BUILDING CHARACTERS

For Writers and Roleplayers

Berin Kinsman
Dancing Lights Press

Copyright 2016, 2018 Berin Kinsman. All Rights Reserved.

No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical,
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The bearer of this electronic document has the express written permission of the
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CONTENTS
INTRODUCTION............................................................................................3
Using This Book............................................................................................................ 4
Creating and Resolving Confict......................................................................................6
The Character Creation Process.....................................................................................9
TYPES AND ROLES.....................................................................................12
Protagonists................................................................................................................ 12
Antagonists................................................................................................................. 24
Supporting Characters.................................................................................................34
Background Characters............................................................................................... 42
STAGES OF LIFE........................................................................................43
Using Stages of Life......................................................................................................43
DIMENSIONS.............................................................................................54
Physiology................................................................................................................... 54
Sociology..................................................................................................................... 60
Psychology................................................................................................................... 67
5. MOTIVATIONS........................................................................................74
Needs.......................................................................................................................... 74
Goals........................................................................................................................... 79
6. APTITUDES...........................................................................................84
Standard Aptitudes......................................................................................................84
7. EXPERIENCES........................................................................................96
Standard Experiences.................................................................................................. 97
8. RESOURCES........................................................................................110
Standard Resources...................................................................................................110
9. WONDERS...........................................................................................121
How Wonders Work....................................................................................................121
10. TELLING THEIR STORY.......................................................................125
Creating a Character Sheet........................................................................................125
Creating a Character Journal.....................................................................................128
EXCERPT: SETTING DESIGN...................................................................130
EXCERPT FROM STORY STRUCTURE.......................................................134

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INTRODUCTION
At the heart of all great stories are strong characters. It doesn’t
matter whether you’re reading a short story, writing a novel, or
watching a play. The characters found in TV series, comic books,
and games are more alike on a creative level than they are diferent.
The symbiotic relationship between character and story is universal
across media.
In this book, we’ll explore what goes into crafting memorable and
enjoyable characters. While the focus here is on tabletop roleplaying
games, I’ll be using writing terms rather than standard RPG jargon.
It’s not going to be about crunching numbers or picking abilities. I’ll
talk about writing your character, rather than just playing them.
Because while there are other hats that we wear around the table,
including those of performer and tactician, we’re all writers. Even if
we never put pen to paper or fngers to keyboard, it’s ultimately the
writer’s craft that we’re dabbling in.

Berin Kinsman
May 2016

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USING THIS BOOK
There are many elements that can go into the creation of a great
character. All of them are optional. Use as many of the elements
presented as you choose. Skip over any that don’t resonate with
you, or ft the project that you’re working on. All these elements are
system-agnostic and usable with any game mechanics, settings, or
genres.

RANKINGS AND RATINGS

There are two units of measure used throughout this book. They
can be used unmodifed with most roleplaying games that have a
core mechanic based on a twenty-sided die. For other roleplaying
game systems, only the numerical Ratings will need to be scaled. If
you’re using this book purely for writing projects, the Rankings and
Ratings can still be useful. Simply compare the character’s level of
ability to the task before them, and use that to decide their degree
of success or failure. The specifcs of how Ranking and Ratings
relate to individual elements are explained in the entries for those
elements.

Rankings

Many character elements have a descriptive Ranking. These can

refect a number of things, based on the nature of the specifc
element. It might be the breadth and depth of an ability, the
amount of resources that a character has access to, or how typical
some element is compared to what’s normative within the setting.
The Ranking levels are as follows:

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 Low – The element is absent, or falls into the lowest level possible.
Below Baseline – The element is statistically below typical.
Baseline – The element’s level is typical for the setting.
Above Baseline – The character is statistically above typical.
High – The element falls into the highest level possible.
From a story perspective, Rankings help to fag potential
conficts. A character with a low ability Ranking or few resources
will have difculties, to be sure. Other elements that fall outside the
norm will also present the opportunity for interpersonal conficts.
Characters that fall outside of physical or ideological norms can run
into problems with those who are considered normative. These
types of conficts will be addressed under the individual elements.

Ratings

Each ability has a numerical Rating from +5 to -5. This

represents where the character's ability falls relative to the baseline
for people in that genre, time, and place. Ratings are a zero-sum
game; for every +1, the character must have a -1 in something else.
-5 Dangerous in this area.
-4 Incompetent in this area.
-3 Obviously disadvantaged in this area.
-2 Disadvantaged in this area.
-1 Mildly disadvantaged in this area.
0 No natural Aptitude in this area.
+1 Slightly gifted in this area.
+2 Gifted in this area.
+3 Obviously gifted in this area.
+4 Brilliant in this area.
+5 Exceptional in this area.

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CREATING AND RESOLVING CONFLICT
The key purpose of a character in a story is to create and resolve
confict in an interesting way. No matter what type of story you’re
telling, or what sort of character you’re creating, you need to begin
with these questions:

What sorts of problems does this character create and resolve?

Every character will lean toward one or the other, but except for
the most minor of supporting characters all of your fctional people
will have elements of both. Positive change for one person invariably
creates negative change for someone else, and vice-versa. That’s
why even the darkest villain thinks they’re the hero of their own
story, and the most pure-hearted protagonist can fnd someone
cursing their name. Every element that you assign to a character
has to come with additional question:

How does this lead to internal and external confict?

Again, sometimes a given character element will lead to problems

for them and with other people, but can simply be one or the other.
An element doesn’t have to create a problem, though. If it doesn’t, it
should be an element that’s used to solve other problems. This
leads to the fnal question:

How does this help to resolve an internal or external problem?

Every choice you make for a character has to either create or

resolve some type of confict. It can do both, as appropriate. If you
remember that, and factor in things like genre, setting, and theme,
you’ll end up with a memorable character with plenty to do within
the context of the story.

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ASK WHY AT LEAST FIVE TIMES
It’s not enough to simply have a list of descriptive words and
phrases. You need to explore the reasons behind each element in
the context of the character, the setting, the theme, and the genre.
When looking the elements of your character ask yourself, why did
you select that element? Why did you, or the character, make that
decision? What is the purpose of selecting that trait? Why were they
part of that event? Dig a little bit deeper. Answer the question that
arises, and ask why again. Answer that and ask again, and again,
until you’ve asked at least fve times. By the fnal answer you’ll have
developed some deep back story around that element. You’ll begin
to start connect the elements into the whole that is your character.
You can begin by rephrasing a basic need or goal in the form of a
question. Let’s start with a basic physiological need: The character
needs food.

1. Why does the character need food?

She needs food because she’s hungry but has no money to buy
something to eat.

2. Why does she have no money?

She needs money because she doesn’t have a job and has no
savings.

3. Why doesn’t she have a job?

She has no job because she never fnished high school and has no
marketable skills.

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4. Why did she not fnish hiih school?

She dropped out of high school to take care of her younger

siblings.

5. Why does she have to take care of her brothers and sisters?

She takes care of her siblings because her parents are both
irresponsible alcoholics.
At any point you can ask a diferent question. Then you’ll give a
diferent answer, and end up with a diferent character. The choices
that the character makes, as refected in your answers, reveals
clues as to their personality and hints about other life experiences.
What you have in the end is the truth for this character. We know a
lot more about her now, including what happened to her in the past
and what sort of person she is. In the above example, we can see
that she’s a responsible person, If she’s not strong, she’s at least
trying to be. She didn’t walk away, or take after her parents,
because she’s trying to step up and care for her siblings. But she’s
clearly struggling, because she’s hungry.
As we look at her goals, we already have her motivation, we know
the stakes, and we can see the obstacles. Her goal is going to fnd
fnancial stability somehow. She can achieve that by getting a job,
establishing herself in a career, or otherwise acquiring money.
Maybe she’s an inventor, or a treasure hunter, or a thief. But her
motivation is to take care of her family. The stakes are survival, the
family breaking up, going hungry and becoming homeless. The
obstacles are her lack of skills and a poor perception of her own
worth and her possibilities.
Now we know her story. All this history will infuence the choices
you make for her, and that she makes for herself.

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THE CHARACTER CREATION PROCESS
Begin with a character in mind. Work through the book from
beginning to end. Following each step until you’ve created what you
want. You may end up with someone diferent than you intended.
You'll discover things you hadn’t imagined. That’s okay. That’s part
of the process of creating a three-dimensional character.

Types and Roles

Know the part the character will play in your story. Is she
intended to be the hero, or at least the star, of the story? Is he the
villain or provider of obstacles and difculties for the protagonist?
Or are they a supporting character? Ones you know their role, you
can decide on one of the many ways they might fll that role.

Stages of Life

At the beginning of your story, where is the character along the

journey from birth to death? How has the past shaped them into
the person they are at this moment? In what ways has the life
they’ve lived so far prepared them for what’s yet to come? What
stage of life are they transitioning out into?

Dimensions

Every character has three dimensions. Physiology is the

collection of advantages or drawbacks their body provides,
including their looks. Sociology is the environment that they’ve lived
in, and the impact it’s had on her or him. Psychology is how they
deal with all of the infuences and implications of the frst two.

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Motivations

Knowing where the character has been and who they are, what
drives them forward? Can you identify their present needs? Do they
have hopes, dreams, and aspirations? What do they stand to gain
or lose in pursuing their goals? What forces, whether people,
events, or resources, keep them from getting what they truly want?

Aptitudes

An aptitude is something that a character is naturally good at.

Technically, these talents are part of their physiology dimension. It’s
called out separately because there are numerical ratings attached,
for easier adaptation to roleplaying games.

Experiences

These are skills acquired from things the character has done.
Experiences include education, jobs, and hobbies. Technically part
of the sociology dimension, experiences are called out separately
and ranked descriptively for use in roleplaying games.

Resources

These are the assets that the character has available to draw
upon, They may also be things they lack. Resources include money,
possessions, reputation, and people they can call on for help when
they need it. They’re the spoils the character has accumulated from
their life story so far. As with experiences, resources are ranked
descriptively.

Wonders

A wonder is any sort of special ability, like magical spells or

super powers, that the character has. They’re weird because they

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can be an aptitude, an experience, or a resource. Not all characters
have wonders. Not all stories need them. It depends a lot upon the
setting, the time and place, and the genre your character exists in.

Telling Their Story

Finally, you’re going to want to record all the elements about

your character. This gives you both a starting point, and a reference
going forward as their story unfolds. You’ll want to keep track of
their history, and update it as they experience the world and new
and exciting things happen to them.

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TYPES AND ROLES
Every character has a part to play. Without them, there is no
story to tell. In most stories there are four basic character types:
Protaionists, Antaionists, and Supportini Characters. There
are also background characters, but they’re usually more set
dressing than characters. Each of these types is further broken
down into archetypal roles.
The way you write your character, the decisions that they will
make, and the back story that you create for them, begins with that
role. You should establish type and role frst, before feshing out
any other details.

PROTAGONISTS
The Protagonist is the main character in the story. They're
usually, but not always, the hero. They are the viewpoint character,
and we see and Experience the world through their eyes. Their
decisions and actions drive the events of the story. In a roleplaying
game, all the Players’ characters are Protagonists in an ensemble
cast.

Protagonist Roles

There are many archetypal roles that Protagonists can assume

within a story. A diferent role will alter the context of a character,
and result in a diferent story. Protagonist roles include the
Careiiver, the Innocent, the Leader, the Loner, the Lover, the
Monarch, the Saie, and the Warrior.

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THE CAREGIVER
The archetypal Caregiver is an emotional being, driven by
empathy and compassion. They need to express their emotions.
This often takes the form caring for other people or engaging in a
creative feld. A Caregiver often has difculty keeping their emotions
in check, and will speak and act based on passions and instincts.
Examples of the Caregiver include John Watson, Jane Eyre,
Leonard McCoy, Willow Rosenberi, Alfred Pennyworth, and
Carry Bradshaw. The Antagonist counterpart to the Caregiver is
the Aiiressor.

The Caregiver’s Values

The Caregiver needs their own self-expression, but is also

concerned about the feelings and well-being of others. They will
typically put the welfare of the Innocent and vulnerable ahead of
their own. Caregivers also worry about what other people think of
them, even though they will not usually seek thanks or validation.
As selfess as they seen, they do want to feel appreciated.
What the Caregiver dislikes are those who are not in touch with
their feelings. People who act without concern for the well-being of
others upset them. They don’t like people who consider Caregivers
to be lesser or subordinate because they are in touch with their
feelings. They often worry about literally or fguratively losing people
they care for.

Perceptions of the Caregiver

Other characters often see the Caregiver as weak, whiny, or

emotionally needy. Caregivers are sometimes dismissed as overly

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dramatic. They may be perceived to be sycophants interested in
nothing but pleasing other people.

The Caregiver’s Cast

The Destroyer’s drive toward mindless destruction and casual

cruelty is unfathomable to a Caregiver, and that generates drama.
The Innocent can provide the Caregiver with someone to watch
over and be responsible for. The Leader’s need to fulfll a mission or
plan in spite of emotional attachments can sometimes run contrary
to the needs the Caregiver. The Loner’s shell of solitude will prompt
the Caregiver to try to draw them out and understand their
introversion. The Lover will obviously be someone the Caregiver can
love, who will love and care for them in return.

THE INNOCENT
The archetypal Innocent is happy and confdent because life is
easy. They know that people are trustworthy. All their needs are
met. They have yet to Experience anything bad in their life; if they
have they’ve gotten through it with a smile on their face and a song
in their heart. An Innocent doesn’t act their age, sometimes because
they don’t want to, sometimes because they don’t know how to.
Examples of the Innocent include Dorothy Gale, Don Quixote,
Tom Sawyer, Forrest Gump, Jane Bennett, and Sansa Stark.
The Antagonist counterpart to the Innocent is the Drifter.

The Innocent’s Values

The Innocent values strong relationships with other people. They

like having new Experiences, discovering things, and meeting
people. The world afects them, but they choose to not let negativity

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get to them. What the Innocent really cherishes is their freedom,
even if that ironically means they’re dependent on other people.
What the Innocent dislikes are responsibilities. Those things cut
into their ability to have fun and enjoy life. They distrust people
who try to control them. They often fear they’ll have to “grow up”,
and that their friends will outgrow them and move on.

Perceptions of the Innocent

Other characters often see the Innocent as naive or stupid. To go

through life carefree means they don’t grasp the seriousness or
inherently tragic nature of life. Unscrupulous characters will try to
exploit the Innocent.

The Innocent’s Cast

The Aiiressor’s physical and emotional violence is something

that the Innocent isn’t equipped to deal with on any level. The
Destroyer makes it difcult for the Innocent to see nothing but
good in people as they pull things apart. The Judie will demand
that the Innocent grow up, and force them to deal with harsher
realities. The Leader will nurture the Innocent’s good nature, and
value their positive outlook on life. The Monarch knows that the
Innocent is the exact sort of person that needs their protection from
harm.

THE LEADER
The archetypal Leader is all about the job. What they do is the
core of their identity. It’s not that they don’t care about friends or
family, but all the Leader’s attention and resources focus on the

15
mission. A Leader is calm, organized, tactical, and tends to take a
long view of things.
Examples of the Leader include Spock, Minerva McGonaiall,
Sherlock Holmes, Mr. Darcy, Ma Joad, and Karin Murphy.
The Antagonist counterpart to the Leader is the Mastermind.

The Leader’s Values

The Leader values respect. They want to admiration and a

following. The means for gaining that respect is competition, with
themselves and others. Self-improvement is both a type of success
and a means to success. The Leader obsesses over self-image, and
what other people think.
What the Leader dislikes are the disorganized, unquantifable,
and uncontrollable things in like. Emotional outbursts make them
uncomfortable. They hate losing when they have done everything
right and followed a plan that should not have failed.

Perceptions of the Leader

Other characters often see the Leader as emotionless and robotic.

Their passions are things, rather than people. Those in
relationships with the Leader feel that they are less important than
the job, because they are.

The Leader’s Cast

The Careiiver creates a juxtaposition of goals-oriented

motivation and emotion-driven motivation. The Lover will
encourage the Leader to relax, let go, and enjoy life a little bit. The

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Saie’s unquantifable spirituality will be at odds with the Leader’s
pragmatic nature. The Destroyer will introduce chaos and
uncertainty into the Leader’s orderly and well-regulated life.

THE LONER
The archetypal Loner is a private person that prefers their own
company to the madness of crowds. It isn’t that they don’t like
people. There just fnd comfort and peace in being alone with their
thoughts. A Loner is often sensitive emotionally, with a rich inner
life. They can’t handle being with too many people at once.
Examples of the Loner include Willy Wonka, Miss Havisham,
Katniss Everdeen, Mycroft Holmes, Batman, and Beth March.
The Antagonist counterpart to the Loner is the Schemer.

