#Campaign Tips

[theplotmage]

Principles and Laws of Magic for Fantasy Writers

Fundamental Laws

1. Law of Conservation of Magic- Magic cannot be created or destroyed, only transformed.

3. Law of Equivalent Exchange- To gain something, an equal value must be given.

5. Law of Magical Exhaustion- Using magic drains the user’s energy or life force.

Interaction and Interference

4. Law of Magical Interference- Magic can interfere with other magical effects.

6. Law of Magical Contamination- Magic can have unintended side effects.

8. Law of Magical Inertia- Magical effects continue until stopped by an equal or greater force.

Resonance and Conditions

7. Law of Magical Resonance- Magic resonates with certain materials, places, or times.

9. Law of Magical Secrecy- Magic must be kept secret from the non-magical world.

11. Law of Magical Hierarchy- Different types of magic have different levels of power and difficulty.

Balance and Consequences

10. Law of Magical Balance- Every positive magical effect has a negative consequence.

12. Law of Magical Limitation- Magic has limits and cannot solve every problem.

14. Law of Magical Rebound- Misused magic can backfire on the user.

Special Conditions

13. Law of Magical Conduits- Certain objects or beings can channel magic more effectively.

15. Law of Magical Cycles- Magic may be stronger or weaker depending on cycles (e.g., lunar phases).

17. Law of Magical Awareness- Some beings are more attuned to magic and can sense its presence.

Ethical and Moral Laws

16. Law of Magical Ethics- Magic should be used responsibly and ethically.

18. Law of Magical Consent- Magic should not be used on others without their consent.

20. Law of Magical Oaths- Magical promises or oaths are binding and have severe consequences if broken.

Advanced and Rare Laws

19. Law of Magical Evolution- Magic can evolve and change over time.

20. Law of Magical Singularities- Unique, one-of-a-kind magical phenomena exist and are unpredictable.

Unique and Imaginative Magical Laws

- Law of Temporal Magic- Magic can manipulate time, but with severe consequences. Altering the past can create paradoxes, and using time magic ages the caster rapidly.

- Law of Emotional Resonance- Magic is amplified or diminished by the caster’s emotions. Strong emotions like love or anger can make spells more powerful but harder to control.

- Law of Elemental Harmony- Magic is tied to natural elements (fire, water, earth, air). Using one element excessively can disrupt the balance and cause natural disasters.

- Law of Dream Magic- Magic can be accessed through dreams. Dreamwalkers can enter others’ dreams, but they risk getting trapped in the dream world.

- Law of Ancestral Magic- Magic is inherited through bloodlines. The strength and type of magic depend on the caster’s ancestry, and ancient family feuds can influence magical abilities.

- Law of Symbiotic Magic- Magic requires a symbiotic relationship with magical creatures. The caster and creature share power, but harming one affects the other.

- Law of Forgotten Magic- Ancient spells and rituals are lost to time. Discovering and using forgotten magic can yield great power but also unknown dangers.

- Law of Magical Echoes- Spells leave behind echoes that can be sensed or traced. Powerful spells create stronger echoes that linger longer.

- Law of Arcane Geometry- Magic follows geometric patterns. Spells must be cast within specific shapes or alignments to work correctly.

- Law of Celestial Magic- Magic is influenced by celestial bodies. Spells are stronger during certain astronomical events like eclipses or planetary alignments.

- Law of Sentient Magic- Magic has a will of its own. It can choose to aid or hinder the caster based on its own mysterious motives.

- Law of Shadow Magic- Magic can manipulate shadows and darkness. Shadowcasters can travel through shadows but are vulnerable to light.

- Law of Sympathetic Magic- Magic works through connections. A spell cast on a representation of a person (like a doll or portrait) affects the actual person.

- Law of Magical Artifacts- Certain objects hold immense magical power. These artifacts can only be used by those deemed worthy or who possess specific traits.

- Law of Arcane Paradoxes- Some spells create paradoxes that defy logic. These paradoxes can have unpredictable and often dangerous outcomes.

- Law of Elemental Fusion- Combining different elemental magics creates new, hybrid spells with unique properties and effects.

- Law of Ethereal Magic- Magic can interact with the spirit world. Ethereal mages can communicate with spirits, but prolonged contact can blur the line between life and death.

- Law of Arcane Symbiosis- Magic can bond with technology, creating magical machines or enchanted devices with extraordinary capabilities.

- Law of Dimensional Magic- Magic can open portals to other dimensions. Dimensional travelers can explore alternate realities but risk getting lost or encountering hostile beings.

