Three Key Skills

There are three basic skills (fundamentals if you will) that every beginning GM must have…

1. Narration – the ability to set the scene, roleplay the world, report the results and consequences of actions, and transition to new scenes.

2. Querying – the ability to draw out of players their goals and the means by which they are attempting to achieve them when they set out to declare actions.

3. Adjudication – the ability to determine the difficulty, skill to be employed, and the result of an attempted action and the consequences that follow from success or failure.

These skills must be mastered to run a game and, thankfully, they are pretty easy to learn. They basically require you to explain the current situation to the players, ask the players for their actions (and roll dice if necessary), and explain the results of those actions to the players – that basic exchange again. Not hard at all (especially if you have a pre-published module with all this information readily at hand). The more you practice this basic exchange the better you will become at it. The remaining skills (discussed in the remainder of this section of the guide) explain and build on these foundational skills to help you become a better GM.

Game Fundamentals

The fundamentals of running a game are fairly straightforward. The key skills are narration (including roleplaying), adjudication, and pacing (and a bunch of special cases such as introducing scenes, transitioning scenes, concluding scenes, and communicating the results of actions). A further skill is that of improvisation – an essential though advanced skill for managing those moments where the players depart radically from the game you had planned. Each of these skills is considered in detail in future sections of this volume. For now, it is enough to master the basic game interaction…

Tell the players why and where they are. Start at the first scene of the game and describe what happens (Introduce, Narrate, and Role-play).

Ask the players what they wish to do (Query). Make sure you understand what they are intending to accomplish and how.

Figure out the results (Adjudicate) and communicate what happens to the players (Resolve).

Describe the new scene that results (Transition) and keep doing this over and over (Maintain the pace and tone).

When the game reaches its conclusion (the players have achieved what they set out to – or failed) sum up what has happened, thank everyone for coming, and bring the game to a close (Conclude).

Your very First Session

If you are a brand new GM, then this section is specifically for you.

Without meaning to discourage you inordinately, you need to understand from the outset that you will run a bad game to start with. This is perfectly normal and should take most of the pressure you are feeling off you. The first time you ride a bike it is wobbly and you have a high chance of crashing. The first time you run a roleplaying game, it is likely to be bad (at least by comparison to the games run by people with experience). The good news is that your players will probably have a good time anyway. Most players are highly forgiving of someone sitting down in the GM’s chair for the first time.

To make your first game manageable, give it a limited duration – a single session (of three to four hours) with an endpoint that you are not going to go beyond – and tell your players.

Provide the players with pre-generated characters. For your first game, you don’t want to be looking up rules relating to character abilities on the fly. By using pre-generated characters you avoid this frustration and can concentrate on running the game for characters whose abilities you understand and have had time to prepare. The process of creating a handful of characters can also be a good way to introduce yourself to the rules and how they work. It also helps the players keep from getting attached to the characters (making it easier to limit the game to a single session).

Lastly, use a pre-published module or scenario (like “The Temple of the Vetalla” included in this volume) for your first game. If you’re a new GM you want to make it easy to concentrate on learning the fundamentals of running a gaming session. The design of a game from the ground up is an advanced skill that you don’t want to be distracted with, the first time you sit down to run a game. And a pre-published module lets you do this. Players are also more likely to blame the module for the quality of the game than they are to hold you accountable. And it will be easier to say “no” when players deviate too far from what you can manage during the game.

Make sure you communicate all of this to your players (limited time, pre-generated characters, and pre-published module) so that they are committed to playing the same game you are going to run.

The next point is obvious. Get to know the rules of the game and get to know the module you are planning to run. Understand the rules in their basic form, but also revise a few areas in detail. Specifically, revise the section on getting things done, combat, and magic.

Be sure to read the module through in detail. Read it all the way through at least once and be sure to skim it as near to the game’s start as you can. You’ll know you’ve read it enough if you can explain to yourself, out loud, the basic run-down of what happens in the module during play.

This volume relies heavily on the work of Scott Rehm, Justin Alexander, Brian Christopher Misiaszek, Mike Bourke, Blair Ramage, Saxon Brenton, Robin Laws, John Wick, Wolfgang Baur, Ken Hite, Monte Cooke, Kevin Crawford, Phil Vecchione, and Walt Ciechanowski.

This chapter of the Host Your Own Old Time Radio Drama RPG and all associated content (except where noted above) is © copyright weirdworldstudios.com and Philip Craig Robotham 2016 and may not be reproduced or distributed without the written permission of the author.

