TEXT:  
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
  Berin Kinsman 
  Dancing Lights Press 
  http://dancinglightspress.com 
   
  Revised text version 1.01 
  Copyright 2016 Berin Kinsman.  
  All Rights Reserved. 
  
   
  Introduction .................................................................................................................................................. 1 
  Using This Book ............................................................................................................................................ 2 
  Rankings and Ratings .............................................................................................................................. 2 
  Creating and Resolving Conflict .............................................................................................................. 3 
  The Character Creation Process .............................................................................................................. 5 
  Types and Roles ............................................................................................................................................ 7 
  Protagonists .............................................................................................................................................. 7 
  Antagonists ............................................................................................................................................. 16 
  Supporting Characters ........................................................................................................................... 25 
  Background Characters .......................................................................................................................... 34 
  Stages of Life ............................................................................................................................................... 35 
  Dimensions ................................................................................................................................................. 44 
  Physiology ............................................................................................................................................... 45 
  Sociology ................................................................................................................................................. 49 
  Psychology .............................................................................................................................................. 54 
  Motivations ................................................................................................................................................. 58 
  Needs....................................................................................................................................................... 58 
  Goals ....................................................................................................................................................... 63 
  Aptitudes ..................................................................................................................................................... 66 
  Experiences ................................................................................................................................................. 78 
  Resources .................................................................................................................................................... 91 
  Wonders .................................................................................................................................................... 102 
  Telling Their Story .................................................................................................................................... 105 
  Character Sheet Template.................................................................................................................... 106 
  Creating a Character Journal............................................................................................................... 108 
  
  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 
  different. 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 is on tabletop roleplaying games, I’ll be using writing terms 
  rather than 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 fingers to keyboard, 
  it’s the writer’s craft that we’re dabbling in.  
   
   
   
  Berin Kinsman 
  May 2016 
   
   
   
   
  
  There are many elements that go into the creation of a great character. All of them 
  are optional. Nothing in this book is mandatory. Use as many of them as you choose. 
  Skip over any that don’t resonate with you, or fit the project you’re working on. All these 
  elements are system-agnostic and usable with any game mechanics, settings, or genres. 
  There are two units of measure used throughout this book. They are designed for use 
  with the ReadWriteRoll Storytelling Guide, a tabletop roleplaying system published by 
  Dancing Lights Press, but can be used unmodified with most roleplaying games with 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 specifics of how Ranking and Ratings relate to individual elements are explained 
  in the entries for those elements.  
  Many character elements have a descriptive Ranking.  These reflect a number of 
  things, based on the element. It might be the breadth and depth of an ability, the 
  amount of resources the character has access to, or how typical some element is 
  compared to what’s normative within the setting. 
  The Ranking levels are: 
  Low – The element is absent, or falls into the lowest level possible. 
  Below Baseline – The element is statistically below the typical level. 
  Baseline – The element’s level is typical for the setting. 
  Above Baseline – The character is statistically above the typical level. 
  High – The element falls into the highest level possible.  
  From a story perspective, Rankings help to flag potential conflicts. A character with a 
  low ability Ranking or few resources will have difficulties, to be sure. Other elements 
  that fall outside the norm will also present the opportunity for interpersonal conflicts. 
  Characters that fall outside of physical or ideological norms can run into problems with 
  those who are considered normative. These types of conflicts will be addressed under 
  the individual elements.  
   
  
  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 zero-sum game; for every +1 in an Aptitude, 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. 
   
  The key purpose of a character in a story is to create and resolve conflict 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 two questions: 
  What sorts of problems does this character create? 
  What sorts of problems does this character resolve? 
  Every character will lean toward one or the other, but except for the most minor of 
  supporting characters all of your fictional 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 hero can find someone cursing their name.  
  This is why every element that you assign to a character has to come with additional 
  questions: 
  How does this lead to internal conflict within the character? 
  How does this lead to external conflict with other characters? 
  Again, sometimes a given element of a character will lead to problems for themselves 
  and with other people, but can simply be one or the other. It doesn’t have to create a 
  problem, though. If it doesn’t, it should be an element that’s used to solve problems. 
  
  This leads to the final two questions: 
  How does this help to resolve an internal problem for the character? 
  How does this help to resolve an external problem for other characters? 
  Every element of the character has to do one or the other. It can do both. Every 
  choice you make for a character has to either create or resolve some type of conflict. If 
  you remember that, and factor in things like genre, setting, and theme, you’ll end up 
  with a memorable character with plenty of things to do within the story. 
  Ask Why At Least Five Times 
  It’s not enough to have a list of descriptive words and phrases, though. 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 
  that element? Why that decision? Why that trait? Why 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 five times. By the final 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 as 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 finished high school and has no marketable skills. 
  4. Why did she not finish high 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 different question, give a different answer, and end with a 
  different character. What you have here 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. She’s a responsible person, and 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. But she’s 
  struggling.  
  
