How to Use Sources of Inspiration as a GM

One of the most rewarding parts of GMing can be coming up with material that comes straight from your own mind. All of the major campaigns I have run have come from ideas that I have developed myself. But it's a great deal of work, and great ideas only come along so often for most of us. What are we to do when we want to come up with that initial idea to start a campaign or world a world? One answer is in taking inspiration from other stories and gameworlds. 

There are many ways to adapt other work into a tabletop game, and it can be a delicate art. I've written several tabletop game adaptations of movies, available at the top of the main page. I've also used stories from all across the many forms of media. And finding the right way to mesh those ideas with yours is often the greatest hurdle, and one that we usually don't even realize that we face. This guide is meant to show you how to use inspiration for the greatest effect in your game. 

When I set out to DM Listen Check, a D&D podcast I ran over a decade ago, I wanted a very open world with lots of opportunities for stories. To that end, I decided to come up with 25 quests, all of which the players could access from the right place at the right time. I wanted the city they were in, Torga, to feel like a bustling place that wouldn't grow stale. But coming up with 25 quests was a tall task for me as a fairly young DM, and I reached out for inspiration. 

One quest which I created using inspiration from movies and books was something I titled in my notes "The Heart of the Warriors." This quest followed the opening scenes of the movie The Warriors (check out the one-shot), in which gang leader Cyrus proposes to the assembled gangs of New York City that they organize and dominate the police force. In Torga, all the player characters were in a gang, and so I thought this would mesh well with my existing idea. Unlike in The Warriors, my version of Cyrus is not killed right away, and he became a major villain in the late game, largely due to the other inspiration: Heart of Darkness. Joseph Conrad's novel (which I detest, for the record) depicts a journey to find a man named Kurtz, and when he is discovered, he has gone mad with power and become barbaric. In Torga, my stand-in for Cyrus was named Kurtz, and he went from rational leader to insane terrorist over the course of the late game. 

You can see how I incorporated two very different media--an 1899 novel and a 1979 cult film--into one storyline without having to change anything about my actual world or existing work. I took the interesting elements of the things I wanted and kept only those. A pure recreation of either of the inspiration pieces would have changed the tone of the story I was trying to tell, but using only parts of both gave me one of the campaign's most gripping storylines. And for what it's worth, both The Warriors and Heart of Darkness have pretty similar tones to what I was working to create, so having that on my side was a strong boost. 

I want to show another example of what using partial ideas for inspiration can do. I have published a few lists of campaign ideas  here on this site, and essentially all of them are drawn from inspiration. I have an advantage when I'm writing my campaign materials in that I am in my office, which holds my many bookcases. I can simply look up from my computer and see whole shelves of books sitting there, waiting to inspire me. Here's an example from a list of character backstory ideas: 

1. The Hero Out of Time - You are descended from a long line of nobles who have always done right by their people. But as time has worn on, your position of power has waned, and now you are being ignored like you have never known. The time has come to leave your defunct holdings behind and either set right what took your power or make your fortune anew. You might be begrudging, hopeful, or determined about your plight. 

This description was inspired by the novel Things Fall Apart by Chinua Achebe. In the novel, Okonkwo is a tribal leader in charge at the time that white missionaries were beginning to arrive in Africa. Even before the missionaries arrive, he struggles with his community over his leadership, and it only gets worse after they arrive. The novel's primary point is to depict Okonkwo's failures to connect with a changing world, and it suggests that it is a tragedy that the world had to change the way it did. I took that central idea and put it into a tabletop game context: I kept Okonkwo's core characteristics and gave this character a drive to get out and be motivated in the game with the final lines in the description. Trying to adapt his entire tribal community into a game could prove unwieldy and break the tone, but keeping just the big idea serves us well. 

I've mentioned preserving tone multiple times; if you are interested in learning to adapt genres into existing tabletop games or turning a movie into a one-shot, I have discussed these ideas along lines, and they deal with the same issue. So if you remember to look for ideas on a big picture scale and take only what you need, you'll be on the right track. One of the nicest things about this form of using inspiration is that it allows you to jumpstart your imagination, but still allows you the room to add, change, and subtract as you like. 

Inspiration can even become a part of the game. Multiple times in my career as a GM, I have used music to inspire and heighten my game. If it's about inspiring mood, the linked article will tell you everything you need to know. But there's also treating music as an inspiration for characters or storylines. And that can be taken to a serious level; in Listen Check, I used my favorite artist to represent the leader of the gang that my player characters were a part of. I had established that the gang leader, Erasmus, had a severe stutter and wasn't a very confident speaker. But when he would play his lute and sing, his voice was clear and bright, and the juxtaposition of these two demeanors really helped characterize him. I also would have Erasmus play songs that matched up with what was happening in the story, so I could also use music by Ben Cooper of Radical Face and Electric President to create new ideas for storylines. 

