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- FICTION WRITING
OPTIONS, PITFALLS
- And Marketing of Online communities
- An
anatomy, taxonomy and
failure analysis of execrable collective
badfic,
in life context
of the sheeple
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“Nothing is more terrible than activity without insight." ―
Thomas Carlyle
-
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“Never confuse movement with
action." ―
Ernest Hemingway
-
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“... a rocking horse moves; a race horse
charges towards a goal.” ― Johnnie Dent Jr.
-
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“We're lost, but we're making good time."
— Yogi Berra
The
unacknowledged need for a
collaborative
fiction
brainstorming
workshop online
There are all manner of projects
in shared
collaborative
World
Building of copious, meticulous and sometimes even
most rigorous background
in excruciating detail, that they then often then don't really seem to fathom
quite what to do with. There is
high powered
collaboration in video and even feature movie production,
frequently with no attention to scripting. Bad scripts are often imposed
arbitrarily and in advance. Joint authorship in
fiction, has been abandoned to the
mercies of various online communities of grandiose delusionally
malagendaed willfully
amateurish
pipedreaming dilettantery that give
fanfic
such a bad name.
Now, while there are many of what amount to worthless online
bogus support groups or
forums also for supposed writers, there are also plenty of excellent writers groups online for
the exchange of genuine critique, which is a pretentious French word for
criticism
of writing, even such feedback of the very highest caliber, in order to nurture and cultivate talent and improve in
fiction writing
rigor and competence and the
discipline of the writing craft. But for
some reason, unlike the aformentioned snot-nosed blockheads, serious writers
are
rarely if ever seen actually to collaborate. This leaves a considerable
gap in valuable creative social experience and resource of informed and capable
productive joint authorship in
fiction writing.
At all serious writing is long traditionally solitary. What a waste! What
squandered social and imaginative opportunity! For sheer creativity, more
egalitarian, problem-centered rather than ego-centered, the unique first key complementary
agenda of
FoolQuest.com
is to meet the need and fill the gap of serious writing joint authorship even
from scratch, by bringing together aspiring
fiction writers of every
skill level, not only for the exchange of hardnosed
critique,
but full participation in an ongoing writers bull session online,
collaborative
brainstorming of new
fiction writing projects as emerge,
not only for intensity of peak experience of shared creativity and
growth
in the discipline of the writing craft,
but an actual high standard of genuine and intensely
innovative and
surprising new quality output in
dramatic
fiction writing and
Science Fiction.
No one else but
FoolQuest.com
openly offers or attempts any such a thing online!
A selection of notions, provocations and unfinished
works along with extensive
tools and
guides to creativity, drama and the discipline of the writing craft, are
provided here on
FoolQuest.com,
along with a curetted compilation of
sample unfinished
stories and prompts
Q.
What is
Interactivity anyway?
A.
Interactivity
is one of the most
effective
ways of engaging site visitors even into
The Economies of Online Cooperation wherein:
- ...as remarkable as the products of online cooperation
and collaboration have been, it may be that for the most part we have been
picking the “lowest hanging fruit” – supplying interesting digital
goods that can be provided by single individuals while ignoring duller, more
complex, but no less useful public goods. I do not mean to slight the benefits
that online interaction has brought, and further advances in hardware,
software, and connectivity may reduce the cost of producing public goods still
further and create new “low-hanging fruit.” Nevertheless, it is crucial
to avoid an empty-headed extrapolation from current
success to utopian visions
of fully cooperative communities.
-
- [Low-Hanging
Fruit, noun.
An
actual
or only deceptively perceived
excellent short-term opportunity.]
-
-All
to often
unripe and burdensome-
-
...and, given such blithely ersatz, mediocre
and shabby satisfice, resignation to making do in
unaware incompetence, worse, as we shall discover,
where lurk the deadly
stumbling blocks to optimal learning and
growth,
the snares of
TOTALITARIAN INTERACTIVITY,
bogus alternatives,
behaviorally structured
options
and protocols imposed so as to seem
free
and at one with
the user's own thought process, impoverished of real decision or responsibility, are hardly exclusive to the Internet or even
automation in general, but the sheer
irrelevance of age old
spectacle,
illusions to be consumed.
The colossally
Absurd
Existential
bait-and-switch sometimes referred to as:
Totalitarian
Interactivity consists of any
manipulative
situation of
irrelevance
obfuscated under an illusion of
choice, in a
reality
of control and constraint, for an
audience sucked in and lead about by the nose! For quintessential example par
exultance, isolating and deceptive webforms, short and simple or long and
complicated, are all too often designed to elicit any hope that any detail of
free association permitted and invited via individual response,
thereby by implication expresses any promise of
flexibility in tailored response and thereby actually makes any difference.
But in truth, the bureaucratic or
automated response scarcely varies and after all the wind up, one size fits all.
In essence, the mark has been conned into pouring their heart out to a bot!
-
“Why not go out on a limb? Isn’t that where
the fruit is?”
— Frank Scully,
Variety, Frank's Scrapbook, September 1950
And precisely such is one of the major
problems even in sustaining serious conversation online at all! The helplessness
beyond what has been so rightly decried as the
behaviorally structured
bogus alternatives of
TOTALITARIAN INTERACTIVITY
masquerading as
the dubious
free
choice
of one's
own already presumably somewhat uncritical thinking, and the demand only for the lowest
hanging fruit of online interaction instead of any savvy quality human remote
collaboration.
Tips for
Fostering Interactivity and Engaging Citizens
The Economies of Online Cooperation
Fundamentals of Interactivity
ON
TOTALITARIAN INTERACTIVITY
hype and hyperreal
Hypertextuality
The myth of interactivity on the Internet
Taking Online
Interactivity Offline
Interactivity
Defined
Q.
What
is
real time
text communication?
A.
Real time text communication as long popularized by chat
or instant messaging that so reduced the intellectual level of hte internet, is
real time conversation by electronic exchange of text, either one to one or in
group conversations or online chat rooms.
Real time text communication
can be something of a vexation, offers the worst of all worlds, with neither the
spontaneity of real time video or voice communications, nor the time and
tranquility for composition as afford by asynchronous text communication such as
email or message posting boards. Real time text communication may bring
something of a vexation, forcing either compromise in content of communication
or else delay in response. But the stress may abate with practice. And real time
text communication may be crucial for those who can read a language, and useful
in multitasking under a heavy work load. Instant messaging, real time text chat is often an integral component of
many other Online interactions, particularly computer mediated
RPG of one sort or another, and other thereby
even further impoverished online rôle-play.
Q.
What
is the crucial importance of posting conventions?
A.
Quality interactivity
online
generally still depends upon
asynchronous text communication,
private or public response to previous private or public messages by others,
often excerpted or quoted for context.
The revolutionary quick turn around
of electronic asynchronous text communication makes unprecedented actual
conversation in typed correspondence possible!
But for any in depth exchange
or
Dialectic, a very important aspect of quoting never to be underestimated, is how
the quotes
should indicate what sections or points of a message that any given remark
replies to. Often there may be certain response to some sections or points of a
message, and distinct other responses to about other sections or points even of
the same message. And it will be crucial to see, readily, which response
pertains to which point, in order to make much sense of any of it.
And the best
way to convey all contextual connections clearly and distinctly, is to quote a little bit,
interject some comments, quote some more, and then interject some comments
specifically to that as well, and so on. Each answer in turn, follows the same
method, and an entire written conversation unfolds, point by point, iteration by
iteration.
Quotes should be indicated, automatically, by your email software or service,
by a
character
at the beginning of each line, usually a '>' (greater than) sign
or chevron, the right angle bracket or right brocket, in bare plain text, or by a
blue bar in html that supports colors, sizes and fonts, etc.. or on some forums,
by a range of different indications such indentation of the text. Thus, with
each iteration, another such indicator is added at the beginning of the line, so
that chronological order as well as intended sequitur will always be clearly
indicated as the conversation proceeds.
These principles of the quoting conventions handed down from Usenet, even
back from the days of Arpanet, are still applicable in any mode of asynchronous
text communication, electronic forums, message posting boards, list servers,
egroups, and email, etc. and allow the end user to
meaningfully participate in
the structuring of interaction, rather than finding oneself thereby
manipulated,
enslaved or hamstrung.
-
The advantages of Usenet’s quoting conventions
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correctly and with
proper attribution
- or: What do you mean "my
reply is upside-down" ?
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Bottom vs.
top posting and quotation style on Usenet
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Writing
Conversation: Analysis of email Speech Events
-
PS
.
Also please always be sure
to include citation of the full URL web address, a
clickable hyperlink to any discrete materials or resources on the Web as ever
comes to be referenced in discussion.
Q.
What is an
Online writing community?
A.
An Online writing community is the electronic interaction of different
people (some engaged in writing activity and discussion, and other spectators
"lurking"), to keep visitors to the sight returning to
participate in public and private asynchronous
text communication, reading and
respond to new contributions, story additions, revisions, and modifications, and
electronic message bulletin board discussion posts.
There are reading communities for the appreciation of various literature or
Media. And there are also communities centered upon writing as an activity. Some
writing communities simply exchange comment upon the work of individual
participants, and others actually feature writing collaboration. While on yet
other forums, writers, successful or aspiring, simply talk shop.
But all this is strictly definition from cultural interaction, with no mind to
any particular
goals
ever
put forth, priorities and
motivations beyond that, all of which vary widely from
person to person.
Indeed, more serious Online writer's groups are distinguished by the exchange
of candid
critique as the entire point of seeking
useful comment in the first place, while, to the opposite extreme,
in many other frankly phony Online writer's groups, all such is anathema, the expectation, one way or another,
being of only the exchange of
unconditional praise and encouragement, stroking, or unfocussed conversation listening,
reverentially, to an authoritative speaker. And sometimes
people post to various Online forums to advertise seeking out prospective writing partners according to
their own needs as they best perceive them.
And this is why partnerships and communities, Online or
Offline, for writing or
anything else, like any other successful
relationship or immediate social networks, may be best
facilitated by personality profiling and matching for compatibility. Speaking
of lofty Utopian visions from lowering ever more bountiful metaphorical branches
such as bear more and better proverbial fruit, the
function as proposed of future inter action on the frontiers of
automated
Sociometry
Because user satisfaction may very much depend not only upon the ease of use,
flexibility, and structure of the website and tools, but also upon the
flexibility and sophisticated transparency of hither to rigid and controlling
computerized mediation, and then upon human
factors including compatibility of interactivity partners, expectations in common, and good
forum
moderation. Or to put it another way, avoiding incompatible
interactivity partners, cross purposes, and dispensing with heavy handed
forum
moderation.
Reading and writing communities may also subdivide for particular genres,
interests and other preferences, which will also be subject of
profiling future inter action on the frontiers of
automated
Sociometry
. Genres ranging from Historical Romance and Comedy to Action-Adventure,
not to mention Science
Fiction and
fanfic, as in the demo
collaborative writing
communities
here
on this website.
Q.
What is the importance of
honestly bad writing?
- A.
Anything worth
doing, is worth doing badly.
There is no shame in being
a beginner.
The
Online writer's
brainstorming
community on this website is intended to
challenge anyone even up to the most accomplished authors and also to
accommodate any one down to the least developed beginner, even no matter how
naively bad. But any such real progress
towards
relevance may
be categorized as residing just above and beyond the easy seduction of the
low hanging fruit or most
minimal aspiration,
instead demanding
extended reach and effort, and even then, with something of a bite to the immature
palate.
In short, one way or another, one must write badly to start with, in order to ever learn to write
well.
More over, it will always be a measure of dissatisfaction that
motivates and
guides the ongoing further progress even of the most accomplished writing
master, let alone the beginner or rankest armature. And what is required
for just such enduring dissatisfaction is, first of all, the challenge of an at
all difficult writing standard or
motivated
goals
ever
put forth, and a tolerance in order to actually harness
insecurity productively as real life
motivation
to creativity that is sometimes called
creative
tension.
Thus, honestly bad writing is crucial, even indispensable, developmentally,
as is any vision whatsoever, ambitious enough for the risk of failure.
All too often, one of the greatest sore points, but nevertheless most
crucial of criticism remains the
fundamentals of fiction writing.
It is no accident that a FAQ on fiction
writing fundamentals, an How-To,
accompanies a FAQ concerned with the importance of
the free exchange of critical thinking in writing
collaboration.
- Remember the time honored
maxim:
-
Writing is rewriting
,
helpful
INVOLVEMENT,
ongoing rounds of editing
and revision of prose, one's own or for anyone
else,
Less is more: "Leave
out the bits that people just skip ahead."
