Writing an Episode

Once you have a group together, the next step is to write an Episode to be played. In other pen and paper roleplaying games, an Episode might be called a ‘campaign,’ or a ‘chronicle.’ An Episode is a single storyline, possibly spanning multiple game sessions. More than likely, if you’re interested in GM’ing a game of My Little Pony: Roleplaying is Magic, you already have the seed of a story you’d like to play out with a game group in mind. This section will help to teach you the basics of how to write a good Episode based on just such an idea.

Basic Story Structure

The first thing to understand is the basic structure all stories follow. Anyone who has had a creative writing class knows this structure well: Exposition, Rising Action, Climax, Falling Action, Resolution. These five plot points govern almost every area of every story ever written, and your Episode is likely to be no exception. First we’ll explain and summarize each of these plot points, before getting into more advanced narrative concepts.

Exposition

The exposition is the set-up, the introduction, the story ‘hook.’ The exposition establishes how things are at the beginning of the story, and sets the stage for the initial conflicts which will begin the next section. For example: “It is a bright and sunny day, but there is a strange chill in the air, as if winter is coming—except that it is currently the middle of spring. Everypony in Ponyville has bundled up in their beds, and the streets are all but empty.” This is an example of an expository statement (a piece of narration within the exposition).

The exposition ends with the ‘inciting incident,’ or the initial jumping-off point for the conflict(s) of the story. For example: “All of the sudden, a donkey comes galloping up the main street, calling for help—a pack of Tundra Wolves are approaching the town, threatening to freeze everything with their icy breath!”

Rising Action

The rising action is the growth of the story toward its climax; all of the challenges, information, and plot which leads up to the central conflict of the story falls into this category. Often, the rising action is the largest section of a story. For example, the characters’ battle with the Tundra Wolves, then tracking them back into the Everfree Forest, then finding out that they came down from the north because a dragon had driven them out of their home, then the trek into the frozen north to confront the dragon; these are all plot points which fall into the rising action of the example story.

Climax

The climax is the point when the central conflict of the story is confronted. It is typically the crux of the story itself, and its outcome determines the rest of the story; resolving the climax is the point at which the story begins its steep downward slope toward its conclusion. For example, confronting the dragon in the north and convincing it to return to its desert home, is the climax of the example story.

Falling Action

The falling action is the section of the story dealing with the consequences of the climax, and tying up loose ends; it is the ‘clean up’ phase of the story. For example, bringing the Tundra Wolves back to their home in the north, but giving the dragon a big block of ice to make a lake out of in its desert home, is a plot point which falls into the falling action of the example story.

Resolution

The resolution is the ending scene of the story; it concludes the plotline. For example, returning to Ponyville and having a parade through the now sunny and warm streets, is the conclusion of the example story. Sometimes, the resolution also includes an epilogue; a short plot point dealing with the long-term effects of the story, or dealing with its morals.

Advanced Concepts

Understanding the basic structure of a story is all that is strictly needed to turn an idea for an Episode into an Episode to be played, for many GM’s; My Little Pony: Roleplaying is Magic is designed to facilitate improvisation for storytelling, and thus the only thing strictly needed for preparation is an outline of the story the Episode should cover. However, there are some more advanced concepts which can help to make sure an Episode is the best it can be.

Tone

Consider the tone (or ‘feel’) of the story you want to run, and design the plot accordingly. If the tone of the story is frightening and spooky, make sure to note and take advantage of opportunities to play up the elements of situations which can enhance the scariness or tension of the story. Tone is best conveyed with small details and in describing in detail what characters experience with their senses.

Theme

Identify the narrative themes (or messages) behind the story you want to run, and follow them consistently. For example, if one of the themes of your story is that integrity should always be rewarded, then ensure that, as the characters progress through the Episode, the instances in which they show integrity are always rewarded. Often, the themes of a story end up being Lessons at the end of an Episode.

The Hook

It is important to grab the attention of your players right from the beginning; many stories have failed to be as fun and interesting as they could have been simply because the audience wasn’t immediately hooked, and thus couldn’t sustain their interest long enough to get to the ‘good part.’ Develop a good hook, or attention-grabbing element, right at the beginning of the story, and it will connect your players to the story.

No Railroading

With all the preparation and development you are doing for your story, it may be tempting to write it out beforehand, and try to guide (or ‘railroad’) the players down that specific plot path. This is a bad idea, as it limits player freedom to make their characters act however they wish, and makes the players feel as if they do not actually have any control over the story. In general, it is better to build situations instead of conclusions, and adapt them as the Episode progresses.

Know Your Audience

Your story should cater somewhat to your players, taking into account their player archetypes and what they enjoy; while you should not do only what they like, it is a good idea to include elements and aspects which they enjoy into the story and how it progresses.

Battles to Fight

Unlike many pen and paper roleplaying games, My Little Pony: Roleplaying is Magic focuses on story development and narrative preparation more than mechanical preparation, and relies on a GM’s ability to improvise instead. For this reason, it is important to develop what challenges you know the characters will face ahead of time as much as is possible. While this does not mean making character sheets for every enemy, it does mean knowing how many there will be, how they will challenge the characters, and what weaknesses they may have, for example. Developing challenges beforehand will allow you to improvise more consistently, having a clear vision of the scene in mind.

Have a Way Out

Never develop a challenge without developing a solution to that challenge. While the players may not use the solution you developed, they should always have the option to find it. Likewise, do not force players to use your solution; it is better overall for the group to come up with a solution on their own, working together.

Side Quests

It is a good idea to have optional content, or ‘shave,’ in mind for your Episode. While this doesn’t necessarily need to pertain to the main plot of the story, it will give players something to do if they don’t feel like focusing on the main plot—and it could be tied back into the main plot later. For example, while investigating strange claw marks on the side of a building, some of the characters might wander off and find a missing foal, returning it to its mother and father. Later, that mother and father might provide a clue to the beast which made the claw marks the characters are investigating.

Action, Reaction

Keep consequences and rewards always in mind. This will help to add a sense of verisimilitude and reciprocity to the world the Episode is set in. A character who saves someone might be recognized for it later—whereas if they had not saved them, it might impede their progress later. Regardless of exactly how this rule is applied or interpreted, it is vital that for every important action, there is some manner of reaction.

To Be Continued…

Consider whether or not the Episode would work as part of a larger storyline; it is easy to find ways to leave loose ends at the resolution of a story, or to extend certain plot threads, in order to connect an Episode to a subsequent one; finding ways of doing so may provide a sense of continuity which many players enjoy.