Ultimately, though, my best advice for using inspiration is to genuinely care about the thing you're working from. A few years back, I tried to create a campaign from player suggestions, and it went pretty poorly. One player wanted to revise everything I decided as DM, another player was offended by the suggestions of another player, and one guy only said, "Final Fantasy VII" for a suggestion. I have never played a Final Fantasty game, so I did some reading about the plot and tried to write around that. But I never got excited about it, and you need to be excited as GM. If you're not, your players won't have a good time, and then what's the point?  

Keeping all these things in mind can be tricky. The siren call of perfectly adapting something you love into an experience for your players is alluring. But so often, our attempts to do a work justice end in mishandling the thing that made the original special. It's best for your own work and enjoyment as a GM that you mix together your big ideas, allow yourself to enjoy what you're working on, and always be on the lookout for the next thing that might inspire your next campaign. 

That's all for now. Coming soon: a guide to each language in my homebrew setting, the diplomatic situatio

n of major cities in my homebrew setting, and alternate rewards to loot. Until next time, happy gaming!

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How to Write for and from Tabletop Games

As I've grown more experienced in tabletop games, I've started to see that the process of playing a story-rich campaign (one where the players and GM work together to create a story) is very similar to the process of writing fiction. I think we might use a working definition for fiction writing as "deciding what the characters do and what the world is like," and those are the respective duties of the players and the GM. As someone who has spent considerable time as a GM, a player, and a writer, I can vouch: being a fiction writer is like GMing for yourself, as you are in a way presenting scenarios to your characters. So what's the real relationship between writing and tabletop games? 

In my experience, the two reinforce and enrich one another. And the relationship works both ways: writing can improve your tabletop game experience, and tabletop games can improve your writing experience. I want to explore how things move in both directions with some ideas as well as ways that I have personally used writing and tabletops together. 

Sometimes in the game, it makes sense to create in-game documents. I think it can help immersion and the dramatic impact of things, but it also of course allows you to connect the game and writing. Over a decade ago, when I was running Listen Check, an early D&D podcast, I offered a reward for a contest near the end of our run. The reward was that the winner would get to pick any NPC from the entire campaign, and I would write a personal journal for that character and present it to the winner. As it happened, our number one fan from early in the podcast won, and she picked a character who had largely played comic relief and had a few heartfelt moments. I set to work, and what I ended up with was a 99-page booklet that spanned most of the character's life (CW: parental neglect, parental abuse).  

In the course of sitting down to write for this character--Caspian, a small young man with tattoos of every god on his forearms ("just in case")--I wanted to find something that I had struggled to find during the show. Caspian was, as I said, a very comic relief type of character. I modeled his personality on a loose combination of the characters Master Shake and Meatwad from Aqua Teen Hunger Force, both of whom are over-the-top big-mouthed goofballs, and as a result, I didn't feel like they were moored to any kind of serious foundation. I didn't want to hand our number one fan a series of goofs that wouldn't even be funny and leave it at that. I needed to find the dramatic heart of the character. 

If you read that booklet, you'll probably agree that I did. Mild spoilers: because I established in the show that Caspian was illiterate, we had to pretend that this was the journal he would write if he were literate, and I also needed to account for how he had never been taught to read. I did so by making his parents negligent and abusive so that he never really had the chance to learn. I chose to make it so that Caspian was never discouraged by anything that happened to him; this allowed me to retroactively make his silliness a defiance of the pain that he had come from. I personally like how it came out, and I wouldn't have had the ability or context to write that if I hadn't worked with Caspian as an NPC for years before that. 

But the writing doesn't have to find its purpose in being a part of the D&D world like Caspian's journal did. Sometimes, you want to write to just figure a character out. How often in a tabletop game do you approach the table with an "idea" of a character, only to find out that it's a little undeveloped when you actually play? I'd say that that's happened with every character I have ever made. And yes, that is coming from the person who once wrote 80 pages of material on a character, his family, and his friends. Because all that writing happened after I had already started playing. I created that material in response to my need to characterize, not in anticipation of it. 

And so of course I found myself in the same scenario when I recently started playing a character in a roleplay-centric campaign. I had toyed for years with the idea of a con artist character, and I felt that because I had dreamed of this character for so long, I would be able to just drop into a session and be a fully realized version of the character. I learned from my intro session and the first session or two with the party that I mostly had a concept and an attitude. I needed more if I wanted to develop a meaningfully complex character, and that is more or less the aim in our roleplay-centric group. 

