protagonist achieves their goal” or “someone else
does” is fine for the first scene, but try to be as specific as you can be,
using the characters’ facts to guide you. Note that if an outcome doesn’t
come to pass, it might still be true— it’s just not guaranteed to be.

When you spend AP on a roll, assign it to the potential scene outcome

that matches the roll’s outcome (i.e., a success to the advance, a failure
to the setback). When you lose AP otherwise, you choose which scene
outcome you assign the points to.

When you feel it’s time to settle the scene outcomes, work in the
outcome with the highest score. This might be as a twist or sudden
reveal, or as a logical extension, or even as a bridge. You can always carry
potential outcomes over to the next scene, or rephrase them, if they
don’t feel settled by the natural end of a scene. If you do, add a second
set of potential outcomes or not as you feel warranted (if you have
multiple sets of outcomes in play, assign any points once per set).

At the end of each scene, roll once per Fallout point on the Frame chart;
interpret each as a setback for the character who earned the Fallout (or
someone they care about). Remove or adjust any Facts that have
changed, and, if you settled an outcome, add a new Fact based on it to
each character who was affected by it. Assign all the dice you set aside to
the Facts that matter to you right now, then start a new scene.

Finish a stage by taking a moment to review what’s happened. Jot down

some questions you still have, as world Motifs, then reset AP.

16
Stages
Status Quo. Who is this character? What do they want? Show how things
are, and what the main character wants but cannot have. State the core
lesson (through a mentor or events, planting the seeds of your subplot), and
how the main character isn’t ready to accept it. End with the Catalyst.
The Catalyst. The moment everything changes. Reluctantly or eagerly,
the main character must step into a new world, and deal with change. End in
a choice, to dive in or to run away, which leads to Exploration.

Exploration. What have I promised to show? What callbacks can I use?

What excites me about this plot, these characters, this story? Mix and repeat
the two scene types, until you reach about halfway, to Escalation.
Develop the Subplot. Discuss or show the core lesson again, and further
the subplot. Take a break, run a respite scene, or explore a side quest.
Explore the Premise. Explore the premise, the interesting core, of the
characters and the story. Show the growth, change, and trials you expect
from that premise. If your hero got beat up in the Status Quo, they spend
this scene seeking out a mentor, and the next scene training to fight.

Escalation. The main character has what they wanted, but not what they
need, or they’ve lost what they had, and they might have to settle for scraps.
Continue to Develop & Explore, but escalate the pressure as inner or outer
dangers close in. When you’re ready, bring in the Revelation.
The Revelation. A twist or reveal. Call back to an earlier motif or event,
but place it in a newly unfortunate light. Wallow a bit, or go to the Nadir.
The Nadir. Everything is lost; whatever was hoped for is unreachable,
whatever was gained is stolen, whatever was longed for is denied forever.
Something dies, so that something new can be born. Call back to past
failures, and show why this was the inevitable outcome. A spark of
inspiration, or good advice from the subplot, leads to Deliver.

Deliver. Answer: what are we willing to do to win? The plots converge as the
main character wields the lessons learned from the subplot and the practical
experiences of the main plot to fight for their goal.

Full Circle. Return to origin. Settle the issues from the Status Quo. Call
back to the journey. Show new capability, new skills, and new confidence, or
show acceptance.

17
 Framing Table
To set a scene, roll to get a table name and a table element. Repeat if
needed. Interpret the table name as the bigger context, treating it as a
statement of fact and ignoring the “if ”. Optionally, you can consider the
“if ” a toggle; if it’s false, use the next higher table that is true.

When you frame the next scene or roll an event, if you land on a table
again, divide the second die in half and add it to the number you
originally rolled instead of applying it. If you go over 6, roll it over. If you
get a repeat element, transform it or combine it with a qualifier (in a
natural, writing way) to shake things up.

