using writer's dice in writing and games by daniel solis

7/28/2019 Using Writer's Dice in Writing and Games by Daniel Solis

http://slidepdf.com/reader/full/using-writers-dice-in-writing-and-games-by-daniel-solis 1/50

Writer’s

Dice

Using

inWriting and Games

Daniel Solis



PAGE 2



PAGE 3

FOREWORD

introducing

Writer’s Dice

T

hese are dice for writers, storytellers and gamers!

Writer’s Dice have six meaningful words: BUT, SO, AND, AS,OR, IF. Use them to plot your next novel! Roll them into your role-

playing games! Gift them to your gaming buddies!

I invented Writer’s Dice after years of advice from the clever

folks in the improv community. Improv folks have a strong

overlapping fanbase with storytelling and role-playing games.

In either eld, you create a story with a group of people in themoment. The improv players advise that when faced with a

challenge or critical decision point in the story, just say “Yes, and...”

Much is written on those two words, and their full breadth is

beyond the scope of this little guide, but sufce it to say that saying

“No” is a non-starter. It sties contributions and contributes

nothing of its own. Even “Yes” alone isn’t enough to keep a story moving, since it just afrms the last contribution, but again

contributes nothing of its own.

“Yes, and...” is where the magic happens. When you bravely

agree to see where the story goes next, armed with the license to

build on past events.

This philosophy is great for the improv community wherea group of people are all active, engaged and ready to weave a

story together. But for writers, whose craft occurs in solitude –



PAGE 4

interacting with not an audience, but a faceless screen – it didn’t

quite seem like enough to build a rich plot. In writing, saying “Yes,

and” to yourself is essentially the same as “then.”

This happens, then this happens, then this happens. That’s

just a series of events without context to each other. Writers need

more options than just “and” or “then,” as they outline their plots.

Writers need more potent words that imply real causation and

relationships between the beats.

“But” for obstacles. “So” for consequences. “If” for negotiations.

“Or” for alternatives. “As” for parallels. And, of course, there is still

need for “and,” for escalation. There are many more words that

could be used, but those six seem particularly useful. It just so

happens there are six sides to dice, so it just seemed natural to

make Writer’s Dice.

I hope you nd them entertaining in writing or gaming. You

might even nd some useful ideas in this guide.

Have fun!

Daniel

January 2012



PAGE 6

CHAPTER 1: USING WRITER’S DICE IN WRITING

AND is the patient Socratic inquisitor, but has no imagination.

AND hits the pause button in your story so you have time to

describe more of what’s happening in this scene. AND always

wants you to say more. Always. AND has a voracious appetite for

description, which is a blessing and a curse. AND lets you add

depth to this beat without the pressure to rush on to the next one.

AND can also mire you in inconsequential minutiae.

Example:

A little girl named Lee lives in a remote mountain village.

AND?

And... A nearby dragon regularly eats Lee’s sheep.

AND?

Lee’s village is too poor and remote to hire a dragonslayer.

Strength: AND helps world-building and establishing scenes.

Weakness: AND keeps you lingering on details.



PAGE 7


AS is sibling to AND. AS is the Ghost of Christmas Present.

AS wants you to say more, too, but about what’s happening on the

other side of town or on the other side of the world, depending

on the scope of your story. AS wants you to create parallel plots

that will converge on each other later in the story. AS can also

help establish some context, showing how beats interact with each

other in real time.

Example:

Lee plays with a spear in the forest, pretending to slay dragons.

AS?

As... A mountain lion looks for breakfast for her newborn cubs.

AS?

As... A great winged shadow approaches the village.

Strength: AS sets up parallel actions and events that can be

resolved later in the story.

Weakness: AS can create so many subplots that it becomes

impossible to resolve them all.



PAGE 8


IF is often seen with THEN. However, IF is the nervous planner.

IF is far less impulsive than any of the other words. IF never jumps

to the next beat blind. IF wants to know all the contingencies

for the next beat and any prerequisites for the current beat.

Accommodating IF’s worrisome nature can help set the stakes for

your beats, showing the consequences of action or inaction.

Example:

A mountain lion spies Lee in a forest clearing.

IF?

If... Lee doesn’t notice the lion, she’ll be ambushed and eaten.

IF?

If... The mountain lion notices the approaching shadow, she’ll be

spooked and abandon her prey.

Strength: IF establishes stakes and keeps your plot easy to

follow.

Weakness: IF can quickly pile on so many conditionals that

your story stagnates.



PAGE 9


OR is the slippery rogue who works best in tight quarters. If

the story leads to a dead end, OR nds a path of escape in a storm

drain or ventilation shaft. OR likes to think quickly, survey the

scene at a glance and nd new directions to take. Even if the path

isn’t what you think is best, OR will happily run down that path as

far as possible, leaving you behind.

Example:

Realizing she’s watched by a hungry mountain lion, Lee throws her

spear into the dark thicket.

OR?

Or... She runs for the village, leading the tiger into a snare trap.

OR?

Or... She notices that she’s between the cubs and their mother, and

slowly steps out of the way.

Strength: OR urges you to rapidly nd new paths for the story.

Weakness: OR leaves it up to you to decide which is the best

path to take.



PAGE 10


BUT is the stubborn mentor. BUT adds an obstacle to overcome

before your story can proceed. Just remember, BUT is still on your

side. BUT wants your story to be the best it can be and has taken

on the burden of being the tough-love friend who tests your limits.

When it’s clear things are getting too easy for your story, BUT will

step in the way. BUT gives you the opportunity to show why the

reader should care about your story and its characters.

Example:

Lee drops her spear and quickly grabs a cub, leading the hungry

mountain lion to a snare trap.

BUT?

But... She hears the cries of the mountain lion’s cubs and takes pity on

the mother.

BUT?

But... She sees the great shadow of a dragon above her village.

Strength: BUT adds texture to your plot and gives heroes a

chance to prove their worth in the story.

Weakness: BUT can go overboard sometimes, creating too

many insurmountable obstacles.



PAGE 11


SO is your loyal guide, navigating your plot’s innite paths. SO

knows the other words can leave you with so many choices that it’s

hard to know where to go next. SO is the more mature sibling to

THEN. SO forces you to get on with the plot, but wants to make

sure the next beat has a clear causal relationship with past beats.

SO keeps you and your reader invested in the story with the trust

that past events logically lead to current events, onward to the rest

of your story.

Example:

Lee has a choice to make: Free the mountain lion and risk a quick death

or run to the village and help ght off the dragon.

SO?

So... Lee feeds the cub her rations while letting its mother loose from

the snare trap.

SO?

So... The grateful mountain lion runs alongside Lee, towards the village

to ght off the dragon.

Strength: SO urges you onward, but makes sure the next beat

logically follows the last.Weakness: SO can make things too easy and risks becoming

just another THEN.