So I started to write. I figured that I could write a short story or two and figure out more where my character, Asp, came from. I wrote that story, and I had, in a small way, accomplished my goal: I had a better idea who Asp was. But for two reasons, I kept going. Reason one: because Asp has been in my mind for so long, I am truly invested in making her a special character. Reason two: I enjoyed the process of writing about her. She's fun to write about, I have found, and I changed the story or two into a series of five connected stories. As of the writing of this article, I have written ten of a planned twenty-five chapters of a novel. 

Yes, I am saying that in order to develop my character, I decided to write a novel about her. Do I think that this is an advisable first step for most people? Absolutely not. I've been writing consistently for years, and I get something out of the process even when I don't like the result. I know that not everyone has that experience with writing. I'm not giving advice here; I'm telling you one of the possibilities that tabletop games present with writing. It is entirely possible to create writing that helps you in the game and that stands on its own as entertainment. 

The above examples handle how you can write for tabletop games--but what about the other way? It's quite possible to writing from tabletop games. One of my first longer writing projects was a novel (yet unfinished) that used tabletop games as the core mechanic of storytelling. This came at a time when I was really beginning to get interested in the relationship between tabletop games and other forms of narrative. 

The novel's format relief on what I had experienced as a D&D player. The first chapter (out of nine total) would be the story of one character going up against a powerful evil foe and failing. The second chapter would be the story of an entirely different character going up against the same evil foe, but this time, the second hero wouldn't make the same mistakes as the first. They'd try something new and get a bit further, but still perish before the evil foe. This process would continue, each character getting closer and closer, until the ninth character would vanquish the evil foe. The end of the novel would suggest that each of the nine characters had been tabletop game characters played by the same player, hence their learning from their mistakes. Each new character would be a new character rolled when the previous one died. And for a philosophical angle, each of the nine characters would have a different moral alignment, which would guide the ways that their personalities were different. 

As you can probably see, the only meaningful connections to tabletop games come from the mechanics of how the story is told. The concept behind the story is something that relies on some knowledge of tabletop games, but this novel could easily stand on its own as a compelling fantasy story. I bring this novel-in-progress up because it illustrates the relationship between writing and tabletops in a new direction. This novel, which has the working title of How the Stars Align (a reference to the astronomy fascination of the evil foe), aims to tell a story that couldn't have been conceived of without tabletop games, and to do so without relying narratively on them. 

And although I haven't experienced this myself, I would posit it as a distinct possibility: people who need to understand a character, from writers to actors to students, can use tabletop games as a tool to understand them. It stands to reason that if writing about a character can help roleplaying (because it generates information and perspective about the character), then roleplaying should also help writing (because it generates information and perspective about the character). Ask any serious roleplayer to describe a character of theirs, and prepare for a torrent of information--information which most any writer would love to have about the characters they're working with. 

So now, the actual how of it: let's give you some ideas to start writing if you're not sure where to begin.  One fact you'll need to face is that you're flipping some of the role you'll be playing. If you're playing a tabletop to learn about a character, you'll be controlling only your character and responding to the world around you; if you're writing about a character so you can play a tabletop more fully, you'll be doing the GM's work as well as your own. The thing that matters most is how you view the challenge, so consider these ideas:

Playing a Tabletop To Learn About a Character

You are basically putting on training wheels. That should be your thinking--rather than complicating the scenario with having to control the entire fictional universe, you're putting all your effort on just the character. That means you're free to really consider things in depth. Allow your curiosity to run wild--Why does your character feel that way? Does it open up their backstory? What does your character want to do (versus what they feel they should do, versus what they're compelled to do by the game)? You're now free to investigate the small details that you'd otherwise have to ignore. 

To get started, I advise that you make sure your character sketch is as complete as you want it to be. Then, once you're in the game, do your best to balance what serves your character work and what serves the party (the other players want to have their own fun too, remember). And once you're in the groove with your character, you get to enter the real reward for this approach. As your fellow player characters and the GM create new situations that you could never conceive of, you're getting inspiration for writing. The heavy lifting of creating dramatic scenarios is off your back, and you can just sit back and watch your character become more and more detailed, and more importantly, more familiar to you. 

Writing About a Character to Enrich a Tabletop

You're taking control into your own hands. This should be your mindset. Yes, you have more responsibility than you do when you play a tabletop game, but now you have the ability to tell the story in your own way. Who hasn't had a character-defining moment in mind for months that never came up organically in a session? When you're writing, you can add that character-defining moment wherever and whenever you want it. You want to help your character shine, so go ahead and shine all the light on them like you can't when you're sharing the spotlight with other players. 

