# Adventure Title

##### A/n X-Y Hour Adventure for Z-level characters.

\page # Adventure Setup This is where you write a quick blurb for your adventure. Tell prospective DMs whats fun about it, and give them some stuff to entice their players with, too! Focus on content: what cool enemies do they get to fight? What interesting locations do they get to explore? I like to close this part with a bullet-point list of the cool stuff, like this: * Raiding a dragon's den * An epic plot-twist * Cinematic battle with a dragon and a dark cult! ## Adventure Synopsis Give a rough summary of what will (probably) happen in this adventure. Obviously no plan survives contact with the players, but if your adventure is a dragen heist, then a synopsis like "The PCs are called to rescue a nobleman's daughter who has been stolen by the dragon for its collection. They travel through burnt villages to the dragon's lair, where they must use their wits and swords to rescue the captive - and maybe liberate some treasure as well. But things take a turn when, upon returning the hostage to her family, the PCs discover she was only wanted back so she could be killed in a fell ritual! ## Adventure Background Now that the DM and their players are hooked, you can drop a bit more detail about what's going on in this adventure. This is the look behind the curtain, describing things from the villains' and quest-givers' points of view. In this sample, here is where I would say that the dragon "stole" our fair maiden because they surmised the noblewoman would be happier in their collection than she would be bleeding out on a ritual altar. The maid herself would probably prefer a third option, where she can rid her house of the cult or possibly just leave it all behind and become an adventurer, herself! Try not to get too into the weeds with world history: focus on the inciting incident for this adventure and the stuff that happens during it. Creation myths rarely factor into current events. ## You will need... If your adventure requires access to paid material like Volo's or the Monster Manual, it's nice to say so up front. ## You will find... A quick overview of what's included in the adventure (DMs can use this to figure out what they'll need to put together themselves, which helps them plan prep times). \page # Act 1: Title Most adventures are split into 3 or more "acts." Start each one with a quick synopsis of what happens in it - like the adventure synopsis but just for one part. In part one of the sample idea, the PCs respond to a call for heroes to rescue a hostage. You can use it as an example for most first-acts: the town-based, receiving-the-mission and preparing-for-battle phase that most adventures start with. ## Starting beat Especially for act 1, you can probably place a fair bet on what kind of scene the act will start on. Here's where you put those notes.

Here's where you can put some read-aloud text: You arrive in StonePoint, a mid-size town built among ancient stone menhirs. The lord's castle towers over the town from a green hill, pennants snapping in the breeze. In your hands is the poster you saw last night.
The poster told you that Lord Bertrand, the lord of this castle, is accepting the application of any Hero willing to raise their sword, staff, or other Applicator of Justice to the vile wyrm who has kidnapped Maid Lillian.

