Showing posts with label Solitaire. Show all posts
Showing posts with label Solitaire. Show all posts

Tuesday, April 21, 2026

LITM solo oracles example scene 6

 Context: Rags engineered time with Hera and told a prophetic story in which she became a great hero.

Unfortunately Justine heard the story as well and was not happy about it. Before they could resolve the situation however A cry of alarm drew them to a field where Hera defeated a wolf that was preying on the Hamlet.

Justine is very unhappy about the situation.

Goal: Rags wants Hera to leave the Hamlet and fulfill her destiny.

Conflict: It feels like things have reached a natural conclusion. Rags wants to convince Hera to leave. Justine wants her to stay.

Let's set this up as a challenge.

I'll roll 2 dice and choose the lowest for the Challenge rating as before: (4,6) so CR 4. Justine is pretty determined so that makes sense.

She gets some tags: how about concerned mother and old ways practitioner, and she is furious 2 and scared 2 which gives her a few statuses as well.

She is going to use the influence action Oracle to convince Hera to stay.

Rags can convince Justine that she should let her daughter leave, or she can convince Hera to ignore her mum and leave anyway.

Convincing Hera to stay is a medium limit.

Convincing Justine to let Hera go is a hard limit.

Convincing Hera to ignore her mum and leave anyway is an easy limit but one with consequences.

Scene 6

As the wolf flees, the three women face off.

(3: attract/offer something desired) Her eyes blazing with fury, Justine nevertheless congratulates Hera on her actions. Saying she is clearly grown into a strong woman and she should be given more responsibilities.

Rags reminds them of the recent story - that she has greater responsibilities, and a greater destiny. This just shows how ready she is..

+ Passionate puppeteer, prophetic storyteller (2)

- bashful when not performing, difficult to trust, concerned mother, scared 2 (-5)

Power -3: 8(5) fail.

Justine creates responsibilities 2 on Hera.

There is a chance to mitigate responsibilities 2. Rags points out that she has wider responsibilities. She has no unused tags to back it up however...

Power 0: 12(12) success.

So Hera feels her responsibilities 1.

This goes against a limits, so I will roll against it.

(6,2) Hera is interested but not swayed.

(6) Justine offers Hera a deal, pressing her to commit to staying. I'm not sure what exactly she offers, so I will roll on the interpretive Oracle (16) the thaumaturge. She offers to teach Hera the old ways...

Rags laughs with derision. The old ways? There is magic in the world that far surpasses the superstitions of a handful of farmers. Hera has greater powers ahead of her...

This will probably use the same tags as before but I am going to accept that there is very little chance if persuading Justine - this just isn't Rags area of expertise. Instead she will concentrate on Hera.

She will also burn prophetic storyteller because she is leaning on it about as hard as possible here, and I think being an enigmatic drifter probably helps her cause as well...

+ Passionate puppeteer, prophetic storyteller 3 (burned), enigmatic drifter (5)

- bashful when not performing, difficult to trust, responsibilities 1 (3)

Power +2: 5(7) mixed.

She creates dreams of greatness 2 but (66) time is wasted.

This is difficult to interpret. I think others are gathering round and will make things difficult. There is now a hostile crowd.

First I will test the limit however (2,5) that is enough.

A crowd of farmers gather, immediately backing Justine, but both can see from the gleam in Heras' eye that the storyteller has won her over.

? Will Justine give her blessing?

+ She loves her daughter (1)

- she is angry, she is afraid (2)

Power -1: 7(6) no.

Justine fixes Rags with a cold stare and demands that she be gone by morning, then leads her daughter home, refusing to listen to any further arguments.

Rags gathers her things and sets out at first light, accompanied by a nervous but determined Hera.

" You sure you want to do this?" She asks the girl.

Hera nods, wiping her sleeve across her eyes, and turns to the road. "I left a note."

Rags clasps her shoulder "they will understand."

"They won't." Hera responds "but they will accept it. And maybe one day when I return they will forgive it."

End scene

Well that ends this chapter of the story, and it is not one I expected to tell at all.

Rags has achieved her goal and gets to mark progress on her quest, and I have a new character to focus on for the next chapter.

Things were messy however, and part of Heras' ongoing story is likely to be coping with the fallout from leaving her family like this. 

LITM solo oracles example scene 5

 Setup

Context: Rags befriended Justine, River, and their family in an isolated and flooded Hamlet in the dale who look like they might need help.

Their daughter, Hera came to her and let her know that she feels trapped here and wants to leave in order to find her destiny. Intrigued, Rags has engineered time with the girl and told a prophetic story in which she became a great hero.

Unfortunately Justine heard the story as well and dragged Hera away in a rage.

Goal: Rags wants the girl to leave the Hamlet and live out her story. Presumably Hera wants that too. Her mother however has other ideas.

Conflict: I'm going to lean on the conflict Oracle for this one. Clearly Hera, Rags, and Justine are going to have to talk this out and decide Heras' fate, but there should probably be other stuff going on as well.

(21) An animal or beast... (11) Physically endangers (persuer/aggressor)... (66) Roll twice (25, 44) a quest related ideal or goal and an important resource...

It sounds like whatever it is, is endangering the villages crops (or cattle I suppose). Actually let's make it cattle.

A dangerous predator is amongst the hamlets sheep, and if it isn't stopped they will not have enough food to last the winter - especially with their crop fields already flooded.

Scene 5

Before Justine has dragged her daughter far a cry of alarm goes up. There are predators amongst the flock.

Rags looks at Hera. This is an excellent opportunity to encourage her to follow her destiny.

"Go girl." She says

I am going to allow her puppeteering tags to be used for persuasion here, because she is doing it straight off the bat of her story. (I should probably have created a tag or status showing the stories effects).

*Encourage Hera to take action*

+ Passionate puppeteer, prophetic storytelling, glimpses of the future (3)

Power +3: 8(11) success.

Buoyed by visions of a heroic future, Hera shakes off her mum's grip and rushes to confront the predators.

Let's say wolves for simplicity.

?Does her mum follow?

+ She cares about her daughter (1)

Power +1: 6(7) mixed.

Yes, but she does so reluctantly, shouting for Hera to come back as she does so, tears streaming down her face.

Rags follows as well to help where she can.

I'm going to create a story theme for Hera (I think she is going to be my next main character if she goes traveling, so these tags will become her themes):

Farm Girl

Heart of Gold

Folk Hero

Destined for Greatness

Next I need to create the Wolf

2d6 choose the lowest: 6,2.

So it is a CR 2 Aggressor.

Tags: Fierce, hungry

I have started handling statuses a bit differently in solo play. Rather than give them a number up front, I just note them as Hard, medium, or easy.

Each time a status is increased on a limit I roll as if deciding the challenge level (in this case 2 dice, choose the lowest) and add a modifier based on whether it is an easy, medium or hard limit. I then compare it to the status to see if the challenge is taken out. If not I roll again the next time the status is increased. This way I retain some uncertainty.

I think harm is a medium limit and frighten is an easy limit. I will add others if needed. (When unsure I ask a question to see how difficult a limit is, or default to medium).

Another place I think I tend to differ from standard practice is the threat profile. I know a lot of people tend to create a full threat profile up front, but I tend to just roll on the aggressor table for the threat each round.

So we have a fierce, hungry wolf that is easy to frighten and can be harmed.

I'll roll on the conflict Oracle for extra tags: (31) condition.

How about Sodden fields

Time to begin.

? Are there others dealing with the wolf?

+ Hamlet (1)

Power +1: 8(9) mixed.

The three women arrive at the field to find that a wolf has wreaked Havok. It is clearly feirce and is snarling at two farmers, one of whom is barely standing. It leaps at the other as they arrive, gripping his arm in its jaws and flinging him aside like a rag doll.

Hera splashes into the sodden field and (1) the wolf rushes towards her, snarling.

Rags (this is still her story remember) pulls out her puppets. She takes a wild puppet to go with the one she made of Hera and sinks into a trance, telling the story of the confrontation that is unfolding...

*Prophetic story*

+ Passionate puppeteer, prophetic storytelling, glimpse future, foretell doom (4)

Power +4: 8(12)

She creates improvised weapon and fated 2

"The shovel" she calls as her puppets dance in front of her, showing a future in which Hera takes up a shovel propped against the fence and uses it to drive the Wolf away.

Hera hears her call and backs towards the fence as the wolf snaps at her...

Rags didn't address the threat of the wolf towards Hera, so now she needs to mitigate it. The wolf is warning Hera to stay away, and snaps at her, creating hurt 1 and gaining Wary 1

*Rags mitigate Hurt 1 using Heras' tags*

+ Folk Hero, destined for Greatness (2)

- Feirce (1)

Power +1: 4(5) fail.

The wolf snaps at Hera, grazing her arm as she backs towards the fence and reaches for the shovel.

(2) Seeing Hera back off, the wolf thinks she is giving way and drives towards her, snarling and snapping.

Hera grabs the shovel and forces it back with two handed swings...

*Hera attacks the wolf*

+ Improvised weapon (burned for 3), fated 2, folk Hero, destined for Greatness (7)

- Feirce, sodden field, hurt 1 (3)

Power +4: 10(15) success.

She creates broken bones 4

That is probably decisive. I test the limit by ruling 2 dice: (2,2) yep. Definitely passed the limit.

The shovel bites into the wolf with a heavy crunch. Hera pulls it back and strikes again, sending the wolf sprawling in a wet heap. She follows up. Raising the shovel a third time, and the wolf let's out a whimpering howl, backing away from her. She shouts and it runs, dragging itself painfully away.

Rags claps her on the shoulder. "Well done."

Her mum scowls at them both, clearly furious.

End scene

LITM solo oracles example scene 4

 Setup

Context: Rags hasn't made it to Woodend village yet, but has befriended Justine, River, and their family in an isolated and flooded Hamlet in the dale who look like they might need help.

Their daughter, Hera came to her and let her know that she feels trapped here and wants to leave in order to find her destiny. Intrigued, Rags has engineered time wine with the girl in order to discover her story.

Goal: Rags wants to tell the girl a prophetic story about what her future might hold if she leaves this place.

Conflict: a journey in which Rags will fortell the girls future.

