Does Your Character Have A Cause?

Motivation is one of the most important factors when it comes to figuring out your character. In fact, it's so important that a while back I wrote an entire supplement titled 100 Character Goals and Motivations just to drive it home. However, in addition to their personal goals and motivations characters may have causes they champion, or which they strongly believe in. And while they aren't a necessity of your character (after all, how many people do you know in your day-to-day life who strongly support a cause?), they can add a lot of depth and dimensions to your character all the same.

And much like how religion isn't just for divine casters, causes are something anyone can support, and be part of. Though it does help if the cause you pick is actually part of the campaign you're playing.

After all, conflict only matters when we see it!

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Something Bigger Than Yourself

The difference bwetween a goal and a cause, in this case, is the scale of the thing, and who it benefits. Goals might benefit other people, but someone does them primarily for themselves. Also, goals are often small, and personal things such as finding a lost relative, paying off a debt, or getting revenge. However, a cause is something that, while it might benefit the character, is bigger than them. When one supports a cause, they do it because that cause is more important than their personal reward or benefit, even if they do have some skin in the game.

For example, a prince fighting to depose his ururping uncle to take back his rightful throne is a goal. But ending the practice of slavery (whether in the kingdom, or throughout the world) is a cause. It is something that is bigger than one man's ambitions, and it affects so many more people. Now, a prince who was fighting for the cause of freedom could facilitate that cause by retaking his throne, and all the power associated with it, but even then the cause affects so many more people, and so many interests beyond purely his own.

One step for a man... one leap for mankind.

The other difference between goals and causes is that goals tend to be achievable. Goals have definite parameters, and even if they're difficult you can still (usually) manage to achieve them. Causes, though, tend to be more ephemeral. For example, you might have the goal of eliminating the bandits currently plaguing the North Ridge Pass. That is something that can be done. However, a cause might be to protect travelers along that highway from dangers. That is significantly harder to do, and likely requires the formation of regular patrols, a network of watch towers and shelters, and taking measures to ensure that as many dangers as possible are negated before they become an issue.

Because causes tend to be things that are either very large in scale and scope, or they might not have an actual end point. And even if they do have an end point, it isn't likely to happen within the lifespan of the person who took up the cause... even if that person is an elf.

So ask yourself what kind of causes your character believes in, which ones they're willing to fight for, and which ones they want to see come to fruition. Some of those might be:

- Freedom from slavery

- Cures for known diseases (and the means to give them to the masses)

- Preservation of knowledge, history, and literature

- Protection of children

- Punishment of the guilty

The list goes on and on, but you get the idea. A cause is more than just an ideal where a character happens to think this or that is a good or noble endeavor; it should be something they are (at least in part) dedicated to. The reasons they are dedicated to it might be lofty, or they might be deeply personal, but all that matters is they can be moved based on their belief in a cause.

For example, your rogue might be a hard bastard who does nothing for free... but he believes children must be kept safe. In small ways, this could motivate him to help rescue young kidnap victims who are being held for ransom. In a bigger way, though, it might lead him to oppose entire faiths, or societal systems that rely on child soldiers, exploitative labor practices of the young, ritual sacrifice, etc. Do they do this because they have very few moral lines in the sand, but this is one of them? Is it because they were abused by a system of child labor, or because they were a "big brother" in a gang of street youths? Did they lose their own children to circumstances beyond their control, and they aren't willing to stand aside and let it happen to others?

There are all kinds of causes that can motivate people. Most people may only help in small ways, like donating money or supplies, allowing use of their home or property, or casting a vote... others, though, are willing to lay down their lives for what they believe in if that's what it comes down to. So take a moment and ask what cause your character believes in, and what lengths they would go to if it meant they were able to further that cause?

And if you're looking for some handy supplements to help fill in your backgrounds, I would strongly recommend picking up copies of 100 Questions To Ask About Your Characters, as well as 100 Dark Secrets!

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Why So Many Sad Backstories?

I was browsing through my feed the other day when I saw a screenshot from Tumblr. I'm sure some of the rest of you have seen it, but in case you haven't, it looks like this.

And there we come to today's topic.

I'm sure we all had a chuckle over this, because let's face it, who doesn't have a story or two about a group of hardened murderhobos each trying to out-grim each other? On the other hand, it makes a good point, and one that I think is worth thinking about.

In short, why are so many of us trying to be fantasy Batman?

