Q. What if a character falls flat? What do I do then? A. It always goes back to the fact that the quality of the artwork and thought that went into creating the character has to be of a high quality. Boring characters with little visual appeal make for boring stories and boring classes. I […]
Q How would you define a balanced character? A. I would say that it would be one with four or five details. That is as much as I feel works for me. However, I do sometimes like to add one random outrageous detail. For example, a snowman who hates carrots and coal might have a
Q. You spoke about how the word chosen for the one word image should come from the class. What if the class simply cannot come up with anything interesting? A. Oh that happens! But I am always ready for such classes – the ones that give us the snarky “look”. What I do is, on
Q. If you are trying to limit the length of the story to the overall 25 – 35 minute desired time frame, wouldn’t the transportation scenes add time to the story and “blow it up” too much? A. Yes it would. But I think it would be fine in that case to have a story
This is from TPRS in a Year! – Whenever an actor needs to go to another location in a story, the potential for a humorous mode of travel exists. The conveyance can be merely described in words, or it can actually be put into action, which the kids love, because they get to act as
Bryan seems to have put his finger on exactly where TPRS is these days, in my opinion: “I’ve been thinking about how circling as it is usually taught (at least to beginning TPRSers) really is so unnatural, particularly when the goal is to get a student (or even an entire class) to remember a particular
Tina told me this: The teacher has to do CI according to what they think is best for them as an individual teaching artist. One person likes targets as they are used in conventional storytelling, the next prefers a more free-wheeling style of CI, like emergent targets using the Invisibles or Story Listening. We all
A member of the greater CI community, but not of this PLC, recently wrote: …if someone is a purist about TPRS, then they have the right to be. If someone is a “dabbler” and hasn’t gotten “on track” in the way that you would like, well, that is who they are. If someone has found,
The data piece is vastly overrated in language classes, because of the intensely human, not robotic nature of human communication. Paying more attention to students’ eyes and body language shows us far better than tests what they are absorbing and if they are with us.
Tina concludes: Now, do we all have to tell story after story, year after year? No, but hey, it might be worth a try. Beniko does not see her kids but once per week so her situation is way different from mine. Myself, I still do other kinds of CI too. But what Beniko’s work
As Tina said, the problem with the Realm was that there was no plot and hence no problem. I did not know then (fourteen years ago) that a good problem emerges from the quality of the image and any back story on the character. So I am saying that in order to have a good
This is a follow up to a post here a few days ago. It is a lengthy post describing an online interchange between Lizette Liebold, who goes to great pains to represent the position of the Old Guard (preferring to stay with targets) of TPRS, and a response from Tina in defense of the current
