Professional Documents
Culture Documents
Session Prep
GenCon 2008
Saturday, Aug. 16, 8:00 AM
Topics:
1. Understanding, Using and
Subverting Tropes
2. Tailoring Content to Players
3. Essential Elements
4. Development Cycle
Presenters:
Phil Vecchione – Long-time GM, repeat GenCon presenter and RPG
blogger (http://www.dnaphil.com/; http://www.gnomestew.com/)
Philippe-Antoine Menard – Long-time GM and RPG blogger
(http://chattydm.net/)
Vicki Potter – Long-time GM, Draconian Editor and co-owner of Tabletop
Adventures (http://www.tabletopadventures.com)
Acknowledgements:
The GM-fu Masters would like to thank the following publishers, who
provided samples of products which can aid GMs in preparing their
games – and then allowed us to give them away! To pick up your own
copy of these great resources, visit their booths at GenCon, or see the
publishers’ websites.
We’d also like to thank Stan! for the use of his timely comic strip. See more
of Stan!’s work at http://www.stannex.com.
Workbook layout provided by Tabletop Adventures. Some clipart ©2008 Jupiterimages Corporation.
GM-fu: Session Prep ©2008, Phil Vecchione, Philippe-Antoine Menard and Vicki Potter
Understanding, Using and Subverting Tropes
(Bonus: The 5 Room/Scene Adventure)
Definitions
What is a Trope?
A trope is a narrative “figure of speech,” shorthand for some concept that the
audience will recognize and understand instantly. Above all, a trope is a convention.
It can be a plot trick, a setup, a narrative structure, a character type, a linguistic
idiom... It's like leadership (or porn): hard to define yet you know it when you see
it.
There are a lot of tropes out there, many of which you probably already know about
without knowing about it. Here are a few taken out of geek cultures (fantasy, sci-fi,
horror):
What's a Cliché?
A cliché is when a trope becomes intrusive or too obvious and distracts the viewer
rather than serves as shorthand. When the audience groans, the trope has become
a cliché.
Tropes in RPGs
Tropes work just as well (if not better) in RPGs, because the audience controls the
main protagonists. Since tropes are shortcuts, this can allow a GM to elicit a
reaction from players while spending limited effort.
Clichés also have their use in RPGs; they aren't inherently bad. In fact, they can be
a useful tool for introducing new players to the game, as they can help bring
familiar territory into an otherwise unfamiliar game, facilitating participation.
Games must be fun to play. Sure, we like pretty graphics and a good plot, but the
fun’s the main thing. If they’re fun, a lot of incongruities can be forgiven. Go ahead,
try to explain why the yellow circle loves dots and why the ghosts are out to get
him, or why the frog needs to get across the road. You can’t. Doesn’t matter.
Just replace ‘pretty graphics’ by ‘cool mechanics’ and the definition applies perfectly
to tabletop RPGs.
A lot of shortcuts are made in the mechanics and premises of a RPG to make it fun.
The Rule of Fun should also be applied by GMs to everything in the game, from
choice of game to character generation, the color of dice, the miniatures players
choose, the adventure used, etc.
With regards to adventure preparation, I suggest that you apply the Rule of Fun
whenever you think of adding a challenge (a fight, a trap, or a Skill roll) by asking
yourself this very simple question: “Will playing this out be fun?”
If the answer is ‘no’ or ‘probably not, but it’s logical’ you need to rethink your
design choice. Rolling a climb check to climb a tree to see the advancing enemy
troops 50 miles away is not all that fun. Climbing it to avoid a horde of Berserking
Goblins has a better chance of hitting the fun mark.
Try to apply the Rule of Fun to any instance of travel, investigations, or NPC
interactions and it will make a game session better. (Hint: random encounters,
unless everyone wants them, are not usually fun.)
The limit of the Willing Suspension Of Disbelief for a given element is directly
proportional to its degree of coolness. Stated another way, all but the most
pedantic of viewers will forgive liberties with reality so long as the result is wicked
sweet and/or awesome. This applies to the audience in general, as there will
naturally be a different threshold for each individual in the group.
