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- So, you want to be a storyteller?
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| So, you want to be a storyteller?; My personal take on this pasttime. | |
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| Tweet Topic Started: Sep 18 2009, 03:35 PM (3,850 Views) | |
| Lord Talancir D'Landior | Sep 30 2009, 07:27 PM Post #16 |
~ RP Knight ~
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Nemesis: Building an Imperfect Beast Behind every nefarious plot stands a nefarious plotter. While your characters may be the center of your story, they need an archrival to give the story balance. Without an ultimate enemy or two, a story lacks scope and grandeur. A series of small skirmishes with small opponents can quickly turn tedious. If, on the other hand, it turns out those "small opponents" actually work for a Hell-tainted madman who happens to be after the same ancient texts the characters are seeking, all those encounters with low-grade ruffians suddenly become part of a pattern. Your story becomes more focused. By setting up an ultimate enemy, you set up a final confrontation with that enemy as the natural climax for your story - as the end of the story arc. Nemeses don't just happen. You need to construct an archviliain carefully. After all, most of your plot developments will flow from him. With that in mind, think about who your characters' nemesis is as much, if not more, than you think about what he is. No villain worth his weight in salt does things just to screw the heroes over. He has a plan, an overriding goal that he wants to achieve, and the heroes are merely obstacles in his path. For the most part, the nemesis' actions don't revolve around the story's central characters; he directs his plans toward an eventual goal, one that may or may not involve the troupe. The first step then, is to figure out what your archnemesis wants. A host of related questions spring from that one. What is he after and why? What will he do to obtain that goal, and how soon must he accomplish it? Does he serve a greater power; if so, how, and what is it? Will he bargain with the players' characters, or kill them if he can? The answers to these and other, similar questions provide a framework for your archvillain. If you know how far he's willing to go and what he's striving for, you'll have a handle on how he'll react to setbacks and triumphs - and what his next move is likely to be in either case. You'll also want to figure out who your nemesis is - his background, beliefs, powers, authority and so on. A good rule of thumb is to take the most prominent features of the players' characters and invert them for the nemesis. If the troupe consists of a group of religious pagans, a cardinal or patriarch of an opposing faith makes an appropriate nemesis. Idealistic initiates of a chivalric order might be best opposed by a wily, ancient sorcerer. This approach works on a general level as well - if the characters are sneaky, devious sorts, a brute who relies on sheer force provides both contrast and a challenge. After all, if the characters' usual bag of tricks suddenly comes up empty, the heroes will need to try something new - and fast! Also bear in mind that the villain doesn't necessarily see himself as a villain. Perhaps he has idealistic motivations for his actions: The aforementioned cardinal might honestly believe that the troupe is a batch of Hellbound souls. Your villain could simply be pursuing personal gain or power, but he may be more interesting if he's serving what he perceives to be a higher purpose. Allowing your nemesis character to honestly, earnestly believe in what he's doing can add a fine moral shading to your game. Avoid mustachio twirling and scenery chewing - it's more comical than menacing. If your villain honestly believes that killing off the troupe is the best thing for the world, let him pursue that goal with style and efficiency. Oh, another note: a good villain isn't stupid. He won't stand around while the player characters carve him into meatpies, nor will he expend most of his resources in an all-or-nothing assault the minute the troupe spoils his plans. If your nemesis acts As The Plot Demands, his actions - and the game - soon become artificial and hollow. So play your villain cool and smart. Climb inside his skin (unless doing so means that the troupe has no chance of survival) and run him like a player character. After all, the game's supposed to be fun for you, too. Edited by Talancir D'Landior, Sep 30 2009, 07:31 PM.