—
Elmore Leonard
Come late and leave early.
Edit!
In the immortal words of
Alfred Hitchcock:
"Drama is life
with the dull parts cut out." An efficient
scene
should be entered as late in the
action
as possible, and then transition to the
next scene
just as soon as everything crucial is revealed or has transpired. Otherwise,
there had better be any purpose
either in building up before hand or lingering on afterward. Whatever
motivation establishing
conflict on
every
level with
pathos
in
fight scenes needs must come before hand and even such crucial
exposition and background information as the
terrain is best
established immediately before a
chase
sequence, usually lacking
dialogue
unless it's short and clipped.
“I'm sorry. If I’d more time, I would have written a shorter letter.”
-Marcus T. Cicero
!
with
skilled killer instinct
- paring away enough dross to find the heart
instinct
- paring away enough dross to find the heart
The
Top Ten
Mistakes New Fiction Authors Make
style
Q.
What is the
obstacle of belabored obsessional
self-indulgent writing?
- “Nothing is more dangerous than an idea when it’s the
only one you have.” — Van Oech
A.
First
of all,
"Writing comes more easily if you have something to say."
to quote Sholem Asch. True self expression, not the self indulgence of silly obsession, bogus validation by phony self
definition. Indeed, true artistic integrity often means cleaving to the more
difficult challenge, far from being being half-assed, lackadaisical or
indifferent. And the best
criticism
no mater how harsh and frank, nevertheless seeks to fathom and to abet genuine
authorial intent.
Naively bad fiction tends to be utterly childish, bereft of
plausibility, specificity,
theme,
coherence and especially of
characterization
even remotely convincing or
motivated
despite superficial details, if any, however extraneous, nor concept
whatsoever of
pacing
or direction; daydreaming faithfully transcribed, driven by
the desire of imagination to transcend experience but falling into the trap of
self indulgent failure of evocation from inner life, exemplifying the classic
Zen
mischief,
the
irrelevance
of repetition, partaking
not of lost bygone inspiration: Alas, you had to be there. And, as will
be seen, the same principle may readily apply in shared experience including
imaginative exchange no less than private inner life, hence to collective
authorial ineptitude no less than individual.
Creativity, however inspired, is well
known actually to benefit optimally
from the limitation, definition and focus provided by pertinent
relevant
knowledge and skill to whatever purpose in mind. But entrenched ignorance
engenders arbitrarily stifled creativity together with a deadly lack of
productive focus.
Any genuine,
relevant and abiding interest, talent or proficiency entails the desire
and expectation of improvement over time. But Narcissistic wanna-be writers
inexpert in anything except whatever their own personal or shared assumptions
and idiosyncrasies, and who are not merely
naively bad, but who have culturally
absorbed or simply confabulated actual techniques of atrocious writing,
can be tenacious in their insipid
mimesis of entrenched
irrelevance,
and actively hostile to improvement.
Such is the peril of a stagnant reactionary normative
closed system of thinking such as is
characterized
by the dishonesty of
immersion and fixation in doubtless inner
conflicted
superficial triviality, focus shifted from the external results to be
achieved or produced, to a rut of inner life, accruing naught but status quo bereft of
relevant
purpose, increasingly fixated if anything, only with the refinement of inner
forms and procedures.
And a few such over all categories of travesty, as well as some better
alternatives, are catalogued here in this very
FAQ concerning the various
known collaborative
writing formats.
Such is the self satisfied sheer fantasy of writing, the entrenched
denial
in the empty
mimesis of writing, rather than actually doing it or
even merely
pretending, harmlessly. Because genuine authorship must
certainly be concerned with the end product without endlessly
lying to
oneself and then co-validating.
Growth emerging from the most
ingeniously bad writing must focus, first of all, upon ongoing improvement of
that output, however initially execrable.
Anything worth doing is worth
the learning curve of doing it badly, first, requiring of the author themselves
the real true to life
character development entailed in any dawning awareness and concern with what one creates, not merely
enamor with the act, or worse, false enactment,
mimesis
of creation and the dead end fantasy of
only going endlessly through the motions of solemn and empty pompous pretense,
the
motivation
for which and
obstacle to creativity being introversion, insecurity and entrenched
denial,
often reinforced by group validation, insularity and hostility to change.
Of course, by all means, it should be acknowledged, most emphatically, that
there are also many who at least are
honest about writing as
entirely diversionary, and well entertained, even with little regard what so ever
for the output at all, much less it's readable quality.
Thus, nor can such take
criticism badly, having little false expectation to
begin with. For such is to seek out a care free pass time, not a self absorbed
and cult-like co-validating delusion.
Indeed, the notably successful Prosebush Collaborative Fiction Community
was created by cheerfully inept and openly half-assed writing dilatants,
overbooked Yuppies without the
spare time and drive required for any actual
growth in fiction writing
proficiency, for the express
purpose of facilitating the sheer diversion of hurried and indifferently
unskilled and uninspired fiction writing, Online.
With so wide a range of writing temperament and purpose, online
writing communities must vary to meet the range very different needs. One
shudders to think that even pompous obsessional self-indulgent writing can
be, is, and, from a marketing and compatibility standpoint, even
perhaps should be, frequently
pandered to.
But the
demo forums on this
site,
of unfinished fiction, by contrast, does seek to encourage writers to care at all about the fiction
writing fundamentals, and to brainstorm
collaboratively,
which is a powerful tool of creative flow that is ultimately perhaps the most entertaining way to socialize
with one's pants on.
Beware
the cult of the amateur!
Armatures in every pursuit, even with no
aspiration of going pro, yet derive satisfaction from practice and
growth
in aptitude,
value
and appreciation. This includes chess players, sportsman and case in point:
serious writers. Now, it is one
thing to strive to raise literacy from merely a learning facility to an at
all competent actively creative facility for the masses, and quite another
to level the playing field and lower the bar in order to pretentiously
elevate utterly unimaginative soon forgotten ubiquitous and gravely
illiterate pabulum. There has been true
accomplishment even in the most amateur arena of
fiction writing, namely:
fanfic,
worthy of celebration and memory, and then there is the riptide of
interchangeable sycophantic ejaculation and reach around, often supported by
entire well organized social networks and some truly impressive webgraphic
representation! Sturgeon's law states
the ninety-five percent of everything is crap! How true. Alas, that
applies even for the very filters ever relied upon towards the cultivation of
quality. helping bring it to light
rather than actively ruling it out. Not to mention how in the context of
politics and business, this trend now plunges society into ruin.
And in the words of Andrew Keen: “Those who
know
most can be persecuted by those who
know
least.”
-
- Q.
What
are the
common dangers of poorly defined
irrelevant obsession with unquestioned arbitrary
procedure?
Beware of Skilled Incompetence,
dishonestly gutless executives marshalling information
Inductively, and thus avoiding
any
relevant
productive outcome of
controversy
or
conflict on any
level,
and never changing the course of
action, ever bending to
malagenda
and the
predisposition to
heteronymous
Cohesion-Norms
of
Groupthink
teamtraps!
Reframing
denotes the alteration of the context or representation of a problem. Reframing
sympathetically and insightfully for greater
relevance
facilitates creative problem solving, while typical domineering bureaucratic
reframing for increased
irrelevance or to
ulterior agenda amounts to
obsessive and obnoxious sabotage.
-
-
“Nothing is more terrible than activity without insight." ―
Thomas Carlyle
-
-
“Never confuse movement with
action." ―
Ernest Hemingway
-
-
“... a rocking horse moves; a race horse
charges towards a goal.” ― Johnnie Dent Jr.
-
-
“We're lost, but we're making good time."
— Yogi Berra
A.
The
substance beyond mere form,
resides in
dynamic and flexible social engineering principles,
honest
personal
autonomy, good sportsmanship and
responsible
values
of rational democratic progress are systematic doubt, hope in the
honest embrace of
fallibility and
tolerance for uncertainty, substantive discourse, debate of
disputes,
criticism
without punishment and no insult taken, free inquiry into problems openly and
publicly without fear of punishment, indeed, imagination, open unfounded
speculation
about different case
scenarios
pursuant to any number of varied and different proposed measures, without need
of conforming or in any way limiting said
speculations
to any accepted quasi-official position.
The very
values
and aptitudes ever fostered in
brainstorming
fiction!
And all pursuant to
experiment, trial and
error, the vital opportunity for all manner of ongoing reevaluation and
revision, open ended correction of mistakes and improvement at all levels,
piecemeal, without bloodshed, violence or even strife as such.
Indeed, a key feature of serious conversation is
agenda.
Moving from
the abstract and general, to the concrete and particular,
characteristics of
agenda
are questioning open endedness, the practice of
criticism and
controversy, strategic planning into expanding collaborative action.
Agenda
is therefore
taboo.
In any bureaucracy, especially as in any way influenced by or
affiliated to what passes for
education, if call to
agenda
cannot simply be ignored or condemned, they will typically be
countered with call for compromise in the name of convention and
sensitivity, all amounting to the
heteronymous
annihilation of all the aforementioned responsible and
liberating characteristics of
agenda.
- For happiness, Epicurus espoused freedom,
friendship and thought.
Indeed:
Happy
people talk more seriously together, freely,
and with less
small talk.
Because otherwise, to quote Olmstead: “After all is said and done, much is said and little is done.” And to quote Benjamin Disraeli: "Action may
not always bring happiness, but there is no happiness without action.”
Indeed, one feature of serious conversation is
agenda.
Moving from the abstract and
general, to the concrete and particular, characteristics of
agenda are
questioning open endedness, the practice of
criticism and
controversy,
strategic planning into expanding collaborative action.
Agenda is therefore
taboo. In any
bureaucracy, especially as in any way influenced by or affiliated to what
passes for
education, if calls to
agenda cannot simply
be ignored or condemned, they will typically be countered with call for
compromise in the name of convention and sensitivity, all amounting to the
heteronymous annihilation of
all the aforementioned responsible and liberating characteristics of
agenda.
Beware
Malagenda: second degree
pipedream and
heteronymous
taboo upon
agenda
discussion
But the
aimless lack of any genuine agenda, agenda always meaning by necessity an agenda always open to question and
scrutiny, undermines many a professed
motivating
goals
ever
put forth,
individual or collective.
With foresight and due diligence, there can be management by agenda, with
not only clear objectives identified, but also the required actions to reach
those objectives then carried out, indeed, foreseeable problems and
opportunities anticipated and the means to respond prepared and standing by well
in advance. All far more efficient and less stressful than management by
crisis, the examination and response to problems only after they arise
insistently and can no longer be ignored, nevertheless perhaps better than no
management at all.
But even no management at all is
still far better than Malagenda outright:
Such is the peril of a stagnant reactionary normative
closed system, focus shifted from the external results to be achieved or
produced, to the processes created within; status quo bereft of
relevant
purpose, increasingly fixated if anything, only with the refinement of internal
forms and procedures, concentrating on whatever pointless technical matters
rather than any real strategic concerns, much less whatever crucial logistics.
Perhaps
worst among
pipedreaming
malagenas,
are Moralism and
Utopism,
being
the doctrine that responsibility is impossible save in the lights of perfect
(or justified)
knowledge
of whatever ultimate truth and/or towards whatever ultimate good (to which
of course, the ends ever justify the means), responsibility is
impossible. Thus by promising the impossible and the unnecessary, do
high-minded scoundrels ever evade even the most minimum and ordinary of
obligations and pedestrian expectations of minimal responsibility to which
private citizens, service providers and public officials are held accountable
under democratic civility and the rule of law.. -By entirely removing responsibility from foreseeable
consequence, into a realm of perfect and pure abstraction. Such mad and
dangerous Utopist
thinking remains entirely distinct from what is simply Utopian merely
in terms of even laudably embracing high ideals or altruistic ambitions without
the madness of Utopist
ideology.
But case in point for creative writing of fiction:
the true agenda for
fiction writing is generally
defined in the elements of stories, the
fundamentals of the
fiction writing craft or not at all. Because whatever projects envisaged and
undertaken, in print or media of whatever sort, will first hinge upon the
quality of the writing. While the very finest performances have actually
overcome outright bad writing, that never holds even for the very highest
production values.
