personal notes
Thoughts on how the now habit (book on stopping procrastination), story (mckee's guide to screen writing) and made to stick (book about creating ideas that get and hold people's attention) relate to rpgs. probably has some value to anyone doing anything creatively. don't know if my notes will sufficient to help you personally though.
the now habit
Reverse scheduling (start at end point w/ time constraint then put in developments, and create mechanics based on getting enough actions in to reach said point)
communication problems (made to stick)
no one is listening to me: surprise them (uncommon sense)
I lost them half way through- create curiosity gaps
people don't understand or remember- concrete language
people are talking past each other- concrete language/ specific case
people don't believe you- telling details, examples, anti-authorities
arguing- springboard story (problems are presented and revealed)
apathetic- people care about indviduals, tap into their sense of identity
not exciting any more- deeper approach
people are down- underdog story
simple, unexpected, concrete, credible, emmotional, stories
mckee story (about screen writing)
plots
Arc plot- closed ending, nothing in doubt by the end, emphasis on internal, single protagonist, proactive, cause and effect, consistant reality
miniplot- minimalist, somewhat open endings, portions unresolved, emphasis on internal conflict, multiple protagonists, reactive,
anti-plot- subverts styles, can scramble or fragment time, coincidence, break rules, avant garde
this relates to how rules of world or lack there of can be better suited to certain plots.
non plot- plot where a value does not change, outside of the "story triangle," can still change people
inciting incident- should give audience a sense of the obligatory scene (the confrontation you know will happen). Can be direct or indirect. before 25% of the movie. As soon as the audience knows enough to max impact. Goals: Change value, create a desire (maybe also counter desire), give sense for the obligatory scene, set the character on a journey.
what is the worst possible thing that could happen to this character? how could it be turn to the best thing possible?
Progressive complications- more and more conflict, passing points of no return. Nothing moves forward except through conflict. Conflict is constant, if reduced in one area it grows in another.
Complex conflicts- contain a personal, an internal, and an extra personal conflict in single scene
Sub-plots- deepen audience involvement. May contradict main plot (irony), Reinforce with varriation, intro characters and important elements until inciting hits, complicate central plot (set up for adding conplexity to conlficts) sub-plots should be careful not to overshadow or distract.
Scene- story in minature. Changes a value. Relies on creating a gap in knowledge (the world reacts strangely) and then everything is clarified.
Set-up- read initially as one thing, but post knowledge gap have new deeper meaning
empathy, wanting the character to have his desires, and understand his values at stake
changes in values w/ this premise results in the audience feeling emotion
Mood- feeling (long term tone) of a film
Choice- dilemma, choice between irreconcilable good or choice of lesser of two evils
Analyzing a scene-
1. define conflict "to____", what blocks this desire? what does antagonism want? "to___"
2. note values at beginning of the scene
3. break the scene into beats, look at actions and subtext; and reactions and subtext. New beat doesn't start until action changes
4. Note value changes
5. locate turning point where the past is put in new light
After act 1 climax, the tension must be released, only the final climax should exhaust
go wide (the ripples into the world and ever cascading effects)
or go deep (look in to the characters and let the choices become more dramatically changing for the characters)
or go universal by symbolism (symbolism must not be obvious. Only by the end should the symbolism be clear.)
or turn progressions on irony
crisis- the ultimate decision- dangerous opertunity, no tommorrow, no second chance, obligatory scene. The audience suffers with the protagonist.
final climax and crisis usually happen in the final moments of a film
final climax must be a revolution of values. it must be clear. it requires no explaination
resolution- completes movie. shows full effects of outward ripples, or other pieces not covered by crisis, alternatively slow curtain zoom out
Antagonist forces need to be powerful enough to motivate changes in the character.
Contrary (opposite), contradictory (opposition but incidentally), negation of the negation (qualitatively worse than the contrary)
ex:
love
hate (contrary), indifference (contradictory), self hate or hate masquerading as love etc (NoN)
(NoN think layered horrificness)
A protagonist must confront NoN eventually.