The Loner’s Values

The Loner values solitude. They don't like feeling rushed or

forced to do things other than their own way. Relationships with
other people are on their own terms. They prefer one-on-one
interactions. The Loner requires a sense of balance in their life.
What the Loner dislikes are complications. Messy emotional
entanglements, dependence on other people, and losing
independence are big issues. The Loner hates being the center of
attention, preferring to be the silent partner in the background.

Perceptions of the Loner

Other characters see the Loner as aloof and distant. They seem
lazy, because do things at their own pace. A Loner is a good
listener, as they let others do most of the talking.

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The Loner’s Cast

The Careiiver understands and respects the Loner’s need for

solitude as a form of self-care. The Destroyer knows threats to
other people are among the few things that will cause a Loner to
spring into action. The Drifter’s reckless and antisocial nature
means they are often mistaken for Loners. The Innocent is
accepting of Loners and willing to relate to the Loner on his or her
terms. The Player will try to take advantage of the Loner’s solitary
nature and desire for close one-on-one relationships. The Tyrant
will try to force the Loner into doing things he or she doesn’t want
to do and seek to take away their freedom.

THE LOVER
The archetypal Lover is a confdent and sensual person. They
knows what they want and aren’t ashamed to go after it. The Lover
doesn’t care what people, and won’t allow gossip alter their pursuit
of happiness. They do enjoy being the center of attention.
Examples of the Lover include James Bond, Jessica Rabbit,
James T. Kirk, Captain Jack Harkness, Phryne Fisher, and
Blanche Devereaux.
The Antagonist counterpart to the Lover is the Player.

The Lover’s Values

The Lover values close relationships and deep connections with

people. They need to be in charge of their own life and their own
choices. Self-expression is as important as breathing.

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 What the Lover dislikes is being hurt emotionally. They will go to
great lengths to avoid it, and try to not let it show when they are. A
Lover does not like losing relationships, or losing control.

Perceptions of the Lover

Some see the Lover as immoral. Others view them as a rebellious

hero faunting social convention. They are either vilifed or glorifed
for their unapologetic lifestyle. The Lover is rarely given a fair
assessment or treated as a balanced and well-rounded person.

The Lover’s Cast

The Careiiver will see the Lover as a complete person, not just a
single-minded one-note caricature. The Judie will draw negative
attention to the Lover and heap grief on them for shamelessly being
who they are. The Loner shares an appreciation for both close
emotional relationships and personal privacy. Another Lover will
want the same things and pleasures, but their relationship can
become a competition. The Saie also appreciates spiritual pursuits
that can heighten senses and open up new Experiences. The
Warrior lives a life centered on physicality, even though they
express themselves in diferent ways.

THE MONARCH
The archetypal Monarch is a dominant personality bordering on
being a force of nature. They command respect and exude
authority. Where the Leader lives for the job, the Monarch is the
job. A Monarch focuses on the big picture. They have a long plan for
the realm they are in charge of. The needs of their domain as a

19
whole will outweigh the needs of any individual. They love
demonstrating what they are the best at through competition.
Examples of the Monarch include Arthur Pendraion, T'Pau,
Daenerys Tariaryen, Claire Underwood, Tony Soprano, and
Captain Ahab.
The Antagonist counterpart to the Monarch is the Tyrant.

The Monarch’s Values

The Monarch values what they are in charge of. They take pride
when the domain does well. They value respect, loyalty, and the
devotion of those in their charge. Members of their inner circle are
the only people they fully trust. The Monarch values traditions that
support and validate their own power.
What the Monarch dislikes are emotions, considered a weakness.
Love of tradition competes with a discomfort for sentimentality. The
Monarch fears younger, more capable rivals seeking to depose them
from their position.

Perceptions of the Monarch

Other characters see the Monarch cold. They are capable,

trustworthy, and confdent. Others think the Monarch is
egomaniacal, controlling, and obsessed with power. The strength
the Monarch projects is their defning characteristic.

The Monarch’s Cast

The Careiiver provides juxtaposition between empathy for

individuals and the needs of the bigger picture. The Destroyer
threatens to ruin all that the Monarch has built, and undermine
their role a protector. The Mastermind will plot to weaken the

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Monarch’s domain and try to steal their power. The Player will prey
upon the Monarch’s loneliness to take advantage of their power and
infuence. The Saie will be among the few that treat the Monarch
as a whole person rather than a fgurehead.

THE SAGE
The archetypal Sage is a keeper of secret knowledge. An
enlightened being, they seek to spread peace, love, and wisdom. A
Sage is able to see the big picture from a spiritual perspective. They
are patient, kind, and giving of themselves.
Examples of the Sage include Galadriel, Obi-Wan Kenobi,
Robin Hood, Paul Atreides, Luna Loveiood, and River Tam.
The Antagonist counterpart to the Sage is the Judie.

The Sage’s Values

The Sage values the concerns of others. He or she is a good

listener, which allows connecting with the divine spirit present in
other people. They like children and animals for their purity and
simplicity.
What the Sage dislikes are people who lead others toward
corruption and falsehood. They fear being misunderstood, and the
distrust and mistreatment that can follow such misunderstanding.
The Sage has personal demons to wrestle with, which are often
what drove them to seek wisdom and enlightenment.

Perceptions of the Sage

Other characters see the Sage as a welcome teacher and Mentor.

They may also see a dangerous lunatic, or fraud that needs to be

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silenced. Opinions depend on whether they agree or disagree with
the Sage’s spiritual views.

The Sage’s Cast

The Destroyer is the antithesis of the loving, healing spirit that

the Sage seeks to embody. The Innocent naturally possess the sort
of purity of spirit that the Sage works to achieve. The Mastermind
creates juxtaposition between selfshness and the Sage’s
selfessness. The Player’s philosophy of using people for personal
gain runs counter to the Sage’s helping others. Another Sage’s
diferent approach to spirituality can create the problems a Sage
fears most. The Tyrant will seek to suppress the Sage’s message or
twist it to support their oppressive regime.

THE WARRIOR
The archetypal Warrior is a physical, rather than intellectual,
being. They live for the moment and eschew the long view for
immediate gratifcation. The Warrior is willing to take risks, but
doesn’t stop to consider the consequences.
Examples of the Warrior include Buffy Summers, Jack Aubrey,
Robb Stark, Briiadier Sir Alistair Gordon Lethbridie-Stewart,
Lucy Pevensie, and Wonder Woman.
The Antagonist counterpart to the Warrior is the Destroyer.

The Warrior’s Values

The Warrior values loyalty, and fercely defends friends and

family. He or she is competitive, especially in physical arenas,
because the Warrior loves to test their abilities. They live for

22
physical ftness, because the body is their instrument and makes
what they do possible. What the Warrior loves most is action.
What the Warrior dislikes are the failings of their own body. They
don’t fear losing as much as not being able to compete. They don’t
fear getting hurt as much as they fear letting themselves and other
people down.

Perceptions of the Warrior

Other characters see the Warrior as anti-intellectual due to their

obsession with physicality. The Warrior can be trusted and valued
in their own area of expertise, but rarely beyond it. People fnd them
attractive, intimidating, or a combination of the two.

The Warrior’s Cast

The Careiiver will be there to help the Warrior with their

injuries from competition and battle. The Innocent gives the
Warrior someone to protect and defend from the harsher aspects of
the world. The Judie will devalue what the Warrior does while
simultaneously wanting to use them. The Leader will have need of
Warriors, and treats them with honor, dignity and respect. The
Monarch will see the Warrior as a resource to be used, leading to
conficted relationships. The Saie’s spiritual focus can either
balance out or come into opposition with the Warrior’s nature.

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ANTAGONISTS
The Antagonist is the bad guy in the story. They’re typically a
villain or rival, whose mission is to make life difcult for the
Protagonist. They have their own goals and motives that confict
with those of the Protagonist. Antagonists provide the majority of
the obstacles that Protagonists have to overcome. In a tabletop
roleplaying game, the gamemaster plays the Antagonist.

Antagonist Roles

There are specifc archetypal roles that Antagonists play within a

story. Even with the same genre, time and place, and structure, a
diferent Antagonist role will alter the context and result in a very
diferent story. Antagonist roles include the Aiiressor, the
Destroyer, the Drifter, the Judie, the Mastermind, the Player,
the Schemer, and the Tyrant.

THE AGGRESSOR
The archetypal Aggressor runs on pain and revenge. They feel the
world is against them. In their view, the world has cheated them out
of things rightfully deserve. An Aggressor uses emotional
connections with people to manipulate and control them. If that
doesn’t work, they will resort to fear and intimidation. They may be
physically or emotionally abusive. The Aggressor embodies
contradictions and double standards, as the rules they apply to
others don’t apply to them.
Examples of the Aggressor include Livia Drusilla, Norma
Bates, The Joker, Ralph Cramden, Humbert Humbert, and
Olivia Foxworth.

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 The Protagonist counterpart to the Aggressor is the Careiiver.

The Aggressor’s Values

The Aggressor values their needs above anything else. They will
claim to want respect, but actually want power and control. They
like things to meet a particular standard that they set.
What the Aggressor dislikes are boundaries and limitations to
their own desires. They will not react favorably to others trying to
control. The Aggressor refuses accountability for their own actions,
as they feel other people drive them to behave as they do.

Perceptions of the Aggressor

Other characters often see the Aggressor as a person in pain.

They sense the deep emotions and the depth of what they care
about. As they get to know the Aggressor, they learn that how
manipulative and violent they become when Aggressors don’t get
their way.

THE DESTROYER
The archetypal Destroyer is a physical being. They are neither in
touch with, nor concerned about, their intellectual and emotional
sides. Their limited relationships are with people who make them
look good — a trophy spouse, an entourage, servants, henchmen —
or useful people who can help further their ambitions. The
Destroyer will take the fastest, coarsest path to get what they want,
leaving destruction in their wake.
Examples of the Destroyer include Ser Greior Cleiane, Luca
Brasi, Malefcent, Mr. Blonde, Goio Yubari, and Katherine
Pierce.

25
 The Protagonist counterpart to the Destroyer is the Warrior.

The Destroyer’s Values

The Destroyer seeks victory above all and at any cost.

Competition is a chance to show dominance. They like to make
grandiose demonstrations of power and control. The Destroyer
demands loyalty but doesn’t always respect it; they see
subordination as weakness.
What the Destroyer hates most is losing. They worry about what
others will think if they fail. They fear others seeing them as weak.
They don’t like anything that challenges their dominance.

Perceptions of the Destroyer

Other characters see the Destroyer as an intimidating fgure.

They perceive the Destroyer to be unintelligent, childish, and
petulant. While handsome and charming in the right circumstance,
they aren’t trusted.

THE DRIFTER
The archetypal Drifter is emotionally detached from their
surroundings. They do their own thing, regardless of social norms
and potential consequences. Disrupting the social order while
anonymously standing back and watching panic and mayhem
unfold is their idea of a good time. This behavior is often self-
destructive. The Drifter has no strong connection to a specifc place.
They can move around as needed if things get too boring or the
authorities get too close.

26
 Examples of the Drifter include Travis Bickle, Randall Flaii,
Faith the Vampire Slayer, Gollum, Milady de Winter, and
Harley Quinn.
The Protagonist counterpart to the Drifter is the Innocent.

The Drifter’s Values

The Drifter values their freedom and amusement above all. The
more bored they become, the more motivated they are to fnd
something to entertain them. What matters is the immediate
gratifcation of their needs.
What the Drifter dislikes are attachments. The Drifter will seek to
free themselves from such restrictions up to and including the
destruction of whatever is holding them back.

Perceptions of the Drifter

Other characters see the Drifter as reckless and mentally

unstable. The Drifter may take steps to leave a better impression to
preserve their anonymity or maintain a disguise. They can be
charming, or intimidating, or nondescript as needed, so the people
don’t pay much attention to them.

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THE JUDGE
The archetypal Judge always has their specifc version of the
greater good in mind. They want to shape society to ft their
personal vision. They deal with anyone who does not follow the
rules. The Judge believes that they are the good guy and has a
never-ending supply of rationalizations for their behavior.
Examples of the Judge include Inspector Javert, Judie Doom,
the Queen of Hearts, Holden Caulfeld, Dolores Umbridie, and
Ebenezer Scrooie.
The Protagonist counterpart to the Judge is the Saie.

The Judge’s Values

The Judge wants obedience to their authority. Their upbringing

instilled these values, or something happened in their life that
brought them to these views. They enjoy power and control over
other people, and wield it without mercy or exception. They may
consider themselves above the rules, but consistently apply them to
others.
What the Judge dislikes are those who evade their brand of
justice. They will go to extremes to insure no one escapes the
punishment they deserve. They will not allow undermining of their
authority.

Perceptions of the Judge

Other characters often see the Judge as a necessary evil. Some

will see them as abusive and power-mad, pushing an ideology that
is not in the interests of society. Most agree some of things the

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Judge seeks to punish aren’t crimes, and that the punishments
tend to be excessive for nature and degree of the ofense.

THE MASTERMIND
The archetypal Mastermind focuses on a singular goal to the
exclusion of all else. They do anything to achieve that goal, with no
regard for morals, ethics, or the law. Masterminds take a long view
toward the execution of their master plan. Their loyalty is to their
vision alone, and extends to other people only if they contribute to
achieving that vision.
Examples of the Mastermind include Voldemort, Lady Macbeth,
Captain Nemo, Bellatrix Lestranie, Nurse Ratched, and Lex
Luthor.
The Protagonist counterpart to the Mastermind is the Leader.

The Mastermind’s Values

The Mastermind values order and control. They need to be the

smartest or most powerful person in the room. The Mastermind
loves to show of. If they can’t gain legitimate respect or admiration,
they’ll settle for fear.
What the Mastermind dislikes are challenges to their authority. It
takes little to bruises their ego. Their calm exterior will dissolve into
emotional outbursts. Chaos is met with violence. The exercise
control and enforce order through a show of power and strength.

Perceptions of the Mastermind

Other characters see the Mastermind as a necessary evil at best.

If they didn’t need the results that the Mastermind is capable of
producing, they wouldn’t want anything to do with them. The

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Mastermind is more typically seen as an oppressor, best avoided or
escaped from.

THE PLAYER
The archetypal Player sees others as playthings. They don’t care
who gets hurt, as long as it isn’t them. The Player is usually
attractive and charismatic, and they use those traits to manipulate
others to get what they want. They love taking risks, but someone
else takes the fall when things go wrong.
Examples of the Player include Dr. Frank-N-Furter, Mr.
Wickham, Princess Ardala, Delilah, Don Draper, and Mrs.
Robinson.
The Protagonist counterpart to the Player is the Lover.

The Player’s Values

The Player enjoys personal pleasures and the thrill of scandal.

This leads them to engage in reckless behaviors bordering on self-
destructive. They also love the power they have over people. They
love attention, as long as it’s getting them what they want.
What the Player dislikes are people who Judge them. When
exposed, they will push things to extremes and faunt the control
they hold over people. They fear losing their looks and their charm
and, by extension, their power over others. The Player will go do
just about anything to hold onto any advantage they have.

Perceptions of the Player

Others see the Player as the embodiment of moral decay. Some

look up to them for their carefree, take-what-I-want lifestyle. They

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are clearly a sinner, but whether that qualifes as vice or virtue is in
the eye of the beholder. Most who admire the Player aren’t directly
under their sway, or at least aren’t willing to admit it.

THE SCHEMER
The archetypal Schemer sits in the middle of a web, pulling
strings and manipulating situations. They prefer to work alone,
sharing plans only with those who need to know. They do things
because they can. The Schemer will become the embodiment of
terror if discovered. There's no way to know how far their reach is,
who they have under their control, or what they’ll do to the person
who’s found them out.
Examples of the Schemer include Hannibal Lecter, Frank
Underwood, Mrs. Danvers, Walter White, Jamie Moriarty, and
Morian le Fay.
The Protagonist counterpart to the Schemer is the Loner.

The Schemer’s Values

The Schemer values privacy and secrecy. The thrill of what

they’re doing isn’t in achieving it, but in getting away with it. That
sensation lingers the more time passes with no one fguring it out.
They prize their own intelligence and cleverness, and love
opportunities to exercise those traits.
What the Schemer dislikes are people unswayed by their charms.
They hate people who suspect their motives. They don’t like being in
crowds or other situations that they can’t control.

