Roger Moore
    Editor, DUNGEON Adventures
    TSR, Inc.
    P.O. Box 110
    Lake Geneva WI 53147

The age, sex, race, nationality, ethnic
group, and religion of a person submitting a
module to us make no difference in our
evaluation of that module. If you are under
age 18, your parents or guardians will need
to co-sign certain documents for you, but
that does not prejudice our evaluation. Our
judgment of a module rests solely upon the
quality of the work itself. If you express
yourself well, have good ideas, and can type
well (or know someone who will do it for
you), you have a good chance of seeing
your work in print.

If your idea seems acceptable, you should
receive a reply in a few weeks, along with a
Standard Product Disclosure Form, which
you will need to fill out. When you submit
your completed module, the Standard
Product Disclosure Form should be returned
with it. You may make copies of the
form to submit with other adventures.

Because module evaluation is time-consuming,
and because we cannot guarantee
that our regular working duties will
allow us the time required to check over a
module thoroughly and carefully, we ask
that writers allow us 90 days to go over a
module. If we discover that a module violates
a number of the more important
guidelines given herein (for example, the
manuscript arrives as a poor photocopy on
slick paper, is handwritten, and has a surprising
number of spelling errors and instances
of bad grammar), we will reject the
work immediately without reading it to any
great depth. Writers are strongly advised to
avoid wasting both their time and ours by
adhering to these guidelines and by querying
us by mail when necessary.

Rights and payment
Any module published in DUNGEON
Adventures becomes the sole property of
TSR, Inc., and of DUNGEON Adventures
upon payment to the author for the purchase
of all publication rights. Payments are
made within 30 days after publication of the
module, at a basic rate of $0.04 per word.
Artwork and maps which are of publishable
quality will be purchased at our standard
rates. In almost all cases, however, the maps
and artwork are drawn or redigned by
other artists, and the original artist receives
$100 per full magazine page of maps used.

If two or more persons collaborate to
create a module, please tell us how we
should divide all payments. Also provide
the addresses and Social Security numbers
(for tax purposes) for all those who are to be
paid.

You cannot retain copyright of your
module or of its contents if you wish to sell
it to us; we must purchase all rights to it.
We do not offer royalties on the modules we
purchase; instead, we pay a flat fee. Module
work is considered work for hire, not assigned
work, unless such has been specifically
agreed upon by the editor and the
author. We cannot offer kill fees for most
rejected manuscripts, except for assigned
works.

We do send the author of the module two
free copies of the DUNGEON Adventures
issue containing the published work. Once
published, the author may contact the Acquisitions
Department of TSR, Inc., and
offer his services as a free-lance writer. We
may also contact the author for creating
other game modules for our periodical.

Correspondence
Always enclose a self-addressed, stamped
envelope with your module submission, and
should the module require revisions or be
unsuitable for use, make sure that the envelope
is large enough to hold your entire
module in case we return it to you. Even if
you sent us a photocopy of your adventure
or have your module recorded on computer
diskette, we would prefer to return the
entire module, as we may have noted specific
problem areas in the text itself. We
never respond to a writer who does not
enclose some form of SASE with his manuscript,
and we are under no obligation to
return manuscripts that arrive without
SASEs.

If you wish to be notified of our receipt of
your manuscript, you can either send your
module to us by registered mail or enclose a
self-addressed, stamped postcard with your
module for a quick reply from us. We won?t
be able to inform you immediately as to the
acceptability of your module, but the postcard
will let you know the manuscript arrived
safely.

We cannot assume responsibility for the
transit and safekeeping of any module sent
to us, so it is a good idea to keep one copy
of your module in your possession.



Physical quality of modules
Modules should be sent to us in printed
form, either typed or produced on a word
processor with clear, dark print -- letter
quality is preferred. Print on one side of a
page only, and use clean white sheets of
paper, preferably 8½" x 11" in size. The
lines must be double-spaced to allow editorial
insertions. Small corrections may be
made on the manuscript and maps (i.e.,
correction of a misspelled word or insertion
of a short phrase) so long as the changes are
neatly done, legible, and few in number.