PAGE 12


And that’s that. Looking back at the story of the little girl

named Lee, you once thought the story would be about how she

defeated a dragon. Sure, you can still take the story in that direction,

but these six key words helped you esh out the establishing scene

and introduced Lee’s personality. Now, you know that your Lee

is a clever escapist. She has a vivid imagination. She knows her

surroundings. She doesn’t hesitate to take a hostage, but she can

also show mercy. In the end, Lee comes away with a new ally.

THEN you can go on to the epic dragon-slaying.

So, use these six words and the Writer’s Dice to help you

outline a richer plot for your story.



PAGE 13

CHAPTER 2

using writer’s dice in

gaming

You face your wall of board games and role-playing

games. Books and boxes lled with fun, but you’re just

looking for something a little different. A spice to add some variety

to the old standards.

In this chapter, you’ll nd some of your favorite games and

perhaps some games that are new to you. All of these games have

some element of story or narrative as a part of play, often featuring

individualized characters and an ongoing story of their adventures.

Before moving on, it’s important to clear up everything for the

lawyers. All trademarks in this document are the property of their

respective owners and are used solely to identify the products sold

under or by reference to them and no representation is given as to

their use. Writer’s Dice, Daniel Solis and Smart Play Games are not

endorsed by or associated or afliated with those products or their

manufacturers.

Now, in plain language. With a few exceptions, the games

mentioned are standalone products owned and produced by

nice folks besides myself. You should play their games on their

own terms rst, mainly because they’re tons of fun! When you’re

ready to add some new wrinkles to the standard game, here’s how

Writer’s Dice can come into play.



PAGE 15

CHAPTER 2: USING WRITER’S DICE IN GAMING

zookeeper who hasn’t spent much time anywhere else. Let’s go with the

name Terpin. “Terpin is an old zookeeper who takes his daily duties very

seriously.”

The next player rolls another cube. This second symbol

represents something that hero is doing right now. Describe this

action based on what the symbol means to you. Place this cube

next to the rst cube.

Example: You roll a moon. “It’s night time. This is when all the

nocturnal animals need to be fed and cared for by the senior staff, all led by

our hero Terpin.”

There, now you have an establishing scene for your story. You

established the basic outlines of what your protagonist is and what

he or she is doing at this moment. That is the status quo.From now on, each player rolls a Writer’s Die and a cube. The

Writer’s Die begins this next part of the story. (See the previous

chapter for descriptions of each word on the Writer’s Dice and how

they direct a story.) By creating causal or branching relationships

between each of the cubes, you add that dash of narrative that

gives you the constraints to allow creativity to ourish.Example: You roll a SO and a BEE. This next beat has a direct cause-

and-effect relationship with the previous one. The last beat described Terpin

tending to the nocturnal animals, so we can get a little more specic about

which animals. Let’s do bats, since they’re so obviously tied to the night.

Terpin is feeding the bats.

But how to incorporate the BEE? Perhaps these bats like to eat bees?

Nah, that’s not right. They’ll usually eat crickets and grubs. Close enough

to a bee for our purposes! Now we have the next beat. Feel free to stretch it



PAGE 16


out to t more than one sentence. As long as it takes to learn something new

in the story.

“Terpin scoops live crickets and grubs carefully around the bat exhibit.

The bats wake up to the familiar sound of breakfast. They take special care

not to poop on Terpin in their excitement.”

Now we know Terpin is a gentle caretaker loved by the animals. Well,

the bats anyway. Of course, bats have an unusual way of showing their

affection. What will happen next? It’s up to you to decide!

DIXIT

FROM ASMODEE

You can use the same method described above to tell a story

with your Dixit cards. Instead of nine individual dice rolls, you

simply draw nine cards randomly from the deck. Look at the

scenery, characters and actions depicted on the card’s artwork,

then interpret those images into the story one at a time using the

Writer’s Dice to ll in the relationships between each image.

If you want to use Writer’s Dice in the actual game of Dixit ,

try this challenging variant. When you are the storyteller, roll three

Writer’s Dice. As you describe your sentence, you may use one or

more of the dice results in its wording. If you use one die, then the

value of correctly choosing your card is increased by one point. If

you use two dice, then the value is increased by two points. If you

use three dice, then the value is increased by three points.

Example: You are the Storyteller. You are joined by Alex, Babs and

Chris. You roll three Writer’s Dice resulting in an AND, BUT, and IF. You

decide to use the rst two results as you state your sentence.

“The hero AND the villain battled each other for years, BUT only love

could win a day.”



PAGE 17


You and the other players then choose, shufe and array cards as in the

normal course of gameplay. Now, the voting begins. Alex and Babs correctly

choose your card, but Chris incorrectly chooses Babs’ card. According to

normal scoring, you, Alex, Babs would each get three points. Babs would

also get an extra point because Chris chose her card.

Now using this variant, you, Alex and Babs each get some additional

points because you incorporated the results of two Writer’s Dice into your

original sentence. Two Writer’s Dice mean two additional points for you,

Alex, and Babs. That puts the grand total for this turn at ve points for you,ve points for Alex, six points for Babs and zero points for Chris.

MORE WAYS TO P LAY

Beat Challenge

You’re going to tell a story with the Story Cubes and Writer’s

Dice, broken up into a series of simple plot beats. Roll two Writer’s

Dice. The rst Writer’s Die tells you how the next beat starts. Look

at the number of pips on the second Writer’s Die. You have to

incorporate that many Story Cube rolls into this beat.

Parallel Universes

Choose a historical event with many possible outcomes, like

a key battle of a historical conict, a massive migration of people

across continents, or the building of an ancient monument.

Roll a Writer’s Die and a Story Cube. (Or roll a Writer’s Die and

draw a Dixit card.) Each new combination of dice roll and image

represents another outcome of that historical event. Perhaps now

you can tell the story of characters who travel between those

universes. How would they react to the differences? How would

people of those universes react to the characters?



PAGE 18


The Epic Cycle

Alternate rolling cubes and Writer’s Dice one at a time. Set

aside each cube as you roll them and make sure you keep their

results visible. As you roll cubes and dice, tell the epic tale of a

hero’s rise and fall. The rst roll describes their origin, the second,

third and fourth are the labors this hero overcomes.

The fth roll is a temptation that leads to the hero’s reversal

and eventual fall. The sixth, seventh and eighth rolls are betrayals

of the virtues the hero stood for in the previous second, third and

fourth rolls.

Finally, the ninth roll is the fallen hero’s legacy, which directly

leads to a new hero’s rise. The new hero’s journey continues

following the same roll results as before. So, each new hero follows

a similar rise and fall, eventually paving the way for a new epic.

USING WRITER’S DICE IN

ADVENTURE RPGs

Adventure is the most popular of all role-playing game(RPG) genres. While each RPG has its own particular avor of

adventure—sweeping tales of magic and might, righteous caped

heroes ying to the rescue, or neon-hued cyberpunk heist yarns—

the typical rules are usually built on the same set of assumptions

about how the story will proceed.

