Formatting Your RPG Manuscript

So you've done the hards yards and designed a roleplaying game that works, and now you're in the process of writing up the manuscript with an eye towards self-publishing?

It can take a fair bit of extra work to whip a manuscript into shape, ready for the layout process. As a layout artist, I expect to do a certain amount of reformatting when I receive a manuscript, but if you compose your manuscript with the following tips in mind you'll likely make your layout artist's job a bit smoother and they'll thank you for it! You might even be able to negotiate a lower rate for the job.

Please note, these are general tips based on my experience doing freelance layout work. This is the way I like to get manuscripts, and while many tips may be generally applicable, I can only guarantee that I find them useful for importing manuscripts into InDesign CS6. If in doubt, my best advice is to check with your layout artist to find out how they would prefer to get stuff.

This is a pretty long post, and I'll add to it if I think of any new advice or hear any tips from other designers. Hit me up in the comments if you have any feedback.

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TL;DR Summary

• Finish editing before layout, and supply the whole manuscript at once if you can.
• Don't use blank lines between paragraphs, or use tabs to create indents.
• Use paragraph styles, especially for headings. Also use them to flag other types of text if you like.
• Avoid using ALL CAPS.
• Use [[tags]] to flag special text areas such as sidebars and tables.
• Optionally, use character styles for bold and italic words in otherwise normal paragraphs.
• Use your word processor's tables, or just use plain text with line breaks between rows and tabs between columns.

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Editing

Your layout artist may spot a few typos here and there and clean up a bit of messy formatting, but generally speaking, layout comes after editing. It's OK to provide a bit of unedited sample text in order to help the design process along when you're getting the book design set up, but when it comes down to the actual book layout, you really want to have the text as polished as possible.

Layout artists spend a lot of time and effort juggling and balancing text with images, tables, and sidebars, while making sure page breaks are in good spots. This sometimes involves a little "massaging" to make it so everything will fit perfectly on a page.

In some cases, even adding, removing, or changing a single word at this stage can throw off the whole design and cause problems to cascade through the rest of the chapter.

How to Help

• As much as possible, finalise your manuscript before proceeding with layout.

If you want your game to be an evolving digital document, this can be tricky. In this case, let your layout artist know that you want to be able to modify the document in the future. There's always a tension between solidly filling every page or trying to ensure that important concepts aren't split across pages. If your artist knows you need flexibility, they won't have to be quite so determined to nail everything down perfectly.

If you can't afford an editor, wait a few weeks from when you finish the writing and then read through the entire thing yourself from front to back. Try to persuade some of your friends and gaming buddies to look over it as well, although I know that can be a hard ask. If you're running a Kickstarter, you might find some of your more enthusiastic backers are keen to go over the early manuscript with a fine-tooth comb.

• Try to provide the entire manuscript at once.

It's easier to import a single large document into InDesign than several separate chapter documents, because the settings need to be checked for each import. Often once it's imported, the text will need to be processed to format it correctly; if it comes in as several documents, possibly at separate times, then that processing will have to be repeated.

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Paragraph Formatting

Paragraphs basically come in two flavours: those with a blank line between each paragraph, and those with an indented first line (sometimes also without an indent for the first paragraph after a heading).

In InDesign, indents and the space between paragraphs are built into the paragraph style. In other words, the white-space is added automatically.

How to Help

• Don't add blank lines between your paragraphs, because your layout artist will likely have to go through and manually delete them all.

I know it's a bit strange at first, since you have to manually add a blank line for most writing on the web (like I'm doing with this blog post).

Instead, try editing the Default or Normal Text paragraph style in your word processor so it adds 3mm/0.1" after each paragraph. In Google Docs, click on a normal paragraph, select the Line Spacing button and choose "Add space after paragraph". Then click on Styles, then the arrow to the right of "Normal text", and choose "Update 'Normal text' to match".

•  Likewise, don't use tabs to create first-line indents, because they'll have to be manually deleted.

You can modify the default paragraph style in most word processors to automatically add a first-line indent (look for an "Indents and Spacing" option), although I can't see a way to do it in Google Docs. In any case, you can always use the above paragraph spacing option when composing, and just tell your layout artist that you want to use first-line indents.

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Paragraph Styles

To make a manuscript easy to import into InDesign, nothing beats paragraph styles. InDesign relies on paragraph styles to make sure the formatting is consistent throughout the document.

