This week: D&D (and other TTRPG) Edited by: Jeff   More Newsletters By This Editor 
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1. About this Newsletter 2. A Word from our Sponsor 3. Letter from the Editor 4. Editor's Picks 5. A Word from Writing.Com 6. Ask & Answer 7. Removal instructions
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"Adventure is worthwhile in itself."
— Amelia Earhart
About The Editor: Greetings! My name is Jeff  and I'm one of the regular editors of the official Action/Adventure Newsletter! I've been a member of Writing.com since 2003, and have edited more than 400 newsletters across the site in that time. If you have any questions or concerns, please feel free to email me directly or submit feedback in the comment box at the bottom of this newsletter. |
![Letter from the editor [#401442]
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D&D (and other TTRPG)
The tabletop roleplaying game space has gained a ton of popularity in recent years. There are a lot of theories behind why that is, but I personally attribute it to a combination of two things: the growth of "live-play" shows like Critical Role and Dimension 20, with our current sociopolitical climate, where there's an "epidemic of loneliness" thanks in no small part to the disconnection created by the rise of social media and the COVID-19 pandemic where many of us were isolated for months. I think a lot of people have gained exposure to the free-form creativity of TTRPGs and saw a bunch of friends sitting around a table laughing and having a great time and realized they wanted to experience that too (be it watching others play, or playing themselves).
However it came to be, TTRPGs are more popular than ever right now. There are literally dozens of live-play shows you can stream on the internet. There are hundreds of YouTube channels and other social media accounts dedicated to talking about the game or teaching it to others. Entire companies are being built around the launch of new products in a space that was previously occupied by only a few industry giants. But before we can talk about all that, we need to talk about what TTRPGs are for those that aren't familiar.
The simplest definition of a tabletop roleplaying game is one in which players create characters and describe their characters' actions. Another player (the Game Master), in consultation with the rules of whatever game system the group is playing, then narrates what happens. There's often a random element (e.g., rolling dice) to add an element of randomization that helps determine the failure or success of the players' choices. Depending on a group's particular style of play, it could include elements of a board game (maps, miniatures, etc. used for more visually depicting a scene such as combat), LARPing (Live-Action Roleplaying, where players act out interactions with one another), and even possibly video games (audiovisual elements to create a more immersive atmosphere).
What makes TTRPGs so captivating for so many people is their versatility. Unlike a board game or a video game, you're only limited by your imagination rather than a prescribed list of actions you can take. You can do anything within the confines of the game mechanics (although your characters are not exempt from the consequences of their actions! ). And your experience of the game is only limited by the resources your group is willing and able to invest in the experience. Let's take a look at a couple of examples, using the situation of a party of characters who are tasked with breaking into a house and stealing something valuable:
Example #1. The players decide that they're going to try to sneak into the house quietly. The Game Master describes the details of the house to them, and has them roll dice to determine their success with the various steps of that plan (e.g., to see if they can pick the lock on the back door, to see if they can move silently through the house, to see if they can locate the item they're looking for, and to see if they can escape with it). Depending on the roll of the dice, they might be successful all the way through and get out without incident, or they might fail at something and have to deal with the consequences (e.g., "Oh no, I failed my attempt to move silently and accidentally knocked something off the dresser! How do I deal with this complication?").
Example #2. The players decide that they're going to take the house by force. The Game Master pulls out a preprinted battle map (or a piece of paper with blank squares on it that can be drawn on with dry erase markers to define the space they're in) so that the ensuing fight with the residents of the house can be played out with more specific details, since TTRPG combat often involves things like attacks and abilities that depend on your relation to other individuals and it's easier to keep track of everything with an "overhead view" of the situation. The Game Master has the players roll dice to determine the success with the various steps of that plan (e.g., whether their attempt to attack the guard hits, and how much damage it does). Similar to Example #1, rolling the dice introduces an element of randomization to the events, that the players then have to adapt to. Maybe they miss their attacks, or accidentally kill the guard instead of knocking him out as intended; each choice and result creates a consequence that then has to be dealt with next.
