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October Review Challenge, #16 - "What genre do you prefer to write in?"

For me, this is definitely historical adventure. I really, really enjoy period pieces, particularly if there’s some sort of action, mystery, or caper involved for there to add intrigue and excitement. In episode 2 of Dream Machine, Requiem for a Dreamer, Ryan asks Leah why she likes writing historical fiction so much, and she gives a stripped down version of my reasoning:

“Everything’s just more interesting, okay? They way people talk, dress, live. Imagining what it would be like to live through important moments in history, but better. No, like, rationing food or fending off the plague. And when things get tough, it feels like an adventure, not... boring regular real life.”

That’s the rough gist of it. I love the trappings, like the dialect and the details of every day life. But I also love the sense of living through history, albeit from (at least in some ways) a more comfortable vantage point in the present. I’ll take my indoor plumbing and effective vaccines, thank you very much.

Adonis is set in an alternate-history Ancient Rome, which I also love, though this is my one project from then. I also like WWI, which my early play Mrs. Loring and parts of the related Tailor at Loring’s End involve. The various Jeeves and Wooster thoughts I’ve had have been just after, and I personally like to insert more references to it than the originals tend to. Brockhurst, my Downton Abbey-inspired larp, is smack dab during the war itself, and a small-group tabletop The Bloom of May references things that happened during it.

But the Victorian age, basically the long 19th Century, is my most frequent setting. The 1880s are the time of the Mrs. Hawking plays and all related pieces, like my roleplaying game Silver Lines. Mrs. Hudson Investigates, my Holmes-related radio play done for PMRP, is around the same time. Another radio play, an adaptation of Poe’s The Murders in the Rue Morgue done with Jeremy Holstein, is in the 1840’s, still technically within Queen Victoria’s reign. I love it aesthetically, I love the manners and the language, and I’m just a bit of an Anglophile in general. But even more than that, the imperial British way of life is rife with drama and makes for strong conflicts to critique and make points about. I am fascinated by the time, but in order to stay honest, I try to incorporate and acknowledge and even deconstruct the evils of it.

I need to write more modern day things, for the sake of producibility concerns. Period pieces are unfortunately expensive. But this is what I'd do all the time if left to my own devices.


Photo by John Benfield
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The first round of signups for Festival of the Larps opens at 7PM this evening! I am excited to see how players make their choices. Remember that you have to sign up for the convention before you are allowed to sign up for individual events.

I hope some of you will consider playing in either or both of my two games, Brockhurst on Friday night or Woodplum House on Saturday morning. Brockhurst is a story-heavy narrative game of fairly standard form, set in a great house in Yorkshire during the First World War. Woodplum House is a light, frothy two-hour comedic game in a fanciful 1920s setting like Blandings Castle or the Jeeves and Wooster stories.

It occurs to me that other than the stark difference in tone-- Brockhurst, like most of the greater Breaking History universe to which it belongs, is a period drama, while Woodplum is a silly absurd romp --there is no reason why Woodplum could not be part of that same world. Heck, Woodplum takes place in 1922, less than ten years after Brockhurst, and in Shropshire like the Blandings stories, making it not difficult not to contradict anything in Brockhurst's Downton-Abbey-inspired Yorkshire. And nothing in the nature of the universe is all that different from anything that's possible in Breaking History. Again, other than the rather ENORMOUS tonal difference, there is theoretically no reason why Woodplum couldn't be devolving into freewheeling absurdity while Josie Jenkins is cutting it up in Chicago, or while the next generation of the Bellamys is working out their place in the changed world.

What am I going to sign up for, you ask? Well, I think I'm going to try not to take up too much space as a player, since the counts this year are a bit lighter than they've been in some years. But I would like to play Sky No Longer Blue on Saturday night, since I've never had the chance before. So that will likely be my action for tonight. Other than that, I may play nothing, or maybe I'll help fill a game that needs a player. We'll see how it shakes out!
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The schedule of games for Festival of the Larps is now available!

