Kara of the Silver Hair's page

Standard adventurer's gear, Entertainer's Outfit, Golembane Scarab, 20 arrows, Deck of Illusions, Bead of Force, Four Day's of Trail Rations, Climber's Kit, 50ft of Silk Rope. 161gp.

Lv0: Dancing Lights, Ghost Sound, Prestidigitation, Open/Close, Flare, Message
Lv1: Cure Light Wounds(1d8+5), Featherfall, Grease, Ventriloquism, Expeditious Retreat
Lv2: Silence, Tongues, Herosim, Mirror Image(1d4+2)
Lv3: Phantom Steed, Displacement, Dispel Magic

Bardic Knowledge (Ex): A bard adds half his class level (minimum 1) to all Knowledge skill checks and may make all Knowledge skill checks untrained.
Bardic Performance: A bard is trained to use the Perform skill to create magical effects on those around him, including himself if desired. He can use this ability for a number of rounds per day equal to 4 + his Charisma modifier. At each level after 1st a bard can use bardic performance for 2 additional rounds per day. Each round, the bard can produce any one of the types of bardic performance that he has mastered, as indicated by his level.
Starting a bardic performance is a standard action, but it can be maintained each round as a free action. Changing a bardic performance from one effect to another requires the bard to stop the previous performance and start a new one as a standard action. A bardic performance cannot be disrupted, but it ends immediately if the bard is killed, paralyzed, stunned, knocked unconscious, or otherwise prevented from taking a free action to maintain it each round. A bard cannot have more than one bardic performance in effect at one time.
At 7th level, a bard can start a bardic performance as a move action instead of a standard action. At 13th level, a bard can start a bardic performance as a swift action.
Each bardic performance has audible components, visual components, or both.
If a bardic performance has audible components, the targets must be able to hear the bard for the performance to have any effect, and such performances are language dependent. A deaf bard has a 20% chance to fail when attempting to use a bardic performance with an audible component. If he fails this check, the attempt still counts against his daily limit. Deaf creatures are immune to bardic performances with audible components.
If a bardic performance has a visual component, the targets must have line of sight to the bard for the performance to have any effect. A blind bard has a 50% chance to fail when attempting to use a bardic performance with a visual component. If he fails this check, the attempt still counts against his daily limit. Blind creatures are immune to bardic performances with visual components.
Countersong (Su): At 1st level, a bard learns to counter magic effects that depend on sound (but not spells that have verbal components). Each round of the countersong he makes a Perform (keyboard, percussion, wind, string, or sing) skill check. Any creature within 30 feet of the bard (including the bard himself) that is affected by a sonic or language-dependent magical attack may use the bard's Perform check result in place of its saving throw if, after the saving throw is rolled, the Perform check result proves to be higher. If a creature within range of the countersong is already under the effect of a noninstantaneous sonic or language-dependent magical attack, it gains another saving throw against the effect each round it hears the countersong, but it must use the bard's Perform skill check result for the save. Countersong does not work on effects that don't allow saves. Countersong relies on audible components.
Distraction (Su): At 1st level, a bard can use his performance to counter magic effects that depend on sight. Each round of the distraction, he makes a Perform (act, comedy, dance, or oratory) skill check. Any creature within 30 feet of the bard (including the bard himself) that is affected by an illusion (pattern) or illusion (figment) magical attack may use the bard's Perform check result in place of its saving throw if, after the saving throw is rolled, the Perform skill check proves to be higher. If a creature within range of the distraction is already under the effect of a noninstantaneous illusion (pattern) or illusion (figment) magical attack, it gains another saving throw against the effect each round it sees the distraction, but it must use the bard's Perform skill check result for the save. Distraction does not work on effects that don't allow saves. Distraction relies on visual components.
Fascinate (Su): At 1st level, a bard can use his performance to cause one or more creatures to become fascinated with him. Each creature to be fascinated must be within 90 feet, able to see and hear the bard, and capable of paying attention to him. The bard must also be able to see the creatures affected. The distraction of a nearby combat or other dangers prevents this ability from working. For every three levels the bard has attained beyond 1st, he can target one additional creature with this ability.
Each creature within range receives a Will save (DC 10 + 1/2 the bard's level + the bard's Cha modifier) to negate the effect. If a creature's saving throw succeeds, the bard cannot attempt to fascinate that creature again for 24 hours. If its saving throw fails, the creature sits quietly and observes the performance for as long as the bard continues to maintain it. While fascinated, a target takes a –4 penalty on all skill checks made as reactions, such as Perception checks. Any potential threat to the target allows the target to make a new saving throw against the effect. Any obvious threat, such as someone drawing a weapon, casting a spell, or aiming a weapon at the target, automatically breaks the effect.
Fascinate is an enchantment (compulsion), mind-affecting ability. Fascinate relies on audible and visual components in order to function.
Inspire Courage (Su): A 1st-level bard can use his performance to inspire courage in his allies (including himself), bolstering them against fear and improving their combat abilities. To be affected, an ally must be able to perceive the bard's performance. An affected ally receives a +1 morale bonus on saving throws against charm and fear effects and a +1 competence bonus on attack and weapon damage rolls. At 5th level, and every six bard levels thereafter, this bonus increases by +1, to a maximum of +4 at 17th level. Inspire courage is a mind-affecting ability. Inspire courage can use audible or visual components. The bard must choose which component to use when starting his performance.
Inspire Competence (Su): A bard of 3rd level or higher can use his performance to help an ally succeed at a task. That ally must be within 30 feet and be able to hear the bard. The ally gets a +2 competence bonus on skill checks with a particular skill as long as she continues to hear the bard's performance. This bonus increases by +1 for every four levels the bard has attained beyond 3rd (+3 at 7th, +4 at 11th, +5 at 15th, and +6 at 19th). Certain uses of this ability are infeasible, such as Stealth, and may be disallowed at the GM's discretion. A bard can't inspire competence in himself. Inspire competence relies on audible components.