1 If an antagonist is 4 If a friendly actor is

here, they: here, they:
1 tempt you 1 reveal a problem
2 lash out 2 tempt you
3 react poorly to your act 3 react poorly to a reveal
4 betray a secret 4 lash out
5 reveal a devastating success 5 reveal a secret
6 strike without mercy 6 betray you

2 If a threat presents: 5 If you're alone & free:

1 a near miss or glancing blow 1 you see a problem brewing
2 a parry, or indecisive exchange 2 you discover a secret
3 a loss of position or advantage 3 you find an opportunity
4 a supporting character falls 4 you lose something
5 a solid blow or setback 5 you are injured
6 a serious, direct blow 6 a threat looms

3 If a threat approaches: 6 If you're in captivity:

1 foreshadowing 1 spot a chance to escape
2 subtle signs of it 2 make a companion or ally
3 a minor character is skittish 3 you are mistreated
4 obvious signs of it 4 discover a new enemy
5 a minor character acts 5 are gloated at or taunted
6 a minor character sacrifices 6 are dragged to a worse place

18
Bridging Sum up events without enough conflict to play out, or
that don’t interest you right now, with a few quick sentences. Use
the normal steps (drama, common sense, dice) to direct play, and
the qualifier to position your characters in the next scene. Resolve
scenes and stages as usual, if needed.

However, never skip the Status Quo. Even if you promptly discard
those scenes, they are your chance to learn about the characters,
and get over the “blank page”.

19
 Framing a Scene
At this point you should know enough about your world and your
characters to get through showing the Status Quo (remember,
you’ll probably rework or even discard that stage later). You have
some questions to answer or things to show, a precipitating event,
and scene outcomes to write towards. If you’re ready, write!

If you’re not, take some time to roll up a full scene frame. Start by
picking or rolling a directive to achieve in this scene. Then roll a
factor (like “Actor” or “Events”) and an aspect (like “Reveal” or
“Twist”). Repeat up to twice more.

The first aspect, in context of the factor, represents the scene’s

obvious, overt focus. The second is what is going on in the
background, while the third is the scene’s driver or impetus— what
is going on under the surface, about to erupt or come to a head, or
will otherwise propel conflict in this scene. If you double up, decide
if that aspect refers to the same event, or to two separate ones.

Finish up by rolling Stakes and maybe an Oracle, if needed. Who

wants something in this scene? Who can’t have it yet? What are they
willing to do to get it?

Now stop treading water and write!

If you still need more inspiration, or if the above is too much for you,
instead turn to the back of the book, and explore the tables there. You’ll
find recipes and tables to cover many situations and to provide
inspiration when you feel stuck or unready.

Directive
1 show a flaw
2 advance a main character’s goals
3 show a strength
4 advance a non-protagonist’s goals
5 build atmosphere
6 describe the world

20
1 Protagonist. The current POV character, or a main character.
1 Premise. The character’s fundamental concept.
2 Motifs. The themes and personal motifs of the character.
3 History. Their backstory becomes relevant or important
somehow.

2 Location. Where and when the story is taking place.

1 Tangible. The physical nature of the location.
2 Motifs. The themes and imagery that tell the story of this place.
3 Common Event. An event that you'd expect, given the area and
current framing.

3 Actor. A non-POV character (preferentially major).

1 As Expected. The actor acts as one would expect them to.
2 Transform. As Expected, but instead compare, contrast, or
exaggerate it.
3 Reveal. The actor reveals a hidden resource, facet, gift, loyalty,
emotion, etc.

4 Narrative. The plot of the current story.

1 Overarching Plot. The meta plot, or bigger picture.
2 Immediate Plot. The current task the character is engaged in.
3 Callback. A loose or unfinished plot thread from earlier.

5 Events. An event occurs that needs to be addressed.

1 World. It is broad in scope, or not targeted directly at the main
characters; bring in world motifs.
2 Personal. It is related to, targeted at, or directly caused by a
main character.
3 Skill Check. Test a random skill or ability of a character.

6 Alteration. Something is not as expected.

1 Interrupt. Whatever is going on, it is interrupted or cut short.
2 Twist. Something is not what it seems, or a twist is revealed.
3 Curve Ball. A repeating in-joke, or an absurdity or coincidence.

21
 Stakes
Use these to set the stakes of a conflict (flip a coin if you need to). Use the
table labels and bracketed tags as dice factors, seeds, context, to inspire
motifs, or just ignore them.

