Fantasy Names Bank

Writing Realistic Characters - part 2

- Journal from their perspective. It can be hard to write compelling, realistic motivation for characters if you don’t understand them yourself. By journalling from their perspective, even if the content of the journal isn’t included in your story, you’ll essentially be thinking as the character. This should help you understand who they are and how they make choices and react to things, like a real person would.

- Answer “character questions”, but be careful when using lists found online. The internet is full of lists of questions for writers to answer when building characters, but not all of them are actually that important or useful. The fact is, it really doesn’t matter what a character’s favourite colour, animal or day of the week is (unless it’s relevant to your story… but it usually isn’t). When looking for question lists online, or making your own, focus on questions that have to do with your character’s personality, such as how they’d react to a situation or which values matter more to them.

- Make character charts! I can’t stress this enough — character charts are incredibly useful tools for writers and I don’t know what I’d do without them. They’re a great way to keep track of important information about your characters in an organized way that’s easy to access when you need to quickly check a detail. I’d also strongly recommend making your own charts, not using templates online (I find it a lot easier to stay organized when I’m using my own organizational system). If you need a place to start, though, I normally create charts with 4 categories: role (protagonist, antagonist, etc.), name, identities (gender, ethnicity, sexual orientation, etc.), and description (just a brief few sentences about them). You can also make personality charts with things like their greatest flaw, greatest strength, story goals, etc.

- Come up with a few detailed memories/anecdotes from their past. Think of them as mini-stories you can drop into your main story to build a more realistic life around the character. These don’t have to be crucial to the plot, and should be brought up in a natural way, such as in conversation with another character or in the main character’s thoughts. For example, your MC’s best friend might compliment her necklace, and she tells them how her sister gave it to her as a birthday present before moving away. You can also use these anecdotes to drop in important information in a non-obvious way. Continuing the example above, the MC could mention that her sister has the same design necklace, but in green. Later, this becomes a clue, when she finds the green necklace outside the villain’s lair.

- Keep a record of their backstory. This one doesn’t really need much explaining… Just keep notes of your character’s backstory as you come up with it so you don’t risk inconsistencies, which tend to break down realism. 

- Remember that the reader can’t see what’s in your head. Your characters may be fully developed, realistic people in your head, but that makes it easy to forget that your readers don’t automatically understand them the way you do — they only know what’s on the page. Asking other people to read your work can help you understand how your characters come through to an audience, but if you don’t want to do that, just re-reading it yourself is also helpful. If you do the latter, though, go through an entire chapter at a time, the way a reader would, not small sections.

Hi - we're on Tumblr now!

I’m sorry, who are you?

We’re @sashasienna​ and @jonnywaistcoat​, and we make tabletop RPGs as MacGuffin & Co.!

Tabletop what-nows?

Immersive storytelling games where you and your friends can dive into weird worlds, play fascinating characters and have harrowing adventures!

What, like Dungeons & Dragons?

*sigh* Yeah. Like Dungeons & Dragons

Ok, so what have you made?

Well, we’ve got a collection of system neutral micro-settings called Odd Jobs - it’s eleven small and fascinating worlds to play games in, each with a campaign you can play through in a month. They’re not designed for any particular system, so you can play them with whatever game you like!

Oh, and it won the 2022 UK Games Expo award for Best Adventure and was nominated for Ennie Product of the Year. Just sayin’.

We’ve just released a tarot-themed magical river game called Upriver, Downriver with our dear friend Ella Watts, in which you play the crew of a ship sailing the Great River, either travelling upriver to the mythical Source with it’s magic and revelation; or downriver towards the unending Sea with it’s freedom and horizon.

We have KER-SPLAT! - a high-chaos, full nonsense cartoon RPG we wrote with Ross Barlow, where the players can’t die and the GM can’t stop them in a hilarious cascade of silly jokes. Also, not to brag, but this is the funniest RPG rulebook you’ll ever read.

We also have smaller games, such as Zero Void - a no-prep one-shot zine game, where you play a bunch of desperate space criminals trying to escape a space station before the law arrives.

Is there any way to keep up with what you do?

Well, following our Tumblr is a great start. We also have a monthly mailing list you can sign up to from our website that will keep you updated on what we do.