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 RP Aid: So, you want to be a storyteller? A must read for any Storyteller who wants to be better at his craft. RP Aid: Combat: A Comprehensive Guide to Beating Arse By the way, I'm on skype. Search for talancir. Millstone of Time Resources
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| Lord Talancir D'Landior | Oct 1 2009, 02:43 PM Post #17 |
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~ RP Knight ~
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Henching for Fun and Profit A good archvillain never works alone. Even the most maniacal madman needs henchmen to run errands, terrorize the locals, obtain ingredients for foul midnight rituals, and so on. More to the point, it's pointless to spend hours creating a well-rounded villain just to throw him into a winner-take-all fight with the characters immediately. In a situation like that, there's no sense of dramatic tension; especially if the villain is too powerful for the characters. A one-sided beatdown in the villain's favor is always discouraging. Your players should learn to hate the Big Bad's guts, or his defeat means nothing. If he's handled like a 'monster,' your archvillain just becomes another big obstacle, a 'villain of the week.' Another approach is called for - one that draws the characters' road out to the final confrontation. The best way to stretch out the time between introduction and climax, in many cases, includes encounters with the servants of your villain. Such 'hired help' depends on the nature and background of the villain; a cardinal will have lesser churchmen and allies at his disposal, while a merchant prince will have sailors, factors, and hired thugs in his pocket. From there, consider how those henchmen encounter the troupe. Odds are low that they'll wander up, introduce themselves as The Villain's Servants, and then proceed to draw steel and snarl spells. It makes more sense if the characters come across the henchmen engaged in some nefarious act, put a stop to it, and then discover a connection to a 'higher' power. OF course, that sets the players against your archvillain nicely; now he has an excuse to send servitors of increasing power and importance after the troupe. The closer the characters get to their main antagonist, of course, the more powerful and resourceful the henchmen become. Each contest is a bigger challenge, and sets the stage for a greater one. Your henchmen will share some relationship to your archvillain, to. That relationship will probably affect the plot. Did the troupe's nemesis send, say, his own brother out in an attempt to deal with them? If so, how will he react to his brother's failure - or death? By defining the bond between the master and his servants, you give yourself the material for new stories and lend the existing story more drama. |
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RP Aid: So, you want to be a storyteller? A must read for any Storyteller who wants to be better at his craft. RP Aid: Combat: A Comprehensive Guide to Beating Arse By the way, I'm on skype. Search for talancir. Millstone of Time Resources
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| Lord Talancir D'Landior | Oct 8 2009, 11:39 AM Post #18 |
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~ RP Knight ~
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Section 8: Allies and Bystanders Main characters don't operate in a void. They have friends, lovers, families, mentors and so on, any of whom might be called upon (or threatened) in a pinch. Naturally, you'll want to pick a few of these allies and keep them well supplied with motivations and quirks of their own. When the time comes, those plot threads can ensnare your troupe from an unexpected direction. You thought that trip to Newcastle was going to be easy? It turns out that your true love Mary was born in Newcastle, and fled an arranged marriage there, a marriage to the local lord... Building up the essential humanity of the supporting characters also grounds the troupe, in the reality of your world. After all, it's one thing if the villain wants to grind a small country such as Luxembourg under his heel, and quite another if a player character's grandmother lives there. By connecting the characters to the world around them, you make the players care about something besides themselves. Believable allies also create roleplaying opportunities for your players; if the only characters your troupe interacts with are villains, innkeepers and one another, odds are they're not turning into fully developed personalities. Give them a chance for some positive interaction as well - it can work wonders. Recurring Characters The inhabitants of your story's world don't fade into non-existance when the troupe leaves town. Events the characters kick into motion - embarassing a noble, impregnating a barmaid, burning down a stable - aren't just going to go away; the noble might seek revenge, the barmaid might turn up with child in hand, and the stable owner might hound the troupe for damages. Wouldn't you? If objects and events can follow the player characters, surely supporting characters can do the same. Recurring characters serve as graphic reminders of the impact the troupe members have on the world around them. It's all well and good for the troupe to urge a town to revolt against their oppressive rulers, but there are consequences to doing so - particularly if the group skips town before the garrison troops arrive. If the troupe comes back a year later to burned houses and accusing stares, a footnote in your story suddenly takes on a new importance. Will the villagers let characters stay and help rebuild, or deny them entry from that day forth? Will they seek vengeance, or run? By allowing people and places to progress away from the main action of your story, you give your players all those options and more. |
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RP Aid: So, you want to be a storyteller? A must read for any Storyteller who wants to be better at his craft. RP Aid: Combat: A Comprehensive Guide to Beating Arse By the way, I'm on skype. Search for talancir. Millstone of Time Resources
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| Lord Talancir D'Landior | Oct 14 2009, 10:08 AM Post #19 |
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~ RP Knight ~