In the alternative, setting one decision or task and then simply moving on to
the next without so much as a backward glance, gives some groups of
people the predictability and false satisfaction of getting pointless make work done, feigning
unity by speaking and doing everything homogeneously. But such flagrant abrogation of
responsibility rules out responsibility and interest, namely,
critical,
autonomous, active engagement in interesting problems, from which derives all
flexibility, cogent
criticism,
error checking, inspiration, competency and creativity. Or there are more overt
do-nothings,
pandering to collective paralysis by the sugar coated sham of bogus
emotional support so vexing to
any serious aspiring writer in search for substantive feedback of genuine
critique.
Indeed, originality, creativity, competence and quality are often proportional
to ongoing revision, both the radical overhaul and in attention to detail,
polish. Especially as regards fiction writing collaboration in particular, the
more linear the process, the more soullessly hack or just mindlessly incompetent
and the less inspired, creative and proficient the result, *even though, the end
product, a story with beginning, middle and end, usually does need to be linear
in that respect just of coherence*. Such is the prevailing malaise of control
freaks, helpless
toadyism, co-validation, over self-estimation, unaware relative incompetence,
inflexibility, tendency towards fixation,
denial
and the fear of individual
dissent and unsettling instability, even in any sheer creative discourse for
art's sake, such as fiction writing, let alone actual practical decision making
and planning action. All far too serious, yet not serious enough.
And there are worse things, such as Instant Messenger culture and the growing
impatient rejection of literacy and any effort at depth and coherence whatsoever
and, even worse still, the sheer unrestrained
irrelevant hostility of the
deplorable practice of
flaming, all malicious noise and no signal, often vented
by Sadistic bullies at
any vulnerable targets of opportunity, but also no less often directed against
any attempt whatsoever at responsible
criticism
and creativity. Hence, the identification of
conflict on
any
level, even
controversy with
strife tends to be self-fulfillingly hostile. Likewise, any passive hostile
refusal to cooperate at all with dissenters renders self-fulfilling the notion
that dissent undermines
cooperation completely.
Often the problem stemming from any misconceived need for any declared firm
foundation whatsoever, begins with the autocratic unveiling and hyping of a
weak, hack, arbitrary ultra-derivative, formulaic and clichéd series
premise
that must be adhered to dictatorially, rather than first being properly
developed into anything more interesting and compelling. Alas, such an initial
concept in it's relative simplicity, might even be helpful only first presented
as an unfounded provisional starting point open to extensive and radical ongoing
revision. In short, the flaw already by Act One, unaddressed, is "Act Zero".
And, anyhow, under such conditions, the individual stories will tend to be no
less prosaic at best, or much more competent. But even if they are, that will be
despite, not because, of whatever initial
premise or concept, not to mention the
working environment.
All these are faults common to so many of the variant procedures of
collaboration, all so vastly inferior to free-wheeling
brainstorming
and related creativity techniques, because the constraints of Conformism aimed
only at social cohesion arbitrarily as top priority, tend to be so vastly
inferior to those of informed
critical preference including the
fundamentals, the
discipline of the fiction writing craft.
Creativity, however inspired,
is well known actually to benefit optimally from the limitation, definition and
focus provided by pertinent
relevant
knowledge and skill to whatever purpose in
mind. But entrenched ignorance engenders arbitrarily stifled creativity together
with a deadly lack of constructive focus.
-
"History teaches us that men and nations behave wisely
once they have exhausted all other alternatives."
— Abba Eban
dishonesty
and
the death throws of complex social systems
Q.
What
malagenda
currently
most threatens
Science
Fiction Fandom?
A.
Science
Fiction
is by very nature expansive and broad in it's scope of exploration. Indeed, by
comparison, Asimov hilariously denounced the mainstream as "quaint!" But is the
proverbial shoe now somehow migrated onto the other metaphorical foot?
Many people tend to define themselves by their habits and affiliations. And
Science
Fiction
Fandom is a fan subculture and community of interest in Science
Fiction
and related fields, existing in support of such affiliation of common
preference and concern, with a history and tradition. Fandom expresses itself socially by Fanac
(amateur creative activity), but principally by communication, fanzine
publication and gathering, fan clubs and particularly regular Cons, conventions.
Now, when it comes, for example, to the plays of Shakespeare, there never
been any great divide between letters and media. Shakespeare's famous plays
where always intended for performance, and so, in the modern era, fine movie
adaptations have proceeded as a matter of common sense. The organic
connection
has remained too obvious to bear mention!
Alas, as an example of badly defined
malagenda indeed! in every other context, there has always been a
tendency, however silly, towards cultural
tension between letters and folk and
later pop culture, between literature and whatever popular media. And this very
monist mentality at it's most hostile, has long and catastrophically misguided
the campaign for Science
Fiction
literacy.
Never mind that great authors are myth and media savvy, or that notable TV
and film makers and are highly literate. And, while there is certainly also by
far nastier discord as well in Fandom, it is readily apparent as the
"book Nazis" grow ever more snobbish, successive generations of Science
Fiction
media aficionados will only grow ever more blithely illiterate. Even the Worldcon, the once massive annual World Science
Fiction
convention, is
consciously downsizing while Animecon, a major Science
Fiction
media convention,
attendance swells and throngs, the Animecon convention committee facing the
challenge and making their own bone-headed mistakes,
reinventing the wheel,
simply because they didn't even know about the old hands, as at Worldcon,
to consult for long expertise in running conventions! Thus, by their very
insularity and cavalier divisiveness, those most accomplished and respected
abrogate their seniority in the community, needlessly and foolishly.
Another sad truth is that paperback books, kept in steady supply and quick
rotation on the wire racks at retail outlets, are thereby pressed into as vast a
wasteland of sheer pabulum as ever was TV Land. And so, beyond the great
classics of Science
Fiction, exactly what sort of living culture do the literary
snobs defend? Why, one should hope, likewise, the diamonds amid the effluence,
in accordance with Sturgeons Law. (That, not by any means just pulp
Science
Fiction, but 95% of everything is utter shit!) Indeed, as
snobbish convention downsizing, infighting and outfighting ensue, the much
vaunted literary programming, rather than becoming in any way somehow rarified
or elevated by any vaunted purge from whatever media fringe distraction,
actually declines sharply in intellect, quality and vitality, instead
fawning on the best seller list and headlining cheap shot star authors. How, then,
shall the best of the realm of letters ever be promoted out from obscurity and brought to light
even for whatever tightest "truefan" core group, much less for any well
deserved wider Fandom or general audience?
Never mind inane SMOFs (the so called Secret Masters of Fandom, deeply
involved and entrenched in running the major established conventions) patting
themselves on the back for having discovered Buffy ('Buffy the Vampire
Slayer', Joss Whedon's highly popular and
successful television offering of unusual
subtly and invention). Leave us not overlook the significance of Anime (or
Japanimation, a broad range of animated fare from Japan), the output of a
foreign modern culture that has succeeded where we have failed here in the West,
in cultivating channels to market colorful Science
Fiction
and Fantasy more
diversely.
The future outlook of Fandom is decidedly bleak in the hands of chronically
profligate and snobbish conservatives who typically spurn any
meaningful conservation.
Because living culture is
known and understood to depend upon population. Hence,
rather than splintering ever further, if a bridge will not be quickly reforged, if not to bring the
masses and young back from whatever specialized fringes into a
broader range of interests of some sort of center in Fandom and well informed
appreciation of Science
Fiction, in al of it's breadth, scope and manifestation, even by bringing the mountain to Mohamed, by
such a stunning reversal of decades of practice, as to actually establish broad,
strong and dynamically appealing Science
Fiction
literary programming even and
especially at Animecon and the like, then Fandom is committing a cozy suicide,
busy SMOFs bureaucratically erecting institutions to be as reviled, forgotten
and neglected as public school, likewise dooming the transmission of
education
and undermining any hope of the preservation of culture.
Just in case anyone still cares.
-
Q.
What
are the pros and cons
of "Rounders"
and branching
Cyberfiction?
A.
"Rounders"
and
Cyberfiction tend to be less about working
closely in tandem than about simply taking turns.
A
Writer's Round Table Round Robin,
or
"add-on story," had
better be light and simple enough for inspired off-the-cuff response.
Indeed, some variants limit the length of a post, even to a single line or
word, and the frequency of posts, within a given interval of time, typically, a
day. Just to keep the the interaction simple, brisk and challenging.
Because
any complexity will require overbearing editorial foresight that will tend to kill spontaneity.
-And without actually making the work any more coherent, just anally retentive
yet without purposeful direction,
poorly planned
if at all.
Not unless
criticism
is solicited and valued, story editing and revision actually permitted and
facilitated. Otherwise, Rounders/add-on stories are the epitome of mindless
tradition, each word once writ, forever cast in stone,
failing to
evolve. Or else, at the other
extreme, some online peer groups actually seem to treat Rounders/add-on stories
much as chat rooms, dropping and entirely forgetting all
plot logic and
continuity as they go! Either way,
meaning,
motivation
and
characterization are typically spurned by the wayside.
By distinction, Cyberfictions, in any range and variety of genres and
interests, are interactive stories, such that readers, Online, can
freely
choose their
own path through the narrative, and can also add their own passages, either
freely
choosing or creating alternative
plot
directions or sellecting which
character to follow or author through the same continuity.
Also consider
The
Mahoney Project and peruse the listing of interactive story
CGI scripts.
Cyberfiction branching story's can make for an entertaining Online community writing pass time. But
for any sort of quality output, likewise, they also can't get too deep, and,
even so, the best ones, such as Curt Siffert's
Storysprawl,
facilitate extensive consultation and rewriting of the chapters and even
modifying their interconnection for the sake of continuity revision and
plot
development. The
software has also been adapted for use by one of the majors,.
The medium of the wiki,
traditionally employed for continually evolving, refined and updated publicly
shared information resources online, also encourages collective rewriting,
even for add-on
fanfic. The wiki has even given rise to the open
source novel. And without version and change tracking, just the opposite to
slapdash add-on chapters immutably writ forever in stone, the open source
novel, may be said to be writ in sand, subject to whim of one and all.
Indeed, "the medium is the message!"
And formal
education is
ever in search of "foundation," so called, to put a stop to just that!
A scholastic variant of the add-on story is
iAdventure,
wherein an online team literary and background research process is emphasized, aimed at problem
solving and decision making within the context of the story to overcome
obstacles and
mitigate plot
complication,
precedes the authorship of branching chapters. While giving lip service to
creativity and self directed study,
iAdventure
offers educators the opportunity to contrive even somewhat
RPG like puzzles to lead and completely plan
to death any learning experience, and help crush individual initiative for yet
another generation.
The salient lesson is that even though a finished
plot must
generally be linear, in the activity of fiction writing the process of
plotting
probably should not be.
Rather, it is best to arrange and
rearrange
the story components one has, in order to then understand the implications and
fill in the blanks, perhaps by
brainstorming.
Editing is everything! And any effective impediment
thereto, is, indeed, procedurally deadly to any prose, let alone fiction.
Nor, indeed, has anyone truly vested heart and soul that never struggled with
continual rewrites, regardless how unduly touchy as the most half-baked and
trifling dilettantes can get, at once too serious and yet not serious enough.
As with any whatever mode of collaboration, to whatever extent that
participation is allowed or encouraged to the public at large, especially
Online, Cyberfiction optionally be practiced as
copylefted Open
Source Fiction unless all rights of participants are simply surrendered to the
forum host for legal convenience. But Rounders/add-on stories on posting forums,
however, are seldom so mindful, one way or the other.
Q.
What
is
"writing by committee"?
A.
In
the words of Toni Morison: “The ability of writers to imagine what is not the
self, to familiarize the strange and
mystify the familiar, is the test of their power.” As
Eve
Tushnet points out in
Eros
and Education, even
sexual passion is but an expression of
Eros, more than
the quest for completion and transformation, the
oft frustrated desire for
connection, for union with alien
difference that must inevitably come into
conflict on
every
level, with any Xenophobic dread of
the vulnerability entailed.
But "A union in which one partner [or unloved idea] is not vulnerable is
an invasion; if neither partner submits, it is an armed truce. [And] Neither of
these experiences frees us from the tyranny [and intrinsic loneliness of self involved banality
and cliché]."
"Writing by committee" is a derision applied to bureaucratic
domineering phobic and stifling consensus procedures
(another
stagnant reactionary normative closed system, focus shifted from the
external results to be achieved or produced, to the processes created within;
status quo bereft of
relevant purpose, increasingly fixated if anything, only
with the refinement of internal forms and procedures), particularly in script
writing, by jaded hack pros or vapid adulating fanboy wanna-bees alike. The most inept
of which may also include or incorporate standard autocratic editorial selection
processes or even routine sweatshop piece work of
one kind or another! The end result of which may be the blandest and silliest
common denominator rather the most improved and spiciest mix. A frustrating
experience for creative people, also shortchanging any audience or
readership. -Much as all this may perversely appeal to entirely different social needs and priorities,
for which creative
autonomy is so eagerly sacrificed.