We also have a Patreon.

What was that? You’re mumbling!

Yeah, like all creators trying to eke out a living, we have a Patreon. If you sign up you get behind -the-scenes updates, small or prototype games, RPG resources, new micro-settings and our monthly TTRPG Gamesmasterclass, where we use our 35(!) combined years of GMing experience to help you run the best games ever.

But what if I want to see your faces?

Then I have great news! We stream boardgames and RPGs every Sunday at twitch.tv/macguffinandco! Jonny also streams videogames every Friday at twitch.tv/jonnywaistcoat, and Sasha steams their Jane Austen Bookclub every Monday at twitch.tv/sashasienna

Sounds cool - where can I find out more?

macguffinandcompany.com, baby!

Wait, so why are you on Tumblr?

Because social media is a nightmare hellscape and it’s weirdly the chillest one left. We are on other social sites as well - you can follow us on Twitter, Instagram and Facebook - but this is our favourite.

Pistol Dust

https://www.drivethrurpg.com/product/393309/Pistol-Dust

Pistol Dust is a Weird West meets High Fantasy Tabletop RPG with heavy emphasis on customizability. Pistol Dust forgoes class limitations in exchange for using experience to directly influence Talents, Abilities, and Skills.

https://www.drivethrurpg.com/product/393309/Pistol-Dust

The Far Roofs

Kickstarter

Coming soon: The Far Roofs

a game of talking rats, god-monsters, and you

So today I want to talk a bit about what this game wants to be. In particular, I'm going to go over its key technical and artistic goals.

The Far Roofs focuses on immersive hidden world fantasy adventure. It's intended to offer the experience of a grounded, emotionally real base world attached to an idealized, fantastic "hidden world" setting.

One might say, the streets and buildings and houses of the game's world are basically our own. Above us, though, is a stranger, more idealized, and more fantastic place. It's hard to get to. It's dangerous. It's less grounded. It's full of wonder.

Those are the Far Roofs.

This divide exists to make the game feel as real as possible, if you want to go that way. That's part of what hidden world fantasy is about, after all---the idea that magic is here. That it's not in some distant alien land or mythic future or past.

It's here, if you want to reach for it.

(Now, the game is flexible enough that you can play "protagonist" types instead of realer people, and many traditional gaming groups will probably prefer that, but that'll mean getting less of that immersive effect.)

The mood the game is interested in is that feeling you get when you take a huge risk---move to a new place; try a new thing. The feeling you get in those times in your life when everything is alienated and wondrous and terrifying but there's also so much more *hope* than there was in the still times before.

It's a mood of being swept up and called forward.

This is, among other things, meant to be a game for people who've been beaten down or exhausted by the ... everything ... to feel that sensation of moving forward again.

To remember what it's like, why it's worth it, how to reach for it again.

It's meant---and I do understand that I am finite and flawed and this can only go so far---as a tonic and refreshment to the soul.

--

Rules

The Far Roofs uses a 5d6-based dice pool system for day-to-day task resolution. It's relatively traditional and optimized for fast, fun dice reading. There's a loose consensus I've seen in RPG design circles that dice are for when outcomes are uncertain and both options are interesting, and I don't disagree ... but there's also this thing where rolling dice to decide is intrinsically interesting and fun, where it's fuel for a certain part of the brain.

This game tries to get as much out of that side of dice as it can.

You'll also collect letter tiles and cards over the course of the game. This is for bigger-picture stuff:

To answer big questions and to complete big projects, you'll either assemble representative words out of those tiles, or, play a poker hand built out of those cards. Word and their nuances express ideas and shape how outcomes play out; poker hands, conversely, just give a qualitative measure of how much work you do or how well things will go.

In keeping with this, the campaign is represented principally in the form of questions or issues your words and hands can address. Player/GM-created campaigns would be the same.

--

Physical and Electronic Product

I wanted to put the print version within the range of as many people who might need that tonic as possible. That means that for this particular game, I wanted to cover the full territory that I'd normally cover in a two or three volume set (core rules, setting, and campaign) in a single 200-250-page volume.