In addition, say you decide to change a heading font. Without paragraph styles, you'd have to trawl through the document and manually update each heading (or perhaps use a "find-and-replace style" function, although that may cause its own issues). With paragraph styles consistently applied, you can simply edit the style settings and the whole document will automatically update.

Here's the cool part for layout: When you import a document into InDesign, you can map any paragraph styles in the source document to styles you've established in InDesign. Assuming the layout artist has set up the basic layout design ahead of time, this means a lot of the basic styling is applied automatically.

Without this, the layout artist either has to go through the book alongside the original manuscript and manually apply the right styles, or else they have to go through the original manuscript and pre-format it before importing. Both options are time-consuming and risks missing things. This is something I expect to encounter, and you may consider it part of the layout artist's job. Just don't be surprised if they want to charge a bit extra to cover the pre-formatting work.

How to Help

• Use paragraph styles, and use them consistently! 

You can create custom ones, but most word processors will likely have some set up that you can select from a drop-down menu.

• At the very least, you should apply paragraph styles to your headings. 

Generally you'll have chapter headings, section headings, sub-headings, and maybe even minor headings. Use Heading 1 for your chapter headings, Heading 2 for your section headings, and so on. This is good advice even apart from the layout potential, because you can often use heading styles to automatically generate tables of contents, which may aid your development process.

• You can create custom paragraph styles to flag other special text.

This tip can be a bit tricky to get your head around. Think of paragraph styles as different colours of paint. When your layout artist imports the document into InDesign, the program basically looks for the different colours. Anything blue becomes a chapter heading, anything green becomes a section heading, and so on.

The thing is, anything that hasn't been painted effectively becomes plain text when it's imported. The main culprit here is bullet lists and numbered lists. They look like they have a style applied in your word processor, right? — it's a bullet list, after all! But import it, and more often than not InDesign will treat it as plain text. Same for numbered lists. This means your layout artist may need to go through and manually apply bulleted and numbered list styles.

Again, applying paragraph styles is the solution, and prevents your special formatting from getting dropped when it's imported.

You create a new paragraph style in your word processor called "bullet list" or "list" or whatever. You can probably select a line from such a list and select "create new style from current selection". If you have different levels of bullets, I highly recommend creating a separate style for each level. Then, go through and apply those styles to all your bullet lists. They won't look any different, but if you click on them you should see the custom list style in the menu bar, rather than "Default" or "Plain text" or whatever your normal text style is called.

You can use this trick for all the other special text you have too, such as examples, quotes, sidebars, and more — even for table text, but see below for more table tips. An indented italic paragraph in your word processor will just look like plain text to InDesign unless you "paint" it with a paragraph style.

This tip is a bit more difficult in Google Docs since, apart from normal text, all of the paragraph styles are called "Headings".

Pro Tip: You can set up your different paragraph styles so they appear as different colours (black for normal text, blue for examples, orange for sidebars, or something). This acts as a handy visual aid so you can easily see where formats have been applied and where they may have been missed.

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Use of Capitals

Quite often I encounter manuscripts that use ALL-CAPS for the headings. It's understandable: even in a plain text file, it's a quick and easy way to make a line stand out as different from the surrounding text.

Here's the thing. InDesign references headings when generating the Table of Contents, PDF bookmarks, running headers and whatnot. If the source text is literally typed in as all-caps, then you'll end up with contents and bookmarks that are SHOUTING AT YOU.

If you actually want all-caps headings in the book, your layout artist can set up heading styles that automatically turn the headings into all-caps. This preserves the standard "Title Case" formatting in the background, which then gets pulled for the ToC and such.

Using all-caps isn't normally a huge hassle, but it can become a bigger issue when it needs fixing in very long manuscripts. There's a workaround, but you may end up with "A Capital At The Start Of Every Word" instead of "A Capital at the Start of Important Words".

How to Help

• Use Title Case for your headings (and elsewhere).

If you want the headings to be all-caps in the finished product, just let your layout artist know. And if you'd prefer to compose your document with all-caps headers for the look and feel of it, I suggest seeing if your paragraph style settings will allow you to make headings all-caps automatically.

