There are wargamers with great designs who need assistance in transferring them to the printed page. This article is for them. In suggesting methods, I will speak only from my personal experience. I do not insist there is a best way to do this, nor do I slavishly follow my own advice. There are as many methods as there are fine designers, but none of this is helpful if you don't know how to begin. Here are a few guidelines.

If I could make only one recommendation regarding game design it is this: do it to please yourself. Properly used advice is essential. But if you begin with the aim of writing a "popular" ruleset based on current trends, you are more likely to disappoint both yourself and your intended market. I believe it is far better to write your truths. For example, there is currently a trend towards simple game mechanics. There is a designer who, knowing this, has produced a game of great originality but equally great complexity. Although his design approach differs from mine, he has stuck to his vision and I admire him for that. But enough on design. Unless you plan to produce new rules editions, you will live with your product for a long time. That's why quality writing is second in importance only to your game concepts. But for many authors, writing is the single toughest aspect of game design.

RULES WRITING - THE TRENCHES

This is where many designers retreat. Just dig in and bear with me. The principal law of rules-writing is that the author doesn't come in the box. All other considerations are subordinate to, and flow from, that concept. No wargame, no matter how conceptually brilliant or graphically enhanced, should succeed if the rules are poorly communicated. There are exceptions to this, but I'm speaking here about a general concept and an ideal goal. Given the operational possibilities in a moderately complex miniatures game, the instructions will demand a greater degree of clarity, and detail than that required for many other forms of writing. If these factors are ignored a reader will be seized by ambiguity and frustration. I've often looked back at my paragraphs which I thought were clear - and winced.

The best we can all hope for is to improve steadily. The best way to accomplish this is to begin writing any way you can, and mobilize your proofreading crews. I write better now than I did six years ago; you will improve with practice also. Good writing requires rewriting, but to avoid unecessary rewriting, playtest your new game from quick reference sheets until the mechanics begin to take form, then start writing the mechanics.

If your game emphasizes historical tactics, think of your rules as a thesis in which each section provides a supporting argument. In this sense, rules writing is no different than other forms of writing. When beginning a project, designers sometimes write their introductions first and let that "spirit" guide their copy. Because concepts often change during writing, I write the introduction last, in accordance with the final product. One way to begin writing your mechanics is to study a table of contents in a ruleset you think is well written; the time period covered is irrelevant. Then, create sections and sub sections that you can anticipate will be in your rules; you now have a working outline. Naturally, sections may need to be added or deleted as your game develops. This method permits you to "plug-in" copy at any point; if you wish to begin with the melee section, charge into it. For this article, I began with the section you are reading now.

You may also wish to study a ruleset for the sequencing of its information. Note which information precedes (or should precede) others. Here, as you unfold each individual concept, it is advisable to start at the beginning, noting that the beginning may often be earlier than you think. In editing rules, I find that I often shift information back to the head of a section. If you own a word processor this can be handled easily.

Begin a particular section by stating in short, declarative sentences what each rule permits. Finish the section with prohibitions and exceptions to those rules. For key concepts, it is helpful to preface the section with a more general commentary - this establishes a "tactical" tone. A well-written game has consistent tones which can guide rule interpretations, even when your wording is not as precise as it could be. Key mechanics need to be cross-referenced and repeated in appropriate sections. If, for example, your rules do not permit movement and firing, this should be stated in both the movement and firing sections. Later, I list several helpful and entertaining books which teach the essentials of grammar and style far better than I could. These books are used by professional writers in many fields.

PLAYTESTING, EDITING AND EDITING

Like many other designers, you probably have a small clique of guys who never read your rules because they rely on you to instruct them verbally. This is the dreaded, but necessary, oral tradition. Once the locals have worked the game (and you) over, and you've been playing steadily without much change, it's time to send your rules to a new club. You must do this if your game is to mature. Finding people to playtest and proofread isn't difficult because many gamers enjoy contributing to a new project. Just make sure to credit them when the game is finished. Conventions are good places to invite playtesters. Otherwise, you can take out a small ad in The Courier and plead for help.

When considering the importance of good playtesters and proofreaders I often recall a statement by the German captain in the movie Das Boot: "You've got to have good men." Writing rules is like writing the law - only tougher. This is why lawyers, editors, and technical writers make wonderful proofreaders. A rules lawyer is really doing only what the rules suggest that he may do; he is the sort of person you want to read your rules.

Once you've assembled your playtest teams, supply each with a clean rules set and then forbid questions via phone. Sometimes you'll need to change a rule and organize a design session, but avoid the oral tradition whenever possible. You may become frustrated with supplying continual updates. You must endure. Send a new copy out once a month after the old copies are returned to you already marked-up. You must set an endpoint for playtesting and proofreading, or your work will never finish. Major conventions serve as good target dates.

PRODUCTION QUALITY

Books like TACTICA and Fire & Fury have influenced the graphic design of many subsequent games. Though I still prefer to include some color in my work, there is no need for you to do so. Well organized and designed books can look great without color, and save lots of money. If a publisher buys your rules, the production quality will be adjusted according to their budget constraints, so don't design yourself into a corner. Large gaming companies will handle the graphics, which if you don't have an art background, is probably a merciful solution.

If you must go it alone, for your first game, I recommend avoiding any design that requires a box, color, or glossy paper. You'll find out why when you get printing quotes for these items. If you have design capability (computers, etc.) but lack art experience, examine any rules set or instruction manual that is easily read and impresses you visually. Look for how the space is handled and how the reader is guided through the text. IIlustrations that clarify your text are important. It is better to include simple, but clear, drawings of essential examples than it is to omit them because you are not a Da Vinci. Only you and your playtest crews know how many illustrations are essential.