To transpose to RPG terms: Your player will put up with almost any illogical or
“wobbly” plot devices or encounter as long as things get cool enough for them.
This basically means that a GM's efforts should be not so much on far-reaching
world building and tight, nitpicking-proof plot lines. They should go all out for
encounters and roleplaying that will swamp players in coolness.
For example, think about combat on ice bridges, negotiating the release of
prisoners in a flooding underground prison, or hopping from floating islands to
pieces of flying ruins in order to catch the thieves of the Star Jewel of Radnia.
Since Tropes are easily recognized, players will pick up on them and start building
expectations. A useful technique then is subverting the trope by having it go in the
opposite direction of what players expect. If you mix and match straight and
subverted tropes, you will be able to elicit stronger reactions from player which will
lead to more satisfactory involvement in the adventure.
For example, if you want to recreate some of the feeling of the Star Wars movies in
your games, you can deconstruct the series in the tropes you liked best (this is my
personal list):
The Empire has an order of evil Hell-knights (Subverted Jedi) powered by pure
hatred and led by an ancient pupil of the Crone (Badass Villain). They trash the
monastery and kidnap the crone. Party finds prophecy that talks of the Five
Nascent Stars (The Chosen Ones) chasing away the darkness and guess that it's
them.
They track the Hell-knights back to their "Invincible" Citadel of Woe (Dark Tower).
They infiltrate it and battle through mooks and a few Hell-knights. As they enter the
cell compound, they come face to face with Granny Sensei kicking Hell-knight butt
saying 'What took you so long?'
Then the Badass appears, gets a tongue lashing by the Crone; he goes mad and
says 'shut up mom' (Subverted "I am your father") and the final fight starts. Near
death, the Badass implores his mother and she turns against the PCs (Subverted
Heel Face turn).
References
A trick to create fast adventures that fit in one evening is to make them very
limited in scope and length.
A two- to four-hour site-based romp quickens flagging campaign and session pacing
and can be squeezed into almost any on-going story thread. It also grants a quick
success (or failure) to keep the players keen and excited, is quick to plan for, lets
GMs “theme” sites with greater ease, and can be plopped into most settings with
minimal continuity issues.
Room 2 ideas:
• Ye old classic death trap.
• Magic/technological puzzle, such as a chessboard tile floor with special
squares.
• An intelligent entity grants access to the rest of the site but must be
befriended, not fought.
• A being far more powerful than the PCs with whom they must converse or
negotiate.
Room 3 ideas:
• "The passage ends in a 'T'. The right looks well traveled and the corridor is
unremarkable. The left looks untouched, smells faintly of cinnamon, and
there's a mysterious orange glow at the end that can barely be seen. Which
way to do you go?" The left passage leads to the red herring.
• A fake sarcophagus that contains another guardian.
• A collapsed structure blocks part of the area. The debris is dangerous, and
blocks or hides nothing of importance.
• A one-way exit so the PCs must return and deal with rooms 1 and 2 again,
such as a teleport trap, one-way door, or 2000-foot water slide trap.
• Room 3 does contain the PCs' goal but hides the presence of room 4, which
contains an even greater reward.
This room is The Big Show. It's the big combat or conflict encounter and is the final
challenge before the Big Reward.
Room 5 ideas:
• Another guardian awaits in the treasure container.
• A trap that resurrects or renews the challenge from room 4.
• Bonus treasure is discovered that leads to another adventure, such as a
piece of a magic item or a map fragment.
• A rival enters and tries to steal the reward while the PCs are dealing with the
big challenge in room 4.
• The object of the quest/final reward isn't what it seems or has a
complication, such as the kidnapped King who doesn't want to return.
• Meet NPCs
• Get background/story
• Get quests, possibly conflicting ones
Scene 3: Opposition/Obstruction
• Boss fight
• Final negotiation
• Last obstacle to get to quest goal
• Possible party conflict over quests
References
Room 1: A pool of water into which characters must dive to reach the dungeon's
entrance. Guarded by a kraken-like squid monster.
