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Camarilla Storyteller's Guide: Index

The Camarilla Storyteller's Guide

Copyright

Introduction

Chapter 1: The Camarilla Vision

1. The Role of the Camarilla Storyteller 2. An Overview of Our Sanctioned Chronicle 3. Storytelling in the Sanctioned Chronicle 4. The Storytelling Team

Chapter 2: The Framework

1. The Venue Style Sheet 2. Setting up the Local History 3. The City Book 4. How Global Specialist Advisors Can Help Local Storytellers

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Chapter 3: Your Players

1. Communicating with Your Players 2. Focusing and Motivating Players 3. Linking Characters with the Global Chronicle 4. Welcoming New Players

Chapter 4: The Toolbox

1. First Steps and Overview 2. Reports 3. Storyteller Records 4. Special Character Requests 5. Plotlines 6. NPCs 7. Awarding Experience

Chapter 5: Game Night

1. Checking-In Characters 2. Setting the Scene 3. Good Descriptions (Show Don't Tell) 4. Selling the Call 5. Action/Consequence 6. Game Wrap-Up

Chapter 6: The Art of Balance

1. Story vs. Mechanics 2. Chronicle Balance 3. Saying "No" 4. Soft Roleplay 5. Proxies 6. Crossvenue Play 7. Repairing Continuity







Chapter 7: Things Your Mother Didn't Teach You About Storytelling

1. A Storyteller's Image 2. Conflicts of Interest 3. The Care and Feeding of Assistant Storytellers 4. How a Coordinator Can Help Keep a Storyteller Sane

Chapter 8: Hard Choices

1. Guidelines for Dealing with Unethical Players

Appendix A: Blank Forms

1. Venue Style Sheet 2. City Book: Stage Form 3. Monthly Report Format

Appendix B: Samples

1. Venue Style Sheet: Sample 1 2. City Book: Stage Sample 1 3. City Book: Stage Sample 2 4. Monthly Report Sample

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© 2002. The Camarilla.

All rights reserved. Reproduction without written permission of The Camarilla is expressly denied, except for short excerpts for the purpose of reviews. Forms may be reproduced and used by members in good standing.

Terms trademarked by White Wolf Game Studios are used with permission, and any mention of terms or titles should not be considered a challenge to ownership.

These products use the supernatural for settings, characters, and themes. All mystical and supernatural elements are fiction and intended for entertainment purposes only. Reader discretion is advised.

Print date: July 2002, 1st edition.

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CSG: Introduction

Introduction

Ad astra per aspera (To the stars through perserverance)

Welcome to the Camarilla Storyteller's Guide. If you are looking for game rules, you'll need to check out White Wolf's MET books and the Camarilla's rules supplements, because you won't find them here. This document focuses totally on storytelling, including:

● Core concepts and principles of Camarilla storytelling theory● Terms we commonly use in our shared chronicle● Tips, ideas, and techniques to help you create and maintain your local chronicle● Ways you can link with other chronicles--both in your area and around the world

You now have access to the collected experience and wisdom of hundreds of storytellers, both past and present. This document represents what our storytellers have learned while building our global chronicle. Together, we tried new ideas, kept what worked, and continued innovating.

At the core of the Camarilla Storyteller's Guide, there is a very simple message. We work best when we work as a team. This is the key to storytelling in the Camarilla's Sanctioned Chronicle.

We invite you to explore the CSG. Flip through it, and read the sections that interest you. Then go apply what you've learned. If you need more information, come back and read more. If you have a question that the CSG doesn't answer, we suggest you contact your supervising storyteller.

This document is dedicated to every storyteller who has mentored another storyteller. To them, we say thank you.

Bill ShermanJuly 15, 2002

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Camarilla Storyteller's Guide: Chapter 1

Chapter 1: The Camarilla Vision

1. The Role of the Camarilla Storyteller2. An Overview of Our Sanctioned Chronicle3. Storytelling in the Sanctioned Chronicle4. The Storytelling Team

The Role of the Camarilla Storyteller

As a Camarilla storyteller, you are part of a team of storytellers who weave the grand tapestry of the global chronicle. Storytellers often:

● Share ideas for game premises and plotlines● Discuss ways to interweave stories● Integrate regional, national, and global plotlines into local games● Offer each other advice about game-balance● Make suggestions on how to solve problems

The role of the Camarilla storyteller is to ensure that games are both fun and fair for the players. This is not an easy task, but it is a very important one. It often requires time, creativity, and a lot of patience. Sometimes, you may have to say "no" to a player's request or even set aside your own character's interests for the benefit of the overall game.

Storytellers are the chronicle's guides, but the chronicle ultimately belongs to the players. Our chronicle is player-focused.

● There will always be more players than storytellers● The characters, not the storytellers, are the stars of our chronicle● Players build the great stories by interacting with each other

Together with our players, we create the global World of Darkness.

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An Overview of Our Sanctioned Chronicle

The Sanctioned Chronicle consists of hundreds of local games that share a common framework. Local storylines can spead to other nearby cities and even across the world. Also, players travel to other games and interact with each other online. When these things happen, our chronicle comes alive.

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There are seven venues in the Sanctioned Chronicle. Here's a list of when each venue started in the United States.

VenueStart Date (U.S.)

Cam/AnarchMarch 1997

ChangelingSeptember 1998

Mage May 2001

MortalSeptember 1999

ShiftersMarch 1997

SabbatOctober 1997

Wraith October 1997

These venues are all part of the same Sanctioned Chronicle. However, we've learned that the best way to keep each venue balanced is to keep them separate. Therefore, crossvenue interaction is rare and requires storyteller review.

Our chronicle history is based on the World of Darkness described in the White Wolf books; however, there are some important differences that players and storytellers need to know about. Here's a brief overview:

World of Darkness Area

What We Use in the Sanctioned Chronicle

History through 1900 A.D.

White Wolf's published continuity (some exceptions noted below)

Pre-1900 SecretsMay vary from published White Wolf continuity

1900-Present Our own continuity



Local CitiesEach city creates its own unique histories; use of any material from By Night books requires MST approval

All Published White Wolf NPCs

Only the MST may use these characters in chronicle

PCs and NPCs with Histories Linked to White Wolf NPCs

Requires Top level approval

White Wolf history after 1900 has, in many cases, been altered for our chronicle. For example, the Justicars listed in Children of the Night are not the current Justicars in the Sanctioned Chronicle--because they were elected after 1900. Similarly, local sanctioned chronicles do not use the By Night books (such as Chicago By Night). In our continuity, Lodin was never the Prince of Chicago; Chicago has a very different city history.

Finally, the MST may create dark secrets in the pre-1900 continuity. Details and motivations may not be the same as in White Wolf sourcebooks. Rember that even White Wolf sourcebooks often provide contradictory information about key historical points in the World of Darkness. Differert groups have interpreted the same events in very different ways. The MST may provide customized information to characters with high level lores. These minor changes allow the MST to seed chronicle-spanning secrets while remaining close to White Wolf's established World of Darkness.