GETTING PUBLISHED - THE SIEGE

If it weren't for Dave Waxtel of Quantum Printing, many games would never have seen the outside of a small gaming club. Because Dave plays in my club, he asked me to let him publish TACTICA and later the other games. Such a publisher/author relationship is uncommon. But neither of us has had reason to regret our decisions. Still, both of us have spilled much blood - most imaginary the rest potentially real - during production crunches. Mixed with the joy of publishing will be the anguish of production and printing.

The first question to ask yourself is: does getting your rules published matter? If it really does not, you have spared yourself the aforementioned joy and anguish. Of course, completing a ruleset for local use is a great triumph too. For my part, each book I produce is always my last, except that I always change my mind. Now that I have run out of periods that I love, I won't write any more games - I think.

Publishers or financial backers have different reasons for buying rules sets. Some want rules to help sell their figure and product lines. Others just sell the games. They all buy because they believe they can make money with your product. If publishers like Dave Waxtel don't come knocking at your door, you'll need to find others. This is best done by letting them know in a query letter that you have a product they might like. The query should be brief, informative and tailored to the specific needs of the publisher. All the fancy copy detailing the innovative nature of your wonderful mega-simulation will be ignored, unless you can state convincingly why you think your game should be bought by that particular publisher. If you wish to solicit buyers personally at a convention, it is advisable to do so outside the gaming area and before Happy Hour. Rehearse your speech and ask; the worst they can say is no. If they say yes, don't quit your regular job.

The miniatures gaming hobby is comparatively small. Most authors could probably make more money cleaning windows for quarters at street intersections than they can producing rules sets. There are exceptions, but don't count on being one of them, at least not right away. Working with a private company is often more lucrative than going with a large design firm because there's more room to negotiate your deals. The big boys have greater distribution networks, but less flexible notions of what constitutes fair author payment. Their prestige gives them considerable leverage over new designers who are willing to undersell themselves just to get published. The types of contracts vary tremendously, from outright purchase, to commission only deals, or a combination of both. Once you sell your game, you usually surrencler all rights to that edition, and lose control of how your product will be marketed and advertised. Be careful, and make certain both parties understand precisely the nature of the agreement.

OK ITS PUBLISHED. NOW WHAT?

Murphy's law is never more thoroughly mobilized than when applied against a game designer. Be assured that errors, whether typographic or conceptual, will appear like gremlins in your final product. When the inevitable occurs. suppress the instinct to grab edged weapons. If caught while in the blueprint stage of printing ("the blues" are blue copies of your rules made prior to printing:), most changes can be made. If you find problems after printing - go for an edged weapon and use it accordingly. Actually, if the corrections are few an errata page can be added. Include an address where gamers can write and ask questions. You may request a SASE to facilitate rapid response. If you self-publish, you may need lots of storage space and spare time to track money from late-paying distributors.

CRITICISM-FACING THE VOLLEYS

I spoke with Dick Bryant recently about game design. He said, and I'm paraphrasing here: "If God came down and handed us the definitive set of Napoleonic rules there would be those who loved them and those who thought they were crap, so don't worry too much about what people think." Dick's admonition brings me to the next point - handling criticism - especially that crappy kind. I must state up front that I have not mastered this skill. I'm certain I never will. But it would be negligent of me to ignore such a fundamental and sensitive issue, and so I will speak only from experience gained personally.

Our hobby is rooted in history, much of it very old. Therefore, historical theory is often interprative and game simulation is always so. This gives designers flexibility in their games. It can also breed intolerance of new ideas. Gamers will find many reasons to love your rules and just as many to hate them. The former feels good; the latter does not. The rights or wrongs of printed rebuttal are often filtered through those feelings. When objectivity is possible for a designer, he may draw lessons from sensible criticisms. When this motivates him to make improvements in his future products, the hobby benefits, whether or not the original objective for the criticism was to offer aid.

In our hobby, and in many other fields where ideas hold prominence, there are mudslingers who are threatened by anything new. Sometimes the threat is felt as economic other times the threat is in having to share attention with newcomers. Thankfully, those who attack from fear are the most patently obvious in their methods and can therefore be dealt with easily. This is not to say that their criticisms hurt any less. Your principal tactics when considering a response are: when to reply; which arguments to respond to; and what tone to take. There are many letters to which you should respond, and a lively exchange can be beneficial. But most criticism should not require any acknowledgement, especially the toxic kind. Global response means that you will be investing more time in rebuttal than the criticisms are worth. As to tone, I have found inspiration from Henry V, who in response to the abusive jests of the Dauphin was, "modest in exception and terrible in constant resolution. "

ENDGAME

The hobby is best served by continual expansion. Nostalgia and costs aside, the quality of today's games are infinitely superior to those of twenty years ago and will no doubt be better twenty years from now. One caveat. With game design, what formerly were just games now become playtest sessions, and you may find that you've irrevocably crossed over the dividing line between pure player and creator. Hopefully this will not stop you from playing and just having fun. I have found that since I am the one who now creates "the ghost in the machine," much of the mystery is gone from the playing experience for me. In retrospect, I suppose this was inevitable. But the experience has been terrific and I hope it is for you too.

REFERENCE

The Elements of Style; Strunk and White, 3rd edition; Macmillan Publishing, NY 1979. The little bible.

On Writing Well; William Zinsser, 4th or 5th edition; Harper Collins, NY, 1990. A brilliant work. This will improve all your non-fiction writing.

The Careful Writer; A Modern Guide to English Usage. Theodore Bernstein, Macmillan Publishing, NY 1977. A good auxiliary to the other books.