Room 2: An empty temple to an evil cult of Chaos, complete with regalia (clothes
and documents); heroes must discover a secret exit or recreate a ceremony to
open the exit.
Room 3: A spirit that invites those who performed the ceremony to a ‘shortcut’ and
sends those who entered without it on a longer path that features a wild dungeon
monster.
Room 4: An evil summoner with minions, trying to bring a summoned demon under
his control. Fight!
Room 1: A pool of water into which characters must dive to reach the dungeon's
entrance. Guarded by a kraken-like squid monster.
Room 2: An empty temple to an evil cult of Chaos, complete with regalia (clothes
and documents); heroes must discover a secret exit or recreate a ceremony to
open the exit.
Room 3: A spirit that invites those who performed the ceremony to a ‘shortcut’
and sends those who entered without it on a longer path that features a wild
dungeon monster.
Player Types
A simple categorization of how players tend to play RPGs based on observations of
the various ways by various authors:
• Glen Blacow in an article for Different Worlds #10 (Oct 1980)
• Follow up article by Greg Costikian (Nov 1984)
• Robin Laws' Rules of Good Games Mastering (Steve Jackson Games, 2001.
Get this book... it's still the best on GMing!)
• D&D 4e Dungeon Master Guide (Wizards of the Coast, 2008)
The player types:
• The Power Gamer: Get more powers and use them often and efficiently.
• The Butt-Kicker: Enjoys combat and pwning NPCs!
• The Tactician: Likes to beat complex situations through thought and
planning.
• The Specialist: The one who always plays a <insert character type>. Ninjas
and Drizzt clones are popular.
• The Method Actor: Likes total immersion in a character’s assumed persona,
whatever the costs!
• The Storyteller: Enjoys exploring a story unfolding around a character’s
actions and choices.
• The Watcher/Lurker: Shows up to be with friends and share the social
energies of the group.
• The Instigator: Likes to make things happen and trigger awkward
situations.
• The Outlier: Seeks the emotional kick of subverting a group’s dynamic by
creating weird characters or actively seeking failure.
Advantages:
• Simple model to categorize players
• Can help a GM to understand what players seek in a game.
• Helps meta-game discussions with players.
Disadvantages:
• Almost no player fit just one player type.
• You can't go out and ask players for their type; most don't know.
Player Motivations
Introduced in the Dungeon Master’s Guide II (Wizards of the Coast, 2005). The
elements of the game that increase a player's involvement in the ongoing
campaign.
After my games, when the players have gone home, I take a sheet of paper and I
jot down the following:
• What players liked: Two or three events, scenes, or actions that made some
players excited, sit upright, and pay extra attention to the game.
• What players disliked: A few items where some players were frustrated
and/or sprawled on their chairs, doodling and fiddling with their cell phones.
• Lessons learned: Based on these last two, formulate at least two things
learned from the game.
After a few games, you'll see a pattern develop from the like/dislike lists and player
motivations will emerge.
“Leveling up” as a GM requires you to detach yourself from your players’ reactions
to the game. Part of the satisfaction of playing RPGs is hitting pockets of rising
frustration, followed by cathartic release when goals are attained (occasional failure
being a type of frustration).
Once you start understanding what players seek and get better at weaving
frustration-building challenges and satisfactory release based on player
motivations, you'll derive great enjoyment from seeing a significant increase in
involvement.
Player feedback is hard to get. When you come out and ask for it, usually at the
end of a session when everyone is tired, you'll get grunts and vague-sounding
positive feedback. Instead, listen to what players say during the game. Their
flippant remarks (“I bet there's another Gelatinous Cube behind THAT door”), wild
guesses (“I'm sure the Baron is behind all this”) and wishful thinking aloud (“Man it
would be sweet if I could get that flaming broadsword”) are a treasure trove of
passive feedback and plot hooks waiting to be tapped.
