Posts Tagged ‘outline’

Note: This article first appeared in the Roleplaying Tips Newsletter.

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At the end of a long campaign, I want my players and I to feel totally satisfied. I mean the sort of satisfaction one gets when a story wraps up with no question unanswered. The kind of story that ends with every major character’s arc finished and accounted for.

This is a challenge when there’s only a single person telling a story – just think of all the novels that have left you hanging in one way or another over the years. But when a group of friends gets into collaborative tale-spinning one chapter at a time with long breaks between, it is almost impossible to wrap up everything with a tidy bow.

All that said, it can be done. With a little prep work at the start of your campaign, and by jotting down just a few notes each session, you can stay organized and tie up all your plot threads. As the finale approaches, you’ll weave those threads into a seamless story that will have your players feeling like they just finished watching all of Breaking Bad.

All you need to do is create two simple documents – a campaign outline and a list of plot threads.

Outline Your Campaign

Before your campaign begins, create a loose outline of your story. This outline can take you from the campaign’s first session to its final, or it could simply be the first story arc or adventure.

Map out where you think the characters will be headed, any major NPCs or villains they might encounter, and the quests they are trying to complete.

You know your gaming group best, so plan in as much detail and as far into your campaign as you feel comfortable while outlining.

If your group plays the kind of game in which the game master dictates a majority of the story, feel free to outline in detail if time allows.

If your players are the kind who surprise you and drive every session off the rails, just keep your outline to the big bullet points of your story and the names of important people. I imagine most groups fall somewhere in the middle.

Here’s an example of what an outline looks like at this stage.

  1. The young dragon Melicharo the White has kidnapped Duke Wellington and ransomed him
    1. Duchess Fiona, Wellington’s wife, is looking for adventurers to save him
      1. Wellington was targeted by Melicharo because the duchess has several magic items the dragon wants
      2. Fiona will give one of her magic items as a reward to the adventurers who save Wellington
    2. The adventurers will go into Melicharo’s lair to save Wellington
      1. The lair is a floating glacier that does not melt
      2. Melicharo is allied with a tribe of kobolds who worship him as a god
  2. Duchess Fiona contracts the adventurers to recover more items for her collection
    1. Duchess Fiona is a member of The Shields, a small secret society that keeps dangerous relics out of the hands of evildoers.
    2. Duchess Fiona warns the adventurers that The Society of Genius, an organization of wizards bent on world domination, might be trying to get the same magic items they’re seeking
    3. The party retrieves several items for the duchess and sometimes has run-ins with the Society of Genius
  3. As part of a massive coordinated attack against The Shields, The Society of Genius kills Duchess Fiona and steals the items the adventurers have gathered for her
  4. The adventurers must seek help from the last remaining members of The Shields who have gone into hiding
  5. The adventurers must take on The Society of Genius

In this case, the further I delved into the outline the less detailed it got. The details and the connective tissue of the campaign can be worked out later as you will see below. The characters’ first adventure is most detailed since I need to be ready to roll for the first session.

If you have a specific idea you don’t want to forget (e.g. Duke Wellington is secretly a member of The Society of Genius), add that in your outline too.

If you’re running a sandbox style adventure, your outline will look a little different. Each Roman numeral might be a different event, adventure site, or influential NPC in the area. It could just be a list of those things in bullet points rather than a formal outline format.

How your outline looks is up to you, as long as you know what it means.

Add PC Backgrounds

If you’re running a longer campaign with a lot of plot threads, odds are your players might create some sort of backstory for their characters. It might be built into the system you’re playing, it could be something you ask the players to write, or you could send them a questionnaire with prompts.

Many players use this as an opportunity to introduce new plot threads into your game. A backstory thread could be a task the PC is trying to complete, such as hunting down a sibling’s murderer or garner enough money to bail a loved one out of jail. Likewise, a character could be running from something in a backstory like a cult or jilted lover.

After you get these backstories it’s time to begin a new document: a list of plot threads. This one is easy to create. Just list all the open plot threads you have at the start of a campaign.

