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Backleading

getting spects to do things without instructing them


A long time ago I was a ballroom dancer with my sister. When we danced, people were always impressed. To be honest, I wasn’t very good. My sister, though, was brilliant. Not only could she follow, she could backlead.

Backleading is what a woman does when she dances with a man who doesn’t lead. She doesn’t do this by shoving him around the dance floor. Instead, she establishes a strong frame with her body that looks light as a feather. Then she creates negative space into which the man’s body naturally moves. In this way the woman guides the man, while appearing to follow him.

The interesting thing about backleading is this: When it’s done well, the man eventually begins to lead on his own. My sister was great at backleading, which ultimately made me a better leader.

In interactive performance, you use backleading to get spects to do things. They feel like they’re leading, even though they’re not. It’s a paradox. If you want spects to lead the story, why backlead them? For the same reason that my sister backled me—it helps them become better leaders.

At the beginning of an interactive experience, spects are often uncertain and nervous. Backleading helps them take initiative and gain the confidence to lead the story themselves. Once spects are leading confidently, backleading helps them take risks. If you’re playing from a scenario, backleading gets spects to hit plot points while maintaining their sense of agency.

Building confident leaders, supporting risk-taking, and combining plot with agency are all reasons that backleading is essential to interactive performance.

Before we dive into the techniques of backleading, let’s consider an easier way to get people to do things—instruction. It works well because people are good at following directions. The problem is, when you instruct participants, you produce puppets, not partners. People may do as they’re told, but they won’t “own” their actions. Spects are less inclined to generate their own ideas when you’ve conditioned them to do as they’re told. If you want spects to become co-creators, backleading is key.

There are many things you can backlead spects to do:

  • perform an action
  • make a specific choice
  • participate in an activity
  • engage in a conflict
  • execute a plot point
  • like or dislike a character
  • take a stand
  • take a risk
  • pursue a goal
  • look in a direction
  • go to a location

Impressive, right? But how? It’s not magic, it’s technique. Below are a variety of backleading techniques. The tools are divided into categories, but they’re most effective when used in combination.

Backleading with language

You need to be very careful with language. It’s easy to instruct, even when you don’t mean to. It’s second nature to say things like “Have a seat” or “Hand me the pliers.” What’s an inter-actor to do?

State the need – When something needs to be done, state the need without telling the spect what to do.

Gwen needs Ruben to sign a contract. Instead of telling him to “Sign here,” she says, “Your signature goes here at the bottom.” Ruben signs the contract.

The two statements in the example might seem like the same thing, but they’re not. The first is an instruction, while the second is a statement of fact. At an subconscious level, stating the need leaves the choice in the spect’s hands.

State the option – If you need to propose an idea, state it as an option. This allows spects to claim the option for themselves.

Pete and Norm are deciding what to do. Instead of suggesting, “Let’s go bowling,” Norm states the option. “I hear that Timber Lanes Bowling is fun.” “That sounds good. Let’s go there.”

Backleading with context

When given circumstances are clear, it’s easier to get spects to do something without instruction.

Reverse scalpel – One of the most common tools used to backlead an activity is the reverse scalpel. A need is established, a tool is introduced that addresses the need, and the spect takes action.

Lana accidentally spills her wine on the kitchen floor. She hands a mop to Jimmy as she leaves the kitchen, saying, “I’ll put the dogs outside so they don’t track wine all over the house.” Jimmie mops up the spilled wine.

Start in the middle – In edit-scene stories, starting in the middle introduces a context that sets the spect up to engage in an activity.

Trevon and his parents get into a big argument when he tells them that he’s not going to college. The next scene starts with a sales associate telling him, “Sorry, that’s the least expensive car on the lot. If you’re looking for something cheap, we’ve got a used motorcycle out back.” Trevon negotiates to buy the motorcycle.

Backleading with clues

Clues help spects get to a goal. To be effective, a clue needs to be both subtle and obvious. If it’s too obvious, spects feel like they’re being forced in a direction. If it’s too subtle, it won’t look like a clue.

Breadcrumbs – When pursuing someone or something, breadcrumbs point the spect in a particular direction. They can either be physical or verbal clues.