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Section 9: The Setting The setting is a character. Think about the brooding castle, the menacing forest, the welcoming village or the angry storm. People tend to personify places and things to begin with; when magick rears its head, such personifications is perfectly appropriate. A good setting makes a huge difference in your tale. Imagine King Lear's madness without the stormy moors. A bare stage (or brief forum post) lacks vitality; give your adventures bite by crafting exciting locations. You don't have to turn the whole world into a tempest, of course, but give your players a sense of space wherever they are. Describe the environment - the look of it, the feel of it, the placement of landmarks and the overall impression they give - especially when that setting is significant. Mood and theme depend a lot on the setting, and the actions the characters take depend on it, too. After all, a fight in the rain isn't quite the same as a battle in broad daylight! Let your players feel the difference. When you figure out where you want to set the stage, give the setting a personality or motivation as if it were any other character. This will add a level of intensity to the scene - a tree stands sentinel, the sky weeps. A natural setting probably won't have a motivation (although with Naturae Spirits everywhere, you never can tell...). An inhabited one, though, may have a collective ambition. (A society tends to bond into something larger than a collection of individuals.) Depending on where you place the tale and what you want from it, you might establish a 'setting motivation' in addition to the character ones: A town waits for news of the ailing princess; a grove hungers for its annual sacrifice... You get the idea. This sort of thing can be overdone, of course. If the whole world is raging, rage becomes commonplace. With moderation, however, exciting settings create an exciting world - A Kingdom for a stage, princes to act, and monarchs to behold the swelling scene! |
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RP Aid: So, you want to be a storyteller? A must read for any Storyteller who wants to be better at his craft. RP Aid: Combat: A Comprehensive Guide to Beating Arse By the way, I'm on skype. Search for talancir. Millstone of Time Resources
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| Lord Talancir D'Landior | Oct 15 2009, 02:51 PM Post #20 |
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~ RP Knight ~
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Section 10: Techniques Enough theory. Let's talk about practice. A Role Play can be a challenging game to run. The flexibility and diversity of the systems involved (or thrown out) and the sheer size of the setting can make even veteran Storytellers throw up their hands in confusion. Where do you begin? With the people. The first and most important thing to remember is that you don't have to run everything. Pick the elements of the setting that appeal to you; ask your players to come up with a suitable group of characters, and leave the rest of the world for later. You aren't under any mandate to run the entire world in a glance. When you center your game around the people and their adventures, you give yourself a furlong, a plot of land intended for a single crop. It's far simpler to plant and grow a single furlong than it is to cultivate an entire field, and it's much easier to run a limited game than it is to cram everything in this guide into a single epic chronicle. For your own sanity and the game's survival, pick something that interests you and begin with that. Later on, the rest may come and go as you see fit. Game systems decide what people in your story can and can't do. Unfortunately, some gamers - and Storytellers - get so wrapped up in the systems that they drop the game on its head. Sure, the rules can be important, but in the end, they're tools, nothing more. The trick is adopting just enough of the rules to suit your troupe and leave the rest for certain circumstances... or for cannon fodder. That balancing act depends on your style of play and the experience and maturity of your troupe. A group of beginners may need 'training wheels,' while a pack of veteran roleplayers can get through whole sessions with maybe one or two references at the game system. Ultimately, the systems you employ and the frequency with which you employ them rest in your hands. |
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RP Aid: So, you want to be a storyteller? A must read for any Storyteller who wants to be better at his craft. RP Aid: Combat: A Comprehensive Guide to Beating Arse By the way, I'm on skype. Search for talancir. Millstone of Time Resources
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| Lord Talancir D'Landior | Oct 19 2009, 12:45 PM Post #21 |
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~ RP Knight ~
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Improvisation A Role Play is a game in motion. An attempt to run a session by a pre-plotted script is doomed. So what's a Storyteller to do? How can you run an epic with theme, mood and drama without planning the next Battle of the Bulge? Improvise. In the Commedia Dell' Arte (a 16th century refinement of early drama and traveling player acts), the performers work without a script. Each assumes a stock character (one with set motivations and personality), and together they hatch a simple plot. With the needs of that plot in mind, the troupe improvises in character. The result, hopefully, is a familiar but entertaining tale. Roleplaying bears some resemblance to the Commedia. It's far less strenuous, but the essential elements are the same. Each player - you included - takes on a character with certain parameters and skills. Everyone improvises within the setting, and the troupe becomes its own audience. The secret to good improvisation is this: Know Your Character. If you're the Storyteller, that means knowing the setting, the characters in it and the forces that drive the story forward. Hence, the other information provided earlier. If you know who's doing what to whom and where, you can Storytell with a much freer hand than if you chained yourself to a script. Once you have that information mapped out, ride with it. Watch your troupe, play off their actions, respond according to your characters' motivations and try to guide the plot toward a climactic conclusion. If you get any sudden flashes of inspiration, go with them, even if it means throwing away your previous plans (so long as said inspiration isn't too silly, of course). It can be scary to let go like this, but it's also exhilarating - and much less likely to fall apart than a tightly plotted narrative. Improvisation is both a talent and a skill. Some folks are better at it than others, and everyone needs a bit of practice to get the hang of it. Running preludes with each player will help you get a feel for improvisation, and should establish a rapport between yourself and the players. Once that's set, you can wing it with relative ease. Edited by Talancir D'Landior, Oct 19 2009, 06:31 PM.
