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  1. That was a Powerful Story!

    There is little room for doubt. People enjoy telling and listening to a story. Some of those stories and tellers will be better than others will be. What makes someone a powerful storyteller while another telling the same story in the same manner will flop. Is there some special secret that those great tellers know? The best stories regardless of its nature will consist of the same aspects.

    Tension

    Great stories will generally start with something that grabs the person listening or reading. This could be done through some random character challenging the players in some form of duel. Another could be everyone attempting to flee a situation, no matter the reason. Presenting background facts and emotions will have the effect of losing everyone.

    Humans

    Through the proper implementation of uncertainty, people will find themselves bonding with characters in the story. This might be by requiring some player to decide between two or more options, none of which is better or worse than any other. If the player is uncertain that this task he is performing can be done, either in time or at all, will make the characters seem more like a real person the players can get behind. When making the characters so polished or perfect will have the effect of driving everyone away.

    Images

    By making some image that everyone can visualize, players will have something they can use. Often, this will be done by the use of maps, pictures, minis, handouts, and other tools. These will be helpful for showing what things are and where they are located. The key here is “helpful”, they are not needed. The best way to create the scene will be through good, descriptive words. Use every sense that the players and their character possess. Let them see the room, hear the screeching of metal, smell the fire smoke, whatever is usable. When done right, the players will feel as though they in the place their characters exist in.

    Who About?

    The PCs are the primary figures within the game. This will true regardless if they are starter character no better than some other NPC around or if they are ultra-powerful entities. This does not mean the King needs to bow to the PCs. Instead, events focused upon would be those the players will determine interesting and want to go for. Murder hobos should have those combat situations that they find exciting. Sherlock characters can get their mysteries. Whatever they players would desire to take will be involved in the adventure. The GM’s ego can factor in but keep the player’s interests at center stage.

    Steaks

    The best stories will challenge the antagonist in some manner. These games will be no different. The PCs should have something precious that they are at least tempted to surrender so they can reach the goals. The fighter using their ancient family sword might have to get it broken so they can defeat that foe. This rouge could be required to team up with this hated guild to gain the item needed. If there is only something gained, it will lead to boring sessions.

    Looped

    When the adventure ends, the PCs can travel back to the city they came from. The issue should be that they have been altered in some manner. They could attempt to retake the life they had at start, but they will now have a poor fit due to the changes forced upon them by the adventure. If the PC started as an enlisted in the police force, then they will discover that law enforcement is not workable. Instead, he should take a position as private detective. The adventure will change the PC, emphasize these changes.

    Next?

    There is an assumption that when the adventure ends, there will be some final closing scene. After that, there will be nothing leading everyone into the next adventure. This will usually be a bad way to end everything. A better alternative will be to make some closing that will either generate some hook for future endeavors. This could be as subtle as discovering a note that says something cryptic or more obvious like the guild master calling them and requesting their aid. If there is a lessen, it should be hidden throughout the campaign, not a club hitting everyone at the end.

    Telling a great story seem intimidating at first. When employing some simple tools, this goes from overwhelming to little apparent effort. There are no shortcuts, but comparatively simple tricks will turn that ho-hum story into the edge-of-the-seat run. With tension, players will drive the story for the GM. Keeping the human factor and keeping the focus on the PCs will make the players seem like they are the center of the gameworld. Through proper use of images, the world will seem as though it is a living, breathing world that entices those adventures. Having powerful steaks will make the efforts of the adventure worthwhile and drive everyone from one session to the next. Closing by showing the changes and encouraging future adventures will make is appear worthwhile. Then the players will have that excitement they will recreate for many years to come.

    Please refer this blog to your friends and family. If you use this link, everyone will receive a bonus.