Rakesh is trying to find his friend, Devin, who’s been missing for a few days. At Devin’s apartment, he finds a calendar with “10pm Club Malachi” written on the date Devin went missing. Rakesh heads off to Club Malachi.

The risk with breadcrumbs is that anything can look like a clue and lead spects in unintended directions. If you’re ready to follow unanticipated paths, this can be fun. Otherwise, it’s best to err on the side of making breadcrumbs a little too obvious.

Show the loophole – Another way to backlead spects with clues is to show the loophole. While you’re impeding their progress, slip in the exception that allows them to bypass your obstruction.

Garrett is desperate to see his girlfriend who’s in the hospital for surgery. He tries multiple tactics, but the floor nurse is obstinate. “For the last time, sir, no! You can come back Monday at 10 a.m. Only family are allowed outside of visiting hours.” Garret sees the loophole and lies. “Well, miss, I’m her fiancé.”

Backleading with curiosity

When you want spects pursuing information, you can get them to investigate by arousing their curiosity. The following tools are useful when you want to backlead spects to dig more information out of you.

Bad lying – When it’s clear that your character is lying, spects will call you out on it. Their curiosity causes them to push harder to learn the truth.

Gilda spies a bruise behind Arnold’s sunglasses. She inquires, “What’s with the black eye?” Arnold’s shifts his weight uncomfortably and wets his dry lips. “Uh, because…because…I ran into a door.” Seeing his discomfort, she pushes on. “Don’t give me that B.S. What really happened?”

Slip cover – Let something accidentally slip out, then try to cover it over. Spects pursue what you try to keep hidden.

“Hey, Tami. Are you going to the party?” “What party?” “Umm, never mind.” Now Tami’s curiosity is piqued. “Come on. What party are you talking about?”

Unexplained behavior – If you exhibit an unexpected emotion or an odd behavior, spects want to know why.

Gail is returning graded papers to her students. When she hands Corey his paper, he breathes a sigh of relief. Gail looks at Corey’s failing grade, and then back to her student. “You don’t mind that you failed?” “Nope.” “Why not?”

Backleading with reverse psychology

People don’t like to be controlled by others. You can use this fact to backlead spects to do things by applying reverse psychology.

Don’t do, do do – One way to get a spect to do something is to tell them not to do it. It helps if the order is mysterious or impedes their desire.

After showing Liza around the house, Mrs. Robbins tells her new babysitter, “Make yourself at home. Feel free to get food out of the kitchen or watch the TV. Just one thing: Don’t go down in the basement.” Sooner or later, Liza is likely to head into the basement.

Direct challenge – Another way to apply reverse psychology is to make an assumption that’s the opposite of what you want the spect to do.

Dustin and Hawley are talking about the new girl at school. Dustin tells Hawley, “She’s out of your league. She’d never go out with you.” Hawley takes the bait. “Oh yeah? We’ll see about that.”

Backleading with plot

How a story plays out can be used to guide spects in desired directions.

Causality – Some situations cause spects to take particular actions or pursue certain goals. If you want a spect to do something, craft a circumstance that causes the desired behavior.

Nolan gets a call at work notifying him that his daughter was in an accident and is now in the hospital. He leaves work and heads to the hospital to make sure his daughter is alright.

Lock and key – Spects can be backled to take an action by making it a prerequisite to achieving their goal.

Paulina wants to run for mayor of Watson Pines, but candidates must have lived in town for at least six months. She moves into town and rents an apartment.

Genre – The genre of a story can set up an implicit story goal, setting a spect on a clear course of action. Mysteries need to be solved. Escape stories focus on getting away. Revenge stories are about payback. The tropes of a genre guide spects to pursue particular kinds of story goals.

Maya finds herself wrongfully accused of a crime she didn’t commit. She intuitively sets out to avoid the authorities while also trying to clear her name.

Backleading with play style

Align the things you backlead with how spects enjoy playing. When the actions fit with their play styles, spects are more inclined to do them.

Cater to taste – Introduce goals that appeal to spect’s tastes. When a goal is appealing, the spect is more likely to pursue it.

