Core Ideas

In Table Top Role-Play Games, there is usually a Gamemaster who introduces the story, describes the places and creatures of the world, resolves disputes, and brings the world to life for the player's as their characters move through the story.

In Improv, everyone brings the world to life by building new ideas on top of old ones until it collapses under it's own weight (which is also entertaining).

In an interview style podcast, the host asks a series of planned questions to the guests to learn about them or what they are working on.

This system mashes all three together. There is a story structure, an adventure where players are "Role-Playing" characters. Each player (in character) "yes-and"s to build the story and details. The Interviewer has a loose structure of questions to ask the characters to walk them through the story of what happened.

Sure, the interviewer has no idea who the Big Bad Guy is when the game starts, but they do have a list of guiding prompts to help the players navigate bringing the story together. Some prompts create. Most cause the players to create.

The role of the Interviewer.

The interviewer is playing the game just like the other players. Their character is still a character. But, unlike the other player's characters, the interviewer wasn't "there". They didn't experience the events that the characters are describing.

The interviewer still creates the story, but they are the guide to keep the story as a story. There will be a beginning, events, twists, resolution, and an end.

The interviewer is the "outside observer". If the game was recorded as an actual podcast, the interviewer helps the "audience" understand the events that the characters experienced. They are asking the questions the audience wants to know.

While the interviewer wasn't there, they may have the options to have "heard" things to be able to ask guiding prompts. For instance, if the players seem to be struggling to come up with a baddie, you can ask a question like, "What was your first sign that the people around you might be werewolves?" or "What clues did you start seeing that told you that some people were under the control of something inhuman?"

These questions are you creating elements, but also give the players more foundation to build their own answers from.

The game involves some amount of creativity. The top priority is to allow failure. Creativity flows best when unimpeded.

Break in character.

There are basically three things that break character. First rule,. don't panic. It's going to happen. Do what you need to do, and get back in when possible.

Red Card (safeword)

If someone nopes out saying "Break Break Break" stop all play and find out what needs to be adjusted to make the game better for Everyone. Address it. Make sure everyone understands. Then let ppl know what changed, or where we are going back to. Feel free to say "action" at that point to make it clear that we are In Character again.

Physical, Mental, and Spiritual safety is important for everyone. This is just a game. No one should be in a situation they can't (and don't need to) deal with. An accommodation is way more fun than having someone walk out in the middle of a game.

Reality

Food, Restroom, and Others (people and animals not in characters).

Things will happen. When you can, ignore it. When you can't address it and get back to the action when possible. If someone needs to get up to take care of business and will be back in a moment, try to play through, if possible.

You can also take a short break as a group. That's fine. remember to call "action" when you are back to it.

Laughter and other out of character emotional reactions.

We are playing to have fun. Giggles or Gasps may happen. Just play though. Ignore it.

If the laughter is bad enough, just laugh through it then resume when things start to calm down. It is better to do this without a full break, but sometimes people say the craziest things that just break everyone. And some people are really easy to break.

It's just a game. Have fun.

Ahead of time

Of course you need to organize the players and play time/space.

You might want to have name tags/table tents available. pen/paper and/or clipboard to organize yourself. This can be done entirely Theater of the Mind as well, where nothing is written down but the scenario. (Players will still want to consider player options before the Interview starts).

You will want to have read through the Scenario and understand some of the options available. The Stories are designed to be able to be several things. One time through, it's Werewolves. Another time it's a Pied Piper. Or Aliens. The story can go anywhere.

The structures are based on story lines where the characters get introduced, involved in a situation, work through it, a twist/complication happens that risks their success, and the story resolves. There is also room for followup on what happened after.

You'll want some idea of where this might go to help generate questions and guide the structure.

Preparing for play

Characters

Characters can be built in play. But to help people who are less experienced at being creative on the fly, I strongly suggest a short, simple character creation.

Read The Pitch from the scenario to the players to remind them what basic story line they are in.

Using the information in character ideas, they create a simple character. 4 things. That's it. And even those aren't locked in completely. Improv allows for anything to change. (your Rogue/Thief character turns out to be an undercover detective because in the telling of the story, it made sense.)

Have the character write down a Name. a short text explaining what they are (Reporter, Cat burglar, Thug 1, Elven wizard. Nerdy schoolgirl.). The other two items are "motivations". Just on or a few words of something the character "Seeks" (will generally go for if able) and something the character "Avoids" (fear, dislikes, things that the character will generally not want to get near or involved in).

If possible put names in tags or table tents where everyone can see everyone else's names and who they are. (their motivations can be private).

As interviewer, you should have a copy of all four of the items. Motivations are great things to bring up in interview questions. They can give the player a known direction to move in or thing to overcome.

The actual introductions take place once the "podcast" starts. so you just have to know that the players are ready.

Be Prepared

You will need your scenario (online, in notes, or printed out). and the player information you just collected. Look over things players write and get clarification if you can't read or understand something.