In fairness, it only makes sense to emulate the practices of the
successful.
But successful at what? Tasteless and callow imitation of sweatshops
grinding out pabulum only generates imitation pabulum! And a defective
substandard imitation at that, unless even the minimal prerequisite skill sets
of professionalism are at all considered, much less literary quality. On
the contrary, far better to inspire the novice writer is to
know
and recognize
sheer crap for what it is and to hope, surely, that I can author better than
such sheer crap!
And to that end, the open and ongoing Online workshops at this site are not on any schedule, nor committed to any marketing target, only
to the glorious freedom and dedication of writing for it's own
sake, practicing, improving and learning our craft. We should ever be so lucky to meet with such professional
opportunity as may entail ever confronting "real world" demands,
target demographics, schedules and deadlines! In the
meantime, why (either blithe suppositionally or in excruciatingly
researched detail!) simulate or reinvent the proverbial "rat race"?
Surely, such is magical thinking to
motivate that sort of mindless imitation,
bringing to mind the Cargo Cults and Voguing! Or why else put the cart so far
before the horse? First be a writer! Otherwise, what is the point?
Frankly, real professional writers, to begin with, may become tiresome
enough talking shop all the time about selling manuscripts. nevertheless, they
certainly
know
the difference between the creative process and the biz! -Let
alone the realities and fantasies either thereof.
-
Q.
But
without
any sort of structure?
And
where does action ever emerge from discourse?
A.
First
of all,
what is meant here by
"action"
and why is it important?
Fiction writing,
after all,
is discourse
and not action.
However, it may be added that in such collaboration that proceeds out of brainstorming,
the authors need only kick a document back and forth until it steadily becomes
more finished. For writing, especially fiction, that well suffices. And needless
structure only becomes stifling.
By contrast, even proposal writing for such more complicated undertakings as entrepreneurial early
stage business start-ups and
initiatives of political activism
do very badly need operational structure. And ignoring or denying that need
dooms even bold inspiration into pipe dream. For even great visions may remain still
born for want of crucial logistical expertise.
Creativity, however inspired, is well
known
actually to benefit optimally
from the limitation, definition and focus provided by pertinent
relevant
knowledge and skill to whatever purpose in mind. But entrenched ignorance
engenders arbitrarily stifled creativity together with a deadly lack of
constructive focus.
All in all, grandiose organizational structure is easiest when least needful.
Meanwhile the only freedom of imagination that comes to such megalomania is just
wishful thinking and
denial, rather than creativity and problem solving.
For such are closed systems, status quo
bereft of
relevant purpose, increasingly concerned if anything, only with the
refinement of their own internal forms and processes, concentrating on
whatever pointless technical matters rather than any real strategic concerns,
much less whatever crucial logistics.
Although, certainly, any
concrete
planning and action must pass beyond the scope of
brainstorming alone,
in an integrative open system, continually
reinventing it's own form and processes in the pursuit of it's purpose
relevant
to the outside world.
Q.
What
is
so
wrong
with simply taking polls to make
collective decisions in fiction writing?
A.
One
ubiquitous misapplication of Online forum technology to blithely inept
writing by consensus committee has been the practice of electoral process in polls on
options in the creation of new series concepts. And this offers a distressing
civics lesson well illustrating the very failures of politics among the
uneducated and uninformed politicians and voters such as continually refuel
frustrated and disgusted perennial antidemocratic sentiment.
Because, usually the very questions are arbitrary and pointless, and the
suggestions unimaginative. But even, however rarely, when dealing with decisions of any
importance, or in
fiction writing, questions of
dramatic moment, and, wonder of wonder, in any sensible
plot or
premise context,
nevertheless discussion to the point still tends to be pointless expression of
position and preference without reason or explanation, that remain genially arbitrary for wont of critical
thinking grasping whatever principles to formulate any
relevant or
meaningful
agenda, as, for example in the context of
writing, those of
drama in
fiction. In other words, another example of how pro forma
democracy
will so often be rendered
meaningless
and futile, sans any focus upon whatever real
valid issues
and
meaningful debate in terms
thereupon, in this case any question of what
might be more dramatic and why, so crucial to informing any more
meaningful
discourse. Of a system eclipsing it's own purpose, the rise of internal
agenda
instead
of any
motivating
external
goals
ever
put forth.
Indeed, that is exactly why an able chairperson or facilitator, or in fiction
some manner of appropriate supporting
character, actually works to help keep minority views alive. -Exactly in
order to forestall just such premature consensus.
Controversies
dramatize change
meaningfully, often making a critical difference even in life–altering
decisions in
reality no
less than in mere creative difference or in drama.
But the unperturbed geniality often yearned for by lamentably so many is simply antithetical to the vigor, clash and fire of inspiration
so crucial to any sort of creative proficiency, not to mention true
democracy.
Because the substance beyond mere form,
the
dynamic and flexible social engineering principles, personal
autonomy, good sportsmanship and
responsible
values
of rational democratic progress are systematic doubt, hope in the
honest embrace of
fallibility and
tolerance for uncertainty, substantive discourse, debate of
disputes,
criticism
without punishment and no insult taken, free inquiry into problems openly and
publicly without fear of punishment, indeed, imagination, open unfounded
speculation
about different case
scenarios
pursuant to any number of varied and different proposed measures, without need
of conforming or in any way limiting said
speculations
to any accepted quasi-official position.
The very
values
and aptitudes ever fostered in
brainstorming
fiction!
And all pursuant to
experiment, trial and
error, the vital opportunity for all manner of ongoing reevaluation and
revision, open ended correction of mistakes and improvement at all levels,
piecemeal, without bloodshed, violence or even strife as such.
-
In short,
what may be
most fastidiously
omitted, first and foremost,
is
Visioning
to sharpen the focus.
Such is the peril of a stagnant reactionary normative
closed system, focus shifted from the external results to be achieved or
produced, to the processes created within; status quo bereft of
relevant
purpose, increasingly fixated if anything, only with the refinement of internal
forms and procedures, concentrating on whatever pointless technical matters
rather than any real strategic concerns, much less whatever crucial logistics.
There is also the pitfall of putting the proverbial cart far before the
metaphorical horse! Indeed, is every detail,
premise
unfolding? No, not at all. Rather it will more often be better to fill the
details as the needs of the
plot
become clear.
Writing
is rewriting,
ongoing revision.
and
never a waste of time!
Alas, quality output and taste cannot be a priority in simply
pandering
to such a market
of social expectation in blithely pointless rejection of
relevance, in any context, let alone writing communities,
particularly. In the alternative, however, there may
also be implementation strategies to facilitate challenge and learning for the
improvement of attitudes and awareness in a range of interactions.
To that application, personal
growth and improved
judgment is a hoped for benefit from future interaction on the frontiers
of
automated
Sociometry that may even prove more competitive
than currently feasible compromises and trade-offs. Indeed,
questionnaires and advice, from the
longitudinal data, may prove the more useful, in
fiction writing as
with other topics, when the cutting edge and democratizing, ever more advanced
automated
Sociometry
will become
ever more widely available.
Q.
What
are
the pitfalls in basing
fanfic
writing upon 'Star Trek' technical manuals and such the
like?
A.
If
even
the coolest
FX are no substitute for capable
fiction writing, then neither are novelty blue
prints!
See what I mean,
fan-boy?
Real Science is of more substance and should be of concern
in the writing Science
Fiction than silly bogus picayune Treknology. They make that stuff up as
ever needed, at Paramount, and so can we for ‘Star
Trek: The Ship of Fools’. Just so long as the central points remain plausibly
consistent. Real science, on the other hand, is generally far more
worthy of actually cleaving to.
Q.
So,
just what is it that differentiates
timeless
themes from deadly clichés?
A
.
Browse:
Star
Trek
Stinkers and Fear of Commitment
-
Q.
What
are the fundamental built in traps and limitations
of RPG and video
gaming?
Misguided
simulation and the need for refocus.
A.
Fantasy Rôle
Playing Games
and
diversions are missing the mark
where
Improv
has gone before.
- How and why.
The
istory system:
"A set of mechanics which result in an aesthetically pleasing emergent storyline
has not yet been designed, but I believe the use of plot-level simulation in a
simulated game world could result in the emergence of unauthored stories."
But not yet. Neither for individual nor tandem play.
The demands of RPG game play are the utilization of player
characters streamlined to purpose, like unto the game tokens and
figurines from whence they sprung in
bastardization
from impersonal table top war gaming, and likewise offering direct opportunity
for player-strategy. While simulationism facilitates player
character interaction within
setting, with capabilities,
outcomes, behavior patterns, and so forth, each to reinforce immersive
experience for all,
pandering
to whatever vicarious satisfactions of triumph, daring do, treasure and wonders
to behold.
Now, one might naively suppose that surely the excitement of strategy, daring
do,
together with the logic of meticulous detail in a realm of wonders, ought to make for a strong story,
exactly as these factors will be involving for participation in game play. And
yet nothing could be further from the truth! So, why does this recipe for
drama which still
seems so promising to it's legions of adherents fail so miserably? Because
the hypothesis is patently false. And so, the
relevant
values of drama
take short shrift, rejected, neglected and smothered by
pandering
to typically
meaningless
RPG mechanics mindless masturbation and empty complexity without real depth.
Perhaps all of this even embodies some sort of Narcissistic Conformist
breakdown and revolt against the
meaningful relationship needs expressed in
drama and enacted
in more spontaneous and
relevant purposeful social interaction. Indeed,
immersion and devious strategy are likewise the entire immersive involvement
offered in soulless social climbing. Love is all you need! -Whatever
love really means. But
you'll never find it in a fist full of polyhedra dice. Getting laid is tough
enough already. Get a life! And you can start by finding a better slacker
hobby.
FoolQuest.com
is here to help!
Playing pretend, LARP, cosplay,
rôle-play
portrayal or contrived behavior in
character
is often attendant upon costume masquerade, dressing the part from fiction,
fantasy and historical and quasi-historical recreation ranging from the fully
scripted reenactments to improvisational alter egos and diversions in
character, but also forensics, archeological reconstruction,
simulation,
enactment and
field experimentation.
However, whereas all serious investigation one way or another engages in
learning from true
drama
and what may amount to psychological and
literary depth, by
delving and connecting more profoundly to reality via
method acting from memory and imagination
and/or by immersion into
situation,
those most involved purely in such diversions socially, may often risk huge material
and inner personal investment in becoming too serious and yet not serious enough, as
with any other over blown fetish, what begins as a medium of affection becoming
obsessive and complacent, co-validated introversion, often
melodramatic
irrelevant
mimesis,
refinement of pointless fundamentals, increasingly isolated fanboy otaku nerdy
esoteric passing time, if one comes to ignore or trivialize that which is
meaningful
and significant, neglecting
and rejecting every need and values that
motivate
capable drama in
plot and
style. -All or any of which can certainly be
at all reclaimed and
reincorporated, intentionally, if only the
sheer
futility is first acknowledged
and confronted, productive
conflict,
relevant
controversy,
embraced on every
level
and without undue reactionary hostility to
criticism.
Indeed, as with virtually any other human endeavor, just the opposite
overriding if ulterior concern may be social interaction in and of itself, all
else seen as facilitation thereof, ranging from social purpose and ideology, the
most cynical advantages of popularity and networking at any cost to the true
values of involvement, love and friendship. But here the greater good may be
best served open consideration and design, no less.
One way or another, RPG
resolves action via consistency to fantasy quasi-simulation with the purpose of
immersive experience. But immersion in crap!
RPG is
quintessential reinvention
of the proverbial wheel, and largely anal retentive to boot,
indeed, the wrong wheel, so to speak, being
inappropriately
bastardized
from impersonal table top war gaming mechanics,
rôle-play
that has already been done better by far at the
Improv.
RPGs beginning with the original, 'Dungeons
& Dragons,' are among the games one way or another structured to produce
story-like effects. Any game involves players in pursuit of some challenge,
making decisions and managing resources in order to overcome whatever
obstacles
in order to achieve whatever
motivating
goals
ever
put forth.
But RPG, despite the most elaborate superficial game mechanics, the
bastardized
legacy evolved from table top war gaming, is, more importantly,
play and
pretending with
rôle-play, all quite
distinct from games. Just as the cinematic is the wrong metaphor in video games,
the
bastardized
military simulation in RPG is another wrong metaphor.