- Law of Arcane Sacrifice- Powerful spells require a sacrifice, such as a cherished memory, a personal item, or even a part of the caster’s soul.

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[xkcd-for-that]

I keep seeing blazed posts about losing the game, but little do they know I was freed from it almost 15 years ago.

I'm as surprised as you! I didn't think it was possible.

And now you're free too!

[its-rat-time-babey]

“The Artificer’s campaign has little impact on the overall story” bitch I cannot stress how much of an impact the Artificer had on the entire world. You just need to pay attention to some things.

By the time of the Artificer, Scavengers are basically in the middle of a massive golden age. They have a Chieftain (with a mark of communication (maybe Five Pebbles gave them the mark and citizen ID drone and tried to use them for something but they rebelled and found Metropolis)) with armour made from Red Centipede Scales, they have a permanent home in metropolis above the rain, they figured out how to harvest electrical scrap and broken down Rarefaction Cells from the ruins of Looks To The Moon and pieces of Five Pebbles to make electric spears and Singularity Bombs, they even have specially trained Elite Scavengers, which did exist before in the time of the Spearmaster but it’s still worth bringing them up.

Overall, Scavengers are at a golden age of invention and life in general.

And then they anger the Artificer, who slaughters countless Scavengers, kills their Chieftain and drives them out of Metropolis, locking the gate behind them.

After that, a new Chieftain is never made, armour like the chieftain once wore is never made again, Scavengers suffer a massive population loss, they can’t enter Metropolis without a Citizen ID Drone and Elite Scavengers slowly disappear as the methods used to teach them and the knowledge of how to scavenge and create electric spears and singularity bombs is lost, with the last Elite Scavengers being seen in the Hunter’s campaign, which happens next in the timeline. In other words, the Artificer literally sent Scavengers into a dark age.

It takes until the time of the SAINT for Scavengers to show real signs of recovery, now appearing in larger numbers than before. And even THEN Scavengers never do anything like they did during the time of the Artificer. The Artificer plunged Scavengers into a dark age for countless years, and they STILL haven’t recovered.

And that’s not all. According to the wiki, Scavengers are afraid of Slugpups, most likely because they remember how the last time they killed one they were hit by the full force of an angry explosive lobbing goddess of destruction that slaughtered countless members of their kind. They are afraid of Slugpups in all campaigns, even the Saint’s. So even by the time of the Saint Scavengers know not to mess with Slugpups, presumably because the last time they did so is a legend among Scavengers by that point in time.

Hell, the Artificer’s existence even explains something about the Hunter. The reason that the Hunter starts with a negative reputation among Scavengers is because they look like the fucking Artificer. Scavengers look at the Hunter and see the goddess of vengeance and destruction that they’ve only ever heard of from stories.

Both of them have red fur and a scar on one eye, and will the time gap between campaigns, there’s a good chance that only a few Scavengers that saw the Artificer in person are even alive by that point in time (without even taking into account how the Artificer murdered so many Scavengers that it’s probably rare that a Scavenger saw them and lived to tell the tale), meaning that the Artificer is probably told about in Scavenger stories and her appearance would therefore differ, leaving the most obvious details like the scar on one eye and red fur.

[dailyadventureprompts]

DM Tip: Creating a Campaign Skeleton

Learning to be a better dungeonmaster was a protracted process. A younger me was often so stressed out by the desire to be a better artist that I'd have legitimately mauled a person if it would've revealed to me the wisdom I sought (with my hands or even an actual maul given the chance).

One of my biggest hurdles was the idea of a universal framework for d&d adventures, a guideline that would tell me if the things I was creating were on the right track. It was sorely needed, I loved the process of being creative but without an understanding of how my creative energy was best used I ended up sinking days, weeks, or even months worth of energy into projects that went nowhere. Worse yet, when I DID get a chance to put my ideas into practice at the table they'd frequently spiral out of control and crash, resulting in even more stress.

Over time I learned from these mistakes, I got better, and then I got good. I moved from conscious incompetence to competence, and I ended up having a run of absolutely stellar campaigns that were everything my younger self could have dreamed of: stable, enjoyable, meaningful, and most importantly an absolute delight to my players. Routinely I'd have people, including folks that'd only played with me a few times, mention that getting together to roll dice and listen to me babel on in silly voices was a highlight of their week.