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    Donate monthly #Creation #Decisions #Design #DnD #Games #Gaming #Methods #Principles #RolePlayingGames #RPG #Storyteller #Tools #TTRPG
  2. A boy stands alone in the middle of a square silently crying with wet chins and stiff pose. Everyone walked past by him, like if he is not even there. It feels like no one is seeing him. He breaks the silent. Tears splashes on the already wet concrete by his feet.

    A woman (you in the story) hears his cry and walks up to him and goes down to his eye level. "Why are you crying, sweetie", she asks. The boy looks at her, preparing for answering and says, "b-b-because I-I am all a-a-alone. I-I can't f-find my p-p-parents." The woman asks, "where are your parents?" "I-In heaven and I c-can't find the el-elevator t-to it".

    The woman remains speechless. What will you do?

    Continue the story. Each toot means a build to the story.

    Boost for a wider reach.

    #storyteller #storytelling #story

  3. RIP Rachel Naomi Remen, MD

    “As a medical educator, therapist, and teacher, she enabled many thousands of physicians to find individual meaning and purpose in the practice of medicine and thousands of patients to remember their power to heal.”

    I read her books early in my career, and in them saw how physicians can be storytellers, and how the art of storytelling makes us better physicians. I never had the opportunity to meet her, but some of my mentors did and told me how she changed (and saved) their lives

    She truly influenced our profession for the better. She was saving lives from #burnout before it was a buzzword

    #medmastodon #physicians #storyteller #obituary

    tns.commonweal.org/podcasts/ce

  4. 𝐖𝐡𝐚𝐭 𝐬𝐡𝐨𝐮𝐥𝐝 𝐚 𝐌𝐚𝐠𝐞 𝐒𝐭𝐨𝐫𝐲𝐭𝐞𝐥𝐥𝐞𝐫 𝐩𝐫𝐞𝐩𝐚𝐫𝐞 𝐦𝐨𝐬𝐭?
    #poll #storyteller

  5. A unique #theatrical #performance inspired by #Yiddish #folktales features dead #Jews dancing at a cemetery, a prophet appearing in the form of a bunny rabbit and a stone-munching worm named Shamir. It all takes place within the confines of a 2’ X 4’ box known as a #cranky and it’s coming to #NewYork later this month as part of the International #Puppet #FringeFestival.

    For those unfamiliar with the decidedly low-tech medium, #crankies are portable stages through which a panorama is scrolled by cranking a pair of wooden dowels. The characters and scenery on the scroll are usually accompanied by #narration and #music, in this case a live #klezmer trio. In backlit crankies, #shadowpuppets can also be used for characters.

    The cranky performance of #ShternaandtheLostVoice was created by the #MagidEnsemble, a far-flung interdisciplinary collective that includes a #storyteller, a #graphicartist and three former members of the #Boston klezmer band #Mamaliga."

    jewishpostandnews.ca/uncategor

  6. Me, Teller of Stories

    People like to tell stories. At times, this could be to make something else seem more interesting or important. Other times it could be to get out of, or into, something. Among people who play tabletop role playing games (TTRPGs), the primary purpose will be to entertain everyone. Regardless of the reason, all good stories will possess six primary items.

    Goal?

    At the core of every story will be some goal. This could be to clean the dungeon, locate some important figure, gather information (usually for some powerful organization), or essentially anything. This goal could be directly stated or implied. At times, the player characters (PCs) will be given their choice of several goals on some bulletin board in the game. The design of that bulletin board could vary depending upon the nature and setting of the game. A fantasy game would have a large wooden board that people post these goals on while a scifi game would require the PCs to access some electronic site for this. Another way to state the goal would be interactions with some important official from the government, organization, business, or other source. This could be where the King summons them for an audience, a business representative will request their aid, or any other form of stating the goal. A third way would be to accidentally encounter the goal. That could the PCs traveling to some city and meets some bandits with information they need. They encounter a derelict spaceship sending out a recorded call for assistance.

    Audience?