  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 find financial 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 influence the choices you make for her, 
  and that she makes for herself. 
  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 different 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 star, of the story? Is he the villain or provider of obstacles and difficulties for the 
  Protagonist?  Or are they a supporting character? Then decide on one of the many ways 
  they might fill that role. 
  Stages of Life 
  On the journey from birth to death, where is the character at the beginning of your 
  story? How has the past shaped them? In what ways has it prepared them for what’s the 
  come? What phase are they transitioning out or, and into? 
  Dimensions 
  Every character has three dimensions. Physiology is the advantages or drawbacks 
  their body provides, including their looks. Sociology is the environment they’ve lived in 
  and the impact it’s had on her or him. Psychology is how they deal with all the influences 
  and implications of the first two.  
   
  Motivations 
  Knowing where the character’s been and who that are, what drives them forward? 
  What are their present needs? What are their hopes, dreams, and aspirations? What do 
  they stand to gain or lose in pursuing their goals? What keeps them from getting what 
  they want? 
  
  Aptitudes 
  An Aptitude is something that character is naturally good at. Technically, these 
  talents are part of her or his 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 educations, jobs, and hobbies. Technically part of the sociology 
  dimension, they’re called out separately and ranked descriptively for use in roleplaying 
  games. 
  Resources 
  These are the assets that the character has to draw upon or lacks. Resources include 
  money, possessions, reputation, and people they can call for help when they need it. 
  They’re the spoils the character has accumulated from their life story so far. As with 
  Experiences, they’re ranked descriptively.  
  Wonders 
  A wonder is any sort of special ability, like magical spells or super powers, which the 
  character has. They’re weird because they can be an Aptitude, Experience, or resource. 
  Not all characters have them. Not all stories need them.  
  Telling Their Story 
  Finally, you’re going to want to record all this for use as a reference going forward. 
  You’ll want to keep track of the character's history and update it as new and exciting 
  things happen to them. 
   
   
  
   “'Good guy' or 'bad guy', hero or antihero; doesn't matter to me, what 
  role I play, only the character have something magical.”  
  - Rutger Hauer 
  Every character has a part to play. Without them, there is no story to tell. In most 
  stories there are four basic character types: Protagonists, Antagonists, and supporting 
  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 
  first, before fleshing out any other details. 
  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 
  different role will alter the context of a character, and result in a different 
  story. Protagonist roles include the Caregiver, the Innocent, the Leader, the Loner, 
  the Lover, the Monarch, the Sage, and the Warrior.  
  
  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 field. A Caregiver often has difficulty 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 
  Rosenberg, Alfred Pennyworth, and Carry Bradshaw. The Antagonist counterpart to the 
  Caregiver is the Aggressor. 
  The Caregiver’s Values 
  The Caregiver needs their own self-expression, but is also concerned about the 
  feelings and wellbeing 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 selfless 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 wellbeing 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 figuratively 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 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 fulfill 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 archetypal Innocent is happy and confident 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 affects them, but they 
  choose to not let negativity 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 Aggressor’s physical and emotional violence is something that the Innocent isn’t 
  equipped to deal with on any level.  
  The Destroyer makes it difficult for the Innocent to see nothing but good in people as 
  they pull things apart. 
  The Judge 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 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 mission. A Leader is calm, organized, tactical, and tends to take a 
  long view of things.  
  Examples of the Leader include Spock, Minerva McGonagall, 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, unquantifiable, 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 Caregiver 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 Sage’s unquantifiable 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 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 find 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 Leader 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.  
  The Loner’s Cast 
  The Caregiver 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 archetypal Lover is a confident 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.  
  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 flaunting 
  social convention. They are either vilified or glorified 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 Caregiver will see the Lover as a complete person, not just a single-minded one-
  note caricature.  
  The Judge 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 Sage 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 different ways.  
  
  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 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 Pendragon, T'Pau, Daenerys Targaryen, 
  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 
  confident. Others think the Monarch is egomaniacal, controlling, and obsessed with 
  power. The strength the Monarch projects is their defining characteristic.  
  The Monarch’s Cast 
  The Caregiver 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 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 influence.  
  The Sage will be among the few that treat the Monarch as a whole person rather than 
  a figurehead.  
  