It was as one of these campaigns began to wind down (three years! a satisfying conclusion on the horizon!) and I started looking for a followup scenario that I decided to study all my really successful campaigns and figure out what connected them. The end result was something I'd been looking for for nearly a decade, a reliable format that I could build campaigns around.

I want to preface this section with the understanding that while this information is laid out in a vaguely chronological fashion there's no guarantee that these ideas will occur to you in any particular order. Inspiration is a funny thing, and each idea flows into the others to make a cohesive whole. Due to foreshadowing and setup reasons you're also going to need a pretty solid idea about all of these when starting a campaign, though exact details will likely change/ can be vague up until the moment they're needed.

The Reason: Who are we and what are we doing?

Gives your players a solid background to build their characters around and give them a reason to travel together, rather than having to ad lib one on the spot. Likewise sets expectations of what the campaign is "about" that you can build on or subvert in time. The reason doesn't need to hold true for the entire game, just long enough to serve as a framing device. EG: The Witcher starts out as a "monster of the week" setup and then uses that framework to pivot into politics and prophecy once we've seen the premise play out.

The Pilot/Crashtest Adventure: What's first?

I’ve already written about these, but the general concept is to give your party a mostly contained first outing that doesn’t have any larger bearing on the plot so they can focus on learning how their characters play/building the party dynamic.  By the time the party's finished this first adventure they'll have already started putting down roots in the world: they'll have in jokes, npcs they've started to care about, an understanding of what's on the horizon, and an idea of where they want to go next.

The Central Gameplay Pillar: How does this all work?

It's important to have an idea what your campaign is going to be about in a mechanical sense in addition to its plot and themes. There is a difference between an adventure that has the party delve a dungeon, and a dungeoncrawling focused campaign. I like to lead with these outright during the campaign pitch so that players can know what they're getting into. Your playgroup will likely have strong opinions about what they like and dislike, even if they don't have the words to describe it, so you might need to explain the ideas for them.

The Hub: Where are we?

I think every good campaign has a hub, some kind of settlement that the party returns to between adventures to offload loot, pick up supplies, and sift through the latest gossip to look for the next questhook. Letting the party return to the same place lets them build up a relationship with it, clarifying the picture in their mind as new details are added and they grow more and more attached. It's possible to have multiple hubs over the course of a campaign, but I'd advise really only having one per arc to best concentrate your efforts. Fill up your hub with distractions and side adventures, shorter stories that the party can get tangled up in while the larger adventure slowly reveals itself. Returning to the same hub also means returning to a familiar and expanding cast of NPCs, which helps your party become more and more invested in the setting

The Main Event: What's going to happen?

Here we get to the meat of the issue, the big story you want to be telling using this campaign. To pull off the sick narrative kickflip you wish to perform, you're going to need to lay a lot of groundwork, seeding in details left and right as well as giving the party a chance to stumble across evidence of your schemes without ever realizing the whole thing. To do this, you're going to work in the building blocks of your big reveal/twist/pending disaster into the setting along with those side adventures from the hub. This will give your party an idea that something is going on, but with more pressing matters to take care of they're going to be distracted up until the moment you decide to pull the trigger.

The Setting: What's over there?

While things like genre and tone are definitely things you should have a handle on from the outset, I personally feel like the details of a setting are best constructed on an ad hoc basis, either in a direct response to something required by part of the narrative (be it side story or main event), or pencilled in at the margins as the party explores the world.. That said, creation of the hub and setting often go hand in hand because it's important to match the settlement to the environment and then shape the environment to the quests inside the settlement. As for what's beyond your hub, I happen to have just written something about building out settings.

Now, this next option is one that I recommend you start thinking about only once your campaign is fully underway, so it doesn't clog up your creative process by focusing on something that you might not even get to

The Change: What the fuck?

A little while after the main event has kicked off and your party is off on the quest that will turn them from mere adventurers into heroes, they start to hear rumours of strange happenings. It's certainly not related to the present scenario, it may even be an unexpected windfall, but it's not something they have time to look into. Time ticks on, the land is saved, and the party is able to enjoy their victory lap as well as some dearly needed time off. Before they can get comfortable however they're slammed by some strange occurrence that they could have never predicted that changes the state of the world. A neighbouring kingdom invades, an important ally is murdered and they're blamed for it, a dragon starts rampaging through the realm. Its important that this event is outside the party's skillset, not necessarily diametrically opposed, but counter to what they were planning

artsource

[cupoteahatter]

In the wake of the cancellation of Warrior Nun, I am imploring anyone who has Disney+ to watch Willow (2022).