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Storytelling in the Sanctioned Chronicle

If you've been a storyteller for an independent troupe or tabletop game, you have probably encountered a lot of the challenges we face as storytellers in the Camarilla. However, here are some key differences that you might not have encountered before:

Size and Scope of Game

Our chronicle is big--really big. In July 2002, we had over five thousand members worldwide. This means that PCs actually populate the World of Darkness. In the Sanctioned Chronicle, PCs greatly outnumber the global total of active NPCs. The World of Darkness comes to life, but it also means that storytellers must keep a closer eye on overall chronicle balance.

Continuity

When Camarilla storytellers talk about continuity, they're often referring to the chronicle's consistency from game to game. For example, the Camarilla Justicars should be the same in every Cam/Anarch



venue--regardless of whether you're playing in Atlanta, London, or Manila.

In a troupe game, continuity is sometimes an issue, but in the global game it becomes very important. Managing continuity is much like conducting an orchestra. If everyone focuses and stays together, our chronicle can be like a symphony. If continuity strays, things can become out-of-tune and off-beat very quickly.

Shared Knowledge

Players can ask difficult questions and want their characters to do unexpected things. As a Camarilla storyteller, you're not alone. If characters want to visit London, you can refer them to a London storyteller. There's a global continuity out there, waiting for you and your players.

When it comes to storytelling and rules questions, you have access to:

● The Camarilla's Rules Supplements● General storytelling lists● Individual storytelling lists for each venue’s settings, plots, and rules

The Camarilla storytelling team consists of hundreds of active storytellers. All you have to do is ask, and they will be ready to help. You can subscribe to any of the White Wolf lists at www.white-wolf.com/camarilla. Just follow the online instructions.

Special Approval Requirements

In the World of Darkness, some types of characters are supposed to be very rare. Since we have thousands of players, we've designed a system to help keep the game balanced. Our special request process applies to certain rare and unique:

● Character concepts● Character elements● Items

Each venue supplement identifies the level of authority needed for approval within the venue. During the review process, several levels of storytellers may evaluate the concept and whether it fits with the overall game. We believe that special character concepts should add to the story and make the game more fun for everyone.

Rare NPCs

We encourage storytellers to use creativity when developing their cities and NPCs. However, some NPC


http://www.white-wolf.com/camarilla

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types require special levels of approval before they can appear in a venue. These rules are included in each venue supplement.

We're not trying to restrict the productive creativity of our local storytellers. Rather, we want to make sure that these rare NPCs fit with our overall chronicle. If you want to use a rare type of NPC, review the NPC rules for the venue and contact your supervising storyteller. Often, you will find ways to link your ideas with NPCs already in the chronicle.

Plotlines

When you and your players participate in the Sanctioned Chronicle, you become involved in a global story. You will have the opportunity to share your city's storylines with other cities, and you'll also be able to share their storyline ideas. Our chronicle is built by players and storytellers across the world.

When it comes to plotlines, we have found that it's good to practice moderation. Events that might seem normal for an independent troupe game often produce much larger ripples in our chronicle. We recommend the "National News" guideline for plotlines and events. If an event would receive more than one minute of coverage on the national evening news, the story is probably too big. If a story might become this large, contact your supervising storyteller.

Players outside of your area may hear about events and may want to become involved. If so, you should coordinate with both these players and their storytellers.

Language and Culture

Due to the international scope of our chronicle, we sometimes work with storytellers who live far away from us. Therefore, we need to respect differences in time zones, culture and language. Not everyone speaks or thinks the same way, so it is a good idea to be very careful with your tone in e-mail--especially if the recipient's primary language is different than your own. Respect and patience can lead to amazing rewards.

Teamwork

Camarilla storytellers are a team of storytellers dedicated to the entertainment of our players. Because of our club's global scope, we have developed a structure that defines each storyteller's roles and responsibilities. We use this structure to provide consistency and fairness to our players. The Camarilla's Sanctioned Game is not a thousand small games; it is an integrated global game. We believe that once you experience the global game, you and your players will love what it has to offer.

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The Storytelling Team



We have talked about the storytelling team. Let's take a look at how it actually comes together:

Master Storyteller (MST)

● Oversees global chronicle and coordinates with national affiliates

● Establishes common rules and balances continuity

● Leads a team of AMSTs who manage our settings, timelines, and rules

National Storyteller (NST)

● Leads all storytelling in an affiliate country● Supports venues in the nation, often through a

team of venue-specific assistants● Implements national-level plotlines and NPCs● Provides national rules addenda● Shapes the mood and tone of the national game● Monitors game-balance, continuity, fairness,

and the overall fun-factor● Has Top Approval Authority

Regional Storyteller (RST)

● Oversees storytelling in a number of states or provinces

● Leads a team of assistants (sometimes venue-specific)

● Coordinates the activities of local storytellers● Interweaves local plotlines and introduces

regional plotlines and NPCs● Evaluates requests for rare and unusual

character requests● Has High Approval Authority

Domain Storytellers (DST)

● Coordinates all storytelling within the area● Handles domain-level special character

requests● Focuses on continuity and chronicle balance

within the area● Reviews all local plotlines for chronicle

balance● Supports and trains chapter storytellers● Has Mid Approval Authority



Chapter Storyteller (CST)

● Interacts regularly with the local players● Approves character backgrounds and sheets● Tracks experience● Designs and runs games● Makes sure that the players have fun● Coordinates with other local storytellers and

supervising storytellers● Has Low Approval Authority

Please be aware that this table gives only a brief overview of each storytelling level, specifically those within the United States. These listings should not be considered complete job descriptions..

We encourage all levels of storytellers to hire assistants. An assistant's duties and area of authority is defined by the supervising storyteller. If you ever have questions about what an assistant can do, ask that person's supervising storyteller.

Some affiliate nations do not have regional storytelling levels, while others use different names for the local storytelling positions. This is why the rules supplement uses very general names for approval levels (Low, Mid, High, and Top).

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Chapter 2: The Storytelling Framework

1. The Venue Style Sheet 2. Creating the Local History 3. The City Book4. How Global Specialist Advisors Can Help Local Storytellers

The Venue Style Sheet

Benefits of the Venue Style Sheet

Each sanctioned venue hosted by your chapter must have a Venue Style Sheet that has received High Approval. They help us weave our stories and games into a single chronicle. A well-written VSS has the following characteristics:

● Defines the structure and history of the local venue● Matches the interests of the local player base● Describes the styles of play● Informs new and visiting players about the venue's mood and theme● Becomes a living record of the local game

This section discusses the concepts behind venue style sheets and how to use them in your game. You'll find a blank VSS form in Appendix A and sample venue style sheets in Appendix B.

Talk with Your Players about Styles of Play

When starting a new venue, ask your players what kind of games interest them. It's often a good idea to take a blank Venue Style Sheet to a meeting and talk about the styles of play with your players.