Consider putting a fresh ribbon in your
typewriter or printer before producing the
final version of your module. Also make
sure that the typewriter keys are clean and
that they do not punch holes in the paper.
Do not have the module printed with all the
letters in capitals; nor should you use
Gothic type, calligraphy script, or any other
fancy lettering. We won't even look at
modules that are handwritten in pencil or
pen.

If you send a photocopy of your module
to us, ensure that it is on letter-quality
paper. Slick, excessively gray, or streaked
photocopy paper is not acceptable.

We cannot have modules sent to us by
computer modem or on floppy diskettes.
Send hard copy only.

As a rule of thumb, assume that five
pages of pica-typed, double-spaced material
with 1" margins equals one page of solid
text in DUNGEON Adventures. Because of
the limitations posed by the periodical's
size, keep module submissions to a maximum
length of 60 typed pages. If you wish
to write a longer module (or a series of
modules), query in detail first.

Consistently poor spelling, grammar, and
sentence structure will almost certainly
cause a module to be rejected. Even if you
feel that you have a strong grasp of English
grammar and that your module idea is
good, you should have the module proofread
by at least one other person, preferably
an English teacher or professor. We don?t
insist that manuscripts be perfect, but we
look more favorably upon those which require little editing.

Artwork and maps
A finished module should be accompanied
by all relevant maps and diagrams
needed to complete the adventure. Additional
drawings, sketches, and charts may
be added to clarify various points. Artwork
suggestions may be made, though they
might not be used.

Design maps so you include the title, key,
scale, and compass rose. Try to leave at
least ½? margin on all sides of an 8½" x
11" sheet. Standard formats will allow maps
up to twice this size, but any larger requires
special handling.

Make sure that all artwork sent with the
module is neatly prepared in ink; pencil
sketches are not acceptable. Maps should be
sketched in ink and should be clearly legible.
The map grid (square or hexagonal)
should be clearly marked without obstructing
the map?s legibility. Use a straightedge
to draw the straight lines on your final copy,
and darken solid areas (such as solid rock
around a dungeon complex).

Remember internal consistency when
designing maps. Inhabited areas require
provision for bringing in food, water, light,
and heat, provision for venting of waste
materials, and provision for the inhabitants
to get around easily. Large area maps
should conform fairly well to known geographical
principles ? special cases might
be noted.

Always check your maps against the
finished module text. Make sure you have
described all relevant areas on the maps and
have not mislabeled anything. Have someone
carefully proofread the maps as well as
the text. Don?t let us catch your mistakes
for you.

Module contents
An AD&D or D&D game module should
contain the following elements:

* A description of what sorts of player
characters (classes, levels, races, etc.) would
be best suited for the adventure, the characters
? briefing before the adventure, and
what equipment and special information
they need-or will be given at the mission?s
start;

* A Dungeon Master?s briefing, giving
the background of the adventure ? this
section should be reasonably long and detailed;

* A description of the adventuring environment
with all details relevant to the
adventure supplied
other illustrations);

* Complete information on running the
adventure, including special rules, nonplayer
character statistics and possessions,
possible encounters, information and items
to be discovered, rumors, details on new
magical items, spells, monsters, weapons,
and any other material that would be helpful
to the Dungeon Master or players; and,

* A description of the possible consequences
resulting from the adventure?s
success or failure, including rewards, punishments,
and spin-off adventures for later
gaming sessions.

It is not necessary for an adventure to
include statistics for the player characters
involved, as players usually wish to bring
their own characters. Tournament modules,
however, must include pre-generated player
character information for 4-8 players.

Module settings
AD&D game modules should not be tied
to any one specific game world and should
be easily adaptable to most Dungeon Masters
game campaigns. We ask that module
designers not locate their adventures in the
WORLD OF GREYHAWK? Fantasy Setting and avoid using particular personalities, countries, politics, and so forth that relate directly to that game universe (e.g.,
Mordenkainen, St. Cuthbert, Vecna, etc.).
We will reject modules of this sort without
reading them.