It features a woman loving woman romantic subplot at the forefront, meaning it’s not in the subtext. Episode 1 has them kiss and afterward the lines of romance exist so throughout the narrative for these two characters that it is current and seen to the point that it cannot be argued away.

But there’s next to no buzz for it, only the Disney+ app really promotes it as something to watch with the odd ad showing up on Instagram of the cast playing mini games.

On top of that, it is a well written show that holds all of the love of the original film from the 80s.

I know that it would appear that numbers don’t seem to matter, but I am begging people to watch this show because it is a fantastic piece of media that delights in paying homage to the source material it comes from.

Also hot women with swords. Hot women with swords who could KILL you-

[daftpatience]

just had the miserable urge to browse the tumblr tag for my own OC that I havent even shared anywhere yet

[do-you-know-this-adhd-character]

Do you know this (noncanon) ADHD character?

Evidence below the cut!

can be pretty hyperactive, forgets things regularly (even important things, forgot he turned into a heartless in kh1), distractable, later on he seems to have some problems with emotional dysregulation. hes constantly called lazy by his friends but as soon as hes doing something he likes he has all the energy in the world, and also tends to dismiss his own intelligence despite actually being pretty smart, both of which are things that i think are decently common with undiagnosed adhd

[lordsalemander]

Is anyone else still caught up on the parallels between Imogen and Opal?? Because I am.

I was revisiting my c3e92 and c3e93 live thoughts and came across two big points:

Firstly the parallel of Ted disappearing in order to protect Opal with Liliana disappearing to protect Imogen. And the contrast of Ted, who did so by becoming an inseparable part of Opal while Liliana tore herself away desperately trying to separate herself from Imogen. Both done out of a will to protect the other. (Fyi This was written during e92 before the Aevilux reveal)

Secondly, after the Aevilux reveal, this connection hit me: The locket Imogen got from Relvin (potentially carried by Liliana) carried her baby fingerprint and the words “The better halves make/become a better whole.” A sentiment that Imogen tries to use at the Malleus Key and on Ruidus to get through to her mom. And who is a near perfect literal manifestation of this? THE AEVILUX. The people who split their souls in two (or were born separate in Opal/Ted’s case) and live independently before reuniting again and becoming more powerful for it.

Now imagine Imogen and Opal were to meet (obviously possible as both are being pushed to fight Predathos/those trying to free it) and Imogen repeats the locket phrase and something about it sounds so familiar to Opal, but she just can’t remember it. The group realize that there are gaps in Opal’s memory. Eventually Imogen is able to restore Opal’s memories, living through them alongside Opal in the process (kind of like how she projected herself into Laudna’s head in e103). Then Opal helping Imogen get through to her mom in turn. Or even just them fighting side by side to prove how much stronger you can be if you stop running from your better half. That coming together is a way better way to protect someone than running away and fighting those battles alone.

TLDR: I need Imogen and Opal to meet and talk this instant. Please Mattholomew Mercer I would do anything.

[rychlostthespacewizard]

No matter where I look, the one most common tips i see in the worldbuilding community I see is:

THEMES AND PRINCIPLES

and it seems to be very important for the entire process so you dont end up with a clusterfuck (although i already made sure that my world is one by adding anything i think is cool into it)

So i decided to show you all the ones that help me make Aeloria:

Never One Without the Other

A grand tapestry woven from opposing and inseparable forces: life and death, light and dark, self and other. Life finds meaning in death; light defines dark; individuality exists because of the collective; one cannot have a coin with only one side. Every element is essential and interconnected, forming the true magic of the world. Your existence is inextricably essential to the greater whole.

Everything stays, but it still changes

There's a constant cycle of change and continuity in the world. Remnants of the past stay, but they transform slightly with time. History repeats itself, but never in the same way. Sudden events, seem to come out of nowhere, but they are always rooted in the past. People, instituitions and figures take roles that have been played before, as if they were reincarnations of the past. Ruins dont disappear, they become faded and overgrown, but they are still there, waiting to be discovered until they become the landscape itself.

Elements

Magic, reality, energies and matter are all made up of elements. These elements are the building blocks of the world, and they can be combined in different ways to create different things. The elements are not just physical, but also spiritual and emotional. They are the essence of everything, and they are what connects everything in the world. Each element has its own unique properties and characteristics, and they each represent many different things, they can appear in different ways in our words, like fire can be passion, or anger, or warmth, it can represent the desires and heart of a person and many other things. Some elements are more common and manageable, while others are rare and dangerous. The elements are the foundation of the world, and they are what make everything possible.