  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 Lovegood, and River Tam. 
  The Antagonist counterpart to the Sage is the Judge. 
  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 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 selfishness and the Sage’s 
  selflessness.  
  The Player’s philosophy of using people for personal gain runs counter to the Sage’s 
  helping others.  
  Another Sage’s different 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 archetypal Warrior is a physical, rather than intellectual, being. They live for the 
  moment and eschew the long view for immediate gratification. 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, Brigadier 
  Sir Alistair Gordon Lethbridge-Stewart, Lucy Pevensie, and Wonder Woman. 
  The Antagonist counterpart to the Warrior is the Destroyer. 
  The Warrior’s Values 
  The Warrior values loyalty, and fiercely defends friends and family. He or she is 
  competitive, especially in physical arenas, because the Warrior loves to test their 
  abilities. They live for physical fitness, 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 find them attractive, intimidating, or a combination of the two. 
  The Warrior’s Cast 
  The Caregiver 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 Judge 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 conflicted 
  relationships.  
  The Sage’s spiritual focus can either balance out or come into opposition with the 
  Warrior’s nature.  
  
  “Nobody is a villain in their own story. We're all the heroes of our own 
  stories.”  
  -George R. R. Martin 
  The Antagonist is the bad guy in the story. They’re typically a villain or rival, whose 
  mission is to make life difficult for the Protagonist. They have their own goals and 
  motives that conflict 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 specific archetypal roles that Antagonists play within a story. Even with 
  the same genre, time and place, and structure, a different Antagonist role will alter the 
  context and result in a very different story. Antagonist roles include the Aggressor, the 
  Destroyer, the Drifter, the Judge, the Mastermind, the Player, the Schemer, and the 
  Tyrant. 
  
  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. 
  The Protagonist counterpart to the Aggressor is the Caregiver. 
  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 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 Gregor Clegane, Luca Brasi, Maleficent, Mr. 
  Blonde, Gogo Yubari, and Katherine Pierce. 
  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 figure. They perceive 
  the Destroyer to be unintelligent, childish, and petulant. While handsome and charming 
  in the right circumstance, they aren’t trusted. 
  
  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 specific place. They can move around as needed if things get too 
  boring or the authorities get too close. 
  Examples of the Drifter include Travis Bickle, Randall Flagg, 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 find something to entertain them. What matters 
  is the immediate gratification 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.    
  
  The archetypal Judge always has their specific version of the greater good in mind. 
  They want to shape society to fit 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, Judge Doom, the Queen of Hearts, 
  Holden Caulfield, Dolores Umbridge, and Ebenezer Scrooge. 
  The Protagonist counterpart to the Judge is the Sage. 
   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 Judge seeks to punish aren’t crimes, and that the punishments 
  tend to be excessive for nature and degree of the offense.  
  
  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 Lestrange, 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 off. 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 Mastermind is more typically seen as an oppressor, best avoided or 
  escaped from.  
  
  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 flaunt 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 are clearly a sinner, but whether that 
  qualifies 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 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 Morgan 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 figuring 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.  
  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 archetypal Tyrant seizes power by force. They are rarely the champion of an 
  ideology, or possessed of qualifications 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 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 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 find justification for the Tyrant's extremes. They 
  still probably have concerns for the long-term viability of the Tyrant’s Leadership and 
  their own safety.  
  
  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 off-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 significantly different from a 
  Protagonist or Antagonist, they are described slightly differently. 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 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 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" Dugan, 
  Éomer, River Song, 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 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. 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.   
  
  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 official authority figure. It might be informal, like 
  a friend, neighbor, or acquaintance who offers help because they care about the 
  Protagonist. The Mentor may also have a specific agenda, and needs the Protagonist’s 
  aid in order to fulfill 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 McGonagall, Rupert Giles, Leslie 
  Thompkins, Ninny Threadgoode, 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 
  offer up a plan when the Protagonist is stumped or in need of a hint.  
  
  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 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 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 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 figure. They provide a moral compass by 
  forcing the Protagonist to be a good role model.  
  
  The Skeptic’s purpose is to question everything. They challenge the Protagonist’s 
  decisions, and actions. They also provide context by offering 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 flaws. 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 rash Protagonist will have to reconsider 
  bad idea. A wise Protagonist will have an opportunity to display their brilliance.  
  
  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 financial 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 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 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, Shug Avery, Margaret 
  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.  
  
  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 officer). 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 fly, or point out that it’s just a background character 
  with no story significance.  
   
   
   
  
  There are some things that all people, real or fictional, have in common. We’re born, 
  we grow up, we find 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 different 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 different needs 
  than an adolescent or a character in mature adulthood. A character seeking belonging, 
  or heading into the world on their own for the first time, has different 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 conflicts to occur. How the 
  character deals with those conflicts 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 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.  
  
  The span of time from birth to adolescence constitutes the character’s formative 
  years. The things that happen then will affect 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 affect 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 conflicts?  
  Does the character remember a specific 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 conflicts 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 affected the 
  way the character feels about themselves? Did another character create a lifelong 
  distrust of people who display certain traits?  
  What happens in the character’s childhood that sets the stage for future conflict 
  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 affect them, or will they affect relationships with other people? Does the way they 
  were treated as a child change the way they treat other people later in life? 
  
