How to Run:Primetime Adventures

The content of this WikiPage is based mainly on the thread by Judd "Paka" Karlman, "My Pattern" on the Dog Eared Designs forum.

Primetime Adventures, "the game of television drama", is written by Matt Wilson and published by his independent outfit, Dog Eared Designs.

The Pitch

• My biggest PTA tip is that the pitch session should go on for as long as it has to.
• As the Producer, I tell the players that we will be brainstorming ideas; some, possibly many, will get rejected, and that is okay. When we have our idea, there will be an almost audible CLICK in the air and things will start to come together.
• An informal rule in the pitch session is "if you say no, you have to have an idea of your own to throw out" which just keeps things moving.
• We start by talking about the kind of show we don't want our game to be, or any issues we don't want in the game. It might seem odd, but usually it's easier to come up with engaging ideas within limits than going utterly freeform.
• Vincent Baker wrote something for Dogs in the Vineyard that's very applicable to Pitch sessions: "... the thing to observe... isn’t what the group’s doing, but instead who’s dissatisfied with what the group’s doing. The player who frowns and uses withdrawing body language in response to someone else’s (idea) — that’s the player whose lead to follow."
• Be willing to be ruthless, but politely so, with show ideas. If someone has a pretty good idea but not everyone's aboard with it, tell everyone you're putting it on the shelf for the moment. The group might decide to revisit it later.
• As the Producer, I guide the brainstorming by asking leading questions and writing down key words. Sometimes I stop the brainstorm and read over what we have. I make sure no one is getting walked over and make sure everyone is having their say.

The Click Moment

• Nearly every Actual Play report which talks about an "awesome!" game of PTA mentions that a during the Pitch session, when the group in question hit upon the idea for their show, there was an almost-audible CLICK in the air. It's the moment when everybody in the group, including the Producer, suddenly buys into a specific show idea, stops tossing general concepts around and starts milking the big idea for Setting Conventions, Tone and Characters.
• Don't settle for anything less than the CLICK moment. If anyone in the group is like, "well, the idea seems okay and I don't want to make waves, so I'm fine", the game will most likely be dull. Either shelf the idea or try and get some input from that player as to what he'd really like. Everybody needs to be excited by the show idea.

Scenes

• I tell the group that we will be going around in a circle for scene framing but this format might break down a bit and that is okay, as long as we get back on track and everone get's their turn.
• If someone can't think of a scene, others should help and scenes you propose do not have to have you in them.
• The scene gets set, we know which characters are involved, and we go from there. Sometimes there will be a discussion of the general intent of the scene (this scene is where the prositute and the wife meet for the first time, with disasterous results), but not always. At some point during the scene it will often become apparent that there is a conflict brewing, but sometimes someone will see a good conflict to drop in and propose it. Now is when we set stakes.

Conflict Resolution

• Set stakes that aren't about success but about price. If you've watched a lot of Buffy the Vampire Slayer, you've probably noticed that the big action scenes ultimately aren't about whether Buffy defeats the Big Bad (most of the time the answer is "of course she does") but about what price she must pay to do so. I set rocking stakes for those first few conflicts so that others see how it is done and before long, everyone is helping with the stakes setting. This communal stakes setting is really important.
• We role-play for a while and then come up to the conflict. Make sure no one is dancing away from the conflict but heading towards it. If stakes are set right, people will be looking for conflicts and welcome it. Sometimes a scene opens and the player won't know what to do until a conflict is resolved. That's cool.
• Rarely, maybe once or twice an episode there is a scene with no conflict, which is cool, but if there are more I get nervous. Watch out for folks avoiding using the system. It could mean stakes setting is going wrong or there is some other disconnect.

Fan Mail

• If you, as a player, chuckle, wince or have some other visceral reaction to something another player says, does or otherwise introduces to the game, you should be throwing Fan Mail. If the group is shy about it, I will loudly note a good contribution that is Fan Mail-worthy ("Somebody please give that guy/girl some Fan Mail!") but that is rare and usually only in the beginning of the episode.
• As the Producer I put Budget in the Audience Pool and drive play towards conflict so that I can put more. If the pool is empty, I spend more Budget on the next conflict. Sometimes I put more Budget into a conflict because it is a big deal conflict but most of the time it is so the players can show their appreciation for one another.
• Remember: Although the players can't give you, the Producer, Fan Mail directly, they will tell you when you're doing your job well by spending Fan Mail to get extra cards in Conflicts. If your Conflict weren't cool, they wouldn't be getting involved via Fan Mail.

The Fingerwave

• The finger wave is an unofficial method of showing appreciation to the Producer (who cannot receive Fan Mail) or other players when the Audience Pool is depleted. Basically, you point your hands towards the GM and wiggle your fingers in his/her direction.