To this day, RPG either
more elegantly provides, or else utterly belabors, structure for game play,
leaving the shared essentials of dimensioned fiction and the lessons of real
psychological simulation as an after
thought. -How people often make their most important
decisions
with their heart but only then rationalize intellectually.
All games are to some extent cooperative, within the rules that define
whatever the game and whatever
motivating
goals
ever
put forth. Indeed, some games, such as freestyle footbag/hackysack even to the
proficiency of becoming dance like, aren't even competitive at all. Or, more
properly, such may be said to be adversarial only against an abstraction, a
common challenge (such as skillfully keeping a beanbag aloft hands free) rather
than any living or simulated opponent. But in RPG,
conflict,
such as it is,
exists largely in
the context of fiction,
dramatic or
simulated, between fictional
characters rather than the actual participant
rôle-players. For, indeed, in actuality
said RPG participants, the players
and game master,
cooperate in
pretend-play, not just on observation of game rules and
boundaries, pretending, constructing and maintaining
whatever fantasy.
The diverting fantasy of various
rôle-play has often entailed the
adoption of any sort of pretend alter ego, even the commitment to an
ongoing or reoccurring persona as an aspect of whatever sort of
continuing narrative enactment or fictively contexted ongoing social life.
Alas,
all guaranteeing precious little more than mental masturbation and anal
retention. Indeed, beyond the wearisome distraction of whatever sheer immersive
detail only for it's own sake,
bastardized
mindless fundamentals, participants may typically
be left somewhat
to their own devices. Such is the
Inductivist
Epistemological and
Methodological
falsity of ever broader volumes of data without
relevant
filtration, to which all manner of amateur amusement simulation is often
so pointlessly overwhelmed.
The
highly evolved human social intelligence
is
an appetite
fulfilled by intellectual and emotional participation in the unfolding of human
character
and relations over time.
Surely we have all heard of Maslow's famous pyramidal hierarchy of human
needs, starting from the foundation of immediate survival for ongoing security
all the way up to the apex of self realization. One problem is the tendency to
fastidiously secure, obtain and then safeguard, needs, each in order of the most
fundamental, rather than to optimize over all. And this may obtain, as well, in
the finest discriminations no less than the broadest differences, and in
parallel. Indeed, even the appetites of highly evolved human social intelligence
appear to follow their own parallel hierarchy, beginning from the most
desperately lonely human contact at all, then any sense of security and
stability, all the way up to real intimacy, even the sharing of self realization
and meaning in the deepest sense. And the yearning for such true acceptance as
to be quested for residing at the apex, often contends, at every step, with the
barriers of insecure conditionality intended, first, to assure stability at any
cost.
Culture and the arts often tend even to bypass the biologically
motivated
goals (which though never
actually
put forth, instinct
has evolved to satisfy), instead to stimulate directly, rather than by at
all triggering any pragmatically or practically useful or advantageous behavior.
Indeed, human interaction need have no
motivating
goals
ever
put forth
beyond the appetite for company, and
failing that, news and fiction often serve the function of simulated
gossip. Any
other real content whatsoever at all, in either social interaction or whatever
media output, varies widely.
Indeed, RPG Fantasy Rôle
Playing Games serve as a very
torrential font of imaginary gossip! My
character
did this or that, amazing,
a funny story, you had to be there! Or then again, just perhaps, better
not. Ho Hum...
Unlike simple play
pretending, the challenge of any game is defined by it's
limitations, restrictions or rules, in reaching whatever
motivating
goals
ever
put forth. The interaction of video games and also RPG offer various advantages of illusory
more vivid involvement for the end user. But this often comes at a sacrifice to
the real richness of content let alone any sort of
meaningful purpose. Regardless that the
interaction of video games is preprogrammed, narrowly defined and simulated,
while the interaction of RPG is, indeed, social, but also somewhat narrowly
defined.
Obviously,
plot
in video games can only be included by way of various devices of narrative
packaging. But it is a mistake to assume that RPG is all that much better suited
to
drama than video
games, simply because RPG technically supports more player responses and
information. Indeed, such extensively guided improvisation and the insidious
limitation of continually channeled responses of RPG and the immersive illusion
of active participation, no less then that of the video game can easily become the very epitome of dumbing-down via
rigid
TOTALITARIAN INTERACTIVITY,
bogus alternatives, externally structured
choices and protocols imposed so as to seem at one with the participant's own
free
thought process, indeed the very hallmark of party politics and
ideologically constrained activism that except as restricted to single
salient issues looses all genuine
relevance. Monotony stands in place of real
coherence.
Because, even if more narrowly but far more conveniently automated for us
in video games, ultimately, the game play simulation of
RPG, so elaborately
bastardized
from passionlessly impersonal table top war gaming, is an overbearing
mechanical routine for all participants,
a cumbersome witless failed
reduction to heartless and soulless
engineering challenges for game design and play,
such as must ultimately must detract from
higher level cognitive skills of unique construction, integration
of ideas into new
knowledge or synthesis, imagination and creativity. Thereby,
RPG typically fails at
application of principles, intelligently, and functions
so poorly in bringing to bear any desirable constraints of competent
plotting
and drama,
devoid also of insight whatsoever into
motivated
scenework.
In short, RPG begins by
entirely missing the point! And they just don't get it. RPG resolves action via consistency to fantasy
quasi-simulation with the purpose of immersive experience. But immersion in
crap!
RPG is more of an hindrance than a help to
creativity, and any creative results at all come despite RPG more than by way
thereof. The RPG design and play approach is a typical insular group process
insidiously diverting effort and attention from learning and
growth
pertinent to any facet of
the outside world. Every
successful outreach only demonstrates that
outsiders can still learn and then move on, unlike die hard adherents.
Any rare
meaningful purpose in RPG beyond sheer diversion, like unto the the
typical
plotline
of videogame cinematic envelope, is usually
educational,
didactic and even somewhat contrived, whatever unsubtle object game theory
cautionary, moral or lesson plan to be demonstrated and social skills cultivated in simulated team training exercise. All only
as beneficial as whatever point or insight in the first place. Simulation, like
narrative, is only an information vehicle, unless actual sociological experiment
is contrived. But, in RPG, all such
purposeful application, meager and impoverished as may be, tends to be neglected
in favor of the superficiality of fundamentals, parts of the system in disregard of the whole, hence
even more impoverished. Alas, just such arbitrary complexity guarantees neither
meaning nor
depth.
Any sort of serious simulation and modeling, for whatever that might be
worth, must be expected to remain somewhat the exception because of the
difficulty and required expertise. Especially given the unclear priorities if
RPG. Beyond hobbyism, gaming and simulation, no less than
Improv
and
rôle-play, are also
deployed in a vast range of experimentation, study of and application to
teaching, learning, training, consultation, and research, also reenactment and even
Future Studies;
the expanding interdisciplinary fields of simulation, computerized or live
experimental, gaming, modeling, debriefing, game design, experiential learning,
and related
methodologies. -Even
play in the purest sense of fairly spontaneous
activity and pretend undertaken only for whatever it's own joy.
But within the isolation of the RPG ghetto, all such
preexisting bodies of
knowledge and practice must either be entirely ignored
except if ever as sporadically independently reinvented, however well or badly.
Progress in video game design has often been in the areas of interface and
presentation or production values, with fiction content and background sort of
tacked on, while progress in the design in RPG has likewise has sought escape
from anal retention of interminable arbitrary refinement of internal forms and
procedures, especially cumbersome combat systems and clichéd archetypes, via
whatever more intelligent improvement of richer
engagement and even ever more
sophisticated and elaborately reasoned, researched and detailed
World Building, in rejection of
previous and somewhat myopic and rigid paradigms. And yet all such striving
still misses the crucial and true central issue entering only implicitly and as
something of an after thought and clumsy belabored
reinvention of the wheel, the
real creative social essence that needs rediscovery in the worthy traditions of
improvisational
rôle-play, not to mention the
fundamentals of the
fiction writing craft, by which ever at all to
liberate such relentlessly hidebound minds as of all those confirmed nerds, from the
perpetual adolescence of the RPG literary ghetto.
games are not stories
It's Not a Story
Where Stories End and Games Begin
Games Telling
stories?
lessons applied from
commedia dell' arte
Story and Game
How videogames teach
The Obstructionist Model
Conversational Metaphor
From
Rôle-Playing to Intelligent Agents
Principles for character-based interactive story
Systematizing emotional and perceptual
interrelationship?
Maturity in gaming
Indeed, even fiction writers engaged in
world building,
still know how to write or else must learn.
Creativity, however inspired, is well
known
actually to benefit optimally
from the limitation, definition and focus provided by pertinent
relevant
knowledge and skill to whatever purpose in mind. But entrenched ignorance
engenders arbitrarily stifled creativity together with a deadly lack of
constructive focus. Case in
point, RPG still strives for
relevance
, but so
blithely missing the obvious and relegating
Improv to an after thought, looses also as much of the real point of
rôle-play, of
acting, let alone
fiction writing, and hence so painfully
reinvents the wheel so very badly
instead of simply redeploying any of these existing disciplines and tapping into
readily available bodies of
knowledge,
which is what they must do should they ever at long last truly become committed
towards
growth. For
the evolution of RPG design has been a labor of love upon which designers,
game masters and players have lavished (cynics might say: squandered)
so much time and concentration.
Drama in game
play after all:
Out there in TV land our heroes struggle and contend but
ultimately unite in the face of adversity, while here in the real world we languish and
despair under a veritable epidemic of
bored and
lonely
alienation.
Many hit TV
dramas
pander
and mock us, serving up vicarious experience not merely of
stimulating adventure and discovery, but in some context of
profoundly close relationships or
situations
that so many of us are very badly missing. Indeed, It is the
simulated freedom, challenge and achievement in competence and
mastery, together with
social connection, that explains the addictiveness of
multiplayer videogames for so many. And all such realization
should be received as a call to action for urgent real-lifestyle
changes. Real life
drama must either advance or
falter. After all,
how would our heroic avatars rise to the challenge?
The
obstacle
towards the elicitation of player
engagement, particularly
for purposes of what passes for
education, is that of frustration and
boredom.
According to 'The ambiguity of play' by Brian Sutton-Smith (1997)
Cambridge: Harvard University Press, challenge is moderated by seven rhetorics
of play by which the self and the action are connected: progress, fate, power,
identity (character),
imaginary, frivolous and self. Progress in successful completion of individual
challenges in succession and even reinforced by learning,
growth
and better understanding and
motivation
or power to confront challenges, perhaps in the form of
knowledge,
ability, artifacts. Or the intervention of fate or dumb luck can bring
success
closer within reach. For much as in life, fate itself loons large both in
drama and game
play, as much as skill and ability. Story and game play both serve to connect
such elements. Identity rhetorics or
characterization serves to bring challenges into areas of familiarity,
competence and
motivating
importance. Cultural sensitivity and notions of
relevance begin to fall into this domain. Fantasy of the
imaginary transforms challenges and even redefines the abilities of the
protagonist, transporting abstract problems into
dramatic
setting
and
situation in
scenarios
intertwining in series of challenges into
dramatic
narrative of
conflict over
genuine personal issues beyond only task mastery or competence and performance,
of reflection versus impulse, violence versus
morality.
Q.
What are
shared worlds and
world building?
A.
!
Q.
What
is
actually wrong with the
misapplication of
Fantasy
Rôle
Playing
quasi-simulation
games, systems and
similar diversions, as a procedure for cranking out fiction?
A.
Answers to this burning question
generally subdivide into a number of related issues:
-
Fction writing
principles as applied to
RPG design for implementation by the Game Master
- But how and why, nevertheless, the activity of simply playing and following
RPG systems
actually may
not
be a reliable way to author stories, and why it fails so abysmally in that application, to generate
tolerable output
- How order that has been
applied, ad hock and only even more ineptly, to fill the void, has only made
the fiction output even the more execrable
- Compare and contrast
with other even superficial similarity procedural approaches to
fiction writing and collaboration that are
known to ever yield acceptable results,
particularly where either any hope of spontaneity whatsoever or whatever sort
of division of labor are concerned
Originally,
popular
Rôle Playing Game
systems such as 'Dungeons
and Dragons' emerged as a
outgrowth
of amateur table top wargaming and simulations, as, with the growing popularity of the works of J.