Here’s what the plot thread document for my sample campaign might look like after receiving the PC backstories:

  • Duke Wellington has been captured and ransomed by the dragon Melicharo
  • Duchess Fiona works for The Shields and will ask adventurers who impress her to recover relics
  • The Society of Genius is seeking the same items as The Shields
  • Thog (half-orc barbarian) is searching for the necromancer who killed his brother
  • Rhea (human wizard) needs enough gold for a diamond to raise her old mentor from the dead so she can learn the location of his old spellbook
  • Tippy Shortstockings (halfling rogue) is running from her old thieves’ guild after she stole the thief queen’s crown
  • Grimbeard McShandy (dwarf cleric) lost track of his husband years ago after he disappeared mysteriously in the night

After I gather these threads I incorporate some or all of them into my outline. As the threads are worked in, I cross them off. The first three are already crossed-off, since they are included in the original outline. If I can’t find a place for a new thread in the outline, I let it remain uncrossed. I’m going to revisit the list after each session to see what’s changed (more on that later).

See how the outline looks now that I’ve added some of the backstory plot threads? Note I’ve added a side quests section to the outline now, as not every thread applies to the overarching plot of the campaign. I can work those side quests in as I see fit.

For a sandbox campaign, there really is no such thing as a side quest, so the outline would be different as each quest would be its own category with a Roman numeral.

  1. The young dragon Melicharo the White has kidnapped Duke Wellington and ransomed her
    1. Duchess Fiona, Wellington’s wife, is looking for adventurers to save him
      1. Wellington was targeted by Melicharo because the duchess has several magic items the dragon wants
      2. Fiona will give one of her magic items as a reward to the adventurers who save Wellington
    2. The adventurers will go into Melicharo’s lair to save Wellington
      1. The lair is a floating glacier that does not melt
      2. Melicharo is allied with a tribe of kobolds who worship him as a god
      3. Melicharo has a large diamond in his hoard that could be used by Rhea to bring her old mentor back to life
  2. Duchess Fiona contracts the adventurers to recover more items for her collection
    1. Duchess Fiona is a member of The Shields, a small secret society that keeps dangerous relics out of the hands of evildoers
    2. Duchess Fiona warns the adventurers that The Society of Genius, an organization of wizards bent on world domination, might be trying to get the same magic items they’re seeking
    3. The party retrieves several items for the duchess and sometimes has run-ins with the Society of Genius
    4. During the course of these adventures, Tippy’s old thieves’ guild strikes while the characters are away and steals one of the recovered magic items
      1. The guild threatens to sell the item to The Society of Genius unless the thief queen’s crown is returned
      2. The party must find the thieves’ guild and decide how to deal with them
  3. As part of a massive coordinated attack against The Shields, The Society of Genius kills Duchess Fiona and steals the items the adventurers have gathered for her
  4. The adventurers must seek help from the last remaining members of The Shields who have gone into hiding
  5. The adventurers must take on The Society of Genius
  6. Side Quests
    1. At night Grimbeard McShandy keeps receiving prophetic dreams of his missing husband screaming in pain

As you can see, there’s still room for more detail and side quests. Thog’s thread has yet to be incorporated into the outline. After this it’s a quick cross-off of the Rhea, Tippy, and Grimbeard bullet points on the thread list. Thog’s bullet point remains uncrossed as it has yet to be worked into the plot.

It helps if you keep both these documents in some sort of digital form, preferably in a cloud-based storage system like Google Drive. If your campaign takes years and you change devices or move, it helps these all-important campaign tracking documents remain intact.

Once you’ve worked all the backstory threads you want into your outline, you’re ready to start playing. When the campaign gets underway, a few notes each session will go a long way.

Take Notes

Whether it’s during the session or right after, take note of any new threads that have opened up during your game. If you want to bring back the goblin who managed to run away as a magically enhanced megavillain seeking revenge on the party for the death of her friends, you should write that down before you forget. A quick note will do, just something to jog your memory.

Sometimes you’ll get an idea for a new plot thread totally outside the realm of gaming. You might be grabbing a cup of coffee in the break room, watching a child’s soccer game, or playing a video game and think, “I should bring that into my game.” Take note of these ideas too. Gone are the days of needing to have a piece of paper and something to write with in order to remember a great idea. If you’ve got a phone, you’ve got a note-taking application.

When you sit down to plan your next session, take a minute and add your new ideas into the open plot thread document. Our updated sample looks like this after the first session.