Below the read-aloud text usually follows some DM notes with specifics about the area. In this case, probably details for how to access the lord's castle. What guards or gates do the PCs have to pass, and what measures does castle security take to ensure they aren't assassins? In a dungeon room, you'd detail things like what traps or hidden things are here. As always, focus on things the PCs can interact with. Don't detail an NPC or monster unless the PCs are all-but guaranteed to encounter them. In this case, we'll need to know a bit about Lord Bertrand, since he's the one they're here to see. ## Thing to do 1 In these sections, you create a "toolbox" of stuff to use, with each tool under a level 2 header. Base them on the PCs most likely actions, given the quest they're on. In this case, the PCs are in town and they're going to have an audience with the local Lord. So I'll use Thing To Do 1 to describe Lord Bertrand and how he behaves in the meeting, including the rewards he's offering and what kinds of help he can give, depending on how well the PCs bargain. ## Thing to do 2 And now that I'm thinking about it it's possible that the PCs will want to investigate the lost lady's apartments or the place she was kidnapped from, to get an idea of what they're up against. I should prepare those areas and some useful tactical info the PCs can learn there, too. When the party decides to spend time planning and gathering information, that investment should always be rewarded. ## Thing to do 3 Finally, the PC's are in a mid-size town, and after they gather info, the insights they've gained may prompt them to purchase some extra supplies. I'll detail what kinds of services and products are available in town here. It's also a good place to give some notes on the town's general look and atmosphere. Starter towns are a great way to set up the tones and themes of the rest of the module. In this case, the players will be facing a betrayal later, and we can subtly foreshadow this by having some counterfeit items for sale, or by otherwise deploying people and things that aren't what they seem. ## Thing to Do 4 That's about it for this setup, but YMMV. Some modules have a longer setup phase than others. Anything with a mystery element should have more up-front content, as the PCs are likely to spend longer searching for clues. If the PCs are over-prepping, remind them of the ticking clock or other stakes. You can do this directly, but it's usually preferred that you have an NPC or something else in the world convey a sense of urgency, instead. ## Move to Act 2 When... These are climactic phases where a dramatic question is answered or the PCs make a decision. In this case, we move to Act 2 when they set out from town to rescue Lady Lillian. \page # Act 2: Title This act includes the trip to the dragon's lair and the lair itself, so you can use it as a model for travel and dungeons. In a lot of adventures, especially one shots, this is the last act. The "third act" is usually a boss fight at the bottom of the dungeon. Adding extra narrative complications after the dungeon section greatly increases the chance that your game will need two or more sessions to complete, so bear that in mind! Remember also that dungeons are probably the slowest part of the game: PCs move slowly in the literal and meta sense, driven by caution and paranoia. A starting town and a dungeon can easily fuel a game table for 6 hours, so don't feel like you need more content to pad the run-time. ## Travel to the Place Some general notes about the biomes and terrain that the players travel through go here. Try to phrase it clearly so that any Rangers in the party know whether they can or can't use their favoured terrain bonuses: use the terms from that class feature: Forest, mountain, etc. You should also include information on lighting (the forest the PCs must pass through to reach the lair is Dimly Lit because of the thick canopy, and is Dark after sundown) and movement (normal speeds if they stay on the trail, Difficult Terrain to take an off-road shortcut). ### Encounters Some tables don't use these. Others find them handy for reminding the players that the world is alive and full of dangerous things. Your call. If you do use them, it's a good idea to use a mix of encounter types: Clues, Combats, Obstacles, and Resources. Clues offer a chance to gain useful info, Combats are what you think, Obstacles impede progress, adding a new difficulty for the PCs to overcome, and Resources give them a new tool to use. | 1d6 | Encounter | |:----:|:-------------| | 1 | **Escaped Captive.** The PCs meet a terrified halfling who escaped the dragon's lair. If calmed, the halfling can give information about the secret door they used to escape. (CLUE)| | 2 | **Shrine.** A ways off the trail is an ancient shrine where locals used to make offerings to the dragon. | | 3 | **Stirges** A flock of stirges try to make an easy dinner of the PCs (COMBAT) | | 4 | **Landslide**. A landslide blocks the path. Chance for injury navigating the landslide, -5 to movement speed from sprained ankle. (OBSTACLE) | | 5 | **Aromatic Flowers**. A successful intelligence (Nature) check reveals that these petals can be crushed to produce a soothing aroma. (RESOURCE)| | 6 | **Wolf Spiders** The PCs stumble over some holes - the nests of wolf spiders! (COMBAT)| #### Escaped Captive Give the details needed to run this encounter in the notes below the encounter. #### Shrine #### Stirges Battle encounters should include stat blocks (only include SRD stats if you're planning to publish). ##### Tactics Also include notes on how the monsters behave. At what point do they decide the PCs aren't worth the trouble and try to flee? Who do they attack first? What action do they lead with? Do they try to get Surprise? ##### Treasure What, if any, treasure are they carrying? #### Landslide #### Aromatic Flowers #### Wolf Spiders ## Arrival at the lair A dungeon is set up much the same way as a travel (Dungeons are really more Exploration than they are Combat focused). ### Ysvard's Lair Start with an "unless otherwise stated" description of the dungeon's basic features: what are the walls and floor made of? What is the lighting (dark, dim, bright) and how is it lit? How high are the ceilings? ##### Wandering Monsters |1d6|Encounter| |:--:|:--| |1|You use wandering monsters whenever the PCs are spinning their wheels and you need to kick things forward.| |2| Also whenever they take a rest in the dungeon (it's a dangerous place to linger!) |3| Unlike travel, dungeon encounters should be almost all bad. | |4| Their job is to remind the players that the dungeon is dangerous, and to keep them moving.| |5| But they don't all have to be immediate combat. |6| You can warn players by telling them they hear many armored footprints approaching - it's a kobold patrol, but they need not stick around to find that out! #### Encounter As before, give running notes for each result in the sections below. \page #### Encounter It's fine to direct DMs to an appendix for stats, to keep these sections brief #### Encounter But still include tactics and treasure here. #### Encounter #### Encounter #### Encounter

[[[Dungeon Map goes Here]]] The map usually appears at the beginning of the room descriptions, but you can direct people to an appendix for that, too.

### Area 1: Name

Start with some read-aloud text describing the entrance.