I am going to roll 2 dice and pick the lowest for the number of stages on the journey (with a minimum of 2).

Roll: 5, 1. So 2 stages it is.

Scene 4

The ritual journey makes sense for this.

First she must create a suitable space, preparing her puppets, creating a stage, setting Hera up as a part of the performance.

Let's make it a bit trickier with tags and statuses on the scene however.

Lowest of 2 dice: 3,6.

So there are status and tags adding to 3.

I'll roll on the challenge oracle to see what: (26) people.

Ok, so it seems they are not completely alone.

There are children playing a noisy game nearby, and of course the ground is still flooded.

First she is going to try and deal with that by drawing the children over as an audience...

*Can she gather the children as an audience?*

+ Passionate puppeteer, ventriloquist, nimble fingers (3)

- noisy game (1)

Power +2: 11(12) success.

Asking Hera for a little forbearance Rags puts on an impromptu show for the children, drawing them away from their game and gathering a little crowd. They gather around Hera, eager to hear a story.

"Sit quietly then young ones" Rags tells them "let me prepare and a story you shall have"

+ Passionate Puppeteer, hand crafted dummy (2)

Power +2: 7(9) mixed.

I'll create the tag the stage is set but I also need to roll a consequence: (31) expenditure.

Rags does a Stirling job in preparing the Hera puppet, but doing so is kind of final. This will be it's last story (she burns the homemade puppet tag from her backpack).

Finally the stage is set and she is ready to begin.

*Rags tells a prophetic story*

+ Passionate puppeteer, prophetic story teller, glimpses of the future (3)

Power +3: 6(9) mixed

Let's see what the consequence is first. (23) Exposure.

That makes sense.

Normally I would roll on the inspiration Oracle to see what Rags foretells, but assuming she manages to get out of this Hamlet Hera is a perfect character to take forward into my next adventure so this is pretty straight forward.

Rags weaves the story of a great Heroine who sets out from home and performs great deeds, eventually joining with a small band of others to save the Dales themselves.

It is an exciting and inspiring tale, and even Rags is shocked by the gravity of the fate awaiting this girl if she steps forward to seize it.

She slowly emerges from her prophetic trance, letting the puppets clatter to the floor. The children cheer wildly. Hera gazes at her in shock.

"Is that my future?" She asks in a shaky voice.

Rags smiles "It can be. It is a possible future. A role that awaits you if you step into it and play the part."

The girl nods numbly, but before she can respond they are interrupted.

They are exposed as a consequence, but I am going to invoke Rags lost in a trance tag to make it even worse. She was so caught up in the prophetic story that she didn't realize Justine had arrived and was watching as well.

And she is NOT happy.

She grabs hold of Justine's arm and drags her away, snarling curses at Rags as she does so.

? Are they magical curses?

+Justine is an old ways practitioner (1)

Power +1: 4(5) no.

That's a bit of luck at least.

End scene

We marked improve on prophetic storyteller. 

LITM solo oracles example scene 3

 Context: Rags hasn't made it to Woodend village yet, but has befriended Justine, River, and their family in an isolated and flooded Hamlet in the dale who look like they might need help.

They daughter, Hera came to her and let her know that she feels trapped here and wants to leave in order to find her destiny.

Goal: Rags wants to tell stories. She is especially interested in foretelling the story of Hera, who has piqued her interest. Unfortunately Justine wants her to stay clear of the girl.

Conflict: Rags is looking for an opportunity to tell Heras' story. Either this scene can just be about finding an opportunity to do just that, or there might be other stuff going on that she has to work around.

Let's let the dice decide:

? Is there anything else going on?

Power 0: 6(6) no.

This is just about finding space to foretell Heras' story then.

Depending on the pacing I want (in other words how much time I want to spend on it) this could be anything from a quick outcome, to a journey, to a challenge.

I think I will play the story telling itself as a journey (assuming she manages to do it) so I'm just going for a quick outcome here.

Scene 3

The next morning the families of the Hamlet are busy trying to right the damage caused by the flood (if I wanted a slower paced adventure I could spend a scene or so on that as well, but as things are I will leave it in the background).

Justine keeps Hera busy and tries to keep an eye on Rags.

Rags is intrigued by the girl however, and wants to tell her story.

She puts her skills to use, manipulating a chance for Hera to be away from her mum for a while, then throwing her voice and mimicking Heras' to convince Justine that they are both busy apart.

This is pretty important, and difficult, so she will use her puppets to think through a plan first...

*Puppet walkthrough of a plan*

+ Passionate puppeteer, prophetic story telling, glimpses of the future (3)

Power +3: 7(10) success.

She enters a trance, weaving a story through the puppets and telling how the families will go about their efforts. Looking for a way to isolate Hera.

She gains the status seen how it unfolds 3

*Get Hera away from Justine

+ Sneaky and underhanded, skilled ventriloquist, seen how it unfolds 3 (5)

- unwelcome 1, difficult to trust, (2)

Power +3: 11(14) success.

With her advanced knowledge, ventriloquism, and general sneakiness, getting the girl alone is fairly straight forward even with Justine's suspicions aroused.

Next Rags needs to tell her story and see what lies ahead of her...

End Scene

That was pretty straight forward.

She marks another point of improvement on Enigmatic Drifter. 

LITM solo oracles example scene 1

 Setup

So, Rags has come to Woodend where we believe she will become involved with someones story that is being corrupted or subverted by a local organization.

A scene needs 3 things:

A goal: Rags wants to get established in Woodend so she can ply her trade.

A conflict: we will roll that on the oracle.

Context: this includes the location and everything we know about it as well as everything we have established about the story and setting so far.

I always scan through the characters quests and weaknesses at this point as well to see if anything jumps out as being relevant.

Let's start with the location. We know she is arriving in Woodend, but where about is she?

(34) Somewhere forgotten, dark, or dismal...

Remember that we need to interpret this in the context of Rags arriving in Woodend to perform puppet shows.

The most obvious interpretation is that she is traveling through a forlorn ruin or other literal forsaken place close to the village.

Actually, an abandoned keep might make sense. I think something a bit lower key might fit the context better however.

I like the idea that she has happened upon a smaller village in the dale however - one that is half abandoned and in a state of decay.

Now, what challenge is she facing?

(16) A natural disaster or hazard... (36) Disrupts the peace or stability of... (15) A quest related person or group...

This is interesting, there is a lot to unpack here. I think the first question is who is the person or group who's peace is being disrupted?

The obvious candidate is the person whose story she is becoming involved with (or perhaps the group that threaten it).

But what about the disaster or hazard?

A storm?

I will denote oracle questions in the following format:

? Question

+ Positive tags

- negative tags

Power modifier: Dice roll (dice + modifier) result

In this case:

? Is there a storm?

+ A natural disaster or hazard

Power +1: 8(9) mixed

Meaning that there is one positive tag (the natural disaster) and no negative tags, resulting in a total modifier of +1. I rolled 8 on the dice, meaning the final result was 9 and a mixed success.

This means it's complicated. Yes with a caveat or no with an exception.

There is not a storm now, but there has just been one and it has caused problems here. Flooding probably.

The next thing we need to establish is who exactly she will meet.

? Is it an individual?

Power 0: 5(5). Fail.

No. This is affecting a community or organization. Maybe it is the reason they are going to interfere in somebody's story.

Let's see how that all plays out.

Scene 1

Rags has been traveling for almost a week. She spent the last two days bunkered up weathering a feirce storm that swept over the Woodend valley. The storm has eased and today she is trudging along sodden paths through a light drizzle and looking forward to warmth and an opportunity to get dry.

Woodend village itself is another days hike away, but she paddles down a path that resembles more of a stream towards a smaller village. Little more than a Hamlet really.

? Does she know this village?

+ Been to every dale, know my way around (2)

- insular or remote hamlets (1)

Power +1: 8(9) mixed

She has not been here before, but she has heard about it.

Interpretive oracle: (42) the crossroads

Woodcross grew on trade at the crossroads between several major paths leading into the dale, however over time the roads shifted and the Hamlet fell on hard times.

She can see the truth of that as she approaches.

The stream she is following flows past flooded fields into a Hamlet that the storm has turned into a muddy swamp.

Many of the buildings are in a state of decay, with walls and roofs that no longer keep rain at bay. Sandbags are barricaded against doorways in a clear attempt to stop the water from flooding the few buildings still capable of providing shelter.

? Does anyone greet her?

- forlorn Hamlet

Power -1: 7(6) fail

No. The streets such as they are, are empty.

She splashes through the Hamlet, looking for the central long house where visitors should be welcome.

? Can she find the long house?

+ Been to every dale, know my way around (2)

- insular or remote hamlets (1)

Power 1: 3(4) fail.

Consequence: (16) collateral damage

She finds what should be the long house, but it is merely the shell of a building abandoned long ago. Murky water pool between what remains of it's walls.

Cursing, she looks around and tries another house. Hammering on a door that swings away from rusty hinges and crashes to the ground.

? Is this house empty?

+ Seems abandoned (1)

Power +1: 2. Snake eyes.

No.

? Do people actually live here?

+ Not empty (1)

- seems abandoned (1)

Power 0: 10(10) success.

Yes. There is a family here.

"Hey" a voice calls and as her eyes adjust to the dim interior she sees a family huddled together on the far side of the hall where the floor rises out of the swampy flood.

? Are they friendly?

- bashful when not performing

Power -1: 5(4) fail

Consequence: (22) collateral damage

She squints into the dim interior, trying to find the words to explain her entrance and greet her unwitting hosts but before she can get her thoughts together a plate sails across the room and smashes against the wall beside her head.

"Leave us be." The voice calls "we have nothing of value for you."

Rags raises her hands defensively. "All I'm looking for is shelter. I mean no harm."

I denote actions in a similar way to questions:

* Action

+ Positive tags

- negative tags

Power modifier: Dice roll (dice + modifier) result

In this case

*Rags makes her case

+ Passionate puppeteer, been to every dale, enigmatic drifter

- difficult to trust

Power +2: 6(8) mixed.

Consequence: (16) collateral damage.

More plates are flung her way, but eventually the family agree that she can perform a puppet show to demonstrate her skill.