Style of Play Description

Action Combat and challenges

Character DevelopmentPersonal dilemmas and choices

Darkness PC death or corruption

Drama Ceremony and grand story

Intrigue Politics and negotiation

MannersSocial etiquette and peer pressure



Mystery Enigmas and investigation

PaceHow fast do stories emerge, develop, and resolve?

Talk about the categories for a while. Often, a lively discussion occurs. Then, ask each of your players to rate the categories on a simple 1-5 scale:

● 1 = Never Present● 2 = Sometimes Present● 3 = Often Present● 4 = Usually Present● 5 = Always Present

Be aware that there are no right answers to these questions. Different players will probably be interested in a different styles of play. Ultimately, your venue style sheet should offer a range of stories that matches your storytelling skills and your players' collective interest.

Complete the Venue Style Sheet

Once you have talked with your players, it's time to start filling out the the Venue Style Sheet. The form is divided into four basic conceptual areas.

VSS Section Covers

Part 1: Basic Information

● The chapter● The lead venue storyteller● The venue itself● When games are hosted

Part 2: Styles of Play

● Mood● Theme● Story emphasis

Part 3: Description of Venue

● A few paragraphs describing the venue and its history



Part 4: Storytelling Mechanics

● Special venue emphasis (rare) ● Proxy rules● Travel risks● Visiting characters● Experience award guidelines

At this point, you should be ready to complete the first three parts of the VSS. So, let's focus on Part 4:Storytelling Mechanics. The purpose of this section is to itemize any general policies that all players should know about. These include the following possibilities:

Special Venue Emphasis: Most games are open to all characters in the venue. However, a few games in our chronicle focus on a subset of characters in the venue (for example, anarchs, elders, Ravnos, or cubs.) If this is your first venue sheet, we recommend you stay away from having a special venue emphasis. Learn how to integrate your game with the Sanctioned Chronicle. If you choose to create a venue with a special emphasis, please remember that your should keep games open and accessible to all players. If the character fits the main venue, there are often ways that it can fit within a game with a special venue emphasis.

Proxy Rules: Establish how you will accept proxies and what you require. Basic guidelines exist in the Prime supplement. For more ideas, see Proxies in Chapter 6.

Travel Risks: Some venues are more difficult to reach than others. Remember that as an organization we encourage our members to travel to other games. Do not make your game an isolated outpost in the World of Darkness.

Visiting Character Guidelines: Most Venue Style Sheets state that visiting players must present:

● A complete character sheet with the signature of the player's ST● A full XP log● Approval codes for any special approval items

Experience Awards: Review the general experience award guidelines in Chapter 4 of this document, and ask your supervising storyteller if there are any other guidelines you need to know about. Then, set the venue's policies in the VSS.

Share the VSS Draft

Once you have written a VSS, we recommend that you show the document to your players and ask for



their comments. Listen to their suggestions and modify the sheet accordingly.

Then, submit the VSS to your supervising storytellers. They may request a few changes, so your venue fits with other nearby venues. Mostly, they will just need a record of your chapter’s venue and its policies. If you are starting a new venue, it’s a good idea to submit the VSS before your chapter's first game.

Publicize the VSS

Once the Venue Style Sheet is complete, publicize it and get the word out. Your VSS is a great way to announce the start of a new venue. You can send the VSS by email, publish it on a website, or print it in your chapter's newsletter. Many chapters place copies of their VSS at each game's OOC sign-in table. That way, new and visiting players can read the VSS and know about the game.

Review the VSS

The Venue Style Sheet is a living document that should be reviewed with your players on a regular basis. We recommend that you review the VSS at the following times:

● Whenever there is a change in lead storyteller for the venue● If you get a number of new members in your chapter--ask them for their input● Every six months, even if nothing else has changed

Check the VSS and see how well the game has matched the styles described in the VSS. If you see a difference, you might want to adjust the storylines or adjust the metrics in the Style of Play section.

New storytellers should review the current VSS as one of their first tasks. Each storyteller has a different storytelling style, and it's a good idea to make sure the VSS reflects your style.

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Creating the Local History

Our Sanctioned Chronicle is a rich, complex story that ties hundreds of cities and thousands of characters together. While this may sound like a huge canvas, there is plenty of room for your city's chronicle. A good city history shapes your chronicle and offers years of entertainment for your players.

We believe that each new city should be able to develop its own background and history. When designing your city's history, we just ask that you contact your supervising storyteller to make sure it fits with the larger chronicle. We recommend that you:



● Learn the city's real-world history● Contact your supervising storyteller to learn about nearby chronicles and major storyline events● Review White Wolf city-building resources (especially Laws of the Night: Camarilla Guide pgs.

149-185)● Draft your city history and share it with other storytellers for their input

Developing the Details

Designing a good history requires finding balance. Use a less-is-more attitude: the less you put in, the more room you will have to work with later. Your city is better off as a work-in-progress than as an unchangeable monument. Simply establish the main elements and prepare the stage; you can work out details as they become significant in chronicle. Write a basic outline of what has happened in the city's history, covering the following points:

● Historical figures ● Historical events ● Supernatural figures who have affected history● Player's version of history● Storyteller's version of events

Frequently Asked Questions

Q: Should I use NPCs to fill local positions, if there are not enough player characters?

It is not necessary for the storyteller to make NPCs for all leadership roles. You don't have to have a full primogen council, a sheriff, keeper, harpy, seneschal, and Prince for your city to be complete. Rather, let your players work out who earns the positions and focus on story for your players. They are the stars of the chronicle, so do not steal their fun by creating overpowering NPCs that hold all the star roles.

Q: Do all Influences need a certain NPC behind them, such as a mayor for Politics or a desk sergeant for Police influence?

Most storytellers detail only a few mortal residents of their city. Let the players' actions shape what NPCs you design. If you find you need a background NPC, make one up. If you need it again, then you can flesh it out more.

Q: Do we have to use the city we live in for our setting? If so, can we make it more populous?

If you are going to be involved in the Sanctioned Chronicle, you will need to set your chronicle within the thirty-mile radius assigned to your chapter or domain.

If your chapter is located in a small town, your chronicle shouldn’t suffer. The Camarilla does everything



possible to ensure that characters are not penalized because of where the member lives. For example, the Camarilla does not enforce the kindred-to-kine ratios set by White Wolf.

Only in cases where your city is very small should you consider increasing the population or basic real-world structure. Even then, consult your supervising storyteller and exercise moderation.

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The City Book

A City Book can help your city and its history come alive. To create the City Book, you and your players will describe the key places where characters gather. Each of these places becomes a Stage for character interaction.

The Elements of a Stage

We've created a simple form for you to create Stages. While you're not required to use the form, we think it's a good way to compile all the information you will need for the setting. The Stage listing includes the following categories:

● Stage name● Location● IC controlled by● Created OOC by● Date of ST approval● Description● Confidential ST notes

This section talks about how to use the City Book and Stages. You'll find a blank Stage form in Appendix A and sample Stages in Appendix B.