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Perceptions of the Schemer

Others see the Schemer as an average, ordinary person. They

seem kind and generous. They don’t seem exceptional in any way,
if that’s the image they want to project. The Schemer may also be a
pillar of the community, a good person, and a role model, if that’s
the persona they’ve adopted.

THE TYRANT
The archetypal Tyrant seizes power by force. They are rarely the
champion of an ideology, or possessed of qualifcations and
Leadership ability. They demand and receive respect through fear
and abuse of authority. Tyrants are emotional beings but rarely
able to express themselves without extremes. They often have a
small inner circle that they love but don’t entirely trust.
Examples of the Tyrant include Vito Corleone, Sauron, the
White Witch, Tywin Lannister, Galina “Red” Reznikov, and
Fiona Goode.
The Protagonist counterpart to the Tyrant is the Monarch.

The Tyrant’s Values

The Tyrant values what they are in charge of, not for its inherent
worth but as a symbol of their authority. They like grandiose
displays of power. The Tyrant will integrate traditions and
prophecies that support their power into their personal mythology.
They like obedience, and punishing those who don’t follow their
demands.
What the Tyrant dislikes are people who see that they’re just a
bully with delusions of grandeur. They hate competition unless

32
guaranteed to win. Challenges to their authority are particularly
hard to handle when they’re based in truth.

Perceptions of the Tyrant

Others see the Tyrant as emotionally unstable and terrifyingly

dangerous. Their egos need stroking to prevent vindictive outbursts.
Some might see good qualities when the Tyrant’s goals align with
their own, and fnd justifcation for the Tyrant's extremes. They still
probably have concerns for the long-term viability of the Tyrant’s
Leadership and their own safety.

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SUPPORTING CHARACTERS
The supporting characters in a story are the friends, family
members, and colleagues the Protagonist. They have names and a
little bit of back story. In a tabletop roleplaying game, the
gamemaster plays most of the supporting characters. They are
sometimes assigned to Players.

Supporting Roles

Supporting character exist for several reasons. They get to inject

an opinion or a point of view into the story. They compensate for
abilities that the Protagonist doesn’t possess. They perform boring
tasks of-screen to keep the story moving forward. Most
importantly, supporting characters provide people for the
Protagonists to interact with.
Because the role of a supporting character is signifcantly
diferent from a Protagonist or Antagonist, they are described
slightly diferently. Their role is based more on their story function
than their personality.
Supporting character roles include the Cavalry, the Hindrance,
the Mentor, the Resource, the Sidekick, the Skeptic, the Voice of
Emotion, and the Voice of Reason.

THE CAVALRY
The Cavalry provides the Protagonist with backup in combat
situations. They may be along for big, planned battles against the
Antagonist and their forces, or appear suddenly at the right
moment to save the Protagonist from impending doom. The Cavalry

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character is all physicality, and if they say anything it’s often to jibe
at the Protagonist for needing their help.
The archetypal Cavalry character is ideologically aligned with the
Protagonist. They are often paid by the same organization the
Protagonist works with. There is often a sense of camaraderie
between the Cavalry character and the Protagonist.
Examples of the Cavalry character include: Lando Calrissian,
"Dum Dum" Duian, Éomer, River Soni, Cordelia Chase, and
Michonne.

Why You Need a Cavalry Character

If your stories skew toward action and combat, your Protagonists

are going to run into trouble. Even if things are balanced so
challenges don't put characters in over their heads, sometimes
things go wrong. Establishing that there is someone standing by to
help avoids making the rescue feel like a deus ex machina.

THE HINDRANCE
The Hindrance character exists to get in the way. They show up
in the wrong place at the wrong time. They distract the Protagonist.
They discover things that the Protagonist doesn’t want them to
know. They're human obstacles. The Hindrance isn't a bad person.
They may mean well, but tend to have terrible timing, misguided
instincts, and a knack for getting into trouble. They won’t do
anything seriously harmful as an Antagonist would, though.
The archetypal Hindrance may not know that their actions create
problems for the Protagonist. They might not do anything on
purpose, it’s just who they are. They may be jealous or competitive.

35
They might see interfering with the Protagonist as necessary to
protect the greater good.
Examples of the Hindrance include Gladys Kravitz, Walter
Peck, Saruman, Lois Lane, Marie Barone, and Dr. Zachary
Smith.

Why You Need a Hindrance Character

Sometimes you need an obstacle that doesn’t involve a true

Antagonist. You need someone that the Protagonist won’t want to
throw in jail and can’t justify killing. A Hindrance provides some
moral grounding, and can also act as comic relief.

36
THE MENTOR
The Mentor’s purpose is to advise and instruct the Protagonist.
They provide education and training necessary to meet personal
and story goals. Their role might be formal, like a teacher, parent,
or other ofcial authority fgure. It might be informal, like a friend,
neighbor, or acquaintance who ofers help because they care about
the Protagonist. The Mentor may also have a specifc agenda, and
needs the Protagonist’s aid in order to fulfll it.
The archetypal Mentor often shepherds the Protagonist and keep
them safe until they are ready to stand on their own. They insure
that the Protagonist accomplishes whatever mission or duty they
need to complete to further the cause. The Mentor is loyalty to the
Protagonist, and to the cause.
Examples of the Mentor include Merlin, Minerva McGonaiall,
Rupert Giles, Leslie Thompkins, Ninny Threadioode, and Dr.
Emmett "Doc" Brown.

Why You Need a Mentor Character

All Protagonists need guidance. A Mentor can act as the author’s

voice, reminding everyone what the plot is, what needs to be done,
and what the stakes are. They can also ofer up a plan when the
Protagonist is stumped or in need of a hint.

THE RESOURCE
The Resource character provides the Protagonist with something
they need. They typically deal in information, equipment, or
specialized expertise like medical care. Most Resources specialize

37
in one thing, but usually know someone who can acquire other
things the Protagonist may need.
The archetypal Resource character may or may support the
Protagonist’s ideals. They don’t work for free, and are paid by the
Protagonist or the organization the Protagonist works for. They may
also expect favors or rewards in return for the goods and services
they provide.
Examples of the Resource character include Maj. Geoffrey
Boothroyd, Oracle, Saul Goodman, Sam Axe, Radical Edward,
and Galadriel.

Why You Need a Resource Character

You may need several, depending on the types of resources your

story requires. Resource characters keep the story moving by
allowing acquisition of knowledge and gear to happen away from
the Protagonists, so that necessary things are there when needed.
They allow the Protagonists to concentrate on what needs doing,
rather than getting bogged down in logistics.

THE SIDEKICK
The Sidekick is the Protagonist’s faithful companion. They’ll stick
with them through thick and thin. A sidekick is often a “lite” version
of the Protagonist. They might also be a mismatched opposite, to
provide juxtaposition. They exist to remind us of the sort of person
the Protagonist is.
The archetypal Sidekick admires the Protagonist and believes in
their goals. They see the Protagonist someone they want to be or be
like and are proud to associate with. The sidekick’s primary

38
motivation is to clear obstacles, aid the Protagonist, and keep them
on track.
Examples of the Sidekick include Robin, Gabrielle, Chewbacca,
Tinkerbell, Stephen Maturin, and Chloe O'Brian.

Why You Need a Sidekick Character

The Sidekick makes the Protagonist look good. They also

humanize the Protagonist by allowing them to be a teacher or
parental fgure. They provide a moral compass by forcing the
Protagonist to be a good role model.

THE SKEPTIC
The Skeptic’s purpose is to question everything. They challenge
the Protagonist’s decisions, and actions. They also provide context
by ofering alternate opinions and explanations. Arguing serves
either intellectual or entertainment purposes.
The archetypal Skeptic character subjects everything to extreme
levels of scrutiny. They look for faults and faws. They question the
Protagonist as a means of keeping them safe, checking that they’re
certain about what they’re doing. Their values may also run
contrary to the Protagonist’s ideas and beliefs.
Examples of the Skeptic include Eric Cartman, Zoe
Washburne, Sheldon Cooper, Leonard McCoy, Lisa Cuddy, and
Shirley Bennett.

Why You Need a Skeptic Character

A Skeptic forces the Protagonist to explain things. This can helps

them to clarify their plans in their own head to articulate them. A

39
rash Protagonist will have to reconsider bad idea. A wise
Protagonist will have an opportunity to display their brilliance.

THE VOICE OF EMOTION

The Voice of Emotion is there to take everyone’s feelings into
consideration. They have a love of humanity and appreciation for
the human condition. They will speak up for those who do not have
voices, and try to keep the peace between other characters. The
Voice of Emotion can sometimes be self-centered when their feelings
aren’t acknowledged.
The archetypal Voice of Emotion expresses concern for other
people. They want to be sure that human costs factor into every
decision, especially tactical and fnancial ones.
Examples of the Voice of Emotion include Marianne Dashwood,
Will Robinson, Dr. James Wilson, Dale Cooper, Phoebe Buffay,
and Kaylee Frye.

Why You Need a Voice of Emotion Character

It’s easy for Protagonists to get so caught up in advancing the

story that they forget other characters exist. The Voice of Emotion is
there to remind them. They keep the story from running on rails,
and force characters to behave like real people.

THE VOICE OF REASON

The Voice of Reason is in a story to cut through emotional
arguments and get to the facts. They try to be objective and see all
sides of a situation. They make decisions based on what will
generate the best results with the fewest risks. Some see the Voice
of Reason as a cold, calculating person. Sometimes their decisions

40
will result in people getting hurt. They see it as doing what is
necessary in service to the greater good.
The archetypal Voice of Reason pursues truth and purpose. They
will always side with the facts. They feel that any short-term hard
feelings will be overcome by long-term results. They follow rules as
long as those rules make sense, and expect others to do the same.
Examples of the Voice of Reason include Jiminy Cricket, Shui
Avery, Mariaret Houlihan, Randle McMurphy, Chief Mate
Starbuck, and Granny Weatherwax.

Why You Need a Voice of Reason Character

It’s easy for Protagonists to get so caught up in advancing their

personal agendas that they forget the point of the story. The Voice
of Reason is there to remind them. They keep the story from tuning
into a rambling mess, and force characters to behave responsible.

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BACKGROUND CHARACTERS
Background characters serve minor story functions. They have
few or no lines of dialog. They have partial names (Sam, Dr. Smith,
Mrs. Jones) or just job titles (waiter, taxi driver, police ofcer). Their
main function is to make a location feel real and alive. They are
often literally in the background.
There’s no need to create much of anything for a background
character. Nothing that they exist is enough, unless the Protagonist
decides to interact with them. In that case, you can either add
details on the fy, or point out that it’s just a background character
with no story signifcance.

42
STAGES OF LIFE
There are some things that all people, real or fctional, have in
common. We’re born, we grow up, we fnd jobs or careers, we fall in
love, and at some point we die. Every person and every character is
somewhere in that cycle. Often, stories are about how a character is
transitioning from one stage of life to another. Each presents a
diferent set of personal obstacles that need to be faced and
overcome.

USING STAGES OF LIFE

By understanding the stage of life that the character is currently
in, you’ll know what they’ve already Experienced and what
potentially lies ahead for them. That will help you later when
determining their needs, goals, and motivations. A child has
diferent needs than an adolescent or a character in mature
adulthood. A character seeking belonging, or heading into the world
on their own for the frst time, has diferent goals that one safely
taken care of at home.
The point is that characters are always moving away from
something and toward something else. No matter what they want,
no matter what else do, the world and their own circumstances will
change. This creates points for conficts to occur. How the character
deals with those conficts creates potential for story.
While a character’s innate Aptitudes will stay the same or decline
over the course of their life, their Experiences will broaden, deepen,
and change. There is no set formula for the degree and timing of

43
these changes. This will be explained in greater detail in the
sections on Aptitudes and Experiences.
The stages of life that we’ll deal with here are childhood,
adolescence, separation from parents, initiation, romance, midlife,
mature adulthood, and death.

CHILDHOOD
The span of time from birth to adolescence constitutes the
character’s formative years. The things that happen then will afect
them for the rest of their life. How they relate to parents and
siblings later starts here. The relationships that have with other
children, teachers and other adults will afect other relationships
going forward. The general stability of their life will impact how they
see the world.
What happens in the character’s childhood that sets the stage for
future conficts?
Does the character remember a specifc event that has left them
with a lasting fear? Was there a person whose behavior made the
character dislike them, and other people like them? Is there
something the character Experienced that they never want to have
to deal with ever again?
Are these conficts internal and personal struggles or external
issues involving other characters?
Did something in childhood create an avoidance behavior, which
keeps the character from dealing with a current issue? Was there
an incident that permanently afected the way the character feels
about themselves? Did another character create a lifelong distrust
of people who display certain traits?

44
 What happens in the character’s childhood that sets the stage for
future confict resolution?
What abilities did the character learn, that they can continue to
develop through their other stages of life? What events did they
Experience that made them interested in particular careers and
hobbies? What friends did they make, and what sorts of people did
they learn to deal with?
Will the problems resolved be internal and personal ones, or
external ones impacting other characters?
Did the character’s childhood drive them toward dependence on
other people, or foster self-reliance? Do the choices the character
makes based on childhood Experiences only afect them, or will
they afect relationships with other people? Does the way they were
treated as a child change the way they treat other people later in
life?

ADOLESCENCE
During adolescences characters are trapped between childhood
and adulthood. They are only beginning to fgure out who they are
and what they want to be. As with childhood, their quality of life
during this period will shape their world view. The types of
relationships they have will set the pattern for future relationships.
Among other things, most characters will have their frst romantic
encounters during adolescence.
What happens in the character’s adolescence that sets the stage
for future conficts?
What biases did the character develop, as they began to grow
into their own person? What rivals did they gain because of

45
diferences of opinion? How did their world view change in a way
that continued into later stages of life?
Are these conficts internal and personal struggles or external
issues involving other characters?
Did the character’s adolescence instill them with a sense of
confdence, or awkward self-consciousness? Did they feel that we
from within, or because of the actions of other people? Did they
have rivals to tear them down, or Mentors to build them up?
What happens in the character’s adolescence that sets the stage
for future confict resolution?
What did the character learn that put them on the path toward
their career? How did early romantic encounters prepare them for
later relationships? What hobbies and friendships did they begin
here, that will carry forward into other stages of life?
Will the problems resolved be internal and personal ones, or
external ones impacting other characters?
Does the level of self-esteem the character felt as an adolescent
make them shy or outgoing? Do they hide their accomplishments,
or lord them over other people? Do they make things about
themselves, or about other people, because of events that happened
at this stage?

SEPARATION FROM PARENTS

At some point during late adolescence or early adulthood, the
character will go of on their own. They will have to learn fend for
themselves. They might go to college, be apprenticed to a master in
order to learn a trade, join the military, or get a job. They will learn
to operate independently of their previous fnancial and emotional

46
support systems, and develop new ones. During this time most
characters also develop their frst serious romantic relationship,
and take the frst steps along their career path.
What happens in the character’s separation from their parents
that sets the stage for future conficts?
Did the character move out by choice, or did someone or
something force them to leave the nest? Were they comfortable, or
did they struggle on their own? Did the character’s parents approve
of what they were planning to do when they left?
Are these conficts internal and personal struggles or external
issues involving other characters?
What mistakes did the character make that will haunt them for
years to come? Have other people interfered with their success or
failure? What do they feel are their failings at this stage of life?
What happens in the character’s separation from their parents
that sets the stage for future confict resolution?
What did the character learn about success at this stage? What
life lesson will they repeat? What relationships and resources did
they gain that will help them in the future?
Will the problems resolved be internal and personal ones, or
external ones impacting other characters?
What do they consider their strengths at this stage of life? What
victories did they score that will give them confdence going
forward? Who helped the character and inspired them to pay it
forward?

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INITIATION
All people want a sense of belonging. At some point every
character will join a group. It might be a formal organization with a
stated purpose, or a bunch of friends who hang out and engage in
common interests. The group might be related to the character’s
career goal, a favorite hobby, or shared ideologies. Relationships
will be formed that will last a lifetime, and the character will get
their frst opportunities to network.
What happens in the character’s group that sets the stage for
future conficts?
What disagreements happened within the group that the
character still can’t let go on? How did the way conficts were
resolved within the group afect the way the character handles
disputes? Who ended up becoming a lifelong foil for the character?
Are these conficts internal and personal struggles or external
issues involving other characters?
Do the character’s Experiences cause them to put their own
interests frst, or to favor the good of the group and its members?
Do they tend to speak up when they disagree with the group, or
keep it inside? Is the character easy to work with, or do other fnd
them difcult?
What happens in the character’s group that sets the stage for
future confict resolution?
What abilities did the character gain that allows them to work
well with others? What contacts and relationships will they leverage
later? How did the group’s purpose let them learn valuable lessons?
Will the problems resolved be internal and personal ones, or
external ones impacting other characters?