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From the website:

"This year, Festival sign-ups will be tiered. On:

On Thursday, March 12th you can sign up for one game at 7pm.

On Monday, March 16th you can sign up for up to two games at 7pm.

On Wednesday, March 18th you can sign up for all the games you like, though still only one per time slot!"

I will be running two games. The first is Brockhurst, my Downton Abbey-inspired game, on Friday night, fresh off a very successful Intercon run. The second is a NEW game, a light silly two-hour comedy of manners in the style of the stories of P.G. Woodhouse! It's called Woodplum House (in tribute, doncha know) and it's going up Saturday morning.

So take a good luck at the many excellent games on the schedule and get ready for signups! Can't wait to see you all there!
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Friday night at Intercon I ran my most recent game, Brockhurst, a Downton Abbey-inspired larp that ties into my greater Breaking History universe written in collaboration with Bernie. I was a bit nervous, due to some weird issues the first run had at last year's Festival. There were some problems with power dynamics, and certain players had a hard time getting into their characters. There was some indication that it was out-of-game stuff affecting it, or bad casting matches, rather than nececessary fatal design flaws with those parts of the game, but you can't be sure with only one run. So after some thought, I decided I wasn't going to edit the game in any substantial way, in order to have another data point for assessing what needs work.

I'm glad to say I think things went really well, certainly better than the first. I even think we may have achieved a full cast that had fun, even if maybe not everybody loving every minute. Certainly nobody brought any problems to me, though certain plots went better or worse than they did last time. The villain roles were yet again cast with very clever people, who damn near ate the whole game, but not to the point where their opposites felt like they had no agency. [livejournal.com profile] bronzite was also a huge help. I shouldn't have been surprised, as Bernie told me it was like this when he ran it last time, but he ended up occupied with manning the telegram message-sending system pretty much the entire time. He did a great job with it, and it was a big weight off of me to know that it was being handled so well.

I made two small tweaks to the way I ran things, both of which were suggested by previous players, and I think they helped. First, I made an announcement at the end of briefing that even though everybody is roleplaying bosses and servants, people should not abuse that power dynamic. Nobody has the right to boss anybody else around, and nobody has to take orders they don't want to take. We're here to have fun, so don't be a jerk. I think it helped, as it didn't seem to ever be a problem. The other thing was I had the dancing happen first. I was told it might help mix the players who might otherwise might not find reason to blend. Again, I think it helped, maybe even with keeping the upstairs and downstairs people on a more equal footing as the tone of the Servant's Ball dictates.

The game needs a little editing, but not nearly as much as I was worried it might. There are still a handful of character who could probably use a little more. No character is thin, in my opinion, but it's such a high-plot game that some characters a bit light by comparison. So I could use maybe an extra plot or two. Also, I think I need to make some evidence of the various mysteries that cannot be destroyed. A consistent problem is that when the villains are clever, they can fairly easily conceal all signs of their misdeeds such that the characters on their trail will never get a hold of them. Not exactly sure how to do that, but it's a direction for the edit. Maybe I'll be able to get that done in time for the Festival run. At any rate, I was really pleased by how happy the players seemed to be, which made me feel more secure in the game.
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Very excited for Intercon this weekend, but due to the various committments in my life, I'm unfortunately going to be a bit stressed about the time I'm not getting things done. Over-committed is of course my typical state, but I've taken on certain things recently out of necessity even though I didn't particularly want to. I'm costuming a production of Tartuffe that opens the weekend after this one, which is a nice experience and normally I'm very happy to do this sort of job, but I'm busy enough that I probably wouldn't have gone for it if I didn't really badly need the money. It's not super-convenient for that to be away all weekend for Intercon, but I'm just going to have to deal. :-P Also, for the first time ever, I have elected to not get a hotel room, in the interest of economizing. I hope this isn't a huge pain, but I really can't swing it this year.