  During adolescences characters are trapped between childhood and adulthood. They 
  are only beginning to figure 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 first romantic encounters during adolescence.  
  What happens in the character’s adolescence that sets the stage for future conflicts?  
  What biases did the character develop, as they began to grow into their own person? 
  What rivals did they gain because of differences of opinion? How did their world view 
  change in a way that continued into later stages of life? 
  Are these conflicts internal and personal struggles or external issues involving other 
  characters?  
  Did the character’s adolescence instill them with a sense of confidence, 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 conflict 
  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? 
  
  At some point during late adolescence or early adulthood, the character will go off 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 financial and emotional support 
  systems, and develop new ones. During this time most characters also develop their first 
  serious romantic relationship, and take the first steps along their career path.  
  What happens in the character’s separation from their parents that sets the stage for 
  future conflicts?  
  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 conflicts 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 conflict 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 confidence going forward? Who helped the character and 
  inspired them to pay it forward? 
  
  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 first opportunities to network. 
  What happens in the character’s group that sets the stage for future conflicts?  
  What disagreements happened within the group that the character still can’t let go 
  on? How did the way conflicts were resolved within the group affect the way the 
  character handles disputes? Who ended up becoming a lifelong foil for the character? 
  Are these conflicts internal and personal struggles or external issues involving other 
  characters?  
  Do the character’s Experiences cause them to put their own interests first, 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 find 
  them difficult? 
  What happens in the character’s group that sets the stage for future conflict 
  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? 
  Did the group help the character learn something about themselves? Did the group 
  affect 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? 
  
  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 find the right 
  person to settle down with. This is a major milestone in a character’s life and this 
  relationship, or lack thereof, will affect all sorts of other major life decisions. 
  What happens in the character’s love life that sets the stage for future conflicts?  
  What goes wrong that hurts the character’s confidence? What happens that affects 
  the character’s reputation? What unrequited loves and rivals does the character meet, 
  that reappear later in their life? 
  Are these conflicts 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 find off-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 conflict 
  resolution?  
  What goes well that bolster’s the character’s confidence? 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? 
  
  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 off. At least, most cultures push people in that direction and use those things to 
  define success. It’s the things the character hasn’t done, or has done in an 
  unconventional way, that creates conflict. 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 
  conflicts?  
  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 conflicts internal and personal struggles or external issues involving other 
  characters?  
  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 
  conflict 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? 
  
  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 
  fixed income. The challenges of later life are unique, because they’re often defined 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 
  conflicts?  
  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 to pull off? What relationships do 
  they have to work hard to maintain? 
  Are these conflicts 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 
  conflict 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 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 affect 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.  
  What happens in the character’s approach to death that sets the stage for future 
  conflicts?  
  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 conflicts internal and personal struggles, or external issues involving other 
  characters?  
  How has the death of another affected the character’s relationship with someone still 
  living? How has death affected 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 
  conflict 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? 
   
  
  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 conflict that can be 
  mined for story elements.  
  
  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 affects 
  their outlook on life. In prose fiction, 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 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 
  influence 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 conflict that you can 
  address in your story if you choose.  
   
  
  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 significantly 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 office 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 significantly older than the other characters in the story.  
  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.  
  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 find it to be a source of conflict. Bigots exist. 
  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 find them to be a source of conflict.  
   
  
   
  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.  
  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 conflict 
  when it falls outside of what’s considered normative. 
  This element is a reflection of the character’s overall wellness and physical fitness. 
  Having good health may require discipline regarding diet and exercise, which can 
  present challenges. Poor health can offer a variety of obstacles that the character will 
  need to work around.   
  Low Health  
  The character is in extremely poor health, possibly suffering 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. 
  High Health  
  The character is in peak physical condition. They rarely get sick and recover from 
  injuries in record time.   
   
  
  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 differently, and even a slight shift from 
  the baseline can affect 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 
  dwarfism. 
  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. 
  High Height and Weight  
  The character may be seriously overweight, or possibly have some form of gigantism. 
  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 find it to be a source of conflict. Bigots 
  exist. 
  
  Socioeconomic status affects 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 difficult 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.  
  Sociology and Psychology 
  Characters with a stable socioeconomic situation don’t necessarily have fewer 
  psychological issues, but may have different 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 difficult 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 find 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.  
  
  A character’s social class is often defined by their access to resources, the prestige of 
  their occupation, or the social class of their family. Class consciousness may create 
  internal conflicts, if the character wishes to climb higher or struggles to retain their 
  current level. It may also be a source of confidence, or even arrogance, which can create 
  other sorts of conflicts.  
  Low Class   
  The character belongs to the lowest social class that exists within the setting. 
  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.  
  This is the character’s general education. It reflects 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. 
  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.  
  
