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Improvising? Don’t Worry About Beginnings & Endings, Focus On Transitions
Posted By Patrick Benson On March 4, 2011 @ 12:00 am In GMing Advice | 14 Comments
Happy GM’s Day everybody! Tonight the Great Rules Lawyer sees his own shadow, slides down the chimney into your homes, and proceeds to hide your dice throughout the house while quoting contradicting supplements. This is why your players may give you gifts today, because they probably told him where you live so that he would leave their dice alone. The only way to prevent him from hiding your precious polyhedrals is by acquiring vast amounts of GMing knowledge before he strikes. Read on, and you will be prepared to squash his mischievous ways before he plunders your dice bag for your favorite d30 (every GM should have one)!
When you improvise you can still adhere to the basic structure of a story. In fact, when improvising it is far better to adhere very closely to a typical story’s structure because it prevents the session from falling into complete and utter chaos. One of the simplest story structures for an RPG is as follows:
The structure is pretty cut and dry, but when improvising a GM has no idea when one part of the structure begins and another one ends. How do you know that the PCs have enough information to begin the conflict with? How long should the rising action last for? When should the climax take place?
You will drive yourself nuts if you try to figure out every little detail of the story while trying to improvise a game session. Instead just try to imagine what kind of event would lead to a transition between two parts of the story.
Let’s say that we are running a space cowboy game because we love cancelled sci-fi shows and hate network executives (I’m not bitter, no not at all). We start the game by introducing the PCs to a stereotypical frontier planet. We pepper the environment with all sorts of dubious characters – an outlaw or two, a corrupt politician, an honest shop keeper, and a reckless businessman.
We come up with some simple links between each of these NPCs. The shop keeper is harassed by the outlaws, and the businessman is suspected of paying off the politician. Really stereotypical stuff. We now let the players interact with the setting and see which NPC they like or hate the most.
Why? Because we have no idea who or what the PCs may be interested in, but we do know that whatever NPC is getting the most attention from the PCs is probably going to die. If the PCs like the shop keeper he suddenly gets a bullet between the eyes as a slug flies through the shop’s window and a mysterious sniper begins to ride off. If the PCs hate the guts of the politician he starts to choke and spit up blood after sipping from a glass of poisoned wine.
Of course we will give the players a way to prevent these things from happening, because we really don’t care if the NPC dies or not. We just care that the PCs care about an NPC.
When improvising a game session the secret is to spark interest amongst the players. Throw as many NPCs, promises of treasure, or whatever it takes to get the players to interact with the game world. Once the players show interest in something you just need to do the following:
Object of Player’s Interest + Radical Change = Transition Event
As a GM you just throw in an event that would radically change the NPC that the players were the most interested in. This does not require killing the NPC. Kidnapping the NPC, having the NPC enter into an unexplained coma, having the NPC suddenly summoned to an exotic location, or any of a thousand possible events could be used instead.
Likewise, if the players didn’t care about any of the NPCs but instead showed interest in exploring an old abandoned mine we simply apply a radical change to the mine. In the middle of exploring the mine there is a cave-in, or the PCs run into those same outlaws from the introduction who were attempting to hide some bodies and now have more witnesses to deal with. Out intent is to move the story from one part to another, and that requires that we change something. If you are going to change something, then change whatever it is that the players are the most fascinated with.
How the object of interest is changed should correlate with what part of the story you are transitioning into. If the story is transitioning from the introduction to the conflict then we should introduce a problem with an element that opposes the PCs into the story. If we are looking to enter into the rising action then the radical change should escalate the problem that is at the root of the conflict. Once the players begin to formulate a solution for the escalated conflict we should introduce a radical change that allows them to implement that solution and transition into the climax. Upon the PCs implementing their solution it again changes things so radically that we now enter into the conclusion of our story.
Think about the stories that you have most enjoyed. This process is repeated over and over again in novels, films, television, and plays. Storytellers use this process because it works, and once you have mastered it you can begin to experiment with it for even more interesting combinations. Yet the basic premise remains the same: You cannot transition the story into its next phase unless something of significance has been changed.
I hope that this bit of knowledge helps you to run a great game session the next time that you are put on the spot without a chance to prep. I also hope it keeps the Great Rules Lawyer out of your home tonight. It is especially creepy when he sits next to your bed and explains why his latest character build is completely fair according to the rules despite seeming overpowered.
Got any hot improvising tips of your own? Share them in the comments section below, and enjoy this GM’s Day!
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