Passive listening is a very useful skill to determine player motivations; using it can
give you a ton of insights on what players seek in your game.
Active listening is an even more powerful tool. During a pause in play, between
sessions, and though email conversations, pick up one of the things you heard the
players asking or complaining about and ask open questions about it:
• Why did you think the Baron was out to get you?
• You got real intense in that rules discussion; what ticked you off the most?
• What do you think will happen next in the game?
Active listening is the art of asking open questions that can't be answered by
yes/no and building on the responses you get to ask more open-ended questions,
usually one on one. Even the most hard-crusted introverts will eventually open up
to non-threatening questions that manifest a clear interest on your part in what the
player cares about.
While doing that, you really need to rein in your defensive reflexes. Active listening
is about letting others say it like they see it. It's not about being right or having the
facts clarified.
After one successful session of active listening, you should have a better idea of
what motivates a player in your game.
Trying to hit at least one major motivation from your list per scene is a good goal;
you'll often find yourself hitting more. As you grow used to the exercise, hitting
motivations will become second nature.
Change NPCs, antagonists, or storylines to fit with your campaign and your players.
Try to hit the same “one scene = one motivation” target.
If I managed it with Expedition to the Demonweb Pits (80% hacked), you can too.
Examples of applying those techniques
References
Bob the GM needs your help once more. He's got quite an eclectic group and needs
to design an adventure for them. Select an RPG genre and, based on the player
profiles presented below, build the plan of a 5-scene adventure that will appeal to
each player at least once. Bob personally leans towards Supercool Butt-Kicking
Psychodrama and has a tendency to Make Things Happen when he plays, but he is
adaptable, as a GM needs to be.
The Players:
• Tim: A power-accumulating supercool butt kicker.
• Jill: A psychodramatist thriving on irresponsibility and Making Things Happen.
• Ann: Storyteller with a strong setting exploration streak. Tends to play a lot of
social-focused elves.
• Steve: A brilliant-planning puzzle solver with a penchant for a good story.
• Conrad: Butt-kicking Instigator. Enjoys irresponsibility.
Room 1:
Room 2:
Room 3:
Room 4:
Room 5:
Essential Elements
Description
Taking your ideas and turning them into notes can be a difficult task. One of the
difficulties that many GMs have is figuring out what items need to go into their
session notes. If you put in too little, you may forget an important detail during the
session, or spend time looking up rules. Put too much information into your notes,
and you will spend far too much time writing your sessions, filling the writing
process with angst and dread.
Questions
1. List things that you commonly forget to tell your players during a scene.
2. Based on the game you are playing, what types of things do you need to put in your
notes for each scene?
3. What are some of the things that frustrate you when you look at your notes during a
session? What things are missing that you would like to include?
4. What are you currently using to write your session notes? How is it working for you?
Skill
The skill that you need to hone in this section is to understand yourself as a GM,
and identify what you need to write into your notes in order for you to be
comfortable enough to run your game each time.
Techniques
Your Notes
Your notes are just that: your notes. They do not have to make sense to anyone
else, nor do they have to be perfect in spelling, grammar, or structure. They do
need to contain everything that you will need in order to get through each scene,
and for each scene to be a success.
Your notes, and the media in which you take them, are a matter of personal
preference. That said, there are a few broad criteria that define good media. First, it
is reliable? If you have a laptop that always crashes, you are not going to want to
write your notes on it, as compared to a paper journal that never crashes. Second,
you must enjoy writing in your media. If the notebook you are writing your notes in
has a tough spine that won’t fully open, or pages that rip when you erase a word,
that is not going motivate you to keep using it.
If you do not trust the media you are using, or do not enjoy the writing experience,
you are putting obstacles in your path to getting your notes written. If you are not
comfortable with how you are currently writing your notes, go and explore other
options. Test out different programs or types of notebooks.