Convert exposition to ammunition (background facts are used for advancement)
information gets brought when its used to stop or change action
how to turn the scene- turns by action or revelation
only flashaback when the audience wants to know
voice over- show don't tell. Counter point V.O. works, it can be done alright, but shouldn't be about exposition
curiosity- close knowledge gaps
concern- desire to reinforce the values we believe
empathy- requires to see some good in the protagonist. at the very least better than the antagonist forces.
audience narrative relations
mystery- audience knows less than characters, curiosity driven
suspence- characters and audience know the same amount both curiosity and concern
dramatic irony- character know less than the characters, concern based (told backwards soem times)
dramatic irony joys come out when viewing any movie the second time.
surprise- are either cheap or true
true is something we know. something unnoticed but consistant with the world
cheap surprise is part of some genres, but out side of them bad
Use of coincience- ok early on, but it needs to build into logic and meanings. Coincedence as ending is deus ex.
comic characters are driven by their manias. if they see this flaw they become no longer comic.
deus ex works in commedies if teh character never looses hope and has suffered too greatly.
novel- take on inner conflict
theater- takes on personal conflicts
film- extra personal conflict (built for grand scale)
a character is work of art. It is clear and knowable.
Charcterization- all the observable qualities.
Character- at heart who is this person (their values) expressed through choice and delimma
desires- what the character wants consciously and not
motive-should not be too narrowed down. (abstraction principle allows people to project selfs to a degree)
why a choice is made is not as important as the choice
dimension- contradictions with in the character, or between characterization and character
other characters exist only to demonstrate parts of hte protagonist
supporting roles can be multiple dimensions but it is not necessary for a good supporting role
bit parts are flat, but should still have a memorable trait
tips for writing characters (this looks relevant for writing settings)
1. leave room for the actor (characterization is the actor's job)
2. fall in love with ALL your characters, no exceptions (all aspects diserve exploration, but little things, without attempting to define them exhaustingly)
3. character is self knowledge (what would I do (if honest) is always the right thing to ask.)
dialogue aspects
compression- direction- purpose-natural
words must be grasped immediately
theater 80% verbal, 20% visual
film 20% verbal, 80% visual
long speeches are problematic (how do we prevent these in games?)
life is action and reaction
periodic sentances- meaning is with held until the end of the line.
vividness- specific noun rather than nouns + adjs, specific verbs instead of verbs+advs, use is and are as little as possible.
metaphor- can you actually make it show it (or use it as a sound effect replacement)? if not don't use it
camera direction is not useful unless absolutely vital. camera angles and cuts are suggested by the spacing and description of scenes
external imagery- adopting the symbolism of others
internal imagery- forming associations and symbolism with in your work
10 minute pitch
subtext matters
writing is easiest from plot down (rpgs of course take the opposite track. I'm not sure hwere to look to advice from here.)
the now habit
Reverse scheduling (start at end point w/ time constraint then put in developments, and create mechanics based on getting enough actions in to reach said point)
communication problems (made to stick)
no one is listening to me: surprise them (uncommon sense)
I lost them half way through- create curiosity gaps
people don't understand or remember- concrete language
people are talking past each other- concrete language/ specific case
people don't believe you- telling details, examples, anti-authorities
arguing- springboard story (problems are presented and revealed)
apathetic- people care about indviduals, tap into their sense of identity
not exciting any more- deeper approach
people are down- underdog story
simple, unexpected, concrete, credible, emmotional, stories
mckee story (about screen writing)
plots
Arc plot- closed ending, nothing in doubt by the end, emphasis on internal, single protagonist, proactive, cause and effect, consistant reality
miniplot- minimalist, somewhat open endings, portions unresolved, emphasis on internal conflict, multiple protagonists, reactive,
anti-plot- subverts styles, can scramble or fragment time, coincidence, break rules, avant garde
this relates to how rules of world or lack there of can be better suited to certain plots.
non plot- plot where a value does not change, outside of the "story triangle," can still change people
inciting incident- should give audience a sense of the obligatory scene (the confrontation you know will happen). Can be direct or indirect. before 25% of the movie. As soon as the audience knows enough to max impact. Goals: Change value, create a desire (maybe also counter desire), give sense for the obligatory scene, set the character on a journey.
what is the worst possible thing that could happen to this character? how could it be turn to the best thing possible?
Progressive complications- more and more conflict, passing points of no return. Nothing moves forward except through conflict. Conflict is constant, if reduced in one area it grows in another.
Complex conflicts- contain a personal, an internal, and an extra personal conflict in single scene
Sub-plots- deepen audience involvement. May contradict main plot (irony), Reinforce with varriation, intro characters and important elements until inciting hits, complicate central plot (set up for adding conplexity to conlficts) sub-plots should be careful not to overshadow or distract.
Scene- story in minature. Changes a value. Relies on creating a gap in knowledge (the world reacts strangely) and then everything is clarified.