To get started, try to imagine scenarios that would be interesting for your character. Maybe you want to see them when they're stressed out; perhaps you want to show them strutting their stuff; you may want a quiet moment for reflection. Your goal in writing is to create as much of a distinct impression in your mind of what this person is like, so try to vary the situations you put them in. If it helps, you can use a writing prompt to jump-start your creativity. And don't become overwhelmed by the writing process. If it feels like too much, just clear your mind and begin imagining the situation you want. Note the details you think of and allow yourself to revise as you go. Don't be afraid to go to your favorite books, games, shows, and movies for inspiration, but have fun making it your own. 

A final word on writing and tabletop games: some of us in the worlds of writing and gaming forget at times that the goal is fun. We should work harder to embrace that fun, and don't forget about it when you're trying on more character development. Tabletops and writing like this shouldn't be homework--they should be part of the fun as well. So certainly give it an honest try, but don't make yourself do any work that isn't rewarding. 

That's all for now. Coming soon: a guide to food in my homebrew setting, tips on pacing your game, and how to deal with player character deaths. Until next time, happy gaming!

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A List of Ideas for Character Backstories

For me, one of the greatest joys in tabletop games is making a character. By that, I mean the whole process. From choosing a class and race or the equivalent information to developing that character's personality, there's so much to decide. But the backstory is probably where I've classically spent the most time. You may have read about how I created 80 pages of backstory documents for a cleric I played or read a chapter from the novel I've been writing as a backstory for a rogue I'm currently playing. I say this bashfully--I acknowledge that admitting this to a non-tabletop gamer would get me some weird looks. But to me, it's a huge part of the fun of the game. 

But for every player like me who wants to develop every detail of the character, there is another player who is so daunted by the idea of making a person up out of nothing that they don't know where to begin. That's why I thought I'd share some of my extra energy in this arena with you, the overwhelmed player. You came looking for backstory ideas, and I've got you covered. 

Below are 25 ideas for backstories to get you started. I don't want to take away the fun of getting into the details--that's for you. Remember that you can take parts you like from any of these and rework or combine them! Your goal is to end up with something you're passionate about, so get creative and have fun.

