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Change-up: Tabletop Games (Part 1)

September 11th, 2013

Hey, everyone! This is my first post in the new Change-up category and my first big post in a long time. I originally wrote this as one long piece but it was just too massive. So I’ve broken it into three parts. As always, leave comments and let me know what you think!

Originally, I was going to write a post about GenCon. I’m still planning on writing that post. However, while writing about GenCon, I felt the need to write about tabletop games. GenCon is a tabletop gaming convention, so the inclination to write about board games is pretty inherent. But I found myself talking about why tabletop games are awesome. Not any specific game, mind you, but the concepts and benefits of playing these games in general. So that’s what I’m going to do here since that topic isn’t limited to GenCon. And because it’s easier, I chose a Q&A format using some questions I’ve heard before.

What do you mean when you say “tabletop games?”

A lot of times I mean a board game. However, “tabletop” is an umbrella term.

This takes the idea of a miniatures game and makes it more affordable.

This takes the idea of a miniatures game and makes it more affordable.

Board games: Monopoly, Scrabble, and Risk are all pretty classic board games. They’re also fairly simple.

Newer board games: Then take a game like Descent, it’s a dungeon delve. 2-4 players are adventurers while one player is the dungeon overlord. Some people have said it’s like D&D but a little lighter and there’s no true storyteller.

Roleplaying Games: This is where D&D falls, along with Warhammer Fantasy Roleplay, Edge of the Empire, and many other roleplaying games. Players create characters. The game master runs the show, creates the story, and make sure the players are challenged but not crushed.

Card Games: Sometimes games are a mix of card/board games, where both elements are used. Essentially, if the board is nice but unessential, I would call it a card game. Notable card games right now are deck builders like Legendary, Ascension, and the classic Dominion.

A cool game made possible by Kickstarter! No board, just cards. Cards represent dungeon rooms and you build rooms to trap incoming adventurers!

A cool game made possible by Kickstarter! No board, just cards. Cards represent dungeon rooms and you build rooms to trap incoming adventurers!

Miniature Games: I’m currently into the X-Wing miniature game because I like Star Wars, I like Fantasy Flight, and the system is really cool. Miniature game may have a board, they may have cards, but the focus will be on strategic placement and the minis themselves. These are usually combat-centric games.

Miscellaneous: I probably missed something. Maybe a hybrid of what’s here or something else.

So, for those of you unfamiliar with the term, that’s what I mean when I say “tabletop game.”

Why are tabletop games awesome?

They are. They just are. Are we done? No? It’s a common question and I’ve heard it a lot. And before I found my own selection of great games, I would ask this same question.

Okay, let me break this into two sections. But first, I’ll go ahead and say a little something. A big part of the enjoyment (for me) comes from the human element. Playing with other people, being engaged with them, and sharing in an experience. I love video games, movies, and watching television. However, few of those experiences have compared to the interaction involved with a tabletop game.

Existing relationships.

I don’t know how common this is, but I’ve had the same group of friends since high school. So I’ve known my core group of friends for a little over ten years (when we started) and a few even longer than that. We’ve added people and dropped a couple, but for the most part our group has maintained a stable base that occasionally annexes and exiles people as necessary. It’s really not as extreme as it sounds. Nor is it really as organized. Anyway, we had the college split and all ended up back in (relatively) the same area.

My point is that I’ve known these people for a long time. A seriously long time. And some hangouts are better than others. Sometimes you can just drink and chat and have a fantastic time. Other times, you find yourself staring at your friend and saying, “so, you want to watch something, or do something, or maybe just keep staring at each other?”

Enter tabletop games.

Whether the game is cooperative or competitive, the people in the room are now engaged in a group activity. You can still joke and talk about common interests (like normal), but now there’s something engaging keeping the night moving along. You’re experiencing something new (whether the game itself is new or not) and creating another memory or shared experience. It adds fun and a common goal to a night that might have just ended with subpar television and long strings of silence.

New frienships.

While I was at GenCon, I had the privilege of attending the evening author events. And I thought this was a really awesome thing. And it was. But you know what? Sometimes it’s hard to connect with new people. It can be difficult to find a topic that actually goes somewhere. Let’s say that on your right side, you have an author you really admire. Then, on the left side, you have an author you don’t really know. How do you strike up a conversation? Games are great for this. GenCon had an author game night and it was a blast. And during the author bar night, people started pulling out tabletop games again. It a natural ice breaker for people who don’t know one another.