1 Precision / Delicacy
1 [Lion] a flaw hinders / a flaw ruins
2 [Anchor] a weakness revealed / a weakness exploited
3 [Memory] a bad dream / a danger, recognized
4 [Shadows] a fear is realized / a worst fear is realized
5 [Satyr] control slips / control is lost
6 [Unicorn] an illusion is destroyed / innocence is lost

2 Suitability / Aptitude
1 [Birds] a disabling trap, a deadly trap
2 [Fool] kicked in the teeth / kicked in the head
3 [Armor] slowed / dragged down
4 [Mirror] temporary exile / exile with a price
5 [Palace] a useful item is lost / a vital item lost
6 [Moon] it malfunctions / it breaks

3 Planning / Preparation
1 [Stars] trust is damaged / trust is broken
2 [Veil] a secret discovered / a secret revealed
3 [Tower] an ally falters / an ally fails
4 [Cross] an ally endangered / an ally is lost
5 [Knowledge] a lie is told / a lie is revealed
6 [Harvest] an unexpected flirtation / a seduction

4 Endurance / Repetition
1 [Serpent] you are tricked / you are betrayed
2 [Succubus] succumb to temptation / forced to act
3 [Sun] an unwelcome truth / a devastating truth
4 [Vigor] a failure of strength / a humiliation
5 [Summer] a passion inflamed, exhaustion
6 [Fox] a tactic anticipated / a sudden reversal

22
 5 Skill / Training
1 [Chance] an unlucky break, the worst outcome
2 [Empress] something notices / it comes to see
3 [Messenger] an inconvenient arrival / a dangerous arrival
4 [Air] loss of face / a reduction of status
5 [Winter] a necessary sacrifice / a painful sacrifice
6 [Bear] a beating / a breaking

6 Spirit / Will
1 [Water] a serious wound / a devastating wound
2 [Spring] something is tainted/ something rots away
3 [Phoenix] partly changed/ utterly changed
4 [Rose] beauty marred / beauty ruined
5 [Vampire] a craving disturbs / a hunger consumes
6 [Fairy] a curse is laid / a curse takes effect

Oracle
Roll on the table above, and choose or adapt any one of the verbs present
in that result. Then combine with a focus below to get a backstory event
or an answer to a complex question like Cursed/Ritual or Trick/Death.

1 3 5
1 introduction 1 trickery 1 ritual
2 leaving 2 lashing out 2 removal
3 giving 3 success 3 rejection
4 delivery 4 triumph 4 breaking
5 acceptance 5 passage 5 wounding
6 discovery 6 defeat 6 insulting

2 4 6
1 exposure 1 fall 1 healing
2 loss 2 failure 2 mending
3 separation 3 reversal 3 joining
4 death 4 awakening 4 rebirth
5 abandonment 5 learning 5 renewal
6 deceit 6 initiation 6 return

23
 A Paranormal Romance Kit
3 a paranormal romance 4 seed: sun/vow
• a two-fisted, tough hero • facing death to be reborn
• a brooding hero • a dark destiny, a craved sun
• primal hungers, struggling • a murderous past, repented
• a mortal, beloved by an immortal • a demonic pact
• against all odds • a knight pursuing an oath
• everybody wants to own the hero • an oath sworn on the sun

2 Basic Truths
1 [2-5] A vampire, brooding over the holy prey they cannot have.
2 [1-6] A tough hero, sworn to uphold the light.
3 [4-4] A demon, in love with a beautiful mortal.
4 [3-3] The sins of a murderous past, feeding a primal hunger.
5 [6-2] The sun’s amulet, demanding the sacrifice of its Chosen.
6 [5-1] Facing death to be reborn, against all odds.

A Planetary Romance Kit

5 a planetary romance 6 seed: water/rebirth
• a fish-out-of-water hero • a sunken world below the waves
• vast, sweeping vistas • mermaids!
• utterly incomprehensible foes • reincarnation
• sympathetic, beleaguered allies • a healing plant
• a unique modern asset in play • psionic gifts
• advanced science as magic • who died so you could live?