When heroes act, players consult a dice roll. Depending onthat roll’s result, the heroes succeed or fail at their act. Sometimes

you have gradients between success and failure, but the central



PAGE 19


binary remains. That’s where Writer’s Dice can step in to create

some nuanced tangents.

Adventure RPGs also usually distinguish one player from the

others. This special player takes on duties of an authority gure

and referee during the game. Their role has a lot of names, but

gamers usually say “GM” as a generic term. As such, we will also

use that term in this section.

SUCCESS AND FAILURE IN GAMES LIKE

DUNGEONS & DRAGONS

FROM WIZARDS OF THE COAST LLC

Many times, you’ll roll dice to determine whether your hero’s

action was a success or failure. When you do so, also roll a Writer’s

Die. Consult the list of outcomes below. If successful, you earn

rights to describe the additional consequences of your hero’s

actions. If failed, the GM describes those consequences.

Example: Bunk the Barbarian, Mist the Magician and Tuck the Thief

are on a quest that takes them to the depths of a necromancer’s subterranean

lair. The adventurers come upon a dead-end corridor. Too late, they realize

the only exit is blocked by a shambling horde of bloodthirsty zombies.

Success, but...

Your hero succeeds! That’s one problem solved, but a new

challenge rises in its place. Describe how your successful action

leads to a different kind of problem. Try to make it a problem thatis best suited to the skills of another adventurer in your party.



PAGE 20


Example: With a running charge, Bunk the Barbarian sweeps her sword

across the zombies’ heads. [Bunk’s player rolls SUCCESS, BUT.] Bunk’s

blade pushes back the horde and slices off their heads with ease. [Bunk’s

player has some ideas for a new challenge that would be perfect for a broad

attack by the magician of the group.]

But now the party’s troubles have doubled. The zombies’ bodies

continue approaching the adventurers with arms that are still strong enough

to break bones. The heads also continue rolling toward the adventurers,

gnashing at their ankles with deadly jaws.

Success, and...

Your action has an immediate additional benecial effect,

like pushing opponents back into a dangerous zone, healing some

malady, or changing the environment so that you get a modestbonus to your rolls. Whatever the benet, it is only momentary

and does not last beyond your next roll.

Example: Mist the Magician decides the approaching headless bodies

are the most important threat at the moment. She casts a spell that creates

an oil slick across the oor. [Mist’s player rolls SUCCESS, AND.] The bodies

all ail about on the oor, unable to get up and continue their approach.

And the rolling zombie heads are batted around by the ailing zombies’

limbs, clearing a path for the adventurers to escape and continue their quest.

Success, so...

Your action has a long-term additional benecial effect, like

setting in motion a long series of coincidences that turn in your

favor later in the game. You can describe this benet now or hold



PAGE 21


it in reserve until a critical moment. The longer you hold it in

reserve, the greater the dramatic effect.

Example: Bunk the Barbarian charges forward, eager to bring the battle

to the Necromancer’s home. In her haste, she steps on a trap door in the

oor and just manages to catch the edge with her ngertips. Tuck the Thief

studies the trap’s mechanisms. [Tuck’s player rolls SUCCESS, SO. Tuck’s

player wants to keep any benecial effect saved up for later.] Tuck recognizes

their design and can more easily spot traps in the rest of the lair.

So Tuck also knows how to trigger the traps on her command, which

can turn them to the adventurers’ advantage later.

Success, or...

This outcome has some different shades depending on the

nature of your action. Generally, it’s about choices.If your action was purely mechanical, like an attack, then

roll for this action twice and take the outcome you prefer. This is

particularly helpful if you need to do a certain amount of damage.

If your action had more narrative consequences, like convincing

a guard to let you past, the GM proposes two consequences to you.

You decide which comes true.

Example: Bunk the Barbarian drops down on the pair of guards from

above, grappling them both to the ground. [Bunk’s player rolls SUCCESS,

OR. The GM describes this ambiguous outcome as follows.] Bunk certainly

knocked out one of the guards, but his partner is still staggering on his feet.

[BUNK’s player rolls for this attack again and gets a much more decisive

combat victory.] Bunk taps the second guard on his forehead and the poor

guy collapses straight away. Both guards are now unconscious and detained.



PAGE 22


Mist the Magician casts a spell to examine their recent memories.

She tries to nd which of the branching paths ahead will lead to the

Necromancer’s laboratory. [Mist’s player rolls SUCCESS, OR. The GM

proposes Mist’s options as a literal fork in the road that the whole party

must decide upon.]

There are two possible paths to the laboratory. One path will be very

deadly, but can be overcome quickly. OR the other path will take longer

to travel, but it is safer. Not one to shy away from danger, Mist suggests

the group take the rst path. And so they carry on, deeper into the moreforbidding areas of the lair.

Success, as...

While your action is successful, something else is happening

elsewhere that will eventually intersect with the main story. This

is your chance to set up the characters and places that your heroeswill soon encounter or to show how your hero’s actions t in the

context of a larger world. What you describe now probably won’t

be immediately relevant, but it’ll come in to play in the next session

or two.

Example: While exploring a large library of the Necromancer’s

artifacts, Tuck the Thief comes across a small black orb resting on a clawed

pedestal. Hoping for a nice payday after this sojourn, Tuck presses a dagger

point below the orb to pry it from the pedestal’s grip. [Tuck’s player rolls

SUCCESS, AS. He would like to see what the Necromancer is up to while the

adventurers are busy looting the poor guy’s home.] With a sharp twist, the

orb falls into Tuck’s satchel.

As the Necromancer meditates in his chambers, a disturbance in the

nearby magical eld alerts him to a theft. The Necromancer peers into his



PAGE 23


scrying orb to spot the intruders and notices the corresponding orb in the

library sees nothing but blackness.

Success, if...

While still successful, the GM proposes a negative consequence

of your hero’s act. If you accept this proposal, then your hero’s act

succeeds and the proposed consequence also comes to pass. If you

do not accept, then your act is a failure. In the case of a failure, roll

your dice again until they come up as a failure.

Example: Shadows spread across the library and the torchlight ickers

into dull ember. Caught in the library’s open foyer without any nearby

shelter, the adventurers get into a well-practiced formation. They turn their

backs to each other with their weapons at the ready.

Just then, an inky black tentacle whips violently from the shadows

and will strike the whole group. Bunk the Barbarian raises her broad blade

against the approaching horror, not knowing if her cold steel will have any

effect. [Bunk’s player rolls SUCCESS...IF!]

[The GM proposes that the tentacle will be susceptible to Bunk’s

mundane weapons if Tuck becomes the sole target of the attack. Bunk and

Tuck’s players discuss their options and agree to the proposal.]