A common interest can easily spark new friendships.

A common interest can easily spark new friendships.

Have you ever played an ice breaker game? Maybe during your first day of school, in a class, or at work? I usually find them to be terribly uncomfortable.

A board game can be an ice breaker. Everyone at the table now has a common goal. They have something to talk about, laugh about, and ask questions about. Once there’s some comfort, people are willing to tell jokes, stories, and generally open up in a way that they wouldn’t after a cold introduction. You get to know each person, not just their profession, who they are and what they like.

And if the game has a theme like Firefly, Battlestar Galactica, Lord of the Rings, Game of Thrones, or something else, you can open another big door into shared interests.

This is the end of part one. Please let me know what you think and I’ll see you on Friday for part two!

Writing Wednesday: Game of Thrones Week: The Difference Between Necessary and Unnecessary scenes.

March 27th, 2013

Hey, everyone! It’s Writing Wednesday again here on the blog and it’s also Game of Thrones week.  With the premier of the HBO show taking place later this week, these posts will mostly focus on the television series. Be on the lookout for a week dedicated to the book later this year.

For Writing Wednesday, I thought I would actually talk a little bit about the differences between the novels and the show. This isn’t going to be a straight comparison. Instead, I’m going to look at one challenging aspect of the first novel incorporated into the show, as well as a scene in season two that never took place in the books.

First, I want to talk about a scene with Petyr Baelish. I believe this scene took place in episode eight of the first season. Petyr is instructing two prostitutes on how to have sex with one another for five or ten minutes while giving a monologue. At first glance, it’s a fairly graphic scene that heightens the sexual reputation of the show. However, the scene is actually pretty genius.

While you might not want to sit down and watch this scene with the whole family, it does serve an important purpose. In the first novel, Martin gives us the background of Petyr Baelish and his history with Lady Stark. However, this information isn’t given to us through dialogue. Well, in a television show or movie, information like that needs to be given through dialogue or a voice over. In most cases, dialogue is the better option. This scene gives the audience a private moment with Petyr and allows him to give the information to someone that truly wouldn’t know the information, the new prostitutes. While it is a graphic scene, I do have to applaud the writers for working Petyr’s backstory into the first season.

The second scene I want to talk about is something I felt was unnecessary in the show. In season two, Tyrion sends two prostitutes… wait… I’m seeing a theme here… anyway, he sends two prostitutes to King Joffrey’s room for his birthday. Joffrey then commands the women to beat one another mercilessly with a club or some kind of strange Baratheon staff.

This is another scene you probably won’t sit the family down for. However, unlike the first one, this doesn’t happen in the books and there doesn’t seem to be any reason for it. In fact, given the way Martin writes, the reader never sees a private moment with Joffrey. I’ve heard arguments for and against this scene. The argument for the scene has a couple of valid points. This should be a moment of forbidden pleasure for Joffrey, but he’s turned it into a moment of pain for these two women. He’s also in private, which means that he’s not putting on a show for anyone. It’s meant to show that he’s evil in, quite possibly, every way. I tend to favor the argument against it. At this point, we’ve seen Joffrey threaten and torture (emotionally or physically) just about anyone who crosses his path.  The audience already hates the character, there’s really no need to put this scene in as well. This is a moment where I feel the writers reached too far. It didn’t come across as clever, it came across as fairly unnecessary. Perhaps the scenes greatest downfall is just how unnecessary it seems upon closer examination, unlike the scene with Petyr Baelish.

Now it’s your turn! What did you think of these two scenes? What other moments in the show deviate from the book or display information in a creative way?

Writing Wednesday: Flash Fiction and The Word Wood

March 20th, 2013

It’s that time again, Writing Wednesday here on the blog! This week I’m going to talk a little bit about flash fiction. My own personal experience with flash fiction is pretty limited. It’s something I’ve only recently started reading on a regular basis and I’ve rarely attempted to write it. I’m not an expert but I know someone who gives top notch advice about flash fiction and I’ll talk about her a little later.