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RP Aid: So, you want to be a storyteller? A must read for any Storyteller who wants to be better at his craft. RP Aid: Combat: A Comprehensive Guide to Beating Arse By the way, I'm on skype. Search for talancir. Millstone of Time Resources
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| Lord Talancir D'Landior | Oct 22 2009, 08:17 AM Post #22 |
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~ RP Knight ~
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Description Like any good tale-teller, a Storyteller needs to convey a sense of place and atmosphere. Your descriptions bear the troupe into your imaginary world, so you'll want to make sure those impressions are as vivid and exciting as possible. Some people have a natural gift for expression; others need to work at it a bit. The talents you bring to bear on the game are your own; I can, however, offer you some hints for better description:
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RP Aid: So, you want to be a storyteller? A must read for any Storyteller who wants to be better at his craft. RP Aid: Combat: A Comprehensive Guide to Beating Arse By the way, I'm on skype. Search for talancir. Millstone of Time Resources
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| Juice | Oct 24 2009, 01:47 PM Post #23 |
Mexican hot-wings.
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I kinda see what your saying |
 Tumblr. Signature
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HollyYoshi
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Oct 24 2009, 03:34 PM Post #24 |
I object to your claims
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Very nicely written. I think any up and coming RPer should read this. 
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| Lord Talancir D'Landior | Oct 25 2009, 04:44 PM Post #25 |
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~ RP Knight ~
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Crosscutting The troupe will get separated. It happens. When it happens, you'll want to keep the game shuttling back and forth between the different parties. No one wants to sit around for days while someone else roleplays. The technique is simple; run two different scenes at once, jumping between them at dramatic times. If possible, juggle the events so that either: A) the two scenes come together (like the chase that tears through the feast), or B) the two scenes reinforce each other (like the discovery of a clue that implicates the Baron in another scene). Don't spend too much time on either location - keep the action moving. Crosscutting can be tricky; handled well, however, it not only keeps the story in motion, but allows you to build suspense by cutting away at just the right time. Alternatively, you don't have to work on one scene, and then work on the other. My solution is to run both scenes at the same time, in the same post. This works best, in my opinion, but involves a lot of writing and is therefore not for the timid Storyteller. Generally, you don't want to keep the characters apart for long. If the separation is extreme (one party's in the Court of Fire, the other's in the King's hunting lodge), you may want to recruit an assistant Storyteller, especially if the troupe's going to be split up for a while. Find someone you can trust, brief her on the particulars (especially if something really vital is supposed to happen on her watch) and let her take the players into a separate thread. Check back with her occasionally to make sure that both of you are heading in the right direction. Sooner or later, the characters should be reunited; otherwise, the game splits and you have two stories, not one. Edited by Talancir D'Landior, Oct 25 2009, 04:46 PM.
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RP Aid: So, you want to be a storyteller? A must read for any Storyteller who wants to be better at his craft. RP Aid: Combat: A Comprehensive Guide to Beating Arse By the way, I'm on skype. Search for talancir. Millstone of Time Resources
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| Lord Talancir D'Landior | Oct 26 2009, 10:23 AM Post #26 |
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~ RP Knight ~
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Foreshadowing One of the greatest debates of philosophy is Fate versus Free Will. Some authorities insist that the world is foreordained, while others argue that we mortals are masters of our own destinies. Creation, I should note, keeps the waters muddy. Some events seem to support Free Will, while others smack of predestination. As the Storyteller, you know that both ideas are true. The players are certainly free to do what they want, but you're still guiding things along a predetermined course. By foreshadowing certain events - planting clues about the future - you make the case for Fate. Clever foreshadowing can give your players clues, alert them to danger or lead them into traps. This really comes in handy if you have a Seer in the troupe; his visions often determine the path the characters follow, a path you can shape to your needs. Symbolism plays an important part in foreshadowing. Creation is rarely straightforward. When you decide to drop a hint about coming events, choose an appropriate symbol and leave it in plain sight. This works especially well for prophecy and omens, since such visions are never literal anyway. If, for instance, a Storyteller wanted to warn one of the players being stalked by four mysterious figures, she could have four ravens suddenly dart from the sky and tear a rabbit to pieces. If the character is even slightly clueful, he will be looking over his shoulder after that! Like anything else, foreshadowing can be done to death. Keep it for special occasions. Remember though, many wise people see 'great providence in the fall of a sparrow.' Toss in false omens from time to time just to keep the players guessing. After all, a truly introspective person sees the world as an endless message. No one said that message has to be true... Edited by Talancir D'Landior, Oct 29 2009, 04:37 PM.