1. The Hero Out of Time - You are descended from a long line of nobles who have always done right by their people. But as time has worn on, your position of power has waned, and now you are being ignored like you have never known. The time has come to leave your defunct holdings behind and either set right what took your power or make your fortune anew. You might be begrudging, hopeful, or determined about your plight. 
2. Mistakenly Involved - You are certainly capable in your own right, but you had been pleasantly living a quiet life. Then suddenly, some new twist seems to have upended you. You are stuck with a group of unpredictable people (perhaps the party). Your involvement might be because people in power think you're part of the group or because of some coincidence. Part of your struggle will be in either returning to your quiet life or learning to live a little louder. 
3. At War with the Gods - You've explored a handful of religious beliefs in your life, but none has ever given you more than anxiety. But the more you come to resent them, the more life's troubles seem like punishments from the gods. Part of you isn't sure if it's all in your head. You may mask your anxiety well, or not at all. (Be sure to check this one with your DM, who may have their own agenda when it comes to handling gods-related things.)
4. The Troubled Parent - You're a good, attentive parent to a wonderful child. The problem is that your child is very sick. You've tried everything, but they only get worse. You're in search of a cure, and you'll work alongside anyone who can help you. You can portray varying levels of stress depending on what the context calls for. (Check in with your DM about the details of the illness--they'll probably want to consider how that storyline plays out.)
5. The Simple Farmer - You grew up on a farm without ever straying too far. You only know about the big city because Pa told you about his trip there as a boy. But that story never faded from your mind. All those days out in the fields, you dreamed of more. And now, it's time to find out what's out there. You may be a naïve wanderer, you may be searching for something, or you may just want something different. 
6. The Lone Survivor - You lived on an outpost on the edge of civilization. Something from beyond the edge came to visit, and it killed everyone--everyone but you. You're sharp from years of growing up on the edge, but you know you can't get revenge on your own. It's time to gather the forces you can and get ready. (Actually returning to your home is of course up to your DM, but as a driving force, it will keep you motivated.)
7. "I Just Want a Good Book" - You are a voracious reader. You've heard talk of a legendary text that no one has seen in centuries. You've taken to searching tombs, dungeons, and lairs for traces of it. Every new discovery of a scroll or spellbook means you are poring over its pages, insistent on learning just what it holds. You may be obsessive in your quest, or you may just know the text would be worth a pretty coin. 
8. The Young Ace - From a young age, you just got it. Even though you're still young, you're already out in the world being trusted with adult responsibilities. But getting responsibilities isn't the same as being treated like an adult. You're driven to prove to everyone that you're capable of being trusted. You may play this struggle as a serious clash between identity and society, or you may decide to take it in an altogether sillier direction. 
9. The Salty Dog - Something about life on the sea drew you in during your youth years ago, and you've spent those many years on ships, rarely docking and never straying from a port city. And though your life on the waves has been good to you, you've realized it's time to move on to something new. You've set foot on dry land and decided to find out what life here is really like. You may play this as a fish out of water comedy or a more serious coming to terms with the changes you didn't expect to find. 
10. The Disillusioned Veteran - You grew up mimicking soldiers and fantasizing about serving in battles. Then you got older and did those things. It was nothing like you imagined--there was no honor, but only carnage. It changed you, made you more empty. Now the war is over and you're back in society with everyone. But no one listens to what you say you've seen. You might play this more as someone trying to change peoples' minds or more as a victim of paralysis. 
11. The Delinquent Student - Your wealthy parents have always given you the best of the best. So too with your education--only you didn't go. When they sent you off to the fancy university in the mountains, you skipped out and have been carousing across the continent on their money. Part of you wants to see how far the coin will go, and part of you is ignoring the consequences. Your reluctance to get an education may be humorous or a genuine resistance to being ordered around. 
12. The Curious Writer - You've spent your life writing, learning about new things and skills via the writing of others. But in your most recent project, you realized that certain things must be felt firsthand to be able to satisfyingly describe. So you've set out to begin experiencing those things, aiming your work at the ultimate goal: to meaningfully change the world and learn what that would feel like. 
13. "I Just Want to Start Over" - You had a good life. But then tragedy struck--someone close to you, someone you were nursing when they were sick, died, and everyone thought it was your fault. At first you tried to explain, but nobody listened. Life got hard for you. You decided to move away and start over. You picked up what you could and dropped yourself into life in a new place. But will you really be able to leave it all behind for good?
14. The Protective Sibling - Your parents died years ago, and you've been watching out for your little sibling ever since. They're kind of an odd one. They have a made-up language that only they speak, and sometimes you catch them staring at people in weird ways. Perhaps that's to be expected; they're the one who killed your parents. How and why they did so is for you to decide, as is why you keep protecting the murderous sibling. 
15. "I Just Want to Fit In" - You were raised in a secluded culture in which you were marked as a special person at birth. All your life, everyone you know has treated you like you were more than mortal. You have come to hate this--you want to live like anyone else. You fled from your secluded society and entered the world. Now you must learn what is normal in your new home and learn to be just like anyone else. 
16. The Watcher - You've seen lots of people claim to have everyone's best interest in mind. You think it's obvious that they don't really. Before, when you were growing more powerful, you saw through their act, but now you can do something about it. You're starting to watch the people in charge, and you're going to make them actually do what they say. You might play this as a realistic take on a superhero or more of a paranoid type for humor. 
17. The Dearly Departed - You were married for years before it happened. You were holding their hand one minute, and then suddenly, they were gone. Disappeared. No one had heard of anything like this, and they assured you that they were just missing. No one just disappeared. But you know it--they were there and then gone. You've got to find them. But where do you start looking, and who will listen? (Work with your DM here--they'll want to have something in place for the disappearance.)
18. The Penny Pincher - Years of just barely scraping by have left their mark on you. You're painfully hesitant to part with any amount of money for any reason at all. The people in your life know now to ask you for financial help, more for your reaction than the lack of help. You've realized it's destroying your relationships, so you're experimenting with better sources of income. You may also decide to experiment with changing your ways. 
19. The Performer - You're not dishonest--you're just putting your best foot forward. You've noticed that people tend to be happier when you're happier. If only you could help people see the truth of the matter--but no one listens unless it sounds good. So you've just taken to giving a little shine to the truth, even if it makes it a little less true. You may learn the folly of your ways, or you may carry on sugarcoating things for people, but it affects the way you experience the world. 
20. The Lonely Immigrant - You left your homeland behind to make something of yourself here. But something about you marks you as different from the people here, and you are held at a distance. As you struggle to make a life for yourself, those around you make it harder for you to survive. Will you fight against what marks you as different? Will you prove yourself unworthy of their assumptions? Will you find others like you? (Work with your DM to determine how your character will be different from the people around them. Be willing to compromise here.)
21. The Imaginary Friend - Something happened to you that made you a little different in the head. Ever since, you've had a friend only you can see and hear. It sure puts people off when you talk to your friend, so you've learned to keep that kind of thing private. The thing is, though, that ever since you learned to blend in, your friend has been talking about scary things. Dangerous things. You may play this invisible friend for humor or horror.
22. The World Traveler - The world is a big place, and you want to see it all. You want to taste every cuisine, hear every local tune, feel the pulsing of every city known to humanity. But travelling is pricy, and it can be dangerous, so you've learned to finance your travels through creative means. You've done odd work wherever you can find it because you know adventure is just around the corner. (Work with your DM to get a good sense of the gameworld so you can determine where you've been and what you know.)
23. The Captive - You led a pretty normal life. Exceptionally normal, in fact, until you were kidnapped. Your captor or captors held you for over a year, feeding you only enough to survive and performing strange experiments on you which you only discovered via the marks left on your body. And then, just as suddenly, you were released into the woods. What will you do now that you've regained your agency? And will you ever be able to find out what happened to you?
24. The Fine Artist - You've always had an eye for beauty. You've had your adventures, and you've begun to paint, sculpt, and otherwise memorialize your achievements. The art catches peoples' eyes, but do you do it for their attention or for the satisfaction of the perfect expression of something? Part of you thinks that the adventures are just an excuse to create the art, and part of you thinks they're both good enough reasons to adventure. 
25. The Tale Teller - Everyone knows a few good stories, but you know them all. You collect them--folk tales, urban legends, secondhand retellings of supernatural happenings--and you tell them again. This has earned you a reputation as someone who knows about the strange happenings of the world, both earning the ire of common people and the love of other strange folk. You may use these stories for deep lore into the world (with your DM's help, of course) or something sillier (imagine a conspiracy theorist who sees connections between everything in the gameworld). 