R. R. Tolkien, mass interests began to shift from actual military
history to Epic High Fantasy, leading, in turn, to the
innovation of playing
single individual warriors in small parties of fighting
characters
or, actually, originally, single figurines or playing pieces,
instead of marching vast simulated armies.
The new form,
RPG, is now
expanded and adapted in it's scope to embrace an ever widening range of genres
and broader treatment of interaction beyond simulated combat, including as in
the ever popular
murder mystery parties, discovery and problem solving. But the evolution of
RPG remains hampered by
is roots in the mechanistic paradigm of amateur table top wargaming and
simulations, now bereft of it's original and
purposeful
connection to
reality, the conduct of war, military operations, strategy and logistics.
No less, writing fiction well, even collaboratively, must be purposeful, not
just arbitrarily social. Because fiction,
unlike
RPG, is axiomatic, Philosophical and memetic, preserving and
transmitting inspiration into a vicarious recapitulation by future readership or
viewing or listening audience. Reading fiction is not interactive, but
intersubjective.
No more than a train can jump its tracks or skip its stops, neither can any
well crafted work of fiction over leap its story line or skip its major
Peripeteia. By contrast, all outcomes of
RPG
left open are determined by game play, partly in the sense of a game with rules,
of skill or chance or sometimes in
LARP, which is
Live
RPG, actually incorporating mock
combat as sports, as derived from historical recreation, and partly
pretend-play.
RPG
generally boils down to plotlessness in aimless quest of
plot, hence
generally such a failure as a creative writing process, an end to which
RPG was never initially really intended
or designed to serve. Ever in any degree overcoming these fatal
dramatic
limitations of the
RPG
medium is no mean feat, neither of the players nor the game master.
Sturgeon's Law certainly applies. Because easily at least 99% is utter crap!
Strictly speaking, where
would Gollum's epic inner struggles in 'Lord of the
Rings,' or any other
dire choices and dimensioned
characterization, ever
really figure into the superficial and simplistic picayune detail, thud and
blunder of 'Dungeons and Dragons?' The usual reply is that all such is the
province of rôle
play,
left to the player's
own devices and imagination.
Indeed! To this day,
RPG either more elegantly provides, or
else utterly belabors, structure for game play, leaving the shared essentials of
dimensioned fiction and the lessons of real psychological
simulation as an after thought. -How people often make their most important
decisions
with their heart but only then rationalize intellectually. Hence,
Problem Solving and Justification are reciprocal
functions, and one must be shaped to rationalize the other, with integrity or
else into hypocrisy.
The inner journey must match the outer journey,
beginning from the Emotional Disturbance
that is is internal corollary to it's trigger, the
out-of-whack event, or vice versa.
The maxim oft quoted is "rôle-play,
not roll play." Meaning that the player projecting oneself into
character
and
situation
will be the more edifying and productive than obsessive focusing upon minutiae,
game mechanics and the throw of the dice, wherein
RPG resolves action via consistency to fantasy
quasi-simulation with the purpose of immersive experience. But immersion in
crap!
However, for all such
purpose, a better procedure has long predated
RPG. Because, no matter how
unscripted, improvisational
scenework,
in all it's repertoire of technique, instead, actively seeks
drama
as an explicit priority, never hampered by any obsessive soul destroying game
play mechanics derived from impersonal table top war gaming in the first place.
Now that the limitations of focus upon minutiae and mechanics have been
reached,
RPG
is once again reinventing the wheel, whereas it would be better and easier,
instead, to return to source and study
improvisational
scenework,
a long and well respected approach to learning acting, perhaps even recruiting
at all qualified drama teachers or axring coaches.
Additionally, for real discovery,
LARP may also profit
from also returning to serious simulation
in the social sciences and forensics, but perhaps even howsoever
speculatively.
Sans the crucial
scenework
of
Improv
to foster any deeper
rôle-play,
any
plot
or
dramatic
structure
however constrained by the medium,
to be had at all in the better
RPGs, generally needs to be
thought out before hand and even then perhaps
surreptitiously
controlled by the Game Master, no less than in fiction, even the
Interactive Fiction
of adventure video or text games. For all of it's strangulating complex rules
and formulae, in whatever redeployment or application as a tool to
fiction writing, the playing systems of
RPG are nevertheless also lacking in the
true discipline of the fiction writing craft. Fiction crafting,
revision and editing, much like history, endures as is an exercise
in hindsight and even "God's eye" organized and interpretive perspective
almost from outside of time. Indeed, story crafting has been likened unto
the design of a maze, for, at some point in the process, the author must know
where the entrance and exit are to be, not to mention the twists and turns along
the way.
- Indeed, even traditional
oral
storytellers,
seemingly improvising, often actually expertly draw upon a repertoire
of stock plotlines and
themes
in the
6 Easy Steps to Telling Great Bedtime Stories
and
fairyyales.
Likewise, those writers who actually can do less correcting on paper or on
screen, often have only worked out that much more in their heads before hand.
Indeed, Artificial Intelligence employing Case Based Reasoning, enabling
retention, revision and reuse of solutions to minor
plot variables,
may soon be able to allow local adaptation in a way reminiscent to that done by
traditional
oral
storytellers,
wherein a story can be minimally altered by the narrator to allow for audience
preferences, while preserving the structural and tonal quality of the story.
However, any other imposition of structure, arbitrarily, is no less vapid
than wandering senselessly. Indeed, another lamentable obsessive amateur
consensus committee practice in particular
can only be described as routine sweatshop piece-work, completion of
story collaboration by simply assigning
passages according to some sort of decidedly uninspired
outline along with no less interchangeable
settings to individual participants in a
deadly clichéd and inept dullardly "paint by numbers"
process as might by an
RPG Game Master and/or the actions and
dialogue
of
however
cardboard, inconsistent and unbelievable
characters
as would be figurines and tokens to an
RPG player, even taking turns as would participants in
those over blown "Rounders".
Whereas, forsooth, one certainty endures, verily, by no
known
Arcanum, that no mortal who ever has writ anything endurable to read employs
anything like unto the above travesty of writing process, not even the writers
of the best adaptations of 'Advanced Dungeons & Dragons' most diligent and
respectful of their source material.
Indeed, professional writing assignments, division of labor in publishing or
the media, will tend to be based, one way or another, on a publishing schedule
in turn determined by whatever market needs, not just any arbitrary discipline
simply for it's own sake.
And under such conditions of professional publication or media, what raises art above just
commercial product or empty
pandering is any sort of genuine respect for
whatever readers or viewers, in turn inculcating the self respect of a
discerning audience to help encourage and reinforce any demand
for quality.
Neither the cynicism of hack nor the mass supportive following for anything better
exist outside of any sort of a market or audience. In whatever purely amateur realm, there
remain the snares of self-indulgence vs.
the salvation by inner critical pride which makes higher demands upon the self in order to
recognize and protect real inspired creativity from the dangers of inept banality. And that is
why good writing circles of whatever sort must be
critical and substantive
unlike the useless phony support groups gushing with praise or else erupting
into blistering flaming should
anyone dare so much as step out of line!
- There are, of course, also serious writing
collaborators who divide up the
scenes and work separately. However,
they know what they are doing and why. Because they have discussed and
plotted out the story to some degree before hand. Perhaps even
brainstorming.
More over, at some point, document sharing ensues, where in they will rewrite
each other's
scenes, back and forth.
And there may be far more elaborate, rigorous and sophisticated
specialist division of labor of
behind-the-scenes
teamwork
in writing popular novels.
Comic books are also, likewise, often co-authored in some variant or other of
the Plot Script / Page Script or
“Marvel
style”,
where in the full
plot
is more
simply broken down by page or groups of pages,
in somewhat less detail, leaving the
artist more creative freedom to
construct
the layouts than in a Full Script
complete with descriptions and
dialogue (or
“DC
style”)
let alone any sort of a screenplay, so that the caption text
and
dialogue
for the word balloons is added in last by the writer
for the letterer then to insert appropriately, only after the penciled art is
penciled by the penciler. And only after all of that is done do the inker and
the colorist, each in turn, finish the pages to make them print ready.
No matter, the
writing
fundamentals,
including
plot
and
motivation,
remain the fore most integrative principle, and the point is that playing
RPG was simply never intended as a
fiction writing tool or system! Such is a distortion that remains beneath even the most
desultory and sheer dilettantery.
Because the needs of Rôle
Playing
Games, to whit, playability,
are markedly different from those of fiction and the writing craft. RPG
system playing simply
neither automatically nor necessarily at all in and of itself function as as
story
plotting or
much else to do with capable fiction writing. RPG remains a transitory experience of durational real
time interaction, thus intrinsically hampered in such writing
fundamentals and
advantages of sharp time-binding self
consciousness and perception as
plotline.
Literary
value
and good
motivation in well crafted
RPG is always commendable. Because interminable thud and blunder
combat simulation is just such an anal retentive crushing
bore! nevertheless, engaging playability remains the priority for any good
RPG, over any sort of quality
dramatic
structure
as manifest in any sort of
end product.
As in theatre, even with audience participation, that
which is authored and orchestrated in
RPG needs to be somewhat contrived
in order to pull it off, while that which is truly improvised may tend to be
somewhat stilted and fragmented, even shallow, in retrospect.
Far
beyond the out and out
endless Byzantine diplomacy and intrigue which so absorbs the typical true die
hard
RPG enthusiast, the true height of originally that can at all be hoped for may only come from players
filled with the sheer perversity and determination to actually
subvert whatever pat
plotlines
contrived by the Game Master, eschewing interminable go-along get-along
consensus building.
RPG,
however literate, remains simply another form than fiction, and a distinct market
niche, each with it's own needs
and intrinsic
values. The immediacy of RPG poses a more Zen
challenge of evocation during the immediate interactive game play.
In
short,
RPG, even LARP, Live Action
Rôle Playing, even when it may actually deserve any such
seemingly pretentious appellation as Interactive Literature, as applied
purely for the sake of entertainment, is still
more akin to audience participation theatre, but without the play or the stage.
And, likewise, it's all about creating an experience.
For the
playability of standard
RPG,
output is not even a consideration. Unlike
Improv or participatory sociological
simulation, RPG comes risk free.
And, as the saying goes, nothing ventured, nothing gained, that is, beyond the
thing in and of itself.
Take notes from
RPG, and what remains is often
somewhat vapid, no matter how vivid the play. As hopeless
as trying to swim in the same flowing river twice! What has past can only be
replenished, never recaptured. That is why no one bothers to videotape
RPG
the way they do Improv.
In summation,
"Rounders" have their
charm and creativity only within their practical limitations, but not with any
unwieldy mythos. While RPG systems are not
fiction writing
methods at all. And the
structure offered by whatever anal "paint by numbers" approach
thereby derived, actually combines the worst of all possible worlds and simply does
not replace the effort and writing discipline, but only suppresses creativity
and spontaneity that must come from the exchange of ideas, not their uniformity.
Such writing
methods derivative from the playing of RPG are deluded fantasy, merely
the pretense,
sheer mindless
mimesis, the social and psychological
rôle-
playing
of authorship, not the real intent, concentration, behavior, deeds or
accomplishment.
Much of the
problem comes from RPG's tradition of obsession with detail for it's own sake,
inherent in anal retentive fantasy combat simulation.
RPG resolves action via consistency to fantasy
quasi-simulation with the purpose of immersive experience. But immersion in
crap! And so, attempts to redeploy
RPG
playing method as a story generation or collaborative writing method not only
abandons the writing discipline into uncaring willfully deluded ineptitude, but
in it's place accepts such anal retentive constraint and hierarchical control as
to crush all spontaneity and kill any real creativity.
For not only must
"Act Zero" be adequately well crafted no less than in fiction in order
to establish initial problems,
situations and
conflict on
every
level, but unless
anything compelling happens (with whatever and as much or as little guidance and coaxing as
that may require) in any sort of RPG, LARP, simulation or
Improv, there won't be much of a story to
tell afterwards.
Indeed, a strategy game in play seldom actually authors
a compelling thriller, and a successful LARP, purely by entertainment criteria, may only offer a more active way of
experiencing precontrived
conflict,
or more often, precontrived game theory deadlock.
For, via experimental trial and error (and rationalizing fictional
background details aside), the simpler and more readily accessible and less
dedicated and non-hardcore LARPS are actually evolving to become like unto
somewhat simplified Improv games or
rôle-play, but even so, just
as an entertainment or diversion, seldom if ever a serious playwriting tool.