    The nature of everyone will make a powerful impact upon how the game advances. A group of murder hobos would be interested in how much (and powerful) combat they would encounter. If there are Sherlock type players, they would desire a worthwhile mystery. Other types will each have their preferred style. While everyone would be willing to attempt other styles, this preferred style will carry them to the end in the most exciting manner. Most groups will involve multiple types, so it will prove to be challenging to entertain everyone all the time.

    Detailed?

    As the person creating the story, it would be easy to believe that the players are all that one needs to consider. However, one needs to consider that as the game master (GM) you are still a player as well. This means both that you must entertain yourself as well and bring in aspects of yourself in addition to bringing in aspects of yourself (which the players will also be doing). If the goal is to rescue this important official, then make that official to be the in-game version of yourself.

    Body Language?

    TTRPGs tend to have little in the way of physical activity. This does not mean they are motionless. People love to exaggerate things through arm movements, show force with table pounding, attention with eye position and movement, among much more. Also, do not forget the importance of voice. A quiet, muttering voice could indicate indecision, while one highly accented might be either high or low intelligence. All of these can be performed while still around the game table. The better one gets at these, the better the game itself will get.

    Clear? Concise?

    No matter how good the goal is, knowledge of the audience, and use of personal details and body language, the game will still have troubles if the players are unable to understand what is going on. When things are described in a manner that everyone can understand, then they will be more excited and want to go through. This means that things should be explained in some manner that the players will understand with little trouble. Being to the point is not always the best solution. There could be instances where using less-than-certain language and manners will be preferred. This could be saying the sword slices through the opponent with blood spurting toward the attacker. Those Sherlock players might desire a description of the scene as being not simply cluttered but mentioning where and how everything is laid around.

    Most Important!!

    The final issue is the most important. It is also the most forgotten. This is to practice and ask for feedback from everyone. Many GMs will assume that by being the game master every (or most) sessions will be enough to satisfy the practicing. As with any activity, the more (and better) one works out will make them improve. It is not as simple as running the game. Just doing that can lock in terrible practices. This is where feedback is important. The players should be willing to tell you where things are weak, or general improvements could be done. Through listening to this advice, a GM make real improvements that makes the game better.

    At its core, TTRPGs are a form of storytelling. Some tellers will perform better than others will. Regardless how good someone is, there will always be room for improvement. There are some core traits that great storytellers will employ to make their stories better. They will attempt to gain knowledge of the group before they even enter the place. That will allow them to tailor the story in a manner they will find amusing. By bringing in some goal, players will be driven into the place and adventure desired. Through personal details from everyone, they will find things that bring them into the story. Body and vocal language will enhance details that are seen as important or deemphasize aspects that are less important. Through clear and concise details, players will be able to know what is the most desirable way of operating. By getting feedback in a timely manner, the storyteller will know where and how they should improve. With all these, everyone will obtain great stories to be able to recreate over several years.

    Please refer this blog to your friends and family. If you use this link, everyone will receive a bonus.

    There is a Spring Store that one can obtain all that wonderful merchandise. Please visit this site for all your great gaming products from Asp the Gamer. They have everything that makes all your games better.

    Make a one-time donation

    Your contribution is appreciated.

    Donate

    Make a monthly donation

    Your contribution is appreciated.

    Donate monthly #Attributes #Creation #Decisions #Design #Games #Gaming #RolePlayingGames #RPG #Storyteller #TTRPG
  7. This morning's #workout #music is from PJ Harvey doing a live set in 2004 at the pinnacle of her powers. Really great set of some of her best music. Genius.

    youtu.be/LlQlbJnAmg4
    #Rock #StoryTeller #WomenInMusic #KettleBells #wellness

  8. I wrote about how oral storytelling transcends language and some techniques for helping your storytelling connect with people —-even if they don’t understand your words.
    connectionwithwonder.com/story #storytelling #words #storyteller

  9. BRECK: Stone’s Rest — Chapter Ten The Story That Made Us Careful

    Daily writing prompt What’s a piece of media (book, movie, song) that changed how you see the world? View all responses

    BRECK: Stone’s Rest — Chapter Ten

    The Story That Made Us Careful

    This is Chapter 10 of BRECK: Stone’s Rest, Book Three of the BRECK series — a serialized noble dark fantasy story by Chadwick Rye. New chapters post daily.