However, we are open to submissions set
in the world of Krynn (the setting for the
DRAGONLANCE? adventures), though
we may insist that the adventure conform to
the particular nature of that world setting.
?The Known World? of the D&D game (as
featured in many of the rule books and
modules for that game) is also open for
further development.

In the final analysis, we would still prefer
to get modules which are not tied to any
game world, as noted above. Most
Dungeon Masters prefer it this way, as they
may drop the adventure directly into their
own game worlds, of whatever design.

We encourage you to read books and see
movies with fantasy themes if you want to
develop an AD&D or D&D module. This
can be excellent for putting you in the mood
for writing your module and catching the
feel of fantasy adventures. However, avoid
using any settings or material extracted
from copyrighted sources. Anne McCaffrey
?s Dragonriders of Pern books, Piers
Anthony?s Xanth series, Robert E. Howard
?s Conan novels, Michael Moorcock?s
Elric series, Katherine Kurtz,?s Deryni
books, J.R.R. Tolkien?s Lord of the Rings
series, and the Cthulhu mythos created by
H.P. Lovecraft ? all are good examples of
material that cannot be used in your module
submission.

Design tips
It is essential that you be completely
familiar with the AD&D and D&D games if
you are designing a module for them. You
may find it helpful to re-read the rules
several times as if you were studying them
for a test. Reading the rules through during
the time you write the module can also be a
help.

It is also essential that writers be completely
aware of the differences between the
AD&D and D&D game systems, which do
not mesh despite their similarities. A dwarf
in the AD&D game is a racial type but not a
character class; in the D&D game, it is
both. These game systems are independent
and have different monsters, magical items,
spells, character classes, and time and
movement scales. Do not confuse them in
your text.

An axiom of module design is that, in
order to write a module, one must study
modules. You are strongly urged to find
copies of modules that have been published
in DRAGON Magazine or by TSR?s games
division and study them closely for content,
presentation, overall design, types of materials
included, map layout and design, and
so forth. Don?t read just one module, either.
Study several of them, discuss them with
your co-designers or friends, and learn from
them. You will also find it useful to read the
other AD&D and D&D game modules
published by TSR, Inc.



Encounters should be described fully
whenever possible. If your module is exceptionally
long or if we need trim it for space,
some specific details on encounters may be
dropped (but let us do that). Make sure no
relevant details of encountered beings are
left out (such as hit points, alignments, or
strength scores). The weapons and equipment
carried by an NPC, along with relevant
personality and reaction notes, should
be given with the first mention of the character
where appropriate. All encounters,
NPCs, hazards, rewards, details on the
environment, and special information required
for combat, altering the environment,
or accomplishing the mission should
be detailed sufficiently to allow the referee
and players to run through the scenario
without trouble.

Illogical adventuring set-ups in which
monsters and treasure are randomly thrown
together should be avoided. This does not
mean one cannot use random encounter
tables, but the tables should be logical and
consistent with the adventuring environ-
ment, making the overall adventure sensible
and believable.

Indoor complexes laid out in perfect
symmetry are boring; use your creativity,
even if the final result isn?t perfect architecture.
Imagine what settings would be most
interesting and exciting for adventurers,
and go with those. Avoid using excessively
large maze areas in dungeons or indoor
areas, as these are boring and dull.

Situations in your module which violate
established AD&D and D&D game rules
should be handled carefully. Certain parts of
the games should not be altered without
extremely good reason (such as the ?to hit?
or saving-throw tables). Other alterations,
such as new monsters, treasures, or society
types, are permissible, but should not be
overused. One may also add new material
to a module, of course, that expands upon
the old rules, such as details on adventuring
in an unusual environment,

Don?t over-reward players or underchallenge
them. We will reject modules in which
mighty fortresses are guarded by weak
guards or in which players can walk off with
diamonds the size of cars. Take the time to
make the rewards consistent and believable
as well as balanced. Conversely, do not
create opponents in an adventure that
would totally overwhelm a party. If you
must use an exceptionally powerful being in
an adventure, there must be a good reason
for it, and it must be carefully handled.