For someone who wants to try something new, or someone who is looking to try out writing, I think flash fiction can be a wonderful tool. For a beginner, I think this can create some great habits for description. When your story needs to be five hundred words or less, every description matters, every piece of dialogue matters. In truth, every single word matters and they should all be chosen carefully.

I came to the conclusion that, in my opinion, flash fiction and poetry are really kindred spirits. I began studying poetry in college because my fiction professor thought it would help me hone my descriptions. It worked, my imagery become stronger and tighter because of studying poetry. I think writing flash fiction can exercise some of those same muscles. You need to get right at the heart of the tension, the center of the scene, and the pacing needs to be just right.

If you’re interested in flash fiction, The Word Wood is a great place to check out. The site has some great writers with wonderful stories. The stories are short in word count, but not in scope and depth. With multiple writers working in multiple genres, there’s something on the website for everyone to enjoy. Who knows, one of the stories might even inspire you to write something of your own.

If you’re interested in learning how to write flash fiction, I’ll direct to my friend R² Writes. You can find her first post on the subject here, and her second one here. She’s also one of the writers for The Word Wood, so you can check out her writing and see some of her advice in action. If you end up having questions about the subject, feel free to contact her over on her blog. She’s always happy to talk about writing and flash fiction is something she’s incredibly familiar with.

Now it’s your turn! Do you write flash fiction? Are you interested in trying it out? What techniques do you use in your own writing to keep phrases and descriptions concise?

Writing Wednesday: Using RPG Books

March 13th, 2013

Hey! It’s Writing Wednesday again and today I’m going to talk about RPG books. Books for Roleplaying Games like D&D, which I’ve talked about on the blog before. These books can be amazing tools for writer, especially fantasy writers. While you might be skeptical at first, trust me, these books can be a great source of information and inspiration.

A couple of weeks ago I took part in a Google Hangout with R² Writes. I’ve mentioned her on the blog before. If you haven’t checked out her blog, stop by and take a look at it, she’s really great. Anyway, in the background, I noticed what looked like a Dungeons and Dragons Monster Manual on her bookshelf. When I brought it up, she revealed that she owned a few of these books for the purpose of looking through monsters for her own writing. They can be an amazing starting point for inspiration in a person’s writing. I’ve always advocated the use of these books to other writers and when I saw it on her bookshelf, I thought it might be worth doing a blog post on the subject.

The Monster Manual books are great, from any edition, and have some fantastic artwork inside of them. They can also be used for an interesting look at lore, though your mileage will vary with different books and different description. While those books are great, they’re not so different from finding collections of bestiaries and flipping through those. So, while those are useful RPG books, there are some with even more uses.

About twenty years ago a company named White Wolf acquired the rights to the world of Ravenloft created for Dungeons and Dragons. White Wolf proceeded to make quite a few products about Ravenloft, my favorites being the gazetteers. They numbered five in total and each book covered only a couple of regions that make up Ravenloft. For each region they would discuss how much education the average person had, and how much a wealthy person had. They addressed the number of wealthy to the number of poor, the fashion, the languages, and the cultural traditions of the region.

The information you acquired about a town, a region, would most likely be more than you could ever make use of in your Dungeons and Dragons campaign. However, it was there, the information was present. The DM could use or disregard any of it. For writers, this is what we need to achieve with our own novels and our own world building. These book can be wonderful sources because we can look at great world building and see what it involves. We can look at different regions and question ourselves about the different regions in our story. Then, just like with a Dungeons and Dragon campaign, some of the information will be brought into the story, some won’t, but it will all be there if the storyteller needs it. They can be wonderful for inspiration but they can also be a guide for you to look to when you feel your own world is underdeveloped. They can be a blueprint of the things you should know about your own story.

Now it’s your turn! What helps you with inspiration for world building and monsters? What sources do you look at when you feel your own world is underdeveloped?

Writing Wednesday: Giving Feedback

March 6th, 2013

Hi, everyone! It’s Writing Wednesday here on the blog again! Today I’m talking about critiques, the importance of giving thoughtful feedback, and how to handle the work of others. As always, these are just my thoughts. I know that this subject can turn into a heated debate. I’m not saying my way is the only way, or the best way, it’s just the one that works for me.