  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. Conflict can 
  arise when people don’t agree that something is entertaining.  
  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 reflect the type of environment they are comfortable in. Conflict can arise 
  when others make assumptions about people from certain types of environments.  
  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. Conflict can arise when people think a hobby is trivial, or disagree 
  on approaches to the hobby. 
  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 reflected using politics 
  below. Feelings about other races, cultures, political systems, and religion often get 
  tangled up with nationality, and can be a source of conflict.  
  This is the career that the character self-identifies with. It is not ranked, and abilities 
  should be reflected in the character’s Aptitudes and Experiences. Occupation can be a 
  reflection 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.  
  This is a reflection 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 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 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 of conflict. 
  Individuals within a group may have ideas about how members of that group should 
  behave, and people outside the group may have biases.  
  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 affect 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. 
  High Religion  
  The character is extremely devoted to their religion.  
  
  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 influences. It reflects their conscious and unconscious 
  decisions and behaviors.  
  Psychology and Physiology 
  Characters with a healthy psychological profile 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 profile 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 beneficial traits. 
  Psychology and Sociology 
  Characters with a healthy psychological profile understand that low socioeconomic 
  status may not be entirely their fault. This allows them to maintain a positive self-image 
  in difficult 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 profile might be more inclined to lean 
  on their socioeconomic status. While social 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.  
  
  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. 
  High Emotional Stability  
  The character may have antisocial behavior disorders, narcissistic personality 
  disorder, or psychopathy.  
  This trait is a reflection 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 finds it difficult 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 selflessly, up to and including making great 
  sacrifices for the sake of higher ideals or other people. They may also be a perfectionist.  
  This trait reflects the character’s openness to new Experiences and ideas. Open 
  mindedness includes acceptance of new ideas, tolerance of differences 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. 
  This trait measures the character’s comfort level with social interaction, as well as 
  their ability to be alone. Social engagement is 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.  
  This trait reflects 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. 
  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.  
   
   
   
   
   
  
  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.  
  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 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.  
  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 include friendship, intimacy, and family ties. Lacking those 
  emotional connections can impact the character’s wellbeing 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. 
  High Sociological Needs  
  The character few or no healthy relationships and no positive social group 
  interactions.  
  
  Psychological needs include the character’s feeling about their security, self-esteem, 
  and behaviors. This can include either stress or comfort about physical safety, financial 
  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. 
  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. 
  
  Each stage of life has its own needs, and each character will have different 
  requirements for transitioning between stages. These may be physiological, sociological, 
  or psychological in nature, or specific to the stage itself. Children and adolescents grow 
  up, but they also need to complete schooling and learn certain lessons. Romance 
  requires finding a partner, and initiation requires joining a group. Aging at any stage 
  will being specific health and financial 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. 
  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.  
  
  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 conflict 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 influenced 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. 
  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 finger to stop the world from burning. It’s 
  also 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 difficult. 
  Below Baseline Ambitions  
  The character will do the bare minimum to achieve their goal, and consider quitting 
  if it gets too difficult. 
  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. 
  
  The stakes tied to a goal have two components. The first 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 consequences that the character, or other people, may suffer 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 suffer 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 conflict 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 significant impact on one or 
  more people. 
  High Stakes  
  The rewards and consequences will have a life-changing impact on one or more 
  people. 
  
  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 
  reflect the stakes, and be modified 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 effort.  
  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 difficult in comparison to what’s at stake. 
  High Obstacles  
  The obstacles exceed what would be expected relative to what’s at stake.  
   
  
  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 refined, 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. 
  Reflection 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 first 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 defining 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 
  flavor 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 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 different, 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 min 
  
  The character’s body Aptitude reflects how well they understand and relate to their 
  physical being. It includes everything from knowing their own strength, applying their 
  agility, and using fine motor skills. It’s not about what they’ve got, it’s about how 
  effectively they’re able to use it. Body Aptitude is important for dancers and athletes, 
  surgeons and craftsmen.  
  Below Baseline Body Aptitude (negative modifier) 
  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 modifier) 
  The character has the expected Aptitude for a person in their situation. They are 
  functional yet unexceptional. Body Aptitude allows them to engage in a wide array of 
  activities with neither impairment nor advantage. 
  Above Baseline Body Aptitude (positive modifier) 
  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. 
  