We have few other definite rules about
how a module should be put together for
DUNGEON Adventures. We?re willing to
take a look at any innovative ideas which
involve changes in a module?s structure,
setting, the nature of the adventure, and so
forth. Such innovations should not, however,
interfere with the understanding and
use of the module, and they should enhance
both the module?s playability and the
gamers? enjoyment.

Ideas to explore
Modules that present new magic items,
monsters, weapons, or NPC classes are
valuable, but not so much so as modules
which present a fast-paced, exciting, enjoyable
adventure. Avoid introducing more
than four new things in an adventure. If
you create something new for the game,
make sure that its presence in the module is
justified, that it is fully explained in terms
of its effects in the game, and that it is
reasonable and fits in with the game rules.

We would be interested in seeing tournament
modules, solo modules, modules
designed for special groups of player characters,
and any other unique adventures, but
our basic interest is in modules which can
be used by the widest number of gamers,
using a broad mix of character types and
equipment. If we get too many modules of a
particular type (such as solo modules), we
may refuse to accept any new such modules
for a certain period of time.

As noted above, short adventures or
encounters are being sought which can be
easily dropped into an evening?s game time.
Unusual monster lairs, city encounters, and
small ruins may be presented, but each
should also be unique, interesting, and
detailed.

A series of modules is another matter.
Please check with us before starting any
extended series. The ground rules are:

1. Each installment must stand alone;

2. Each installment must be consistent
with the others in plot line, detail, and
writing style;

3. For preplanned epic quests, we would
want the whole thing in hand before we
evaluate the whole.

Unusual natural environments should be
explored (but avoid using the Outer Planes
for now). Modules that detail unusual fantasy
cities (underground dwarven enclaves,
elven forest towns, undersea cities, etc.)
would also be appreciated, though human
cities are very welcome if they are unique in
some manner. Good city adventures are
hard to acquire.

The most important thing in a module is
the hardest thing to define. Look at your
module as if it were a movie script. Would
you want to see a film like this? Would it
keep you on the edge of your seat? The best
modules entertain and challenge gamers,
giving them something to remember

Ideas to avoid
Avoid stereotyped, cliche-ridden material.
Do not have your character party rescue
someone?s kidnapped daughter, meet any
real-life personality, or race against time to
save the entire planet from a horde of demons
coming out of the Abyss. The latter
concept (with all of its variations) is not only
trite but openly destructive to game campaign
continuity.

High-level adventures should have the
balance of the game kept in perspective and
should challenge the players without damaging
the referee?s world set-up. Adventures
tailored for the killing of deities or the saving
or ruining of worlds are not likely to be
accepted.

Tastelessness should be strictly avoided.
Do not write adventures involving the destruction
of children and helpless persons,
excessive gore or violence, descriptions of
Satan or Satanism, or game versions of
major Christian, Jewish, or Moslem religious
figures. Explicit sex, the encouragement
of drug abuse, offensive language,
and bathroom humor cannot be used. We
have a responsibility to keep our material
exciting but inoffensive.

Do not use non-player characters (NPCs)
to help the player characters excessively.
NPCs who step in and eliminate all opposition
to the player characters, accomplish
their goals for them, and generally do everything
the players want or need from the
adventure are very dangerous to campaigns;
boredom sets in at once. Set up the
adventure to challenge the players and let
them make it or break it on their own.

Avoid game hybrids and crossed campaigns;
don?t have your AD&D game char-
acters find a way into GAMMA WORLD®,
STAR FRONTIERS®, or TOP SECRET®
game settings. This can lead to horrible
problems in campaign balancing. Characters
from the AD&D game may enter other
magical areas with different physical laws,
but these should be independent of other
game systems.

Specific formats
Tables should be constructed so they are
independent of the text. This lets us shift
them around as needed to fit the pages
available. For large tables, we can use
scribing (lines) or screening (shaded areas)
to make the table more readable.