Over the years, people have told me that my feedback is often thoughtful and insightful. In truth, I don’t really know that my feedback truly deserves the praise it gets. I tend to say what I think and everything I say is in the interest of making the piece better. To me, it’s always been a simple goal. Recently, someone (let’s call them Vinny Von Varlow) asked me to give them advice about looking at the work of others. The people around Vinny Von Varlow didn’t seem to value, or react well to, the feedback given to them. So Vinny came to me with the hope of sharpening his skills.

This request made me think about what qualifies as good feedback. I needed to think about what I was doing, consciously or unconsciously, that made people respond well to my advice. I also thought about advice I had received in the past, what advice I liked and didn’t like. What made me listen and what made me dismissive.

The first thing to keep in mind is that the person came to you for advice on their story. One of the most common errors I see in workshops comes from a disconnect between the advice giver and the person receiving advice, the writer. The advice giver should always try to remember that they’re helping the writer mold a story. Think of it like clay. The writer has handed you their clay and said, “I’m trying to make a komodo dragon.” The person giving feedback should then proceed to give advice on how to make the clay look more like a komodo dragon. It’s rarely appreciated when the feedback is, “komodo dragons blow, make a duck.”

To give thoughtful feedback, you need to try and see what the writer is going for and help them accomplish it. Pinch the clay here, reshape it there, and say, “if we added some more clay to this spot, it might look better.” Sometimes it’s hard to do this, I know. We start reading someone’s piece and think… there’s so much potential with this idea. Get rid of these characters, add a few over here, and really, the plot should revolve around this person rather than that person. Do all of that and you know what you have? A completely different story. A different story created by someone other than the writer.

There are exceptions to this rule. One time a friend came to me looking to brain storm new ideas and directions for a character. He wanted to make major sweeping changes to the plot arcs and characters. We had a lot of fun with it. However, when someone doesn’t ask you to do that and you take it upon yourself to demand major changes to plot, lore, and characters, it probably won’t be appreciated. In truth, it’s a very simple idea. When you give advice, make sure you’re helping the writer tell the story they want to tell. If you move away from that and begin telling the writer to write the story you want to tell, of the one you want to see them tell, you’ve missed the mark.

Also, in my experience, overwhelmingly negative feedback doesn’t really help anyone. One of my professors would make a checklist for himself. Essentially, it was a checklist of the most important writing elements that need to be present in every story. So I’m talking about things like a coherent structure, developed characters, and so on. When he came to three major issues in a story, he would stop there and focus on those three issues. He would educate the person on how to improve in those areas. He would then mention that there are some other problems, but note that fixing these three large problems needed to come before anything else. This created two feelings, a sense of priority because these things need to be fixed first, and a sense of hope because the story hasn’t been torn apart at every level.

I’ve heard a few arguments about feedback and I don’t mind saying where I stand. Some people believe that writing workshops should be vicious camps where everyone gets torn to shreds and people are forced to tears. Others have told me that they believe students and writers can benefit just as much from only getting positive feedback. I think they’re both extreme. So here’s what I believe. When someone does something write (and they usually do something right), praise it. Tell them it works, tell them it’s good, tell them it’s the strongest part of their writing. When something needs to be improved, point it out. However, don’t just point at it, explain how it can be done better.

This is crucial, don’t just announce that what they’ve done is wrong, tell them how they can do it better. If I point at a character and say, “that character is flat,” why should the writer listen to me? On the other hand, if I say, “this character seems flat. I would like to see more tension and conflict from the relationship she has with her husband. Her kids are driving her crazy but her husband doesn’t help, does this make her think back on the dynamics of her parents and the house she grew up in?” That’s decent, or at least it’s a start. A writer can grab onto that and think about what will make their character better instead of focusing on the negative aspect of the comment.

Vinny Von Varlow had made some of the larger missteps that I mentioned. I’m happy to say that since making some adjustment to his methods, his partners react better to his feedback. This is great for everyone. He feels useful, the working relationship is mended, and his partners will probably spend more time giving him thoughtful feedback in the future. Like I said, this is what works for me. I’ve seen it work for a few other people as well, but that doesn’t mean it’s the only, or best, way.

Now it’s your turn! What does thoughtful feedback mean to you? When you receive feedback, what makes your listen and what makes you dismissive?