The tentacle halts its rapid approach and hovers mid-air in front of

Bunk, twitching in an unnatural fashion as if to test the group’s inching

reexes. It splits into four slender arms, arcs past Bunk’s quick sword and

lifts Tuck the Thief by her satchel high in the air.

Failure, but...

Alas, the specic act that your hero attempted did not succeed.

However, this disappointment is mitigated by some benet that



PAGE 25


The tentacle seems to draw energy from the dagger’s enchantments,

allowing it to bifurcate again, and again. Now, the swarming black knot of

arms turn their attention towards the remaining adventurers.

Failure, so...

Your action has some long-term additional negative effect,

which is up to the GM’s discretion, but usually involves a long-

term plot against the heroes. The GM can describe this now or

hold it in reserve until a critical moment. The longer the GM holds

it in reserve, the greater the dramatic effect.

Example: Bunk the Barbarian spots the homunculus casting the

shadow puppets against her allies. She barrels forward, eyes barely adjusting

to the ickering turquoise light of the magical lantern. She sweeps her

sword against the lantern’s light in order to sever the homunculus’ tether to

the tentacles. [Bunk’s player rolls FAILURE, SO. The GM decides this rash

action will lead to a persistent injury in the party.] The homunculus strobes

the lantern at the last moment, momentarily blinding Bunk.

SO the tentacles dissipate, dropping Tuck on the library’s stone oor.

Tuck’s ankle is now sprained, slowing the group’s advance.

Failure, or...

This outcome depends on the nature of your hero’s action.

If your action was purely mechanical, then roll for this action

twice. The GM chooses the outcome he or she prefers. The GM

should usually choose the least benecial of the two options.

If your action was more narrative in nature, propose two

consequences to the GM. The GM decides which will come true.



PAGE 26


Example: Mist the Magician comes to Tuck’s rescue, casting a mending

spell on his ankle so it will heal quickly and painlessly. [Mist’s player rolls

FAILURE, OR. She proposes two options to the GM. Either the spell will

work slowly and painlessly or quickly and painfully. The GM chooses the

former.] Mist’s crackling magic infuses a warm glow against Tuck’s ankle,

but Mist knows the spell did not work to its full effect. It will still be some

time before Tuck can march at full capacity.

Meanwhile, Tuck remembers the black orb in his satchel. Believing

that it is drawing the homunculus’ ire, Tuck asks Bunk to smash the orbagainst the oor. Bunk obliges. [Bunk’s player rolls FAILURE, OR. Bunk’s

player proposes two options to the GM. First, the orb cracks, emitting a

light bright enough for the group to nd an escape but also drawing more

monsters. Second, the orb does not break, but its revelation does distract the

shadow-tentacles, ignoring the homunculus’ commands. The GM chooses

the latter.]

Bunk pulls the orb from Tuck’s satchel and readies her mighty sword.

As she drops the heavy steel, she nds her target suddenly snatched away

by a writhing mass of tentacles. The homunculus shouts vile curses at its

disobedient thrall, but the shadows ignore their master. Instead, they hug

the black orb, wrapping themselves around the sphere many times before

falling dormant.

Failure, as...

While your action fails, something else is happening elsewhere

that will eventually intersect with the main story. The current

action and that distant scene may still be connected! The GM

may set up the characters and places that your heroes will soon

encounter or show how your hero’s unfortunate luck affects others

elsewhere in the world, usually to the hero’s detriment. What the



PAGE 27


GM describes now might not be immediately relevant, but can

come into play later in the story.

Example: Deeper in the Necromancer’s cavernous lair, our heroes come

upon an immense wrought-iron wall rmly embedded into the surrounding

rock. Bunk, being Bunk, decides the best course of action is to smash the wall

to smithereens. She heaves a nearby boulder against the door. [Bunk’s player

rolls FAILURE, AS. This means that Bunk did not succeed, but it did cause

something else to happen. The GM decides that tossing a boulder against a

solid iron wall won’t smash the wall, but it smashes the boulder. This reveals

some new information that will become important later.]

With a great noise, the boulder cracks in half against the solid iron

wall. Mist and Tuck examine the fragments and discover that this was no

ordinary rock. It was a dormant dragon egg. Not just any dragon egg, but

a blue dragon egg. Blue dragon mothers maintain a psychic bond with their

entire clutch. Wherever mama is, she knows someone just smashed one of

her babies. Bunk is in serious trouble.

Failure, if...

You propose a positive consequence of your hero’s act. If

the GM accepts this proposal, then your hero’s act fails and the

proposed consequence also comes to pass. If the GM does not

accept, then your act is a success. If the exact numerical dice result

matters, then roll your dice again until they come up as a success

and accept those results.

Example: The Necromancer laid a trap for our heroes, luring them

to a subterranean lava lake to act as surrogates in an elaborate ritual.

Indeed, all the collateral damage of the heroes’ sojourn was orchestrated



PAGE 28


for the Necromancer’s sole mission: Revive the volcano and lay waste to

the surrounding countryside. The heroes now nd themselves on a raised

circular platform perched above the molten lake.

In the distance, Tuck spots the Necromancer reading from an enormous

scroll, chanting in an ancient profane tongue. As the Necromancer speaks

his strange words, a ring of symbols begin to glow at the heroes’ feet. Mist

recognizes the ritual. The symbols will form a descending spiral and when

they reach the center, the volcano will erupt. Mist also spots a series of

wrought-iron beams keeping the roof from collapsing on the whole lake.Mist has a plan. Bunk is delighted to learn it involves smashing.

Mist summons every ounce of magical might in her heart to blast

the beams above the Necromancer. Bunk pounds a heel into the edge of

their platform, cracking chunks of solid rock to throw at the Necromancer

directly. Tuck stabs daggers into the oor at key points to block the magical

symbols from continuing their path and delay the ritual’s effects.

[Mist, Bunk and Tuck’s players all roll for their respective actions. They

all roll FAILURE, IF. Ouch. The GM awaits a proposal. In time, the players

decide they’re willing to sacrice themselves if it means they can collapse the

whole dungeon and all its horrors, including the Necromancer himself. The

GM accepts this offer, as it makes for a very epic ending to the adventure.]

Mist’s sts glow with bright blue light as the arcane energy of her

mentor, and her mentor’s mentor, and all the great teachers of her school

now ood into her mortal frame. All at once, that power unfurls against

the roof-supports, beginning a cascading collapse starting from this room

and continuing to the entire underground tunnel system. Mist herself also

collapses from the exertion, then fades into a cloud of vapor.

Bunk’s hail of rock against the Necromancer bounces harmlessly against

his invisible force eld. Just then, Bunk recognizes a clutch of boulders nearthe Necromancer. As she learned the hard way earlier in the adventure, these

“boulders” are actually blue dragon eggs. Bunk redirects her barrage against



PAGE 29


the eggs, cracking open them open. With a mighty roar, the blue dragon

mother slithers up from the lava to nd her children smashed to pieces and

the Necromancer apparently responsible. In one swipe, the dragon whips an

enormous claw against the Necromancer, bouncing him and his precious

forceeld into the boiling lava. The dragon’s rage then turns to Bunk. With

barely a care, the dragon icks Bunk across the room against a distant ledge,

where she lands with a heavy thud.