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 Did the group help the character learn something about
themselves? Did the group afect how the character interacts with
other people? What sorts of situations can the character now
resolve with ease because of something that happened in the
group?

ROMANCE
At some point most characters will form some sort of lasting
romantic partnership. It might not be marriage, but it will involve
commitment. Alternately, the character may decide against taking a
partner for some reason. They may be unable to fnd the right
person to settle down with. This is a major milestone in a
character’s life and this relationship, or lack thereof, will afect all
sorts of other major life decisions.
What happens in the character’s love life that sets the stage for
future conficts?
What goes wrong that hurts the character’s confdence? What
happens that afects the character’s reputation? What unrequited
loves and rivals does the character meet, that reappear later in their
life?
Are these conficts internal and personal struggles or external
issues involving other characters?
What hang-ups does the character have that impact their
romantic entanglements? What behaviors do they display that
others fnd of-putting? What sorts of fears can they not manage to
overcome?
What happens in the character’s love life that sets the stage for
future confict resolution?

49
 What goes well that bolster’s the character’s confdence? What
Experiences or advice do they get that guides them into better
relationships later in life? What friends do they gain that they can
share the highs and lows of their love life with?
Will the problems resolved be internal and personal ones, or
external ones impacting other characters?
Is the character better at managing their own love life, or in
giving relationship advice to others? Can they apply their
Experiences to helping other people? Can they manage to handle
their own emotional baggage?

MIDLIFE
There is a point in adulthood where the character is settled. They
have completed their education, they are supposed to be
established in their career, and they are expected to have a
relationship and possibly a family. All of the milestones have been
checked of. At least, most cultures push people in that direction
and use those things to defne success. It’s the things the character
hasn’t done, or has done in an unconventional way, that creates
confict. New issues arise as job needs change, children grow, and
health issues begin to set in.
What happens in the character’s middle adulthood that sets the
stage for future conficts?
What has the character not achieved in their life so far? What
obstacles exist that prevent the character from becoming fully
established in this stage of life? What new challenges arise that
upset the character’s status quo?
Are these conficts internal and personal struggles or external
issues involving other characters?

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 Who is setting the expectations for the character? How are the
character’s relationships with aging parents and Mentors changing?
How are their relationships with their children, and other young
people they Mentor, developing?
What happens in the character’s middle adulthood that sets the
stage for future confict resolution?
What knowledge does the character possess that can be passed
along to others? What abilities have they mastered that they can
leverage? What great challenge has their entire life so far led up to?
Will the problems resolved be internal and personal ones, or
external ones impacting other characters?
What things does the character still struggle with? What does the
character need help with, they didn’t before? What other people is
the character responsible for?

MATURE ADULTHOOD
Age catches up to everyone. Physical health and mental faculties
begin to slip. People retire when they can, continue working if they
have to, and worry about surviving on a fxed income. The
challenges of later life are unique, because they’re often defned by
what the character can no longer do, and what they never did. It
can be comforting or terrifying, because to make it this far means
there’s really only one stage of life left to go.
What happens in the character’s mature adulthood that sets the
stage for future conficts?
What did the character used to be able to do that they can’t any
longer? What did they never accomplish that they might still be able

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to pull of? What relationships do they have to work hard to
maintain?
Are these conficts internal and personal struggles, or external
issues involving other characters?
How does the character feel about the way they’ve lived their life?
How do others feel about the contributions they’ve made to the
world? Does age make the character more generous, or more likely
to focus on their needs?
What happens in the character’s mature adulthood that sets the
stage for future confict resolution?
What wisdom does the character possess that can be passed
along to others? What possessions do they have that can be
bestowed to others? What great challenge do they still face?
Will the problems resolved be internal and personal ones, or
external ones impacting other characters?
What remains left undone in the grand work of the character’s
life? What relationships do they need to repair? What do other
people still need help with, that the character can provide?

DEATH
Death is a wild card, because it can come during any stage of life.
Other people in the character’s life will pass. Sometimes there will
be time to prepare and accept it, and sometimes there won’t.
Accidents, illnesses, and old age will take their toll. Losing people
will afect the character. It will alter the way they make choice
about their life. They will begin to think about, or try to avoid
thinking about, their own mortality.

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 What happens in the character’s approach to death that sets the
stage for future conficts?
Who in the character’s life has died? How did the character deal
with the other person’s death? How do they deal with the concept of
their own mortality as a result?
Are these conficts internal and personal struggles, or external
issues involving other characters?
How has the death of another afected the character’s
relationship with someone still living? How has death afected other
people close to the character? What has the character changed
about their life as a result of these impacts?
What happens in the character’s approach to death that sets the
stage for future confict resolution?
How has the character prepared for their death? How have they
prepared for the deaths of loved ones? What have they changed in
their life as a result of loss?
Will the problems resolved be internal and personal ones, or
external ones impacting other characters?
Is the character the one that provides comfort, or needs
comforting? Does the character try to avoid the concept of
mortality? Do others have problems with the character’s
acceptance, or avoidance, of the idea of death?

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DIMENSIONS
Every character exists in three dimensions: their physiology,
their sociology, and their psychology. This section will cover each of
those dimensions in depth, and explain how each serves to shape
the character. Not only will each element help in describing the
character, it will introduce the potential for internal and external
confict that can be mined for story elements.

PHYSIOLOGY
Physiology impacts how people feel about themselves, and how
others perceive them. It’s not just about what the character looks
like, but how their appearance afects their outlook on life. In prose
fction, the character’s physiology is often the least important thing
about them. In visual media it’s still not important a lot of the time,
but it can still matter.

Physiology and Sociology

Characters with a positive outlook regarding their physiology

might view it as a way to rise above a low or middling socioeconomic
status. Being attractive or good at sports might be considered as
means to get out of a bad situation. If the character is of a higher
socioeconomic status, they might consider positive physiology as
their due.
Characters with a negative outlook on their physiology might be
in a low socio-economic status as a result. Poor health, as an
example, can limit opportunities and incur expenses. Characters in
better socioeconomic statuses may not feel that their physiology

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matters as much to their success, but may still limit them in other
ways.

Physiology and Psychology

Characters with a positive outlook regarding their physiology

might allow it to infuence their psychology in a number of ways.
They might feel grateful and willing to pay it forward, or it might
make them more inclined to be outgoing. They can also end up
egotistical, narcissistic, and shallow.
Characters with a negative outlook on their physiology might feel
bad about themselves, especially if others react badly to them. They
might also be driven to work harder in other areas, as a way of
compensating for physical limitations or issues. It can have internal
and external impacts on their self-image and possibly their mental
health.

Elements of Physiology

The elements below are listed alphabetically. None are objectively

more important than any other. Your character may have priorities,
and the reasons for their emphasis on particular elements should
factor into their dimensions. Most elements of physiology can be
ranked, if you choose to do so.
One caveat: Normative is subjective. What is typical in one
setting may be strange and unusual in another. In this book no
judgments are being made and should not be inferred, but within
your setting characters will hold opinions about what is “normal”,
acceptable, and desirable and what isn’t. These are sources of
confict that you can address in your story if you choose.

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AGE
This element is often used as a gauge of other elements, such as
abilities levels, competence, and world view. These assumptions can
be internal or external. Does the character feel that they’re where
they should be by this age? Do other people make generalizations
about them because they’re younger or older?

Low Age

The character is signifcantly younger than the other characters

in the story.

Below Baseline Age

The character is a bit younger that the other characters in the

story.

Baseline Age

The character is in the same age range as the majority of the

other characters in the story. Think teenagers in a high school
setting, midlife in an ofce environment, mature adults in a
retirement community, and so on.

Above Baseline Age

The character is slightly older than the other characters in the

story.

High Age

The character is signifcantly older than the other characters in

the story.

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BODY LANGUAGE
These are the gestures and movements the character makes
when expression various emotions. Sometimes these are interesting
character bits. There is no Ranking system for this element,
although personal and cultural reactions to certain facial
expressions will vary.

COLORATION
This refers to the character’s skin tone, hair color, and eye color.
There is no Ranking system for this element, although people whose
coloration falls outside of what is considered normative for the
setting may fnd it to be a source of confict. Bigots exist.

DISTINGUISHING MARKS
This refers to everything from scars to tattoos and piercings.
There is no Ranking system for this element, although people whose
distinguishing marks fall outside of what is considered normative
for the setting may fnd them to be a source of confict.

FACIAL EXPRESSIONS
These are the faces the character makes when expression various
emotions. Sometimes these are interesting character bits. There is
no Ranking system for this element, although personal and cultural
reactions to certain facial expressions will vary.

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FASHION SENSE
A case could be made that the way a character dresses could fall
under the Psychology dimension, because all sorts of choices may
feed into it. Sociology can factor in, as an expression of culture of
economic status. As most people associate it with appearance, it’s
listed here under Physiology. Personal style can be a source of
confict when it falls outside of what’s considered normative.

HEALTH
This element is a refection of the character’s overall wellness and
physical ftness. Having good health may require discipline
regarding diet and exercise, which can present challenges. Poor
health can ofer a variety of obstacles that the character will need to
work around.

Low Health

The character is in extremely poor health, possibly sufering from

a chronic or incurable condition.

Below Baseline Health

The character is out of shape or has some minor medical

problems that require regular maintenance.

Baseline Health

The character’s overall health is typical for the setting.

Above Baseline Health

The character is in excellent shape, is not prone to illness, and

heals quickly.

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High Health

The character is in peak physical condition. They rarely get sick

and recover from injuries in record time.

HEIGHT AND WEIGHT

How tall a character is, and how much they weigh, can present
challenges. There may be associated health issues, or challenges
when engaging in physical activity. Others might treat characters in
the extremes diferently, and even a slight shift from the baseline
can afect self-esteem.
Both height and weight can be combined into one element, or
used as separate elements, depending how you wish to describe the
character.

Low Height and Weight

The character may be seriously underweight, or possibly have

some form of dwarfsm.

Below Baseline Height and Weight

The character is shorter or lighter than typical, possibly both.

Baseline Height and Weight

The character is within the typical ranges for height and weight
within the setting.

Above Baseline Height and Weight

The character is either taller or heavier than typical, possibly

both.

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High Height and Weight

The character may be seriously overweight, or possibly have

some form of gigantism.

SEX AND GENDER

This refers to the character’s biological sex, gender identity, and
sexual preference. There is no Ranking system for this element,
although people who identify outside of what is considered
normative for the setting may fnd it to be a source of confict.
Bigots exist.

SOCIOLOGY
Socioeconomic status afects the character’s quality of life, as
well as their self-esteem. It can impact how others perceive them
inasmuch as they know the character's background, or can see
behaviors assumed to stem from such a background.

Sociology and Physiology

Characters with a stable socioeconomic situation may have

better access to proper nutrition and quality health care. If they
have physiological problems, they may be better situated to receive
necessary treatment.
Characters with a difcult socioeconomic situation may be
inclined to engage in behaviors that result in poor physiology, such
as smoking, drinking, drug use, and other dangerous activities.
They may also have limited access to support systems that allow
them to avoid or overcome physiological problems.

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Sociology and Psychology

Characters with a stable socioeconomic situation don’t

necessarily have fewer psychological issues, but may have diferent
ones. They likely have better access to therapy and medical
treatment. Issues of self-image will be related to their level of
achievement, rather than ability to simply survive.
Characters with a difcult socioeconomic situation may be more
prone to things like depression and anxiety. The might be more
inclined to self-medicate with alcohol or drugs. They may also get
tough and fnd the motivation to work harder, so they can rise out
of their current circumstances.

Elements of Sociology

The elements below are listed alphabetically. None are objectively

more important than any other. Your character may have priorities,
and the reasons for their emphasis on particular elements should
factor into their dimensions.

CLASS
A character’s social class is often defned by their access to
resources, the prestige of their occupation, or the social class of
their family. Class consciousness may create internal conficts, if
the character wishes to climb higher or struggles to retain their
current level. It may also be a source of confdence, or even
arrogance, which can create other sorts of conficts.

Low Class

The character belongs to the lowest social class that exists within
the setting.

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Below Baseline Class

The character is of a lower social class than the typical character

within the story.

Baseline Class

The character is within the social class typical of other

characters within the story.

Above Baseline Class

The character is of a higher social class than other characters

within the story.

High Class

The character belongs to the highest social class that exists

within the setting.

EDUCATION
This is the character’s general education. It refects common
knowledge, local culture, and the things that everyone in the setting
is presumed to know. It doesn’t indicate native intelligence, which is
covered in the section on Aptitudes. It also does not include
specialized knowledge, which is handled in the section on
Experiences.

Low Education

The character has very little, and possibly no, general education.

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Below Baseline Education

The character’s general education is below the typical level of

other characters.

Baseline Education

The character’s level of general education is typical for characters

in the story.

Above Baseline Education

The character has a greater level of general education than

typical characters.

High Education

The character has received the highest level of general education

possible.

ENTERTAINMENT
This is a listing of the types of things the character does for
amusement. It is not ranked, unless there is one particular activity
that nearly everyone in the story is involved with. In that instance,
you could rank their level of involvement. Confict can arise when
people don’t agree that something is entertaining.

ENVIRONMENT
This is a description of the type of place the character comes
from. For example, do they hail from the city or the country? Did
they grow up in the mountains, or on the ocean? It can refect the
type of environment they are comfortable in. Confict can arise
when others make assumptions about people from certain types of
environments.

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HOBBIES
This is a listing of the types of hobbies that the character actively
engages in. It is not ranked, unless nearly everyone in the story is
engaged in the same hobby. In that case, it might be ranked by level
of involvement, but should probably be listed under Experiences
instead. Confict can arise when people think a hobby is trivial, or
disagree on approaches to the hobby.

NATIONALITY
This is a statement of the character’s citizenship, or the country
they originate from. It is not ranked, but a level of patriotism or
nationalism can be refected using politics below. Feelings about
other races, cultures, political systems, and religion often get
tangled up with nationality, and can be a source of confict.

OCCUPATION
This is the career that the character self-identifes with. It is not
ranked, and abilities should be refected in the character’s
Aptitudes and Experiences. Occupation can be a refection of class,
as some jobs are held in high esteem and others are looked down
upon. It can also impact a character’s self-image, if they do
something they love, work simply to survive, or feel trapped in a job
they despise.

POLITICS
This is a refection of the character’s political awareness. It is
independent of their views, which can be stated but are not ranked.
It is also an indicator of how informed the character is, at least

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about their own political beliefs if not the positions held by their
opponents. Having a Ranking politics doesn’t make the character a
politician, just a citizen. You may choose to break how politically
active and how informed they are into separate Rankings; it’s
possible to know a lot but not speak up, and vice-versa.

Low Politics

The character has no interest in or knowledge of current politics.

Below Baseline Politics

The character’s awareness is limited to a few areas of personal

interest.

Baseline Politics

The character’s level of political awareness and activity is typical

within the story.

Above Baseline Politics

The character is more informed and active in politics than is

typical for the setting.

High Politics

The character is deeply engaged by the political process.

RACE AND ETHNICITY

Race and ethnicity are social constructs used to type people by
culture and ancestry. As such, they are listed here rather than
under physiology. A character might self-identify as such as a point
of pride in community, or be labeled by others. There is no Ranking
system here, but a character’s race and ethnicity may be a source

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of confict. Individuals within a group may have ideas about how
members of that group should behave, and people outside the
group may have biases.

RELIGION
Was the character raised with a religion? Do they still practice it?
Have they converted to another religion, or abandoned religion?
What happened to drive them to change? How does their view of
religion afect their interactions with other people?

Low Religion

The character has little or no involvement with religion, and is

possibly an atheist.

Below Baseline Religion

The character is less religious than typical of other characters in

the story, possibly questioning their faith or the tenets of their
religion.

Baseline Religion

The character is as religious as the typical person in this story.

Above Baseline Religion

The character is more religiously devout than the typical

character within the story, with deeper faith and engagement with
dogma.

Hiih Reliiion

The character is extremely devoted to their religion.

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PSYCHOLOGY
Psychology is in many ways the synthesis of physiology and
sociology. The character's ambitions, attitudes, frustrations, and
complexes are built upon from their physical and socioeconomic
infuences. It refects their conscious and unconscious decisions
and behaviors.

Psychology and Physiology

Characters with a healthy psychological profle are more likely to

be accepting of their physiological elements, no whether they’re
positive or negative. They may be grateful for good health, and be
more likely do what’s required to handle other physical issues
appropriately.
Characters with a more delicate psychological profle may be
self-destructive. They may not take care of their physical health,
which can exacerbate mental issues. If they have positive
physiological elements, they may leverage those to support their
mental outlook, or have a distorted self-image based on their
benefcial traits.

