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a spect who doesn’t like playing in the unknown
Guarded spects want everything explicitly spelled out before they’re willing to engage in the fiction. Your best approach is to remain friendly, clarify ambiguity with defined offers, and reinterpret the subtext of their offers to fit the context.
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When spects play in interactive stories, not all of their behaviors arise because of the fiction. There are also elements from real life that affect the way they play.
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a spect who talks excessively
Some spects talk a lot. It may be a nervous reaction or a part of their personality. When spects talk too much, they don’t listen very well and things don’t affect them too deeply. There are a few ways you can get talkers to quiet down and become more connected.
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a spect who is emotionally unaffected by the fiction
Some spects seem not to be affected by anything. They don’t get excited, intrigued, frightened, or angry. No matter what happens, it all slides right off them as if they were made of teflon.
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Let’s be honest, the spect isn’t always right. Sometimes they’re very wrong indeed. They may address you by the wrong name. They may introduce an anachronism. They may play in a style that doesn’t fit the story. There are all kinds of ways that a spect can be “wrong.” The reason to hold the idea that the spect is always right is this: It makes your job easier when they do something unexpected.
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anything outside the time or style of the story
When playing stories set in particular time periods or within particular styles, anything that is outside the time period or inappropriate to the style is an anachronism.
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the permission to behave in ways unlike who one is in real life
When spects play as characters, not themselves, they’re wrapped in the cloak of fiction. Everything they do is the behavior of their character.
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a difficult spect who resists or blocks almost every offer
Contrarians are few and far between, but you’ll come across them once in a while. They seem to go against every offer from every character. This behavior usually appears when inter-actors are trying to force the spect to do, think, or feel something. The resistance of the contrarian is an effort to maintain control and autonomy.
Exercises
A scene is played in which Player A is the inter-actor and Player B plays as a difficult spect.
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