Make sure everyone is comfortable and ready to play. Make sure the environment is suitable for focus on the story. This would also be a moment to make sure drinks or other needs are cleared. It's not an issue to take care of business in play, but making this known before the actual play starts makes it feel more like an actual interivew.

Most importantly. Relax. We are all just having fun. You'll either end up with a Tale for the ages, or a trainwreck of chaos that hopefully made you stifle a few laughs (or fail trying).

Extra Creativity help

The scenarios here have a tab called Plot Opportunities.

If you or the players struggle to find inspiration in the story line these are lists of items of options that can easily fit into the core scenario. Some are mutually exclusive.

The lists are not required. They are not meant to limit. Playing off book is exactly what Improv is about. These are just ideas for when the Muses are being stingy with their inspiration.

You can direct players to them or just use them to give an out of character list of ideas for someone struggling. Improv is a skill. like anything else, people are at different levels and it needs to be practiced to get better at it.

Remember to be encouraging. The worst ideas are often the most fun. Roll with it. The confidence that brings the player will show itself.

Running the interview

Just before starting, remind everyone of the following:

• This is in character. Nothing stated here has anything to do with how real world people feel about other real world people. This is not reality.
• This is Improv. There are no bad ideas. Don't be a dick to players. But, as long as everyone is having a good time, there are no bad ideas.
• The Safe Word is "Break Break Break". If Break is spoken three times in a row for any reason, we will stop an address the issue and make sure we know what we need to do to move forward.
• This is a game. Get into Character and Have Fun.

Opening.

So you are doing a podcast (most likely it's anachronistic, but it's the theme). You are sitting in a Pub, Tavern, Bar, or studio. In a quieter corner. You've learned that the characters have an amazing story. You as a Bard, Podcaster, or Reporter want to know the details.

You gather the few things you "know" in your head and start to ask questions to find out (for posterity) what happened.

Read the Opening information.

You may read the cold open as written, or do your own thing. It's your game. Your character has as much free will as anyone else at the "table".

Introductions

Go around and have the characters introduce themselves for the "audience" (this both introduces the characters to each other, since they would know each other, and establishes the vibe that this is an interview for an unknown group of listeners.)

The introductions are mostly my name and how I identify my role in the world. But, players should be allowed to ham it up or interact to each other.

The story

Sections break down segments of the story, using this to guide the prompts you give the players will help make the story more story like than a mash of Role-Play snips. This is all a guide, not an exact thing to follow.

If the characters have already created 5 meandering twists, there is no need to introduce another twist when the text calls for one. Always do what's best for the story.

All of the questions are suggestions. They are meant to help you and your players overcome a block. To encourage creativity.

Open ended questions are the best. Yes/no questions should be followed with a request for more information on why.

You are guiding the story. If you were really a podcast interviewer, you would be walking your guests through the story. That's exactly what you do here.

The prompts are written to be generic. adjust them with play. If the players decide there are ghosts. ask questions involving ghosts. On the other hand, if the story seems a little to "plain" feel free to ask the players something like "It was about that time that a Ghosts showed up unexpectedly, wasn't it? Can you describe the ghost for me?"

Feel free to look up story plot structures on the web if you aren't familiar with story building. Improv hacks the structure to pieces, but its still a good guide to keep things progressing in a direction to resolution (while still being interesting).

Aftermath

After the story played out and the big resolution wraps up. The final actions take place post climax. Then the end credits roll on the movie. But, there might be some loose ends we can tie up. Ask questions about what happened after to give players the ability to write endings or leave the unknowable as an open point for the audience.

This gives the characters added life. Since the story happened in the past, this interview is a great time to find out if Happily ever after was really that happy.

Closing

As an interviewer you need to close the podcast off. Let the listeners know that this is it for now. Read the closing text (or improvise).

I would suggest visual clues that this is it. Drop out of character (posture, voice, whatever). Put the clipboard down. Ask noncharacter questions.

If there was any heated character play, check in on the players and make sure the Players don't have lingering issues. The characters can be jerks to each other. That should be left at the table when the story ends.

Final Notes

If you do wish to record the game (Streamed, Video, or audio, or an actual podcast) please make sure everyone in the game is aware of the recording and what your intentions for sharing it is.

It might be fun to revisit games in the future. For ppl in the game to have a copy of what happened. It's perfectly valid to just enjoy the game and walk away with the memories too.

People do have the right to act in a way accurate to how the recording will be used. We can make terrible jokes in private, that people outside our group would read a different way. People should have knowledge of recording so they can make better choices.

If you are recording improv to release, some editing should be done to avoid outing someone's personal information or creating a false narrative of the player's life or ideas.

As the interviewer, you have your foot on the gas petal. Speed it up or slow it down. Linger on a topic or hurry past it. Try to gauge how your players are feeling about a thing to make the decisions on when to move on or when to dive deeper. Every moment is not comedy gold. But, a pregnant pause has meaning too.

Things addressable in character should be. But, don't stay on a sinking ship.

It is just a game. Hopefully a fun one.