HYOOTRD Roleplaying Game – Game Master’s Guide – Part 1 – Running a Game

• Chapter 1: The Job of the GM (gathering a table, player types, and ensuring fun)
• Chapter 2: Preliminaries (the three fundamental skills, and your first session)
• Chapter 3: Advanced skills – Part 1 (the opening scene and narration)
• Chapter 3: Advanced skills – Part 2 (querying and adjudication)
• Chapter 3: Advanced skills – Part 3 (resolving actions, managing tropes, transitioning, concluding, and preparing future sessions)
• Chapter 4: Managing the Mini-Games (combat, chases, and social actions)
• Chapter 5: Maintaining Pace and Tone (managing time and policing the tone)
• Chapter 6: Improvising (improvising the story and the rules – for all the times the players do something unexpected)
• Chapter 7 & 8: Getting Feedback and Conclusion (improving your game)

HYOOTRD Roleplaying Game – Game Master’s Guide – Part 2 – Designing Games

• Chapter 9: Scene Design
• Chapter 10: NPC, Monster, Faction, and Villain Design
• Chapter 11: Dilemmas, Obstacles, Exits, and Clues
• Chapter 12: Plot (scenario, sandbox, critical path, and the interaction between story and choice)
• Chapter 13: Structures: The five-room dungeon (and variations)
• Chapter 14: Structures: The sandbox (the town or city)
• Chapter 15: Structures: The sandbox (the wilderness)
• Chapter 16: Structures: The Scenario
• Chapter 17: Structures: The Campaign

The post FUNDAMENTALS – CHAPTER 2 – HYOOTRD RPG GMs GUIDE appeared first on Host Your Own Old Time Radio Drama.

I’m not particularly good at doing action scenes so a while back I did a bit of research and thinking in order to improve what I do. Here are some general principles for designing action scenes that I arrived at. They help me to be a bit more deliberate about what I want to achieve when I write one – but they shouldn’t be seen as a prescription (more suggestions to think about).

1. Find a story to tell within the story.

Action scenes must serve the plot. They are wasted text if they do not advance the plot in any meaningful way. If an action scene can be deleted without affecting the story at all, it is unnecessary and shouldn’t be there.

A good action scene is a movement from intention to outcome, but like all scenes, must be one that would diminish the story if it was absent.

2. Make it subjective and personalize it.

The scene should focus on the experience of the combatants. It should be a dialog between them that reveals character in some way. It should also include stakes that are genuinely high; that is the participants should have something genuinely important to lose as a result of the outcome… and the outcome must be genuinely uncertain.

3. Decide on a mood.

Is the action short and brutal (like in Unforgiven)? Is it extended, civil, and swashbuckling (like in The Princess Bride)? Is it realistic? Is it stylized? Is it desperate etc.?

4. Have a broad outline of the action.

Plan the scene (goal, obstacle, disaster, reaction/choice, outcome) in broad terms. Because the pace is intentionally quick, don’t worry about rehearsal of options and anticipation of outcomes – they belong to more leisurely scenes. Don’t choreograph every move… that isn’t going to work. Let the audience choreograph the fight by harnessing the listener’s own ability to supply the detail. Give the audience enough detail (via sound cues and dialog) that it is easy for them to imagine the detail without confusion.

5. If possible, heighten the emotion.

Use the protagonist’s point of view, sound and dialog to provide reactions to being in the midst of the action. Confusion, pain, surprise, fear, anger etc.

6. Keep the action fast paced.

Use short sentences of dialog. Make sound cues short and evocative. Resolve the action quickly – don’t let the audience start to wonder if/when its all going to end. It’s better to leave the audience wanting more than bored by too much.

7. Surprise the listener.

A fight or action scene is a story telling opportunity and cliches and predictability should be avoided.

8. Don’t fill the scene with uninterpreted or uninterpretable sound.

Incomprehensible soundscapes create confusion in the mind of the audience and destroy any sense of immersion that the audience might have.

9. Don’t over narrate.

Use supporting characters and your protagonists to keep the action clear. Have them speak to each other about what they are seeing etc. But don’t overdo it. You don’t want your action scene to sound like a prize fight commentary (unless it happens to be a prize fight commentary).

Example

Here’s a quick example scene…

SCENE 1: INT – CAPTAIN’S CABIN ON THE PIRATE SHIP THE FLOATING SAVAGE – NIGHT (FIRST MATE, PIRATE KING, PIRATE 1, PIRATE 2, PIRATE 3)

1. SOUND: BOAT RIGGING, WAVES, ETC. – ESTABLISH AND UNDER.

2. SOUND: A KNOCK, DOOR OPENS – LET IT FINISH.

3. FIRST MATE: ‘Evening Captain. There’s four of us as would like a word if it’s all the same to you.

4. PIRATE KING: Well, lads, come in and gather round. I’ve word of a fat ship heading to the West Indies with a payroll for the plantations. What do you say? A worthy target?