It turns out that due to a crisis his family is dealing with, Bernie isn't available to come up this weekend to help me run Brockhurst. [livejournal.com profile] bronzite is kindly stepping in to take his place, for which I am very grateful. It is mostly unedited from the original version. This will be only the second run ever of Brockhurst, and I've always believed you need at least two goes-through to decide if your design is functional. One player may have an unusual experience, making a given design choice succeed or fail, but if it happens to two or more, than you can make a pretty accurate assessment. The first run in particular seemed plagued by outside problems that I think were a factor in how people experienced the game, and I'd love to see how things go in the absense of that. At the very least, two data points should provide a better metric of what's working and what needs addressing when I seriously edit.
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Hey, larp fanatics! It's come time again to bid games to build the schedule for Festival of the Larps 2015!

The festival is going to be on Brandeis campus from April 17th-19th. And we need games! So go to the Festival website to put in your bids. Personally I recommend larger games of around twenty players, but of course games of every size have a place.

I personally am bidding a NEW game-- because I'm a nutter --called Woodplum House that I mostly wrote this weekend! It's a small silly 2-hour, 10-player comedy of manners! The blurb:

"The English countryside, 1922. Welcome to Woodplum House, the ancestral home of the prestigious Lilywhite family in the charming rural village of Stoke-on-Stump! Lord Nigel Lilywhite is hosting a lovely garden party preceeding the afternoon wedding of his only daughter Emmeline, with only a few choice intimates in attendance before all the guests show up for the ceremony. But in this silly comedy of manners, the polite social occasion will be turned upside down by lovers' quarrels, raffish pranks, and scandalous secrets of misspent youths. There may even be a mystery or two to solve! Join these genteel aristocrats as what should be a civilized afternoon tea erupts into high-spirited comedic escapades!

A 2-hour light, comedic game in parody of the works of P.G. Wodehouse, with no actual characters harmed. Expect roleplay-heavy gameplay with a high reliance on schtick and absurdity, with some interpersonal puzzle-solving."

DOESN'T THAT SOUND LIKE A CRACKING GOOD TIME? Also I'm incredibly proud of naming the village Stoke-on-Stump. It's perfect and hilarious.

I also want to bid at least one other game. But which one? The obvious choice I think is my most recent large game Brockhurst, the Downton-Abbey inspired one that ran last year and will run at Intercon this March. It's 19 players, and since it would only be third run I think it would fill again.

What does everybody think? Anybody have any votes? What should I run? What would you like to play in?
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Most larpers have heard that story of when Don Ross got a whole cast apping for wizardry and romance in a game that had exactly one of each. In response, he eventually ended up writing a game called Young Wizards in Love, where everyone was a wizard with a romance plot.

Bernie and I cast the run of Brockhurst to happen at Intercon O today. It was actually easier than the first run, and I think we came closer to pleasing all the people this time. But as always, there are always clusters of players who all want, or don't want, the same thing, and it can be tough to make sure there are enough of the appropriate characters to go around. Apparently the game this particular cast wants to play is actually Young Childfree Pacifist Edwardians in Love, as everyone wants romance, to NOT have anything to do with World War I, and to not have to take care of an in-game baby.

The WWI thing, while frustrating, I can understand. I don't think I adequately describe what that plot will entail on the casting questionnaire. I think people think they will be playing a war game, which is totally not what it is. In reality that storyline is about making narrative choices that affect what happens on the front, which in turn affects the lives of the soldiers as well as the characters in-game. I know it's my fault for not explaining it well, but it's frustrating that something that has such a major thematic influence-- the MAIN THEME OF THE GAME is how the world is being blown apart and reformed because of WWI --seems to many players like a tacked-on mechanic.

The other thing, the fact that nobody wants anything to do with the baby, is less comprehensible to me. Both times, almost EVERYBODY has wanted NOTHING to do with this motherfucking baby. It is clearly explained that it is in-game only, as in not real, and will not take players away from interaction. It is a DOLL, and it barely even has any mechanics attached to it; it maybe needs the most cursory of attention once an HOUR. It's purely a narrative device. I can totally understand and sympathize with people not wanting to deal with real children because of disinterest or discomfort or something. But having such a strong objection to a babydoll while playing pretend for four hours? Do not get why it's such a big problem.
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At 7PM the second round of Intercon signups go live!