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Tags

Another way to mark out special text and make sure it's not missed is to use tags — for example, calling out an example by putting [[EXAMPLE]] before the example text, and [[/EXAMPLE]] at the end. This is particularly useful for calling out "floating" sidebars and tables that will exist outside the normal text flow.

The layout artist will search for these tags and extract the text, turning it into a sidebar or whatever and deleting the tags.

How to Help

• Choose a distinctive way to call out tags, and use it consistently. 

Unusual combinations of punctuation are usually best, because they're easy to search for and won't appear in general text. [[Double square brackets]] are a common choice. Use the same bracketing for all your tags, regardless of whether it's a [[SIDEBAR]] or an [[EXAMPLE]].

If you use tags for stuff like examples, and maybe even bullet lists and such, then you don't need to worry about using custom paragraph styles for them. Using tags is better than just using word-processor formatting to distinguish different sections (such as indents and italics), but it's not as good as paragraph styles. 

Paragraph styles rock, and you should definitely learn how to use them if you don't already know.

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Character Styles

You can think of character styles an exceptions to the basic paragraph formatting. So this is a basic paragraph, but this bit has an italic character style applied.

When you import a document into InDesign, character styles sometimes come through and sometimes fall off, much like bullet lists. Even when they do come through, if they aren't attached to a character style, they can easily fall off during general text processing. There are work-arounds for the layout artist, but they can be a bit fiddly and may cause other issues.

How to Help

• This is really an optional step, but if you use a lot of bold, italic, or bold-italic text for emphasis, you might consider setting up character styles and applying them to your bold, italic, or other unique text when it appears in otherwise ordinary paragraphs.

There's no need to apply "bold" to all your headings, though. Just apply character styles whenever they are an exception to the surrounding text.

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Tables

If it's not supplied in the right format, information in tables can be fiddly and require close attention to detail. But when information is supplied correctly, tables are a breeze.

How to Help

• There are two options for tables. You can just use your word processor's tables to format your information. Don't worry about making them look pretty; the main thing is that everything's in the right place. When they're imported into InDesign, the designer can just change the table and cell style settings to format everything nicely.

• The other option is to use plain text: put a carriage return at the end of each row, and separate columns with tabs (you don't need a tab before the start of the first column). It doesn't matter if the columns don't appear to line up visually; they will do once the text is converted to a table.

If you go with the plain text option, I strongly recommend flagging the tables with tags as discussed above. 

•  Very optionally for both options, you can also use custom paragraph styles to flag table text. I use five styles for most games: Table Body Left/Centre (sometimes also Right), Table Heading Left/Centre (for the column labels), and Table Title. Doing this at the manuscript stage is going the extra mile for your layout artist, and it's not something I would expect a client to provide unless they were tremendously keen on pre-formatting.

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That's everything for now! Did I miss something? Any questions, comments, corrections, or suggestions? Let me know in the comments and I'll see what I can do.

Work Work Work!

I love my job! As an RPG freelancer, I get to work behind the scenes on a lot of great new products. At the moment, the jobs are coming thick and fast, which is great — but the flip-side is, the more work I have the less time I have to work on my own projects. Hence the lack of blog posts for the past month or so; I simply don't have anything new to say about Ark Frontier at the moment.

So, to the extent that I'm able, I thought I'd talk a bit about my current freelancing projects. The main one that's taking up my time is a very large art job. I've signed on to create about a hundred images over the next three or four months, so I'm having to make sure I keep to a production schedule in order to get it all delivered on time.

I'm also still working on the cover illustration for a spin-off of Evan Paliatseas' MASS RPG. There's a lot going on in the picture, so it's taken me a while, but I finished rendering all the characters today. Now I just need to complete the background.

I'm working on a couple of projects for Johnn Four of Roleplaying Tips. One book is now in the final stages after a few months of prep-work including editing, collating, and formatting. I'm currently proof-reading some adventure-building course content, so I'm paying attention to any tips I can glean from that, that I might be able to apply to Ark Frontier or any other scenario products I create. There may also be some additional layout work on the horizon from Johnn, which would be great!

Speaking of layout, I've been in negotiations to do the layout for several games. Most of them are probably a bit early to announce, but one of them is the new Spellbound Kingdoms: Arcana supplement, which is currently on Kickstarter! It's going great guns, so if you're a fan of the game, you should go check it out. I set up the preliminary layout design about a year ago, and it's finally coming to fruition.