Psychology and Sociology

Characters with a healthy psychological profle understand that

low socioeconomic status may not be entirely their fault. This allows
them to maintain a positive self-image in difcult circumstances,
and to rise above their current status. They likewise might
appreciate that a positive socioeconomic is a gift they didn’t earn,
and work to build a self-esteem based on merit.
Characters with a more delicate psychological profle might be
more inclined to lean on their socioeconomic status. While social

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status impacts their quality of life, they may feel that they have no
control over their lives. They might feel that, good or bad, they’ve
been given what they deserve. They might also resent over that they
feel are less deserving.

Elements of Psychology

The elements below are listed alphabetically. None are objectively

more important than any other. Your character may have priorities,
and the reasons for their emphasis on particular elements should
factor into their dimensions.

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EMOTIONAL STABILITY
This trait is a measure of how well the character is able to self-
regulate their emotions. Emotional stability includes the way the
character handles stress, their ability to balance feelings with
reason in the actions and decisions, and how they operate under
pressure.

Low Emotional Stability

The character may have clinical depression, general anxiety

disorder, or bipolar disorder.

Below Baseline Emotional Stability

The character is prone to anxiety, fear, depression, and

emotional outbursts.

Baseline Emotional Stability

The character is able to self-regulate their emotions.

Above Baseline Emotional Stability

The character is calm, even-tempered, handles stress well, and

does not get visibly emotional.

Hiih Emotional Stability

The character may have antisocial behavior disorders,

narcissistic personality disorder, or psychopathy.

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IMPULSE CONTROL
This trait is a refection of the character’s self-discipline. Impulse
control includes how careful, thorough, and deliberate the
character is, versus being disorganized, unreliable, and easy-going.

Low Impulse Control

The character is ruled by their own wants and desires, and puts
what appeals to them in the moment ahead of long-term goals and
the needs of others.

Below Baseline Impulse Control

The character fnds it difcult to resist temptation, and tends to

be sloppy and careless.

Baseline Impulse Control

The character is able to control their impulses at a socially

acceptable level.

Above Baseline Impulse Control

The character is well-organized, reliable, and pays great attention

to detail.

High Impulse Control

The character is capable of acting selfessly, up to and including

making great sacrifces for the sake of higher ideals or other people.
They may also be a perfectionist.

OPEN MINDEDNESS
This trait refects the character’s openness to new Experiences
and ideas. Open mindedness includes acceptance of new ideas,

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tolerance of diferences in other people, intellectual curiosity, and
imagination.

Low Open Mindedness

The character is set in their ways and may active work against
change. They may be intolerant of the other, and reject new ideas
and Experiences.

Below Baseline Open Mindedness

The character is set in their ways and may not seek out new
Experiences or ideas.

Baseline Open Mindedness

The character is able to reconcile new idea with existing

Experiences and beliefs.

Above Baseline Open Mindedness

The character actively seeks out new ideas and Experiences, or

works to create them.

High Open Mindedness

The character has no grounding or vested interest in past

Experiences or actively rejects traditions.

SOCIAL ENGAGEMENT
This trait measures the character’s comfort level with social
interaction, as well as their ability to be alone. Social engagement is

71
also a measure of how talkative and assertive, versus quiet and low-
key, they are likely to be.

Low Social Engagement

The character may be actively antisocial, possibly a hermit or

recluse of some sort.

Below Baseline Social Engagement

The character is a bit of an introvert, and prefers being left alone,

but enjoys some social interaction.

Baseline Social Engagement

The character is comfortable with both social contact and

spending time alone.

Above Baseline Social Engagement

The character is a bit of an extrovert and thrives in the company

of others, but enjoys some occasional alone time.

High Social Engagement

The character may live to be the center of attention and is

happiest when surrounded by other people. They may actively avoid
being alone.

SOCIAL HARMONY
This trait refects the character’s level of empathy and
compassion toward other people. Social harmony includes genuine
kindness, consideration, generosity, and warmth. It indicates the
character’s view of human nature.

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Low Social Harmony

The character may place their own emotional needs ahead of the
needs of others. They tend to be cold, rude, and harsh with a low
opinion of human nature.

Below Baseline Social Harmony

The character tends to put their own emotional needs ahead of

everyone but those closest to them. Their view of people skews to
the negative.

Baseline Social Harmony

The character is able to balance their desires with the feelings of

other people.

Above Baseline Social Harmony

The character considers the feelings of everyone, including people

they don’t know. They tend to see the best in people.

High Social Harmony

The character may put the feelings of others ahead of their own
emotional needs. They see all people as deserving of respect.

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5. MOTIVATIONS
Why is the character doing what they’re doing right now? What
are their personal goals, independent of their goals within the
story? What do they stand to gain if they succeed? What do they
stand to lose if they fail? What is their prevailing need at the
moment? In this section, we’ll look at how to determine the
character’s needs, and how those can be mined for story points.

NEEDS
A character’s needs are those things necessary to their survival.
They may be things they don’t have, things they’re running out of,
or things they need to acquire in order to accomplish a goal. They
are closely tied to their physiological, sociological, and psychological
dimensions, as well as the stage of life they’re moving into. The
inability to meet personal needs, and the things the character must
do to meet their needs, are excellent sources of drama.

PHYSIOLOGICAL NEEDS
Physiological needs are the most basic requirements for human
survival. These are absolute necessities like food, clothing, shelter,
breathable air, and drinkable water. If these requirements can’t be
met, the character’s body will ultimately fail. Physiological needs
have to be met before a character can even begin to address their
sociological and psychological needs, or worry about making it to
the next stage of life. Both resources and circumstances can
contribute to the state of the character’s physiological needs.

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 If a character has high Rankings in physiological dimensions,
their needs may be driven by what is required to maintain those
Rankings. If the character has low physiological Rankings, their
needs will be around what it takes to rise higher, or at least fall no
further.

Low Physiological Needs

The character’s physical needs are met and will continue to be

met far into the future.

Below Baseline Physiological Needs

The character’s needs are presently more secure than the typical
character in the story.

Baseline Physiological Needs

The character has food, clothing, and shelter, with a reasonable

assurance that those needs will continue to be met.

Above Baseline Physiological Needs

The character’s physical needs are provided for fairly

consistently, but there are gaps with one or more needs and a
degree of uncertainty about the future.

High Physiological Needs

The character has immediate needs for food, clothing, or shelter

and no assurance that the direst of those needs will be met.

SOCIOLOGICAL NEEDS
Sociological needs include friendship, intimacy, and family ties.
Lacking those emotional connections can impact the character’s

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well-being and their ability to form and maintain healthy
relationships. The character needs a feeling of belonging and
acceptance within social groups and organizations. The character’s
personality, the actions of other characters, and general
circumstances can contribute to the state of the character’s
sociological needs.
If a character has high Rankings in sociological dimensions, their
needs may be driven by what is required to maintain those
Rankings. If the character has low sociological Rankings, their
needs will be around what it takes to rise higher, or at least fall no
further.

Low Sociological Needs

The character has many healthy relationships and is highly

regarded within their social circles.

Below Baseline Sociological Needs

The character has healthy long-term relationships and is no

issues with their social groups.

Baseline Sociological Needs

The character has healthy, stable relationships with every

expectation that social needs will continue to be met going forward.

Above Baseline Sociological Needs

The character has a mixture of health and trouble relationships,

and issues within their social groups.

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High Sociological Needs

The character few or no healthy relationships and no positive

social group interactions.

PSYCHOLOGICAL NEEDS
Psychological needs include the character’s feeling about their
security, self-esteem, and behaviors. This can include either stress
or comfort about physical safety, fnancial well-being, health, and
relationships. It could be the condition of their overall mental
health, or how they regard their ability to make sound life decisions.
If a character has high Rankings in psychological dimensions,
their needs may be driven by what is required to maintain those
Rankings. If the character has low psychological Rankings, their
needs will be around what it takes to rise higher, or at least fall no
further.

Low Psychological Needs

The character has no worries and every realistic expectation that

things will continue to be good far into the future.

Below Baseline Psychological Needs

The character has few worries, none that they can’t deal with,
and an optimistic outlook that their needs will continue to be met.

Baseline Psychological Needs

The character is happy, content, and stable, and there is no

reason to believe their psychological needs will not continue to be
met going forward.

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Above Baseline Psychological Needs

The character has some stress, and while their needs are mostly
being met they are not handled consistently.

High Psychological Needs

The character has severe stress and a great deal of inconsistency,

with no indication that things will stabilize in the future.

STAGE OF LIFE NEEDS

Each stage of life has its own needs, and each character will have
diferent requirements for transitioning between stages. These may
be physiological, sociological, or psychological in nature, or specifc
to the stage itself. Children and adolescents grow up, but they also
need to complete schooling and learn certain lessons. Romance
requires fnding a partner, and initiation requires joining a group.
Aging at any stage will being specifc health and fnancial needs.
Looking back over the questions you answered for your character
in the stages of lie section, you should be able to identify some
needs. What does the character need to do in order to move
forward? Are there any physical, social, or psychological hurdles
they must get over, other than the natural passage of time?

Low Stage of Life Needs

The character is set for life, with no needs worth mentioning.

Below Baseline Stage of Life Needs

The character has what they need to move into the next stage,
and some of what will be necessary for stages after that.

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Baseline Stage of Life Needs

The character has everything they need to move into the next
stage of life.

Above Baseline Stage of Life Needs

The character is lacking some of what they need for the next
stage of life.

High Stage of Life Needs

The character doesn’t even have what they need for their current
stage of life, let alone anything necessary to move forward.

GOALS
A goal is the character’s plan to meet a need. The story might be
the execution of that plan, or tie into the achievement of that goal
somehow. There might be confict between the character’s goal and
the goal of the story. In any case, the decisions the character makes
and the actions they take will be infuenced by the character’s
goals.
The three parts to a goal are the character’s ambition, the stakes,
and the obstacles. You need all three to create a goal worthy of
inclusion in a story. Every goal that the character has should be
described and ranked separately.

AMBITIONS
How badly does the character want to achieve their goal? What
are they willing to do in order to get it? This is independent of the
stakes, because some people will go all-out for little reward, and
others wouldn’t life a fnger to stop the world from burning. It’s also

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separate from the obstacles, because it’s not about how hard the
tasks are. It’s about how driven the character is.

Low Ambitions

The character has no real drive and hopes that maybe what they
want will fall into their lap somehow. They will quit if things look
difcult.

Below Baseline Ambitions

The character will do the bare minimum to achieve their goal,

and consider quitting if it gets too difcult.

Baseline Ambitions

The character is willing to do the typical amount of work required

to achieve their goal.

Above Baseline Ambitions

The character is willing to do more work than expected to get

what they want, or they may have multiple goals they’re pursuing at
once.

High Ambitions

The character has grand plans, and their current goal is but one
piece in the big picture. They will do nearly anything to get what
they want.

STAKES
The stakes tied to a goal have two components. The frst are the
rewards, what will happen if the character achieves the goal. What
will they, or other characters, get out of it? The other is the

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consequences that the character, or other people, may sufer if the
goal isn’t achieved. The two don’t need to be balanced, but they will
both be there even if the only consequence is that they don’t gain
the reward, and the only reward is that they don’t sufer the
consequence.
Rewards and consequences can be ranked separately if, if there’s
a lot to gain and nothing to lose or vice-versa, or combined if they’re
both on the same level. Remember that creating confict is what
drives story.

Low Stakes

Neither the reward nor the consequence will have much impact
on anyone.

Below Baseline Stakes

The rewards and consequences are relatively minor, and won’t

have a large impact on anyone.

Baseline Stakes

The rewards and consequences tied to the goal are typical for this
type of story.

Above Baseline Stakes

The rewards and consequences are high, and will have a

signifcant impact on one or more people.

High Stakes

The rewards and consequences will have a life-changing impact

on one or more people.

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OBSTACLES
Obstacles are anything that prevents the character from
achieving their goal. They might be driven by an Antagonist or by
circumstance. The Ranking of obstacles should refect the stakes,
and be modifed the character’s ambition. The more there is to gain
or lose, the harder the obstacles should be. The most ambitious the
character is to achieve their goals, the more obstacles you can
throw at them without fear that they’ll just quit and go home. The
objective is to make the story feel right based on what could happen
and how driven the character is. Obstacles have to provide the
proper amount of challenge without making it feel like the goal’s not
worth the efort.

Low Obstacles

The obstacles are easy relative to what’s at stake.

Below Baseline Obstacles

The obstacles are a bit easier than what someone would expect
given the stakes.

Baseline Obstacles

The obstacles are typical for the level of stakes involved.

Above Baseline Obstacles

The obstacles are difcult in comparison to what’s at stake.

High Obstacles

The obstacles exceed what would be expected relative to what’s at

stake.

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83
6. APTITUDES
Aptitudes are broad categories of abilities that the character is
innately good at. Think of it as natural, undirected talent. They also
gauge how the character sees the world and approaches problems.

Aptitudes and Experiences

A character’s Aptitude is the raw force behind the refned,

practical applications of Experience. They work together. The
application of Aptitude is limited without the Experience to guide
and direct it, so Aptitude alone is never enough.

STANDARD APTITUDES
The 10 character Aptitudes we will be focusing on in this book
are:
Body Aptitude – The character’s understanding of their own
physical being.
Empathy Aptitude – How the character relates to other people.
Language Aptitude – The character’s grasps of the spoken and
written word.
Morality Aptitude – How the character approaches concepts of
right and wrong.
Musical Aptitude – The character’s competence with the use of
sound.
Nature Aptitude – The character’s talent with living things.
Reason Aptitude – The character’s faculty with logic and critical
thinking.

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 Refection Aptitude – How the character processes their
thoughts and feelings.
Spiritual Aptitude – The character’s capability to see the big
picture.
Visualization Aptitude – How the character comprehends
physical space.

Alternate Aptitudes

There are a few important points that need to be made about

Aptitudes. The frst is that you don’t need to use them all. Not every
character has to possess some degree of every Aptitude. If
something isn’t a defning trait, positive or negative, skip it.
Second, not every setting needs to use every Aptitude. If the
needs of the story mean that certain types of abilities won’t come
up, ignore them. Focus on and showcase what you need.
Third, you can and should rename the Aptitudes presented here
to best suit the favor of your project. Use the sort of vocabulary
appropriate to your setting. Make it grittier, funnier, or scarier,
whatever reinforces the tone you want.
Finally, feel free to make up your own Aptitudes of your story
and characters need something that isn’t represented here. No
system can realistically be all things to all people, so if something
you need isn’t here, you have permission to tweak it.

Aptitude Ratings

Each type of Aptitude has a numerical Rating from -5. This is

represents where the character's own ability falls relative to the
baseline for people in that genre, time, and place. Ratings are a

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zero-sum game; for every +1 in an Aptitude, the character must
have a -1 in something else.

Aptitudes and Stages of Life

A character’s Aptitudes will change as they cycle through the

various stages of life. The four relevant stages here are childhood,
adolescence, midlife, and mature adulthood. While each character is
diferent, children tend to have lower Ratings. These will increase in
adolescence, and reach their peak by midlife. Heading into mature
adulthood, Aptitudes will begin to decline. When assigning Ratings,
bear those changes in mind.

BODY APTITUDE
The character’s body Aptitude refects how well they understand
and relate to their physical being. It includes everything from
knowing their own strength, applying their agility, and using fne
motor skills. It’s not about what they’ve got, it’s about how
efectively they’re able to use it. Body Aptitude is important for
dancers and athletes, surgeons and craftsmen.

Below Baseline Body Aptitude (negative modiferr

The character has less Aptitude than typical for their situation.
They may be clumsy, awkward, or unsure of themselves. There may
be a neurological impairment that prevents them from controlling
their motions.

Baseline Body Aptitude (no modiferr

The character has the expected Aptitude for a person in their

situation. They are functional yet unexceptional. Body Aptitude

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allows them to engage in a wide array of activities with neither
impairment nor advantage.

Above Baseline Body Aptitude (positive modiferr

The character has greater than typical Aptitude. They may be

naturally athletic, or gifted with exceptional good health. Body
Aptitude makes them strong, dexterous, and durable.

EMPATHY APTITUDE
The character’s empathy Aptitude shows how well they
understand and relate to other people. This refects the character’s
natural level of interpersonal skills. Empathy Aptitude will impact
how they relate to other people, how they are able to communicate
and express themselves, and how they are able to form and
maintain relationships.