I'm going to shoot for the Saturday afternoon run of The Return to Gray, a post-WWII small-player-count historical larp written by twilighttremolo. It sounds very interesting and intense, and I know of at least one person I'd like to play with already signed up for it. It's only got a handful of slots, however, so I'd better be quick on the uptake.

Brockhurst, my Edwardian/WWI-era Downton Abbey-inspired game running Friday night, currently has four players out of a total of nineteen. I'm hoping it will fill this round, but we'll see. I'm confident I won't have any trouble ultimately having enough players, but it's validating to see people eager to play. Hell, Resonance, which I'm not running but for which I was a writer, is also running Friday night, is on its eighth run and still managed to max out in the first round. :-) Her Eternal Majesty's Privy Council on Sunday morning only has one player so far, but silly Sunday games always are people's last concern.

Intercon also needs more games, as the con is growing in attendance and it's harder to have enough player slots. So if you could bid your game for Intercon it would be greatly appreciated! Running a game is a great way to enjoy yourself in a timeslot where no other game appealed to you, and it gets you a comped membership to the con!

Otherwise, be sure to sign up tonight! Make certain you set your alarms!
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I almost forgot in the flurry of activity surrounding my show, but tonight Intercon O signups open at 7PM! Here is my current plan.

I am running Brockhurst, mine and Bernie's Downton Abbey-inspired WWI-era historical larp, set in the Breaking History universe that also contains Mrs. Hawking and The Stand, on Friday night! I hope you'll sign up if you haven't played. Or, if you have and nothing else appeals to you in that slot, I'm looking for GMs to help me run it! Let me know if you're interested.

I am also running Her Eternal Majesty's Privy Council for the Continual Funding of the Mad Arts and Sciences, the council-style horde larp parodying the steampunk subculture I helped write with AE Games, on Sunday morning. A very funny, silly game, which I never saw the first run of it, so it will be fun to finally witness how it goes!

I would like my first signup to be for Spring River, the latest offering from AE Games. I always enjoy their work, so I'd be excited to play it. Unfortunately I may not be able to be near a computer at 7PM when things open. I've asked Bernie to help me if he's able, but we'll see. Fingers crossed that I can get in one way or another!

That might be it, I'm not sure yet. I wouldn't mind a light Intercon, but I'm open to the possibilities. :-)

Don't forget to sign up! What are you hoping to get?
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Second to last one! This one is spoilery for my larp Brockhurst. Bernie and I found the ending to the one run we've had so far to be interesting, and we're toying with the idea that it's the canon ending, more or less. This goes according to that.

Day #30 - "As Sisters Should" )
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Wrote this after struggling figuring out what to write for today. I've been pretty gangbusters with the ideas this month, but for some reason was stuck today.

This piece is from somewhere in the Hawking timeline, though I'm not sure what story it could be part of, if any. It involves Nathaniel's two children, Beatrice and Reggie, who are five and three when the story starts in 1880, but pictured here as adults. This is the first time I've written about them theatrically, but their real first appearance was in my new larp Brockhurst, where Beatrice is a detective and Reginald is a Major in World War I in 1915.

I liked the idea that one of Nathaniel's kids would someday marry one of Mary's kids. The most appealing options are his son Reginald and her daughter Victoria. This scene came out of the fact that there is a slight issue in that Nathaniel's children would have to be at least twelve years older than Mary's due to the timeline, which personally bugs me because I prefer relationships that do not have large age gaps. But in Victorian England that happened all the time, so for the period it's not really weird. Still, I wanted to explore the issue a little, especially given that Reginald's choice of career with the military establishment is at odds with the revolutionary sentiments of Mrs. Hawking's eventual crew.