Knowing What You Are Playing
Different games and different gaming styles are going to need more or less notes,
so it is important to understand what kind of game you are running, and to
understand more about your own GMing style. Let’s start by looking at the type of
game you are running. The two things to look at are setting and mechanics. Some
settings lend themselves to more improvisation and less structure. A dungeon crawl
can be improvised fairly easily, as can a session of Vampire, where the focus of the
game in on PC-NPC interactions. With a game that has a setting that is light, your
notes do not have to be as exact. You can get the major details down, and improv
the rest. These notes can be shorter in length and contain less information.
Next look at the mechanics. Does your game have mechanics that make it easy to
create a session? A game like Savage Worlds has very easy rules for making up
NPC's and various situations. With games like that, you won't have to spend a lot of
time making up stat blocks for monsters, researching spells, etc. In contrast, a
game like Iron Heroes has very detailed rules that can make creating NPCs some
work. In that case, besides the actual writing of your session notes, you will need to
dedicate some time to creating stat blocks for NPCs and monsters.
The next thing you need to look at is your own GMing style. If you are good at
improvising dialog, then you do not need to put any dialog into your notes. On the
other hand, if you think your spur-of-the-moment dialog is flat or clumsy, then you
will want to dedicate some space in your notes to specific lines for you to use in
your session.
Do It With Purpose
One common pitfall in laying out your session is to create scenes that lack focus
and direction, or do not fit in well with the overall story. One way to combat that
when you create your notes is to start your notes with a Purpose Statement.
The Purpose Statement is one sentence that defines what will happen in the scene.
If you cannot write that statement when designing your scene, then you likely do
not need the scene and you should consider dropping it from your notes.
Some Examples:
“The heroes meet the old man at the tavern who has information about the dungeon.”
“Tabris is ambushed by the Ebon Blade, while opening the gate.”
Once you have a Purpose Statement, use it as an anchor for the writing of the rest
of your scene. When you finish writing a scene, go back and read it, and compare
what you read to your Purpose Statement. Did your scene do what you said it was
going to do? If not, go back and revise it.
The Purpose Statement also serves another great purpose. When you are running
your session and you start your next scene, the Purpose Statement will give you a
one-line reminder of what the goal of the scene is, and help you focus.
Transition from scene to scene can be very tricky, and if done improperly can be
jarring to the players. One way to ensure that your transitions go smoothly is to
start your notes with an Opening. The Opening is one or more paragraphs, in your
notes, that set the stage for the scene. It contains the information you need (see
below) to describe the scene to your players and provide them with the element
that will drive scene forward.
Where a lot of GMs trip themselves up is in the details of a scene. In the heat of
running a scene you always run the chance of forgetting some important detail that
the players require. It could be a missed clue, an important line of dialog, etc. Once
missed, the only way to get it back in is the ret-con (“retroactive continuity”),
which is always jarring and awkward.
One of the main purposes of your notes is to record those crucial items, so that you
do not forget to convey them to the players during the session. The important
details are usually not too hard to figure out, because they form the major parts of
the scene. After your opening section, make sure the body of the notes contains
these key points.
In addition to the important details, use your notes to amplify the less obvious
aspects of your game, aspects that will lend realism to each session. Many GMs fail
to track the passing of seasons, or change up the weather from scene to scene and
session to session. Their campaigns take place in a perpetual Spring, with all sunny
skies, and light breezes! Other points that are often forgotten include descriptions
of NPCs descriptions, details about the room the PCs are in, hints of upcoming
events, information about what else is going on in the campaign world (otherwise
known as plot hooks), etc. The addition of these small details will add a richness to
your narrative.
The way to remember to include these details is to put a section at the opening of
your notes for each scene, where you record the weather, date, and and any other
important details. By having to fill them out each time you write a scene, you will
remember to change these when appropriate.
It goes without saying that in addition to your purpose statement, opening, closing,
date, weather, and other important details, your notes will need other information
as well. Maps, stat blocks, and dialog, are also going to make up your notes.
Exactly what you will need for each scene is going to vary from scene to scene, by
the type of game you are playing, and by your own GMing style (see above).
