Creating a D&D Campaign

The morning sun casts long shadows over the ancient ruins, where whispers of forgotten lore mingle with the rustling leaves. The air is thick with anticipation as a group of adventurers gather at the edge of the forest, as the skies darken with black wings. This is where legends are born and destinies are forged. Welcome, worldbuilders, to the final chapter of The Red Quills Guide to World Design: creating a D&D campaign.

I am Ryan of the Red Quills, and today we will weave together the threads of our previous episodes to create a D&D campaign. We've explored mapmaking, worldbuilding, crafting lore, and designing enemies. Now, it's time to unite these elements into a grand narrative that will captivate your players and bring your world to life.

Making your Campaign Come to Life

This episode is all about creating a full-on campaign, and using these tools and insights to not only construct a main campaign, but also the ongoing side quests and the handouts necessary to involve and entertain your players. To illustrate this, I’ll be creating the handouts, notices, battlemaps and texts for the quests of the latest Lore Archive series, including discussing the writing of a prophecy for your players.

If you want to check out the notices and the notes for the quests that we've been unveiling, you can find them at our Patreon site: The Red Quills Patreon

If you want to watch the full tutorial on our YouTube channel, you can watch it here:  Creating your D&D Campaign

So, let’s start with the notices, and open up the world. 

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Today’s creativity is going to be a little different from our usual episodes. Normally, I create one large map, and that suits me pretty well in making these videos. It means that my attention isn’t divided, and I can focus on weaving in all of the relevant information to the video in one document. 

But today, we’ll just take it point by point, and start - as I’m making these notices - with the beginning of any quest. The Plot Hooks. 

The Plot Hooks

Every great campaign begins with a compelling reason for your players to care about the story. Plot hooks are those tantalising morsels of intrigue that draw your players into the world and make them want to explore further. But what makes a good plot hook?

Let’s take a look at some of the notices that I’m creating here. 

Why Should Your Players Care?

The first step in creating a plot hook is understanding your players' motivations. What drives their characters? What are their goals and fears? By tailoring your plot hooks to resonate with these motivations, you can ensure that your players are personally invested in the adventure. 

For instance, if one of your players' characters is a ranger who cherishes their homeland, a plot hook could involve a dark force threatening to corrupt the forest they protect. Perhaps another player's character, a noble, is driven by family honour, and they receive a letter revealing that a loved one has gone missing under mysterious circumstances. Whatever the hook, it should feel personal and urgent.

Remember that not every hook has to be personal to their backstory - it only needs to be personal to their values as a character. If your players long for power, they can be offered it. Gold is an easy motivator. But the best motivators are for concepts or communities: saving people or protecting them. 

I’ve created a notice here for the quest The Child and the Snake. A child has been taken by unknown forces during the festival at the ruins of Tol Fallent: there is a hefty gold reward, which can motivate evil-oriented players, or the promise of rescuing a child, which should motivate good-oriented players. 

Building the Tension

Once you have your plot hook, it's time to build the tension. This is where you plant the seeds of curiosity and danger. Imagine a quiet, peaceful village where rumours of an ancient curse begin to spread after a series of eerie, unexplained events. The once clear waters of the village well have turned murky overnight, and livestock are found lifeless with no apparent cause.

Alternatively, in a bustling city, whispers circulate about strange disappearances in the nearby forest, with sightings of ghostly apparitions at twilight. The goal is to create a sense of unease and anticipation that will compel your players to take action.

For instance, the notice for the quest The Voice in the Dark is an official note banning the playing of music in public spaces. This is sufficiently strange that it should attract the players attention, and the fact that it is signed by the king’s mage is cause for alarm. 

The Inciting Incident

The inciting incident is the event that propels your players into the adventure. It should be dramatic and impactful, providing a clear call to action. Perhaps during a festival, a dragon suddenly descends upon the village, wreaking havoc and leaving cryptic warnings of worse things to come unless a specific relic is found and returned. 

Or, in a more urban setting, a mysterious figure cloaked in shadow approaches the party with a quest they can't refuse—a chance to uncover the truth behind a series of high-profile kidnappings that have left the city in fear. This incident sets the stage for the rest of the campaign and gives your players a clear goal to strive for.

Notices aren’t in and of themselves an inciting incident. But a note, clutched desperately in the hand of a dying villager, is. In this case, for the quest The Civil War, I’m writing a letter from one of the Dukes to another, saying that they have found that the villain from the previous campaign is actually still alive. 

