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When you feel unsure, stop second-guessing yourself. Do something with confidence. What you do doesn’t matter as much as doing it. Don’t let doubt color your performance. Confidence comes from playing confidently, whether you feel that way or not.
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looking like you’re trying to win, while letting your opponent win
As characters pursue objectives, conflict arises. For the story to progress, someone needs to win. That winner often needs to be the spect. Spects don’t get much satisfaction if it looks like you threw the fight. You need to look like you’re fighting for your objective while creating opportunities for the spect to win. That’s called “playing for the loss.”
Exercises
Two players play a scene in which their objectives are in opposition to each other. They pursue their objectives for one minute, then one player plays for the loss while the other continues to play for the win.
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Different spects have different play styles; they enjoy playing in different ways. Some like to be heroes, so set them up to be heroic. Some get a charge out of arguing, so disagree with them. Some get a kick out of being evil, so give them something noble to mess with. Don’t force your values or what you think is a good story on them. Make the story one that they enjoy playing, and spects will engage with everything they’ve got.
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playing with full emotional commitment to a character’s perspective
When spects begin to play, they’re often nervous. They settle down when inter-actors look like they know what they’re doing. That’s why it’s best to start off playing strong. Play with full commitment to whatever you’re doing. Playing “gently” can read as uncertainty. In spects’ eyes, uncertain characters seem like uncertain inter-actors, which makes spects even more nervous. Play strong to give spects something solid to work with. It assures them that you know what you’re doing, and they’ll play better as a result.
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the way in which a spect enjoys playing
When people go through a Halloween haunt, they have different responses. Some scream, cower, cling to their friends, and when it’s over, exclaim, “That was awesome!” Others scream, cower, cling to their friends, but when it’s over, they’re not happy. Not happy at all. Some like being scared and some don’t. Their initial behaviors may be similar, but the subtext is different. If you’re paying attention, you can tell who enjoys being scared and who doesn’t.
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facing away from the spect to draw them to you
A lot of scene work is done facing in the general direction of the spect, which is why it can be so potent when the spect sees nothing but your back.
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a character behavior that is said or done
When developing characters, conceptual ideas often show up first. For example, defining a character as “easily impressed” gives a general idea of what the character is like, but it doesn’t give you something to do. Turn general concepts into things that can be said or done.
Exercises
Put together an outfit that feels appropriate for a character you’re developing. Don’t limit yourself to clothes from your own wardrobe. Borrow items from friends and family; visit thrift shops. Take a picture of yourself as your character in the outfit.
Topics
There are many contributors to an interactive story. Inter-actors, directors, designers, and authors all play important roles. But at its heart, an interactive narrative is the spect’s story.
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