In practice this means there's a guide and examples for constructing the setting, rather than a deep dive into a fully-detailed world; that there's a bit less in the way of whimsical digression and flourish than in the writing I'm known for; that there's minimal "flavor" text on abilities; and that the campaign presentation is pretty fast-paced.

Conversely, it means that the game should be easy to absorb and to share with other possible players, and, that the game and campaign in this one relatively small volume should provide enough content for five or six years of play.

The book will be 8.5"x11" with grayscale art, available in a limited hardcover print run and a print-on-demand softcover form.

--

On the Rats

You'll see a lot of talk from me and others about the talking rats in this game. They're one of the jewels of the experience, and I think they're probably a significant draw just for being talking rats that are core to the game.

... but I'm going to hold off for now, because, to be clear, this is not a game of playing talking rats. It's just a game where talking rats and probably one of the top three most important setting elements.

I couldn't get that feeling I wanted of ... the base world being grounded realism; of the hidden world pulling you up and out and into a world full of magic ... with your playing rats, with your playing something so distant from the typical player.

So this is not a game of playing them.

They're just ... I like rats, and so I made the rats in this game with love. They're great ... whatever the equivalent is to "psychopomps" is for a magical world instead of for death ... and a way of talking about how in the face of the world, we're all pretty small.

--

I'm really excited about this game; the playtest was lovely.

I hope you'll enjoy it as well!

Terms You Might Want To Know For Your Wuxia/Xianxia Fic

MXTX's danmei are getting increasingly popular, and the fandoms are getting more fic-happy. I've noticed that some writers seem interested in writing their own fics but are concerned of making mistakes with niche honorifics and titles. I've noticed some that have jumped right in, but have made innocent errors that I'd like to correct but fear coming off as rude or presumptuous. And so I've made this list of terms that covers the basics and also some that are a little more niche since they're usually directly translated in cnovels.

DISCLAIMER: This is by no means a comprehensive list of everything one needs to know or would want to know concerning ancient Chinese honorifics and titles, merely what I myself consider useful to keep in mind.

Titles

Shifu: 'Martial father'; gender-neutral

Shizun: 'Martial father'; more formal than 'shifu'; gender-neutral

Shimu: ‘Martial mother’; wife of your martial teacher

Shiniang: ‘Martial mother’; wife of your martial teacher who is also a martial teacher

Shibo: elder apprentice-brother of your shifu; gender-neutral

Shishu: younger apprentice-brother of your shifu; gender-neutral

Shigu: apprentice-sister of your shifu

Shizhi: your martial nephew/niece

Shimei: younger female apprentice of the same generation as you

Shijie: elder female apprentice of the same generation as you

Shidi: younger male apprentice of the same generation as you

Shixiong: elder male apprentice of the same generation as you

Shige: elder male apprentice of the same generation as you, specifically one who has the same shifu as you or is the son of your shifu

Zhanglao: an elder of your sect

Zhangbei: a senior of your sect

Qianbei: a senior not of your sect

Wanbei: a junior not of your sect

Zongzhu: Address for a clan leader

Zhangmen: address for a sect leader

Daozhang: Daoist priests or simply a cultivator in general; gender-neutral

Daogu: Daoist priestess or a female cultivator; not as commonly used as 'daozhang'

Xiangu: Daoist priestess or a female cultivator; not as commonly used as 'daogu'

Sanren: a wandering cultivator

Xianren: 'Immortal Official'; a title of respect and power like 'General'

Xiuzhe: 'Cultivator', can be shortened to 'Xiu'

Xianjun: 'Immortal Master/Lord'

Xianshi: 'Immortal Master/Teacher'

Dashi: 'Great Teacher', address for monks

Xiansheng: Teacher/Sir; in ancient China, the connotation is very scholastic

Houye: address for a duke

Jueye: address for a noble lord, ei. a duke, marquess, earl, etc.