So, we’ve brought the players to the quest. Now we need to give them some context.

The Backstory

A rich and detailed backstory adds depth to your campaign, providing context for the events that unfold and adding layers of complexity to your world. There’s a lot of different ways to do that, from texts that they can find and read, to specific places that reveal the answers to long-lost questions. NPCs can have hidden knowledge or strong opinions, to guide or hinder them on their way. 

But let’s talk about the handouts that you can make. Particularly one of the longer handouts I’ve ever made: a full prophecy. 

Writing a Prophecy

Prophecies can be powerful tools in a campaign, hinting at future events and adding an element of mystery. When writing a prophecy, keep it vague enough to allow for interpretation but specific enough to be meaningful. Use poetic language and symbolism to create a sense of ancient wisdom and foreboding.

For example, I have written the Scalemount Prophecy. The links to finding the downloadable version are in the description below, but the way that I’ve written it is a way that you can too. I used the Book of Revelations in the New Testament as a basic structure, and expanded with my own lore from there.

BREAKING IT DOWN

So, consider it like this:

• Opening. The prophecy will begin by describing the vision that the prophet has, and who is giving it to them. In this case, it is the unnamed Dragonborn, speaking to the Elder Dragon Ahzuraband. 
• Signs of Beginning. All prophecies include details to look for that show that the events of the prophecy are about to begin. In this case, it’s the Shower of Light, which refers to a meteor shower, and the Death of the Weapon of the Enemy.
• Preparations for the Event. Then you can move on to how the people reading the prophecy should get ready for the event that it foretells. In this case, I’ve described three Champions of the dragons, who each need to be defeated. 
• The Event Itself. And finally describe what the prophecy foretells. You can do this as vaguely as you like, but you have to make sure that the reader knows what the stakes are. For instance, this prophecy says, very clearly, “he will bring it All to an End.”

Finish it up with a few shorter lines that you can have NPCs repeat throughout the quest to remind the player of the stakes. Now, this prophecy uses vivid imagery and symbolic language to create a sense of impending doom and high stakes. It gives players something to ponder and interpret, adding an intriguing layer to the campaign.

But that’s a very big, very complicated example of a handout. Let’s talk something smaller. 

Creating Lore Texts

Lore texts, such as ancient tomes, scrolls, or inscriptions, are another great way to convey backstory. These texts can provide valuable information about the world's history, cultures, and myths. When writing lore texts, think about what details will be most relevant to the current adventure and what secrets you want to reveal gradually.

Lore texts should only say outright what the players need to know at the end of a quest-leg. If you hand them information, then there is no struggle or achievement in that knowledge. For remember, when writing lore: 

• Give your players the opportunity to come to conclusions themselves
• Repeat phrases through different lore texts
• Write from the perspective of someone who doesn’t know everything

For instance, a player might discover an ancient tome in an old tomb, which contains the account of the Sunderking himself:

"When I drank of the blood of the Ssthessic oracle, I knew that knowledge of the future is a burden, and not a blessing… When in later days I am lauded or hated, it matters not. I know now what will come to pass, unless I do everything I can to stop it."

What did he see? What did he do? Isn’t it intriguing? 

What to Say and What to Exclude

When it comes to backstory, less is often more. You want to provide enough information to create a rich and immersive world but not so much that it overwhelms your players. Focus on the key elements that are directly relevant to the current campaign and leave some mysteries for your players to uncover on their own.

For example, while you might describe the ancient war between the giants and dragons in broad strokes, you can leave certain details, such as the location of hidden relics or the true cause of the conflict, for the players to discover through their adventures. This approach keeps the story engaging and allows for unexpected twists and revelations.

Tying it All Together

Let’s illustrate these concepts with an example. Our players have just completed a quest which brought them to the bottom of the ruins of Tol Fallent to rescue a child. Once they do, they discover that the child was taken by a cult who wants to use the child’s blood to force the oracle to have a vision. They have found a copy of the Scalemount Prophecy, and want more information on the coming. But the oracle does have a vision when confronted, and dying says “He comes, he comes… Ancalagon.” When the players return to the surface, a meteor shower is streaking across the sky. 

Our players will want to know more - or, if they don’t, then you can certainly expose them to more. Over time, they can encounter each of the three Champions, who fit the descriptions given in the prophecy, and they can each die with the same phrase on their lips: “He comes, he comes… Ancalagon.” 