    The Story So Far

    Three days in Garrow’s records found the actual problem — not the trench, but page forty-seven of the original charter, where “affected parties” was defined using a template that never knew the mountains existed. The trench is fixable. The definition is a different problem. Breck needs Mira to start building Frostpeak’s testimony into something a Lumenvale proceeding can receive. He needs the Council to hold long enough to let him try.

    ← Chapter Nine: The Ending No One Wrote | Chapter Eleven →

    Chapter Ten: The Story That Made Us Careful

    This chapter asks what changed how a person sees the world — and answers with a story that isn’t a book, but carries more weight than most books ever will.

    Mira agreed to the translation work without much discussion, which told Breck she’d already been thinking about it before he asked, possibly since the chamber session, possibly longer. She laid out, with the same flat diagnostic clarity she brought to everything, what it would require and what it might cost.

    “Frostpeak’s account can be rendered in a form that’s legible outside Nomados,” she said. “What I carry out of communion with her is specific enough — dates as she experiences them, locations, the progression of what she’s felt in the deep stone over the six years of the concession. I can render that into chronicle form. What I can’t guarantee is that a Lumenvale court will credit the source once they understand what it is.”

    “That’s a problem for Caine’s office to solve,” Breck said. “Your job is to make the testimony. His office’s job is to argue it has standing.”

    “You trust him to do that.”

    “I trust him to try it. That’s all I can ask of anyone in this.”

    He left her to begin and was crossing back toward the lift with Jenna when the runner found him — a girl of about twelve, Forge Clan markings on her collar, with the look of someone who’d been told to deliver a message quickly and had taken the instruction seriously. Elder Tomson’s compliments. He had something to say and would appreciate Breck coming to say it where only the two of them would hear it.

    The quarters Tomson kept on Grandfather Ironheart’s lower terrace during the convergence extension were smaller than Breck expected for an elder of his standing — plain-furnished, working-warm, the walls hung with tools rather than decorations. Tomson himself stood at the window when Breck arrived, not looking out of it so much as using it to avoid the room, the way people use windows when they’ve decided to say something they haven’t fully decided they want said yet.

    “I’m not your enemy,” Tomson said, without turning around.

    “I know that.”

    “I want to be clear about it, because I’ve been told I read as one.” He turned then, and looked at Breck the way men who’ve spent a long time in difficult work look at the people they have to trust whether they want to or not. “Daveron granted you standing. I didn’t argue against it once the vote was clear and I’m not arguing against it now. But I want you to understand something before this goes much further, and I want to say it where nobody’s deciding whether to look encouraged or worried by it.”

    “I’m listening.”

    Tomson moved to the table, sat heavily. “Three generations ago, when my grandfather’s grandfather held this elder seat, there were ground-dwellers who came here with a survey contract and letters from their own government expressing genuine concern about the Peak-rider clans and what they needed. The survey was honest. The letters were sincere. The men who carried them weren’t lying about their intentions.” He looked at the surface of the table as he said it, the look of a man reciting something he learned before he learned to doubt it. “They went back home. The letters made it into their own government’s records as evidence of goodwill and diplomatic engagement. The survey became the basis for a land-use agreement that granted ground-dweller caravans rights to the Shifting Plains corridor and gave the clans nothing in return, because the clans had already demonstrated, by allowing the survey, that the corridor was accessible, which meant it didn’t need to be purchased. The men who came weren’t malicious. They were simply working within a framework that always found a way to give them what they came for.” He looked up. “We tell that story in the Forge Clan the way other clans tell weather wisdom. Not as a warning against outsiders. As a caution against mistaking goodwill for outcome.”