  The character’s empathy Aptitude shows how well they understand and relate to 
  other people. This reflects 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 modifier) 
  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 difficult. They have difficulty expressing thoughts and ideas 
  appropriately. 
  Baseline Empathy Aptitude (no modifier) 
  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. 
  Above Baseline Empathy Aptitude (positive modifier) 
  The character has greater than typical Aptitude. They are at easy with other people, 
  both individually and in groups. They effectively express their thoughts and feelings. 
  They understand other people, because they make a pointed effort to. Empathy Aptitude 
  makes them a “people person”. 
  
  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 modifier) 
  The character has less Aptitude than typical for their situation. They may have 
  difficulty 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 modifier) 
  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 modifier) 
  The character has greater than typical Aptitude. They have a gift for language and 
  literacy. They are able to put thoughts, feelings, and concepts into words easily and 
  eloquently. Language Aptitude allows them to better understand what others are trying 
  to express.  
  
  The character’s morality Aptitude is an indicator of how well they grasp the concepts 
  of right and wrong. It reflects 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 modifier) 
  The character has less Aptitude than typical for their situation. They may have 
  impairment or have suffered some trauma that impacts their ability to grasp moral 
  principles. Morality Aptitude skews them toward acting in their own interests first, 
  without consideration or regard for other people.  
  Baseline Morality Aptitude (no modifier) 
  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 modifier) 
  The character has greater than typical Aptitude. They have an innate understanding 
  of ethical values, and often skew decisions toward other peoples’ safety and wellbeing. 
  Morality Aptitude makes doing what is good and right an obvious decision.  
  
  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 modifier) 
  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 significant. 
  Baseline Musical Aptitude (no modifier) 
  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 modifier) 
  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.  
  
  The natural Aptitude reflects how well the character understands and relates to flora, 
  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 modifier) 
  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 modifier) 
  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 modifier) 
  The character has greater than typical Aptitude. They have an affinity 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. 
  
  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 affects they character’s ability to form rational 
  conclusions and make decisions based on the information they have available. 
  Below Baseline Reason Aptitude (negative modifier) 
  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 modifier) 
  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 modifier) 
  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.  
  
  The character’s reflection Aptitude shows how well they know their own mind and 
  understand their feelings. It is the source of wisdom, intuition, and will. Reflection 
  Aptitude helps characters sort out their goals and desires, and clearly and objectively see 
  their personal issues. 
  Below Baseline Reflection Aptitude (negative modifier) 
  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. Reflection 
  Aptitude keeps them wandering aimlessly through life. 
  Baseline Reflection Aptitude (no modifier) 
  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. 
  Reflection Aptitude allows them to function on a day-to-day basis with neither 
  advantages nor disadvantages. 
  Above Baseline Reflection Aptitude (positive modifier) 
  The character has greater than typical Aptitude for introspection. They understand 
  themselves, and can objectively see their strengths and flaws. Reflection Aptitude allows 
  them to utilize their good qualities and overcome their personal obstacles.  
  
  How well the character grasps their relationship to the bigger picture. It is the 
  character’s ability to find meaning and higher purpose in life. Spiritual Aptitude allows 
  for personal growth and qualities like courage and selflessness.  
  Below Baseline Spiritual Aptitude (negative modifier) 
  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 modifier) 
  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 find purpose if they 
  make the effort. 
  Above Baseline Spiritual Aptitude (positive modifier) 
  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. 
  
  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.  
  Below Baseline Visualization Aptitude (negative modifier) 
  The character has less Aptitude than typical for their situation. They may have 
  difficulty 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 modifier) 
  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 modifier) 
  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.  
   
  
  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 field. 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 difference 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 field 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 refined, 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. Different applications of the same Experience can be used with different 
  Aptitudes.  
  Standard Experiences 
  The 10 character Experiences we will be focusing on in this book are: 
  Academic Experiences - What the character has studied within scholarly fields, 
  formally or informally.   
  Artistic Experiences - What the character has practiced in the arts, including fine 
  art, design, and music. 
  Athletic Experiences - What the character has trained for and accomplished in 
  the sports and recreation fields. 
  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 fields of research 
  and problem solving. 
  
  Martial Experiences - What the character has attained in the fields of combat and 
  tactics. 
  Persuasive Experiences - What the character has mastered in the fields of 
  influencing other people. 
  Professional Experiences - What the character has done within a specific career 
  field. 
  Transport Experiences - What the character has learned in the field of travel and 
  transit. 
  Alternate Experiences 
  There are a few important points that need to be made about Experiences. The first 
  is that you don’t need to use them all. Not every character will have had all of these types 
  of Experiences. If 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 
  flavor 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 field of 
  Experience), deep (a lot of knowledge in a specific aspect of a field), 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 fields of medicine. Alternately, they may be a 
  cardiologist or oncologist, and have deep knowledge in a specialized field 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.  
   
   
  Experience Rankings 
  
  Each category of Experience has a descriptive Ranking, to reflect 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 off ones that 
  don't fit, 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.  
  