Imitating The Classics

Real talk for a moment, here. Tragic heroes are easy. Do you know why? Because we have so many damn good examples of them in our pop culture (and especially in the nerdier parts of it). The go-to example is Batman, with the classic dead parents and revenge on crime story. But we also have characters like Wolverine (a wandering amnesiac with intense PTSD trying to fight the impulses you have when you're a living weapon), Luke Cage (a wrongly-convicted man experimented on in prison trying to clear his name), Jessica Jones (disillusioned heroine and abuse survivor just trying to make her way in the world), etc.

Even outside of comics we have characters like Oedipus, Achilles, Odysseus, and others whose stories are often tragedies full of rage, blood, and tragic fates they cannot escape.

Seriously, Greek tragedies are 90's comics with more dick jokes.

But you know what we don't see a lot of in stories that aren't expressly aimed at kids? Heroes that have their lives together. Characters who have a good support network, who have no reasons to scour the world looking for vengeance, and who are doing just fine. Maybe they could use a little more coin in their pockets, or they'd like to live in a better part of the city, but they don't have deep-seeded darkness putting the pedal to the metal. Usually they're participating in the campaign because they want to help, because it's their job, or sometimes just because it's the right thing to do.

I know, yawn-o-rama, right?

I mean, who is that bard, being all light-hearted, curious, and sending a portion of his earnings home to his parents? Where does this paladin get off in using his martial skill and divine power to try to lift up the downtrodden because it's the right thing to do? And what's with this enchanter, having a positive relationship with his tutors, and working a respectable job as a diplomat?

All right, all right, serious time now.

I'll be the first to admit that grimdark (or at least tragic) character backstories are compelling. I came up with a whole list of popular characters off the top of my head, and there are dozens more I didn't include. With that said, though, it's easy to get stuck in a rut where all you ever do is play people who've been kicked into the dirt, and forced to eat gravel until they prove they're tough enough to be adventurers. But that's not a requirement... it's just a thing we've done because it's tradition. And, a lot of the time, because we're lazy.

Who You Calling Lazy?!

It's a simple fact that a lot of players don't want to reach too far into a character's backstory before they debut in the first session. That's why, so often, we see characters with dead parents, and no extended family. Because it acts as dual motivation, and means we don't have to mess about with who their family is. We also tend to conflate surviving awful things with being strong characters, but just because you have a character who has overcome negative events, that doesn't make them any deeper or more mature as concepts.

What I can say for foregoing the traditional murdered family/orphaned/survivor of war/tortured by trolls backstory is that when you set the grimdark spark aside, you've got to work a lot harder. It's also important to remember that "not sad" doesn't require everything to be rainbows and sunflowers. It's just not blood and tears.

Need an example or two? Merrilin Briggs is the oldest daughter of Lord Cauthorn Briggs and his second wife Katherine. She showed magical talent at a young age, and her father made sure she received proper instruction in the arts magica. Her mother, ever a society woman, also insisted that Merrilin be schooled in the classic past times of a lady. Fireballs of a morning, needlepoint and dancing of an evening. When threats beset her father's lands, the Lady Briggs is there to drive them back. Her father is proud of her, but both he and his wife worry for her safety. Her mother often wishes she would marry, much to Merrilin's annoyance, but she tries not to let it ruin their relationship.

Or how about Reginald "The Lightning" Carpenter? A boy from one of the rural areas, he grew up tending orchards. He was always the regional favorite in competitions of martial skill, though, and his speed and tirelessness earned him his nickname. He even fought a bout when the local Baron was in attendance, and the nobleman gifted Reginald with a fine rapier as a prize for his display of skill. When his younger siblings were old enough to mind the orchards, Reginald enlisted in the militia, hoping to make better use of his skills. A charismatic leader, he and his men repelled several groups of bandits, and rescued kidnapped travelers who were being held for ransom. Accepting accolades and promotions, it is his intention to find a stead for his family to live on where the only trees they tend are those they want to, rather than those they have to.

Now, both of these characters may have problems (Merrilin's penchant for boots and bandoliers may be hard to leave in the field, causing friction when she's at home, for instance), but those problems aren't horrible, or tragic. They're just the sorts of things we all deal with. They also have hobbies, goals, wants, and needs.

Those are the things that get them out in the field, and tie them into the campaign.

And if you still need some inspiration that isn't based in sorrow and tragedy, might I suggest taking a look at 100 Character Goals and Motivations? It's a supplement I put together for just such an occasion, and it specifically offers a wider variety of reasons for your character to hit the trail!

Try Nightmare Mode... You Might Like It

To reiterate, there is nothing wrong with characters who have sad, grim backstories full of loss and murder. There are even some games, like White Wolf's World of Darkness setting, or Shadow of The Demon Lord, that are tailor-made for those kinds of characters. However, if that is the only kind of PC you're playing, I'd recommend branching out to try something different. Even if it's just for a palate cleanser.