Choose the Stages

Think about the types of settings you will need for the game. A basic list might include:

● Places of power (a caern, elysium, court, or freehold)● Well-known places (city landmarks, nightclubs, or a coffeeshop)● Private meeting areas (ranting grounds, pack haven, or the "abandoned warehouse")● Dark corners (warrens, abandoned warehouses, realms)● Antagonist hideouts (BSD hives, hunters' headquarters, technocracy's fortress)



Unless you have an established chronicle, your first list might be pretty bland. Your task will be to make these simple stages come alive for your players. A beginning City Book might include eight stages initially, but it can easily expand as the chronicle grows.

Tie Stages to the City's History

Each stage should be described vividly in the City Book and have a story or two tied to it. If the location has been in the city for some years, how does it fit with the city history? Well-developed settings energize your players, spark their imaginations and help set the mood of the game. Compare these two stages:

A: The Prince calls a meeting at the bank building downtown

B: The Prince calls a meeting at the First Commerce bank, where the city's first Prince, Michael Eisen, seized power in 1870. His rival, Ludwig the Wanderer, was thrown from the rooftop, landed on the construction scaffolding below, and burnt in the morning sun.

History can make a setting come alive. So, if you've developed a good history, be sure to tie it in to your chronicle's stages.

Ask Your Players for Ideas

Sometimes players will have ideas for stages that interest them. Encourage players to participate in the City Book project. For example, Tremere players may want to design a chantry for their characters. They might begin by telling you about its traps, tricks, and wards, but guide them to tell you the story of the chantry:

● What does the building look like? ● Who orginally owned it? ● Where is it located? ● Was it remodeled?● What are their neighbors like?● Does the chantry subscribe to the daily paper?● Who answers the door when Avon calls or FedEx delivers a package?● Who is the registered owner of the property? ● Whose name is on the utility bills?

There are a lot questions that you could ask players, but your goal should be to evoke stories. Don't overburden players with questions, but get them to think of the stage as a real place.

Make sure that each setting is fully approved before being entered into the City Book. Just because a player decides that his coffeehouse will have concealed combat shotguns that can spray the entire room



with silver-plated dragonsbreath rounds doesn't mean that you have to approve their entry for the City Book, in whole or in part.

Find a Picture

When building a stage, it's a good idea to have a picture or two, if you can find them. Whether this means heading out with a camera to take a picture of a building exterior or an empty meadow, they are worth collecting. Remember, you can also find pictures for your City Book on the Web.

Use the Stages to Spark Stories

When planning a game, flip through the City Book until you find a setting that fits the story. Then, on game night, use that City Book entry to describe the setting to your players.

Not every setting has to be steeped in history. After all, sometimes an abandoned warehouse is only an abandoned warehouse. Every city needs a variety of stages, some grand and impressive, others small and intimate. But if they have a living history, your players will feel its presence as they step onto the live-action stage.

If you keep storyteller-only information in the City Book, be sure that players don't have access to it.

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How Global Specialist Advisors Can Help Local Storytellers

The Global Specialist Advisors (GSAs) were created to assist all levels of storytellers and players. They do not approve storylines or NPCs, but GSAs are often the best source of information about their area of the game.

If you have a question about how an area of the Sanctioned Chronicle works, you can often get the answer you need from a GSA. For example, GSAs can explain how to accomplish any of the following (and a lot more too):

● Raise a Setite temple● Conduct a rank challenge for a Silent Strider● Link your city's Tremere characters with the global pyramid● Find lineages for PCs● Help characters become involved in camps, groups, and secret societies

The GSAs also create resources and websites for their specialty. Many of these sites have been developed over a period of years, and they contain a lot of useful information for our Sanctioned



Chronicle.

The GSAs watch for common problems that occur and give suggestions on how to solve those problems before they happen again. Players and storytellers who want to learn how the Camarilla chronicle interprets a certain area of specialty can ask for the GSA's opinion.

Finally, GSAs can help storytellers review special character requests. Storytellers can ask GSAs for opinions on the:

● Suitability of the request to the overall Sanctioned Chronicle● Frequency of the request in-play● Overall balance of the request

It's important to remember that no characters require GSA approval to create or portray. However, many storytellers find that the specialized experience of the GSA become very valuable to them. To learn more about GSAs and the global settings team, visit the Camarilla Settings website at www.cam-settings.org



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Chapter 3: Your Players

1. Communicating with Your Players2. Focusing and Motivating Players3. Linking Characters with the Global Chronicle4. Welcoming New Players

Communicating with Your Players

Once you take up the storyteller's mantle, players will want to talk with you. They will ask questions, present ideas, and seek your advice. Players need to feel comfortable talking with you, but remember that you are not on-call as a storyteller 24 hours a day.

Make Time for Your Players

Find out how your players want to be able to contact you. Your options include:

● Phone calls during specific hours● E-mail● Instant Messaging● Face-to-face office hours (before games, at chapter meetings, or at a local coffee shop)

Most storytellers offer their players several methods of contact. Be flexible, but define your storyteller “office hours” from the outset. If your chapter has a newsletter, publish a regular "how and when to contact your ST" text box.

Players will often ask you storytelling questions outside of your regular storytelling hours; in this case, remember that you have a right to your personal time. If you feel like answering the question, great. You'll make a player happy. However, if it's not your storytelling hours, you can politely suggest they contact you during another time.

Finally, if your office hours cannot be kept due to other situations, let your players know as soon as possible. Such consideration will be appreciated. Your players will respect you for it, and you will find you will have more free time in the long run.

Divide Your Time Fairly

Your members should have equal access to you as a storyteller. Here are a few suggestions that will help you stay fair:



● Don't get bogged down with a single player or issue● Check-in with your players once a month; ask them about their characters. Players love a few

minutes of ST attention● Answer all questions in a timely manner whenever possible● If an answer takes you longer than expected, let the player know you are busy but you're working

on their issue

You don’t have to know every answer immediately. If you need some time to think or to consult a book, do so. Take your time and give the right answer rather than a fast answer.

Listen with a Storyteller's Ear

Players often ask storytellers for things that really don't reflect what they need. Your job, as storyteller, is to build a great story that excites your players and encourages them to come back again and again. Listen to what your players need rather than what they say they want. Let's look at an example of how this works.

Several years ago, a player applied for Path of Honorable Accord for a PC in the Cam/Anarch venue. The player thought the path would help his character avoid the difficulties of Humanity. The RST approved the Path, because he understood that the player was looking for a roleplay challenge. The RST instructed the local storytellers to make sure that the player followed the path precisely or receive Path checks. A year later, the player said he'd had a blast as his character tried to retained honor in a corrupt kindred world. The RST had identified and fulfilled the player's unspoken needs.

Handle Arguments between Players

Sometimes, players will have different opinions about in-game events or rules. Here are a few guidelines we recommend for handling disputes between players:

● Identify the area of disagreement● Ask all involved parties to summarize their perspective● Consult rules, if necessary● Make a ruling, offering a brief summary of the reasons that led to your decisions.

Often player disagreements are caused by a simple miscommunication or misunderstanding that can be easily cleared up--but only if you know where things went awry.