  The character’s academic Experiences reflect their scholarly pursuits. This includes 
  disciplines like humanities, social sciences, natural sciences, formal sciences, and even 
  general knowledge. 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.  
  
  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. 
  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.  
  
  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. 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.  
  
  The character’s creative Experiences indicate how well they can leverage their 
  imagination and find original solutions to problems. This includes finding 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 
  figured 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 stuff other people do.  
  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 difficult problems.  
  
  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 fit 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 
  different 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 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.  
  
  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 find basic information with neither advantage nor disadvantage. 
  Investigative Experience 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 field, or simply have an analytical 
  mind. Investigative Experience means they know how to find correct and verifiable 
  information and understand why sources and accuracy are important.  
  
  The character’s martial Experiences reflect their expertise with various forms of 
  combat and tactics. This includes hand-to-hand techniques, melee weapons use, 
  firearms 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 
  fight. 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 fight, and know enough to not do anything foolish. 
  Martial Experiences mean 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 fighter or some kind, or train hard for other reasons. Martial 
  Experiences mean that they are highly skilled in combat and tactics.  
  
  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.  
  Above Baseline Persuasive Experiences 
  The character has greater than typical Experience with convincing other people. 
  They may work in a field where influencing the public is a key component. Persuasive 
  Experience means they get what that want the majority of the time.  
  
  The character’s professional Experiences are a gauge of their qualifications in a 
  career that requires special training and certification. 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 field.  
  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 qualified 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.  
  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 certified expert and a Leader in their field. 
  
  The character’s transport Experiences show their proficiency 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 fictional 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 difficulty 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. 
  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 
  efficient way possible.  
   
  
  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 effects and common stuff 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.   
  Alternate Resources 
  There are a few important points that need to be made about resources. The first 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 defining 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 flavor 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 reflect 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.  
  
  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 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 offer 
  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 offers. 
  
  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.  
  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 difficulty 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 specific, hard-to-find goods, services, or information in a narrow category. Contacts 
  mean the character can locate anything necessary, if they can make a deal for it.  
  
  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 conflict, or a reward for meeting story goals. 
  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 difficulty, 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.  
  
  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 stuff. 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 offer 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.  
  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.  
  
  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 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.  
  
  The character’s possessions are their ordinary stuff and personal effects. 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 stuff 
  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.  
  Above Baseline Possessions 
  The character has better stuff than most people. It may be higher quality or greater 
  quantity. Possessions mean the character may like nice things, or may be a hoarder.   
  
  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 offer opportunities to present different 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.  
  
  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.  
  
  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 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 difficulty 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.  
  
  The character’s wealth constitutes their overall financial 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. 
  Below Baseline Wealth 
  The character is poor. They may have no money, or lack access to the financial 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 afford luxuries. Wealth 
  means having the ability to buy whatever they want without worrying about their future 
  needs.  
   
  
  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 different ways, depending upon which 
  best suits the needs of your story. 
  How Wonders Work 
  The specifics 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 different from the rules 
  of magic in an unrelated television show. The ways mental powers work in a particular 
  science fiction 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 define 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 conflict. 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. 
  Effects - What the wonder looks like, what it does, and its aftereffects. 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 effects of the wonder last and what can end the effects. 
  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? Infinite? 
  Area of Effect - How many people, or what amount of space, does it affect. 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 specific 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 nullifies it? 
  Wonders can be expressed as unique Aptitudes, rated in the same way as regular 
  Aptitudes. What you name this Aptitude should reflect the source of the wonder within 
  your setting. This works best if there is only one specific 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 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 flight, 
  invulnerability, or an energy blast.  
  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 specific individual wonders. 
  Superpower Experiences - The character might have a defined category of 
  wonders based on an archetype, or Experiences might reflect individual wonders.  
  This approach requires a specific Aptitude to “power” the character’s wonders, with 
  Experiences reflecting the myriad ways that the character has learned to use their gift. 
  You should name the Aptitudes and Experiences to reflect 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 defining categories 
  or individual abilities. 
  Superpower Aptitudes and Experiences - The character has an Aptitude 
  reflecting the source of their power and providing a Rating. They have an archetype or 
  individual powers expressed as Experiences.  
   
  
  The final 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 file or document where you keep notes and ideas about the character. 
  A character sheet is a stock fill-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 
  flawed 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 fine. That’s 
  what those sorts of games are designed to do, and they do that well. 
  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. 
  