This leaves Tuck the Thief alone with a puny dagger against a collapsing

cave and an angry dragon. Tuck imagines all the adventurers this dragon haseaten in its time. All those swords, armors... and treasures. Precious, rare

treasures not seen by mortal eyes in many centuries. Tuck casts a greedy

stare at the rearing dragon.

The dragon approaches at lightning-speed with a wide open mouth.

Tuck the Thief dives directly into the dragon’s grossly widening jaws, ready

to plunder whatever treasures may rest in the belly of the beast.

MORE WAYS TO P LAY

Flipped Narrative

As you might have noticed, the success/failure consequences

mirrored each other quite a bit, with the primary difference being

the player and GM exchanging narrative authority. You can ip

these outcomes so that you have more authority to describe the

failures while the GM has more authority to describe the successes.

Magical Artifact

If you don’t want the Writer’s Dice involved throughout the

game, then you can tie its effects to a rare technology or magical

item. When bearer of this artifact does any action, bring in the

Writer’s Dice. The rest of the game operates as normal.



PAGE 30


Delayed Effect

At the beginning of the game, roll a Writer’s Die and leave it

in the middle of the table. At any time, during any player’s turn,

they can accept that result as a part of their dice roll and take the

consequences. Once done, re-roll the Writer’s Die and place it

again in the middle of the table. In this way, the die doesn’t come

into play as often, but you also don’t need the contrivance of a

magical artifact in the story.

USING WRITER’S DICE WITH

STORYTELL ING

GAMES

Storytelling games are a small but growing genre of games. It

is such a new eld that it’s hard to nd a common set of attributes

among them.

The styles of play range from loosely structured competitive

boasting to deliberately paced children’s tales. Some are meant for

kids while others are best suited for the bawdy company of grown-

ups. They all share one key trait: In playing the game, players also

create stories.

This section will shine a spotlight on three games in particular:

The Adventures of Baron Munchausen, in which players each tell

self-aggrandizing tall tales; Happy Birthday, Robot! , in which

players aged 8 and up tell the story of a robot’s birthday a few

words at a time; and Do: Pilgrims of the Flying Temple, in which



PAGE 31


players tell the story of well-meaning travelers causing trouble in

a fantasy universe.

THE EXTRAORDINARY ADVENTURES

OF BARON MUNCHAUSEN

BY JAMES WALLIS

Iron Baron

This variant of regular Munchausen is enjoyed by the savants

of northern Finland during the long winter months when the sun

hibernates in a large cave. After the rst sentence of a player’s story,

he or she must roll a Writer’s Die and continue the story from that

word. Thereafter, each new sentence must begin with another die

roll. The turn continues as normal.

Quick-Draw Baron

Gather at least three Writer’s Dice. Roll all the dice and set

them in the middle of the table where all players can reach. As

the current player tells their story, other players may interject their

own statements by rst grabbing one of the dice and beginning

their interjection with that word. If two or more wish to interject

at the same time, they may engage in gentlemanly sticuffs to settle

the dispute. That, or simply speak in clockwise order, starting from

the current player. When all the dice are gone, the current player’s

turn is over, as is their story.

Too-Many-Dice Baron

Like all well-cultured scholars, you and your fellow players



PAGE 32


may have a trove of Writer’s Dice available. What to do with such

wealth? Fret not, here is a solution for your dilemma. First, gather

as many Writer’s Dice as you can and roll them in the middle of

the table. Then play as normal. Any time you use one of the words

on any of the remaining dice, grab it and keep it for the rest of

the game. This applies even when you are posing a question or

interjecting. When all the dice are gone, the game ends after the

current player nishes their story.

HAPPY BIRTHDAY, ROB OT!

FROM SMART PLAY GAMES

Called Shot Robot

Use Writer’s Dice instead of Robot dice. Before each turn,

decide on which two words you would like to keep. You also decide

which two words each of your neighbors will keep. When your

word comes up in a dice roll, you keep that die. When a neighbor’s

word comes up in a dice roll, he or she keeps that die. The words

on your and your neighbors’ dice are your free words instead of

just AND or BUT.

Left-Right-Center Robot

On your turn, instead of Robot Dice, roll three Writer’s Dice.

You must rst give a die to the player on your left. Then give a die

to the player on your right. Thereafter, you may roll three more

Writer’s Dice again and again. If a result matches a neighbor’s die,

you must give the new die to that neighbor. You may keep rolling

until you wish to stop or until your neighbors get a total of six dice.



PAGE 33


Your neighbors may use their dice results as their free word in their

part of the sentence. For example, your neighbor on your left has

SO and the neighbor on your right has IF. Each time you roll SO,

you must give those dice to the neighbor on your left. Each time

you roll IF, you must give those dice to the neighbor on your right.

Writer’s Dice Pool Robot

Before the game begins, roll a bunch of Writer’s Dice in the

center of the table. Whenever any player uses one of those words,

he or she must collect that die. For the rest of the game, that player

may use this die as a free word just like a coin. However, it is not

considered a coin and cannot be given to another player.

DO: PILGRIMS O F THE FLYING TEMPLE

FROM SMART PLAY GAMES

When the troublemakers come up with a trouble for your

pilgrim, roll as many Writer’s Dice as you have stones. If there are

sets of identical results, choose the largest set. If there are multiple

sets of equal size, you may choose whichever you prefer. The results

of this roll will color your pilgrim’s trouble.

BUT

This is the traditional trouble in Do. Your stated event still

occurs, but leads to a new problem for your pilgrim.



PAGE 34


AND

Your pilgrim gets herself and other pilgrims in trouble. The

number of pilgrims is equal to the size of this set. A one-die set

causes one extra pilgrim to get in trouble, a two-die set causes two

extra pilgrims to get in trouble, and so on. If the size of the set is

greater than the number of pilgrims, disregard any extra dice. I

mean come on, these pilgrims have enough problems as it is.

SO

Your pilgrim inspires locals to follow her example. Naturally,

chaos ensues. The number of people depends on the size of this

set. For a one-die set, your pilgrim inspires one hapless copycat to

directly repeat whatever your pilgrim just did. A Two-dice set, your

pilgrim inspires a small fan club who will follow her around until

she is out of trouble. A three-dice set inspires a worldwide cult to

act and dress like her. A four-dice set creates a long-lasting culture

of personality entirely centered around your pilgrim. Whatever

the scope, all these people following your pilgrim’s example leads

to problems for your pilgrim.