Build A Template
The best way to make sure your essential elements are included in every scene is
to adopt a template for your notes. Depending on how you write your notes, there
are a number of ways you can create a template. If you are writing your notes on
your computer, you will find most programs include a way to create templates. MS
Word, OneNote, and many wikis have the ability to create templates that you can
use while you write.
If you are hand writing your notes either on loose paper or in a notebook or journal,
you can create a template on an index card and use it as a bookmark in your notes.
The card will be handy when you work, and you can move it from page to page
easily as you write.
How you set up your template is a matter of personal style and involves some
experimentation. When developing your template, think of the elements you need
to include and make sure that they are all represented on the page. Then try
writing a session with your template. If you find things you don't like about the
template, make changes after you finish your notes, and try your updated template
the next time. In a few sessions you will find the perfect configuration that will
allow you to capture all your essential elements in a way that is effortless.
2. Based on the game you are running, is your game simple or complex? How
comfortable are you at improv when it comes to running your game?
3. What are you currently using to write your session notes? How is it working
for you? What features is it lacking that you wish it had?
Questions
1. What standing commitments, outside of your game, do you have in your life?
(examples: spouse, children, other games, clubs, work, activities, TV, etc.)
2. Rate the following statements with a score of 1 (not ever) to 10 (all the time):
___ I write my session notes at the last minute.
___ I like to write my session notes at the last minute.
___ The thought of writing my notes make me stressed.
___ I never know where to start with my notes.
___ I get interrupted a lot when I write my notes.
3. When do you feel the most creative? When are you the most awake?
Skill
Getting your session notes written is an exercise in productivity. It is not a matter
of just making yourself "do it." Brute force writing works to a point, but it will bring
you no joy and will make you dread writing your notes, leading to procrastination.
What you want to achieve is an understanding of when the best time is for you to
write, and then put yourself in front of your notes at that time. To understand your
best time for writing you need to understand:
Techniques
The first thing you need to understand in the development of your writing cycle is
when you have time to write. Take a few moments to think about each day of the
week. What kinds of commitments do you have every day? You likely have a job; is
that the same time every day or do your hours differ? Are you in school? Are you
married? Do you have children? What night do you run your game? How often do
you run your game?
Take a piece of paper and draw out your schedule for the week. Write down all your
standing commitments for each day of the week. Don't be surprised at how little
time appears on your schedule; most people have a lot of commitments in their
lives. Once you have filled it all in, then look at the piece of paper and look for the
gaps. Ideally you are looking for blocks of time, no less than an hour. Studies show
that when you factor in getting your materials together, and getting your mind
prepared for a task, anything less than an hour of committed work is not
productive.
Next, look across from day to day. Do you see any bands of time—that is, the same
block of time across multiple days? Having the same time to write, each day, is
helpful in that it becomes routine for you: it becomes a ritual. Humans are
creatures that thrive on rituals. We naturally gravitate to ritualized behavior. By
making your writing more of a ritual and less ad hoc, you are more likely to sit
down each night and start writing.
Now that you understand your schedule more, we can look at the factors that are
going to influence what parts of your schedule will be best for writing your notes.
In the previous section we talked about the type of game you are playing and the
type of GM you are. Take that into account when thinking about your writing cycle.
If you are playing a game with a lot of detail, or with heavy mechanics, you are
going to need more time to write than for a game with light mechanics, or with very
straightforward plots.
If you are a GM who likes to improvise more aspects of your session, then you will
need less prep time than a GM who is more comfortable having all the details
written out in advance.
Also, how frequently are you playing? If you are running weekly games, you are
going to have a short schedule to get your notes written and will need to find prep
time in nearly every day. If you are running bi-weekly or monthly, you have far
more flexibility in the times you choose to write, and will have more slack (see
below) available in your schedule.
The next factor that you need to understand is your natural creative cycle. Every
person has a natural rhythm of when they have more energy and when their
energy bottoms out. Understanding this allows you to choose the best times for
prep from your available free time. If you pick a time to do your writing when your
energy is low, you are going to have a hard time focusing and getting good material
down on the paper. If you target your writing at a time when your energy is high,
you will see that your notes will come naturally and without effort.