And remember... just because you don't have anything terrible under your belt when you start, that doesn't mean you can fight monsters for 15 levels without risking becoming one.

That's all for this week's Fluff post. Hopefully it got the gears turning for some of you out there. If you want to see more of my game-related work, check out my Gamers archive. I'm adding a few new pieces every month, so there's always something new over there. If you want to keep up with all my latest posts, then follow me on Facebook, Tumblr, and Twitter. Lastly, if you want to help me keep Improved Initiative going, consider heading over to The Literary Mercenary's Patreon page to toss some change into my tip cup. $1 a month is all I ask, and in exchange I'll send a load of gaming swag your way as a thank you!

How to Build Your Campaign: A Step-By-Step List

A roleplaying game is about story. A session is a chapter, an arc is a novel, and a campaign is a series of collected adventures showing the full breadth and depth of how a party grew and changed, struggled and strove, eventually going from humble beginnings to perhaps challenge the gods themselves.

For those willing to step behind the DM screen, I salute you.

You poor, foolish bastards.

You have accepted the challenge of taking four or more disparate characters over whom you have only the most infinitesimal amount of control, and decided to weave them into your epic narrative. That is a colossal task, and one that is very, very easy to lose your grip on. Don't worry, Improved Initiative is here to help by providing you with a handy checklist to get you from start to finish without losing what's left of your mind.

Step #1: Choose Your World

Any time, any where. But seriously, you have to pick one.

Where is your game taking place? Are you in Paizo's Golarion? The Forgotten Realms? Perhaps you're taking a spirited romp through the Grimm Lands, or you've decided to see how well your players can handle the Deadlands of the weird West. You can choose whichever world you want, but this is the fundamental building block you need to start with.

Pre-made worlds are the easiest ones to use. These worlds already have rules for how games function, they have histories, countries, deities, and a list of creatures that do and don't exist. These worlds can be thought of as training wheels for the creative process; if the world is already fleshed out, then that takes a huge burden off of the storyteller. It's sort of like fan fiction in a way; the world is already set up, and all you have to do is tell an exciting story within that world. And learn the rules. Always familiarize yourself with a setting before taking any further steps.

Also, because we're talking about realms of fantasy and the power of the imagination, there's nothing that says a storyteller can't just make up his or her own world. Commonly referred to as homebrew worlds, this is what happens when a storyteller wants to stitch a setting from whole cloth. While there's nothing wrong with doing this, it isn't for everyone. If world-building and rules balance aren't your strong suits, then it's a better idea to stick with pre-existing worlds rather than trying to make a certain game's rule set adhere to your private creation.

Step #2: Choose Your Conflict

Choose wisely.

Before your campaign can get started there has to be some driving force; a conflict that kicks off the adventure. The black knight's undead army is marching on the capital city. The Maltese Falcon has been sighted and everyone's trying to get their hands on it. An evil cult is stealing children and sacrificing them to awaken ancient, eldritch gods. In short, a thing is happening and adventure awaits!

What often gets overlooked is that a storyteller has to plan out not one, but many conflicts. For instance, the big, overarching, end-game conflict might be the heroes attempting to stop the unleashing of a bound god bent on the destruction of the entire world. That's a pretty heavy load to lay onto a 1st level party. In fact chances are good you will completely snap their suspension of disbelief right then and there. So what you need to do is to create a chapter plot, and then a novel plot, that feeds somehow into the over-arching series plot that is your campaign.

So what does that even mean? Well, examples work best, so that's what I'll give you.

Your first-session chapter plot is an easy one; your heroes are in a town when it gets raided by goblins. The heroes fight off the goblin threat, and find out that this has been going on for some time, and a plot hook is dropped to persuade the party to trail the goblins back to their lair. Over the next several sessions the heroes cross through the woods and into the mountains, then go on a dungeon crawl through the caves. The party slogs through fetid tunnels, dodging traps and battling ambushes, and in the end they square off with a bug bear and his hobgoblin lieutenants. The party finds some stolen treasures and supplies... but not many. Not enough. Where did they go?

That's the end of an arc. A fairly big threat has been dealt with, and the party has probably gained a few levels. They've come closer together as comrades-in-arms, and there's a hook for the next arc. Who took the treasures? Where did they take them, and why? Were the goblins really acting on their own, or was a greater force using them as a cat's paw?