  • Duke Wellington has been captured and ransomed by the dragon Melicharo.
  • Duchess Fiona works for The Shields and will ask adventurers who impress her to recover relics.
  • The Society of Genius is seeking the same items as The Shields.
  • Thog (half-orc barbarian) is searching for the necromancer who killed his brother.
  • Rhea (human wizard) needs enough gold for a diamond to raise her old mentor from the dead so she can learn the location of his old spellbook.
  • Tippy Shortstockings (halfling rogue) is running from her old thieves’ guild after she stole the thief queen’s crown.
  • Grimbeard McShandy (dwarf cleric) lost track of his husband years ago after he disappeared mysteriously in the night.
  • The kobold shaman Skull-Skull in Melicharo's lair escaped after watching his friends die at the hands of the adventurers and promised revenge.
  • In Grimbeard McShandy's dreams, his husband is being tortured by an otherworldly creature called a feldyra, a monster that slowly steals the life force of others and lives in a literal nightmare realm.
  • Rhea has the diamond to bring back her mentor.
  • Tippy is trying to seduce Duke Wellington and he seems into it...
  • Duke Wellington is tired of playing second fiddle to his wife and is secretly a member of The Society of Genius.
  • Melicharo's mother, Brindratharix, is out there and coming for the adventurers. When she learns The Society of Genius is searching for them, she joins forces.

After that, take a few minutes and update your outline just like you did with the character backstories. Check the old uncrossed threads too. You might be able to incorporate those. Just like last time, it’s fine to leave off any threads you can’t work into the outline. Leave them uncrossed. Here’s our sample with the new information.

  1. The young dragon Melicharo the White has kidnapped Duke Wellington and ransomed her
    1. Duchess Fiona, Wellington’s wife, is looking for adventurers to save him
      1. Wellington was targeted by Melicharo because the duchess has several magic items the dragon wants
      2. Fiona will give one of her magic items as a reward to the adventurers who save Wellington
    2. The adventurers will go into Melicharo’s lair to save Wellington
      1. The lair is a floating glacier which does not melt
      2. Melicharo is allied with a tribe of kobolds who worship him as a god
      3. Melicharo has a large diamond in his hoard which could be used by Rhea to bring her old mentor back to life
  2. Duchess Fiona contracts the adventurers to recover more items for her collection
    1. Duchess Fiona is a member of The Shields, a small secret society that keeps dangerous relics out of the hands of evildoers
    2. Duchess Fiona warns the adventurers that The Society of Genius, an organization of wizards bent on world domination, might be trying to get the same magic items they’re seeking
    3. The party retrieves several items for the duchess and sometimes has run-ins with the Society of Genius
    4. During the course of these adventures, Tippy’s old thieves’ guild strikes while the characters are away and steals one of the recovered magic items
      1. The guild threatens to sell the item to The Society of Genius unless the thief queen’s crown is returned
      2. The party must find the thieve’s guild and decide how to deal with them
  3. As part of a massive coordinated attack against The Shields, The Society of Genius kills Duchess Fiona and steals the items the adventurers have gathered for her
    1. Duke Wellington is gone. As a secret member of The Society of Genius, he got the inside information from his wife and helped plan the attacks.
  4. The adventurers must seek help from the last remaining members of The Shields who have gone into hiding
  5. The adventurers must take out the allies of The Society of Genius to weaken them
    1. Brindratharix is supporting them and in her son's old lair
    2. Tippy's old thieves' guild may align themselves with The Society of Genius after interacting with them
  6. The adventurers must take on The Society of Genius
    1. At some point Thog will face his brother's killer
  7. Side Quests
    1. At night Grimbeard McShandy keeps receiving prophetic dreams of his missing husband screaming in pain
      1. Grimbeard McShandy must find a way to enter the nightmare realm to save his husband from a feldyra
      2. If he does not rescue his husband in 90 days, his husband will die from the feldyra's constant feeding
    2. Rhea brings her mentor back from death
      1. His old spellbook was rigged to teleport into a secret underground prison for vampires in the event of his death
        1. The prison used to be run by lycanthropes friendly to the mentor, but since his death the vampires broke free and control the place
        2. The head vampire found the spellbook and is currently using it to keep his leadership position
      2. The mentor is familiar with the necromancer who killed Thog's brother
        1. Necromancer is a member of The Society of Genius
        2. Was a former student of the mentor
    3. Skull-Skull will return with his Ettin friend to stomp the party

Once you start playing, a single plot thread can spawn a lot of ideas. Some are side quests and others take place further down the road. But now you’ve got an idea of how the story can be connected and how to work it into your game. You won’t leave anything hanging unless you want to.