The truly experimental by definition will not reliably sustain quality output
and so must embrace risk without offended
denial. Otherwise that leaves either
the skillfully contrived or the anal and inept. No matter the techniques or
approach, fiction writing, like photography, remains easy to do at all, but hard
to do well.
In their domineering unaware incompetent hack obsession, team
fiction writing
practices derived Online from
RPG
systems
and overblown Rounders manage at the same
time, both to
dispense utterly with any capable discipline
and
to completely kill creative spontaneity.
For, such are closed systems, status quo bereft
of
relevant purpose, increasingly concerned if anything, only with the
refinement of it's own internal forms and processes.
Whatever creative
value
to be derived from RPG,
especially as applies to output at all and not just the event or experience in
and of itself, must come, as the saying goes, from
rôle-play, not
roll-play.
-
-
Q.
Is there any hope whatsoever for game play
-
as systematic procedure of
fiction writing?
A.
The
istory system
is to be
"A set of mechanics which result in an aesthetically pleasing emergent storyline
has not yet been designed, but I believe the use of plot-level simulation in a
simulated game world could result in the emergence of unauthored stories."
But not yet. Neither for individual nor tandem play.
Whereas, a conventional interactive story, even deployed as the backbone for
RPG, and however ostensibly nonlinear, has already been
plotted so
that simulationism and however seemingly spontaneous story generation are
thereby constrained.
In such application RPG is no more than a medium of
presentation for interactive storytelling.
Drama
to
Interactive Storytelling
- S
o,
is there any better paradigm than game play
-
for any systematic procedure of
fiction writing?
-
-
FICTION KIT
By
the application of
time and project management
theory to
fiction writing
with a unique emphasis
regarding
differing
viewpoints
upon relationships, changing emotion and perception thereof,
complete with
affect associations and triggers in
setting,
mood
and props, so as to
parallel the
objective
and
subjective
persons
of narrative,
Charles Clerc provides
a formidable array of worksheets actually seeking to chart and quantify
subjective
and intersubjective motivated
character
growth
in plotting
fiction.
Clearly,
time and project management
makes for a far more suitable, practical and practicable paradigm
to
fiction writing,
than
RPG, said being an inappropriate irrelevant superficial shallow and cumbersome
bastardization
of impersonal and competitive table top war gaming.
Hither to,
attempt has been made
to systematically quantify
character
motivation
of
goals
as
put forth
for action/adventure game play of story-like events as in
plot,
but until
Fictionkit, not the
character interaction and reciprocal influence of emotion,
expression and perception
or attribution of
motivation
by and of
characters to one
another.
All more nuanced "feminine/Oriental,"
with no thought whatsoever to simulation of physical interaction at all, let
alone combat, but only
dramatic
derivation of conflict,
the
character stats and
charts of
FICTION KIT are
emotional and
motivated,
relational and social rather than dealing in ability and allegiance, while
objects and places, props and
setting,
likewise, are
sensory
motivating
memory triggers instead of vessels of wealth and power or deathtrap
obstacle
courses, respectively.
- But what about adaptation for systematizing or
formalizing
rôle
play
- or even simulation video gaming with interaction of intelligent agents
?
The
FICTION KIT
requisite project binders for
fiction writing, in
adaptation to
rôle
play
gaming, would thereby transcend standard
rôle
play
gaming paraphernalia, becoming first
person
diaries,
character study and
psychological profiles of each player
character. At long
last, systematic fantasy
rôle
play
less cumbersome and extraneous that would not only better target and befit
serious and competent
Improv
scenework,
but actually facilitate and include any truly
dramatic
writing collaboration exercise
of any even remotely
meaningful
value or nature.
But reduction to an however
girly
simulationism for true game play might require individual
motivating
character affect
stats secret to each player, all the while generating numerically
quantifiable clues to collect, thereby to
formulate the all important
subjective
impressions of another's feelings, actual or in
character,
indeed,
that much more like the real life courtship
ambiguity and miscommunication.
The result might emerge as a sort of simulated poker game of fictional
emotion for whatever stakes. Impediments to
expression and communication may even be contrived in the
scenario,
however
melodramatically, quickly descending into absurd
bathos
and self parody. Because RPG simulationism
can never rise to the complexity and flexibility of cutting edge intelligent
agent design.
And so much for
Literary
seriousness...
-
-
-
- The
poverty of RPG simulationism is
that of stubborn neglect born, in turn, from the outgrowth of
RPG game mechanics physical emphasis upon
World Building. And even though fantasy human interaction is
still the central focus of game play, nevertheless, the result remains
human interaction neither very well simulated nor
dramatically
investigated, even if ever not excessively bogged down in detailed rules
of dice throw, combat and so forth.
-
- How little any of this
matters depends entirely upon the various personal vicarious
goals
of game play
as
ever
put forth.
Drama,
however, can never be achieved as an after thought.
Drama can
only be as top priority. Self deluded, then, remains
the
mimesis
of
RPG play as fiction generator.
-
- Yet there is hope,
even given insistence upon the form of a game, for there remain systems such
as simsoc for guiding sociological simulation, games
of Psychodrama, and even the likes of the obscure
TheatriX system with it's rules of
plotting
instead of randomization and the usual
RPG game mechanics of quasi-simulation,
actually succeeded first of all in at all making a collaborative game of
fulfilling the hither to neglected and rejected needs and
values that
motivate capable
drama in
plot and
style,
plausibly, in order then better to focus more intently upon any sort of
Improvisational
scenework.
-
- TheatriX is
specifically designed to better
motivate and fulfill collaborative storytelling. Traditional
RPG resolves action via number crunching
mindless consistency to fantasy quasi-simulation with the purpose of
immersive experience. But immersion in crap! Whereas, rather than
simply leaving the fame master to "cheat" in favor of more interesting
possible story developments, in
drama-based
games such as TheatriX openly resolve action mainly via
plot
requirements in context of player
character description, decisively abandoning mindless consistency to fantasy
quasi-simulation and immersion once and for all.
-
- Resolution flowcharts base outcomes
on ability,
plot
significance,
tension
and
pacing.
"Drama
points" are earned for player
characters
by involvement in
worsening
complications
and subplots, while ongoing revision as needed is even facilitated by
way of flashbacks and other such devices. Indeed, any
character special ability must come only at the cost of some
unresolved back-story.
-
And
so, there may even be hope...
Q.
What
is "breaking
down the fourth wall?"
A.
Breaking
down the proverbial
"fourth wall,"
that metaphorical membrane between the stage and the audience, means
howsoever to contrive an experience in any way more immediate and less removed
in order thereby to involve and engage the audience all the more in whatever
willing suspension of disbelief.
Such is the real forgotten point of immersion.
And there are many techniques:
Much like unto musical jam
sessions, there are long standing theatrical traditions such as the
commedia dell' arte, with a range of improvisational variation and
development though limited every definite predetermined structure to maintain
interactive coordination between the troop of performers, incidentally with
successful
application to videogames.
Many secondary works
revisit a previous story from the
POV of
different
characters,
and branching cyberfiction even
allows the reader or writer to select which
character
to follow or author through the same continuity. And, likewise, there are a
range of performance pieces, sometimes
known as hyperdrama or also including
various dinner theatre events, allowing voyeuristic audience members, instead of
remaining seated, to
follow about any of the different actors moving and
interacting through a larger
setting or location,
wherein all
characters
are said to be onstage the entire time, the entire cast of players continually
interacting throughout the onsite location.
"We do on stage things that are supposed to happen off. Which is a kind of
integrity, if you look on every exit as being an entrance somewhere else."
- 'Rosencrantz & Guildenstern are Dead' by Tom Stoppard
Q.
What
is
rôle-play?
-
“There
are no small parts, only small actors.” — Konstantin
Stanislavsky
A.
As,
so sayeth the bard:
"all the world's a
stage,"
a rôle,
most generally, may refer to any conceivable function, purpose, effect,
POV, or
particular
involvement, in a larger system, of any conceivable participant, component
or subsystem, a social rôle (being a set of connected behaviors, as
conceptualized under whatever social
situation, with
rights, obligations, expectations under generally unspoken consensus defining
behavior appropriate or inappropriate), or a performer's unique interpretative
performance,
mimesis or
acting,
in
fictional
character, scripted or
extemporaneously, indeed, of any diversion
or occupation of oneself in supposition and pretence, let alone deceit,
imposture or even
bad faith.
rôle models are
personal influences, figures of
success
that others identify with and warmly turn to in admiration and for an example in
order to emulate, for confidence, validation,
socialization, cherished
values
and strategy in hopes of overcoming
obstacles. For a rôle may also
indicate an emotional state expressed, a
motivated
goal
as
ever
put forth or function as represented by another,
but even as all such may
Existentially or
manipulatively serve and conceal an ulterior
agenda, however downright
pathological. Therefore
rôle-models
must be selected with care.
Indeed, the rôles that people
play in life, from which derive one's
POV, generally refer, not only to purpose and responsibility
or else to various irresponsible
headgames,
but to all the entire range of the various different ways in which we relate,
interpersonally and also social positions and interactions, negotiated and
renegotiated, beginning with family and extending to status and function in any
other social context of church, state, school, work or
recreation
-
-
-
Rôle-play
generally denotes
the deliberate but unscripted play
acting of a
rôle, performance,
mimesis, or behavior in
accordance with whatever fictional or otherwise somehow contrived specified function,
identity or
characterization,
even such as may be in whatever sense different from any part of one's actual
rôle, position,
identity or even true best dharma in
reality. Most any
dramatic story
plot hinges
upon a premise,
events prior to the opening, belonging to "Act Zero". Hence, to build up
dramatic
tension, and for anything to
happen in a
scene, a
situation, a problem with
motivation
and conflict
on every
level
remains indispensable. And, likewise, best for prompting
rôle-play, is the
graphing or
predefinition of a prior relationship web and history interconnecting the cast of
characters, especially handy for spawning diversionary
red
herrings
indispensable as
complication
for the ever popular
murder mystery
parties. By contrast, any sheer catalytic interaction between
strangers even upon first meeting, may present a more difficult challenge of
insight.
Or, as a way of tapping those deeper, hidden
motivations
for a
character's
eventual objectives and actions, putting one’s self in the shoes of another
person and imagining how that individual would feel about things, award-winning
screen writer the late Steve Tesich described his story development process as
one in which he began even by keeping a veritable journal of interior monologues
and rumblings or
character diatribes for an imagined or real individual,
articulating those all-important attitudes or positions that
characters feel towards their given circumstances, towards other
characters, or towards themselves trying to sort out their various
problems. -The rants that we all conduct in our imaginations, even of all that
we never quite bring ourselves to say to someone’s face.
Acting technique
is a
repertoire
of carefully reproduced expression, be they
subtle and accurate
or stylized and perhaps somewhat larger than life, conveyed to an audience in order to illicit
in others the desired
response, while the principle of
Method Acting is that associated emotions can be
recalled or imagined by recreating or inventing the actions associated thereto, and thence is key to the
actor authenticity, identification and emersion into
character. Either way,
acting may be either reduced to the stimulus-response of Behaviorism, or
expanded into the
dramatic
exploration of
motivated
characterization.
:
acting skills
The fundamentals of "Method" acting
VAPAPO: Voice/ Attitude/ Posture/ Animal/ Prop/ Obsession
-
Now
what we've all been waiting for...
Q.
What
is
erotic
rôle-play?
A.
In
whatever
context, however therapeutic or entertainment, morbid obsessional
denial
or open and courageous expression, from the intensely private, close
interpersonal, social or actually public and even voyeuristic,
erotic
rôle-play
generally refers to the intentional and even self-conscious play
acting of a
rôle, living out or simply pretending
sex
fantasy, fun, risqué flirtation or
sexual
foreplay, performance or behavior, especially during a sexual encounter
and in order to evoke a sexual fantasy in oneself and/or one's partner(s)
and in accordance with whatever fictional or
otherwise somehow contrived specified function or
characterization,
even such as may be in whatever sense different from one's
rôle, persona or
personality at all, day to day, typically even displaying or exploring such
motivations
as may usually remain submerged and go unexpressed.
Fantasies
harbored or enacted range from the most general of
rôles, especially of power
positions or relations, in the most detailed
scenarios and
situations, perhaps even as
typical of pornography or even drawing from real life.
For example,
the meek in pretend-play become demanding or the aggressive feign hesitance and vulnerability.