The inter-actor is playing with a spect who plays like a frat boy. “Hey, Charlie. I know you’d like to be at the conference in Miami, but Doug is our top salesman. Of course, if you could close on the Masterson contract, we’d send you in a heartbeat.” Charlie buckles down to get the Masterson contract.

Play to strength – Spects are primed to do things that they’re good at. Backlead them to engage in ways that are already in their wheelhouse.

Charlotte appears to know a lot about alternative medicine. When her goddaughter gets sick and traditional medicine doesn’t help, Charlotte steps up to offer an alternative treatment.

Feed the hunger – People often appear one way on the outside, but long for something else. Consider what they might wish when backleading them.

Clyde is in his 60s. He’s presented with an opportunity to rescue an attractive scientist being held hostage by terrorists. Clyde jumps at the chance because that’s how he wishes he could be.

Connect to priority – Look for what matters to the spect. Use their priorities as motivation for the actions you are backleading.

Luke’s behavior has indicated that loyalty is very important to him. When he learns that his best friend has been arrested and can’t make bail, he pays the bail himself and goes to pick up his friend.

Appeal to default mode – A spect may be a thinker or a feeler, a leader, follower, or loner. When backleading, appeal to their default mode.

Vivian clearly prefers social connection over independence. When presented with summer employment options, she picks tour guide over copy writer.

Spect archetype – Spect archetypes are broad generalizations that can help you anticipate how a spect is likely to respond in certain circumstances.

Krysta has shown herself to be a “fixer.” When the electricity goes out at her grandmother’s house, she’s the one who starts testing power outlets and checking the fuse box.

Backleading with morality

The concepts of right, wrong, and justice can be used to backlead spects to take desired actions.

Moral high ground – Most people want to be seen as “good,” even when they’re playing make believe. If presented with a moral choice, spects often take the moral high ground. You can backlead spects to take a moral stand by telling them to do something wrong. It helps if your character is unsympathetic. (This approach doesn’t work well with rebels.)

As Alvin heads into a mini-mart to pay for his gas, a teenager steps in his way. “Hey dude! Can you buy me some beer?” Alvin steps around him. “No, sorry.” The teen whines, “Oh come on…” Alvin shakes his head and heads inside.

Payback – To backlead spects to moral low ground, they need to feel justified in doing so. It helps when the character who will suffer has done something worse. Spects feel justified in committing questionable acts when someone worse deserves it.

When Abby learns that her boyfriend has been cheating on her, she feels justified in throwing all his stuff out of her apartment and onto the street.

Backleading with rapport

The way spects feel about other characters can be used to influence their actions. They’re more ready to help characters they like and push back against those they don’t.

Guilt trip – When spects like a character, making them feel a little guilty while still being friendly can get them to take a desired action.

Maura is blowing up balloons for the school dance while her friend, Naveen, stands nearby observing. Maura glances over at her friend. With an ironic smile, she says, “You know, it’s always been my dream to blow up five hundred balloons all by myself.” She playfully throws a handful of balloons at Naveen, who sits down and begins to blow up balloons with her friend.

Approval – When a spect feels rapport with your character, you can inhibit or encourage an action by expressing a point of view about it. This plays on people’s desire for approval from those they like.

Luther has a close bond with his grandmother who is vocal about the importance of civic engagement. When the local neighborhood watch runs short of volunteers, Luther agrees to help.

Group influence – The approval from a group can also influence spects’ actions. When the group does something, spects will be inclined to join in. (This works best with social spects.)

Terrell is new in town. He’s been hanging out at the quarry with a group of new friends he’s made at school. When they start jumping off the quarry ledge into the water 25 feet below, Terrell ignores his fear and makes the leap as well.

Beat up the buddy – When a character is loyal and likeable, it’s difficult to stand by and see that person mistreated. Beat up the buddy backleads spects to take a stand for someone else when they might not do so for themselves.

Harper takes a lot of abuse from Brad, the office bully. He never does anything to try and stop him. But when his friend, the intern, becomes the target, Harper steps up to stop Brad’s behavior.

Prove them wrong – This is a version of the direct challenge. When an unlikeable character makes an assumption about the spect, it provokes the spect’s desire to do something that proves that character wrong.