Blood of Dragons: A dragon disciple adds his level to his sorcerer levels when determining the powers gained from his bloodline. If the dragon disciple does not have levels of sorcerer, he instead gains bloodline powers of the draconic bloodline, using his dragon disciple level as his sorcerer level to determine the bonuses gained. He must choose a dragon type upon gaining his first level in this class and that type must be the same as his sorcerer type. This ability does not grant bonus spells to a sorcerer unless he possesses spell slots of an appropriate level. Such bonus spells are automatically granted if the sorcerer gains spell slots of the spell's level.
Natural Armor Increase (Ex): As his skin thickens, a dragon disciple takes on more and more of his progenitor's physical aspect. At 1st, 4th, and 7th level, a dragon disciple gains an increase to the character's existing natural armor (if any), as indicated on Table: Dragon Disciple. These armor bonuses stack.
Ability Boost (Ex): As a dragon disciple gains levels in this prestige class, his ability scores increase as noted on Table: Dragon Disciple. These increases stack and are gained as if through level advancement.
Bloodline Feat: Upon reaching 2nd level, and every three levels thereafter, a dragon disciple receives one bonus feat, chosen from the draconic bloodline's bonus feat list.
Dragon Bite (Ex): At 2nd level, whenever the dragon disciple uses his bloodline to grow claws, he also gains a bite attack. This natural attack is made at the dragon disciple's full base attack bonus. The dragon disciple adds 1–1/2 times his Strength modifier on damage rolls made with his bite. Upon reaching 6th level, this bite also deals 1d6 points of energy damage. The type of damage dealt is determined by the dragon disciple's bloodline.
Breath Weapon (Su): At 3rd level, a dragon disciple gains the breath weapon bloodline power, even if his level does not yet grant that power. Once his level is high enough to grant this ability through the bloodline, the dragon disciple gains an additional use of his breath weapon each day. Cold, 30ft cone.

Kara was the only daughter of a large halfling family in Highmoon. Kara's parent's raised her well, and tried to teach her wizardry so she could be 'successful', in their eyes at least. While she excelled in her studies of knowledge, she couldn't seem to grasp the intricate mental and physical ability needed to cast wizardly spells. Eventually, her parents gave up on the idea of their daughter being a mighty wizard, and made plans to send her to the local authority's training school. She lasted a week before she ran away to Dagger Falls. On her own for the first time, Kara didn't know what to do, and survived doing odd jobs for anyone who'd let her. One day, while returning to the small broken down building she called home, Kara heard a hauntingly beautiful group of voices. Choosing to investigate, she found a dwarven woman,a lady elf, and gnome man singing the legend of a mighty group of adventurers who had saved a city from a rampaging dragon long ago. When the crowd around the minstrels began to thin and disappear, the trio asked her if her home was nearby. Tearing up, she told them she had run away from her family, because they had wanted her to be something she wasn't. Discussing something with each other briefly, they told her they were joining up with a traveling carnival soon and asked if she would like to join them, since she was obviously entranced by their music and she need a place where she could rest safely.

Years later, Kara was the star of the midday show. Tumbling about or swinging high on the trapeze, singing or playing an instrument, she mastered all. Quickly, she became one of the carnival's favorite singers. When her hair started to change color(from brown to silver) she gained a name that was know to at least a few people in each city, Kara of the Silver Hair.

Unfortunately, Kara was never one to check to see where the carnival was scheduled to be next, and soon found herself back in Highmoon. Fearing her family would show, she put on her more prized possessions under her stage clothes, and readied herself for the show. Faltering during her song when she spotted her brothers in the audience, she finished early, apologized for not being able to continue, and told the carnival's manager that she would be leaving. When he pressed her for more information, she only said something about 'family problems' and left.

A few weeks later she discovered talents even stranger than she had learned when at the carnival. Spells floated through her mind, her nails became dull silver claws when she wanted, and she could breath a cone of arctic air or even bite with razor-sharp teeth if she was outnumbered. Confident in her new abilities, she decided she wanted to be an adventurer, growing in fame under the name of 'Lyra ' to avoid the unwanted attention of her family(who are tracking her down so she can be forced back into training to be a keeper of the law).