Wangye: address for king/imperial prince

Daren: address for imperial officials

Furen: Madam; the wife of an imperial official/nobleman OR a married woman granted a rank by the royal family

Nushi: Madam; the counterpart of 'xiansheng', connotation is scholastic

Taitai: Madam; address for an old married woman of the gentry, either wife or mother to head of household

Laoye: Old Lord; Address for an adult man with adult children of the gentry; possibly head of household

Nainai: Madam; Address for a married woman of the gentry, possibly wife of head of household

Ye: Lord; address for an adult man of the gentry, possibly head of household

Shaonainai: Young Madam; address for a woman married to a young man of the gentry

Shaoye: Young Lord; address for a young man or boy of the gentry, generation lower than head of household

Xiaoye: Little Lord; can be a synonym for ‘shaoye’ OR the son of a shaoye if ‘shaoye’ is already being used within the family

Xiaojie: Young Mistress; address for an unmarried woman or young girl of . . . the gentry and only the gentry, I believe. Correct me if you know for certain this is incorrect. (WARNING - It's an archaic term that should really only be used in an archaic setting if being used as a title instead of a suffix, because the modern vernacular has it as a term for a prostitute in mainland China. [Surname]-xiaojie is fine; Xiaojie by itself should be avoided.)

Gongzi: ‘Young Master/Lord/Sir'; ‘Childe’; young man from a household of the noble or gentry class

Guniang: 'Young Master/Lady/Miss'; ‘Maiden’; an unmarried woman or young girl from a household of the noble or gentry class

Laozhang: 'Old battle'; polite address for an unrelated old man of lower status than you

Laobo: polite address for an unrelated old man of a higher status that you

Laotou: 'Old man'; informal but not derogatory, implies fondness/closeness

Laopopo: 'Old woman'; informal but not derogatory, implies fondness/closeness

Please note that all of these listed above can be used as stand-alone titles or as suffixed honorifics.

Strictly Prefix/Suffix

-shi: 'Clan'; the suffix for a married woman, essentially means 'née'. (ex. Say Wei Wuxian was a woman and married into the Lan clan through a standard marriage. She would be called 'Wei-shi' by her husband's contemporaries and elders when not in a formal setting. It implies lack of closeness; used by acquaintances.)

a-: A prefix that shows affection or intimacy.

-er: A suffix that shows affection or intimacy; typically for children or those younger than you

-jun: 'Nobleman'; a suffix for a greatly respected man

-zun: 'Revered One'; a suffix for a greatly respected man

-ji: A suffix for a female friend

-bo: A suffix for an older man of your grandparents' generation

-po: A suffix for an older woman of your grandparents' generation

Cursed Jewelry! Remember, canonically Identify doesn’t pick up curses, so have fun tricking your players into getting cursed. <3

05.11 - Lakeside Visit

i think reframing 'writing a campaign' or 'writing a plot' as writing beats has dramatically changed the quality of my dming. for me personally, i work best when i have a world with pieces that would be moving (regardless of whether the players would be there but obviously, you put the players in the crosshairs to effect change) and plan each 2-4 sessions as its own small story and i've developed a method that really works for me that i use for oneshots, mini campaigns, and in arcs for longer games.

[ID: a screenshot of a bullet point list with template headers: Location, Framing Plot (subheaders Social, Exploration, and Combat), Key NPCS, World Plot Progression, Player Hooks (subheaders repeating Player to be replaced with a PC's name)]

to further explain:

Location(s) — where the sessions will likely take place, so I have a manageable list of places to develop further in terms of worldbuilding.

Framing Plot — What is happening, what is the inciting the incident and what are the things the players cannot control. Then the subheaders are the three tiers of play. I think it's important to have an idea to tap into all of them or lean heavier into what your party is interested in but consider all of them for fun and exciting Mechanical gameplay as well as story and roleplay.

Key NPCS — Who are the NPCS that are going to be important to the framing and to the players. This is usually just a handful.

World Plot Progression — How does / how will the events of this scenario push forward what your players are working towards?

Player Hooks — Specific thoughts for how to connect the framing plot to each player character and make each player feel invested and like their choices matter.

and that's what I do to plot out my games. It's never "this is how things will resolve" it is, "this is what the situation is and this is how i want to connect my players to it and see what they do"

why are yt to mp3 websites always the shadiest fuckin sites I feel like I’m going down a dark alleyway risking the chance of getting drugged and/or stabbed just bc its the only place where I can find a guy to deal me some decent fart with extra reverb dot mp3s