She fishes a set of puppets from her pack and sets them dancing on their strings...

*Puppet show

+ Passionate puppeteer, skilled ventriloquist, nibble fingers (3)

- difficult to trust (1)

Power +2: 10(12)

She uses the puppets to spin a tale, describing her journey and how she was caught in the storm. Demonstrating her weariness, her need for warmth and a chance to dry out.

She is convincing.

The children warm to her first, laughing and clapping at her tricks. Then their parents.

They welcome her in and offer what food she hospitality they have.

Over the meal she discovers that only a handful of farming families remain in the Hamlet. Once it was a thriving market village, but trade dried up a generation ago and most of the buildings were abandoned as the villages population dwindled.

Still, they made a decent living from the land at least until the recent storm. A dam nearby collapsed, and the fields are flooded (not to mention the Hamlet itself). They were already living on the edge, and survival is going to be tough this year.

Interpretive oracle: (41) the shrine

The mum is an old ways practitioner who tends a shrine near the village. (I will use the interpretive oracle again for inspiration for her name: (64) High Lord. Justice. Justine.)

? Is Dad around?

Power 0: 11 yes.

Another name: (45) the winding River: lets just call him River.

End scene

When I set up this game I would never have guessed the direction this scene would go in, which is one of the things I love about solo play.

Rags hasn't made it to Woodend village yet, but has befriended Justine, River, and their family in an isolated and flooded Hamlet in the dale who look like they might need help.

She has marked improve on three themes:

2 on enigmatic drifter

2 on been to every dale

1 on passionate puppeteer

I always scan quests again at this point to see if I can mark a milestone or abandon, but it doesn't seem so yet. 

LITM solo oracles example play setup

 

A Solo Play example

Legend in the Mists includes a number of tools to support solo play, and I have noticed from comments and questions on the discord that this is a bit of a double edged sword.

On the one hand, the tools do a great job of making LitM incredibly solo friendly. On the other hand, they have introduced a lot of players to the idea of solo play and while they are a great tool for experienced players they are perhaps not the most straightforward place to start for players new to solo play.

Like many solo tools they are best used alongside other tools, however they DO provide enough to support play on their own so I thought I would provide an example of actual play to show one way it can work.

This is not the only way to make these tools work for solo play. It is not even the best way to make them work. Playing solo is a very subjective and individualized activity - the only rule is to have fun, and the only person you need to please is yourself, so the first thing you need to do is find a way to play that YOU enjoy. That said, a good way to do that is to take ideas and inspiration from the way others play and my hope is that this might help a few of you find your path.

Setting Up

The first task is to create a character (or characters).

I have found that my sweet spot is three characters, however I like to play an adventure with each to get to know them a little before joining them as a team.

So I am going to start with a single character for an introductory adventure, and to make things simple I will choose a pregen character.

How about Rags.

She is traveling the Dales performing puppet shows and telling prophetic stories. Sounds like a good candidate to find an adventure.

My next job is always to look at the characters quests as they will guide and influence pretty much everything going forwards.

- Never interrupt a good story

- My tales always come true, you just have to understand how

- I call no place my home

- the less you know about me the better

Next we need an adventure for her.

I like to set up a bit of a framework to guide play before I start, but if we use the Dales as our setting then a lot of that work has been done for us.

Rags is arriving in a new dale to ply her trade and I'll pick it randomly... Woodend.

So we are close to the Aldenwald, and the mysterious Vila that it contains.

The Plot

Next we need some kind of narrative structure so that we uncover a story of sorts rather than just a string of random encounters.

LiTM gives us two frameworks we can use, and I think the Mountain framework makes the most sense here - at least for now.

Our first adventure will take place in the lowlands (actually I would generally set at least 4 adventures in the lowlands - each characters intro adventure and the adventure in which they team up).

In the first adventure Rags will uncover and face a local danger with possible hints towards agents higher up the metaphorical slopes.

It should be noted here that you are in complete control of your adventure. You can simply make choices to enforce the kind of adventure you want to play at any stage. I don't know where I want to go with this so I am just leaving it to the dice.

There are two ways of going about this: you can create a danger upfront or you can discover it through play.

Creating it upfront has the advantage of helping to create a tighter narrative, while discovering through play has the advantage of retaining surprise.

For this adventure I am going to generate a danger upfront, and to do so I roll on the conflict oracle:

(44) A community or organization... (26) Drains, despoils, or corrupts... (54) The heroes current goal.

We start with that and take a look at Rags quests:

- Never interrupt a good story

So she might come across a "story" that is being corrupted by a community or organization and need to find a way to help it resolve the way it should.

I can imagine a number if ways this might play out.

- My tales always come true, you just have to understand how

A more nefarious option: Someone might try to manipulate or subvert her prophecy, twisting it towards their own ends.

- I call no place my home

A more wholesome option: it may simply be that she finds a place here and will need to make a choice whether to consider allowing herself to form attachments or turn her back on a place she could belong and continue her journey.

- the less you know about me the better

The intrigue option: an organization or community are looking into her for some reason and she will need to fight to maintain her privacy if she wants it.

A random roll gives me: 1. So this is a story she gets involved with and wants to see resolved.

That should be interesting. I could create some more details now, but the goal in setup is always to create enough detail to get started and give you a direction to move in. I think I have that, so we are ready for the first scene.

We will discover whose story she is going to get involved with and what their problems are through play.

Friday, November 28, 2025

Revelation Seeds

 Seeds for revelation scenes

Knowing a scene will provide a revelation already provides some direction for a scene.

It is often helpful however to have more specific seeds to work with.

Here are a few ideas that can be used to seed an Revelation scene. These are examples. For the best results, create a custom list (for the campaign as a whole, or even to suit the current situation within a scene)

There are 6 seed ideas, so you can either choose one that fits the situation or pick one randomly by rolling a. D6.

As always, if a seed doesn't fit them either ignore it (leaning on other seeds instead) or reroll it.

1) discover an advantage

The characters discover something that will help them.

It might be knowledge, leverage, equipment, weaponry, or anything else that makes narrative sense.

2) betrayal

The characters discover that somebody close to them had betrayed them. The betrayal might explain a challenge they have already faced, or it might be in the form of a challenge they are about to face.

3) clues

The characters discover a clue about what is going on. Provide the whole picture, but should be enough to drive the story forwards and give a peice of the puzzle.

Either getting the clues or making sense of them will probably require a challenge of some kind.

4) warnings

The characters are warned about upcoming threats or events.

Depending on the narrative situation and the needs of the story (and how much you know yourself about what to expect), this might be specific information or vague hints at dangers to come.

If you are unsure it is easy enough to roll up a random seed as a warning and then put it to one side to use as a seed in a future scene.

5) withdrawal

The opposition withdraw it retreat for some reason. This may be a complete retreat or simply a chance to reassess and gain some breathing room.

6) Unexpected meeting

The characters meet with an unexpected NPC.

It might be someone they used to know who turns out to be involved somehow

Or someone they know but didn't think was connected with the current events.

Or someone they thought was out of the picture comes back into it.

This meeting might be a social challenge. 

Example Grand Campaign Part 1

 An example

I am going to provide an example play through of how to set up and play a grand campaign using the modified 5 room dungeons described in my previous posts.

In order to keep the focus on the game structure I am not intending to go into much detail on the action within the scenes themselves here, just how they are set up to show how the structure can drive a story.

Eberron

I like Eberron as a campaign setting, and that is where my current ongoing solo game is set, so I am going to start there.

I am not sure where yet though.

Factions

In a previous post on setting up campaigns I mentioned that I usually like to start with factions. The way I detail factions these days has changed since I posted on them, but fur the sake of consistency I will use my published system here

I recently came across a blog that talked about setting up factions in groups of three: the good, the bad, and the ugly.

I like that idea, so I will try and do something similar.

I have access to some random eberron campaign generators, so I'm just going to roll this randomly and see what pops out.

The Good: warforged (Lord of Blades)

The good are the faction whos goals align most strongly with the PCs.

Goal: the lord of blades is simply trying to set up a warforged nation in the mournland (the dangerous post apocalyptic wasteland that is all that remains of a once proud country) where warforged can be free and forge their own destinies.

Resources: warforged specialists. Small but elite army. Bases in the mournland.

Weaknesses: they need to clear dangers from the mournland, gather and organise warforged under their banner, and forge alliances or truces with other factions.

Locations: strongholds and encampments within the mournlands

Instinct: having been forged in war, that is the warforged first tool. They have a lot of specialists and they both employ these to destroy their enemies and offer their services to build alliances.

Actions;

1) plan or conduct an attack on enemies of the warforged

2) seek and recruit warforged to their ranks

3) spread the reputation of the lord of blades

4) reach out to potential allies

The Bad: The chamber

The Bad are the campaigns antagonists. The big bands of the campaign. Here it is pesky dragons and their prophecies.

Goal: fulfilment of a prophecy, and that prophecy does not have room for a nation of independent warforged in the mournland.

Resources: Dragons. Agents. Cats paws. Complex plans benefiting from intimate knowledge of prophecies.

Weaknesses: there are competing prophecies and factions within the chamber. There are few dragons, and much of what they do is acted out through agents and cats paws who may b have different aims.

Locations: safehouses, hideouts, and secret organisations across eberron. The island of dragons (I don't recall it's name from the top of my head).

Instinct: remain hidden and act through proxies.

Actions:

1) recruit and send proxy agents to accomplish their aims

2) follow a prophecy

3) remove obstacles to a prophecy

The Ugly: Khyber cult

The Ugly is a faction that seem distasteful, but whom can tip the balance of power if common ground can be found with them.

A Khyber cult seem to fit this well.

Goal: to serve and release their masters from Khyber.

Resources: they have some powerful and dedicated members. They have access to places and powers that others shy away from.

Weaknesses: nobody wants them to accomplish their goals. They are not well organised outside of individual cults. Many of their members are not entirely lucid.

Locations: there are multiple cults spread across the mournland.

Instinct: serve their dark masters.

Actions:

1) raid, pillage, and destroy

2) kidnap for nefarious purposes

3) infiltrate and build a cult

Campaign setup so far

OK, so we know now that the characters will be helping the warforged establish a nation within the mournlands.