Example #3. The players decide to split up and create a distraction while another one sneaks in and steals what they're after. Maybe the Game Master has a music playlist to cue up with dramatic music that adds to the tension of what's transpiring. Maybe he shows them a miniature he built of the house (or even the whole street!) so the players can get a sense of location as two of them pretend to have a very vocal fight outside a neighbor's house that brings everyone in their target's house out front while their accomplice slips in the back door. The Game Master has them roll dice for the various elements of this plan (e.g., to draw attention to the argument, to persuade bystanders that it's authentic, to pick the lock on the backdoor, to deal with the complication where the target didn't actually go outside but rather just went to the window in an adjoining room to watch through the curtains, etc.). As with the two examples above, the dice add randomness, and the randomness requires both the Game Master to narrate the events that result, and the players to adapt to those changing circumstances.
What makes TTRPGs fun is that, on a macro level, you also have the freedom to not break into the house at all. If the players are approached with this opportunity, there's nothing stopping them from going, "Nah, we'll pass" and just moving on with their lives. And that's what I mean by versatility; it's not just that styles of play and the types of storytelling are varied, it's that the entire game is subject to the input of the players (with the guiding hand of the Game Master tempering things). There's no prescribed storyline you have to follow... although a good Game Master will use proper incentives to motivate their players to make the logical choices, and will follow it up with appropriate consequences if applicable. For example, if the Game Master just has a random old man approach the players in a bar and say, "Hey, how about you break into this house to steal something for me?", the players might be understandably within their right to pass on that because they deem the risk not worth the reward. But if the Game Master says, "The old man wants you to steal for him a specific bracelet, and says you can keep whatever else you find... and is willing to compensate you with valuable information you've been seeking about this other quest you're on," then you have a compelling reason for them breaking into the house. And a consequence (i.e., not getting the other information they need) to choosing not to undertake this assignment.
Depending on the group you play with, your game might more heavily focus on character interactions (this is the style that Critical Role plays with). Or your game might be more into combat. Or storytelling. Some players might want to embody their characters fully by speaking in the first person and doing a special accent and/or developing some unique mannerisms. Others might prefer to describe their character's actions in the third person (e.g., "My character aims his crossbow at the guard and tells him to drop his weapon or else!"). Finding a group that gels together can sometimes be a challenge, but once you find that group of players, the collaborative experience of playing a TTRPG is unlike anything else.
Dungeons & Dragons is by far the oldest and most popular TTRPG, to the point where it's become largely eponymous with the TTRPG space (I actually wrote a Fantasy NL back in February as an introduction to this topic: "Fantasy Newsletter (February 26, 2025)" ). But unlike that newsletter, my the purpose in talking about TTRPGs was to advocate for the ways in which it's helped me develop my writing, the reason I'm writing about it again in this newsletter is simply to mention that it's a great hobby to have, especially if you enjoy the action/adventure space. Telling a collaborative story with a bunch of friends is an incredibly satisfying pastime, and can definitely scratch that action/adventure itch because, as a player, you get to choose exactly how much action and adventure the story has in it! 
Until next time,
Jeff 
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If you're interested in checking out my work:
"New & Noteworthy Things" | "Blogocentric Formulations" 
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![Editor's Picks [#401445]
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This month's official Writing.com writing contest is:
You are also invited to check out these items from members of the community:
|  | Moving On (E) Something as simple as a butterfly pin and expose so much. #2340573 by Lonewolf   |
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Have an opinion on what you've read here today? Then send the Editor feedback! Find an item that you think would be perfect for showcasing here? Submit it for consideration in the newsletter! https://www.Writing.Com/go/nl_form
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Feedback from "Action/Adventure Newsletter (April 30, 2025)" about proactive protagonists:
Interesting, I think at least one of my characters needs to be more proactive. Hopefully I can make them do that from now on 
— S.potato
My answer to these questions are in the movies I choose to watch.
— Monty
Jack Reacher strikes me as a combination protagonist. His adventures typically start out with him on his way to somewhere, just to go there: he's in charge. Then, something happens to him or impacts him in some way that's meaningful to him: he's in react mode. Unfortunately for the villain(s), he gets back into "in charge mode" pretty darn quick, typically with devastating results for the (now former) baddies.
BTW, thanks for featuring one of my poems in this NL!
— Soldier_Mike
good work thanks for another newsletter well done.
— markmore
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