Page 195 - World of Darkness

Their purpose is to get the players going, to make the play- • Work Things out in Advance: Every
ers’ characters act. Supporting cast members are the best erg of effort you spend preparing saves you 10
tools for shifting the pace of events. If things are slow, the ergs of desperation during an actual game. If you
arrival of a new character can perk things up. If things are know in advance what’s in a place, or what mo-
too complicated, a character’s sudden departure can cre- tivates an important character, you pay more
ate the space players need to figure out their next step. attention to describing what you know instead of
In the end, don’t sweat over pacing. Just play it by making things up on the spot.
instinct. • Story First, Rules Second: Rules are
tools. Use them, but don’t let them trap you. If
Coaxing Performances you make the odd change here or there to en-
Some players are more outgoing than others. These courage the flow of the story, no one will notice
types tend to overpower the game and hog the limelight. (or at least care).
Sometimes this is a good thing, especially if such indi- • Description, Dialogue and Action:
viduals are entertaining, enlightening or liked by all. They Intense, well-imagined description creates a sense
might just provide the axle around which the wheel of of immediacy. It makes people pay attention to
the other characters spins; they’re the focus and spur for the story. Interesting, consistent, frequent ac-
all actions. tion keeps them interested. Hook them by mak-
But if one player doesn’t do a good job of it, the Sto- ing it feel real. Reel them in by making them want
ryteller needs to step in and drag others on stage, even if to know how things turn out.
it means forcing the roleplaying hog off for a while. Some • Avoid Stereotypes: Perfect examples of
players are very quiet and nervous, and don’t like to ex- type are rare. People who try to fit into a stereo-
press themselves often. That’s okay; try to recognize type usually do so to cover up some secret inse-
whether or not they still enjoy the game. Maybe they like curity, and may not be able to carry it off on
it that way, and simply prefer to watch others and be a close examination. People who naturally tend
part of the whole zoo. Don’t drag them on stage if they toward stereotypes often rebel against being just
don’t want to go. At least, don’t do it too often. like everyone else, and may go to great lengths
The players are in a sense the actors in a Storytelling to show that they’re unique.
play, and you’re the director. It’s your job to coax the best • Be Fair to Your Setting: If the players
performance possible out of your actors, whether they’re work hard and make smart decisions, their char-
prima donnas or wallflowers. acters’ success must be in proportion to the
challenges faced or the players will feel cheated.
Conversely, don’t reward characters if they don’t
earn it or the reward will be hollow.
The 10 Commandments • Don’t Tell Them Everything: Much of
the challenge of a game is in the mystery, the
• Involve Players Whenever Possible: parts of the story that you hold back for the
Incorporate their ideas and backgrounds into players and their characters to discover on their
your city and chronicle. Doing so interests them own.
immediately, gives them a voice in your story, and • Don’t Abuse Your Power: Remember
can go a long way toward forestalling unpleasant that you’re there to provide entertainment for
surprises. The players’ characters should be the the players, as well as for yourself. Respect your
most important — though not necessarily the control over their characters. You both initiate
most powerful — ones in your chronicle. It’s and arbitrate events. Use your power to pro-
well worth your time to work with players to long the story, not to force your friends to play
develop their characters, even between game out your vision of how their characters should
sessions. act.
• Be Aware of Players’ Expectations: • Don’t Panic: If the players pull the rug
Giving players the general kind of challenge they out from under you, don’t be afraid to call a break
want is a good thing. Being predictable is not. If and take some time to collect your thoughts. It
the characters think vampires are sleek, power- may happen a lot at first, but after a while you’ll
ful predators, you can change it up on them by be able to handle anything they throw at you.
presenting one of the recently undead who’s psy-
chologically co-dependent on his living girlfriend.
Or you can introduce a vampire with little
brainpower and impulse control, but with lots Advanced Techniques — Time
of wicked powers. Or something that looks like There are a number of special Storytelling tools avail-
a vampire but that’s really a creature of a differ- able to you, some of them best used once you’re comfort-
ent kind entirely. able with the dynamics of telling a collaborative story with

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Chapter 8- STORYTELLING