Use numerals and spell out inches, feet,
yards, etc., to indicate depth, height,
length, and width. Hyphenate adjectival
forms before nouns (e.g., the 10?-tall, redhaired
hill giant). Use quotation marks to
indicate inches when referring to scale
inches. Use an apostrophe to indicate feet
and quotation marks to indicate real inches
only in very technical contexts. Be clear as
to whether inches are scale inches or real
inches.

Single-digit numbers (zero through nine)
are spelled out. Larger numbers are written
as numerals. Never start a sentence with
numerals.

Abbreviations of D&D and AD&D terms
usually use all capital letters and no periods
(DM, NPC, HD). The abbreviations for hit
points and for coins use lowercase letters
(hp, gp, sp).

Numerals are used to identify character
levels (e.g., 4th level, not fourth level).
When preceding a noun, a level should be
hyphenated (e.g., 2nd-level illusionist, the
illusionist is 2nd level).

The names of magical items should be
underlined in the module you submit; they
will be written in italic type in the final text.
Capital letters are used only if the name of
the magical item includes a proper noun.
All plusses are listed after the description of
the item. Because the format for magical
items varies slightly according to the item?s
type, typical examples are given here: a
broadsword +1, chainmail +2, a potion of
healing, a magic-user scroll with dispel
magic and Tenser?s floating disc, a ring of
protection +2, and the Wand of Orcus.

The abbreviations for gold piece, silver
piece, copper piece, etc., have no periods
(cp, sp, ep, gp, pp). Any amount of money
over 999 should have a comma separating
the thousands from the hundreds. A space
should be left between the amount of treasure
and the coin abbreviation (e.g., 1,500
gp).

List jewels in order of descending value.
If there is more than one with the same
value, note how many there are in parentheses
after the value. Example: There are
five gems in the sack, values 500 gp, 400
gp, 300 gp ( x 2) and 50 gp.

When AD&D monster encounters are
described in text, the listing should use the
following format: monster name (AC #;
MV #?; HD #; hp #; #AT #; Dmg #-#/#-#;
other notes). For example: three ghouls (AC
6; MV 9?; HD 2; hp 10, 7, 5; #AT 3; Dmg
1-3/1-3/1-6; SA paralyzation) and Lars
Longtooth (AC 2; MV 9?; F8; hp 52; #AT
3/2 at +2; Dmg 1-8 + 2; S 17, 19, W 10,
D 16, C 15, Ch 13; longsword +1, chain
mail +2 and shield, longbow). Note the use
of an abbreviated class and level in the
latter example.

When D&D monster encounters are
described in text, the listing should use the
following format: monster name (AC #;
HD #; hp #; #AT #; Dmg #-#; MV # ?;
Save #; ML #; AL _). For example: one
orc (AC 6; HD 1; hp 6; #AT 1; Dmg 1-6;
Save: F1; ML 8; AL C).

The names of spells or spell-like effects
are italicized when they appear in the final
text, and should be underlined in your
module submission. The names of spells
always are written in lowercase type. Capital
letters are used only if the spell name
includes a proper noun. Spell levels are
written out (third level, not 3rd level).

Note that a character is a false personality
created for the game. A player is someone
who plays the game. Do not confuse the two
in your text.

Playtesting submissions
We recommend the module be playtested
before completing a final draft. Playtester
comments, good and bad, should be written
down during play as they occur. Problems
should be thrashed out after the session; it is
important to keep the game going.

The best testing is done by an inexperienced
DM and group who try to play from
the manuscript without help. The designer
should be present taking notes, but should
not help the testers over the rough spots.
There is no better way to find the holes in
your design. Experienced players are a good
way to find rule inconsistencies, but they
may gloss over really basic aspects of play
or assume local house rules or playing
styles, thereby missing some problems. The
least efficient method of testing is for the
designer to run it. A designer tends to mentally
fill in the design holes, especially with
regard to games mechanics and encounter
staging.

* check if complete