Below Baseline Empathy Aptitude (negative modiferr

The character has less Aptitude than typical. Their lack of

empathy makes them seem cold, distant, or strange to other people.
Empathy Aptitude makes social interactions awkward and difcult.
They have difculty expressing thoughts and ideas appropriately.

Baseline Empathy Aptitude (no modiferr

The character has the expected Aptitude for a person in their

situation. They get along with other people, but aren’t exceptionally
charismatic or outgoing. They form and hold onto friendships and
function well around other people.

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Above Baseline Empathy Aptitude (positive modiferr

The character has greater than typical Aptitude. They are at easy
with other people, both individually and in groups. They efectively
express their thoughts and feelings. They understand other people,
because they make a pointed efort to. Empathy Aptitude makes
them a “people person”.

LANGUAGE APTITUDE
The character’s language Aptitude is a measure of how well they
are able to communicate and understand written and verbal
languages. This impacts their level of literacy, the ability to learn
new concepts, and the use of words to express thoughts, feelings,
and concepts.

Below Baseline Language Aptitude (negative modiferr

The character has less Aptitude than typical for their situation.
They may have difculty communicating. There may be an
impairment that makes learning to read challenging, and their
ability to speak may be impaired. Language Aptitude limits
opportunities for learning and self-expression.

Baseline Language Aptitude (no modiferr

The character has the expected Aptitude for a person in their

situation. They read, write, and communicate with neither
impairment nor any particular advantage. Language Aptitude allows
them to function within their community and social groups.

Above Baseline Language Aptitude (positive modiferr

The character has greater than typical Aptitude. They have a gift
for language and literacy. They are able to put thoughts, feelings,

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and concepts into words easily and eloquently. Language Aptitude
allows them to better understand what others are trying to express.

MORALITY APTITUDE
The character’s morality Aptitude is an indicator of how well they
grasp the concepts of right and wrong. It refects their ability to
balance the needs of others with their own personal wants. Morality
Aptitude allows a character to see all sides of an issue and make
decisions based on their personal ideals as well as the values of
their society.

Below Baseline Morality Aptitude (negative modiferr

The character has less Aptitude than typical for their situation.
They may have impairment or have sufered some trauma that
impacts their ability to grasp moral principles. Morality Aptitude
skews them toward acting in their own interests frst, without
consideration or regard for other people.

Baseline Morality Aptitude (no modiferr

The character has the expected Aptitude for a person in their

situation. They function in society with neither obvious impairment
nor advantage. Morality Aptitude allows them to balance
contradictory principles and make ethical decisions.

Above Baseline Morality Aptitude (positive modiferr

The character has greater than typical Aptitude. They have an

innate understanding of ethical values, and often skew decisions
toward other peoples’ safety and well-being. Morality Aptitude
makes doing what is good and right an obvious decision.

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MUSICAL APTITUDE
The music Aptitude shows how well the character understands
and relates to sound and rhythm. It impacts their ability to sing,
play instruments, recite metered poetry, and compose songs.
Musical Aptitude impacts the character’s ability to enjoy various
forms of entertainment, and engage in select means of self-
expression.

Below Baseline Musical Aptitude (negative modiferr

The character has less Aptitude than typical for their situation.
Their lack of rhythm and timing may impair certain physical tasks
requiring precision. They probably don’t sing well or play
instruments. Musical Aptitude makes them less likely to pick up on
sounds that might be signifcant.

Baseline Musical Aptitude (no modiferr

The character has the expected Aptitude for a person in their

situation. They are neither advantaged nor impaired when it comes
to singing or playing an instrument. Musical Aptitude allows them
to appreciate music even if they have no Experiences with creating
it.

Above Baseline Musical Aptitude (positive modiferr

The character has greater than typical Aptitude. They are a

prodigy, learning to play instruments and compose music with
ease. They may have a masterful singing voice. Musical Aptitude
allows them to appreciate and engage in all forms of musical
expression.

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NATURE APTITUDE
The natural Aptitude refects how well the character understands
and relates to fora, fauna, and other aspects of the material world.
This includes the ability to see patterns in behavior, connections
within ecosystems, and developing an awareness of their
surroundings. Nature Aptitude allows the character to appreciate
and understand the outdoors, including areas like weather, terrain,
and the stars in the sky.

Below Baseline Nature Aptitude (negative modiferr

The character has less Aptitude than typical for their situation.
They may simply not notice such things. Some impairment may
exist that prevent them from grasping more than the appearances
and surface connections. Nature Aptitude makes the character
oblivious to a large portion of what’s going on around them.

Baseline Nature Aptitude (no modiferr

The character has the expected Aptitude for a person in their

situation. They are able to function outdoors with neither
impatience nor awareness. Nature Aptitude lets them notice what
Experience has trained them to notice, rarely more, occasionally
less.

Above Baseline Nature Aptitude (positive modiferr

The character has greater than typical Aptitude. They have an

afnity with the material world, and an interest in living things and
ecosystems. Nature Aptitude makes them attuned to their
surroundings, and they take note of the weather, the stars, and the
tiniest details of the world.

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REASON APTITUDE
The character’s reason Aptitude is a gauge of how well they grasp
and utilize logic, critical thinking, and abstraction. It is the ability
to apply logic, determine patterns, and solve problems. Reason
Aptitude afects they character’s ability to form rational conclusions
and make decisions based on the information they have available.

Below Baseline Reason Aptitude (negative modiferr

The character has less Aptitude than typical for their situation.
They may possess some sort of impairment that clouds their
judgment. Reason Aptitude prevents them from seeing all of the
facts for what they are and taking right actions based on evidence.

Baseline Reason Aptitude (no modiferr

The character has the expected Aptitude for a person in their

situation. They are able to make sound decisions with neither an
advantage nor disadvantage. Reason Aptitude allows them to think
critically if they so choose.

Above Baseline Reason Aptitude (positive modiferr

The character has greater than typical Aptitude with logic. They
naturally lean toward factual answers and solutions mired in
evidence. Reason Aptitude allows them to draw correct conclusions
and solve problems using sound critical thinking.

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REFLECTION APTITUDE
The character’s refection Aptitude shows how well they know
their own mind and understand their feelings. It is the source of
wisdom, intuition, and will. Refection Aptitude helps characters
sort out their goals and desires, and clearly and objectively see their
personal issues.

Below Baseline Refection Aptitude (negative modiferr

The character has less Aptitude than typical for their situation.
They may not have a sense of direction or the ability to sort out
what they should do with their life. Refection Aptitude keeps them
wandering aimlessly through life.

Baseline Refection Aptitude (no modiferr

The character has the expected Aptitude for a person in their

situation. They can muddle through life with a general sense of who
they are and where they’re going. Refection Aptitude allows them to
function on a day-to-day basis with neither advantages nor
disadvantages.

Above Baseline Refection Aptitude (positive modiferr

The character has greater than typical Aptitude for introspection.

They understand themselves, and can objectively see their
strengths and faws. Refection Aptitude allows them to utilize their
good qualities and overcome their personal obstacles.

SPIRITUAL APTITUDE
How well the character grasps their relationship to the bigger
picture. It is the character’s ability to fnd meaning and higher

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purpose in life. Spiritual Aptitude allows for personal growth and
qualities like courage and selfessness.

Below Baseline Spiritual Aptitude (negative modiferr

The character has less Aptitude than typical for their situation.
They cannot see the connectedness of things. Spiritual Aptitude
means they are shaped by external, rather than internal, forces.

Baseline Spiritual Aptitude (no modiferr

The character has the expected Aptitude for a person in their

situation. They are able to function in the world with a vague sense
that life has some meaning, even though they don’t quite
understand it. Spiritual Aptitude means that they can fnd purpose
if they make the efort.

Above Baseline Spiritual Aptitude (positive modiferr

The character has greater than typical Aptitude for personal

growth. They see the connectedness of life, and know their place
and purpose in the world. Spiritual Aptitude means that their
identity is shaped by their own decisions rather than external
pressures.

VISUALIZATION APTITUDE
The character’s visualization Aptitude measures how well they
can grasp and utilize physical space. This means gauging distances,
volumes, and other two-and three-dimensional concepts.
Visualization Aptitude means leveraging imagination for art,
navigation, and other tasks involving spacial thinking.

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Below Baseline Visualization Aptitude (negative modiferr

The character has less Aptitude than typical for their situation.
They may have difculty with units of measure, including time and
distance. Visualization Aptitude may mean a lack of talent for art
and resource management.

Baseline Visualization Aptitude (no modiferr

The character has the expected Aptitude for a person in their

situation. They can function in the world with no real disadvantages
or advantages. Visualization Aptitude means that they can sort out
directions, Judge distance, and handle artistic tasks.

Above Baseline Visualization Aptitude (positive modiferr

The character has greater than typical Aptitude for visual-spacial

reasoning. They can guess units of measure with accuracy, and
probably have some artistic ability. Visualization Aptitude means
that they can imagine sizes, distances, and shapes and the
relationships between them.

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7. EXPERIENCES
Experiences represent the things that a character has seen and
done in their life so far. It encompasses education and training
they’ve received, jobs they’ve held, and even the background they
come from. A character’s Experiences are what equip them with the
abilities necessary to tackle the needs of the present story.
It is possible for a character to have the same type of Experience
more than once, in a separate but related feld. For example, a
degree in biology would be considered an academic Experience. If
the character has also studied history, that would be a separate
academic Experience.
This system makes no distinction as to how the character
acquired the Experience; there is no diference here between formal
study and practical application. The amount of time they’ve spent
gathering Experience is not a factor either; some character learn
quickly, while others require time to pick things up. Likewise, there
is no innate indicator as whether the feld of Experience has
breadth, depth, or both. The details and explanations behind a
character’s Experience belong in the back story.

Experiences and Aptitudes

A character’s Experiences are the refned, practical applications

of Aptitude. They work together. All of the Experience in the world is
meaningless if the character has no Aptitude in that area, so
Experience alone is never enough. Any Experience can theoretically
be used in conjunction with any Aptitude, as long as the
combination makes sense. Diferent applications of the same
Experience can be used with diferent Aptitudes.

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STANDARD EXPERIENCES
The 10 character Experiences we will be focusing on in this book
are:
Academic Experiences – What the character has studied within
scholarly felds, formally or informally.
Artistic Experiences – What the character has practiced in the
arts, including fne art, design, and music.
Athletic Experiences – What the character has trained for and
accomplished in the sports and recreation felds.
Creative Experiences – What the character has achieved
through the discipline imagination and ideas.
Cultural Experiences – What the character has absorbed from
societal customs and beliefs.
Investigative Experiences – What the character has done in the
felds of research and problem solving.
Martial Experiences – What the character has attained in the
felds of combat and tactics.
Persuasive Experiences – What the character has mastered in
the felds of infuencing other people.
Professional Experiences – What the character has done within
a specifc career feld.
Transport Experiences – What the character has learned in the
feld of travel and transit.

Alternate Experiences

There are a few important points that need to be made about

Experiences. The frst is that you don’t need to use them all. Not
every character will have had all of these types of Experiences. If

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they haven’t seen or done a particular thing in the course of their
life so far, leave it out.
Second, not every setting needs to use every category of
Experience. If the needs of the story mean that certain types of
Experiences aren’t relevant, ignore them. Focus on and showcase
what you need.
Third, you can and should rename the Experiences presented
here to best suit the favor of your project. Use the sort of
vocabulary appropriate to your setting. Use the appropriate
equivalents for the genre, time, and place of your story.
Finally, feel free to make up your own Experiences if your story
and characters need something not represented here. No system
can realistically be all things to all people, so if something you need
isn’t here, you have permission to tweak it.

Breadth and Depth

Any Experience may be broad (a little knowledge of every aspect

in a given feld of Experience), deep (a lot of knowledge in a specifc
aspect of a feld), or both. This should be noted when listing the
character’s Experiences. Sometimes, it is evident in the name or
title of the Experience. For example, a doctor could be a general
practitioner, meaning he knows a fair amount about all felds of
medicine. Alternately, they may be a cardiologist or oncologist, and
have deep knowledge in a specialized feld of medicine.
A character with broad Experiences will know about more things
than a character with deep Experiences, but a character with deep
Experiences will know more about their specialty than a character
with broad Experiences.

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Experience Rankings

Each category of Experience has a descriptive Ranking, to refect

the breadth and depth of the character's training and ability in that
area. You can rename the Experience categories to suit the needs of
the genre, time, and place of your story, leave of ones that don't ft,
and add your own. There are no restrictions on the number of
Experiences a character can have, or the Ratings they possess. You
can make them above the baseline in everything if it’s appropriate
for the character. Remember, though, that they can only do these
things as well as their Aptitudes allow, and Aptitudes are more
strictly balanced. Just because a character has Experience in
everything doesn’t mean they can do everything well.

Experiences and Stages of Life

A character’s Experiences will change as they cycle through the

stages of life. The relevant stages here are childhood, adolescence,
initiation, midlife, and mature adulthood. Rankings will be at their
lowest in childhood, increasing in adolescence and initiation as the
character goes through periods of concentrated learning.
Experiences reach their peak around midlife, when the character is
typically at the height of their career. During mature adulthood,
they may begin to decline as the character stops keeping up with
new developments, retiring from their lifelong career or slipping into
less active roles.

ACADEMIC EXPERIENCES
The character’s academic Experiences refect their scholarly
pursuits. This includes disciplines like humanities, social sciences,
natural sciences, formal sciences, and even general knowledge.

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Academic Experiences are important for the character to become a
well-rounded person.

Below Baseline Academic Experiences

The character has less education than is typical for their

situation. They may have had no formal schooling, or may possess
some form of learning disability. Academic Experiences mean little
to the character, if they even exist.

Baseline Academic Experiences

The character has the expected level of Experience for a person

in their situation. Their academic Experiences allow them to
function with neither advantage nor disadvantage. Academic
Experiences mean they have the level of education typical for the
setting.

Above Baseline Academic Experiences

The character has more education than is typical for the setting.
This might mean advanced degrees or dedicated self-study.
Academic Experiences mean opportunities and a greater breadth
and depth of knowledge.

ARTISTIC EXPERIENCES
The character’s artistic Experiences indicate their level of
engagement with various visual art forms. This includes painting,
illustration, design, fashion, and sculpture. Artistic Experiences are
important if the character has an occupation involving the crafting
of physical objects.

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Below Baseline Artistic Experiences

The character has had less opportunity to appreciate and create

art than is typical for their situation. They may have a sheltered
past or live in a culture that does not value the arts. Artistic
Experiences mean they may not how to do things like draw or sing.

Baseline Artistic Experiences

The character has the expected Experiences for a person in their

situation. They have the level of exposure to the arts typical for the
setting. Artistic Experiences mean they have some appreciation and
understanding of the arts and some basic training in art and music.

Above Baseline Artistic Experiences

The character has greater than typical Experiences with the arts.
They may have trained in a particular art form, or pursue it as a
hobby or recreational interest. Artistic Experience means the
character knows the world of the arts.

ATHLETIC EXPERIENCES
The character’s athletic Experiences are drawn from the forms of
physical exertion they engage in. This includes a variety of sports,
exercise, and recreational activities. Athletic Experiences are
important to the character’s general health, and come in handy
during action and adventure stories.

Below Baseline Athletic Experiences

The character has less training in sports and recreation than is

typical for their situation. They may have limited physical abilities,
few opportunities to participate, or just no interest in such things.

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Athletic Experiences may mean the character isn’t particularly
active in that way.

Baseline Athletic Experiences

The character has typical Experiences with sports and recreation

for a person in their situation. They may participate in amateur
athletics, engage in moderate exercise, or do physical things for
recreation. Athletic Experiences mean they’re in decent shape, with
no advantages or disadvantages beyond their general health.

Above Baseline Athletic Experiences

The character has greater than typical Experiences with sports

and recreation. They may be a professional athlete, or aspire to be,
or just work out a lot. Athletic Experience means the character
spends a lot of time working out and engaged in physical activity.

CREATIVE EXPERIENCES
The character’s creative Experiences indicate how well they can
leverage their imagination and fnd original solutions to problems.
This includes fnding ways around limitations, using resources
wisely, and inventing new things. Creative Experiences are
important because otherwise the character is limited to what other
people have already fgured out.

Below Baseline Creative Experiences

The character has less Experience with expressing the creativity

and developing new ideas than typical for their situation. This may
stem from a lack of need, because their life is pretty easy, or a lack
of opportunity. Creative Experiences for the character means crazy
stuf other people do.