The First is More Powerful but The Last is More Refined

The first of a kind embodies raw, untamed power, while the last represents refined, distilled wisdom. The first holds primal strength but lacks control; the last offers stability and knowledge but lacks raw potential. This rule applies to all things, from the first dragons against the new ones, and the first spells agains the recently created ones. The cycle of creation and destruction is a constant in the world, and it is what keeps it in balance.

Many Pasts, Many Proofs

Multiple pasts exist, each with its own truths and stories. The past is a complex, multifaceted entity defined by collective and personal beliefs, revealing different aspects through exploration and interpretation. When one discovers evidence of the previous world, the narrative created by them reveals more about those that created it than the past itself. No one is safe from their own biases, not even the gods, as they are also part of the world.

The Rule of Twos and The In-Between (This is not really a principle but I think it fits here)

All things come in twos or exist in the in-between. The world is shaped by duality and the spaces bridging opposites. Represented by twin deities Aena and Kryela, it highlights balance and unity in duality. The In-Between signifies the spectrum between extremes, blending black and white into shades of gray. This motif guides adventurers and scholars in understanding Aeloria's complex reality, emphasizing that existence is not just black and white but a continuum of possibilities.

[auntphibian]

A valentines Day special! I wrote out these tips a while back, but here they are a little more neatly laid out.

Dnd romance is super fun to me, and I love having it in games, although it does always need to be handled delicately. So here's my way of handling it.

[quinnyyyleft]

DM Pro tip - the "Recap" at the beginning of your session is your excuse to be EXTREMELY passive aggressive to your players and what they DIDN'T do.

[mytortoisegotstuckinatupperware]

fun DM tip

out of game, just ask your players to roll a D100 (preferably over text). do not elaborate. keep them guessing.

[stick-or-treat]

kind of honest pro tip for becoming a better dungeon master: run a one-on-one campaign for a good friend or your partner or your sibling or something.

you'll learn

how to prepare a lot of content very quickly - having only one player means there isn't a ton of interparty chatter or debating how to storm the castle, so content goes by faster.

how to cater content to fit your PCs - with only one PC, they're essentially a Main Character, and it feels weird to send them through content that doesn't tie into their goals or backstory.

how to balance encounters - it is so unbelievably easy to kill a single PC so you get the hang of action economy real quick, especially if you start at a low level.

how to play and run lots of NPCs - not only do you run side characters and monsters, but you may also play a few complex NPCs to help simulate an adventuring party.

how to run combat quickly - again if you are both the monsters AND most of an adventuring party, you have to go fast otherwise it's just you playing against yourself for like 30 minutes at a time.

how to delegate tasks - giving your player some NPC stat blocks to run for you in combat, asking your player for details about the world, working together to decide what "shared" NPCs would do.

how to roleplay real good - you're the ONLY person your player has to interact with, so you'll get a lot of practice driving the plot through NPCs and setting details in a way they'll latch on to.

and if you want to go to DM boot camp like I did, find a player who:

loves combat but also wants to play a fancy noble who avoids combat by rolling Persuasion when at all possible - you will get very good at coming up with non-traditional encounters like stage play combat, fights with heavy social elements, and how to move them into situations where talking just isn't going to help.

loves all monsters, is tired of human-centric stories, and hates the trope of "this entire species is evil therefore you are justified in killing them on sight" - you get really good at quickly modifying modules and encounters to have less humans and way more complex depictions of monsters and monster races.

thinks you're cool and likes watching you create stuff - ok this one is just nice, it's very heartwarming when you apologize for taking so long for your NPCs to take their turns and your player is like "no I love it!! I'm just watching the drama like (⚆ᗝ⚆)"

anyway thank you for attending my Ted Talk

[jellisdraws]

So my campaign has come to a new arc, which has me doing something I’m not super well versed in and have attempted only semi successfully in the past.

I’m writing mystery and ‘political’ intrigue.

TL;DR I would love to have some advice and anecdotes for what has worked for you, yes you, as a player or DM.

My players have arrived in the (primarily) Elven city of Avalis in the nation of Goram’Andiel. The city is grown directly into the structure of some massive mangrove trees- all connected back to a central mother tree in the heart of the city. Buildings have been sung and grafted into the living wood and wooden walkways built between boughs and branches. Gondolas traverse the waters below where stone buildings have been integrated here and there among the roots and docks on stilts protrude into the River Arterius that winds lazily through the cities heart and also along tram lines that weave throughout the upper reaches. The city- while primarily home to various elven peoples is also home to half elves, humans, kenku, aarakockra, Owlin, Hadozee, lizardfolk, and even river dwelling Triton.