The big bad is the chamber, or at least a faction within the chamber, and they are intending to prevent the warforged from developing a nation within the mournlands.

The Mournlands are also ridden with cults of the dragon below, and the chamber are weaponising them against the warforged in the hopes of destabilising their efforts and scattering them. Maybe the characters will find a way to turn this weapon against its owners hand?

The Characters

3 characters seems to be my sweet point, so let's start by creating three characters.

At least one warforged makes sense. How about Nails the warforged fighter

Nails fought for breland in the last war, and has not yet found his place in peaceful society. As a result he roams endlessly, looking for causes to fight for.

I like the idea of a gnome wizard who is obsessed with studying the mournland. Let's call him Vorlin.

He studied magic at the university in Zilargo and became fascinated with living spells and the cataclysm that destroyed Cyre (the nation that became the mournland) and travelled to study both.

Finally, an artificer. Let's make them another warforged called Mek.

Mek was constructed as a field mechanic for warforged units and served briefly with Nails during the war. He studied magic and artifice, going from repairing equipment to enhancing and creating it.

The First Arc

So we have the scope of the grand campaign and the first story arc is going to introduce all that. Probably starting by introducing the kyber cults as antagonists - the chamber probably remain hidden for now.

Let's roll an introduction seed. I have gathered these for scenes rather than arcs, so they might need a little modification.

I get a 1 on a d6, which means they are being thrown straight into the deep end. This is going to be an arc where they are fighting for survival.

Rolling on the challenge list I get a 3, which means a fight. This arc is going to be about straight up battle with kyber cultists.

So we have warforged settlements (and probably others as well) in the mournlands being threatened by kyber cultists and the first arc of the campaign will simply be about dealing with the danger these cultists represent.

I could find seeds more seeds, but I think this is enough of an idea to get us started.

Fighting cultists

The first session: introducing Nails

We need to go through the same process again to find out what the focus of the first session will be.

I generally like to run an introductory session for each character before bringing them together into the first story arc, so let's start with Nails.

A 6 on the hooks list gives something strange. Things have been upended already, and this session is going to be about figuring it all out.

Ok, first let's brainstorm a few ideas:

1) they have been captured by a cult

2) their minds are not entirely their own

3) a cult has unleashed some power that is affecting the local area in a strange way

Rolling a d3 gives us: 3. Strange powers of some sort are affecting the local area and they need to sort it out.

Let's brainstorm again:

1) magic is going awry

2) people are acting strangely

3) local animals are going crazy

4) the local terrain is doing strange things

Rolling a D4 we get... 2. People are acting strangely.

We could plan that out in more detail now, or we could find out as we play. I'm going to go with the second option.

Our story seeds so far for the first session then are:

Fighting cultists

People acting strangely

Nails is roaming and looking for causes to fight for, so I can see him getting involved with something like this and trying to help out.

The first scene

The first scene hooks us into the first session.

We already have two seeds

Fighting cultists

People acting strangely

We need a hook seed as well. This time I roll a 2 for a revelation.

On the revelation list I roll a 3.

This scene is about nails discovering a clue of some sort telling him what is going on.

In other words he is going to discover that people are acting strangely.

This could be a purely narrative scene where Nails discovers that people are acting strangely, or it could be a challenge of some kind.

I like the idea of Nails coming across a village in the mournland where people are acting strangely, but this scene should also introduce Nails and who he is so I think a minor combat of some sort where he can beat up some mooks seems to fit as well. Especially as it draws in the fighting cultists seed from the story arc.

Let's merge the two.

Nails reaches a village in the mournland where he is attacked by a group of seemingly insane villagers

Next we need to test this scene premise with our GME. I am using mythic.

Altered scene

Ah. Something is altered. I'm going to use mythic again to test the components of the premise:

Is he in a village? (50/50) No

Is he in the mournland? (50/50) Exceptional yes

Is he attacked? (50/50)Yes

Are his attackers seemingly insane? (50/50) No

Are his attackers humanoid? (50/50) Yes

Ok, so he is deep in the mournland but rather than in a village he is attacked on the road. Perhaps by hunters or wardens.

This is a mook fight to highlight his capabilities, so it shouldn't be too tough but the important thing is that the hunters will let drop information that something is affecting people in the area.

Let's say they seem happy and relax slightly all of a sudden, dropping comments like "thank God, he's not infected".

Arc 1, session 1, scene 2

Having been attacked, Nails heads towards the closest village to see what all this talk of being "infected" is about.

Let's see if we start with a challenge or revelation? I roll a 6, so revelation it is.

Next I roll on the revelation scene list and get a 5. Withdrawal.

So the scene seeds are:

Fighting cultists

People acting strangely

Investigating what the "infected" are

Withdrawal

It looks like whoever the infected are, they have either been driven from the village or have fled.

Nails investigates the village and finds that the infected have fled

Mythic: expected scene

Either way Nails will discover that there were infected in the village, but that they have fled.

With social investigation rolls and a little investigation he discovers that the "infected were villagers that suddenly started acting odd and then became violent. Hunters have been patrolling the wilds nearby to try and capture any they can in the hope of finding a cure (or failing that, to put them down in the hope of avoiding the infection spreading).

Arc 1, session 1, scene 3

The last scene was a revelation, so this one is a challenge.

Nails offers to help hunt down infected villagers.

A roll on the challenge list gives us 1: battle.

The first true battle of the campaign.

Our seeds are

Fighting cultists

People acting strangely

Hunting the infected

Battle

The simplest interpretation is that he tracks down a group of infected (possibly alongside some other hunters) and they have a fight on their hands.

To complicate matters, while the infected are fighting with a deranged frenzy and trying to kill them, Nails and the hunters are trying to capture them alive if at all possible.

Eventually they succeed in capturing a few and tie them up ready to return to the village. Unfortunately some are killed in the fight.

Arc 1, session 1, scene 4

I am playing a variable length session, so I roll 1d8 and get a 6. We have not reached the climax yet.

Nails is helping the hunters return their captives to the village.

Last scene was a challenge, so this is a revelation. Rolling on the list we get 6: an unexpected meeting.

Giving the seeds

Fighting cultists

People acting strangely

Escort the captives

Unexpected meeting

Sounds like he might recognise one of the captives

One of the captives served with Nails in the Brelish army during the last war

Let's test that with mythic: expected scene

This scene mostly plays out narratively. Nails can't get much sense out of his old comrade (let's call them Bucket) but now has a much more personal stake in this session.

There are... Patterns... In the things Bucket says however. Themes and motifs of blood and darkness. (This provides a lead that the dragon below might be involved, and stems from the fighting cultists seed)

Arc 1, session 1, scene 5

A challenge next.

Nails wants to find a cure for bucket

But he doesn't know where to start.

Let's roll on the challenge list. I get a 3 - another battle.

Our seeds are

Fighting cultists

People acting strangely

Find a cure

Battle

I'm not sure it is the right time for a literal battle here, however maybe there is another outbreak or the captives break free.

I like the idea of this scene being more figurative. If the infection is going to be cured it will require the work of a talented artificer and the closest is a days hike away through dangerous terrain.

Rather than a battle...

Nails must travel trough dangerous terrain to find an artificer capable of healing the infection

Again we test the premise with mythic: altered scene

Oh, so what is altered?

Q: does he have to travel trough dangerous terrain? (50/50) Yes

Q: must he find an artificer? (50/50): No.

Interesting. Not an artificer then.

How about instead, the locals recognise some details amongst the captives ramblings. They are describing a series of caverns that are difficult to reach but within a day or so journey. (Making use of the details the previous scene set up)

Nails sets out and forges a path to the cavern. It is difficult, but he makes it though.

Arc 1, session 1, scene 6

It is time to check for the climax again. This time we reach it on a 5+. I rolled a 6, so climax it is.

I roll a 2, making it a climactic battle.

A roll on the challenge list gives me a 5, so this is going to end in a chase rather than a fight. It needs to be an exciting climax though: let's make it a running battle through the caverns.

Fighting cultists

People acting strangely

Find a cure

Climactic chase

Nails chases cultists through the caverns in a running battle

Let's test that premise with mythic: interrupt scene

- move towards a thread (uncover the chamber)

- flee/poverty

Hmmm. I liked the idea of the running battle. It sounds like something else is going on here though.

Nails is forced to flee with nothing but information.

He gets into the caverns and uncovers evidence of Daelkyr magic, alongside scrawled prophecies of some kind. He can't make sense of it but grabs what evidence he can.

Then cultists show up. In force. Nails fights his way back out of the caverns and crossed the wasteland once more to bring news of his discovery to the village.

Arc 1, session 1, scene 6

Q; is there a twist? (Unlikely): yes

Right, so we have a second climactic scene. I roll a 2, so it is another challenge. Next I roll a 6 on the challenge list, so the challenge is the environment.

This makes sense I suppose, it was a challenge on the way out and it seems it will be just as deadly on the way back. Especially with the added problem of avoiding persist.

Eventually Nails makes it back in one piece. He looks for experts that can help interpret his findings, but there simply isn't anyone in the village who can help him.

There are a number of threads left as seeds for future adventures:

He needs to find a cure for the infected

He needs to find what is wrong with the infected

He needs to interpret the prophecy he found

He needs allies to help deal with the cultists in the caverns

He needs to interpret the cultist markings he found and discover exactly what he is dealing with

Closing the session provides an excellent jumping off point.

If I didn't want to explore any of those threads further I could just let him find experts and discover the cure.

I have had the opportunity now to get to know Nails a bit better, which will help when he joins a larger group.

if I decide the character isn't really working at this point it is easy to set them aside and just create another to fill the space.

If I decide I don't want to continue the campaign as a whole I can just wrap it up and move on.

As things stand however, I will leave the threads open as potential seeds for future adventures and keep going.

Nails is going to have a break however, because it is time to get to know about character.

The second session - introducing Mek

We know a lot more starting this session than we did starting the first.

Denizens of the mournlands, including warforged, are being infected with something that is turning them into raving psychotics, and this is somehow linked to kyber cults and a prophecy of some kind.

Mek doesn't know about any of this yet however, so let's start his story.

