PLAY SORCERER 14: Sorcerer Play is Built with Trust and Practice

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Some of you might be saying, “But if I’m the Game Master, how do I know how to mix all those details from the Character Sheets and make something good?” And if you’re a Player, you might be asking, “But if I write things down on the Character Sheet, how do I know if they’ll be good?”

Well, I’m going to say some things you might not like here, but here we go:

First, you’re going to have to trust yourself.

I’m going to be blunt about this, because I don’t know any other way to do it:

Your ideas are good ideas.

The things that excite you are good things to get excited about.

You know what you’re doing.

Really.

Second, you’re going to get better at this.

As I’ve said above, Sorcerer is a tool for making stories socially. A tool doesn’t do the work for us. We’re still responsible for using them well. And that comes with practice.

A tool can only focus our energies to specific effect. Our energies in Sorcerer play are our imagination, our feelings, our moral compass, our words, and our ability to listen. As a tool, Sorcerer focuses those qualities in to the production of a Sorcerer story. But this means that if we fumble the tool, if you misuse it or don’t use it well, then the beats of our story might not come out great or the story as a whole might fall apart.

So, how does one use a tool for story-making well? Practice. You’re going to try playing that first session—after the session of Character creation and after the Game Master does not his preparation for play. And some things will go well, and some might not. Strangely, some of the things that went well or not so well won’t be apparent till after you finishing playing the session—sometimes days later.

The trick is to be aware of these moments—what went well, what didn’t—and see if you can tease out the elements that were firing off well or badly.

That’s a big order, and might seem impossible to track. But to help guide us in this, I’m going to return to the list I created a few paragraph ago: Our imagination, our feelings, our moral curiosity, our words, and our ability to listen. These are, truth to tell, the most important qualities of any writer, actor, director, dancer, or storyteller of any kind.

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