The next arc deals with your heroes getting more involved. Perhaps they managed to recover some treasure of modest value. Black-robed agents ambush the party days later to reclaim a statue which, on the surface, seems like worthless junk. The assassins are unknown to anyone, but the leader carries a letter commanding they bring the statue to Lord Aaron Vaile once recovered. More information could be had from captives, and from knowledge gained about local happenings. Does the party disguise themselves as the assassins and infiltrate the Lord's manor? Do they report the happenings to the constabulary, who asks the party to come with on a raid? Does the Lord flee into a hidden escape tunnel, or offer bland excuses? Is he a member of a secret cult, or is he just a middle man who might provide more information if leaned on? When the party discovers his masters, how deep will the plot go?

This second arc draws the party in more deeply, providing them with enough challenges to level them up, but at no point in time putting the fate of the world on the shoulders of some fairly average people who lack any special powers. You as the storyteller can choose to have your entire plot linked together as if it were one story, or you can have arcs which are separate, individually-wrapped books that just happen to feature the same party growing in power. Maybe the goblin raid leads to corrupt lords, which leads to an evil cult, which leads to a plot to awaken a god. Maybe the goblins were completely separate, but the fame and notoriety the party gains from defeating them leads a knight to offer a place in his service, which will lead to even more adventures. That choice is up to you.

Step #3: Fill Your World

There is nothing, and I mean nothing, more unforgivable than empty world syndrome.

I go and talk to... someone.

This is where you put meat on your story's bones. You need to name the head bad guy, and all of his cronies. You need to decide what their motives are, what spells they know, what items they have, and who knows about them. You need to work your way down the line, expanding outward until you know the towns, the bars, the shopkeepers, the old hermits, the sheriff, the butcher, the baker, and the candlestick makers as well as you know any character you've ever made. Take a look at a few campaign modules to get a feel for how much information you need to have.

Do you need to know why Broke Tooth, the goblin berserker decided to leave his brood and become a bandit? Probably not. Generally speaking you don't need to name every NPC and face in the crowd players will come across. You should have a list of names and attributes for NPCs which you know for certain the players will talk to, and you should probably work out what these characters sound like, along with a general gist of what abilities they do or don't have. Is Solomon the dwarven barkeep a veteran of the Green Tooth Orc Wars? Or is he just a guy who serves drinks and enjoys a good smoke at the end of a long day? Is he both? These are the sort of things you need to know, and you need to know them for a disproportionate amount of your cast. Don't be afraid to draw up characters, take notes, draw out maps, and write timelines. We call that being a good storyteller.

Step #4: Choose Your Heroes

Some storytellers leave this completely up to the players. They say "just make whatever you want, first level, anything in the core rules." That sounds like enough guidance, but trust me on this one, it isn't.

Unless you're okay with an entire party of this guy?

If there's a certain story you want to tell, you have to look at the kinds of party members you want to have. If you want to have a low magic game then you have to tell your players up front there are no spellcasters allowed. If you want to have more of a sword and sorcery feel rather than high fantasy you may need to inform your players that it's humans only, other races by special review only. You might need to say there are no evil-aligned party members allowed, no worshipers of certain gods, and no one is allowed to take the Leadership feat.

Players don't traditionally respond well to a list of thou-shalt-nots, though. So what you should do instead is get everyone together and pitch your idea to them as a group. Let the players ask questions, make suggestions, and get a feel for what you're doing. If your players agree, then have a character creation night where you work with each player on build and character motivation, ensuring that they will fit right into your game and that you as the storyteller know what will pull a given character in a given direction. You aren't the author, and you can't generally make them do anything, but you can nudge the story one way or another if you're tactful. More on motivation at Kobold Quarterly here.

Step #5: Roll Out

I had to.

Once you've detailed your world, the plot, and you know who the heroes are, you are ready to get going. All the prep-work is done, which means one thing.

Your players are going to make everything you planned irrelevant.

Don't get upset about this, and don't try to force your players to follow heavy, iron rails in the direction you want them to go. Running a roleplaying game is not a choose-your-own-way adventure; it's more like a chess game. There is a board, and the players can move all over it. They each have different abilities, and different methods of getting to the other side. Maybe the party decides to storm the gates and fight the ogre king like you pictured. Maybe they opt to climb over the mountain and scale down from above Mission Impossible style. Maybe they poison the king's food, and walk away without a single initiative check. Maybe they negotiate a peace, allying the nation of ogres with the elf kingdom.

Give your players a goal, but don't dictate how they get there.


As always, thanks for dropping by Improved Initiative. I hope that all my fellow players and storytellers find this checklist useful, and that it enhances every game you play from here on out. If you want to show your gratitude then share the links with your friends, or toss a couple of nickels into our "Bribe the DM" cup on the upper right side of your screen. For advice on how to be a better writer, check out the Literary Mercenary, and to keep up to date with what's going on follow us on Facebook or Tumblr.