Send the link below via email or IMCopy
Present to your audienceStart remote presentation
- Invited audience members will follow you as you navigate and present
- People invited to a presentation do not need a Prezi account
- This link expires 10 minutes after you close the presentation
- A maximum of 30 users can follow your presentation
- Learn more about this feature in our knowledge base article
Narrative Potential of Role-Playing Games
Transcript of Narrative Potential of Role-Playing Games
Narrative Experience of RPGs
players change from mere consumers
to active producers
of popular culture
Teaching Elements of Fiction through Incremental Storytelling
Narrative Potential of Tabletop RPGs
A methodology by which students learn the craft of fiction writing in small, discrete bits that, in aggregate, create something much greater than their constituent parts. This progressive approach puts students in immediate contact with each others’ writing throughout the entire creative process and opens space for critical discussions about the fictional characters and the shared world they create.
From macro elements to micro elements
Art of Fiction
I would begin, then, with something real--smaller than a short story, tale, yarn, sketch--and something primary, not secondary (not parody, for example, but the thing itself). I would begin with some one of those necessary parts of larger forms, some single element that, if brilliantly done, might naturally become the trigger of a larger work--some small exercise in technique, if you like, as long as it's remembered that we do not really mean it as an exercise but mean it as a possible beginning of some magnificent work of art.
Drawing Story from the Catalog
"Critical World Building"
Focus on detail
Begin with detailed maps of characters including their:
Skills and abilities
The craft of fiction broken into individual units of meaning.
Using RPGs to Build Speculative Worlds
GLS Conference 9.0
"In most good stories it is the character’s personality that creates the action of the story. In most [amateur stories], I feel that the writer has thought up some action and then scrounged up a character to perform it.
-Flannery O'Connor, Mystery and Manners
You will usually be more successful if you start the other way around. If you start with a real personality, a real character, then something is bound to happen; and you don’t have to know what before you begin. In fact, it may be better if you don’t know what before you begin. You ought to be able to discover something from your stories. If you don’t probably nobody else will."
Traditional Fiction Workshop
"Maps of the
Leaving Traces on Fictional World
Collaboratively Produced Story