Of course the best reason to get them together is articulated by Beatrice here in the last line of the scene. ;-)

Day #24 - "A Few Days' Leave" )
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Today's piece is also part of "Disgraced," my idea for a series about an upperclass English girl in 1914 who is forced to move with relatives in Newport, Rhode Island to escape the shame of a scandal and build a new life.

This is slightly spoilery for my larp Brockhurst, as this references an incident in the past of one of the PCs, Marcus Loring, who is one of the characters herein. He would definitely be a recurring character in the Disgraced story. This piece takes place after "#3 Companion", "#6 No One Knows You Here," and "#7 Repute."

Day #10 - "Humiliated" )
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Because I was finishing the Adonis script right up to the contest submission deadline at the end of July, I never really got to lead up to 31 Plays in 31 Days here on the blog. I just had to jump in! But thing are going strong— REALLY strong. Despite feeling somewhat burnt from the intense focus and creative demands of finishing Adonis, that script weirdly energized me. I am IMMENSELY proud of it. Bernie and I collaborated so well on it, and we impressed ourselves by how fully we realized the very particular vision we had for it. Not only am I proud to have it as another significant work to add to my portfolio, I think it may be one of the best things I’ve ever written. I do think we have a real shot in the contest we submitted it to, but regardless of how it does, we wrote a movie I would want to see.

But as I said, had to leap into 31 Plays in 31 Days pretty much immediately after finishing. 31P31D is pretty low-stakes—things have to be complete, not good, so as long as you bag out a page a day, you’ve nailed it. That’s one of the great things about doing it, it just encourages generation and experimentation. But I’m still riding the wave of creative enthusiasm Adonis gave me, which feels great, as well as keeping up the excellent work habits I needed to enforce to get the screenplay done on time. I started the month tired and with my extended family in Pittsburgh, so I was concerned I wasn’t going to have time and get behind only three days into August, but I’ve been gangbusters. In fact, I’m a whopping FOUR days ahead, I’ve been so able to keep up my productive mode. Sam even suggested I just see how many scenes I can write in a month and forget about limiting myself to thirty-one. I doubt I’ll be able to maintain that level of output— I’m sure I’ll get busy, or stuck for ideas, and get behind again the way I did in the two previous years. But so far I’m proud of my productivity.

As I mentioned, I’m aiming more for pieces of projects that have yet to be fully drafted or developed rather than standalone shorts. I’ve already started making progress in that direction, and I intend to continue developing Base Instruments, the third in the Mrs. Hawking series, and Disgraced, my idea for a series about a young English heiress in 1914 who is sent away to America to escape a scandal that ruined her reputation back home. I’m also going to depict moments from my newest larp Brockhurst—of which Disgraced’s plot is an offshot —and I find myself particularly inspired to finally work out that Cabin Pressure fan fic I’ve had in my head. Fan fic probably shouldn’t be my priority when I have so much of my own original work yet unwritten, but since I need to fill out the piece a month thing, why not?

I have so many ideas. There’s so much that still needs realizing. But I’m really pleased and proud I have so many cool things in my head.
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I am out of town again this month, this time to visit relatives in Pittsburgh, so I am a bit busier than I hoped to be for the first few days of August, but here begins 31 Plays in 31 Days! I just threw this first one together in the few moments before the end of the day, so it's pretty rough, but at least I'm not behind this early.

Today's entry is extremely spoilery for my larp Brockhurst-- this is a scene from the back story of two player characters, so please don't read this one if you're still planning on playing that game!

Day #1 - "Because I Know You're Not" )

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Oh, my God, I just started playing the silliest game and I am having so much fun doing it. I was making a chart of various things I've written to examine some demographic info-- genres, lengths, genders of the protagonists, that sort of thing --when I started thinking about the various character connections between the assorted pieces. As I mentioned, I've started considering everything I've written that's a basically-realistic-approximately-historical period piece (Mrs. Hawking, The Stand, Tailor, Mrs. Loring, Puzzle House Blues, Brockhurst, et cetera) to be all in the same universe. I found I could play a very amusing version of six degrees of separation between characters based on who would have known or encountered who, and I have been happily wasting time writing out the connection chains.