OR

After the troublemakers propose your pilgrim’s trouble, you

may ask for an alternative. If you do so, the troublemakers must

come up with a new trouble. You may request an alternative once

for every die in this set. With each proposal, you may accept or ask

for another as long as you have more dice in the set. You must accept

the proposal if you run out of dice. So if you have a three-dice set,

you would have to accept the Troublemakers’ third proposal.



PAGE 35


AS

This is a great outcome for everyone but your pilgrim. Though

your pilgrim now gets into trouble, the other pilgrims make

headway on their mission. Any player whose pilgrim is in trouble

is now out of trouble. Each player must write how your pilgrim

getting into trouble helped them get out of theirs. Any player

whose pilgrim is not in trouble may write a free sentence in which

she helps another person. In each free sentence, the player may use

one goal word.

IF

Your pilgrim gets into trouble, but you can edit the trouble

after the Troublemakers are done writing it. You do so by changing

or adding words to that trouble. You can change or add one word

for every die in your set. So if you had a four-dice set, you could

change or add up to four words in the trouble.



PAGE 36




PAGE 37

THANKS AND ACKNOWLEDGEMENTS

THANKS AND

acknowledgmentsFirst and foremost, I thank my wife Megan for putting up with

harebrained ideas like these. Thanks, sweetie!

Many thanks to the Story-Games community to whom I rst

pitched this idea. Their suggestions for which words to use were

very valuable.

Thanks to the ne folks at GameStation, who have been very

prompt and communicative during the dice production.

Also thanks to Trey Parker and Matt Stone, whose writing

lesson at NYU inspired the demo video in the Kickstarter campaign.

And, of course, I want to thank all the Kickstarter backers

for making the Writer’s Dice possible in the rst place. Thanks

for your patience during the initial production delays and your

support throughout the process.

COPY EDITORS

Michele Sabatier

Irven Keppen

Charles Little

Ethan Myerson



PAGE 38


Mur Lafferty

Jeremy Tidwell

B. R. Willis

Craig Wayling

Thomas Trinh

Eric Brenders

TERRENCE P J

MICHEAU

Dorian Gray

Frantisek Havluj

Hanna Tolander

Barbara Courtemanche

Zakharov Sawyer

Jack

rezonate

Gerald Yeo

Leading Edge

bjondc

Al Beale

Richard Thurston

Alan Twigg

Kelly Van Campen

Kevin G. Nunn

Marguerite Kenner

Ben Barnett

John Rogers

Kate D

Jason Ramboz

Michael Litzenberger

Fletcher

ayvalentine

A. Lohmeyer

Alexander Kawamura

Owlglass

NOVELISTS ($50+)

STORYTELLERS ($20+)

Ryan Macklin

Jennifer Brozek

Russ Pitts

Jack Gulick James Dillane

Jaclyn Mika

WildElf

Brian Lavelle

Jason Pitre

Nick BateJonathan Campbell

Jennifer Wong

Ewen Cluney

Ira Ham

Rob Donoghue

Josh Renschanonymous

DisOrd3r

Wim Van Acker

Michael Meeker

Eric Leslie

John MehrholzC. W. Marshall

Gwenaël Jacquet

darkliquid

Jared Axelrod

Bruce Abernethy

Jeremy SouthardTim Jensen

Christopher Simmons

Jeremy Friesen

Donald Wheeler

Duane Jeffers

Michael WightChris Tulach

Sean Riedinger



PAGE 39


Amaquieria

Leo Lalande

Matthew C H Winder

Wayne West

Stephen Parkin

Peter Aronson

Wes Price

Anders Smith

Carolyn Koh

David A Wendt

Mick Bradley

Kurt Loy

David Jackson

Amy Houser

Popov Square

HPLustcraft

Joseph Le May

Bruce Turner

Chris reich

Kevin

Josh Crowe

Alexander Williams

kindar

cheryl ack

Bryan Sims

lauke

Tom C

Chad

Johnnyrobo

Carter Stewart

Oliver Granger

Daniel Bayn

Chris Schreiber

Don Campbell

Rasmus Durban Jahr

Martin

John du Bois

Andrew Loch

Al Billings

Marissa Mullins

Brian Q. Kelley

John Clayton

Richard DiTullio

Mark Brown

Melvin

Nikkole palmatier

Caitlin

Dennis D Duquette

pmoore

Matthias Holzinger

Brenda Hovdenes

Eloy Lasanta

Kristina VanHeeswijk

Neal Dalton

Kayote

Brady Forrest

Shawn Ingram

Droogy

Seth Johnson

vigilare

David Nassim

Joseph Blomquist

Josh

Jason Slingerland

jshtww

Eric J. Boyd

Kevin W. Brennan

Shauna

Brendan Adkins

eggdropsoap

Carolyn E. Cooper

Aleksander R.

Nordgarden Rødner

Matt Patt

John Rynne

Jode Toews

Michelle Hood

Mark

Bryan Hansel

Tracy Davis Hurley

Robert Durand

Eric Miller

Guillermo Martinez

Gerhard Lindeque



PAGE 41


Jessica Jobski

wraith808

Benjamin Liska

Christopher Niehoff

arajski

Jae Walker

Charlie Reece

Fred S

Sara Gordon

Dmitry Omelyanenko

nathan

Andrew Robertson

Andrew Dena

Henri Patricio

Keri Orstad

Joseph Louis

Jeremy Ahouse

AirSports

Jon Michaels

Karin Menendez

msabatier

Morelenmir

StevenM

WRITERS ($10+)

Jeremy Kostiew

Lillian Cohen-Moore

Rich Miller

Phil Vecchione

Martin

Deanna

Chris Conway

James Galloway

Julian Tysoe

Corvus Elrod

Kathryn Schnaufer

Sean Rose

Lorenzo Trenti

James Thatcher

Vivid Muse

Jeremy Morgan

Tim Quinn

WorldMaker

Steve Shay

DivNull Productions

Kari F.

Aidin Langford

Jennifer

Kenneth Wieschhoff

Michelle Larson

Stephen Cooke

Sean M Dunstan

AndreasH

Ian Kragh

Justin

Mischa Krilov

James Husum

Saladdin

Dennise Fernandez

Joshua James

James Turnbull

Jeremy Douglass

John Hartinger

Roharris

Sherry D. Ramsey

adam holscher

jvdzwaan

grel

Sasha Albertini

Brian Riley

Traci Lawson

Mark Truman

Josh Mannon

Steve Lawson

Linda Hewitt

Patrick Hawkins

Ferdinand Chan

K8 Davis

Carol Townsend



PAGE 44

LEGALESE

Using Writer’s Dice in Writing and Games by Daniel Solis is

licensed under a Creative Commons Attribution-ShareAlike 3.0

Unported License.

You are free:

to Share — to copy, distribute and transmit the work

to Remix — to adapt the work

to make commercial use of the work

Under the following conditions:

Attribution — You must attribute the work in the manner specied by the author

or licensor (but not in any way that suggests that they endorse you or your

use of the work).