3 Basic Truths
1 [1-1] A modern hero, crash-landing on a wild water planet.
2 [6-2] A mermaid, rescuing the hero, and granting protection.
3 [3-3] Alien foes, seeking out the reincarnation of their lost god.
4 [4-5] The merfolk, under siege, psionic gifts made into a curse.
5 [5-6] The hero’s technology, bringing change, and destruction.
6 [2-4] A vast plain of a healing kelp, threatened by war.

24
Setting Up (a simple example)
I’m going with a modern setting, as a paranormal romance. That
choice will already establish a whole set of basic assumptions. I
assemble a list of concepts from the genre as a whole, drawing on
my familiarity with the genre, and then a set of concepts from a
rolled seed, and then pair them up for potential basic truths.

I roll on the table for “a vampire, brooding over the prey they cannot
have”, and then derive two main characters from that. Each has a
fact derived from that truth, one that reflects what they want. The
vampire, who wants to bite the prey; the prey, who wants not to be
bitten. That’s a little simplistic, so let’s refine it.

I use two seeds per character as inspiration for Facts, then decide to
add one more Fact (seed: resolve) to Warren. Then I assign three
dice to each character’s facts, picking ones I think are interesting
right now. Warren has 4AP, Olivia just 3. Sheets can be written as
tags, or as a narrative, your choice.

Warren, the vampire [1]. Beast [1], fear [0], resolve [1].
Olivia, the prey [2]. Angelic [1], device [0].

Warren (4AP) a vampire, wants to bite Olivia [1]. Struggles with

monstrous hunger [1]. Afraid of Olivia [0]. Resolved not to bite her [1].
Olivia (3AP) wants to not be bitten [2]. Is of angelic heritage [1]. Has
weapons against vampires [0].

Now I’m thinking about core lessons; I decide Olivia is my main

protagonist, and she needs to learn to rely on a higher power, not just
her fists. Warren might end up with a core lesson too, but that’s for
later. I roll up my Seeds, dusk, demonic, and human, then choose a
word similar to each, for twilight, malicious, and empathy, and one
opposite, for dawn, angel, and beast. Exaggerated, pitch black, the
devil, and Adam/Eve.

I pause to consider supporting characters suggested by my facts, in

context of my seeds, but don’t write them down yet. A devil on
Warren’s shoulder. An animal companion for Olivia. A rival for one
character’s affections. I finish up by assessing everything I’ve got so
far. Let it run though my mind, without trying too hard to make
things fit. That will come!

25
 Brain Fuel
This book is full of prompts and tables. Use these tables to stretch
yourself, and to challenge yourself to see how a random result can fit
into the growing puzzle of your fiction. Don’t let yourself get
bogged down in a table’s specified purpose; you can always use
them to inspire in unexpected ways.

Most of the tables on the next few pages are sampled and adapted
from Mark McElroy's A Guide to Tarot Meanings found at (http://
www.madebymark.com/a-guide-to-tarot-card-meanings/). Get
the original and use it once these small samples no longer inspire.

Scene Type
1 respite; rest, dalliance 4 as expected; main plot
2 interrupt; unexpected twist 5 as expected; feature an actor
3 as expected; subplot 6 montage or oddity

The Positive & Negative tables can be used to generate a

character’s next action, to establish what they are doing when
encountered, interpreted as personal qualities or flaws, used to
create turning points, or to set hurdles a character must overcome,
either in themselves or in the person who controls their fate.

To set scene outcomes, roll on each chart once and then rephrase
the results in context of your fiction. Use a d100 roll to establish the
central conflict in a basic truth. For a random event, roll a d100 and
interpret as a crossroads.

To refresh your action-focus oracle, roll twice and use the first
result’s verb as the action, and the second result’s focus (object,
noun, or gist) as the focus. For example, a 3 and a 5 might be “listen/
guide”; introduce a guide who the main character better listen to,
or else risk disaster!

To create an interesting character, roll once on each chart, and

contrast the results. To drive a character’s conflict, use a negative
result as the way they commonly approach adversity, or the core
lesson they must learn. Experiment; there are a lot of possibilities!