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Baseline Creative Experiences

The character has the expected creative Experiences for a person

in their situation. They occasionally have to come up with new ideas
and use their imagination to solve problems. Creative Experience
means they can tap into their inventiveness with neither an
advantage nor disadvantage.

Above Baseline Creative Experiences

The character has greater creative Experiences than typical. The

circumstances of their life may require them to be resourceful and
imaginative. Creative Experiences for the character mean
opportunities to think up new ideas and solve difcult problems.

CULTURAL EXPERIENCES
The character’s cultural Experiences indicate their grasp of social
custom, practices, and expectations. This includes national or
ethnic traditions, religious values, and the written and unwritten
rules of a community. Cultural Experiences are important because
they allow the character to understand and ft in with society.

Below Baseline Cultural Experiences

The character has fewer Experiences with cultural customs and

practices than is typical for their situation. They may have been
sheltered, or come from a culture very diferent from the one in the
current story. Cultural Experience means the character is an
outsider within the setting.

Baseline Cultural Experiences

The character has the expected cultural Experiences for a person

in their situation. They have probably grown up in this

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environment, so to them it’s just the way things are done. Cultural
Experiences mean they know the rules and expectations their
society imposes on them.

Above Baseline Cultural Experiences

The character has greater than typical cultural Experiences.

They may have studied one or more traditions in depth, or they may
belong to an organization that preserves culture. Cultural
Experience means they not only understand what is done within
society, but why it is done and how it originated.

INVESTIGATIVE EXPERIENCES
The character’s investigative Experiences show their
resourcefulness in gathering information, verifying its accuracy,
and drawing conclusions from the data. This includes scientists,
detectives, journalists, spies, explorers, and historians. Investigative
Experiences are important if the character requires a steady source
of intelligence to achieve their goals.

Below Baseline Investigative Experiences

The character has less Experience with research and gathering

information than is typical for their situation. They may have no
need for it, or simply lack the methodologies to do it. Investigative
Experiences mean they rely on and trust other people to provide
them with information.

Baseline Investigative Experiences

The character has the expected level of investigative Experience

for a person in their situation. They can fnd basic information with
neither advantage nor disadvantage. Investigative Experience

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means they may get most of their information from other people,
but they know what sources to trust and how to verify if they need
to.

Above Baseline Investigative Experiences

The character has greater than typical Experiences with

gathering information and conducting research. They may work in a
data-driven feld, or simply have an analytical mind. Investigative
Experience means they know how to fnd correct and verifable
information and understand why sources and accuracy are
important.

MARTIAL EXPERIENCES
The character’s martial Experiences refect their expertise with
various forms of combat and tactics. This includes hand-to-hand
techniques, melee weapons use, frearms use, and other methods of
hurting people and breaking things. Martial Experience is
important for characters who are soldiers and action heroes.

Below Baseline Martial Experiences

The character has less Experience with combat and tactics than
is typical for their situation. They may have health issues, moral
objections, or a lack of need to get into a fght. Martial Experiences
mean that they use other abilities to avoid physical altercations.

Baseline Martial Experiences

The character has the expected martial Experiences for a person

in their situation. They can hold their own in a fair fght, and know
enough to not do anything foolish. Martial Experiences mean

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they’ve trained in self-defense or served a minimum term in the
military.

Above Baseline Martial Experiences

The character has greater than typical martial Experiences. They

may be a professional soldier or fghter or some kind, or train hard
for other reasons. Martial Experiences mean that they are highly
skilled in combat and tactics.

PERSUASIVE EXPERIENCES
The character’s persuasive Experiences indicate their ability to
convince people to see things their way. This includes acting,
singing, selling, negotiating, being seductive, lying, and
interrogation. Persuasive Experiences are important because
everyone needs to talk people into or out of something to get what
they want in life.

Below Baseline Persuasive Experiences

The character has less Experience with convincing other people

to do what they want than is typical for their situation. They may be
lacking something in terms of personality, looks, or style.
Persuasive Experiences mean that they may be overlooked or
ignored.

Baseline Persuasive Experiences

The character has the expected persuasive Experiences for a

person in their situation. They can make both rational and
emotional arguments, with neither advantage nor disadvantage.
Persuasive Experience means they know how to get what they want
at least part of the time.

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Above Baseline Persuasive Experiences

The character has greater than typical Experience with

convincing other people. They may work in a feld where infuencing
the public is a key component. Persuasive Experience means they
get what that want the majority of the time.

PROFESSIONAL EXPERIENCES
The character’s professional Experiences are a gauge of their
qualifcations in a career that requires special training and
certifcation. These include skilled occupations like doctor, lawyer,
teacher, engineer, electrician, and mechanic. Professional
Experience goes beyond knowledge of the job itself, and extends to
an understanding of the culture and operations within the entire
feld.

Below Baseline Professional Experiences

The character has less career Experience than is typical for their
situation. They may not be a skilled worker, or they may lack
necessary training. Professional Experience means they’re not
qualifed for certain types of jobs.

Baseline Professional Experiences

The character has the expected professional Experiences for a

person in their situation. They are competent at their job, with no
advantages or disadvantages. Professional Experience means the
character can do what’s expected of them and draw a decent salary
for doing it.

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Above Baseline Professional Experiences

The character has greater than typical professional Experience.

They may be at the top of their game, or have been at it for a long
time. Professional Experience for the character means that they are
a certifed expert and a Leader in their feld.

TRANSPORT EXPERIENCES
The character’s transport Experiences show their profciency
with using the most common means of getting around within the
setting. This could mean riding a horse in an historical or fantasy
story, driving a car in the modern world, or piloting a starship in a
science fctional future. Transport Experiences are often important
for both employment opportunities and quality of life.

Below Baseline Transport Experiences

The character has less Experience with transportation than is

typical for their situation. They may not know how to operate or
navigate the most common means of getting around, or they just
may not do it well. Transport Experience for the character means
difculty getting around.

Baseline Transport Experiences

The character has the expected transport Experiences for a

person in their situation. They can get where they need to go
without advantage or disadvantage. Transport Experience means
being able to drive, ride, operate, or use the common modes of
transportation in the setting.

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Above Baseline Transport Experiences

The character has greater than typical transport Experiences.

They may excel at the common travel modes, or they might be
versed in unusual means of transit. Transport Experiences for the
character mean they will get where they’re going in the most
efcient way possible.

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8. RESOURCES
Every character will have various types of resources at his or her
disposal, including money, material possessions, and connections
to useful and helpful people. The exact resources will depend on the
genre, time, place, and tone established for your story.

STANDARD RESOURCES
The 10 character resources we will be focusing on in this book
are:
Clothing – What the character wears, both for practical and
fashionable reasons.
Contacts – Who the character knows and the types of assistance
they may provide.
Equipment – What tools and gear the character has to work
with.
Housing – Where the character lives and the quality of shelter
they have.
Information – What secret and special knowledge the character
possesses.
Possessions – What personal efects and common stuf the
character has.
Relationships – What friends and family members the character
has in their life.
Reputation – What other people think of the character and why.
Transportation – What means of getting around the character
has.
Wealth – How much money the character has available to spend.

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Alternate Resources

There are a few important points that need to be made about

resources. The frst is that you don’t need to use them all. Not every
character has to possess some degree of every resource. If
something isn’t a defning trait, positive or negative, skip it.
Second, not every setting needs to use every resource. If the
needs of the story mean that certain types of things won’t come up,
ignore them. Focus on and showcase what you need. Third, you
can and should rename the resources presented here to best suit
the favor of your project. Use the sort of vocabulary appropriate to
your setting. Call things by the vocabulary used by the character in
that genre, time, and place.
Finally, feel free to make up your own Aptitudes of your story
and characters need something that isn’t represented here. No
system can realistically be all things to all people, so if something
you need isn’t here, you have permission to tweak it.

Resource Rankings

Each resource has a descriptive Ranking, to refect the quantity

or quality of that resource. There is no restriction on the resources
a character can have, or the Ratings they possess. You can make
them above the baseline in everything if it’s appropriate for the
character.

CLOTHING
The character’s clothing has two dimensions, function and
fashion. It has to protect them from the elements and other possible
hazards, but it also needs to be stylish and look good. Clothing as a

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resource includes any professional attire uniforms, armor, or
special garments the character needs.

Below Baseline Clothing

The character does not have appropriate clothing for their

situation. It may not ofer proper protection for the environment, or
project the proper image for their profession or status. This might
be because they have no money, or because of some ideological
statement. Clothing means they’re not naked, and little else.

Baseline Clothing

The character has the expected clothing for a person in their

situation. They have the basics they need for their job and social
status. Clothing means they’re safe and appropriate, with no
advantages or disadvantages.

Above Baseline Clothing

The character has better quality clothing that is typical for the
setting. It may be expensive, custom tailors, or made from special
materials. Clothing means they’re on the cutting edge of fashion, or
have greater protection than the baseline ofers.

CONTACTS
The character’s contacts are people they know who can provide
them with other resources they can’t get themselves. This includes
material goods, services, and information. Contacts may be
supporting characters in the story. Having contacts is important,
because no character can reasonably or realistically have and do
everything they need. Having other people to rely on and interact
with makes for a better story.

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Below Baseline Contacts

The character has few or no contacts, or they may be lacking a

vital type of contact essential for their goals or profession. Lacking
this type of contact creates a disadvantage for them. Contacts mean
they have difculty getting things that they need.

Baseline Contacts

The character has the expected contacts for a person in their

situation. They have a reasonable network of people for their career,
hobbies, and interests. Contacts mean they can function in life with
neither advantages nor disadvantages.

Above Baseline Contacts

The character has a lot of contacts. This may be broad, meaning

they have a person for anything you can imagine, or deep, meaning
they have a contact that specializes in very specifc, hard-to-fnd
goods, services, or information in a narrow category. Contacts mean
the character can locate anything necessary, if they can make a
deal for it.

EQUIPMENT
The character’s equipment is anything they need to live their life,
do their job, and engage in their hobbies. This includes all of the
tools of their particular trade. No itemized lists need to be made,
because what’s missing or what’s extra can be determined by their
equipment Ranking. Acquiring, replacing, and upgrading equipment
can be a source of confict, or a reward for meeting story goals.

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Below Baseline Equipment

The character lacks some necessary equipment, or what they

have is of extremely poor quality. They may be able to do the job
with difculty, or they may not be able to do it at all. What’s not
working right, what’s broken, and what’s missing should be
determined.

Baseline Equipment

The character has the right equipment for their situation. They
have everything they need to function, with neither an advantage
nor disadvantage. Equipment means these resources are assumed
to exist and needn’t be worried about.

Above Baseline Equipment

The character has better equipment than the baseline. This

might mean higher quality, or some fancy extra pieces above and
beyond the base necessities. Equipment means the character is
able to get better results.

HOUSING
The character’s housing is their living situation. This includes
houses, apartments, and rented rooms. It’s a place to sleep, rest,
interact with other characters, and store their stuf. Housing can be
described in as much or as little as you need.

Below Baseline Housing

The character has poor quality housing. It may not ofer complete
shelter from the elements, be in a bad location, require repairs, or
have vermin. Housing means the character has a place to sleep
that’s marginally better than living outside.

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Baseline Housing

The character has the housing typical for the setting. It’s safe,
furnished, and has an adequate amount of space for the character’s
needs. Housing means they have a home base to operate out of.

Above Baseline Housing

The character has better housing than most people. It may be

larger, in a good neighborhood, or have amenities that don’t come
standard in most homes. Housing means the character lives in
comfort and style.

INFORMATION
The character’s information resource means they have some bit
of knowledge that no one else has. It might be a secret, a diary,
photographs, a map, or other bit of esoteric data. They might use
this for leverage, blackmailing people with it, or it might be the key
to some grand story. Information gives the character some sort of
power.

Below Baseline Information

The character doesn’t know anything that’s of any special use. If

they do, they don’t know about it, or know how to use it.
Information means they don’t have a lot of leverage.

Baseline Information

The character has the expected information for a person in their

situation. They may have some small embarrassing anecdotes or

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awkward photos that could be leveraged to gain mundane favors.
Information means the character has a moderate amount of dirt on
some ordinary people.

Above Baseline Information

The character has something big. It might be something

scandalous on an important person, or a revelation that will have a
huge impact on the story. Information means the character has a
bomb they can drop at the time and place of their choosing.

POSSESSIONS
The character’s possessions are their ordinary stuf and personal
efects. This includes photos, knickknacks, souvenirs, and
collections. Possessions are important to the character, but
probably not worth very much to anyone else.

Below Baseline Possessions

The character has few possessions, or nothing of great value.

They may not be a stuf person, or they may have other resource
issues. Possessions might be something they don’t have but covet.

Baseline Possessions

The character has the expected possessions for a person in their

situation. They can function with neither advantages nor
disadvantages. Possessions mean that they’re relatively
comfortable.

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Above Baseline Possessions

The character has better stuf than most people. It may be higher
quality or greater quantity. Possessions mean the character may
like nice things, or may be a hoarder.

RELATIONSHIPS
The character’s relationships are the people they are closest to.
This includes family, friends, Lovers, Mentors, and even pets.
Relationships are important because they humanize the character.
They ofer opportunities to present diferent sides of the character
that may not be visible while they’re deep in the story or pursuing
personal goals.

Below Baseline Relationships

The character has few meaningful relationships. This may be

because they lack social skills, the people they know are out of
reach, or because choose to be alone. Relationships are things that
other people have. They may also have relationships that are
strained or even toxic.

Baseline Relationships

The character has the sorts of relationships that most people

have. They have some friends and family. Relationships are the
status quo for life.

Above Baseline Relationships

The character has more prominent relationships than most

people. They may hail from a large family, or have a lot of friends.
Relationships are something to be cherished and developed, so the
character has many of them.

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REPUTATION
The character’s reputation is what people think of them. This is
based on both the behavior they display and the things that they
have accomplished. I can also be based on rumor, gossip,
disinformation, and propaganda. Reputation is important because
it’s what people who don’t really know the character use to make
decisions about that character.

Below Baseline Reputation

The character has no real reputation, or possibly a bad

reputation. Either people have never heard of them, or what they’ve
heard is negative or just plain unimpressive. Reputation for the
character is something they need to work on.

Baseline Reputation

The character has the expected reputation for a person in their

situation. There is nothing exceptionally good or bad, and they’re
known to be decent and competent. Reputation is a safe thing that
keeps them securely along the baseline.

Above Baseline Reputation

The character has a positive reputation. People know who they

are, have heard good things about them personally, and are aware
of what they’ve done. Reputation for the character is one of their
most valuable resources.

TRANSPORTATION
The character’s transportation is the means by which they get
around. Depending on the setting, this can be a horse, a car, a
bicycle, or some futuristic vehicle. The character is assumed to own

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their transportation, or at least have reliable access to it.
Transportation is important when the story requires the character
to get around.

Below Baseline Transportation

The character has limited access to transportation, or there is a

problem with reliability. It may be a sick horse or a broken-down
car. Transportation means the character has difculty getting
where they need to go.

Baseline Transportation

The character has the expected transportation for a person in

their situation. It is functional and reliable, with neither advantages
nor disadvantages. Transportation means the character is able to
get around with relative ease.

Above Baseline Transportation

The character has a better means of transportation than most. It

may be high quality or a cutting-edge form. Transportation means
the character can get around quickly and comfortably.

WEALTH
The character’s wealth constitutes their overall fnancial
situation. This includes cash, savings, investments, and any
property that can quickly and easily be sold for money. Wealth is
important because everyone needs to pay for goods and services in
order to live.

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Below Baseline Wealth

The character is poor. They may have no money, or lack access

to the fnancial assets they do have. Wealth means not being able to
cover basic expenses and going without certain necessities.

Baseline Wealth

The character is middle class or at least of typical means for the

setting. They can comfortably cover their expenses and set money
aside for future needs. Wealth means not having to worry about
money.

Above Baseline Wealth

The character is rich. They can cover their expenses and aford
luxuries. Wealth means having the ability to buy whatever they
want without worrying about their future needs.

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9. WONDERS
Depending on the genre and setting of your story, there may be
magic, superpowers, or other supernatural abilities available to
your characters. Collectively, these will be referred to as wonders.
They can be handled in diferent ways, depending upon which best
suits the needs of your story.

HOW WONDERS WORK

The specifcs of how wonders operate, and even why they exist,
are mostly a function of setting. The rules of magic in one series of
fantasy novels are diferent from the rules of magic in an unrelated
television show. The ways mental powers work in a particular
science fction novel are completely contradictory to the way the
same powers behave in a superhero movie. It’s up to you to
establish what such powers do, what their restrictions are, and
most importantly, why some characters have them while others
don’t.