And then there are the more elaborate specific stock
characters and interactions, props and all, for
eroticization of anything and everything what and howsoever conceivable, and
ranging from the most rarified
romantic courtship and high
chivalry to
action adventure, arcane rites, rituals, steamy smoldering passion, voracious ravishment,
taboo and forbidden
deviance, playing doctor, dress-up and celebrity
fairytales, etc. and, of course, the ever popular and trendy fetish fantasy
pretend-play
of
bondage and domination or even hardcore Sadomasochistic
mimesis.
But is this art?
-Or, for that matter,
even
adroit
pandering, passable smut? Or, indeed, must not the similar tradeoffs for
playability at the expense of quality output obtain much as with
RPG? -no
less pretentious masturbation, after all...
Indeed, Activist
Sex Workers valiantly struggle in
the name of
downtrodden prostitution, not merely for most crucial social franchise, even
their former legendary glory of Babylon and the most sacred, but legitimacy as
thespians in the delicacy of humoring their clientele, after all. Yet what may
most readily be achieved and accrued in any such conceit, however, may well only
be to compound the ignominy of prostitution with the
notorious damn pretentiousness of actors! In truth, participatory contact sports
and spectator exhibitions are seldom truly interchangeable, even in
sex
industry.
Surely, it all boils down returning to that
same
begged and
burning question...
Q.
How
does Improv
liberate
creativity?
A.
Unscripted Improv seeks more effective
responsiveness to audience feedback, even interaction and extemporaneous
creative improvisation with audience feed back, input, suggestions, prompts,
and even participation, culminating in the thrill of surprise from however merely
transitory talented and quick witted ad-lib comedic interpolation and one upmanship shtick or the true unfolding of sustained and genuinely intuitive
spontaneity and brilliant creativity, even an opportune path to shaping
one's own rôle
and destiny among others by thinking on one's feet.
For Improv is a state or
condition of play, activity for it's own sake, wherein the unknown event,
unexpected situation
or relationship can be explored and discovered simultaneously by actor and
audience. But improvisational theatre is hit or miss. Sometimes it
reaches inspiration, and other times it falls flat. It's all about the
risk!
Indeed,
Improv, unlike
RPG, generally has a live audience onsite for
feedback to the players. Also, capable Improv, if it's
dramatic rather than
comedic, may tend to
focus on the
rôle-play
of
character
motivated
vignettes or even a a string of such
vignettes, over time,
with a predetermined
plot and
dramatic
structure of
sorts. And there might well be a competent director or
drama coach to guide and
instigate and not just a Game Master merely serving as quasi-author
and referee.
Dialogue
driven
plot:
Improv
originated with the
Theater Games
of
Viola Spolin
and
even makes use of
rôle-play as a
playwriting
tool especially for
scenework,
for writing
scenes,
one might even say: An
agreeable
pod story
joint authorship
technique, for finding new direction or just for fleshing out the details. But there can and should be be retakes along the way and
editing afterwards, not just stream of consciousness then forever set
in stone.
Chivalry
and the Knights of Improv
explains the nature and importance of
collaboration in improvisational theatre. Most important of all,
Improvisational
acting, no matter how ever little is
plotted in
advance, none the less is driven by
dramatic
motivated
characterization,
traditionally neglected and impoverished in the ubiquitous empty pedantic banality of
RPG,
bastardized
from the impersonal mechanics of table top war gaming.
Active
Reading
tip:
In case of incomplete
comprehension,
Improv,
actually pretend,
play-act
understanding and then explain, either to another or to yourself, out
loud, silently in your own mind or most productively, in writing.
Techniques of
Active Reading no less than
of
Effective
Active
Listening,
are
reading such as involves active cognition and
comprehension, indeed,
reading with purpose.
Often we understand more than we think! Note what does and what else
does not make sense.
Subtext
clues:: Consider
context and
background. Articulate questions as to whatever remains unclear. And
whenever you find yourself still really getting stuck, just mark or note
the section and take a much needed breather.
Improv
History of Improv
How to Start an Improv Group
Seven Things You Think About Improv That Are Wrong
What to Do When the Unexpected Happens
on Stage
Improvised Scenework
The
10 Commandments of Improv: Part 2
Justification: non-sense into scenework
For better
audience suggestions
Improv Scenework Notes
VAPAPO: Voice/ Attitude/ Posture/ Animal/ Prop/ Obsession
STANISLAVSKI'S SYSTEM
Linked
Improv
resources:
-
Learn Improv
Fuzzy's
Games List
Improvisational Theatre Structures
The Living
Playbook
The
British Colombia Improv League Instant Theatre Resources
FN games list
not your mother
improvland
idiotica
-
-
performance formats
-
-
Reincarnation
-
-
-
-
Related concepts
to
Improv
include
-
- Where
Psychodrama
in general,
creates and presents
dramas shaped by an individual's unique experience,
Dramatherapy
in specific,
discovers within more generic archetypal
scenes, each
our own stories, beliefs and desires.
-
-
Psychodrama, a
therapeutic discipline which uses action methods, sociometry,
rôle
training, and
group dynamics to facilitate constructive change in the lives of participants,
was developed by an Austrian Psychiatrist, Jacob Moreno. Moreno, a contemporary
of Sigmund Freud, maintained that people would
voice
their true feelings about
what they had experienced if they were given the opportunity to act these
feelings out within a group as a means of finding new response to old
situations
or adequate response to a new
situations. The therapist meanwhile interprets and
clarifies the enactments as they unfold.
-
-
-
-
Dramatherapy,
one of several branches of art therapy, evolved from the experience and
research of psychotherapists, teachers and theater professionals who
recognized that alternatives to traditional verbal therapies were useful to
permit clients to confront, explore and work through problems and emotional
difficulties, is a creative, clinical therapy with its roots in
drama and
theatre, making use of such familiar techniques as rôle-play,
voice
work,
myth, ritual, storytelling, improv,
rôles-play, mime, movement,
storytelling, masks, puppetry,
Theater Games and scripts, movement and
objects being used expressively even without words to explore almost much
the same problems as in conventional psychotherapy, likewise dealing with
past hurts and present difficulties, by encouraging their expression, with
esthetic distance, meaning enough theatrical willing suspension of
disbelief, but without so much emotional involvement as to utterly inhibit.
Drama Therapy - an Overview • Jason's Games & Exercises
•
Creative
Drama
Sociodrama is a
creative application of improvisational
Psychodrama for the discovery of alternatives in dealing with problems in
issues of interaction within groups.
Definition
•
Outline •
FAQ
-
|
The Theatre of the Oppressed
(TO) is the over-arching title proffered to the ensemble of
techniques and approaches to theatre pioneered
by the Brazilian theatre practitioner Augusto Boal, wherein the common element of the various
branches thereof, is that all seek to deploy the
power of theatre as a force for change available
to everyone, particularly anyone howsoever under
oppression. The audience might even suggest
different actions to carry out on-stage in an
attempt to change the outcome, options in real
life for similar
situations. And the arenas of TO
application range from the classroom to the
council chamber, the union meeting to the
therapeutic group, from the development charity
to the homeless shelter.
|
|
|
-
Augusto
Boal's
Theatre of the Oppressed
-
Videogames of the
Oppressed
[condensed]
[unabridged]
Situationalist
unitary urbanism
From Rôle-Playing to Intelligent Agents
In simulated societies or
simsoc,
rôle-play
finds
prognostic application of
game theory
among
futuring methods
of
scenario
planning
to
futurology.
Along with an expanding range
computer simulations, some manner of
improv/
LARP, Live Action
Rôle
Playing,
at it's most contrived, is certainly nothing new in
pedagogical demonstration, training exercises, and also
well established under whatever controlled conditions as
simulated society or social science simulation
mimesis, even those notorious experiments, even such as where
participants are subjected to
situational forces, sometimes even unawares, thereby
to illicit the most candid responses and uncontaminated
results, or less formally as practical jokes just to
test peoples reactions in the field, such that in the
private sector may be adapted as publicity stunts just
to raise profile.
For example, in retrospect, all of the sleazy Jim Crow
chicanery first in obstruction of election monitoring
and then in interference with the independent recount in
Ohio, where all brazen, blatant and highly predictable
moves, and might well have been subject to prognosis in
advance, only given an adequately well designed,
conducted and updated ongoing
LARP, Live Action
Rôle
Play
participatory simulation, in order then to continually
forward resultant possible scenarios first to the
Democrat election monitors and then the Green recount
team. Counter tactics might also have been planned,
tested and recommended in advance, as well.
In an alternate history, just perhaps, a
somewhat better, more
dramatic and
public resistance to thwart George W. Bush's second
stolen presidential term, might have been mounted as a
result.
Q.
Is
Surrealism
truly "as beautiful as the chance encounter of a sewing
machine and an umbrella on a dissecting table"?
A.
The
Surreal
is
even
dreamlike,
the unreal expressed via fantastic imagery and incongruous juxtapositions,
fantastical, to horrific or even humorous effect, in art, fiction and parable.
"The
surrealist use of games, like that of art and literature, is primarily
focused on the subversion of premeditation and rational constraints, but in
addition it is also a subversion of the artist's ego with the potential for
revealing the Marvelous heavily relying on the release of collective creativity."
Bandages are for
the wombs
— Rampant Lady Bunny (1497 CE)
Techniques for working from
Random Stimuli
Anti-structure
Surreal Zen
-
Q.
Na
rrative
and interactivity
remain distinct.
How then,
can narrative and
interactivity,
game play and story, ever truly be combined,
and to what effect?
A.
One
way to combine narrative and interactivity is to incorporate interactivity
into narrative, to incorporate narrative into interactivity, or, in truth,
simply to package either within the other. The result is often poor narrative
as pretext for interactivity, and conspicuously limited interactivity to fit
narrative, either bounded and hamstrung by the other. Any true redeeming
justification of either interaction or it's defining constraint, is a matter
of the quality of game play, a separate consideration entirely. Even
though the boundaries of interaction are expanded by ever more sophisticated
simulation, nevertheless, even with computers, never mind fists full of
polyhedra dice, something far more essential is required in order to
revive narrative. -Not just any interaction, but
drama giving rise
to
motivated
plot.
Another way to combine narrative and interactivity is via interaction guided by
narrative, or: plotted. Indeed, many interactions
including such as
scenework,
are one way or another guided by narrative, or, in a word, scripted, in any
degree, in one sense or another. Indeed, the audience feedback guided
improvisational shtick from repertoire of
commedia dell arte
has shown itself well adaptable to preprogrammed computerized
interactive narrative.
•
-
Improv
is a more flexible mode of
interaction guided by narrative that can, indeed, ever effectively contribute
to interactive generation of narrative, story crafting in collaboration. But,
otherwise, incorporation of narrative and interactivity, either into the
other, simply will never achieve
motivated
dramatic
plot nor
ever find much
meaning.
The only true
dramatic
interaction remains life itself,
or not.
Indeed, even life's
dramas still
require proper
motivation to overcome
obstacles, lest the
plot wander
and run thin.
-
-
Play is defined as
whatever activity or interactivity, real or pretend, undertaken howsoever
merely for it's own joy. Games,
competitive or cooperative, zero sum or non zero sum, are defined both by
their winning conditions or
motivating
goals
as
ever
put forth
and by their limitations, unless, that is,
reality and the
motivating
goals
ever
put forth
together do not generate restriction enough,
intrinsically. Writing fiction well is such a
goal, and the intrinsic
restrictions, in so far as they are
known, are best described in the body of
knowledge of all entailed in such a challenge, in other words, the techniques
of competent fiction writing. Another dimension of any game play is whether
any given phase or aspect of game play be solitary or social. And the same
applies to the effort of writing fiction. And so, what other restrictions are
needful?
-
- Yet another way to
combine narrative and interactivity is the interactive generation of
narrative, yes, fiction writing in collaboration. Needless rules only
distract and detract from the real challenge of putting our heads together and
writing well! Indeed, even the traditional solitariness of writing is a
needless restriction to creativity. Certainly, any rules of narrative games
that come into
conflict on
every
level with the fundamentals of fiction writing, not to mention the
best means of optimizing creativity and collaboration, are needless and
inevitably frustrating
obstacle to any purpose or
motivated
goals
ever
put forth
of genuine fiction writing. But,
again,
such is the aggravation encountered in any personal quest for excellence, work or play
regardless, in the normative death throws coming towards the terminal end
of
The Lifecycle of Social Systems.
Q.
How
does
collaborative
brainstorming
overcome
writer's block?
The Internet facilitates writing
community in a way that Media and Print cannot. But what are best and most
neglected procedural options?
A.
to
come join in!
-
creativity resources
Copyright 2001 - 2023 by
Aaron Agassi