26
Positive Conditions
1 Freeing yourself from limitation 27 Being drawn to someone because
2 Taking appropriate action of positive qualities
3 Listening to your feelings and 28 Acknowledging loss, moving on
intuitions 29 Donating your time and talents
4 Nurturing yourself and others to others
5 Teaching or guiding others 30 Wanting something better
6 Being in love 31 Being delighted with your own
achievements
7 Breaking through barriers
32 Showing your emotions freely
8 Imposing restrictions on
yourself for your own benefit 33 Being deeply committed to a
cause
9 Identifying an important goal
34 Keeping a stiff upper lip
10 Seeing growth opportunities in
unpleasant events 35 Allowing yourself to be moved
by the plight of others
11 Bringing an unpleasant phase of
life to an end 36 Refusing to make a decision
without getting the facts
12 Bringing opposites together
37 Making the best of a bad
13 Appreciating the luxuries that situation
life has to offer
38 Seeing the signs that you've
14 Breaking out of old, confining reached your limits
habits and mindsets
39 Being brave enough to see things
15 Hoping for the best as they really are
16 Receiving a wake-up call 40 Pursuing a course of study
17 Being inspired 41 Acting in your own best interest
18 Putting a plan into motion 42 Exercising tact or using
19 Calmly expressing a dissenting diplomacy
opinion 43 Finishing a project
20 Refusing to be silenced through 44 Saving for a rainy day
fear or intimidation
45 Recognizing your needs and
21 Taking swift action acting to fulfill them
22 Sticking with it for the duration 46 Giving to a charity
23 Holding your own in extreme 47 Coming up with unexpected
circumstances solutions
24 Leaping at a new opportunity 48 Continuing against all odds
25 Putting old things together in 49 Celebrating your physical and
new and exciting ways financial blessings
26 Trusting your feelings 50 Fulfilling promises & obligations

27
Negative Conditions
1 Being gullible and naive 27 Applying ruthless, cruelly
2 Inflating your own ego pragmatic, or twisted logic
3 Being aloof 28 Micromanaging
4 Overindulging 29 Rejecting evidence that conflicts
with beliefs
5 Using experience to manipulate
or misguide others 30 Failing to think things through
6 Allowing passion to rule you 31 Taking advantage of others
7 Resting on laurels 32 Refusing to accept that things
have changed
8 Indulging weakness, even when
you know it will hurt someone 33 Tacitly ignoring bad behavior
9 Being untrue to yourself and 34 Torturing yourself with regrets
your values 35 Accepting defeat prematurely
10 Obsessing on death and dying 36 Pretending to a skill, talent, or
11 Going to extremes training you don’t have
12 Putting excessive emphasis on 37 Stating your opinions as fact
appearances 38 Hiding or ignoring intuitive
13 Clinging to traditions that insights
repress growth 39 Insisting on having the last word
14 Stealing or lying 40 Feeling trapped and lashing out
15 Burning bridges 41 Throwing caution to the winds
16 Denying unpleasant truths 42 Indulging in gluttony or greed
17 Wallowing in despair 43 Taking unnecessary risks
18 Misrepresenting your intentions 44 Riding roughshod over others’
19 Having a chip on your shoulder feelings or expectations
20 Making yourself a martyr 45 Doing one thing while desiring
another
21 Basing your entire self-image on
what others think 46 Satisfying yourself at the
expense of others
22 Blundering forward without skill
or information 47 Making unfair decisions based
on a hidden agenda
23 Being distracted, or distracting
others from the goal 48 Believing that everything that
exists can be touched, counted,
24 Hiding your feelings or measured
25 Failing to honor well-established 49 Stirring the pot just to see what
traditions and limits. will happen
26 Allowing yourself to become 50 Beating yourself up for your
rigid and unemotional mistakes

28
Stages (Alternate)
1 Status Quo. Same old routine. You are…? What is missing?
What do you want? Create hooks referring to history, to events
that have happened before the story’s start, and to the hero’s
failings and wants.
2 Embark. A call to action. What calls you? What pushes you? Are
you answering the call reluctantly or with overconfidence? Show
fears, past failures, and obstacles. Reinforce the status quo.
3 Suffering. In the “that which does not kill you” sense. Explore
the premise, the interesting core, of the characters and the
story. Show the growth, change, and trials you expect from that
premise. Repeat until you’ve demonstrated these premises fully.
4 Revelation. Everything changes. A major reveal or twist. Call
back to an earlier motif, theme or event, but place it in a newly
unfortunate light.
5 Tragedy. The nadir. What caused your fall? Utter defeat; a loss
of self. Call back to history, to past failures, and to why this was
the inevitable outcome.
6 Persevere. Choose to try again. Do you win or lose? Call back to
any theme or event so far, but show how earlier growth is
applied in a new way.
7 Confidence. Return to origin. Settle the issues from the Status
Quo. Call back to the journey. Show new capability, new skills,
and new confidence.