DEFINING WONDERS
There are a few parameters that you might use to defne
wonders. If you’re writing a story, you’ll want to keep these things
in mind, because you’ll be able to see how a wonder can resolve or
create confict. If you’re using an existing roleplaying game system,
these things are probably already spelled out for you. That doesn’t
mean you can’t use the following guidelines to tweak the rules of
the game a bit, to make your setting unique and to better support
the types of stories you want to tell. If nothing else, you can add
your own descriptive elements to prepackaged abilities.

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 Effects – What the wonder looks like, what it does, and its
afterefects. This is purely descriptive.
Activation – How the wonder is initiated, what’s required, and
how long it takes. Instantaneous? Seconds? Minutes? A ritual
lasting days? Are materials required?
Duration – How long the efects of the wonder last and what can
end the efects. Instant? Hours? Days? Until the character chooses
to stop? Forever?
Uses – How often can the character use the wonder, if there’s any
degradation. Once per day? Once per hour? A certain number of
times in a lifetime? Infnite?
Area of Effect – How many people, or what amount of space,
does it afect. One person? A room? All the character sees?
Everything the character can picture?
Range – How close must a target be to the character for the
wonder to work? Close enough to touch? Within a specifc distance?
Line of sight? Anywhere in the world?
Weaknesses – What prevents the wonder from working, and how
that functions. Are their people or objects it doesn’t work on? Is
there a substance that nullifes it?

WONDERS AS APTITUDES
Wonders can be expressed as unique Aptitudes, rated in the
same way as regular Aptitudes. What you name this Aptitude
should refect the source of the wonder within your setting. This
works best if there is only one specifc wonder that needs to be
represented. Not all characters will have this Aptitude, but everyone
who does will be able to use the exact same wonder. This also

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means that wonders are static, and will not improve as the
character learns to use them.
Magical Aptitude – The character is able to manipulate magical
energies at will, in whatever way they choose to describe. There are
no individual spells.
Mentalist Aptitude – The character has a single mental ability
like telekinesis, telepathy, or precognition.
Superpower Aptitude – The character has a single superpower,
like fight, invulnerability, or an energy blast.

WONDERS AS EXPERIENCES
If wonders are something that can be improved as the character
learns to use them, they might be best represented with
Experiences. You should name the Experiences based on the way
the wonder is expressed within the setting. If new abilities are able
to be learned, they should be Experiences. As with regular
Experiences, they can be utilized in conjunction with whatever
Aptitude seem most appropriate.
Magical Experiences – The character can learn categories of
magic, like summoning or enchantment. Experiences can be
categories or individual spells.
Mentalist Experiences – The character can learn to use their
mental abilities in a variety of ways. These might be categories or
specifc individual wonders.
Superpower Experiences – The character might have a defned
category of wonders based on an archetype, or Experiences might
refect individual wonders.

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WONDERS MIXING APTITUDES AND EXPERIENCES
This approach requires a specifc Aptitude to “power” the
character’s wonders, with Experiences refecting the myriad ways
that the character has learned to use their gift. You should name
the Aptitudes and Experiences to refect the terminology used for
wonders within the setting.
Magical Aptitudes and Experiences – The character has a
magical Aptitude that gives them a Rating. They have Experiences
to indicate categories of magic or individual spells that they have
learned.
Mentalist Aptitudes and Experiences – The character has a
mentalist Aptitude that provides a Rating for the wonders. They also
have Experiences defning categories or individual abilities.
Superpower Aptitudes and Experiences – The character has an
Aptitude refecting the source of their power and providing a Rating.
They have an archetype or individual powers expressed as
Experiences.

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10. TELLING THEIR STORY
The fnal step in all of this is to create a character bible. This is
everything you know about the character. In a roleplaying game,
this begins with a character sheet, and may continue into a
notebook or journal. For a writing project it can be the same, or a
separate fle or document where you keep notes and ideas about the
character.

CREATING A CHARACTER SHEET

A character sheet is a stock fll-in-the-blanks form used in
tabletop roleplaying games to record basic character information.
This is usually boiled down to a few pertinent background details
like the character’s name and the archetype they conform to,
followed by statistics on their abilities. Traditional sheets have
severe restrictions. Even the best-designed sheets always seem to
not have enough space where you need it, and wasted space or
things you don’t need. They have their uses as a form of shorthand
and a convenient, at-a-glance document that can be shared with
collaborators. As a thorough and accurate record of who the
character is and what they can do, they’re a fawed piece of
technology.
Character sheets rarely allow room for the sort of information in
this book. That’s because most games aren’t story-driven. Who the
character is, what they need, and who they’re trying to become, is
far less important than what they can do. That’s fne. That’s what
those sorts of games are designed to do, and they do that well.

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 The purpose of this book, though, has been to develop a more
literary character. For that reason, there’s no character sheet
presented here. Instead, you’re encourage to take out a sheet of
paper, or open up your favorite piece of writing software, and create
your own. You’re the one who’s going to use it, so you’re the only
one who understands what your needs are.
Go back through the elements presented in this book. Write
down only the things that are relevant to your character. Keep it
concise, a few words or a sentence for each element. Try to keep it
down to a page or two. Arrange the information whatever way
makes the most sense to you. Voila! You have a character sheet.

CHARACTER SHEET TEMPLATE

Here is a template for writing out your own character sheet, in
the form of a summary of what’s been covered in this book.

Stages of Life

Take note the stage of life the character is currently in, and the
stage they’re transitioning into or out of.
Childhood, adolescence, separation from parents, initiation,
romance, midlife, mature adulthood, death

Dimensions

List out the relevant elements for each dimension, with

descriptions and Rankings as appropriate.

Physiology

Age, body language, coloration, distinguishing marks, facial

expressions, fashion sense, health, height and weight, sex and
gender

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Sociology

Class, education, entertainment, environment, hobbies,

nationality, occupation, politics, race and ethnicity, religion

Psychology

Emotional stability, impulse control, open mindedness, social

engagement, social harmony

Motivations

List out the character’s need-driven and goal-driven motivations.

Include Rankings and clarifcations as needed.
Needs – Physiological needs, sociological needs, psychological
needs, stage of life needs
Goals – Ambition, stakes, obstacles

Aptitudes

List the character’s Aptitudes and their Ratings. Include any

relevant descriptions or explanations.
Body Aptitude, empathy Aptitude, language Aptitude, morality
Aptitude, musical Aptitude, nature Aptitude, reason Aptitude,
reflection Aptitude, spiritual Aptitude, visualiaation Aptitude

Experiences

List the character’s Experiences and their Rankings, along with

any necessary descriptions or explanations.

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 Academic Experiences, artistic Experiences, athletic Experiences,
creative Experiences, cultural Experiences, investigative Experiences,
martial Experiences, persuasive Experiences, professional
Experiences, transport Experiences

Resources

List the character’s resources and their Rankings, along with and
brief descriptions or clarifcations.
Clothing, contacts, equipment, housing, information, possessions,
relationships, reputation, transportation, wealth

Wonders

The character’s wonders can either be listed with the other

Aptitudes and Experiences, or called out in a separate section.

CREATING A CHARACTER JOURNAL

The most efective way to create a story-driven character is to put
together a character journal. Begin by following the character sheet
template, but put a bit more detail into each item. Ask why you’ve
chosen that specifc element, and explain your answer. Ask why
that element has the description, Rating, or Ranking you’ve
assigned to it. Add as much information as you need to understand
your character on a deeper level.
Then look as various elements in relation to each other and fnd
the conficts. You’re mining for story, either background or hooks
that can be incorporated into the story you’re preparing to tell. Are
there causal connections, where one element resulted in another
element? Is the presence of one element they answer to the question

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why posed by another element? Are there seeming contradictions or
unanswered questions that can be addressed going forward?
Review everything in relation to the type of story the character is
being created for. Is the character too perfect, eliminating
opportunities for interesting confict and drama? Is the character
too much of a fsh out of water, too far removed from the story to be
credible? Make adjustments as needed, to create the right ft.
Finally, document ideas as they come to you. If you’re playing a
roleplaying game, keep note on people they meet, how they feel
about those people, and how they get along. Keep track of events,
and how those events might tie into their needs and goals. Look for
opportunities to work through the character’s personal story within
the larger story.
If you’re writing a story, keep track of the major events and other
characters they encounter. This will allow you to remain consistent
and maintain continuity. It will also aid you in plotting story arcs,
so that the character’s journey has a satisfying beginning, middle,
and end.

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EXCERPT: SETTING DESIGN
The following is an excerpt from the Dancing Lights Press best
seller, Setting Design, available where you bought this book.
One of the greatest challenges that both writers and roleplayers
face is preparation time. Before you can sit down to write a novel or
run a tabletop campaign, you will need to do some research. One of
the risks of traditional worldbuilding is the tendency to gather more
information than you actually need, or can ever possible use. You
begin to feel a need to be sure you know absolutely everything
about your setting, no matter how trivial, just in case it comes up.
You don’t want to have to stop right when you’re in the middle of
the action to have to look something up, or even to make something
up. It’s normal to want all of the pieces have to ft together neatly,
so that your ofcial canon has no embarrassing continuity holes.
The other worldbuilding option is to just wing it. Start writing,
start playing, and make it all up as you go. If you’re well-versed in a
particular genre, or know an established setting like the back of
your hand, you can make this method work. That’s not really
worldbuilding, though; that’s rote memorization and repetition. You
can craft something from whole cloth as your story unfolds, but
that’s not worldbuilding, either. It’s random chance and
happenstance.
Setting design, as we’ll be discussing it in this book, means doing
things on purpose. It means that every element of your setting is
there for a reason. You made a decision to include some things, and
leave out others, because they somehow contribute to the story

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that’s being told. You only do as much work as is necessary to tell
that story, and maybe set up a couple of future stories.

TOP-DOWN DESIGN
There are two prevailing approaches to traditional worldbuilding.
The frst is top-down, or outside-in, design. You start big, often with
a map, and make generalizations about geography, climate, major
cities, politics, ecology, and other broad topics. From there the
creator can scale down incrementally, flling in increasingly fner
and more specifc details. Everything is created with no specifc use
in mind; purpose for those tiny details can be found later, possibly
in character backgrounds or story hooks.
The strength of top-down design is that you, as the creator, are
able to see a big picture. You know how and why everything fts
together because you began with a larger whole and then zoomed
in. One of the drawbacks is that it’s tempting to make things ft
together too well. Any inconsistencies are intentional, and might
feel forced. Those inconsistencies are important, because they
create confict. As we’ll see, confict creates drama, gives characters
purpose and depth, and drives stories. There may be a lot of
potential in the world for many stories, and a myriad of types of
stories to be told, but it will take tremendous amounts of work to
mine them out of all the raw details required to defne the top-down
world.

BOTTOM-UP DESIGN
In bottom-up or inside-out design, you start small and work your
way up to larger elements. The characters may begin in a tavern,
and that’s all that you or they know of the world. They may be hired

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to guard a caravan traveling to a distant city, at which point the
creator will need to fll in the details of the city and everything
leading up to it. Every element is determined on a need-to-use
basis, and they in turn suggest other elements, and the setting
grows organically from there.
The strength of a bottom-up approach comes from the
inconsistencies that inevitably creep in. Having to reconcile
contradictory details that you thought up on the fy makes good
story fodder. The downside is that it requires strong improvisational
skills. You’re either making things up as you go along, or you’re
stopping and starting to do sporadic bits of research. It’s sort of like
building an airplane while you’re fying it. This approach can be as
much work as crafting an obsessively detailed top-down design.

STORY-DRIVEN DESIGN
There is another option, and that’s to follow story-driven design.
First you determine the sort of story you want to tell. Then you
design as much of the world as you think you’ll need in order to tell
that story. Every element can justify its existence somehow. It
encompasses some components of top-down design, but since you
know what you need to focus on, you create less excess. There may
still be elements that you won’t use, placed there just for color or to
make the setting feel more real, but there will be fewer of them. It
also uses aspects of bottom-up design, with the added bonus of
needing to improvise less. Even when you have to make things up
on the spot, you’ll have existing elements to serve as a foundation
that you can build upon.
The strength of story-driven design is that it’s just as creative
and intellectually stimulating as the other approaches, but it’s far

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more targeted and efcient. You’re neither woolgathering and
generating reams of material that you’ll never use, nor fumbling to
come up with some element on the spot. You can fy by the seat of
your pants when you feel the need to let loose creatively, but you
also have a master plan flled with structure and discipline to guide
you. What needs to ft together will ft together. What’s inconsistent
will be small enough to ignore, or novel enough that it will be fun to
reconcile or explain away. Best of all, it will allow you to get down to
what you’ve really set out to accomplish: writing a novel, composing
a script, or running a tabletop roleplaying game.

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EXCERPT FROM STORY STRUCTURE
The following is an excerpt from the Dancing Lights Press best
seller, Story Structure, available where you bought this book.

All stories have the same fundamental needs. There must be at

least one protagonist, for a start, the person or persons that the
story is about. A story has to have a goal, something that needs to
be accomplished by the protagonist that creates the context for
everything else that happens. There must be obstacles, things that
prevent the protagonist from achieving the goal too easily, so that
the story remains interesting. There has to be an antagonist, a rival
or a villain that for some reason needs the protagonist to fail.
Finally, a story needs to have stakes, both the rewards that go to
the protagonist for completing the goal, and the complications that
could arise if they fail.
All of those needs are a function of structure. Without those
elements, you don’t have a story. There’s more, though. The story
has scenes, and while you can play around with their content and
their order to some degree, some scenes have to happen before
others. Some scenes have to accomplish specifc things. This helps
the audience — the reader, the viewer, the listener, the player — to
follow the story and understand what’s happening. The familiarity
of structure creates resonance with their experiences and
expectations, fulflls their emotional needs, and keeps them hooked.

Creativity and Constraint

There are people who disavow the need for structure. They feel
that it stifes their creativity. Structure isn’t story, though, in the

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same way the map isn’t the journey. Knowing where you’re going is
diferent from the experience of getting there. It makes sure that
you do get there by keeping you from getting lost, and preventing
you from wasting time wandering aimlessly without a purpose.
Structure isn’t paint-by-numbers; if you hand three diferent
writers the same structure, you can get three diferent stories, each
with the individual writers’ voices and intentions intact.

The Sandbox and the Railroad

There are two terms that get thrown around a lot in tabletop
roleplaying circles. A sandbox is a setting where characters wander
around freely and explore the world at their leisure. A railroad is a
story where the decisions and actions of the characters don’t afect
the outcome in any meaningful way. Creating a sandbox is praised
by many as best thing ever that could happen in a game, while
railroading is decried as a cardinal sin. What we’re really talking
about, if we’re allowed to remove some of the hyperbole, are
character-driven stories and plot-driven stories, often taken to
irrational and unworkable extremes.
A character-driven story, the sandbox, is about the protagonist’s
choices and decisions. Its prime virtue is that the characters have a
great deal of agency. There can still be structures, and all of the
basic elements of a beginning, a middle, and an end, with goals,
obstacles, and stakes. While it might seem fun because the
audience — the player — gets to do whatever they want, it can also
get boring as they wander aimlessly without a clear point as to what
they ought to be doing. There are no inherent stakes, and no true
sense of urgency. It requires the gamemaster to either create a lot of
material that may never be used just in case, or to improvise when
the players strike of in unexpected directions, or both.

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 A plot-driven story, the railroad, is about the story itself. Its
prime failing for tabletop roleplaying games is that it robs
characters of virtually all of their agency. The characters are going
to do what needs to be done, not because they chose to but because
they don’t have any other options. There’s one solution, there’s little
room for exploration, and the motivations, goals, and personalities
of the protagonists don’t have much impact on the events that
unfold. This type of story is easy for gamemasters, because its
linear nature means there’s less to prepare for and virtually nothing
to improvise.

The Middle Path

It is entirely possible to strike a balance between the sandbox

and the railroad, to walk the line between a purely character-driven
story and a strictly plot-driven one. The characters have goals and
objectives, but it’s up to them to choose how they pursue them.
They can wander a bit, but they do so with a purpose. There will be
obstacles, serving a thematic purpose and connected to the goal of
the story. Characters will still have agency in determining how to
overcome those obstacles. Most importantly, there will be stakes. It
will be clear what the characters stand to gain or lose in the pursuit
of the story’s goals, making the entire story much more emotionally
engaging and meaningful.
For the gamemaster, this means having a little more preparation
than a railroad, but not nearly as much as is necessary to pull of a
sandbox. It requires some improvisation to accommodate character
agency, but within the scope of what’s likely and possible in the
story rather than a wide-open, universal realm of possibilities.

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