There you have it: 25 unique backstory ideas to get you started. Any of these should give you a pretty interesting time at the table. 

That's all for now. Coming soon: a guide to nature in my homebrew setting, how to use divination in your games, and how writing and tabletop games enrich each other. Until next time, happy gaming!

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How to Use Historical Research for Inspiration

I recently finished developing a tabletop game that takes place in important periods in history. One of the things I learned from the process is that all of the greatest drama that I can create from nothing pales in comparison to the texture and drama of real history. By simply selecting a historical event, you can have all manner of dramatic context and realistic story to build a campaign from. In this guide, I will use a historical event as a basis for a campaign and show you how to do the same from your own research. 

The first step is in coming up with the kind of story you want to tell. As you can tell if you've read my other campaign materials, one of my favorite kinds of stories involve social upheaval. For the example case of historical research, I'll be using one of this variety. But your own method can be very different. Where my social upheaval story involves all members of society, history also has a variety of rich stories involving warfare, diplomacy, invention, and cultural revolution. Once you know the genre of your historical tale, it's time to pick a specific example. 

To start, we can just do a cursory Google search for the general topic. Then we follow up by selecting a few links that can give us a specific look at the issue. This site offers a look into U.S. diplomacy at certain periods of U.S. history. I chose to look more closely at U.S. diplomacy during the American Revolution. There are a number of links on this page that explore the issues in more detail--this one on a secret committee seems interesting and dramatic. Then we can Google for more information about this specific secret committee, which can lead us to Wikipedia's broader treatment of the issue. You can take it further than this and look at more scholarly sources on this committee like this one. All of that clicking around and cursory research took only a few minutes, and now we have the basis for a campaign. We have a colonial civilization throwing off the control over this mother civilization; the diplomatic efforts on either side become key to the progression of the story; the secret committee becomes crucial to the revolutionary effort. This slight framework for a campaign holds more than enough potential for drama and excitement to make it a successful game, and it only took looking back at our past. 

But for the bulk of this guide, I will be turning a different historical event into a more complete campaign. For the event itself, I will be using perhaps my favorite chapter of world history: the Prague Spring. As I mentioned above, this episode of history is one of social upheaval. In 1968, Czechoslovakia (a part of the Soviet Union) elected a man named Alexander Dubček was elected President of the country. This was notable for a number of reasons. First, Czechoslovakia's politics had long been dominated by the people of what would later become the Czech Republic; the Slovaks had little representation. This led to the friction that would make part of the Prague Spring's efforts involve the separation of the two entities. But Dubček was a Slovak. His election was a huge reversal. It signaled that reform was more important to the country at this time than its history of partisan politics. Second, part of Dubček's proposed reforms involved creating some autonomy from the Soviet Union--this was unthinkable at the time, but it caught on quickly. Soon, student-run organizations, newspapers, and radio programs were sharing radical ideas about revolution. Over the course of nine months, stretching into the spring of 1969, Czechoslovakia was an engine of change. In the end, the government held a public referendum: the people of the country voted on a measure to transition from communism under the Soviet Union to socialist democracy as two independent nations. The measure passed handily. Very quickly, the Soviet Union's attempts to negotiate Czechoslovakia back into the Soviet Union were abandoned, and Soviet tanks rolled into the country to enforce the reversal of the Czechoslovak vote. In the end, many of the changes made during this explosion of democratic and community-based growth were hampered. Czechoslovakia would not be able to return to changes like these until the fall of the Soviet Union 20 years later. 