29
 Story Beats
Roll on this when you just cannot decide what will happen in a scene, or
need even more support; try to write the ensuing scene, whether or not
you can make it fit. You can always apply it to a different character,
interpret it as part of a scene as a callback to an off-screen or backstory
event, use the scene later or earlier, or treat it as a dream sequence. Try
picking up in the aftermath of an event suggested by the entry.

These also work as scene starters, scene outcomes, topics of

conversation, and as backstory events.

1 The hero as the story begins, 9 On the verge of giving up, the
unaware of change to come. hero withdraws, seeking
clarity in isolation. They may
2 The hero receives or controls
receive advice.
a resource that holds the key
to the story's primary 10 An unforeseen event,
challenge. completely out of the hero's
control, changes everything.
3 An unexpected event contains
seeds of discord with 11 Decisions made in the past
potential to disrupt the hero's have unexpected present
everyday world. consequences.
4 A nurturing figure reminds 12 One of the hero's allies is
the hero of the core values discovered to be working
that are their essence. secretly for the antagonist.
5 A stern figure seeks to control 13 The hero believes all is lost.
or restrain the hero by 14 A helper or valued ally dies or
reminding of responsibilities is believed dead.
and obligations.
15 The hero learns to moderate
6 A mentor teaches the hero the impulses or habits that limit
secrets they need to succeed. their ability to solve the
7 The hero encounters a love central problem.
interest or must choose 16 The hero realizes that their
between what they love and own perceptions or actions
doing what is right. are the cause of the story's
8 With an eye toward solving primary problem.
the central problem, the hero 17 In a moment of intense crisis,
commits to a quest. the hero apparently loses all.

30
18 After darkness, comes dawn! 33 The hero continues to strive
Just as the situation looks for the goal, despite bad odds.
bleakest, the hero discovers a 34 The hero attempts a task they
way to move forward.
are not well-suited for, with
19 With nothing left to lose, the disastrous results.
hero commits to a reckless 35 The hero's doubts about
course of action as a last-ditch themselves are dispelled by a
effort to reach their goal. positive experience.
20 The hero is victorious. 36 The hero leads the effort to
21 Having earned a victory, the reach a common goal.
hero sees themselves 37 The hero must persuade
differently. others to follow their lead.
22 Others see the hero in a new, 38 Amid indecision, the hero
flattering light. takes control and gives orders.
23 The hero lives happily ever 39 The hero meets a love interest
after. or discovers their true calling.
24 The hero is given the chance to 40 The hero improves their lot by
join a quest. joining like-minded folks.
25 The hero is confronted with an 41 The hero's actions show how
alternative but valuable goal. they really feel.
26 The hero's plans are set and 42 Right or wrong, the hero
launched into motion. refuses to re-evaluate their
27 The hero suffers from feelings about an important
boredom or temptation. person or issue.
28 The hero takes a stand and 43 Defying conventional wisdom,
says, "Enough is enough!" the hero lends support to a
hopeless cause.
29 The hero scores a small
victory, boosting their spirits, 44 Shocked by loss, the hero
but angering the opposition. considers giving up the quest.
30 The hero is attacked by the 45 The hero's judgment is
minions of their adversary. distorted by memories of loss.
31 The hero comes face to face 46 The hero is hindered by
with their adversary. unreasonable expectations or
unfounded fears.
32 The hero's adaptability is
tested with unforeseen 47 The hero insists on remaining
circumstances. true to their original vision.