Arc 1, session 2, scene 1

First we roll on the list of hook seeds, getting a 3. Signs of trouble are brewing on the horizon and Mek is becoming aware of them.

Let's roll on the revelation list as well: another 3 means clues.

Fighting cultists

People infected by cult influences

Signs of something bad on its way

Much like with Nails introduction, this is about introducing Mek as much as it is about introducing the adventure so it makes sense if Meks skills are showcased.

So this is about artifacts.

What if magic is functioning strangely, and as a result artifacts are doing strange things

In fact we could tie this in with the spreading madness. It isn't noticeable to most people, but to those attuned to their energies artifacts seem to have started whispering.

Mek discovers that artifacts are whispering unintelligibly

Let's test that premise with mythic: expected scene

Mek is working with a small band of warforged soldiers in the mournland, maintaining their equipment and providing mechanical support.

It happens slowly, but he notices the equipment whispering. It is strange. Probably caused by some kind of magical interference. He is picking up some kind of interference and some whispers from the circuitry of his warforged charges as well, along with the occasional flash of disturbing energy disrupting their personality engrams.

He is unclear what, but clearly something is going wrong ..

Arc 1, session 2, scene 2

Mek is studying the strange magical interference, conducting experiments, and trying to figure out where the feild originates.

Our first job is to determine whether a challenge or revelation comes first and I roll a 6, making this a revelation scene.

A further roll of a 4 means he receives warnings about future challenges.

Fighting cultists

People infected by cult influences

Signs of something bad on its way

Conducting research

Dire warnings

It sounds like his experiments are going to highlight the dangers he is already concerned about and perhaps shed more light on them.

Mek conducts experiments with whispering artifacts

Let's test that hypothesis: altered scene

Great.

Q: is Mek in the mournland? (Likely) Yes

Q: is Mek experimenting with the artifacts? (50/50) Yes.

Q: do these experiments provide the warnings? (50/50) Yes.

Ok, so nothing changes with any of that setup. How is the scene altered then?

Something added?

The warnings come from the artifacts themselves. Under his tests they whisper dark portents.

He conducts the tests anyway, pushes through the disturbing warnings, and puts things together as best he can.

Even more disturbing, the whispers aren't just coming from the artifacts - he realises that using his instruments he can pick up whispers from the magical circuits of the warforged around him.

This is getting more and more troubling.

Arc 1, session 2, scene 3

The last scene was a revelation so next week have a challenge - enough plot, let's get some adrenaline flowing.

I roll a 6 meaning that this is an environmental challenge...

Fighting cultists

People infected by cult influences

Signs of something bad on its way

Dire warnings

Environmental challenge

How about

The village is shaken by an earth quake

Let's test it with mythic: expected scene

Putting the warnings together with the data from his instruments, Mek realises that a surge of power is building somewhere beneath them.

Before he can do more than warn a handful of people, the village is shaken by an earthquake.

Buildings are devastated. People are missing.

Mek does what he can to help.

Arc 1, session 2, scene 4

First we check for the climax, rolling 8! We have hit the climax already.

Fur the type of climax I get 1, then I roll a challenge and get a 5. A chase of some sort.

Fighting cultists

People infected by cult influences

Signs of something bad on its way

Dire warnings

Epic chase

The earthquake, or the energies unleashed during it, have interacted with Meks artifacts causing something BAD.

1) mass infection

2) an explosion

3) a portal of monsters

I roll a 2.

The artifacts explode, destroying the village and forcing the inhabitants to flee

Testing that with mythic: altered scene

Q: do the artifacts explode? Yes

Q: is the village destroyed? No

Q: do the inhabitants flee? No

The explosion doesn't destroy the village. It changes it. Along with any villagers unfortunate enough to be caught by the twisting energies unleashed.

Mek is forced to run for his life, barely avoiding the same fate as his neighbours.

Arc 1, session 2, scene 5

Resolution.

Q: Is there a twist? (50/50) Yes.

I roll a 6 meaning there is a final revelation, followed by a 3. More clues.

Mek is able to use his instruments to track the source of the energy eruption and sets out to see if this calamity can be fixed.

We have now reached the end of the second session and have gotten to know two of our heroes as they struggle with the challenges of the mournland.

One more character to introduce and then we can find out how it all ties together.

The third session: introducing Vorlin

Let's start by rolling for the hook. I get a revelation.

It is probably fitting for a wizard to be drawn into events by a discovery. I roll to find out what and get a 5. Withdrawal.

Interesting. We haven't encountered any foes for Vorlin yet, but we do have an idea that the story arc will be about kyber cultists.

Let's say

Vorlin is following the magical trail left by a sorcerous kyber cult as they retreated into the mournland

Testing it with mythic we get: expected scene

Vorlin tracks the trail left by the cult, following them from place to place.

An artifact here. The remains of a ritual circle there. Enscribed sygils. The aftermath of their sorcerous workings.

It is all very fascinating, and steadily the traces of magic left on their workings become stronger.

He is getting closer to the cult itself.

Arc 1, session 3, scene 2

First I roll a 3 to see if we start with a challenge or a revelation and get a challenge.

Then I roll a 5 for the challenge seed and get a chase

So our seeds are

Fighting cultists

People infected by cult influences

Following the cultists trail

chase

I suppose the most obvious solution is that he catches the trail of one or more cultists, who try to run...

Let's test that with mythic: expected scene

I think the most interesting way to pay this out is a chase via investigation rather than a flat out race.

The cultists have realised that somebody is coming after them, and are trying to cover their tracks and deploy counter magics to throw Vorlin off their trail, while Vorlin is investigating and casting spells to trace them. Mostly because their weird magics are interesting and the chase is fun.

Eventually he tracks them down.

Arc 1, session 3, scene 3

That was a challenge so next we have a revelation. What does he find when he tracks them down?

I roll a 1 and he discovers an advantage.

I could use oracles to determine the nature of the advantage, but right now I am going to go ahead and assume that he catches up with them in a situation that puts him at an advantage over them.

I'm going to brainstorm a list to pick from:

1) he has them trapped

2) they are low on resources

3) they are under attack by others

I roll a 1, so it seems that Vorlin has cornered them and their backs are against the wall with no way out but through him.

That could turn out to be a double edged sword.

Let's test it with mythic: expected scene

This mostly plays out narratively, but I require a few checks for Vorlin to successfully take advantage of the situation.

Then we roll an 8 to see if we arrive at the climax and it seems we do.

That fits the narrative well.

Arc 1, session 3, scene 4

The stage is set for a conflict so I'm not even going to roll. Testing the scene with mythic will give enough chance for a twist to our expectations.

Fighting cultists

People infected by cult influences

Vorlin has the cultists trapped

Battle

The cultists fight a desperate last stand against Vorlin

Testing that with mythic; expected scene

It is an epic battle. The cultists fight desperately but Vorlin cuts them down with magic.

Arc 1, session 3, scene 5

We come to the resolution.

Q: is there a twist? (50/50) Exceptional yes

Ok, sounds big.

I roll 1 for a challenge, then 5 for a battle.

The last cultist falls, and for a moment it looks like it is all over but then a swirling caleidiscopic wind sweeps over the corpses draining something from them and coalescing into something big and dangerous.

The cultists last spell, possibly triggered by their demise or possibly just set in motion too late to protect them, is a demon summoning.

Vorlin has his work cut out fighting the beast, but in the end he prevails.

I need to bring everyone together, so amongst their belongings he will find a clue pointing him towards the others.

Maybe this group were a decoy, and the real threat have pushed on to cause the problems that Nail and Mek have been dealing with.

Now that we have been introduced to them all, they can meet up next session and take the fight to the cultists.

Climax and Resolution Seeds

 Seeds for Climax Scenes

Knowing a scene will provide a revelation already provides some direction for a scene.

It is often helpful however to have more specific seeds to work with.

Here are a few ideas that can be used to seed an Revelation scene. These are examples. For the best results, create a custom list (for the campaign as a whole, or even to suit the current situation within a scene)

There are 6 seed ideas, so you can either choose one that fits the situation or pick one randomly by rolling a. D6.

As always, if a seed doesn't fit them either ignore it (leaning on other seeds instead) or reroll it.

1-3) epic challenge.

Create a challenge scene with appropriately epic stakes. The outcome should lead to resolution of the session.

4-6) epic revelation

Create a revelation scene. This should probably include some kind of challenge, and the outcome should lead to resolution of the session.

Seeds for Resolution scenes

This should follow naturally from the climax, using the result of that scene as a seed. The sole purpose of the resolution should be to tie things up and prepare the ground for future story seeds.

HOWEVER you should check using your GME to see if there is instead a surprise twist.

If a twist happens, generate a second climax scene - things are not as finished as they seemed. If necessary you can follow this with another resolution scene, or you can simply wrap things up in a single scene. 

Challenge Seeds

 Seeds for challenge scenes

Knowing a scene will provide a challenge already provides some direction for a scene.

It is often helpful however to have more specific seeds to work with.

Here are a few ideas that can be used to seed an Introductory scene. These are examples. For the best results, create a custom list (for the campaign as a whole, or even to suit the current situation within a scene)

There are 6 seed ideas, so you can either choose one that fits the situation or pick one randomly by rolling a. D6.

As always, if a seed doesn't fit them either ignore it (leaning on other seeds instead) or reroll it.

1-3) FIGHT

This is a combat. Use your game system to stat up the opposition and roll initiative.

Note however that combat does not necessarily need to be physical - any kind of direct and deadly confrontation that fits the narrative counts.

4) Ambush

A fight with a twist. Depending on the narrative surrounding the scene the characters might be the ambushers.

More likely they are being ambushed.

5) Chase

Depending on context, the characters might be chasing or being chased.

6) Environment

The environment itself is providing the challenge. It may need to be bypassed or overcome, or it may need to be escaped. 

Introduction Seeds

 .Seeds for introduction scenes

A scene being an introduction to a session already provides a kind of seed in that we know it will contain a hook to pull us into the adventure and get things started.

It is often helpful however to have more specific seeds to work with.

Here are a few ideas that can be used to seed an Introductory scene. These are examples. For the best results, create a custom list (for the campaign as a whole, or even to suit the current situation within a scene)

There are 6 seed ideas, so you can either choose one that fits the situation or pick one randomly by rolling a. D6.