Already, we have options when it comes to exploring this story. We could have our players experience this story themselves: the bulk of the story would be about making societal and governmental changes that reflect the peoples' desires. We could use this story as a prologue: the players would play in the in-game equivalent of 1989, when the imperialist forces are weakened, and the players would be responsible for driving the changes pioneered by the earlier civilization. Or we could flip the script entirely: the players instead play for the in-game equivalent of the Soviet Union, assigned to controlling and sabotaging the revolutionary efforts of the Czechoslovakians. With this option, your players may end up being faithful workers under the Soviet banner, and they may end up sabotaging the Soviets to help the Czechoslovaks. But as you can see, even this short period of history (not even a full year!) bears lots of possibilities for stories and twists on narrative convention. 

It's time to make the campaign outline from the Prague Spring. I'm going to opt for the most direct interpretation of the historical event to help keep this process clear: the players will act as the revolutionaries in the potentially doomed effort to throw off the control of the imperialist forces. I'll provide a campaign overview, a profile on the major NPCs involved, and an outline for each of the campaign's sessions. Like with my mystery campaign, I'll include a total of ten chapters, which would generally translate to about 20 sessions, give or take a few depending on how focused the party is. 

Campaign Summary: 

The party is approached by a social activist, who explains that a revolution is brewing and that they need help. The social activist wants the party to execute a number of goals that will strengthen the movement for revolution. The party is promised several favors from the new government officials if the revolution is successful. 

Major NPCs: 

• Anders Dover - This stand-in for Alexander Dubček is the leader of the reform movement. He promises better representation for common people, greater connection with civic responsibilities, and freedom from the demands of the imperialist power that controls the city. He oversees the overall strategy of the campaign, but most tasks are handled by his second-in-command, Nina Hornback. 
• Nina Hornback - Anders Dover's second-in-command, she tends to the day-to-day issues of the campaign. She gives the party missions to fulfill in order to advance Dover's plans. Hornback is more pragmatic than Dover, and she understands that many of the campaign's goals must be handled carefully and under cover, lest the imperialist forces catch wind of the campaign. 
• Andrew Norris - This stand-in for Antonín Novotný is the leader of the forces that Dover bested to be elected. He is sympathetic to the imperialist regime and will try to observe the actions of the party and report them to the imperialists. Norris acts as a foil to Dover; where Dover is idealistic, Norris is a practical man who doesn't believe change can be achieved. Norris can be treated as the key enemy in this campaign, and his reach can become more intimidating if he has a network of people working beneath him. 
• Englebert Gordon - This stand-in for Eduard Goldstücker is a writer and labor organizer. He is a powerful voice of common people, an outspoken critic of Andrew Norris, and a supporter of Dover's agenda of empowering labor and the voice of the people. He can be a key resource for the party, as ideas that he publicly espouses become more popular amongst the people; the party can work with Gordon to spread word of their goals and receive public support. 
• Lana Vessel - This stand-in for Ludvík Vaculík is a writer and broadcaster who supports Dover's plans for social reform and greater control of the economy, but she also believes that Dover's efforts don't go far enough. Vessel believes that all ties with the imperialist forces should be severed, that the media's role is to criticize power, and that the economy should be more free than planned. In order to completely gain the support of the people, the party will have to work with Vessel to unite the entire city behind Dover. 

Story Chapters: 