One of the most common disputes occurs when one player thinks that another player is using OOC information. If this happens, here are a few recommended steps:

● Listen to the player's concerns● Talk with other storytellers to see if they know how the information might actually be legitimate



IC information● Talk with the player to verify the information has a valid IC source.● Communicate your findings to any involved players or storytellers

Patience and attention to player’s concerns will help you resolve many of the simple ones before they grow more complex.

Get Feedback from Players

At the end of each game, get feedback and constructive criticism about the game from your players. There are a number of ways to do this. You can:

● Call for responses at a formal wrap-up session● Use a game comment form● Mingle at after-game socials and listen to what players say● Ask players to email feedback to you

Some players will be outspoken and others will be shy. So, whatever methods you use, be sure that you're hearing the opinions of your entire player base. Don't just focus on the loudest voices.

Mentor Your Players

Our chronicle relies on complex game concepts and mechanics. Work with your assistants to provide workshops, seminars, or mentorship on important game aspects.

● Are your players confused by the influence system? Teach a seminar on how to use them effectively.

● Are people uncertain about the different morality paths for Sabbat? Get together over coffee and discuss them.

● Do players want to get involved in the global game? Show them how!

Hosting just one such meeting a month will help your players learn a great deal about the game. Events like this improve the quality of the game and also provide a social meeting for members to talk outside of the game itself.

Pass on to your players the things you learn from other storytellers. If a rule is clarified, mention it to your players. If you know plots are afoot for a certain group, talk to them and make sure they know about it. Keep your players informed, without giving away the story.

Spend Time with the People in Your Chapter

It is a good idea to really know the people in your chapter. What do they do outside of the game?



Socialize with them; make a point of going to chapter events that are not game-related and talk about things other than the game. Build friendships. The players will know you as a person that way, not just as a storyteller. You will know them as more than "players." Make friends.

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Focusing and Motivating Players

Players who are excited about their characters bring energy to the game, and it all starts when a player considers a new character. Take a few minutes very early on in that consideration to talk with the player about their concept—before they take out the rule books or a blank character sheet. If the player has a character sheet already, set it aside and find out about the player’s real interests in the game—what they really enjoy playing and doing.

Six Questions to Ask Players During Character Creation

● What types of things make a game exciting and memorable for you?● What sorts of stories do not interest you?● What are your three favorite memories of your last character?● What did you learn about the game from portraying your last character?● What sorts of stories are you interested in exploring?● Is there a part of the game you are interested in and want to learn more about?

Once players identify their real interests, they can create character concepts to match those interests. Encourage your players to write a character background.

A good background will help players get a better feel for the character and can provide potential storylines or create links between characters in the game. Encourage players to make connections between their characters and others, but remind them that not every link needs to be friendly.

Encourage Players to Write Character Goals

Goals help players focus on their character’s actions. Some storytellers, before the start of each game, ask players to write down at least two short-term goals and one mid-term goal for their characters. Players are then asked to keep these goals in mind as they portray their characters. Some storytellers even base experience awards on how well characters accomplish their goals.

Short-term goals can be achieved in a single game. These goals should require some effort on the player's part.

● Obtain a boon and record it with the harpy



● Attain the position of Truthcatcher at the moot● Introduce yourself to five people and get contact information from them

Mid-term goals are ones that will take more than one game session to accomplish.

● Prove your worth to the Duke and become knighted● Infiltrate the local Renegades and report their plans to my legion commander.● Defuse tension between two rival cabals

Long-term goals should be a deep well-spring of motivation for the character. Long-term goals take many months or years to complete, if they are possible at all.

● Become a Cardinal of the Sabbat● Become a Red Branch knight● Survive until Gehenna

If a player has difficulty portraying a new character (or if you notice character stagnation), then you can intervene as a storyteller. Ask the player to write goals for the character. As storyteller, review these goals and help the player fine-tune them. Encourage the player to focus on the short-term goals at the next game. If the character completes the short-term goals, you can make a "good roleplay" award. If after several games, the character fails to complete any short-term goals, you can choose not to award experience to the character.

Support the Use of Character Journals

Many players use character journals to record their characters thoughts, actions, and in-character knowledge. Journals can be written in many formats:

● Diaries● Third-person narratives● Autobiographies● Letters to mentors or sires

Encourage creativity. Storytellers can read through these journals to track character growth. Exceptional journals, just like exceptional roleplay, can be worth extra experience.

Reward Character Accomplishments

When a player attains a major goal or demonstrates outstanding roleplay, you can offer a reward. Possible rewards include:

● Experience traits



● Influences● Special recognition (IC or OOC)● Climactic scenes

Remember, as the player becomes more skillful, you will need to set your standards higher. Rewards should always be on the edge of reach. If they come too easily, players will take them for granted. If they are impossible to attain, they will become discouraged.

Recognition, however, should not be so rare. Tell players when they have done something well, and recognize them publicly for their achievements. Everyone enjoys praise, especially in regards to their roleplaying abilities.

Watch Out for Character Stagnation

Sometimes, players get stuck when playing a character. Let's take a look at some of the most common problems and discuss ways to help your players move forward.

Stuck in a rut occurs when a player loses interest in the character. Sometimes this happens because the player doesn't feel that there is any challenge. Other times, long-term characters need a breath of new life

● Build a story based on the character's background● Help the player build short, medium, and long term goals● Ask the player the six character creation questions listed above● Check to see if the player has found the end of the character's story. If so, help them

build a new character.

Recycled concepts are "new" characters that duplicate the player's last character. When a player loses or retires a character, we recommend that they play a different concept for at least three months.

Character bleed happens when new characters look and act like previous characters. If the player of Bubba Brujah creates Victor Ventrue, then Victor should have clearly different goals and allies. If Victor starts acting like "Bubba, Jr.," help the player develop character goals for Victor. You can even tie experience awards to these goals. Provide positive encouragement to portray the new character and accomplish its goals.

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Linking Characters with the Global Chronicle



While some of your players will be content to play on the local stage, some will be eager to explore the global Sanctioned Game. We find that new players are often excited to explore the chronicle, but they don't know where to start. As a storyteller, you can offer guidance and suggestions. Here are some ways to point players in the right direction:

Help Players Set Goals

The global Sanctioned Chronicle is huge. Sometimes it helps to give new players goals that will help direct their explorations. Often, basic goals are connected to gathering information. For example, a new Garou character might have the following goals:

● Seek information about tribe mates in nearby cities● Discover what septs and packs are within a day's travel● Learn who the elders of the region are

Good preliminary goals, when reached, provide characters with basic information they can build upon.

Recommend Character Links

As players explore the Sanctioned Chronicle, they may find some of the more visible leaders in their group. However, it's often more difficult to find those characters who manipulate from behind the scenes.

When players are interested in the larger game, ask them to watch the game for a month and make a list of players who possess the following characteristics:

● Are fun to roleplay with● Seem to understand the global chronicle● Seem generally helpful to newer players

Have them watch at local games as well as on the in-character lists. Encourage your players to seek in-character links with these players. They can do this after a game or through e-mail. No player is required to link backgrounds, but if asked politely, players are usually happy to do so.