  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. 
  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 
  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 
  Sociology 
  Class, education, entertainment, environment, hobbies, nationality, occupation, 
  politics, race and ethnicity, religion 
  Psychology 
  Emotional stability, impulse control, open mindedness, social engagement, social 
  harmony 
  List out the character’s need-driven and goal-driven motivations. Include Rankings 
  and clarifications as needed. 
  Needs 
  Physiological needs, sociological needs, psychological needs, stage of life needs 
  Goals 
  Ambition, stakes, obstacles 
  
  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, 
  visualization Aptitude 
  List the character’s Experiences and their Rankings, along with any necessary 
  descriptions or explanations. 
  Academic Experiences, artistic Experiences, athletic Experiences, creative 
  Experiences, cultural Experiences, investigative Experiences, martial Experiences, 
  persuasive Experiences, professional Experiences, transport Experiences 
  List the character’s resources and their Rankings, along with and brief descriptions 
  or clarifications. 
  Clothing, contacts, equipment, housing, information, possessions, relationships, 
  reputation, transportation, wealth 
  The character’s wonders can either be listed with the other Aptitudes and 
  Experiences, or called out in a separate section.  
  
  The most effective 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 specific 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 find the conflicts. 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 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 conflict and drama? 
  Is the character too much of a fish out of water, too far removed from the story to be 
  credible? Make adjustments as needed, to create the right fit.  
  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.  
   
  
   
   
  Reading, writing, and roleplaying are all part of continuum for me. You read the 
  books, you write characters, settings, and adventures, and you roll dice and tell stories 
  together with friends. Then you read some more, to fill in the knowledge gaps or find 
  fresh inspiration. You write some new things for the game or based on it, and you head 
  back to the table to share and conspire with your group. Read, write, roll, repeat.  
  Most roleplaying games aren’t designed around the way stories are created and told. 
  A lot of people will argue that that’s not the job of a game rulebook, even though the 
  game is based on acting out characters and telling stories. They like the tactical aspects, 
  the bits that stem from the hobby’s wargaming roots. Their point of view and preferred 
  style of play is absolutely valid, and more power to them; that I want something 
  different from my roleplaying experience doesn’t make them wrong. Some will point out 
  various indie game that do put story firmly at the center of the experience, and a lot of 
  those games are awesome; I play and enjoy a few of them myself, every opportunity that 
  I get. Just as there are books published for every taste and interest, and just as there are 
  many methods of telling stories, there are wide varieties of roleplaying games. This is 
  just one of them. It’s intended to fill a specific niche. It’s not the last word on any topic 
  by any means, but will hopefully become part of the ongoing conversation.  
  Download your copy of ReadWriteRoll now! 
   
  
   
  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 
  different. 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 is on tabletop roleplaying games, I’ll be using writing terms 
  rather than 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 fingers to keyboard, 
  it’s the writer’s craft that we’re dabbling in. 
  Follow this link to download Building Characters for 20% off!
  
   
  The term worldbuilding gets thrown around a lot by both writers and roleplayers. It’s 
  most frequently used in reference to the construction of a fantasy realm or an entire 
  fictional universe. There are maps, and histories, and complex back stories, and all sorts 
  of engaging little details. While these worlds are allegedly being created as the grand 
  stage for a work of fiction, which includes novels, films, television shows, and games, 
  worldbuilding is often an end unto itself. It’s an intellectual exercise, a creative outlet, 
  and just a whole lot of fun. 
  This isn’t a book about worldbuilding. This is a book about telling stories. 
  What I mean to say is, this book isn’t about worldbuilding for its own sake. You’re 
  not going to learn how to create an encyclopedia for an alternate universe. I’m not going 
  to show you have to write the ultimate travel guide for an imaginary place. It’s not a 
  book full of checklists and random tables. This is about assembling the critical details 
  that you will need in order to tell a story. 
  Follow this link to download Setting Design for 20% off! 
   
   
  
   
  Tell better stories using your favorite tabletop roleplaying game! 
  We all know that stories need a beginning, a middle, and an end. Hero goes on quest, 
  hero faces obstacles, hero completes quest. Lovers fall in love, antagonist keeps lovers 
  apart, lovers end up together. Things beyond the protagonist’s control change, the 
  protagonist faces adversity, the protagonist learns to adapt and achieves greatness. On 
  that basic structure writers and storytellers throughout the ages have woven variations 
  and created masterpieces. We keep coming back to the same foundations today for one 
  very good reason: those structures are versatile and continue to work. 
  This book will help you to leverage basic story structure and use it to your advantage. 
  You’ll be able to say what you want while keeping your audience engaged. The three-act 
  structure and its variations will be discussed in detail, along ways this structure can be 
  expanded beyond a single story and into a series or campaign. In the end, you’ll have 
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  them in your own creative works.  
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SOURCE: textdata/thevault/_GM Books/World Building & Game Design/ Misc J, K, L/Kinsman, Berin - Building Characters; For Writers and Roleplayers (revised text v1.01) (2016).pdf