Set-up- read initially as one thing, but post knowledge gap have new deeper meaning
empathy, wanting the character to have his desires, and understand his values at stake
changes in values w/ this premise results in the audience feeling emotion
Mood- feeling (long term tone) of a film
Choice- dilemma, choice between irreconcilable good or choice of lesser of two evils
Analyzing a scene-
1. define conflict "to____", what blocks this desire? what does antagonism want? "to___"
2. note values at beginning of the scene
3. break the scene into beats, look at actions and subtext; and reactions and subtext. New beat doesn't start until action changes
4. Note value changes
5. locate turning point where the past is put in new light
After act 1 climax, the tension must be released, only the final climax should exhaust
go wide (the ripples into the world and ever cascading effects)
or go deep (look in to the characters and let the choices become more dramatically changing for the characters)
or go universal by symbolism (symbolism must not be obvious. Only by the end should the symbolism be clear.)
or turn progressions on irony
crisis- the ultimate decision- dangerous opertunity, no tommorrow, no second chance, obligatory scene. The audience suffers with the protagonist.
final climax and crisis usually happen in the final moments of a film
final climax must be a revolution of values. it must be clear. it requires no explaination
resolution- completes movie. shows full effects of outward ripples, or other pieces not covered by crisis, alternatively slow curtain zoom out
Antagonist forces need to be powerful enough to motivate changes in the character.
Contrary (opposite), contradictory (opposition but incidentally), negation of the negation (qualitatively worse than the contrary)
ex:
love
hate (contrary), indifference (contradictory), self hate or hate masquerading as love etc (NoN)
(NoN think layered horrificness)
A protagonist must confront NoN eventually.
Convert exposition to ammunition (background facts are used for advancement)
information gets brought when its used to stop or change action
how to turn the scene- turns by action or revelation
only flashaback when the audience wants to know
voice over- show don't tell. Counter point V.O. works, it can be done alright, but shouldn't be about exposition
curiosity- close knowledge gaps
concern- desire to reinforce the values we believe
empathy- requires to see some good in the protagonist. at the very least better than the antagonist forces.
audience narrative relations
mystery- audience knows less than characters, curiosity driven
suspence- characters and audience know the same amount both curiosity and concern
dramatic irony- character know less than the characters, concern based (told backwards soem times)
dramatic irony joys come out when viewing any movie the second time.
surprise- are either cheap or true
true is something we know. something unnoticed but consistant with the world
cheap surprise is part of some genres, but out side of them bad
Use of coincience- ok early on, but it needs to build into logic and meanings. Coincedence as ending is deus ex.
comic characters are driven by their manias. if they see this flaw they become no longer comic.
deus ex works in commedies if teh character never looses hope and has suffered too greatly.
novel- take on inner conflict
theater- takes on personal conflicts
film- extra personal conflict (built for grand scale)
a character is work of art. It is clear and knowable.
Charcterization- all the observable qualities.
Character- at heart who is this person (their values) expressed through choice and delimma
desires- what the character wants consciously and not
motive-should not be too narrowed down. (abstraction principle allows people to project selfs to a degree)
why a choice is made is not as important as the choice
dimension- contradictions with in the character, or between characterization and character
other characters exist only to demonstrate parts of hte protagonist
supporting roles can be multiple dimensions but it is not necessary for a good supporting role
bit parts are flat, but should still have a memorable trait
tips for writing characters (this looks relevant for writing settings)
1. leave room for the actor (characterization is the actor's job)
2. fall in love with ALL your characters, no exceptions (all aspects diserve exploration, but little things, without attempting to define them exhaustingly)
3. character is self knowledge (what would I do (if honest) is always the right thing to ask.)
dialogue aspects
compression- direction- purpose-natural
words must be grasped immediately
theater 80% verbal, 20% visual
film 20% verbal, 80% visual
long speeches are problematic (how do we prevent these in games?)
life is action and reaction
periodic sentances- meaning is with held until the end of the line.
vividness- specific noun rather than nouns + adjs, specific verbs instead of verbs+advs, use is and are as little as possible.
metaphor- can you actually make it show it (or use it as a sound effect replacement)? if not don't use it
camera direction is not useful unless absolutely vital. camera angles and cuts are suggested by the spacing and description of scenes
external imagery- adopting the symbolism of others
internal imagery- forming associations and symbolism with in your work
10 minute pitch
subtext matters
writing is easiest from plot down (rpgs of course take the opposite track. I'm not sure hwere to look to advice from here.)