As always, if a seed doesn't fit them either ignore it (leaning on other seeds instead) or reroll it.

1) Challenge

The session kicks off "in media res" with the characters immediately confronted by a dangerous challenge. See challenge seeds for more ideas.

2) revelation

The session kicks off with a revelation scene, introducing unexpected information that will draw the characters into the adventure.

3) dark portents

This is a variation of the revelation scene where the characters come across hints of trouble yet to come.

Dark storm clouds are gathering on the horizon. Factions are mobilising. Something is about to happen, and it is difficult to figure out what, but it certainly can't be ignored.

4) crisis

The signs have either been ignored or they have been missed (if there were signs in the first place). The situation has just exploded and it is up to the characters to manage the fall out.

5) Disaster

The crisis is not happening, it has happened.

Perhaps somebody has been killed. Perhaps a disaster of some kind has occured.

Either way, it is too late to stop - it has already happened but either it will throw up questions that need answering or a challenge that needs responding to.

6) something strange

Something weird has happened that changes the assumptions of the situation.

Maybe the characters are held in captivity, or their mind has been messed with, or things are not what they seemed.

The specifics will vary depending on the campaign in question, but either way figuring out what has happened and how to get things back to normal are probably the most pressing goals.

5 session stories

 5 session story arcs

In the same way that a modified 5 room dungeon can be used as a structure for a session, it can be used as the structure for a story arc.

This can be extended in exactly the same way as the variable scene session.

1) Introduction

Much like a hook scene, an Introductory session presents the conflict or goal that the characters will navigate through the story arc.

3/4) challenge or revelation

The variations on the middle scene are implemented a bit differently in a story arc.

You COULD have alternating sessions consisting of only one or the other, but that would mean pretty one dimensional sessions and loses a lot of the benefits of the 5 scene approach to sessions.

Instead, challenge or revelation flavours the overall goals of the session and the conclusion.

There are two options, and both are equally valid:

You can combine challenge and revelation into every session - finishing each with a dangerous conflict that drives the story forwards. OR you can alternate between challenge sessions intended simply to provide conflict and revelation sessions that are fundamentally about shaking things up and driving towards a conclusion.

The choice is one of pacing. Combined sessions create a relentless pace where every session is a scramble to both survive and move forwards, while alternating sessions give a bit more time to reflect and plan.

4 and 5) climax and resolution

The climax of a story arc is the culmination of multiple sessions of play and should be a dramatic ending that closes a chapter of the campaign.

The resolution should consolidate and generate seeds that can be used to inform the next story arc

5 arc campaigns

Implementing this structure on the campaign level works the same as implementing it on the story arc level just with grander stakes.

1) introductory story arc

The first story arc in the campaign should set the tone and introduce the key players.

Stakes should be relatively low (compared to the projected stakes of the campaign as a whole), but can hint at greater things.

This arc should have the characters working mostly within their comfort zones, with the climax breaking them out of that and hinting at far greater dangers than they were expecting.

2 and 3) challenge and revelation

For most campaigns I think it makes sense for every story arc to be a combination of both challenge and revelation.

Campaigns that have investigation and discovery as major themes however might get away with alternating story arcs although I have not tested this in practice.

4) climax

The climactic story arc is the culmination of an entire campaign and should have epic stakes.

5) resolution or surprise

The final story arc of a campaign is a bit of a strange one.

The climactic arc has already happened. The campaign has peaked, and the final arc is somewhat of a come down in terms of stakes and tension (unless of course an unexpected twist throws the stakes back in the air).

If you are concerned about it being anticlimactic then it is fine to finish with the climax and leave the campaign on a high (after all, the campaign is structured the way it is in order to provide as many jumping off points as possible - you can finish wherever you like)

If you want to keep playing beyond the climax however, the final arc is about finding closure.

It is unusual in that it isn't generally intended to generate new seeds, although if you want to prepare the ground for a future campaign it certainly could do this.

It should tie up loose ends, answer any questions you have left, and give you a chance to see how the dust settles. 

5 scene sessions

 5 scene sessions

After playing around with a lot of different adventure structures, i have found that one of my favourites for structuring sessions is a modified form of the five room dungeon (with modifications heavily influenced by interface red)

The 5 room dungeon is a great simple setup for a session.

At its simplest it involves 5 "rooms" that can each be played out as a scene. Although these do not need to be literal - they could easily be scenes based on locations or events instead.

The important thing is that the session has a goal it is working towards and that this goal will be met at the climax of the session.

The traditional 5 room dungeon (as envisaged by John Fior) has the following rooms:

1) Entrance

2) Puzzle or roleplaying challenge

3) Trick or setback

4) Climax

5) Reward/ revelation/ plot twist

Room 2 and 3 can come in any order.

There has been plenty written about the 5 room dungeon elsewhere so I won't go into any more detail here other than to say it forms the basis of my most successful session structures to date.

I have however modified it a little, partly inspired by the story structures from Cyberpunk Red...

The modified 5 room dungeon (the 5 scene session

As always, start with some story seeds to create a premise in a similar way to how you would create a premise for a scene.

Hook: this isn't really a part of a traditional 5 room dungeon, and isn't necessary if you already have a strong hook in the premise. Often however, it helps to run a scene simply focused on getting the characters involved with the session.

1) the Hook/ inciting incident: This could be combat, a puzzle, a social event, or some other form of challenge. The important thing is that it draws you and the characters into the action. Often people spend a few scenes meandering and exploring before finding something that hooks them into a story, but I find that with limited time and attention I need to jump right in.

This scene needs to fulfil two goals: firstly it needs to introduce (or bring front and center if it has already been introduced) the problem the session will focus on solving, and second it needs to be interesting and unexpected enough to get the ball rolling.

The middle scenes (challenge, and revelation) can come in any order.

While wrapping up the hook I roll 1d6 to see which scene will come next: on a 1-3 it will be a challenge. On a 4+ it will be a revelation. That

2) challenge.

A challenge scene involves some kind of dangerous activity that puts the characters in jeapardy. It could be a fight, a chase, an ambush: anything that creates an immediately dangerous and pressing situation. Secondary challenges or complications may be present as well or may develop as the scene plays out.

3) revelation. Or skill based challenge.

A revelation scene could be finding or processinginformation, an unexpected meeting, a twist that shakes things up. There may be a challenge or complication of some kind, however the stakes will be lower than in a challenge scene.

The important thing about a revelation scene is that it must have at least the potential to impart new information to the characters - either encouraging them to forge ahead or demonstrating that they are on the wrong track.

4) climax

The climax generally takes the form of a challenge of some kind, but it might take the form of a revelation. It might even be a mere formality as everything falls together or falls apart.

Either way, it should provide a satisfying conclusion to the session.

5) Resolution or surprise.

The final scene in a session needs to wrap things up, either tying up loose ends or preparing them as seeds for future sessions.

Generally it will simply be a narrative scene, perhaps with an oracle being used to clarify any remaining questions.

Sometimes however it may include a surprise that might introduce a final challenge of some kind.

The variable scene session

The 5 scene session, much like the 5 room dungeon is a useful structure however it has one flaw that has always bothered me: it is very short, and it is always the same length making it too predictable.

This can be changed easily however.

Scenes 3 and 4 (the middle scenes) can simply be repeated multiple times before reaching the conclusion.

I generally prefer to play full iterations of both middle scenes.

After playing the second middle scene I roll 1d8: on a 1-6 I play another iteration of the middle scenes. On a 7+ I move straight to the climax.

After the second iteration I roll another d8. This time I move to the conclusion on a 5+.

After the third iteration I move t to the conclusion on a 3+

After the fourth iteration I automatically move to the conclusion.

This gives me a session running between 5 and 11 scenes.

Sometimes I want to have shorter session, in which case I roll a D6 instead of a d8, giving a maximum session length of 9 scenes. 

Sunday, November 2, 2025

Scenes

 Scenes

I always set up scenes in a similar way.

1) purpose

Every scene serves one or more purposes, and the first job in setting up a scene is to establish the scenes purpose.

I have distilled a number of general purposes for scenes, but different structures and circumstances may provide others.

Hook. The first scene in a session will often provide a hook into the sessions events. Something to get the ball rolling.

Action. These used to be the only scenes I ran at all. They are the scenes that most RPGs mechanics support, and provide the excitement.

Development. Interface Red introduced me to these scenes. I intersperse them with action scenes and they provide space for reflection, plot development, character interaction etc. stories are much richer for their inclusion.

Climax. Every session should build to a climax. A big event of some kind that ties everything together. Often I play this as an action scene.

Resolution. I finish sessions by tying up loose ends, seeding hooks for future sessions, and generally rounding the adventure off.

Seeds

A scene begins with one it more seeds. These are ideas that can be combined to give a premise for the scene.

I have found that generally I want two or three seeds, and pull as many of them together into a scene premise as possible.

Seeds can come from (amongst other places):

Character goals

Scene types

Random idea generators

Game structures

NPC goals

RPG specific generators

Never be afraid to gather more seeds for a scene, especially if no premise springs to mind. You don't have to use them all, but weaving as many together as possible can lead a story in unexpected directions.

Once you have your seeds, pull as many ideas from them as you can into a single sentence describing what the scene will be about. This is the scene premise.

Test the premise

Once you have a premise for the scene it is best to test it using a GME.

If the scene is altered or interrupted, you can use the seeds to help guide a new interpretation of the scene.

Build challenges

Once I know what the scene is going to be about, I can use the rules of the RPG I am using to build any challenges or set up any mechanics I will need for the scene.

The more I can set up in advance, the less I need to set up while playing and the smoother the scene will run.

End scene

Once things have run their course, I take stock and Update anything that needs updating.

Then I look at character goals (both pc and NPC) and note down any changes that might lead to seeds for new scenes - the goals and plans of my player characters are especially useful for this. 

On Campaign Structure

On the structure of campaigns

Recently I have been experimenting a lot with the structure of stories and campaigns.

I have a number of competing needs in terms of structure when I play a solo game:

- I like to create a meaningful story with narrative beats.