I've discovered I can link all the protagonists from my completed major works-- Victoria Hawking and Mary Stone, Tom Barrows and Alice Loring, Josie Jenkins, Elizabeth Loring --plus the characters I've explored to great extent-- Flora Johansson, Carson Hill --all within the proscribed six degrees. I was surprised at first to see linkages flowing through certain characters much more than others, until I thought about it-- they tended to be those that have appeared in more than one work, or at least more than one area of the greater universe. I roughly break it up into the "Hawking" section, London in the 1880s, the "Fairfield" section, the east coast of America in the first half of the 20th Century, and the "Stand" section, the California territories in the middle of the 19th Century. The most frequently occurring characters were Lillian Holland/Lou Amsterdam, Elizabeth Loring, Marcus Loring, (all "Fairfield") Jamie Harper, ("Stand") and Reggie Hawking ("Hawking"). Those last three all appear in my 1910s-era larp Brockhurst, the first piece I ever wrote that was explicitly crossing all three section. Elizabeth was mentioned in Tailor before she starred in Mrs. Loring, and Lou who first appeared in Mrs. Loring before she recurred in Puzzle House Blues.

The greater universe should probably have a name. I'm tempted to just call it the Breaking Light Universe, but not everything I write takes place in it-- see Alice, Oz, Chadwick, Adonis, the Vantage 'verse, and others. Call it "Breaking History," maybe? I don't know. I like things to have names. I'll think about it some more?

This is a very silly preoccupation, and likely nobody cares but me, but damn, I'm having fun with it. :-)
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I hate how fragile I feel lately. Like I have no fortitude to handle anything negative. Lately, any time anything is unpleasant to manage, any hard truth, and any failure on my part makes me feel so wrecked. It's stupid and I hate it and I should bear up and be less of a wuss, but I feel tapped out.

But I don't want to be treated any differently. I don't want to be the sort of person who can't handle criticism or failure. I also hate the idea that people are hiding things from me because they think I'm too delicate to take it. That's incredibly stupid, I shouldn't be such a wuss. Life is full of hard things and necessary criticisms from others, so I can't say oh, I need to hide from everything negative because it makes me sad.

Like, I've heard from the third person so far that the servants characters in Brockhurst don't work due to power dynamics, and I hate the whole game now. I have to rescind my assessment that the game went well or is good if only the upper-class characters had a good time. I don't want people acting like it's better than it is, I want to hear the critiques people have so I have a realistic picture of what needs works, but they're hitting me so hard. I can't help but feel sorry I killed myself to write the damn thing if only a fraction of the players had fun.

I don't know. I don't know what to do with myself.

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My second event of Festival was the one I’d been most nervously anticipating, the first run of my newest game, a collaboration with Bernie, a Downton Abbey-inspired period game I called Brockhurst.

That this game came off at all was something of a wonder. It was written in two and a half months, the fastest I’ve ever completed a four-hour larp. It has nineteen characters, and I wanted it to be as thickly plotted as possible, as I am a hard-core narrativist and wanted lots of story to keep people engaged. The size, the short period, and the high standards I went in with made it difficult enough even without my family problems hanging over me, so I had a lot of anxiety over getting it done, and fear that it wouldn’t come out any good. I certainly couldn’t have done it without Bernie’s help, who signed on to be a coauthor and ended up having to also be my personal wrangler when I got down about things. We spent pretty much every waking moment of the week leading up to the game finishing, printing, and packing it, and it was an incredibly high-stress experience.

I suffer from a fallacy where I tend to believe my writing’s quality exists in proportional to the ease with which I wrote it. As in, stuff that was easy to write must be good, stuff that was hard to write must be bad. Those things do not necessarily correlate, but I struggled so much to get this thing done in time that I couldn’t shake the fear that it was boring, had no plot, wouldn’t work, blah blah blah. I was incredibly paranoid that people wouldn’t have enough to do.