31
 48 The hero finds their everyday 61 The hero seeks quiet thought
life unrewarding; they set off before taking action.
to find their destiny. 62 Others are shocked or angered
49 The hero expresses by the hero's apparently
confidence. irrational actions.
50 The hero completes a task, but 63 The hero must take an action
is denied the promised that will cause pain for their
payment. loved ones.
51 The hero finds a relationship 64 The hero comes up with a
more fulfilling or intense than creative solution to handle a
expected. complication.
52 The hero has a "fish out of 65 The hero has an opportunity
water" experience, leaving to win using dishonest means.
them feeling uncertain and 66 The hero agonizes over a past
awkward. mistake.
53 Prompted by strong emotion, 67 The hero must call on their
the hero launches into action. ingenuity to escape a trap.
54 The hero plays on sympathy to 68 The hero must acknowledge
gain an advantage, or uses love that all is apparently lost.
to get cooperation.
69 The hero must humbly apply
55 The hero behaves selfishly or themselves to a mentor’s tasks.
badly, out of a sense of anger,
grief, or insecurity. 70 The hero's remarkable abilities
make enemies.
56 The hero must suppress or
control an emotional response 71 The hero must deliver news
to complete a difficult task. that is difficult for others to
receive with grace.
57 The hero must make a
decision that will determine 72 The hero must confront the
their ultimate fate. less desirable aspects of their
personality.
58 The hero must defend their
decisions. 73 The hero must choose a side
and stick with it, regardless of
59 The hero rejects critical info the consequences.
and makes a bad decision.
74 At the last minute, the hero
60 The hero sees the error of their stumbles on a resource that
ways and changes course. will enable triumph.

32
75 The hero weighs the impact 89 The hero must spurn tradition
their course will have on in order to succeed.
everyone involved. 90-91 An event hints at the
76 The hero achieves a result that hero's hidden strength,
no other characters have been which they will use (or
able to attain. choose not to use) to
resolve the story.
77 The hero must carefully
manage a resource (time, 92-93 A physical or emotional
money, people) to succeed. weakness hinders the
hero's progress.
78 The hero refuses to see how
they can be aided by others. 94-95 The hero's ability,
knowledge, or personal
79 The hero wins by cooperating
suitability is found
instead of competing.
lacking.
80 The hero looks back on what
96-97 We see a demonstration of
they have achieved and sees it
the hero's special gifts.
in a new light.
98-99 The hero demonstrates a
81 The hero is shown to be the
weakness, flaw, or
very best at what they do.
personal failing.
82 The hero outlines a detailed
100 A fundamental
action plan, step-by-step.
misapprehension is revealed.
83 The hero is placed in a Consider the situation in a
position for which they are new light, frame it
completely unqualified. differently, or rethink it
84 The hero is offered an entirely.
attractive bribe.
85 The hero turns down an
extravagant reward for their
good work.
86 The hero must compensate for
or learn from an earlier mistake.
87 The hero takes a tentative first
step toward a new solution.
88 The hero must avoid being
lulled into complacency by
temptation.

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 Questions to Ask
Roll on this when you need a central question for a scene, scene
outcomes, to define character, to create a core premise or lesson, or just
to spark character development by answering a question in play.

1 How can I draw a group’s 16 How can I tell when interest

attention to common ground? has given way to obsession?
2 How can I convince people to 17 When my limits are reached,
do what I want them to do? where can I turn for aid?
3 How can I be a decisive leader 18 What must be preserved at all
in this situation? costs?
4 What would having it all 19 What can I give that no one
mean? What keeps me from else can?
having it all right now? 20 How might shedding some
5 How can I avoid going to stuff open room for growth?
extremes? What tempts me to? 21 What role does luck play in my
6 How can I combine familiar circumstances? What can I
things to create a new thing? control?
7 How can I use this downtime 22 How do I know when to
to my best advantage? relinquish control?
8 How do I decide who wins 23 How does this challenge fit
here? What choice do I make if into a larger pattern?
I make none? 24 What do I want most? Fear
9 How can I emphasize growth? most? How are these related?
10 What behaviors tempt me? 25 How do I define luxury? Am I
How can I resist? What capable of reveling in pleasure?
instincts do I continue to 26 What would I have to give up
struggle with today? in order to "have it all?"
11 Am I doing my part? What 27 Am I proud of my deeds? What
recognition do I seek? will my next challenge be?
12 How long has it been since I 28 How can I use past deeds to
deliberately took a "time out?" best advantage?
13 To what extent have I defined 29 How might vows or promises
my ultimate goal? serve me best?
14 What's the fastest way to get 30 How often do I temper what I
the job done? Is it the best way? have to say? Why?
15 How long has it been since I 31 How do I deal with loss? How
looked back to see if others can I refocus on the future?
really are following my lead?