I've also recently done a bunch of little jobs: character sheets for WRAITH (where you play the members of a COBRA-like bad guy organisation) and Finding Haven (a solar system sci-fi game I did a map for a little while ago), and a map for Rebirth. I've also started work on a small one-off art commission, but that's not urgent.

As you can see, I'm keeping very busy! Hopefully I'll manage to knock a few of these projects down and free up some more time to muse and tinker on my own stuff too.

Discovering Imaginary Worlds

I've been working on a couple of world map projects this week, which has me thinking about mapping as literal world-building.

I've been commissioned to create the world map for +Nathaniel Robinson's Kung Foo City based on his rough draft, and I've also started putting together the map for Ark Frontier.

I've always enjoyed drawing world maps. It becomes a sort of meditative exercise, where I virtually wander the world, thinking about the landscape and putting myself on the ground as I carve out coastlines, raise up mountains, plot the courses of rivers, cast swathes of desert and forest. As I go, I'll discover hidden places, little nooks and secluded vales, remote islands, and long-forgotten cities. I find out who lives in these places, and what they're like, or what they used to be like. The ideas I already have in mind not only take form, but expand and suggest new possibilities.

Mapping is a form of storytelling. This is particularly true with Ark Frontier, where the default campaign will start with a tiny known area at the centre of the map. As the players (and the rest of the settlers) uncover more of the world, they also encounter new challenges and learn about the disaster that almost destroyed civilisation. By taking that into consideration, the map I design will influence how those developments and discoveries play out.

To some extent, it's a bit like a game of Final Fantasy, where you're initially funnelled through a linear experience, then gain access to the world map but are still limited by mountains and coastlines, then finally unlock an airship that lets you go anywhere you want. Ark Frontier starts you at the world map stage (and you can climb the mountains if you're dedicated enough), but it's no surprise that the Final Fantasy series is one of my inspirations for the setting. I'm dedicated to nonlinear exploration though, so there aren't any literal restrictions on where the characters can go, but some areas will naturally be more difficult than others. Creature design also plays a part in that, as there are a lot of different monsters that require a range of tactics to overcome, but that's a subject for another post.

The Kung Foo City map is a bit of a different beast, since I didn't have to design the layout. However I still find myself walking the mountain-ranges as I draw them, and I've been trying to impart a unique character to different areas. The mountains of the north are lofty and jagged, while those of the fertile southeast rise in sugarloafs from the flat plains. To the west, the desert wastes are dotted with mesas and steep-sided plateaus. I'm pursuing a similar technique with the major cities, drawing unique and flavourful icons for each.

Here's the map the players will start with in Ark Frontier. Can you feel the pull of distant horizons?

Freelancing, Fighting, and Falling!

This week I've been pretty busy with freelance work, so I haven't made much progress on personal projects. So I figured I'd talk about the various things I've been up to.

Freelancing

I've been editing the manuscript for Altais: Age of Ruin, a far-future fantasy that looks pretty unique. As a bonus, it's by a fellow Australian! It's one of the largest editing jobs I've worked on to date, and making sure I get enough done each day to ensure I hit the deadline is going to be keeping me pretty busy until the end of May or so.

I just finished up he last art piece for the Motive Agency Storytelling System, or M.A.S.S., which is also by an Australian author! I think it may also go by the name Plot Device, but I'm not sure what the final published title will be. It's a generic system that seems pretty flexible; I've done illustrations for a weird mashup of pulp/modern/noir but with human/puppet/cartoon characters, as well as superheroes and fantasy adventurers. I'll let you know when it comes out, or if there's a Kickstarter or anything.

Last year I did a heap of layout work for Johnn Four's Roleplaying Tips. This year he's given me the task of managing the production of a second edition of his book NPC Essentials. I'm pulling material from his archives to expand the content, editing and formatting it, and then getting it ready for digital and print. It's an interesting challenge, dealing with a project of this scope! Apart from my own stuff, I mostly just deal with things after the final manuscript's already been assembled.

I've also been doing a couple of short edits on scenarios for Arcana Games, namely sprucing up their Trouble in Waterdeep scenario for the DMs Guild, as well as a new adventure for their original game, Blood & Bone.

As you can see, I've had a lot on my plate, which is why I haven't managed to finish any of the following things:

Blade Bind: Sparring Partner

I've made good progress getting this automated duelling tutor for Blade Bind programmed, but there are still a couple of hurdles to jump before it's ready for external testing.