But once thing got going, people seemed pretty busy and happy. A lot of people really got into their characters and came up with some fabulous things. We had a fabulous cast, which helped. This was [livejournal.com profile] polaris_xx’s first larp, and I really wanted to show her a good time, so the good cast helped. [livejournal.com profile] bronzite also very generously agreed to step in and fill a drop. All awesome people doing awesome, awesome things. Bernie was proved right on a bunch of casting choices he insisted on that I hadn’t initially been able to see. When people who enjoy larping together get the chance, they can make their own fun, but they also seemed to get their teeth into the stuff I wrote. That was gratifying. We even saw proof of concept of some ideas that were kind of experimental, such as the telegram mechanic.

Most of the characters seemed to have fun; we heard a lot of very enthusiastic reports after the game. We had one character not present in the game due to the player getting a migraine, which I worry had consequences on other’s characters’ times. There was one player in particular whose experience was spectacularly bad, and I feel really bad about it. I think there were lots of factors at work, and I will have to examine that character closely to determine the problem with it, but the other character’s absence was likely part of it.

It was also neat to get to watch the presence and interpretation of characters from my other stories. Because Brockhurst takes place in 1915, it was possible to have Mrs. Hawking’s grandniece and grandnephew Beatrice and Reggie Hawking present, as well as Marcus Loring, Rowan’ cousin, and Jamie Harper, the grandson of Zachariah Harper, Tall Bear, and Negahse’wey from The Stand. Admittedly Marcus and Jamie were among the toughest to incorporate into the overall plot, and probably require more editing than most, but I do like the idea of them. The Hawkings seemed to work just fine, and it was neat exploring two characters who I’d only ever really thought about as babies previously. And hey, if anyone was made more interested in reading any of the original stories, I’d be happy to pass them along.

So overall I’m pleased. Not bad at all for a first run, given how quickly it was written, and how much outside garbage I was dealing with during the writing. Thanks so much to all the lovely people who played the game. You made all the effort worth it.

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You may have noticed how little I've written lately. Well, that was because for the last week basically any spare moment I had were given over to finished up the writing, printing, and packing of Brockhurst. Festival weekend now has been satisfactorily concluded with all responsibilities delivered.

I plan on spending the next week recovering. I am exhausted more than usual-- NEVER going to run other games the same weekend I'm debuting a new one EVER again. I will be writing up my con report, but otherwise I plan on doing a hell of a lot of flopping, and not a lot that's productive.
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Stressed like crazy trying to finish this damn Brockhurst larp. I will get it done. I will get it done. Just a couple more sheets to go.

Sheets will go out in a day or so. Apologies for how late they are. But I've been so damn overwhelmed. It should be a good game, but forgive me the ragged edges.

Whatever. Just a little more. Make the last push. I will finish.

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I was very happy when Sam LeVangie, a friend and frequent theater collaborator, was going to be playing in my new larp Brockhurst. When I cast her as one of the fancy ladies, I thought it might be nice to help her with a costume. I've been wanting to drive my hand at a 1910s look for a while now. Most of my current collection fits people close to my size, so Sam, though significantly taller than me, is a good candidate.

I had this purple prom dress, which I've only worn out once, while playing Folding the River if I remember correctly. I tried it on Sam as a possibility for her princess character in The Prince Comes of Age, but didn't quite work then. Still, I remembered it was a good shape and color for her, so I decided adapt it to a 1910s dress for her.

I bought a lacy blouse from the thrift store and cut it up. It had enormous flutter sleeves, which made it ideal. A high waist with mesh sleeves and bodice detailing is characteristic of the dresses of the period, so I think it works.

It's not quite finished. I haven't sewn the stomach piece on yet, and I want to finish the raw edges of that piece with this thin dark red ribbon I have. But I like the effect. It's a nice combination of colors-- purple, pink, red, beige --and it evokes the period even if it's not literally historical. I think it will look nice on her, and work well for the role.

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