Tie Up Threads As You Go

Weave threads together over the course of the story. Do not save every thread for the final session. In the early days of running games, I kept all threads, major and minor, open until the very end of a campaign. It made for an almost comical finale.

Until the last session, every recurring villain got away, the characters never fully confronted their shady pasts, every missing person important to the party stayed missing… you get the idea. It felt like the final episode of a television series canceled mid-season. There was a hasty wrap-up.

If you close threads along the way throughout the campaign, you’ll be surprised at how much richer your story becomes.

Tying up many threads earlier will create new ones for you. As you can see in the example above, the party’s wizard raises her mentor and it leads to new revelations and quests. This gives the story extra layers of plot and creates a deeper tale that’s more satisfying when all is done.

It may seem overwhelming at first, but if you take a few notes each session and a few minutes to update your outline between games, you’re going to accomplish telling a spectacular, complete story.

End the Campaign

When it comes time to start bringing your story to a conclusion, you’ll need to start tying up plot threads. I know my game master brain can’t stop introducing new ideas, which is totally fine, but at some point you need make sure you’re closing down more plot threads then you’re adding to have everything wrapped up by the story’s conclusion.

It’s cliche, but true – all good things must come to an end. Some campaigns continue on until the gaming group breaks up and the story just fizzles out, but to get the most out of this method, you need to bring it home. If you outline at the start, take notes, update, and tie up threads throughout, your gaming group will want the campaign to end. The satisfaction of completing an epic story together will propel you into your next adventure together.

Roll20CON Wrap-Up!

I also just wanted to thank everyone who made the Roll20CON livestream awesome. Your support, views, and encouragement mean more than you know!

You can checkout both our games in the links below. The first Dungeons and Dragons game with Rudy Basso, Nadja Otikor, James D’Amato, Richard Zayas, and Greg Bilsland starts in the first video around the 03:09:10 mark. The second game with Anna Prosser Robinson, Holly Conrad, Jared Knabenbaur, and Chris Perkins starts in the first video around the 12:20:25 mark and continues into the second.

https://player.twitch.tv/?video=v70242239

https://player.twitch.tv/?video=v70365584

Thanks to everyone involved. All players were amazing. Roll20 folks were amazing. The audience and community were amazing. The other games and panels were amazing. I was amazed.

Two announcements to come out of this…

  1. Roll20 will be putting out a FREE starter adventure designed by yours truly with maps from Russ Hapke and Gabriel Pickard, puzzle tiles from Stephen Shomo, and tokens from Phillip Wright. If you’ve never played on Roll20 or if you’ve never played fifth edition Dungeons and Dragons or if both of those statements apply to you, this is the adventure that will teach you how. If you’re an expert with both it’s still a fun time. We played through the adventure in the first game I DMed.
  2. During the second game we played Merric Blackman‘s adventure Death in the Cornfields (with a little Tarokka Expansion mixed in). It is an awesome mystery that can be played in one session. Do it.

If you like what you’re reading please follow me on Twitter, check out my podcasts, find my products on the DMs Guild, tell your friends about the blog, and/or leave me a comment and let me know you think. Thanks!

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Recently I found myself in a situation where I had to submit an original medieval fantasy TRPG setting for some work. Ultimately I did not get the job, but my submission got me in the door and helped me make it to the final round of interviews. I’m pretty proud of it. The best part about the rejection is that now I get to share my work with all of you.

I only had an hour or so of free time between the time I got wind of the assignment and the time I had to submit. No problem. Creating, outlining, and describing an original world in a short amount of time is exactly what I do. Let me show you how.

1. Get An Idea

This does not have to cut into your designated hour of worldbuilding. Sure, you could sit down and have a quick brainstorm but you could think about it while you go about the mundane. Instead of watching Netflix while you do the dishes or catching up on your favorite podcasts while showering or working out, let your mind wander about the world you want to create. Think of a strong central idea like, “Dragonborn run an evil empire and are more numerous than any other race in my island world,” or, “A century of warfare has changed everything,” or “There are huge blank spots on the map and everyone wants to be the one to fill them.” Feel free to start by stealing an idea from somewhere else to get inspired, and then twist the idea to make it your own. While running a cool five miles I came up with my central idea for this pitch, “Monsters rule the world below, the undead rule the surface, the civilized races are trapped in the sky.”

