Chad (00:57) I demonstrate one of my favorite techniques here. I call it “painting the scene.” The way it normally works is I introduce a theme or set of ideas about a place, and then ask the other players to describe things we see in that place that help reinforce those ideas. It’s a really effective way of keeping the table engaged and getting them to buy into what is going on.
Also: notice how I twist it for Margo. From that character I want to know what she sees that makes Chad sympathetic. It’s a small thing, but it goes a long way toward 1) making Chad seem like less of a caricature and 2) getting Margo to have conflicted feelings about him, which should help propel the drama.
Jonah’s bedroom (10:23)
Promises, promises (11:33)
Margo fucks Chad (14:26)
Jonah gazes into the abyss (17:57)
“What’s your favorite type of milkshake?” (07:12) There were a few moments in this scene when I wanted to cut away, or simply ask Fraser and Yoshi to get to the point of the scene a little faster. Instead, I hung back and let the scene breathe a little bit. I think that was the right move, because the scene ended up being pretty cute, and we got a glimpse into the personalities of Lilith and Serina that I don’t think we would have gotten otherwise.
Margo & Alan (12:36)
Jonah at home (16:35)
The Double Q Diner (20:41)
Big Man (25:49)
Cafeteria (09:55) In this scene, I show a really good pacing technique, which is to cut away from a scene after a roll has taken place. If a scene has been going for a few minutes and you have other players waiting for their scene, a die roll is great excuse to jump away. In addition to letting you move the spotlight around, it also gives the session a slightly more cinematic feel.
Margo confronts Chad (14:20)
Serena makes a move (16:18)
Showdown in the boys’ bathroom (19:19)