5. SOUND: DOOR CLOSES, PIRATES SHUFFLE IN – LET IT FINISH.

6. FIRST MATE: Well, Captain, it’s like this. We’re feeling a little concerned… Ye’ve led us into one disaster after another recently and we were wondering why we should keep on following you?

7. PIRATE CAPTAIN: Are ye thinking I’ve led ye wrong then?

8. FIRST MATE: Aye Captain, we are. Begging your pardon, but we’ve seen no decent plunder these past months… and come close to capture more’n a few times.

9. PIRATE KING: So what would you have me do? The pickings have been meagre, true, and the King’s navy has dogged our every step. But I defy you to show me anyone who could have done any better.

10. FIRST MATE: I reckon “some of us” think perhaps we could do a better job.

11. PIRATE KING: Then call a vote. Let’s see how many this “some of us” amounts to.

12. FIRST MATE: Well, Captain, that would be the way to do it, right enough, but I think a quicker and more straight forward solution be presenting itself.

13. PIRATE KING: Ah, it’s like that is it?

14. FIRST MATE: Aye, ‘tis.

15. PIRATE KING: And that’d be why you brought these three lads with you. You never were one to face a man squarely.

16. FIRST MATE: Oh they ain’t going to interfere. They’re just here to make sure no-one else does either. (BEAT) What say you to my challenge, Captain? How will ye answer?

17. PIRATE KING: Like this…

18. SOUND: SMACK OF FIST ON FACE – LET IT FINISH.

19. FIRST MATE: Ugh. Your sneaky reputation is well earned, Captain. But it will take more’n that to fell me.

20. PIRATE KING: Something more like this then?

21. SOUND: SMACK (BEAT) SMACK, SMACK – LET IT FINISH.

22. FIRST MATE: (DISCONCERTED AND WORRIED) Aye. Something very much like that.

23. PIRATE KING: So why are you smiling?

24. FIRST MATE: Because of this…

25. SOUND: KNIFE UNSHEATHES – LET IT FINISH.

26. PIRATE KING: A knife? Really?

27. FIRST MATE: It’s the least I could… do!

28. SOUND: SWISH OF KNIFE – LET IT FINISH.

29. PIRATE KING: … and I didn’t bring anything for you. (BEAT) I guess it will have to just be this…

30. SOUND: SMACK – LET IT FINISH.

31. PIRATE KING: And this…

32. SOUND: SMACK – LET IT FINISH.

33. PIRATE KING: And this, and this, and this…

34. SOUND: SMACK, SMACK, SMACK – UNDER

35. PIRATE KING: And this!

36. SOUND: SMACK – LET IT FINISH.

37. FIRST MATE: (GROANS) Ugh!

38. SOUND: BODY DROP!

39. PIRATE KING: (SLIGHTLY OUT OF BREATH) Now… are any of you other wretches inclined to add your weight to this cur’s challenge?

40. PIRATE 1: (SCARED) No!

41. PIRATE 2&3: No, no!

42. PIRATE KING: Good. Then I suggest you get this maggot ridden carcass off my floor and over the side of my ship.

43. PIRATE 1: Er, yes Captain. Right away Captain!

44. PIRATE KING: … and then get something to clean the blood out of my carpet. His nose appears to have bled all over it.

45. PIRATES 2&3: Yes, yes, Captain!

46. PIRATE KING: Well, get going!

47. SOUND: HURRIED ACTIVITY, JOSTLING, DOOR OPENS AND CLOSES – LET IT FINISH.

48. PIRATE KING: Damnit! I’ll need a new first mate after this.

49. MUSIC: SCENE ENDER – LET IT FINISH

Analysis

In the above scene I’ve tried to keep the action simple and easy to follow (a few short sharp blows and the swish of a knife). From a story point of view this brawl is an exercise in dominance, the Captain is being challenged for his ship and meets it decisively, reasserting control over his crew by beating the challenger down. His skill is demonstrated in the dialog and his courage is demonstrated by facing down his First Mate with just his fists when the coward produces a knife. The fearful reaction of the crew and the reference to blood on the carpet are intended to help sell the violence of the moment. Structurally, the scene establishes the captain’s goal (to assert his right to be Captain), the obstacle (a challenge from the First Mate), the disaster (the First Mate pulls a knife), the captain’s reaction (bravado), and the captains choice (to defeat the First Mate with only his fists).

What techniques do you employ to write action scenes? Tell us your thoughts and ideas in the comments below.

This article is © 2017 by Philip Craig Robotham – all rights reserved.