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32 What isn't being said or 50 What might a rebel do?
revealed? What could be 51 What role might tradition or
achieved by observing? religion play in this situation?
33 What do I really want, more 52 Who authored the rules? Who
than anything? enforces them? Why?
34 What new information is 53 How might an experienced
incoming? guide impact this situation?
35 How might being stuck or 54 What would I do if I felt free to
trapped actually be a blessing leap? How willing am I to be
in disguise? vulnerable or open?
36 If I were to ask others, "What's 55 How might past experiences
my area of expertise?" what help in this new situation?
would they say?
56 How dependable am I? How
37 What rules me? How can I free much would others say I am?
myself? To what extent do my
cravings define me? 57 What is true happiness? If I
could have anything, what
38 What wise person could be would I have?
consulted for good advice?
58 How easily do I admit
39 To what extent am I capable of inexperience? A mistake?
keeping a "stiff upper lip?"
59 How confident a leader am I?
40 How can I radically alter my
perspective? 60 How can I offer my expertise
in ways that inspire others to
41 What needs to end? follow me?
42 To what extent have I fulfilled 61 If I could not have what I
my own expectations? want, how would I make do?
43 What is the main thing I need 62 Could I make a complex task
to realize about myself? easier by breaking it down into
44 If I were to reinvent myself, smaller steps?
what would I become? 63 How can I get perspective on
45 What assumptions am I the situation? Who has walked
making? this path before me? How can I
46 What do I do when I know earn their help?
others are breaking the rules? 64 How can I learn from the
47 If I made my decision based on mistakes of the past?
practical concerns, what 65 What's been agreed to? How
would it be? well has that been followed?
48 How do I cope when things 66 How might my abilities come
get really tough? What into play? Am I making the
encourages me to go on? most of my talents?
49 When must I be able to let go? 67 What would a higher power
ask of me?
35
 68 If I made my decision purely 84 How can I face my fears and
based on reason and logic, move forward? What helpers
what would it be? can serve me as guides
69 What do I need to know? To through my darkness?
what extent have I investigated 85 What kind of recognition do I
the facts behind my situation? crave? What happens when the
70 Who can provide me with the parade is over?
facts of the situation? 86 How can I improve my
71 What course of action would dedication and focus? What
be fair to everyone concerned? work do I do best?
72 What critical resource do I 87 How might my special gift
lack? Do I know it? prove useful now?
73 What people or groups would 88 What's the difference between
come to my aid if I asked? caution and fear?
74 How quickly do I adapt to 89 When is it time to stop
change? What would my thinking and start acting?
response be to overwhelming, 90 How might this loss open the
sudden change? door for new growth?
75 What changes are on the 91 What attitudes need to be
horizon? How well have I struck down before I proceed?
prepared for them? 92 What's the difference between
76 What values govern my selfish action and acting in my
decisions? own best interest?
77 Which course of action will 93 To what extent is this worth
give me more of what I need? fighting for? What alternatives
78 How can I make sure that are there to conflict?
what I'm feeling is mutual? 94 What happens in a "fair fight?"
79 What exactly are the obstacles? How can I keep this fight fair?
What resources are needed to 95 What's the difference between
move them? driving passion and blind zeal?
80 When do I feel threatened? 96 How can I avoid being dazzled
When do I get most defensive? by the energy around me?
81 How capable am I of defending 97 How can I get more experience
myself? What is worth without risking my future?
defending? 98 What information do I need to
82 How do I handle strong get past this impasse?
emotions? 99 What viewpoints, other than
83 How willing am I to lend aid to my own, play a role here?
others? To request aid when I 00 What is my heart leading me
need it? to do?

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