Share Alike — If you alter, transform, or build upon this work, you may distribute

the resulting work only under the same or similar license to this one.

With the understanding that:

Waiver — Any of the above conditions can be waived if you get permission from

the copyright holder.

Public Domain — Where the work or any of its elements is in the public domain

under applicable law, that status is in no way affected by the license.

Other Rights — In no way are any of the following rights affected by the license:

Your fair dealing or fair use rights, or other applicable copyright exceptions and

limitations;

The author’s moral rights;

Rights other persons may have either in the work itself or in how the work is used,

such as publicity or privacy rights.

Notice — For any reuse or distribution, you must make clear to others the license

terms of this work. The best way to do this is with a link to this web page.

http://www.danielsolis.com/

http://creativecommons.org/licenses/by-sa/3.0/






http://www.danielsolis.com/



PAGE 45

License

THE WORK (AS DEFINED BELOW) IS PROVIDED UNDER THE TERMS OF THIS CREATIVECOMMONS PUBLIC LICENSE (“CCPL” OR “LICENSE”). THE WORK IS PROTECTED BY

COPYRIGHT AND/OR OTHER APPLICABLE LAW. ANY USE OF THE WORK OTHER THAN

AS AUTHORIZED UNDER THIS LICENSE OR COPYRIGHT LAW IS PROHIBITED.

BY EXERCISING ANY RIGHTS TO THE WORK PROVIDED HERE, YOU ACCEPT AND

AGREE TO BE BOUND BY THE TERMS OF THIS LICENSE. TO THE EXTENT THIS LICENSE

MAY BE CONSIDERED TO BE A CONTRACT, THE LICENSOR GRANTS YOU THE RIGHTS

CONTAINED HERE IN CONSIDERATION OF YOUR ACCEPTANCE OF SUCH TERMS AND

CONDITIONS.

1. Denitions

a. “Adaptation” means a work based upon the Work, or upon the Work and other pre-existing

works, such as a translation, adaptation, derivative work, arrangement of music or other

alterations of a literary or artistic work, or phonogram or performance and includes

cinematographic adaptations or any other form in which the Work may be recast,

transformed, or adapted including in any form recognizably derived from the original,

except that a work that constitutes a Collection will not be considered an Adaptation for

the purpose of this License. For the avoidance of doubt, where the Work is a musical

work, performance or phonogram, the synchronization of the Work in timed-relation with

a moving image (“synching”) will be considered an Adaptation for the purpose of this

License.

b. “Collection” means a collection of literary or artistic works, such as encyclopedias andanthologies, or performances, phonograms or broadcasts, or other works or subject

matter other than works listed in Section 1(f) below, which, by reason of the selection

and arrangement of their contents, constitute intellectual creations, in which the Work is

included in its entirety in unmodied form along with one or more other contributions,

each constituting separate and independent works in themselves, which together are

assembled into a collective whole. A work that constitutes a Collection will not be

considered an Adaptation (as dened below) for the purposes of this License.

c. “Creative Commons Compatible License” means a license that is listed at http://creativecommons.

org/compatiblelicenses that has been approved by Creative Commons as being essentially

equivalent to this License, including, at a minimum, because that license: (i) contains

terms that have the same purpose, meaning and effect as the License Elements of

this License; and, (ii) explicitly permits the relicensing of adaptations of works madeavailable under that license under this License or a Creative Commons jurisdiction

license with the same License Elements as this License.

d. “Distribute” means to make available to the public the original and copies of the Work or

Adaptation, as appropriate, through sale or other transfer of ownership.

e. “License Elements” means the following high-level license attributes as selected by Licensor and

indicated in the title of this License: Attribution, ShareAlike.

f. “Licensor” means the individual, individuals, entity or entities that offer(s) the Work under the

terms of this License.

g. “Original Author” means, in the case of a literary or artistic work, the individual, individuals,

entity or entities who created the Work or if no individual or entity can be identied,

the publisher; and in addition (i) in the case of a performance the actors, singers,

musicians, dancers, and other persons who act, sing, deliver, declaim, play in, interpretor otherwise perform literary or artistic works or expressions of folklore; (ii) in the case

of a phonogram the producer being the person or legal entity who rst xes the sounds of

a performance or other sounds; and, (iii) in the case of broadcasts, the organization that



PAGE 46

transmits the broadcast.

h. “Work” means the literary and/or artistic work offered under the terms of this License including

without limitation any production in the literary, scientic and artistic domain, whatever

may be the mode or form of its expression including digital form, such as a book,

pamphlet and other writing; a lecture, address, sermon or other work of the same nature;

a dramatic or dramatico-musical work; a choreographic work or entertainment in dumb

show; a musical composition with or without words; a cinematographic work to which

are assimilated works expressed by a process analogous to cinematography; a work of

drawing, painting, architecture, sculpture, engraving or lithography; a photographic work

to which are assimilated works expressed by a process analogous to photography; a work

of applied art; an illustration, map, plan, sketch or three-dimensional work relative to

geography, topography, architecture or science; a performance; a broadcast; a phonogram;

a compilation of data to the extent it is protected as a copyrightable work; or a work

performed by a variety or circus performer to the extent it is not otherwise considered a

literary or artistic work.

i. “You” means an individual or entity exercising rights under this License who has not previously

violated the terms of this License with respect to the Work, or who has received express

permission from the Licensor to exercise rights under this License despite a previous

violation.

j. “Publicly Perform” means to perform public recitations of the Work and to communicate to the

public those public recitations, by any means or process, including by wire or wireless

means or public digital performances; to make available to the public Works in such

a way that members of the public may access these Works from a place and at a place

individually chosen by them; to perform the Work to the public by any means or process

and the communication to the public of the performances of the Work, including by

public digital performance; to broadcast and rebroadcast the Work by any means

including signs, sounds or images.

k. “Reproduce” means to make copies of the Work by any means including without limitation by

sound or visual recordings and the right of xation and reproducing xations of the

Work, including storage of a protected performance or phonogram in digital form or other

electronic medium.

2. Fair Dealing Rights. Nothing in this License is intended to reduce, limit, or restrict any uses free

from copyright or rights arising from limitations or exceptions that are provided for in connection with

the copyright protection under copyright law or other applicable laws.

3. License Grant. Subject to the terms and conditions of this License, Licensor hereby grants You a

worldwide, royalty-free, non-exclusive, perpetual (for the duration of the applicable copyright) license

to exercise the rights in the Work as stated below:

i. to Reproduce the Work, to incorporate the Work into one or more Collections, and toReproduce the Work as incorporated in the Collections;

to create and Reproduce Adaptations provided that any such Adaptation,

including any translation in any medium, takes reasonable steps to clearly

label, demarcate or otherwise identify that changes were made to the original

Work. For example, a translation could be marked “The original work was

translated from English to Spanish,” or a modication could indicate “The

original work has been modied.”;

to Distribute and Publicly Perform the Work including as incorporated in

Collections; and,

to Distribute and Publicly Perform Adaptations.

