one of my biggest pieces of advice to ttrpg GMs is “tell, don’t show”. I don’t need beautiful prose, and I don’t need to feel like I can see a movie of the events in my mind; I need useful, specific, and actionable information. You’re not just my eyes and ears, you’re also my attention and gut feelings and vibes! “Mary looks -pissed-” “Something about his face screams ‘punch me’” “She starts rambling about something something destiny whatever, but you struggle to pay attention to any of it”
It can be easy to fall into the trap of “I don’t want to tell the players what they feel” but a feeling is a sense just like touch or sight! Hell, even thoughts are a kind of sense. Give them something concrete, and then spin it back to them if necessary: “what feature of his face do you fixate on that is particularly infuriating you?” “why DO you trust her so deeply?”
@clarity damn I feel like “She starts rambling about something something destiny whatever, but you struggle to pay attention to any of it” is advice I could have used as a teenage GM
@SymbolicCity Oh, yeah, for sure! very important to give the players the feeling that they have that sort agency. I'd also avoid describing emotions as immediate reactions to events (since the players will have better instincts for managing those themselves) vs like, vibes or senses: "something about the way she just did that is really annoying"
@clarity Blades in the Dark rules should apply. The GM says, "Your character is pissed about this," and the player interjects, "Nah, that doesn't sound like Filbo Boggins, they'd be intrigued and a little turned on," and the GM has to roll with that feedback.
@apophis yeah absolutely! IRL, we have all sorts of emotional responses and even thoughts outside our control, and then we post-hoc reason about -why- we had them and then use that reasoning to inform our choices & beliefs.
This is related to a common problem I see these days (in myself often!) which is struggling to zoom out. If you don't LARP out a sword fight blow-by-blow to make sure the details are right, you don't need to act out every word your characters ever speak, either! "I exchange pleasantries with her for a while before eventually cutting to the chase, drilling her on what exactly her relationship with the suspect is." And you can rewind to specific moments if you want to give the scene color.
I am -not- an actor or an improv theater person but I can still run a good game. Don't let the professionals and their podcasts fool you. You can lean on the amazing flexibility of conversational language to communicate all the information you need and have a great time doing it.
@SymbolicCity yeah, absolutely! That's "tell don't show" in a nutshell. The whole thing about "showing" as literary advice is that it leaves things up to interpretation. There's already a ton of ambiguity inherently in ttrpgs, no need to insert more!
@clarity Reminds me of a bit of advice that's often given in NSR circles: Tell your players when their characters think they're being lied to.
A lot of times, the GM instinct is to try to make the NPC sound fishy and let the players sort it out for themselves, but that stuff can fly right past even clever players. Just say, "Alcestis tells you she didn't see the murderer's face, but something about her claim seems a bit off."
@SymbolicCity honestly, I think most people I see are honing their style of play on television (hence my thread from a while back https://xoxo.zone/@clarity/113183080865479002), which has established itself as a form as being almost entirely blow-by-blow with "montage" being the exception to the rule. But you're right that modern writing style also leans on the exact same techniques, so it's pretty inescapable wherever you look. Maybe GMs could stand to read more Borges lol.
@clarity A lot of this is compounded, I think, by the blow-by-blow nature of modern genre fiction. Every thought is noted. Every conversation is presented in full. Every impression of a scene is detailed. And since a lot of people hone their sensibilities for role play on the genre fiction they read, it feels natural to lean on that style when they GM. But reading is a very interior activity, and what we do at the table is much more exterior, and benefits from a different language.
@QuietMisdreavus so I'm obviously a huge hipster and would only play D&D if it were the moldvay basic red book, but this is actually what I really love about most of my favorite games: they give me nuanced & powerful tools for creating interesting characters, relationships, conversations, emotional moments, etc, entirely through engaging with mechanics and leaning on my character sheet.
@clarity god, this is the thing i hate the most about TTRPGs and the reason i don’t really play. i really love the minutiae of the combat mechanics in D&D (for example, i don’t have much experience in other systems) but absolutely suck at conversational improv and character acting, so i eventually bounced off
@QuietMisdreavus When my Brainer (a weirdo psychic) in Apocalypse World gets her hands on someone, I can roll to read the deep corners of their mind and ask questions like "What are your secret pains?" and "With whom do you crave forgiveness, and why?" and, oh boy, getting answers to these questions provides -way- more interesting depth and nuance than any amount of skillful improv or acting ever could.
@QuietMisdreavus my thing about D&D is that it gives me nothing to hold onto the second I'm not crawling a dungeon. And honestly, that's fine, I love crawling a dungeon! But if you want to play a game about going on a fun adventure with your friends, it's really not gonna help you with any of that and will leave everyone who isn't a professional improv-er hanging and feeling incompetent
@clarity Oh, definitely Borges! But closer to home, I think Dunsany is also a good reference point for style. And William Morris maybe? Even Tolkien sometimes just lapses into, "And then they talked for a long time about orcs, and here's a summary of what Gandalf told them." I doubt very many readers had a hard time imagining how that scene played out.