They will come to expect certain things to happen, read and re-read the prophecy. You may have to remind them of it: the Champions can keep portions of it on them, or cults may spring up around the Kingdom that study the text. 

And so, you’ve got your quest going.

The Parts of a Quest

Quests are the building blocks of your campaign, each one offering a unique challenge and advancing the overall plot. Let’s dive into some common types of quests and how to make them engaging for your players.

Fetch Quests

Fetch quests involve sending your players to retrieve a specific item or complete a task. While they can sometimes feel mundane, they can be made exciting with interesting locations, challenging obstacles, and meaningful rewards.

For example, instead of a simple "go fetch this item" quest, consider adding layers of complexity:

• Rival Factions: The item your players are seeking is also desired by a powerful rival faction. This can lead to tense encounters, negotiations, or even a race to the finish.
• Unexpected Consequences: Retrieving the item might have unforeseen repercussions, such as awakening a dormant curse or triggering a political upheaval.
• Intriguing Locations: Place the item in a memorable location, like the heart of a haunted forest, a crumbling ancient temple, or the vault of a treacherous noble.

One example could be sending the players to retrieve an artefact for the king, an ‘anti-music box’. On the way, they can encounter people who try to stop them and waylay them: after a few encounters, they find that they are working for a tyrant with the power to control people with his voice - the only weakness his power has is music, which the artefact will negate. 

Diplomacy and Negotiation

Diplomacy and negotiation quests focus on social interactions and political intrigue. These quests can involve forging alliances, brokering peace, or navigating complex social dynamics. They offer a great opportunity for role-playing and character development, as well as introducing moral dilemmas and difficult choices.

For instance, your players might be tasked with mediating a peace treaty between two warring factions. This quest could involve:

• Gathering Information: Learning about the history and motivations of both sides, uncovering hidden agendas, and identifying key players.
• Social Challenges: Persuading, intimidating, or deceiving influential figures to gain their support.
• Moral Dilemmas: Making tough decisions that could favor one faction over the other, with potential long-term consequences for the campaign.

Imagine your players must call together the Ordning of the Giants, a gathering at the ancient site of Agdu-Skye. Once there, they must convince the giants to help the ‘little folk’ to defend the kingdom against an invasion of draconic forces. But the giants are unwilling to help them, and the presiding giant, a Storm Giant named Ull, has been bribed and manipulated by the enemy. 

Infiltration and Tactics

Infiltration and tactics quests require stealth, strategy, and careful planning. Whether your players are sneaking into an enemy stronghold or orchestrating a heist, these quests emphasise cunning and resourcefulness.

To make these quests engaging:

• Detailed Planning: Encourage your players to come up with a detailed plan, considering potential obstacles and contingencies.
• Creative Problem-Solving: Provide opportunities for the players to use their skills and ingenuity to overcome challenges.
• Dynamic Environments: Design locations with multiple entry points, hidden passages, and interactive elements.

An example could be a mission to infiltrate the fortress of the Baron Stacht, who is orchestrating one side of the civil war, in order to find out how he managed to bring the dead tyrant back to life. 

The Final Battle

The final battle is the climactic showdown that brings the campaign to its thrilling conclusion. This should be a challenging and epic encounter that tests your players' skills and resolve. Make sure it ties together the various plot threads and provides a satisfying resolution to the story.

To make the final battle memorable:

• High Stakes: Ensure the players understand the significance of the battle and what’s at risk.
• Diverse Challenges: Include a variety of enemies, environmental hazards, and tactical choices to keep the encounter dynamic.
• Emotional Impact: Incorporate elements from the players’ backstories and previous quests to heighten the emotional stakes.

For example, the players face the ancient dragon Ancalagon in a battle that will determine the fate of the realm. The dragon is not only a formidable foe but also commands a legion of minions. And has rigged the battlefield with deadly traps. The players must use all their skills and knowledge to defeat Ancalagon. More than that, they must fulfil the prophecy they have been uncovering throughout the campaign.

By incorporating these elements, you can create quests that are engaging, varied, and integral to your campaign’s narrative.

The Conflict

Conflict is the driving force of any campaign, providing the tension and stakes that keep your players engaged. I tend to only have the significant NPCs prepared with a great amount of detail, in order to save on time. Otherwise, I use archetypes to help flesh out the NPCs that I create on the fly. 

But playing characters is its own challenge. I’m a mapmaking channel - and though I dip into worldbuilding as it becomes relevant, characters don’t tend to show up on maps. So let’s talk about how these characters can influence or be influenced by their environment and world. Here are some rules about the world and the conflict that I use in my own campaigns:

Rule 1: There are no random encounters.