The group has come for multiple reasons: to meet with allies from their home country in secret in order to exoerate themselves in the killing of one of their enemies who was a powerful political leader in their own capital. To learn of a powerful ancient relic of the Sundering and what came before. To seek the location of a lost burial site. To learn more about the foreign souls they are hosting in their bodies, and what the intent of these souls is. Much of their search involves a place called the Woven Knot Archive and it’s High Curator, Amber Enathard, a powerful Wizard and Cleric who also serves as one of the cities three high ministers. They are racing against three cults called The Grasping, The Hollow, and the Starved- three sects of folllowers surrounding what they believe is the reincarnation of the moon goddess who will cleanse the world in fire and chaos and end the events that began in the sundering.

Shortly after arriving in the city the group wakes up to the Archive burning. The archive is also home to the national library and the natural history museum. And it’s these structures that were burning. In the chaos the group made their way to help, only to learn their contact, Amber, was inside. They rushed in to save her, stumbled upon the burned remains of a device, and found a fire elemental battering against the wards of High Curator Enathard. The group handily defeated the fire elementals, allowing the guard outside to effectively stop the fire and discovered that the person responsible for the firebomb and elemental slipped into the crowd in a guard uniform.

The group was asked to help with the investigation, and to speak to the cities High Ministers about what they saw and heard in the Archive as they fought inside it and rescued people. And now they’ve discovered more hooks. The scorched device they found was the baseplate and fissile material for some kind of arcane bomb- one that could open a large portal very near the center of the elemental plane of fire. That baseplate had a symbol on it from a group known as the Order of the Megalos Psychi, a sect of artificers and Alchemists from the same town a PC’s monastery was. Additionally the materials used to create the device were not something naturally occurring on this plane. Some other mysterious things happened and clues presented themselves for the group to ponder. Who was the person in guard uniform the group saw escape into the crowd rather than try to help during the fire? Why has the woman they rescued and saved from harm still in a coma like state? Why was the archive attacked, and who was the attack meant for? The group? The high curator, or something else? What does the O.M.P have to do with it? Where is the cultist leader that allies of the group tracked to this city and what is she planning? With many questions and not many leads at the moment the group has found themselves thrust into an investigation they aren’t allowed to move on from and one they don’t have clearance to investigate themselves (legally that is).

I’ve done a lot of work with the various NPC’s this arc, and how all the pieces of things tie together. some stuff has already happened that’s changed how things will play out and rearranging things to match up is pretty cool and I’m having a good time, but because I’ve put in so much work already plotting and thinking about this intrigue I feel ready for what comes next.

Still, I am new at this. And I’m curious how others handle finding clues, political machinations and getting the PC’s willing to manuever and hunt for clues both socially and sneakily. Let me know!

[galsinspace]

It's so wild to see my absolutely awful former boss who treated his employees like shit and whose restaurant I left because he stole my tips now try to become a local politician for the SPD. The party that's traditionally all about worker's rights. What's your platform my guy, telling waitresses that as future family managers they need to be better at cleaning? Or telling employees that next time they leave trash next to the trash can, he'll deduct 200€ from their wages because that's what his time is worth? Or is it all about how if you don't have the money for new stovetops, paying with the staff's tips is fine

[teacupofgooglyeyes]

i know that i have like 5 followers and i also do not have a single goddamn clue as to how tumblr works but i want to share my interests with people and possibly help other people expand on and find new interests as well :)

so… i fucking love dnd. the whole everything, character-creating, the rules and structures behind rolls and making a balanced character/campaign, the cool dice i now have an excuse to buy, but MOST OF ALL- writing mini-campaigns for my friends (which usually ends in me committing a little bit of psychological ware-fare).

im really rather new to this (just finished writing my second mini-campaign and currently three sessions in to a long-running campaign i have a character in) but i can already see how far ive improved from my first campaign to now and how much further i can go in the future with potentially longer campaigns, and im 100% willing to share anything ive learnt or any tips i have regarding campaign-writing. i also wouldnt mind some more experienced players/game masters to provide some tips or important info theyve learnt throughout their time playing/dm-ing that could help me make my campaigns as fun and engaging for my friends as possible so if anyone has been itching for a way to share their knowledge- go WILD!! the more advice the better :)

that is all :D