Encourage Players to Mentor Each Other

Many experienced players will be happy to mentor new players. As a storyteller, you want to make sure that the mentor serves as a good guide for your players. Make sure that your players receive correct out-of-character information and that they actually learn from the experience.

If you're lucky enough to have experienced players in your local game, ask them if they will mentor new players. Most often, they will be happy to do so.



Promote Travel to Other Games

One of the best ways to experience the global Sanctioned Game is to travel to other local games, regional events, and national events. There, players who might usually only interact online can interact face-to-face. Travel builds friendships and can expose players to new styles of roleplay.

If a new player travels to an out-of-town game, ask them to carefully observe the game. They can learn about the larger game by watching how other characters interact with each other. Sometimes, a simple discussion during the trip home can help players see new aspects of the game.

Manage Player Expectations

Our global Sanctioned Chronicle has thousands of players and years of roleplay history behind it. A new player is unlikely to discover the chronicle's secrets during their first two months of play. It takes time to learn the details and complexities of our game.

A good storyteller will celebrate player accomplishments and also listen to player frustrations. In our global game, the keys to long-term success are patience and a willingness to learn.

If a player loses a character because of a misstep in the global game:

● Sit down with the player and talk about what happened● Ask what they learned, as a player, about how the game works● Encourage the player to build a new character that benefits from the skills they've learned

Some players have participated in the global Sanctioned Chronicle for years, but there's always something new to learn. Sometimes, new players teach our experienced players a new trick or two. That's what makes our game fun.

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Welcoming New Players

We look forward to new players joining our game; they bring fresh ideas and excitement. As a storyteller, you should take time to ensure that new players feel welcome and that their questions are answered.

Make Pre-Game Contact

Try to meet with new players before game night. This allows you to give them individual attention and focus on their questions. It's near-impossible to give beginning players your complete attention on game



night. But, if you cannot meet with new players before game night, ask an ACST or an experienced player to help them with character construction. New players deserve someone's full attention, so if it can't be yours, make sure it's someone you trust.

Help them Feel Welcome

On game night, introduce new players to everyone and welcome them. Some chapters ask new players to wear a special ribbon that identifies them as new players.

Other chapters use a buddy system to help new players find their way into the game. Ask your seasoned players to act as mentors and explain the rules. Remember, some new players will never have played LARP before, and very few new players will be familiar with the Sanctioned Chronicle.

Publicly thank the mentors, and recommend them for Prestige in the Storytelling Support category. Their mentoring efforts strengthen the game and show we actively welcome new members.

Invite them to Socials

The last and most important welcome for new players happens after the game. If you have an after-event, be sure new members are invited and know where it is located. This is really a coordinator issue, but it's also a storyteller's role to help keep track of new players.

Sometime during the next week, contact the new players, and ask if they have any questions or concerns. Let them know about upcoming games and invite them to attend.

Not every new player will decide to return and join the club, but if you make new players feel welcome, they will be much more receptive your group. Remember, if their first experience with the Camarilla is fun, you may very well recruit a new member.




Chapter 4: The Toolbox

1. First Steps and Overview 2. Reports 3. Storyteller Records 4. Special Character Requests 5. Plotlines 6. NPCs 7. Awarding Experience

First Steps and Overview

This section offers a prioritized timeline and project list for new storytellers. You may need to adjust this timeline to match your own particular situation, and you will probably find yourself adding projects as well. Just remember to keep projects manageable and prioritized.

First Three Days:

Consider Lines of Communication

Decide how you want players to contact you. Most local storytellers provide both a phone number and an email address, but this is up to you. Think about any restrictions you might want to place:

● Limiting calls to certain hours● Requesting players not call or email you at work● Call before they stop by your house

Once you've decided how you can be contacted, ask your coordinator to publish this information in the chapter newsletter. You can also send this information to your chapter's email list.

Define Goals

As a storyteller, you probably have some ideas and goals. Now, you must turn those thoughts into clear, prioritized goals.

Make a list of long-term goals that you can measure. Next to each goal, write how long you think it will take to accomplish this goal, as well as how important a priority this is for your office. Here are some sample goals:



Goal Timeframe

Hire and train two new assistants 2 months

Begin a new venue 4 months

Increase average game attendance from 10 to 20 players

9 months

As you proceed in the weeks ahead, you will start making these goals a reality.

First Week:

Contact Your Players

Now that you are officially the storyteller, you should make a point of saying hello to your players. Let them know about your goals for the months ahead. Tell them about your vision and what they can expect from you. This message is a great way to generate interest and recruit assistants.

Contact Your Supervising Storyteller

No Camarilla storyteller works alone. Thus, you need to introduce yourself to your supervising storyteller. Ask the previous office holder or your coordinator for your supervisor's contact information. Contact your supervising storyteller to find out what policies and procedures exist in your area. Ask questions about recent chronicle events.

Establish an Online Presence

In the United States and Canada, storytellers subscribe to storytelling e-mail lists and use an online approvals database. There, they discuss storytelling issues, file reports, ask questions, and manage special approval requests. Ask your supervising storyteller about electronic lists and other online tools available to you.

Second Week:

Obtain Existing Records

If you are the storyteller for an existing chapter, you should ask the previous storyteller for copies of all storytelling records:

● Venue sheets● Past reports● Character sheets and experience logs



● Plotline write-ups and NPCs● City Books and Stages

Ideally, the two of you should plan to spend a few hours together reviewing the files. If you are missing documentation, your supervising storyteller can help you obtain records of special approvals, venue style sheets, and past reports.

Study the Rules

As a storyteller, you will be expected to know the rules in much more detail than a general player would. So, even if you are familiar with the rules, it is a good idea to study them again. You should plan on reviewing the following areas:

● MET books for the venue● Camarilla rules supplements published by the Master Storyteller● National addenda published by the National Storyteller● Venue materials (such as the Protocols)

If you are a new storyteller, this represents a lot of reading to do. You can expect to have more than a week of reading ahead of you. However, it's a good idea to make your second week a crash-study in rules. Learn the basics, and then you can fill in the details as you go along.

Third Week:

Meet with Your Players

Consider setting aside a night or two to meet with your players individually. Learn their characters' histories and their current goals. Talking with your players is a great way to take the pulse of the game.

Review or Build the Venue Style Sheet

To participate in the Camarilla's Sanctioned Game, you will need a Venue Style Sheet approved by a storyteller with High Approval Authority. If you are the storyteller for an existing chapter, review the VSS and revise it to fit your storytelling style. If you are starting a new chapter, you will need to write a venue style sheet. For more information on the VSS, see Chapter 2.

Fourth Week:

Fulfill any Storytelling Requirements

Storytellers are required to complete specific education requirements, set by the Director of Education and your National Storyteller. Find out what the current requirements are, and be sure to complete them



within the required timeframe.

Learn How to File Reports

All Camarilla storytellers file monthly reports with their supervising storytellers. We will discuss the basic report in the next section, but be sure to talk to your supervising storyteller to learn if there are any special requirements.