    Breck let it sit a moment. “That’s the right story to tell,” he said.

    Tomson’s eyes sharpened slightly. He’d expected argument, clearly. “You don’t disagree.”

    “Good intentions carried through a framework that doesn’t account for everyone in the room aren’t worth more than the paper they’re written on. I’ve spent three years watching people get hurt by things that were never designed to hurt them. The design is almost worse than malice would be, because at least malice understands what it’s doing.” He folded his hands, let Tomson take his time with the response. “I’m not asking you to trust me. I’m asking you to let me try to change the page the story keeps ending on. If it doesn’t work, you’ll have lost nothing you hadn’t already lost.”

    “And if it works,” Tomson said slowly, “we’ll have let another ground-dweller come and go with something we gave him that we can’t take back.”

    “Yes,” Breck said. “A ruling. That your peaks have standing. That harm done to them is harm the law is obligated to answer for.” He held Tomson’s eyes. “That’s the thing I’d be taking. If that costs you something, I want you telling me now how it costs you, because I’d rather know.”

    Tomson stared at him for a long while, in the particular silence of a man stress-testing a structure he’d been expecting to find hollow. “If you fail,” he said, finally, “we’ve allowed ourselves to be documented as the party that participated in a Lumenvale process that considered the question and declined to grant us standing. That documentation can be used in future proceedings as settled precedent against us.” He said it carefully, the way a man who’s spent a lifetime reading the fine print says things. “That’s what failed petitions have given us before. I am not willing to go into another failed process blind.”

    “You’re right to name that,” Breck said. “Caine’s referral isn’t a petition. It’s a case with a specific charter violation in evidence. A failed petition asks for something. A failed case, argued on the basis of documented harm, is harder to use as precedent against the party that was harmed. The question wouldn’t be whether you have standing — it would be whether this specific harm constituted harm under the existing framework. Those are different failure modes.” He paused. “But you should have a lawyer review that distinction before you tell Daveron to let me proceed. I’m a courier, not a lawyer. I believe what I just told you, and I might be wrong about the fine print.”

    Something in Tomson’s expression shifted — not warmly, but honestly, the shift of a man adjusting a calibration. “You just told me you might be wrong.”

    “I might be wrong about the fine print. I’m not wrong about the trench, or page forty-seven, or what Mira felt in that chamber, or what Bren read on Grandfather Ironheart’s crown.” He stood. “I’ll leave you to decide what weight to give the first of those against the rest.”

    He was halfway down the switchback path from Ironheart’s lower terrace, Jenna a quiet three steps behind him, when he saw the man.

    Ground-dweller, camp-worker’s clothes, standing at the junction where the switchback met the main path in the casual, unconvincing way of a man pretending to rest who hadn’t been walking hard enough to need rest. Broad through the chest, a foreman’s leather kit on his belt rather than a laborer’s. He wasn’t looking at Breck. He was very carefully not looking at Breck, which was its own kind of looking.

    Breck kept his pace even, didn’t slow, didn’t glance back, and noted the exact location and the quality of the not-looking the way he noted everything that arrived sideways — without urgency, without reaction, simply filed.

    “Who’s Garrow’s site manager,” he said to Jenna, quietly, once they were past.

    “Hask,” Jenna said, equally quietly. “I don’t know him by sight.”

    “I think I might,” Breck said, and said nothing else about it for the rest of the walk down.

    He thought, going over the day’s material as he walked, about what Tomson’s story had done to the Forge Clan’s worldview, and about the question the day had put in front of it — what changed how a person sees the world. Not a book. Not a song. A thing told around fires in the Forge Clan’s particular keeping, a real event rendered into repeatable form because the real event had been too instructive to let rest in private memory. That was what certain stories did, the ones that mattered most — not entertain, not illuminate in the comfortable way of fiction that left you set down the same person who’d picked it up. The ones that mattered rewired the seeing itself. The Forge Clan looked at surveyors and letters of goodwill and saw, underneath them, the shape of the framework those things always served, because three generations ago the story had been lived first and told after, and the telling had made the pattern visible to people who’d never lived the original.