I managed to sort out how to handle Jokers in most situations, where you get to draw a new card and then play one from your hand with a wild suit. However there are a couple of situations (on an Engage and Wind) when it needs to be handled differently because both players reveal their cards simultaneously. That means I need to reveal both cards before you draw and replace, and I also need to allow for the edge-case where both players reveal a Joker!

Hopefully I'll get a chance to nut that out over the next week, now I've finished up the art job.

Fallen Princess

I've recently started playing a new app game called Fallen Princess. It's a fun little JRPG-style fantasy battler where you follow the exploits of Princess Aki and her army of monsters as she scours the countryside in search of gold and dark magic. It puts me in mind of the little I've seen of Disgaea, and the writing is pretty amusing.

Anyway, the real reason I bring it up is, it's got me thinking about grid-based mini battles and elemental systems.

I'm tempted to try writing a JRPG-themed RPG with a system for building your own tactical battlefield manoeuvres. I'm trying to figure out if I can do something with the stats to keep them inflating so that you kind of enter a new sphere of power at every factor of 10 while keeping the system fairly simple. So characters might start out with stats from 10-100, but then they can "limit break" to get stats in the hundreds, then the thousands, and so on with no theoretical limit. It's a nice pipe-dream, but I haven't actually worked out any specifics yet. I just want to use my Super Dungeon Explore minis for something other than SDE. 

Part of me wants to make a brand-new system, and part of me wants to come up with a revised edition of PowerFrame. I dunno; in some ways it might be easier to start again from scratch!

The elemental system in Fallen Princess is fairly straightforward: Fire > Earth > Lightning > Water all go around in a circle, each dealing extra damage to and resisting damage from one element (so Fire both damages and resists Earth). There's also Light and Dark, which both deal extra damage to each other and don't get extra resistance against anything. It's nice to see that alternative approach, as a reminder that not everything has to fit neatly onto a magic circle. That isn't going to stop me trying to fit my elemental systems into a neat circle, though.

Incidentally, Altais has an unusual magic system that relies on parallel dimensions that let mages manipulate the forces of reality, so it has "elements" like light/heat, gravity, electromagnetism, time, and space. It puts me somewhat in mind of the list I've been working on for Ark Frontier.

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Hopefully I'll have some more progress to report next week!

September Status

Sorry for the lack of posts lately; I've been working on a lot of stuff lately, and haven't found the time to write about it!

It looks like I've pretty much lost the impetus to write detailed Actual Plays - and most of the time if I try to write a brief AP it turns into a long one. I think, if anything, I'm more likely to write about impressions, thoughts, and problems with games, rather than detailed accounts of the sessions themselves.

After its successful Kickstarter, I've been working on various things for Fear the Living. I've made up a couple of record sheets and gone through two editing passes of the game document. I'm currently working on the layout so we can move on to the final pre-production stage. It's only taken a month to get to this stage, so hopefully it might be completed in another month or so? We're also waiting on art though, so I guess that might slow things down a bit.

I've been slowly plugging away at the art for PowerFrame, although not as much as I should. There are still a lot of art-worthy gaps to fill, and a few outstanding essential pieces (chapter heading-bars, and the cover). I'm thinking I'll concentrate on those and a couple of other pieces to fill large annoying gaps in the layout, and release it on DriveThruRPG. Since it's currently aimed at PDF-only, I can always update the file if I get the chance to add more art later.

I'm also about to do another round of art for the Strays RPG, though, so I guess that will eat up most of my art production time for the next little while...

In the meantime, since I've been working on art and editing, my game-mechanical brain has been chewing over a couple of new projects: Thunder Hunters, which I discussed part of previously, and a currently unnamed tile and card based wargame.

Oh! I also ran my first session of Dungeon World a couple of nights ago! It went pretty well although we only had two players. The Cleric and Paladin formed a low-ranking Inquisitorial unit, investigating a skeleton-infested floating tomb.

Thunder Hunters

I haven't done too much more on Thunder Hunters, since +Annette keeps dutifully reminding me to work on PowerFrame instead.