Plan and Run the First Game

At this point, you will have built a solid storytelling foundation. While you and your players will be excited to play, don't rush the first game. Take time to plan and prepare. Generally, most storytellers are ready to run their first game by the end of their first month in office.

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Reports

The monthly report is a formal way that storytellers communicate with each other and weave the chronicle together. Let's take an in-depth look at reports, their purpose, and how to file them.

Reports Dates

Reports cover the events of the previous month. So, on July 1st, a CST would file a report that covers the month of June. By convention, we call this the “June Report.” This may be a bit confusing, but you will get used to it.

Office Reports on

CST 1st of month

DST 7th of month

RST 15th of month

Assistants Report dates set by their supervisor

If for some reason your report is going to be late, please notify your supervising storyteller. Explain why the report will be late and when you expect to have it completed. Your supervisor will usually be understanding and appreciate your courtesy.

The Value of the Report

A good storytelling report can do all of the following:



● Inform your supervising storyteller of your projects and venues● Summarize key game events ● Invite collaboration with other nearby storytellers● Allow you to recommend prestige for your assistants and players● Provide a record of storylines, for you and your successors● Serve as the basis for your storytelling prestige. Make sure you earn credit for your hard work!

Sending the Report?

Ask your supervising storyteller this question. Generally, reports are sent to the following people and places:

● Your supervising storyteller● Local storytelling email lists● Regional storytelling email list

Be sure to forward all prestige recommendations to your counterpart coordinator.

Report Format and Contents

Talk to your supervising storyteller about their preferred report format; however, here is a basic report format that you can use. The basic storytelling report consists of a header with your chapter information and eight sections. A blank report format is in Appendix A, and a sample report is in Appendix B.

Header

● Reporting Period● Chapter Report [Chapter Name] [Chapter Code]● ST Name● ST Membership #● ST email/phone

1. Summary

Give a quick summary of your report. This is usually a short bullet-list of important items. This includes projects completed, NPC requests, or calls for help. Do not summarize venue events here. Usually 50-100 words is sufficient for this section. Keep it brief and clear. You will discuss details elsewhere.

2. Prestige Recommendations



Did someone do something to help you? Do you have an ACST? Did a player submit you a storyline that you used? This is the area to recognize them and give them credit. Here's a sample prestige recommendation:

Joe Member (US 2002021357): Total 10 OpenPlayed NPC in 'Urban Sludge' Plot on 4/16: 5 Open (ST Support)Mentored new player at ST request: 5 Open (ST Support)

Although storytellers can recommend prestige, the coordinator is the one who actually makes the awards. Therefore, you must send a copy all recommendations to the appropriate coordinator (CC for CSTs, DC for DSTs, etc.).

3. Ongoing Projects

What major projects are you working on? Are you developing a new venue, collaborating with another storyteller on a joint project, creating new resources for your players, or perhaps teaching them the rules? Activities like this should be reported in this category. This section is not about plotlines, but what you're doing as a storyteller.

4. Questions

If you have questions about rules, procedures, or need advice, ask here.

5. Problems and Solutions

Storytelling isn't always a smooth process. This section documents problems you've encountered and your solutions. For example, you may have investigated a continuity issue or an unethical player.

Describe the problem and the steps you took. In the case of an unethical player, you might have given a warning, awarded negative XP, or desanctioned a character.

Remember, your report is a record of your actions. Provide a fair and accurate record of the event, but keep a neutral tone. Even if a player has received a formal disciplinary action, the player still deserves respect.

Remember, you can contact your supervising storyteller any time during the month. They will be able to offer advice and assistance, if you run into difficulties.

6. Other Actions



Actions that require other storytellers' involvement should be detailed here, such as:

● Large-scale influence actions ● Rare NPC requests● Proposed plotlines

7. Active Plotlines

Provide updates on the plotlines you are currently running.

● What critical information will other storytellers need to know?● What has happened?● What will happen next?

8. Venues Summaries

List each active venue in your chapter and write a short paragraph about what happened during the month. Include only the major events that characters in the city would generally know about. Include information that all players would know about. Don't put dark secrets or storyteller-only information here.

If you are running a Cam/Anarch venue and a Mage Venue, you would write two short summaries. Some storytellers will email these summaries to their players. It's a good way to wrap up each month and let players know the general events of the venue.

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Storyteller Records

Keeping accurate storytelling records can seem like a daunting task, but when you have organized records, storytelling becomes much simpler.

Organize Your Records

We recommend that you have access to a word processor or spreadsheet program. This will put all of your data in a similar format and make it much easier to access and update. However, if you don’t have access to a computer, then you will need a set of file folders, a storage box, and a good filing system.

Have Copies of All Character Sheets

Make sure you maintain up-to-date copies of all character sheets. If there is ever a discrepancy between



the player's sheet and your sheet, your copy is considered the correct version.

Record Experience Traits Earned and Spent

Your records should list the date each character was played, the amount of experience earned, and any purchases. When players go to games outside of your chapter, you will want to record where they played. Most storytellers will expect to see an experience point log when a traveling player arrives at a game.

Record Special Approvals

If a character has a special approval, make sure that you know who approved it and when. In the United States, most regions use an approvals database that provides tracking numbers. Keep copies of these approvals on file with your copy of the character sheet.

Track Influence Actions

Whether you use an influence program or a simple homemade spreadsheet, you'll need to make sure that the points add up and that players submit their actions to you on-time. You can track influences by hand, but it will take longer to complete. Actions that extend outside of your city will need to be included in the 'Other Actions' section of your report.

Confirm Membership Classes

When a player makes a new character, confirm their Membership Class with your coordinator. When a player earns a new Membership Class, they will be able to spend additional experience traits on existing and new characters.

Prepare for the Future

When your records are well organized, you will see a number of benefits:

● Save time tracking characters for players● Answer player and storyteller questions quickly● Provide copies of character sheets for travelling players● Leave your office with good records when you step down from storytelling

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Special Character Requests

The World of Darkness has many types of rare creatures, powers, and items. If every club member



portrayed a rare character type, the game would quickly lose its balance. We believe that our chronicle should have some unexpected characters and elements, so we try to find an appropriate balance. This section looks at the special request process and how it works.

Special Request Terms

Special approvals include anything that requires Mid, High, or Top storyteller approval. We divide approvals into three basic categories. Please note that this is not a full listing of all approvals. See the Camarilla's Rules Supplements for full details.

Approval Type Examples

Special Character Type

● Rare clans, kiths, breeds, etc. (defined by each venue supplement)

Special Character Elements

● Rare powers● Merits or Flaws not in a venue's

primary MET books● Special character backgrounds or

histories● High levels of Background Traits

(e.g. Resources or Fame

Special Items

● Items that require special approval

● Non-standard weapons

How Players Submit a Request

All player who want to portray a character with a special concept, element, or item must submit an application. The application includes the following elements:

● Player information● Contact information for the player's supervising storyteller● Complete character sheet● 1-4 page character background● Answers to certain "special request" questions, based on the type of request

In the United States, special requests and approvals are tracked through a web-accessible database.