2. Outline in Bullet Points

Now that you’ve got a good idea it’s time for a rough world outline. If you’re limited on time, just write out your big ideas and any details you’re afraid you’ll forget while writing the rest of the world’s description. Then go back and quickly put the details of your world in some sort of chronological order. My world outline for this pitch looked like this.

  • In the beginning humans, elves, half-elves, halflings, and dragonborn ruled the surface in 13 cities.
  • 13 cities form a nation ruled by a council of 13 mage governors.
  • In the beginning dwarves and tieflings lived together in one massive city underground.
  • A mage governor fears death, becomes a lich, makes undead army.
  • Undead army takes surface city, many dwarves and tieflings get away, undead have harder time chasing them down in the monster infested tunnels.
  • 6 remaining surface cities are lifted into the sky by their mage governors and now float safe above the undead.

3. Come Up With A Campaign Arch Outline

Once your bullet point outline is ready, make another. Think of your campaign’s potential arch within the world. The story might change as your game goes on since it hinges on the actions of the PCs, but it’s good to think about your campaign’s overall arch before you put meat on the bones of the world outline. Why? Because your campaign’s outline could affect the world outline. Maybe your campaign calls for a villain or earthshaking event you haven’t included in the world outline. If you add details to from you campaign outline to your world outline, those details will feel less tacked on (e.g. suddenly wand theory is a huge plot device which shows up in the final book of the Harry Potter series). Here’s what my campaign outline looked like for this pitch.

  • PCs start transporting goods for a mage governor and have to fend off sky pirates.
  • PCs find sky pirates which attacked them part of some greater plot.
  • PCs slowly uncover the secret plot – the pirates and others (including high-ranking public officials) are feeding intelligence about the people living in the sky cities to the undead below, but why?
  • PCs investigate plot by exploring the surface world of the undead and are aided by the dwarf and tiefling survivors who have evaded the undead by living a nomadic life underground.
  • PCs discover the undead are building their own airships and making dracoliches to attack the sky cities.
  • PCs return home to defend against the attack and discover the attack is only half the plan. If the undead get close enough to the cities they can enact a ritual that will crash the sky cities into the ground, killing many. Battle may be won or lost depending on the actions of the PCs.
  • After the battle PCs discover the location of the leader lich’s phylactery.
  • PCs must go back to the surface to destroy leader lich once and for all.

Once I outlined this possible campaign arch, I went back and added these bullet points to the world outline:

  • After being in the sky for 50 years, resources for the sky cities are limited and a large economic gap forms between the wealthy and the poor.
  • Some of the poor turn to piracy for money and others enlist to fight the pirates and protect the goods of the rich.

4. Describe the World (and the Campaign Arch)

Now that you’ve got your outlines, that may be all you need to run your first session. If you want to share the world information with your players, post it on Obsidian Portal, or submit it for a job, you’re going to need to flesh it out a little more. With an outline in chronological order, it’s easy to throw down a few paragraphs to describe your world.

There is one main hang-up I have that stops my writing cold – coming up with proper names. I like to keep my flow while I’m writing so I use simple placeholders. Then I go back and replace those placeholders after I’m done the lion’s share of writing. This seems to make everything go a lot faster since I can be focusing on fleshing out the outline and then switch over to proper name mode. I simply write NAME in all capital letters when I need a proper name I haven’t thought of yet. This makes it easy to find later when revising.

Write no more than 5 – 10 paragraphs. Time is of the essence, pitches should be short, and if you’re writing this for your PCs or Obsidian Portal, know that most folks won’t read pages and pages of description.

Here’s the description of the world I created for the pitch.

Six floating cities hover above the darkness of Enora in Bound Sky. Once a prosperous nation, Enora was home to humans, elves, halflings, gnomes, and dragonborn. The country was run by the Dordune, a council of mage governors, each acting as the leader of one of Enora’s thirteen major cities. Beneath Enora’s surface, the nation’s dwarf and tiefling allies lived happily in the kingdom of Drakefire. Except for the occasional marauding gnoll pack or angry dragon, all was well in Enora. Any threats which appeared were dealt with swiftly and efficiently by the Dordune.

Fifty years ago Governor Kira Vae, an elf wizard, was nearing the end of her long life. Some say fear of death gripped the governor, others say it was an unsatiated lust for power. Whatever the reason, Vae transformed herself into a lich. The transformation warped her mind, seeding a dark hatred of all life in her heart. The lich declared herself Empress of Enora. Empress Vae turned the citizens of her city, Cambor, into an undead army. The rest of Enora tried to stand against the threat, but so sudden and severe did the undead strike that seven of Enora’s cities fell to Vae.

