Freelance writer Monica Valentinelli (whose upcoming work includes the Tales of the Seven Dogs Society, a novella based on the Abstract Nova game Aletheia) has dedicated her blog recently to writing about game fiction.

Monica has covered audience, theme, and plot to highlight many of the challenges that well-loved and small press games have when writing and publishing fiction. Check out Words on the Water for these articles.

Great for writers and game designers, I’ve never come across a more thorough and massive work detailing creatures so rare you may not recognize them. There are two, other books in the series entitled, The Element Encyclopedia of 5000 Spells and The Element Encyclopedia of Witchcraft. If either of those two books are as down-to-earth and fact-filled as this one, I wouldn’t hesitate to buy either one to add substance to my fantasy stories.

Horror-genre lovers (like you and me) can’t resist sharing our love of the macabre. If we tell our friends about a dog of a film, they probably won’t go to see it. How then do we write a film review that finds the happy medium between gushing over the latest hit and bashing that worthless dud?

While the day may seem just like any other day, several people are hoping you’ll remember June 6, 2006, the so-called “number of the beast,” by doing something a little hellish, and maybe picking up an item or two along the way.

These days almost everyone with a home computer at some point or another wants to be a writer. As a consequence the fiction market has been flooded with new authors: some good, some bad. But what makes a piece of fiction “bad”? How does the average reader know what’s worthwhile to read and what isn’t?

The purpose of a review is to provide readers with enough information to decide whether they would like to spend their time or money on reading the book, watching the film or, in our case, playing the game. Whether or not the reviewer enjoys or is enthused by the game is of less importance. The reader must come first.

Plenty of articles deal with setting the mood for a horror RPG. As a result, I’m not going to tackle that topic. Instead, I’d like to talk about plot devices that, when in operation at a level of generality above specific mood elements, set the stage for creating a truly horrific RPG.