DM's on the fly descriptive skills

This is something I'd like to have more resources on as well.

Need a trove on this

improv and creativity, ez

Improvised descriptions, or anything really, will only get better if you practice them. One exorcise is to have someone tell you the basic mood and description of a set(i.e. a cell in a keeps dungeon with a noticeably dark atmosphere), then picture that setting and try and decide different descriptives that aid the mood/atmosphere. Being that word choice is a very important tool to this a thesaurus and what not are superbly helpful.

Find a local Drama club. It will expand your vocabulary and improve your everyday sentence structure.

You know what's horrible? I think I do much better at improvised descriptions vs lightly planned descriptions. Like if I don't write out some sentences that an NPC should say then I might as well not write the encounter because light planning fucks me up for some reason.

>>54967818
Why would you subjugate yourself to those people though?

When describing I like to try and cover off senses like touch, smell, etc. I find little details like a gentle breeze or the smell of greasy smoke coming from a torch help with atmosphere.

i have huge problems with speaking in a characters 'voice' so I more describe what they say, rather than actually saying it.

I am not a natural actor.

>>54967893
Like you're really any better?

>>54968007
>When describing I like to try and cover off senses like touch, smell, etc. I find little details like a gentle breeze or the smell of greasy smoke coming from a torch help with atmosphere.
Totaly agree. I try to do that but I forget way to often.
I hate it when the players go "oh right, it is snowing here", if I do the job properly they should be shivering.

If this instigated as much interest as osr/pdf/dnd sucks meme threads we would be going somewhere...

This is just what I've found, but for me, a good description has three sections: the key feature, the flavour, and the call to action.

The key feature is essentially the main takeaway that you want your players to understand about what you're describing. Theoretically, you should be able to end your description here and get on with your game. It can even be incredibly simple as "you enter a busy tavern." I find the simpler the better here, since even the most inattentive/retarded of players will still be able to keep in the loop that way.

The flavour is where all of your creative writing classes go. Here's where you fill in the sights, sounds, smells and other senses of the scene/location/object/etc. These descriptions come with practice of course, but an easy thing to keep in mind here is to describe actions more than static statements (this is part of the old "show don't tell adage"). For example, instead of: "the tavern is noisy at this time of day," go with "obnoxious and clearly inebriated customers bang on their tables demanding service, while a rowdy group of Dwarves clap each other on the back, bawling an old drinking song."

Finally, you need the call to action. This is where you let your players know that your description has ended, and they are free to start exploring the scene you've set up. It's as easy as: "as you take in the chaos, a frazzled barmaid pushes her way through to greet you." I find the call to action makes a huge difference in the rhythm of a game and smooths out the transition between story and gameplay.

Now, this is just a structure to follow, but I find half of any good writing is structure.

>>54968737
Also, try to avoid physical specifics like "there are three tables in the room, each 5 feet apart and parallel to the east wall." Trying to paint a mental picture is extremely difficult, and most players will lose the thread by the third line of description. The only time when you may want to do it, is in a very investigation heavy room where you have specific locations for things to be, and even then, you should probably just draw a map in that situation rather than sticking with theatre of the mind.

There's a Steven King book about how to write, and he says that the way he writes a scene is to pick three or four of the most important details, that really give a good feel as to the mood of the scene. Picking which details are the most important is what he's worked on for decades.

On Writing: A Memoir of the Craft by Stephen King

>>54967223

The structure of your description should vary depending on the situation.
If it's not urgent or chaotic, pretty much >>54968737

In sudden combat, ambushes or difficult to understand situations, I prefer to go with:
1. The sense first affected. Usually this is sight, but a rock concert is going to be sound and a sewer will be smell.
The feeling each sense gives is tied to the atmosphere. Sight usually invites to awe or action. Smell tends to unnerve and alert you. Sharp, short sounds tell you someone or something is near. Longer, repeated sounds are an obvious call.
"The air is heavy with a sweet, rotting smell.."
"Flashes of light stab your eyes!"
"A single low note reverberates throughout the ancient woodwork.."

2. The impression. This isn't what's *actually* happening, just what you can make out in the first second. Usually it's to give the texture of the scene.
"...the darkness shrinks back from your meager light, small things scurrying away on too many feet..."
"Laserbolts fly off from every direction, broken jetpacks careen their dead users around as the breach safety crashes down"
"...and in the moment of silence following the night holds it's breath, only for the noise to start again."

3. What someone quick on the take would figure out.
"A thing crouches just beyond the lantern light, it's eyes watching you with pure hatred."
"Looks like they're trying to take the generator room but the auto-turrets are holding".
"The girls floats above the bed, the too-deep moan contorting her as it emerges. The shadows seem darker."