1. The party is contacted by Nina Hornback, who explains that a revolution is brewing in the city against the imperialist forces that control it. She offers political favors and a moderate payment in return for the party's support of Anders Dover, the newly-elected leader of the city. The first task is meeting with Dover, learning about his goals, and discussing strategy. The party should also witness Andrew Norris publicly speaking to a crowd about how the imperialists are the city's lifeblood; the speech is met with resistance by some. 
2. Hornback gives the party their first assignment: speaking with Englebert Gordon about Dover's policies. Gordon is grateful for the opportunity to learn more about the new leader, and he is generally excited about Dover's plans. Before he will publicly endorse Dover, though, he requires a favor from the party: they must prove their commitment by criticizing Andrew Norris. Specifically, he wants the party to vandalize Norris' home, leaving behind a message that calls him a traitor. If the party does agree to vandalize Norris' home, they are met with resistance from city guards. 
3. Englebert Gordon is convinced to help the party. He organizes an event where he is to speak about the city's needs, but he fears that he may become a target from the imperialists if he does. He agrees to speak at the event and endorse Dover if the party agrees to guard him during his speech. During the speech, three assassins arrive and strike at Gordon; the players must protect him. The attack raises questions in the public about the morality of the imperialists, who people assume ordered the attack. A new wave of support for Dover results from the outcry against the attack. 
4. Hornback is pleased that the party has gained Gordon's support, and she turns her efforts to building the movement. She explains to the party that some revolutionary writers have messages to publish, but there are not enough printing presses in the city to support everyone's voice. Hornback says that three presses were intercepted en route to the city; she assigns the party to go recover and deliver the presses to the city. The party discovers that a band of highwaymen have taken the presses; close investigation reveals that the imperialist forces paid the highwaymen to intercept the printing presses. 
5. Hornback is pleased that the party has recovered the printing presses. She tasks the party with reaching out to various revolutionary writers and decide on the writers who will have first access to the presses. She suggests beginning the search with Lana Vessel, the most outspoken of the city's advocates for home rule. Vessel is at first cautious but soon grows excited at the chance to spread her message. She also suggests that the party reach out to a few of her colleagues. They are: 
1. Douglas Moore - A Dover supporter who believes that negotiation with the imperialists is the best way forward.
2. Penelope Sign - A former Norris supporter who cautiously supports the home rule movement. 
3. Yancy Willniel - An outspoken critic of the imperialists, he ardently supports the right of the city to publish critical materials. 
4. Cassandra Rogers - Mainly an economist, she believes that an economy planned by the city will always be stronger than an economy planned by the imperialists.
5. Rutger Friedman - An advocate for furthering the strength of democratic processes in the city, he is cautious of sharing his ideas under his own name for fear of the imperialists. 
6. With the presses printing the works of the party's chosen authors, Hornback directs the party to oversee the distribution of the newly printed materials. Hornback recommends working together with local businesses to hand out the materials. The party must then convince various business owners that spreading the materials is worth the chance of being targeted by the imperialists. Business owners should be especially sensitive to arguments about the freedom of economy they would have under Dover's plans. The party should ensure the cooperation of at least three major businesses before completing this chapter. 
7. Hornback believes that the party's efforts are paying off and the people of the city are beginning to rally around Dover's agenda. She proposes a large event in the center of the city, with speeches from Dover and his supporters. The first step is in planning the event. The party must obtain the rights to hold the event in the center of town, find at least two other speakers in support of Dover (these can be drawn from the writers in chapter 5 or from other corners of the city), and spread word of the event. The party should face resistance from public servants who are still sympathetic to Norris and the imperialists.
8. Hornback is concerned that the imperialists may be mounting a counter-offensive. She asks the party to act as defense against any imperialist actions taken during the speeches. The party must deal with these three issues during the speeches: one of their chosen speakers is anxious and reconsidering speaking (the party must calm them and convince them to go on), a fight breaks out in the crowd between Dover and Norris supporters (the fight must be quelled, or it will turn the whole event into a fracas), and three more imperialist assassins arrive and try to kill Dover (the party should be able to save him here; the greater impact is the sense of a loss of public safety following the event). 
9. The event a success in raising public support, Hornback says that it is time to put the public to a test. She asks the party to work with a few public officials to create a referendum on which everyone in the city can make their voices heard. The party must deal with the bureaucracy of the city's government (having players go back and forth between people who push responsibility off onto others will do well), convince a Norris sympathizer to cooperate (Charisma-based skills, bribery, or strong-arming them could all work), and getting Dover's approval (he nitpicks several wordings but ultimately agrees to move forward based on Hornback's confidence. 
10. The referendum takes place, and Dover's measures are uniformly approved. The city enters a short period of celebration, which is cut short when an army and siege machines arrive at the city gates. The party may try to fight, but they should quickly be surrounded. Dover is taken captive back to the imperialist capital, and Hornback watches in horror as most of the writers are rounded up as well. In the real history, Czechoslovakia had to wait two decades before they could truly recover from the Soviet invasion. But for a more satisfying end to the campaign, we can handle this a few different ways:
1. The party leads a mission to rescue Dover and return him to power. 
2. The party takes city leadership themselves and continue's Dover's agenda or their own. 
3. The party raises troops and attacks the imperialist forces in an effort to gain independence. 
4. The party creates an underground resistance to the imperialists. 

So there you have it: a complete campaign created from inspiration from a historical event. Not only is this story driven by a real tale of human resistance, which means that as GM, I get to tell my players about the surprising real history along the way, but the reality of the story makes it more believable and accessible to my players. And the act of writing all this was very simple; I really just had to take the big ideas of the Prague Spring and recalibrate them for tabletop game playing. You can easily do the same. 

That's all for now. Coming soon: how to use Hope and Despair for storytelling, a one-shot based on the movie Napoleon Dynamite, and a profile on mythology in my homebrew setting. Until next time, happy gaming!

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