There are a number of ways to map your creative cycles. One of the best I have
seen is the Personal Heatmap (see references). This exercise is designed to have
you map out in colors when your creative energy is high and low. It is a worthy
exercise to complete, as it will not only work for your session notes, but help in all
other areas of your life. If you don't have time to do the full heatmap exercise, then
just think of the times when you are the most tired. It could be at a certain time of
the day, say 3pm each day. It could be based on another activity, such as the hour
after you get off from work, no matter what time you work. Then think of the times
when you are most awake. Are you someone who wakes up before dawn and gets
in a workout before heading to work? Or are you a night owl, whose best hours are
after most of your neighborhood is asleep? These peaks are the axis of your
creativity cycle. It is not too hard to figure out; it only requires some introspection
for a few days, and then it will be clear when your energy is high and when it is
low.
Once you have an understanding of your creative high and low points, you want to
leverage that information when doing your session writing. Look back at the piece
of paper with your free times on it, overlay your creative cycle, and look for those
free times when your energy is its highest. Those times are the best times to do the
really “creative” parts of your session prep: coming up with dialog, writing
descriptions, determining the transitions between scenes. If you can avoid doing
any of your prep during your low points, do that, but if you have to do some work
during your low points, then save the grunt work for those times. Use your creative
low points for things like transcribing stat blocks for monsters, rolling up treasure,
using a random name generator to make up names, etc.
By understanding your own creative energy you can avoid writer’s block and other
mental obstacles that often make session writing feel so tedious.
The last factor in the development of your writing cycle is time management. You
want to plan your session prep times in a way that you provide yourself not only
enough time to sit and write your notes, but enough time to finish them when the
inevitable distractions come into your life. In project management circles this is
what is called Slack. Events of your real life are going to occur when you are
writing, or want to be: friends are going to call, someone is going to IM you, you
are going to get stuck late at work, etc. You want your writing cycle to have enough
slack built into it that when those things happen, you can skip a writing session or
two and still have enough time to finish your notes.
Many frustrated GMs get into a time crunch. They have the best intentions for
writing, but every time they sit down, something comes up. Having Slack in your
cycle is going to give you a cushion, but you are also going to have to exercise
some personal commitment to the process. There are going to be times when you
don't want to write, and you have used up your slack. In those times, the only way
that your notes are going to get written is by personal willpower. There is nothing
fun about it: sometimes being a GM means work, but as a GM you have made a
promise to your players to deliver a session, so sometimes you have to put your
head down and get some writing done.
To help avoid that feeling of work, break down your notes into small, manageable
blocks of time. Don't try to write all your notes in a four-hour block on a
Wednesday evening. Instead, try breaking up your writing into four one-hour blocks
that you do from Sunday through Wednesday. A one-hour block is a special amount
of time. As said above, anything shorter is not productive. Also, a one-hour block is
fairly easy to re-schedule. If you can't write at your normal time, picking up an
hour later in the day is not that hard to do. It also avoids burn out, which can occur
with longer writing blocks.
Time Savers
The final technique is to look for ways to save time when putting your notes
together. Any way you can save time on your writing is going to speed up your
cycle and take stress off of you. There are many places you can save time in your
writing. Here is a short list of some useful techniques that will help you get your
notes written faster:
Pick the time savers that eliminate the parts of the session prep you find the most
tedious. If you don't like making maps, find them online. If you are always writing
the same things down for your session notes, create a template. By making the
more tedious parts of your session prep more automated, you can avoid that
feeling of dread each week as you put your notes together.
Putting It Together
Now that you have reviewed all of the factors that go into your writing cycle, it is
time to put them together and create your own writing cycle. Let’s look at how they
all go together:
• What kind of free time do you have? — This is going to show you when you
could be writing your game.
• How often are you playing? — This will determine the how long your cycle
can be.