Below that, put room-specific notes. If the lighting, construction material, etc. is different from the dungeon's intro, say so here. If not, say nothing - that's what the dungeon intro is for. Each room should have something for the PCs to do. They might find some monsters and need to fight, or they might discover a clue and want to investigate. Put notes for the "how it works" on things like traps, hidden doors, etc. here. This includes skill check DCs and the like. If the room's layout is complicated, a room map might be helpful. ### Area 2: Name

Do the same for every area of the dungeon

Areas might have situational notes. For instance: the dragon's main lair (where it sleeps) may or may not contain the dragon, and the dragon may or may not be asleep, all depending on how long the PCs take to get here. You can include notes on such contingencies by using subheaders: #### If Ysvard is Here... Depending on how drastic the changes are, it's sometimes prudent to have alternative descriptive-text boxes in these headers. #### If Ysvard is Out... Then the PCs find the place set up like *this* instead. ### Area 3: Name

Read-aloud goes here

Continue this pattern for every room. You can do it for important corridors, too. ## Move to Act 3 When... As before, include the point at which the DM should move the adventure along to the next act. These areas can include suggestions to prompt the change if the PCs seem unsure how to transition, or are spinning their wheels too much. In this case, they should move on when they have rescued Lady Lillian. Lillian is a good transition tool - we can have her be injured from the rough trip in the dragon's talons, in need of medical care back in town! IF the party has a cleric, this will be less effecitve, so always follow the rule of three and have backup ways to move the story. \page # Act 3: Title Most adventures involve a starting town, travel, and then a dungeon (not always a subterranean complex: a manor can be a "dungeon," so can a dense forest, small house, or pocket dimension. Think of "dungeon" as shorthand for "the place where most of the adventure happens, and where the PCs must defeat or retrieve an important monster/item." But these aren't the only important acts. This last act serves as a model for complex battles: Tense (usually combat) situations that take place in a large, dynamic environment, or with several complicating elements. These kind of acts are too complex to fit in a dungeon room, so they get their own section. As always, start with a synopsis of what's going on. In this case, the PCs return the hostage, but she is accepted back under mysterious circumstances, and they soon discover they have delivered her from a frying pan into a fire. ## The Drop-Off Like any act, these kinds start with a set-up. In this case, the first thing that happens is what moved them from the previous act: delivering the hostage. Here's where you put the read-aloud and everything else for running that scene. ## The Action The next thing that happens is the action. In this case, a rescue! The rescue has several moving parts, which is why it doesn't fit in a dungeon room. We'll break these down with subheaders. ### The Castle In this case, the castle is a simple affair (he's only lord of a small area, after all, hence the demonic ritual as a grab for power). otherwise it'd be its own dungeon-style act. We'll scribble some notes on the defenses of the place here (how many guards, any enchantments etc, and maybe a small map. ### The Dragon If they didn't kill them in act 2, Ysvard may come tearing back to the castle at this point to reclaim their "treasure." There's a chance for the PCs to ally with the dragon, now that they share a common interest, so we'll note what Ysvard wants (besides Lillian) and other info about bargaining. We also note Ysvard's plan. Barring PC alliance or interference, they're probably planning to simply storm the castle and claw their way into the basement to grab Lillian in their talons. It's always a good idea to know what happens if the PCs do nothing. ### The Town At the appearance of the dragon, the townsfolk are going to freak out. Travelling the town will become difficult (we can import or make up some "mob" rules for navigating a panicked crowd here). They may even try to attack the dragon if they have the means to do so, meaning the PCs may be dodging canonfire as they try to rescue the hostage from the castle-turned-battlefield. ### The Ritual And of course the captive has been summoned for a ritual: how long does it take, what happens at various stages, and what measures have the cultists taken to ensure it goes smoothly? These are important things to know as the PCs try to disrupt it. ## Concluding the Adventure Here's where you note the epilogues for various outcomes. In this case, there are a few main ways the story might end - riffing about those should provide enough ideas for a competent DM to improvise any additional options their madcap crew might come up with. I like to organize these variables by component ### The Dragon If the PCs allied with Ysvard and returned Lillian to their collection, the dragon rewards them handsomely, but Lillian spends the rest of her days a miserable china doll in the dragon's collection of "notable humans." If Lillian dies, the dragon is disappointed and returns to their lair. If Lillian lives and is not returned, Ysvard swears vengeance on the PCs for depriving them. The PCs have gaind a new enemy, and maybe a hook for the next quest as Ysvard begins sending minions to torment them. Perhaps they can be appeased with an offering? ### The Ritual If the ritual succeeded by Lillian's blood or someone else's, the cult forms a fiendish pact on behalf of Lord Bertrand, who instantly gains Warlock powers and starts ammassing an army to expand the territory in preparation for his demonic patron's entrance to the material plane. If the ritual was disrupted, Lord Bertrand and any other surviving cultists try to escape to forge new identities and find other cult cells abroad. ### Lady Lillian If The PCs save Lillian from both her fates as a showpiece and a bloodbag, she wants to clear out the demonic corruption from her political house and renew House Bertrand as honorable and fair rulers of the area. She may hire the PCs to help her do this.

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