I know what a boon the tables in the books can be. I know that it makes preparation easier, and I know that we can often doubt our ability to worldbuild. But this is a core rule of mine. Every encounter, every battle, every goblin in the night, all of it has some explanation or bearing to the world as a whole. It doesn’t have to be deep, but nothing is unconnected. 

Go the extra mile. If your players are wandering through the wilderness, and you want them to come across something, have a quest idea in your back pocket. Maybe bandits are roaming the countryside, which implies a breakdown of law and order. Perhaps monsters are marauding through the lowlands, because something has driven them from the mountains. Et cetera. 

Rule 2: Anything that can talk, can plan.

This one doesn’t seem like a mapmaking rule, but hear me out. It’s as relevant in the overworld as it is in a megadungeon. Anything that is sentient enough to talk is sentient enough to plan. If they can plan, they will want to keep themselves safe, and will probably fortify themselves or find a hidden area to that end. They’ll coordinate. They’ll think ahead. 

If they can’t think for themselves, then they’ll get someone else to do the thinking for them. And that’s when the quests get interesting. 

Rule 3: Lairs and forts are chosen for a reason.

Whenever your players follow a creature back to its lair, or try to infiltrate a fortress, remember the cardinal rule of making camp: if it’s not a safe place for you, don’t stop there. Attacking a creature at its home will always be much more dangerous for the attacker than the defender. Allies, traps, defences, escape routes, and more will make their house a home. 

Make your players strategise. Bottleneck them, have ambush points, lure them into traps. Use their strengths against them. Mislead or manipulate them. 

Rule 4: Deter them. 

This one is an important rule, and I’ll stress it if you’re a first-time DM. Warn them. You’re all there to have fun, and despite the lengths that we go to in order to trick them and attack them, you’re on their side too. You can warn them out of game, but there are so many ways in which you can warn them in-game too. 

Moats, walls, and ballistae are a warning to attackers. They can be seen from a distance, and are a deterrent. Skulls, signs, and hanging bodies are another warning. Very few creatures will actively seek combat all the time - anything that learns from experience will try, as much as possible, to control the environment in which they fight. Which means deterring battle until they choose to battle. 

Put these four rules into your maps: armies, squads, clans, or herds will all follow them. A lone animal in the woods is one thing, but over the course of several sessions, you as the worldbuilder have built a world. Don’t be afraid to fill in the cracks and add details as you go. 

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Congratulations, worldbuilders!

You've reached the final step of creating a captivating D&D campaign. As you continue to develop your campaign, remember that flexibility is key. Be prepared to adapt to your players' choices and the unexpected directions they may take. Encourage their creativity and reward their ingenuity, making the world feel alive and responsive.

To illustrate how these elements can come together, let’s revisit our ongoing example: the Scalemount Prophecy.

Your players, having encountered the prophecy and the dying oracle's vision, are now aware of the impending threat of Ancalagon. They have found themselves embroiled in a race against time, seeking to prevent the prophecy from coming true.

Along the way, they will undertake various quests:

• Fetch-Quests: Retrieving ancient relics to gain the power needed to face Ancalagon.
• Diplomacy and Negotiation: Forging alliances with powerful factions, each with their own interests and secrets.
• Infiltration and Tactics: Sneaking into enemy strongholds to gather intelligence or rescue key figures.
• Final Battle: The climactic showdown against Ancalagon and his champions, drawing on all the knowledge and resources they’ve gathered.

Throughout their journey, your players will encounter well-planned conflicts, each tied to the overarching narrative, creating a cohesive and immersive experience.

As you embark on the journey of guiding your players through this campaign, remember that your primary goal is to create an enjoyable and memorable experience. Your world is a canvas, and every session is a brushstroke that brings it to life. Encourage collaboration, celebrate creativity, and always be ready to weave new threads into the tapestry of your story.

Thank you for joining me, Ryan of the Red Quills, on this adventure of worldbuilding and campaign creation. I hope these insights and examples inspire you to craft incredible stories that captivate and challenge your players. Happy worldbuilding, and may your campaigns be filled with epic tales and unforgettable moments!

This concludes our series, The Red Quills Guide to World Design. Stay tuned for more tutorials, tips, and creative inspirations to help you on your journey as a worldbuilder. Until next time, keep imagining and keep creating.