For the avoidance of doubt:

Non-waivable Compulsory License Schemes. In those jurisdictions in whichthe right to collect royalties through any statutory or compulsory licensing

scheme cannot be waived, the Licensor reserves the exclusive right to

collect such royalties for any exercise by You of the rights granted under this



PAGE 48

party or parties (e.g., a sponsor institute, publishing entity, journal) for attribution (“Attribution

Parties”) in Licensor’s copyright notice, terms of service or by other reasonable means, the name of

such party or parties; (ii) the title of the Work if supplied; (iii) to the extent reasonably practicable,

the URI, if any, that Licensor species to be associated with the Work, unless such URI does not

refer to the copyright notice or licensing information for the Work; and (iv) , consistent with Ssection

3(b), in the case of an Adaptation, a credit identifying the use of the Work in the Adaptation (e.g.,

“French translation of the Work by Original Author,” or “Screenplay based on original Work by

Original Author”). The credit required by this Section 4(c) may be implemented in any reasonable

manner; provided, however, that in the case of a Adaptation or Collection, at a minimum such credit

will appear, if a credit for all contributing authors of the Adaptation or Collection appears, then as

part of these credits and in a manner at least as prominent as the credits for the other contributing

authors. For the avoidance of doubt, You may only use the credit required by this Section for the

purpose of attribution in the manner set out above and, by exercising Your rights under this License,

You may not implicitly or explicitly assert or imply any connection with, sponsorship or endorsement

by the Original Author, Licensor and/or Attribution Parties, as appropriate, of You or Your use of the

Work, without the separate, express prior written permission of the Original Author, Licensor and/or

Attribution Parties.

Except as otherwise agreed in writing by the Licensor or as may be otherwise permitted by applicable

law, if You Reproduce, Distribute or Publicly Perform the Work either by itself or as part of any

Adaptations or Collections, You must not distort, mutilate, modify or take other derogatory action in

relation to the Work which would be prejudicial to the Original Author’s honor or reputation. Licensor

agrees that in those jurisdictions (e.g. Japan), in which any exercise of the right granted in Section

3(b) of this License (the right to make Adaptations) would be deemed to be a distortion, mutilation,

modication or other derogatory action prejudicial to the Original Author’s honor and reputation, the

Licensor will waive or not assert, as appropriate, this Section, to the fullest extent permitted by the

applicable national law, to enable You to reasonably exercise Your right under Section 3(b) of this

License (right to make Adaptations) but not otherwise.

5. Representations, Warranties and Disclaimer

UNLESS OTHERWISE MUTUALLY AGREED TO BY THE PARTIES IN WRITING, LICENSOR

OFFERS THE WORK AS-IS AND MAKES NO REPRESENTATIONS OR WARRANTIES OF

ANY KIND CONCERNING THE WORK, EXPRESS, IMPLIED, STATUTORY OR OTHERWISE,

INCLUDING, WITHOUT LIMITATION, WARRANTIES OF TITLE, MERCHANTIBILITY,

FITNESS FOR A PARTICULAR PURPOSE, NONINFRINGEMENT, OR THE ABSENCE OF

LATENT OR OTHER DEFECTS, ACCURACY, OR THE PRESENCE OF ABSENCE OF ERRORS,

WHETHER OR NOT DISCOVERABLE. SOME JURISDICTIONS DO NOT ALLOW THE

EXCLUSION OF IMPLIED WARRANTIES, SO SUCH EXCLUSION MAY NOT APPLY TO YOU.

6. Limitation on Liability. EXCEPT TO THE EXTENT REQUIRED BY APPLICABLE LAW, IN NO

EVENT WILL LICENSOR BE LIABLE TO YOU ON ANY LEGAL THEORY FOR ANY SPECIAL,INCIDENTAL, CONSEQUENTIAL, PUNITIVE OR EXEMPLARY DAMAGES ARISING OUT OF

THIS LICENSE OR THE USE OF THE WORK, EVEN IF LICENSOR HAS BEEN ADVISED OF

THE POSSIBILITY OF SUCH DAMAGES.

7. Termination

This License and the rights granted hereunder will terminate automatically upon any breach by You of

the terms of this License. Individuals or entities who have received Adaptations or Collections from

You under this License, however, will not have their licenses terminated provided such individuals

or entities remain in full compliance with those licenses. Sections 1, 2, 5, 6, 7, and 8 will survive any

termination of this License.Subject to the above terms and conditions, the license granted here is perpetual (for the duration of the

applicable copyright in the Work). Notwithstanding the above, Licensor reserves the right to release

the Work under different license terms or to stop distributing the Work at any time; provided, however

that any such election will not serve to withdraw this License (or any other license that has been, or is



PAGE 49

required to be, granted under the terms of this License), and this License will continue in full force and

effect unless terminated as stated above.

8. Miscellaneous

a. Each time You Distribute or Publicly Perform the Work or a Collection, the Licensor offers to the

recipient a license to the Work on the same terms and conditions as the license granted to

You under this License.

Each time You Distribute or Publicly Perform an Adaptation, Licensor offers to the

recipient a license to the original Work on the same terms and conditions as the license

granted to You under this License.

If any provision of this License is invalid or unenforceable under applicable law, it shall

not affect the validity or enforceability of the remainder of the terms of this License, and

without further action by the parties to this agreement, such provision shall be reformed

to the minimum extent necessary to make such provision valid and enforceable.

No term or provision of this License shall be deemed waived and no breach consented to

unless such waiver or consent shall be in writing and signed by the party to be chargedwith such waiver or consent.

This License constitutes the entire agreement between the parties with respect to the

Work licensed here. There are no understandings, agreements or representations with

respect to the Work not specied here. Licensor shall not be bound by any additional

provisions that may appear in any communication from You. This License may not be

modied without the mutual written agreement of the Licensor and You.

The rights granted under, and the subject matter referenced, in this License were drafted

utilizing the terminology of the Berne Convention for the Protection of Literary and

Artistic Works (as amended on September 28, 1979), the Rome Convention of 1961, the

WIPO Copyright Treaty of 1996, the WIPO Performances and Phonograms Treaty of

1996 and the Universal Copyright Convention (as revised on July 24, 1971). These rights

and subject matter take effect in the relevant jurisdiction in which the License terms aresought to be enforced according to the corresponding provisions of the implementation

of those treaty provisions in the applicable national law. If the standard suite of rights

granted under applicable copyright law includes additional rights not granted under this

License, such additional rights are deemed to be included in the License; this License is

not intended to restrict the license of any rights under applicable law.



Writer’s

D

THE FIRST OFFICIAL GAME FOR

using writer's dice in writing and games by daniel solis

Documents