• What kind of game are you running? — Does your setting require more or
less prep time?
• What kind of GM are you? — Will you need more detailed notes to be
comfortable, or will you improv more and use sparser notes?
• What is your creative cycle? — Target the times you write to the times when
you are most creative; use the less-creative times for more mundane
activities.
• Create slack in your schedule. — If you need a week to write your notes, give
yourself ten days.
• Motivate yourself. — Remember, you have made a commitment to your
players; use that knowledge when you need to motivate yourself into writing.
• Automate the repetitive or boring parts of your notes. — Find or build tools
to eliminate the parts of session creation that you find most tedious.
Your cycle will need to contain at least two parts: Brainstorming and Execution.
That is, you need to have time to generate ideas for future sessions, be it the next
session or three sessions down the road. Then you have to schedule time for
Execution—doing the actual session prep and getting your notes ready for the
upcoming game.
Depending on your frequency of play, you may have to be more creative with your
time. If you are running weekly, you need to be generating ideas for upcoming
adventures while you are writing the current week's adventure. If you are playing
bi-weekly or monthly, you will have time to have separate brainstorming and
execution activities.
The hardest part of the process is going to be determining how much time you
really need to prep your notes. There is no magic formula for this. The best thing to
do is pick an arbitrary amount of time, like 1 week. Try writing your session over
the course of a week. If you get to the end of the week, and you have a lot left to
write, or you felt very stressed or rushed in finishing within the week, then give
yourself some more time the next time you write. On the other hand, if you get to
mid-week and your notes are done, then feel free to shave a day or two off and
tighten up your cycle.
You will know when you have found the right cycle, when you reach the end of your
writing time (how ever long you have given yourself), and your notes are done, and
you do not have that feeling of stress or dread. You had a few interruptions during
your cycle, but you were able to make up the time or use up some of your slack
without getting into a crunch. It will take a few tries, but you will find it.
• What kind of game does he run? Does the setting likely require more or less
prep time?
• What kind of GM is Steve? (Make something up, or give options for different
styles.)
Meet Steve, the GM. Steve has a busy schedule which includes working nights at a data center, martial arts, and being active in his church. He
has a wife and two children, and dedicates time to his family. Steve runs a Star Wars d6 game bi-weekly, on Friday nights.
Steve has not yet developed a normal schedule for writing his session notes, and has been very stressed in getting his notes written for each
game. Below are Steve’s schedule and a personal heatmap of Steve’s creativity (red most creative…green least creative).
Time Sunday Monday Tuesday Wednesday Thursday Friday Saturday Time Heatmap
12:00 AM 12:00 AM
1:00 AM 1:00 AM
2:00 AM 2:00 AM
3:00 AM Work Work Work Work Work 3:00 AM
4:00 AM Sleep 4:00 AM
5:00 AM 5:00 AM
6:00 AM 6:00 AM
7:00 AM 7:00 AM
8:00 AM Sleep 8:00 AM
9:00 AM Church Service 9:00 AM
10:00 AM 10:00 AM
11:00 AM Sleep Sleep Sleep Sleep Sleep 11:00 AM
12:00 PM Sleep 12:00 PM
1:00 PM 1:00 PM
2:00 PM 2:00 PM
3:00 PM Family Time 3:00 PM
4:00 PM 4:00 PM
5:00 PM 5:00 PM
6:00 PM Church 6:00 PM
7:00 PM Family Time Martial Arts Martial Arts Service 7:00 PM
8:00 PM Girl Scouts Game Night 8:00 PM
9:00 PM 9:00 PM
10:00 PM Quality Time Quality Time Quality Time Quality Time Quality Time 10:00 PM
11:00 PM Work Work Work Work Work 11:00 PM
Steve needs 6 hours of brainstorming and 8 hours of writing. Referring to the questions on the previous page, develop a writing cycle for Steve.
SPONSORS OF GM-fu
The Masters of GM-Fu would like to thank the generous sponsors who made our workshop
even more exciting with the donation of their GM-friendly session prep supplements.