Every victory added more soldiers to her undead ranks. Messengers were sent to Drakefire, asking for military against the undead legions, but the underground kingdom was already over run by Vae’s minions. Any survivors from Drakefire had already fled even deeper underground by the time the messengers arrived.

As the armies of Empress Vae closed around Enora’s six remaining cities, the Dordune made a decision to enact a powerful ritual which raised the cities and their people into the sky away from Vae and her undead. Away from a fight they knew they could not win. As the cities rose, Vae swore to eradicate the rest of Enora’s living. She is eternal as is her hate for all people who defy her.

Now the six floating cities of Deldoroth find themselves safe from Empress Vae’s undead, but they have their own troubles. With limited land to produce resources, the six cities have begun treating each other more like separate countries than one cooperative nation. The Dordune have disbanded and each governor acts as a city’s monarch. As competition for food, water, and shelter grows each day, many less fortunate turn to a life of crime or legal savagery to survive. Airships transporting goods from one city to another are wary of pirates, and many make a killing or die trying in the cities’ gladiatorial arenas (which were introduced by the governors to help control population growth).

Beneath Deldoroth, dead Enora can no longer be seen. Thick layers of black clouds hang between the floating cities and the surface. The undead built massive stoves and constantly pipe ash into the sky to blot out the sun they hate so much. Sometimes at night the victorious howls of the undead can be heard through the blackness by the people of Deldoroth. It is an unsettling reminder that Enora is no longer their home and what drove them out long ago still hungers for them.

If you have the time, go ahead and flesh out your campaign outline too. I wanted to do this for the pitch to give an idea of the adventures I’d create, but even if you’re not pitching it will be helpful to have a fleshed out description of your potential story to refer to. This is less necessary for home campaigns since you won’t be sharing it, but still helpful to you as the GM.

Over-the-top action and sprawling mysteries will be the hallmarks of Bound Sky. The campaign opens with a massive airship battle. The players, hired as merchant guards, encounter pirates and battle for their lives. After the battle the heroes discover a mysterious message to the pirates from a higher power. These aren’t your normal pirates. They’re part of something much bigger.

The story unfolds in Deldoroth’s soaring cities as our heroes uncover a conspiracy. The first learn that some of the pirates and then that some of the officials in Deldoroth have been working with the undead armies of Empress Vae. She’s planning something big, but to learn what will require closer investigation.

The heroes journey down to the undead-infested Enora and navigate the dangerous territory by disguise or by stealth. Diving into old ruins, gathering intelligence from enemy-infested cities, and aided by the nomadic survivors of Drakefire, the PCs discover Empress Vae has begun building airships of her own and converting dragons to dracoliches. She is planning an enormous attack on Deldoroth.

It is up to our heroes to convince the people of Deldoroth to work together to defeat this incursion. As they work to negotiate with various leaders, the PCs uncover another mystery. Empress Vae has discovered the source of the magic which keeps the cities of Deldoroth afloat. She plans to disrupt this magic and crash the cities. If she succeeds, the death toll will be catastrophic.

The heroes stop Vae’s forces from destroying Deldoroth, but the victory is costly and the empress could return at any time with more forces. Thanks to a captured dracolich lieutenant, the PCs learn the location of Vae’s phylactery. The heroes must make another perilous journey into Enora, this time into Vae’s stronghold in Cambor. It is up to them to destroy the phylactery and slay Empress Vae once and for all to save their homes.

Check it out! I’ve even got a description of my first encounter in there. There’s enough information I could improv my way through the first session or possibly the entire campaign if I have no more free time to dedicate to preparation.

5. Got a Little More Time? Map it Up!

If you have some more time, maps are great worldbuilding resources that help make your setting come to life for both you and your players. They’re also a good tool for judging travel obstacles and distances from one place to the next. I created the two maps below in less than hour using roll20.net, but you can checkout any number of easy to use resources to create a map quickly.

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So there you have it! One-hour worldbuilding. Simple stuff!

If you like what you’re reading, please check out my podcasts on The Tome Show, follow me on Twitter, tell your friends and share this blog post, and/or leave me a comment and let me know you think. Thanks!