    Breck thought about what story the mountains’ clans would tell three generations from now about this season, about these weeks of convergence and records and a courier from Lumenvale who’d turned up with a referral and a pencil. He thought about the two versions of that story — the one where the framework changed, even partially, even imperfectly — and the one where it didn’t.

    He very much wanted the telling to land on the first.

    He’d have to earn that, though, and the man at the junction who’d been so carefully not watching him suggested, with a clarity Breck trusted more than most things he could have been told directly, that whatever time he had left to earn it had just gotten shorter.

    ← Chapter Nine: The Ending No One Wrote | Chapter Eleven →

    BRECK: Stone’s Rest is a serialized noble dark fantasy story by Chadwick Rye — Book Three of the BRECK series, crossing from Lumenvale into Nomados. Chapter 10 of 20. New chapters post daily.

    ✦ Enjoyed this chapter? “The Story That Made Us Careful” continues Book Three of the BRECK series — a skeptic’s honest warning, a foreman who’s started watching, and the question of which version of a story the clans will be telling three generations from now. Browse the full series, follow for daily chapters, or share this with a reader who knows that the stories we tell to survive are the ones that change us most.

    #adventure #books #Breck #BRECKColdHarbor #BRECKDeadDelivery #BRECKSeries #BRECKStoneSRest #ChadwickRye #ChadwickRyeAuthor #characterDrivenFantasy #courier #dailyFantasyChapters #dailyprompt #dailyprompt2804 #DarkFantasy #darkFantasySeries #EpicFantasy #fantasy #FantasyConflict #fantasyCourierStory #FantasyFiction #FantasyNovel #FantasyPolitics #FantasyProtagonist #FantasySeries #fantasyWithMoralComplexity #fiction #Frostpeak #GRimdark #HighFantasy #legalFantasy #lowFantasy #Lumenvale #moralFantasy #nobleDarkFantasy #Nomados #onlineFiction #politicalFiction #readFantasyOnline #reading #sentientMountains #sentientWorldFantasy #serializedBook #serializedFantasy #serializedFantasyFiction #serializedFiction #shortStory #StoneSRest #storyteller #Storytelling #veteranCourierFantasy #webSerial #writing
  10. found this #storyteller and am entranced. I have been seeking good stories lately. Planning to watch more.

    Today's story: Baba Yaga
    youtu.be/xHPJBEdakuE

  11. Finished #reading Wayne Johnston's latest. He is an excellent #writer and #storyteller and does not shy away from the cruel #patriarchy of the #Catholic church and the power of its wealthy patrons and foot soldiers in #Newfoundland. The characters are interesting, the family secrets deep and dark, the dysfunction disturbing, and the tragedies chilling.

    #books #bookstodon #literaryFiction

  12. Halloween Themed Character Dining Returning to the Disneyland Resort Hotels

    Halloween Time returns…
    #dining #cooking #diet #food #Dining #Clarabelle’sEnchantedHalloweenDinner #disney #DisneyGeekNews #disneynews #Disney'sGrandCalifornianHotel&Spa #DisneylandHotel #DisneylandResort #Goofy'sKitchenCelebratesHalloween #goofy'skitchen #Mickey'sAutumnAdventures #Storyteller'sCafe
    diningandcooking.com/2671126/h

  13. @wizardbisan
    4/
    Armed only with their voice, dramatic expressions, and sometimes a simple prop like a book or a stick to strike for emphasis, they would recite sweeping epic legends, fables, and histories of war, romance, and triumph. They weren't just entertainers; they were the keepers of a community's collective memory and cultural identity.

    #Palestine
    #Arabic
    #Hakawatiya
    #StoryTeller
    #AltText