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RP Aid: So, you want to be a storyteller? A must read for any Storyteller who wants to be better at his craft. RP Aid: Combat: A Comprehensive Guide to Beating Arse By the way, I'm on skype. Search for talancir. Millstone of Time Resources
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| Lord Talancir D'Landior | Oct 29 2009, 06:17 PM Post #27 |
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~ RP Knight ~
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Story Hooks and Concepts A good story needs a great hook - something to drag your characters into the action. The old 'barroom brawl' device used as a means to tie the characters together is as stale as day-old beer. You want to haul your troupe in with the first line and weave the story from there. Make it short. Make it grab. Make it count. A crafty Storyteller can conjure a tale from an opening line. Simply ask yourself, "What's going on?" and let your answers lead you. The following hooks (in italics) may be used as springboards for whatever your devious little mind can imagine. A basic plot revolves around at least one Story Hook; an exceptional plot encompasses several! Shall we begin? Apprenticeship: Everyone must learn their trade. "Teacher's tales" might feature a group of students (the players), a player's own apprentice, or a third party's troublesome pupil.
Comedy: All's well that ends well. 'Till then, anything is fair game. Comic romps make great 'rest stops' between grimmer tales, but even light slapstick might appear deadly serious at first.
Faith: It's all too easy to portray religion as a villain. In dark times, however, faith is a beacon and guiding hand, often stronger than any blade.
High Adventure: Kick down the walls and storm the castle! Saddle up the dragons and ride! Blast the darkness away with a hearty cry and swordplay tell the tale!
Historical: Your characters help make history - or change it - when they accompany some pivotal figure on a significant task.
Horror: Plagues, torture, warfare, the night-folk - the world is rife with horrors if you care to look for them. True fear hinges on helplessness, so cripple your troupe's resources when you begin.
Intrigue: Plot and counterplot - in this world, you can't trust anybody! Conspiracy tales demand a host of plotters, a web of agendas and some reason to keep the game secret..
Romance: The path of true love never runs smoothly, especially in the Dark Fantastic world. A good romance demands conflict, obstacles and an attraction beyond mortal understanding.
Turnabout: The Unexpected rears its head, often in the middle of some other type of story. Turnabout tales are good for keeping a troupe on its collective toes, but everything hinges on an unexpected revelation:
Tragedy: The mighty often rise and fall, and their failures shake the world. The tragic figure could be a player, her close companion, or some mighty figure whose influence surrounds the troupe.
And so it goes. Conclusion We are the tales we tell. For all the advice that can be offered, the final shape of your story belongs to you and your troupe. With an eye toward your enjoyment, resources and desires, shape an epic that captures your view of the world in a shimmering glass. The romance, the adventure, the horror and the humor of this setting mean nothing without the kiss of life you bring it. In the end, run the tale you want to tell. ~ Go forth, Storyteller. Your audience is waiting. ~FIN |
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RP Aid: So, you want to be a storyteller? A must read for any Storyteller who wants to be better at his craft. RP Aid: Combat: A Comprehensive Guide to Beating Arse By the way, I'm on skype. Search for talancir. Millstone of Time Resources
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HollyYoshi
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Oct 29 2009, 06:21 PM Post #28 |
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I object to your claims
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Brillant, simply brilliant! *gives round of applause* |
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| Lord Tora Unlimited Crusader | Oct 29 2009, 07:03 PM Post #29 |
【The Knight of Tigers 】
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This is I am now transferring this to a Word document, printing it off, stapling it together and putting it in my roleplaying files. And a credits page, can't forget that.
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 Check out my tumblr, Aggravated Anime-Adoring Australian, where I post all sorts of dumb screencaps and MS Paint edits and generally bitch and moan about stupid otaku shit. ~One third of =SB='s Legendary Australian Trio. The man who surpassed anime fandom and became the Patron Saint of GAR and Moe.~ | |
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| Ice Fire | Dec 3 2009, 12:54 PM Post #30 |
Twisted Fate ~when things don't go the way it should~
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that's very helpful, i'm sure to apply it whenever i write a story  *high fives*
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