The post 9 tips to Help Write Action Scenes in Audio Drama Scripts appeared first on Host Your Own Old Time Radio Drama.

Here’s some general advice I’ve pulled together from a variety of sources to help me manage the pacing in my scripts.

Pacing is concerned with the way we control time in a narrative (both time as it passes in the story, but also the way we control the audience’s time as well). We control the speed with which the narrative passes over time (speeding up and slowing down the narrative for dramatic effect, skipping hours, days, months or years of narrative time at one point while lingering over a single moment far in excess of it’s real-time equivalent at another) in order to create various dramatic effects. We also (often inadvertently) control the audience’s perception of time through our pacing. If the story seems long and drawn out, frenetic and quickly over, etc., this is an impression we create as authors. Different dramatic effects require different approaches to pacing. Moments of reflection are naturally slower than moments of action (which resolve at high speed). Likewise, the pace slows down for suspense, but quickens for conflict.

PACING IN THREE ACT STRUCTURE

There are natural rhythms of pacing in an overall plot.

In a typical three act structure the pace is quick getting from opening scene through the inciting incident of the first act (since we are trying to hook the audience as quickly as possible).

In the second act we have more time to alternate between fast and slow pacing. The first half of the second act generally sees a gentle back and forth escalation in pace until the point of no-return is reached.

The point of no return is one of two places where the characters are generally required to engage in some significant reflection and the pace slows down to heighten the drama. Something has happened that burns the characters’ bridges behind them and the pace slows to allow the impact of the event to settle in.

Following this we see a second sharper escalation of pace through the rising tension of the second act.

The reversal that concludes the second act is another point at which the pace slows. Generally speaking it is the moment that the characters’ experience their lowest point, feeling all is lost. Once more the pace slows down to allow them to reflect on their situation and give the event a chance to make an impact.

The third act picks up the pace for the final confrontation.

Confrontation over, the story slows down for a gentle landing during the denouement.

PACING IN THE SCENE

The structure of a scene tends to have its own pace as well.

There is a slow build through the setting of the scene and establishment of the character goal through to the reveal of the obstacle that stands in the characters’ way.

From here the pace picks up as the characters attempt to circumvent the obstacle until disaster strikes.

When the disaster strikes the pace slows as the characters react, anticipate the consequences of future choices, and decide what to do next.

Pace tends to rise and fall, wave like throughout the story along with the tension – and pace is one of the key techniques of creating tension in a story.

TECHNIQUES FOR INCREASING THE PACE

Leave out everything that isn’t essential to the scene and the action within it (especially descriptions and thoughts).

Use rapid-fire, short sentences in dialog.

Keep the action central and avoid reflection and pondering. Instead use conflict and confrontation.

Though it may seem counter intuitive, interrupt the expected outcome. This may appear to lengthen the story but in fact increases the sense of pace. Cut on cliff hanger moments and moments of revelation or threat to build listener expectation and eagerness for what will follow.

Foreshadow future conflicts to increase listener curiosity.

Place incidents/events in rapid succession without giving the characters time to think.

Use short scenes that present easily digested short segments of action.

Elide time. Jump over periods of time without explanation or with a quick summary of what intervened (eg. “Two days later…”, “Five years later…” etc.).

Trim all unnecessary words from sentences, even using sentence fragments and extra short paragraphs), and use harsh sounding words, attention grabbing verbs, and words with unpleasant associations (crash, lunge, scavenge, slither, hiss etc.). Words like these tend to force the listener forward.

TECHNIQUES FOR SLOWING THE PACE

There are times when you want to slow the pace down.

Add setting details and narrative exposition, explore the characters’ thoughts and feelings.

Extend conversations so they are more leisurely and rambling.

Bring characters into accord with one another, defuse conflict and tension so that everyone has a chance to take a breath.

Take your time moving from one event to the next, explore each thoroughly and allow the characters to react to and reflect on what is taking place.

Use flashback to extend the scene.

Introduce narration.

Allow sentences to flow with soft sounding words and sensory and emotional descriptors.

Slow moments don’t need to lack intensity. The anticipation before the crash as the car goes into a spin allows the writer to slow down and focus on the heartbeat, the last frenzied thoughts, the sight of the trees spinning past as the car twists and skates across the ice etc.

Whatever you do, and wherever you attempt to employ one of these techniques, remember to do so deliberately, for a purpose that moves the story forward or reveals important character in some way. Otherwise, your writing will be pointless filler (and the audience can always tell).

What techniques do you employ to pace your drama? Tell us your thoughts and ideas in the comments below.

This article is © 2017 by Philip Craig Robotham – all rights reserved.

The post How to Manage Pacing in Audio Drama Scripts appeared first on Host Your Own Old Time Radio Drama.