Katrina’s campaign isn’t going well. When her opponent declares that Katrina doesn’t have what it takes because she’s a mom, Katrina doubles down on her commitment to win the election.

Stop the antagonist – When the antagonist’s objective conflicts with the spect’s priorities, it can cause the spect to try to stop the antagonist. This is a way to backlead the spect to a desired story goal.

Latoya has demonstrated that she cares about the environment. When she stumbles across a logging company’s secret plan to cut down a stand of old-growth redwoods, she sets her sights on stopping them.

Backleading with the body

The body can be used to influence spects’ behaviors without their being aware of it.

Physical implication – Physicality can be used to imply what you want spects to do. It’s an invitation instead of an instruction and gives spects greater ownership of their actions.

The inter-actor wants Darla to sit beside her. Instead of saying, “Have a seat,” she pats the chair beside her, implying for the spect to sit down.

Nodding/shaking head – When asking a yes/no question, you can influence spects’ responses by nodding or shaking your head. Nod for “yes;” shake for “no.” Let your facial expression also reflect the desired response.

While asking Melody if she thinks they should tell her parents about the accident they were in, Candy shakes her head and looks worried. Melody considers the options and decides it’s not a good idea.

Open/closed body – When spects are applying a desired tactic or line of inquiry, make your body more open to them, Become more connected. When they’re off track, close off your body and become more distant. Use your body as an indicator of “hotter or colder.”

Chantal is a social worker trying to determine why Todd is acting out in school. While she’s focused on his home life, Todd sits sullenly with his arms crossed, body turned away, making no eye contact. When she mentions his classmates, he glances at her, then looks away. As she inquires more about his peers, Todd’s body turns toward her. When she becomes more assertive, his arms uncross and he starts to answer her questions.

Reveal the path – You can get spects to move in a particular direction by obstructing them, then getting out of their way. The obstruction creates a stored energy. Getting out of the way releases it, and propels them in a desired direction.

At a wedding reception, Melody has been cornered by a drunk and obnoxious groomsman. When he momentarily steps aside, she sees a friend across the room and makes her escape.

Invisible traffic cop – You can use physical cues to direct spects without them being aware of your guidance. The key is to make your physical moves look like they’re part of what you’re saying, not what you’re getting them to do.

Al is walking with a group of spects along a street in the older part of the city. As he continues to walk, he turns to face the group, saying, “There are some who say these houses are haunted.” As he speaks, Al emphasizes his words by holding up his flat palms. The group stops walking without realizing they’ve been guided to do so.

Sheepdogging – When spects are moving in a direction, you can use bodies to get them to take a particular route. Sheepdogging relies on people’s tendency to avoid running into each other. Bodies serve as “bumpers” that cause spects to move in a desired direction.

As Kenny and Viola walk through the bookstore, Kenny edges closer to Viola, causing her to move toward the aisle on her right. There, she discovers her ex, browsing through the romantic fiction.

Backleading doesn’t guarantee that spects will do what you want every time. It’s more like shaving dice. You may not get what you want with every roll, but the odds are more in your favor. For good gamblers (and good inter-actors), better odds are all you need. The uncertainty of the outcome is what makes interactive performance an art, not a science.

When backleading, don’t become so focused on what you’re trying to get spects to do that you miss what they actually do. The offers spects make may not be what you had in mind, but they can still move the story forward in interesting and unexpected ways. Remember that you’re co-creating with the spect.

When backleading doesn’t work, don’t force the issue. Follow the spect’s offer. Look for opportunities to merge what needs to happen with where things wind up. If an outcome is critical, bend the spect’s offer to get back to the plot. Once in a rare while you may need to resort to instructing the spect. It’s not the preferred method, but it’s always an option.

Backleading is a form of manipulation that spects are often unaware of. You get them to do things that they think are their own choices. It creates an illusion of agency while maintaining control. It’s a powerful tool, so be ethical in how you use it.

If the idea of manipulating spects makes you uncomfortable, that’s a good thing. It shows that you’re concerned for spects’ welfare. Bear in mind that the reason for the manipulation is to create a compelling story—one built around the spect’s values, priorities, and passions. The idea is to use backleading to create a narrative that is ultimately the spect’s story.

Updated: August 23, 2024

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