- I like flexibility so that a story can take any shape it needs to

- I like epic (and so long) campaigns

- I need stories to be short enough that I can get a sense of completion before I get bored and wander onto something else.

- many RPGs assume you will play in "sessions" however these are difficult to define in solo games that tend to be played in a more as hoc fashion.

There are plenty of story structures out there, and I will hopefully cover some of them in their own posts.

Many narrative structures provided by early pioneers in the hobby, such as 9 questions and 5 room dungeons provided great narrative beats and short stories but I found the structures a little too predictable in some respects.

Many GM emulators (such as mythic and PUM) later developed their own story structures with narrative beats that were less predictable but also considerably longer.

After a lot of experimentation I have settled on creating campaigns using a layered structure with elements from each layer combining to make the next in a similar fashion to a Fate fractal.

Let's start with the smallest building block of a campaign:

Scenes

It is possible to play a freeform game using a GME without breaking it into scenes, however they are a foundational narrative building block for a reason - they work.

I tend to have a scene comprise a single main challenge or activity, and potentially a couple of extra complications.

Sessions

Outgunned breaks stories down into "one shots" (or just "shots"), which are complete stories beginning with a hook and ending with a climax and resolution, that are short enough to play in a single session.

The idea is that every session should provide a satisfying story with a conclusion.

I love this idea, and have adopted it whole heartedly. It both provides me with short but satisfying gaming goals, while at the same time gives me a mechanic for tracking a "session" for games that need it.

On average I play around 9 scenes per "session" with a loose minimum of 5 and maximum of around 12.

Story Arc

Sessions are grouped into story arcs consisting of between 5 and 12 sessions (again, with an average of around 9).

Much like a session, a story arc will have an introduction and a climax of some sort.

If I have a group of characters, I will often play through separate introductory sessions for each before bringing them together in the first story arc.

Often each story arc will culminate in facing a mini boss or completing a larger goal.

This layer provides a slightly longer term goal and gives structure to a campaign.

For a more complicated campaign, there is nothing to stop story arcs from overlapping or interweaving with each other.

Campaign

Story arcs are grouped into a campaign, with the first story arc introducing the campaign and the final one providing the conclusion and resolution.

Again, a campaign should generally consist of between 5 and 12 story arcs with an average of around 9.

This layer gives me the epic campaigns I am looking for.

Game structures

The nice thing about treating a campaign as a fractal is that the same (or similar) structures can work at any layer of the fractal.

Story structures providing around 5 to 12 scenes can be used to structure a session, but with a little tweaking they can structure a story arc or even a whole campaign.

You can play around with different structures at different layers to give the campaign a unique feel.

A 5 room dungeon for example could provide a small dungeon fit for a sessions exploration, an in depth exploration covering a story arc, or even the focus of an entire campaign.

 

Sunday, November 8, 2020

Solitaire System

 Solitaire System


The following is the system I use to plan Solitaire games.
Disclaimer – this system is always in development. I rarely play two games using precisely the same system. Each game I take what works, learn new things, try new things, and tweak things as needed.
It is also not original in any way. Everything here has been scavenged from a multitude of sources and cobbled together into a system that works for me.

Flexibility is the most important rule. The system has two purposes – to help generate ideas so the game does not stall, and to maintain a consistent narrative. It is a tool, not a straight jacket. Everything put in place by this system exists as a prompt and a guideline. I frequently alter, mix, or replace elements in play to fit the emerging narrative. Nothing is set in stone until it is engaged with directly in play.

A)    Setup


The first Job is to set up the game. I find that time spent on preparation pays dividends, and a well prepared game ends up more enjoyable, more productive, and more likely to last than one where I have just rolled up a character, grabbed an oracle, and got stuck in.
Setting up the game consists of a number of phases that I usually go through roughly in order. I never consider any of these phases to be “complete” however, and I constantly jump between them as inspiration takes me. Even once play has started the documents generated in these phases remain subject to regular updates.

1)    Genre

It is important to establish the Genre of the Game. For some this will be straight forwards because they approach the game with a particular Genre or a particular ruleset in mind. I almost always use a variant of Fate as my ruleset, so Genre is a wide open field.
I keep a document with a wish list of different Genres I am interested in playing, along with ideas I have for the focus of Games within those Genres.
My first step when setting up a solitaire game is always to revisit that list, see if I can add anything to it (even if I might not take that idea further until a later date), and settle on one for my current game.

Wishlist
Once I have settled on a Genre, I make a wish list for that game of things I would like to see in the game.
One of the great things about solitaire play is that I don’t have to please anyone but myself, and having a list of things that interest me helps give me prompts I can keep returning to whenever introducing something new to the game to keep things focussed on what I enjoy.
This wish list of things I want in the game is one of the most useful things I have found to help keep the game focussed and enjoyable. I will sometimes add to it later on as inspiration takes me.
Occasionally I create a second list of things I want to avoid in the game, but generally this is unnecessary.

Ruleset
Again, this will be a simple choice for many people. Given that I generally play fate, and it is so customisable, I tend to look at the genre and my wishlist at this point and see what rules will best accommodate those.


Scale
The last thing I need to establish is the scale at which my game will be played. Again this helps maintain a focus for the game and helps provide a framework for the things I add.
Sometimes the scale will change during play, and sometimes I plan from the outset that the campaign will move across scales.
I choose between 4 different scales of play;
I Personal
Personal games focus on the characters and their interpersonal relationships. Everything is designed to impact them directly.
II Political
Political games focus on the interplay between the different factions involved in the game. Characters will have their own motivations and agendas, and the PC’s will need to navigate between them. This kind of game is often fairly limited in scope, with the action played out between well connected characters within a defined arena of some sort – either geographical, factional, or organisational. Often things will be tightly balanced between different factions and the choices made by the PCs will tip the balance one way or another – with resulting complications and fallout.
III Epic
Epic games play out over a broader scale, with factions being more clearly defined and often clashing over larger areas. This kind of game is often Global in scope with a bigger focus on factions clashing rather than manouvering within factions. Characters at this scale will tend to be representative of the factions they are acting on behalf of.
IV Mythic
Mythic games are broader still, with characters and factions  representing fundamental forces of nature. or abstract ideas. Rather than the global clash of nations represented on the epic scale, this is the clash between life and death, light and darkness. In all honesty I do not often play at this scale.
Example
I settle on Fantasy as a genre and brainstorm a wishlist of things I want to include;
Magic
Wizards
Fae
Duels
Mass combat
Subterfuge

I will keep these in mind when setting up the Game and introducing new elements, ensuring that they are what focusses the game.
Mass combat suggests an Epic scale for the game, with factions clashing on a broad scale.

2)    Setting and Factions


These come together in my setup process, because although I begin with setting before moving on to factions, I tend to bounce back and forth between the two quite a lot as elements of each spark ideas.

Setting
Setting is about looking at where the action takes place and brainstorming locations. These will be added to throughout the setup process and throughout play.
The first thing to do is to think about the scope of the setting, which will often  be linked to the scale. Remember to keep your wishlist in mind while thinking about the sort of things you want to happen in your setting – the setting should be built with your wishlist in mind.
Personal scale stories might take place over a single block or a small town with locations being Houses, buildings, parks etc.
Political scale stories might take place within a single city, or across the scattered holdings of a single faction. Locations might again be buildings within that city.
Epic scale stories might take place across a whole globe, or even multiple worlds or planes in some stories. Locations might be whole cities or geographical locations. For an interstellar or interplanar setting, locations might even be worlds or planes.
Mythic scale stories go outside of the box and so the settings might resemble any of the above, or might be different entirely.
Locations
For each location I fill in;
Breif Description: What does it look like? What is its function?
Nested locations: Sometimes the location will be nested within a larger location (eg a building within a city). Sometimes it will have smaller locations nested within it (eg. A building containing several important apartments)
Face: A character or characters linked with the location. People you can expect to find here.
Faction: Any factions that are linked with the location.
Notes: Any important information about the location with regards to Items/characters/plots. Usually this will not be filled in until play has started, but sometimes characters back stories have important links to locations.

Factions
Next I brainstorm the Factions operating within the setting. First I do this as a simple list before going back over them and adding details.
I sometimes leave locations until later, but I always begin with at least 3 different factions to create tension between them.
Remember to keep your Wishlist in mind when brainstorming factions. 


Each faction should then be developed by adding notes under the following headings (partly taken from Dresden files accelerated):
Description: What is the faction about? What do they do?
Goals: What do the faction want to achieve
Resources: What do they have at their disposal
Weaknesses: What problems do they need to overcome or solve? What stands in their way?
Characters: What characters are involved in the faction?
Locations: List the locations the factions are linked to
Instinct: As a stereotype, how does the faction behave? What kind of thing are members trying to do as a short term goal?
Actions: List 3 to 5 generic actions the faction is likely to take to achieve their goals


UPDATE

after reading more game books and playing more adventures I have realised that the information above is not immediately gameable and have started listing a number of agents for each faction and given each agent a set of possible actions rather than (or sometimes as well as) actions for the faction as a whole. I have found that this helps make the factions more concrete and gives them a way to directly impact the story. 

3)    Create Characters


Once I have the basics of a setting and a bunch of factions with conflicting goals, I look through them and brainstorm a list of possible character concepts. Generally I try to think up at least 1 character from each faction, but more is fine.
Note that your characters should be linked to a faction, but they don’t necessarily need to agree with it – they could just as easily be opposed to the faction.
I draw my player characters from this list, but any left over can easily be introduced as allies or villains later on.
Looking back at your wish list can help with inspiration for characters, but don’t hesitate to include any concepts that appeal to you – this is another wishlist of sorts.
Then create your characters using whatever system you have decided upon. They will already be tied into the setting because they were created with a link to a particular faction in mind.


One of the great things about Solo Play is that you can try wildly different things in terms of a games cast of characters than you could get away with in a more social game where you are limited by the size of the group. Here are a few ideas I have tried;


Solo Solitaire. One possibility which from the atual plays I have read seems popular is to simply create and play a single character. This has the benefit of letting you get to know that character really well, and is probably the most “immersive” option, although given that solo play already requires you to split your hats between player and GM, I am not sure how much benefit this actually grants.