I have pretty much decided to go with the option of combining stats so you only roll one dice pool against your opponent's target number (also made from two combined stats). So to stab something, you add Hit+Might and roll that many d6 against your opponent's Agile+Vigour. Rather than reducing hit points, Successes indicate what sort of effect you have on the target - anything from missing and overextending yourself, to manoeuvring, inflicting minor wounds (in the form of stat penalties), and finally lethal or defeating blows.

One interesting thing I've come up with, is to have larger creatures use larger dice. So people use d6, but Allosaurs use d8, and Tyrannosaurs use d10. This makes larger things scarier, and also provides a tactile sense of struggling against a larger creature.

Another thing I've been mulling over has been the idea of Spirit Points. The original idea was that killing creatures releases Evil Spirits that plague the tribe or allow the GM to develop the ecosystem to introduce new threats; however, I need to make sure the economy isn't set up to necessarily de-incentivise fighting dinosaurs, which is part of the appeal of the game. I do want to reflect what happens when you upset the balance of nature, but the balance can also tip too far against the tribe and threaten to overwhelm them if the wild isn't fought back to some extent. I'm still thinking over ways to implement that, although I'm not actively thinking about it right now.

Tile Wargame

I've had the idea for this sort of wargame for a while - you use tiles for terrain to create a variable battlefield, and cards to represent units. It's set at a medieval tech level, since I want the basics of infantry, archers, and cavalry. However, there's nothing which would prevent the representation of early firearms and cannons as well.

The main mantra is "No Modifiers", although what that really means is "the players don't have to remember to add any modifiers during play." All of a unit's melee and ranged defence scores are listed on the card, with different ratings for each of the six types of terrain they might be standing in. Attack scores are generally fixed, although some units may have alternative attack scores against different types of enemy units, or against units in specific terrain.

I've based the terrain on the types described in The Art of War - Open (plains, fields), Entangling (forests), Temporising (swamps, bogs), Precipitous (hills, elevations), Narrow Passes (canyons, bridges, streets), and Fortifications (castles, towers, walls). Each terrain tile has a movement cost for the three forms of movement - foot, hoof, or wheel.

Units don't track hit points or anything like that - I want to keep the bookkeeping to a minimum. Instead, we abstract the unit's condition. They start in Solid formation, and if they take a certain strength of attack they become Broken - you flip the card over, which describes the unit operating at reduced capacity. A Broken unit that suffers harm Falls Back and gives up its space; if it takes more damage after that, it's Routed and removed from play.

I've been slowly putting together a playtest set, although as my printer's out of ink I've been hand-writing blank unit cards on ivory-board. The entire game exists on a sea of floating modifiers, so I want to be able to erase and rewrite the details if I decide something needs to be changed. It's taken me a while since each unit has a lot on its card, but I just about have three small armies ready to do some local playtests.

Freelancing

It's been over a month since my last post here. I have several Actual Play posts partly written up, but haven't mnaged to finish them off. I've been directing my creative energies elsewhere, and to good effect!

Firstly, I've made a good push towards finishing the text for my PowerFrame RPG! I only need to put one example into the Mysticism section and that's done (pending revision or adjustment). However, the perfectionist in me insists that I add a Vehicles section too. That's going to be a few pages with some basic templates and piloting instructions, but I won't have room to include comprehensive lists or creation rules.

Secondly, I've actually been getting a bit of work as an RPG freelancer! I have a few jobs on the go at the moment.

I'm doing some writing for Combat Description Cards. It's an interesting project, but coming up with so many different ways to describe attacks can be taxing at times! We're almost done with descriptions for the main decks.

I'm drawing pictures of fuzzy animals for Wordsmith Games' Strays RPG, due to be Kickstarted soon! I'll post some of the pictures once I'm allowed to.

I'm also waiting on the Kickstarter for a zombie game called Fear The Living; if it's successful, I'll be doing editing and layout. I know zombies have been done to death and back again, but having only recently watched the entirety of The Walking Dead, this game will save me the trouble of writing my own Apocalypse World hack for the zombie apocalypse! It's half dealing with zombie chaos, half dealing with the other survivors, which is a mix I'm looking forward to exploring.

I'm also waiting on the Kickstarter for Fragged Empire, for which I'm hoping to provide editing services. I've already gone over the website text, including the short story and species information. The author's also a graphic designer, so the layout and presentation is already really slick, and he has some stunning artists on board.

I'll post links to the Kickstarters once they go live!