Traditional Party. An obvious option, and one I tend to favour for a lot of games, is to play through the adventures of a traditional adventuring party- Just taking on the roles of all the players (or partially automating the characters in some way). This takes more book-keeping than a single character, but many games are easier to balance encounters for this kind of setup.


Marvel Teamup. Often I begin with a single character and introduce more later. Sometimes I do this by playing a scenario with each character as individuals before bringing them together for a scenario as a team, in a similar manner to how marvel movies build up. This enables me to get to know each character without having others to distract from them, which can be helpful in cutting down the mental load when playing a whole group solitaire.


Split the Party!! One of the benefits of Solo play is that nobody is sat around bored if you split the party, even if you ignore some characters for a while and concentrate on others. Taking this to an extreme you could even explore a game from multiple perspectives by creating and playing multiple different characters who have nothing in common and possibly never even meet – each exploring the events of the game from the perspective of a different faction, location, or situation. Think the way characters are spread out in something like Game of Thrones, with each character getting a chapter or two at a time before the spotlight shifts. This feels especially appropriate for Epic games, but I can see some political games working like this as well.


4)    Create Problems


Look over your Wishlist, your Factions, and your Characters and come up with 2 or 3 problems affecting the setting that will need to be resolved. More can be added later, but these will help provide the structure for your campaign, at least to start with.
The nature of the problems will vary depending on your scale:
Personal Problems will be aimed at directly affecting the characters and things they care about, so pay particular notice to the character and their backstory. You might want to add detail to the characters back story to more firmly embed the problem,
Political problems will  be rooted in the Factions you created and divisions within those factors. This may be an external problem which factions have different ideas about how to deal with, but pay attention to your factions and how they will react when creating the problem. You may want to revisit the details of your factions to build on this.
Epic problems are clashes between the factions themselves. You may want to revisit the factions to ensure there is scope for an epic clash. You may also want to add a faction at this point which is specifically designed to clash with the others.
Mythic problems are more conceptual in nature. They could share similarities with problems from other scales, but will involve Gods and Ideas.

Once you have a problem begin by thinking what its endpoint will look like if it plays out without interference, then work your way backwards step by step to the situation at the campaigns start.
If the Problem is a villain, then consider this their plan for enacting their end goal. If the problem is more of a force of nature then this is the series of events that will lead to calamity unless the characters intervene.
Problems do not necessarily have to be something that the characters are working to stop either – they might just as easily be working to ensure the climax of a problem DOES happen, either because they are working for somebody else, or because they are furthering their own plans.
Sometimes they might switch between attempting to progress a problem and attempting to stop it as events unfold.
These are a bit like dungeon world Fronts.
Make sure there are at least 3 to 10 steps in the plan.

EG.
Problem; The Lord of Blades is preparing an army to invade Breland
Climax:         A horde of Warforged warriors descend on Breland
        A Brelish Fort is put under siege and sacked by a warforged army
        Warforged scouts infiltrate the Brelish border, sabotaging key positions
        Warforged agents infiltrate Breland, surveying defences and looking for weaknesses
        Warforged soldiers begin to desert the army
        Agents openly recruit Warforged soldiers to the Lord of Blades employ
        Warforged begin to go missing – they are joining Lord of Blades warbands

This provides a rough map of how events will play out without interference.

5)    Create Hooks


Start with the first step of each problem, and create 2 to 5 ways the characters could be hooked into dealing with that problem. Look at your characters and their backgrounds while doing this, that way you can make the hook personal.
One of these Hooks will form the basis of the first session of play. The rest can be put to one side and used to introduce other problems, or deepen problems the characters are already dealing with, once play has started.
Once the characters have begun dealing with the first step of a problem, you will need to start looking at the second step and brainstorming hooks that will get the characters involved and move the problem on.
During play, problems will most likely become derailed. When this happens, Use your knowledge of the factions, characters, and other elements involved in the problem to alter the steps leading to its conclusion. It may be that the situation has altered so radically that even the climax of the problem will need to change.
If the characters make it impossible for a problem to reach its climax, then that problem has been dealt with.


6)    Outline adventures


You should outline an adventure stemming from each hook you create. This does not need to be detailed, as you can build the details in play – just a rough idea of the events the hook will drag the characters into.
Adventures can take a number of different forms, but it is probably best to keep them short so that the game maintains its pace.
At this stage I would probably just record the kind of framework I think the adventure might use, and any ideas that leap out at me as being must-includes for the adventure. Both of these things would remain subject to change depending on both my whims and the state of play when the hook was actually triggered, but having some ideas in place already just helps keep things moving smoothly.
I suggest varying the frameworks used, to help keep the game from becoming predictable.


Frameworks I have found helpful include:


9 Questions: Written by John Fiore back in 2013. This is a fairly solid framework for a short adventure. This was the first form of adventure framework I started using when I first began playing solitaire games. It works best for adventures comprising a conflict between two parties, with steadily escalating risks.
Here is the gist, but I suggest searching for the original documents as they contain good advice on running it, and mush more detail.
1a) What looming hostility inherent within the setting unexpectedly comes into conflict with the heroic motivation, threatening to worsen over time?
This is basically developing how the characters find and interact with the Hook.
1b) What actions consistent with the heroic motivation do the heroes take that bring them into conflict with a looming hostility inherent within the setting?
In other words, how do the characters react to the Hook?
2) What unusual event occurs soon afterwards?
3) What elements of the results of Q1a or b and Q2 suddenly get twisted together in a surprising manner, increasing the danger to the heroic motivation?
4) How can the fight be brought to the enemy, gaining ground for the heroic motivation?
5) How can any heroic gains from the results of Q4 suddenly be undermined as new information about the true face/scheme/power of the enemy becomes known?
6) How can the adverse results from Q4 and Q5 be further intensified, forcing the heroes to commit to a do-or-die course of action in accordance with the heroic motivation?
7) Where can the heroic motivation be most effectively redeemed?
8) Where does the final showdown between the heroes and the enemy take place in relation to the results of Q7?
9) Where does the world stand after the results of Q7 and Q8?
This is a good place to insert another hook…

5 Room Dungeon: Designed by John Four as a quick method for games masters to create short dungeons, however the format can easily be adapted to situations other than literal dungeons.
They work well when for an adventure in which the characters will be moving from one situation to the next in search of the adventures climax.
Again I would suggest searching for the source material. A lot has been written about using 5 room dungeons in various contexts, and they are a flexible resource once you get the hang of them.
Room 1: Entrance and Guardian
The Hook
Room 2: Puzzle or Roleplaying Challenge
For Solo play, this really means a skill challenge for the characters
Room 3: Trick or Setback
Room 4: Climax
Room 5: Reward, Revelation, Plot Twist
This is a good place to insert another hook…

Perilous Intersections: Written by Rory Bracebuckle. This is a more freeform adventure framework than the above methods, and was a gamechanger for me when I first discovered it. It is also more difficult to describe in a short form than the methods above.
The Gist is that you roll up a series of random “Seeds” and each scene is setup with one of these seeds providing inspiration for a situation that challenges the characters goals.
It is a useful framework when you want something a little less structured than the above methods, and I find it works well when you have an idea for the starting point (the Hook) but want to play to find out what is actually going on.

Story Questions: I have found that a similar framework to Perilous intersections can work by generating a series of questions that the adventure will answer and using them as frameworks for scenes in a similar method to Perilous Intersections. In fact I have found that this works really well when combined with Perilous intersections, replacing the Big Questions with more story specific ones.
This is a useful framework when you want a freeform adventure, but actually have some idea about what is going on but the questions instead revolve around the characters actions and their consequences.

There are many more frameworks that can be used for adventures, and I will probably add more here with time, but these are some of the methods I have had the most success with.
To prepare an adventure record the following information;
Hook:
Frmework: (subject to change)
Ideas:
Ramifications if the Hook is ignored:

7)    Begin Play

Pick a hook (I sometimes do this randomly), prepare whatever you need to for the framework you have chosen, and get started on the first scene.


I like to keep a handy list of Possible hooks to be introduced ready nearby, so that I can constantly be on the lookout for opportunities to introduce a new hook. Unless I am overwhelmed by the number of Hooks that are opened (probably about 3 open at a time), I introduce a new one wherever possible. This means that I can keep the characters options open within the game and ensure they are busy juggling priorities.


Of course, triggering a hook doesn’t mean the characters have to follow up on it, and I like to have an idea of the ramifications for the hooks I leave dangling for too long…


At a minimum I try to finish each adventure with at least one hook open, so that I can move straight on with things without losing pace (which in my experience can kill a solo game).


I label hooks with the problem they stem from so that I know what they should be building towards, and I mark hooks which lead into the next phase of a problem.
When I feel ready, and the narrative supports it (sometimes before I feel ready) I trigger a hook that moves a problem into its next phase. I do not necessarily (or often) wait until all of the previous phases hooks have been triggered before moving to the next phase. They are simply options intended to provide inspiration on exploring that phase of the problem. 

Sometimes inspiration will appear from the narrative and new hooks will suggest themselves, or hooks I have listed will become irrelevant.
Sometimes my characters will begin working on long term goals of their own, in which case I will go through the Problem creation process and create the steps needed to accomplish their goal. Sometimes a new problem will rise in play and I will go through the process in a similar fashion.


When the characters derail the intended steps of a problem I will attempt to create a new set of steps for that problem to attain completion. If this is not possible then the characters have successfully dealt with that problem (and the fallout may well create the impetus for new problems).

Lastly I should note that although I always plan with the intention of running an entire campaign, I never begin play with the expectation that I will successfully do so. The realities of Solitaire play are that it is often difficult to maintain motivation past a handful of adventures, and I generally regard fully completing a single adventure as a win. I find that for me it is easier to maintain my interest if I focus on the present moment of the campaign and don’t put any pressure of expectaction to take it any thurther. I also find however that it is easier to keep going if I have some kind of framework in place for the route ahead, and there is nothing worse than a successful and enjoyable game grinding to a halt because I don’t know where to take it next, or because it is starting to feel like it is not really going anywhere.

I hope that this helps others with inspiration in finding their own system for setting up and playing solitaire games. Please feel free to cannibalise whatever you like and make it work for you - after all, that is what I have done. 

Happy Gaming.