Players receive a unique login and input their materials directly. Storytellers can then review the application, ask questions, and even approve it online.

The Request Process

The local storyteller is always the first storyteller to review a special request. Here are some tips for reviewing a special request:

● Review the character sheet, background and special request answers● Talk with the player. Ask questions and help the player polish the concept● When satisfied, pass the request to your supervising storyteller● If you are not satisfied with a character concept or do not feel it fits with your venue, you may ask

for revisions or deny it entirely.

If you support the request, send it to your supervising storyteller, along with the reasons for your recommendation. Often the supervising storyteller may not know the applicant or the style of your local game. Simply stating that a request "has your approval" won't help your supervising storyteller make a decision.

The application will be reviewed by your supervising storyteller, who may ask the player questions or request revisions. Once the application receives the appropriate level of approval, the player may bring the character into play.

Questions to Ask During the Review Process

● Do the details of the character sheet match the background? ● Does the request fit the concepts of the World of Darkness? ● Does it fit within the current chronicle and your local game? ● Is the request balanced or is it overpowering? ● Is the player knowledgeable and responsible? ● Are you certain this request will fit with your game? ● Will it add to the enjoyment of other players? How?

Request Timeframe

Generally, players should expect that special requests will take at least two weeks for each level of approval required. So, if the player requests something that requires High Approval, they should plan that the process will take at least six weeks. Sometimes the process moves more quickly, and other times it may move more slowly.

After this time, feel free to inquire about the application’s status. When making an inquiry, you should allow a week for a response.



Request Factors

There is no Membership Class requirement for the special request process. Applications are reviewed on the strength of the application itself, not the Membership Class of the applicant.

If your chapter is starting a brand new venue, focus on getting the chronicle started before introducing special characters. Ask players to hold off on special requests for a few months. Introducing rare approvals too soon can upset a game before it even finds balance.

Encourage players to play another character while their request is being reviewed. Players can still have fun at games, while waiting for a decision on a special request.

Never let a player rush you on an approval request. Be timely and polite, but you should always thoroughly review the concept, determine its suitability, and assess the responsibility of the player.

Special approvals are considered a privilege and not a right. As storytellers, we must ensure that concepts fit within the current chronicle and are portrayed responsibly. If a player abuses a special approval, any supervising storyteller may revoke it at any time.

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Plotlines

Know the Plotline Basics

Plotlines can be focused upon an individual, a whole game, or every game in the global venue. Some plotlines may require a major antagonist, but others can quite simple. You can build plotlines from a variety of sources:

● Character backgrounds● City history● Past character actions

Most plotlines will run and be resolved locally, but some could spread beyond the scope of a single city.

Create Local Plotline Write-ups

Plot write-ups can help you organize your plotline ideas for you and your assistants. A well-developed plotline addresses the following areas:



Write-up Element What to Include

Plot Synopsis

● How long will the plot last?● What is its intent/focus?● What are the main narrative events?● Possible ways the plot could develop

Mood/Theme

● What mood do you hope to create?● What theme will this plot explore?● What choices will characters consider?

Requests for Special Approvals (if needed)

● Identify the approvals needed

Tie-ins for other storytellers● How can other STs link with your

story?

Complete list of NPCs

● Character sheets● Brief backgrounds● Specific goals

Plotline write-ups are not required for most basic plotlines, but a simple write-up can help to keep a plotline on track. If you request special approval NPCs, you should expect to provide a plotline write-up.

Use Plotkits

Plot kits are written by supervising storytellers, so that local games can participate in large-scale events. Most plotkits are optional, and all you need to do is contact your supervisors to let them know you are using it. Some plotkits, especially those with global consequences, may have required outcomes to maintain chronicle continuity--for example, when we ran the Week of Nightmares.

Encourage Player-Created Stories

Player-created stories are the lifeblood of our chronicle. In fact, they are often more complex and popular than storyteller plotlines.

You may find yourself scrambling to keep up with the machinations of the characters. If so, it means that your players have immersed themselves actively into the game. At that point, you can usually take a break from running plotlines and let players create their own stories. When things start to quiet down, you can reintroduce your plotlines.



Develop Character-Based Plotlines

Character histories offer plenty of plotline ideas and hooks. Why send in another wave of antagonists when you can weave stories that link directly with their characters? Building stories around character histories will also ensure that players design reasonable and interesting character histories.

Design Balanced Plotlines

Plotlines are challenging to implement. Here are five ways you can keep plotlines balanced:

1. Talk with your supervisor when designing a plotline2. Never use a sledgehammer when a flyswatter will do3. Not all plotlines need to be cataclysmic.4. Consider where your plotlines might lead5. Avoid events that would appear on national news

Consider Dedicated Plotlines

If your game has both new and experienced characters, there may be a significant difference in the characters' power levels. One way to keep everyone challenged is to create dedicated plotlines. Most dedicated plotlines focus on new players, and they help introduce them to the game and other characters. Often, dedicated plotlines have dedicated NPCs.

If an experienced character discovers a new-player plot, ask the player to find reasons not become involved. This may seem odd at first, but your job is provide good stories for everyone, not just the game's most powerful and experienced characters. Ask your experienced players to back off from plotline dedicated to new characters.

Some players will say "but my characters has a good reason to get involved."

As a storyteller, your reply should be, "You'll solve this plotline in a heartbeat, so please don't get involved. Let's make sure the new players have fun. If they come running to your character, just offer advice or a shoulder to cry on." Every player, even new players, deserve a chance to work through a challenging plot on their own.

You can also create advanced plotlines to challenge experienced characters. New characters can join these stories, but you should warn the players that their new characters face a greater level of risk.

Accept Plotline Death

It's ok for your plotlines to die. Here are some common reasons plotlines fade away:



● The players are working on their characters' goals (scheming against one another)● The players are all focused on a different plotline● The players weren't interested in that type of story at the moment

If you introduce a plotline and the players don't bite, then don't force it on them. Wait a week or two and then give them a second chance. If they pass on it again, put the plotline on hold. You can rework it or reintroduce it at a later date.

Evaluate Your Players' Interest

If you notice that a player doesn't become involved in plotlines, ask yourself why.

● Is the player missing the plotlines completely?● Does the player know how to become involved?● Are these plotlines that would normally involve the character?● Are these plotlines ones that appeal to the player?● Is the player happily busy with the character's own goals and agendas?● Is the player bored? If so, they're starving for attention.● Is the player afraid of putting the character at risk?

Players who intentionally dodge plotlines in order avoid danger may need an incentive to become involved. If a player completely refuses to become involved in the story or take risks, you might decide not to award any experience traits for that session.

Be aware that characters can take risks in very different ways. A Ventrue who made high-stakes political deals all night might be have taken more risk than the Brujah who fought a weak antagonist.

Six Tips for Running Plotlines

1. Let players choose what plotlines interest them.2. Don't force plotlines on players.3. Be prepared to run your plotlines but expect surprises.4. Never story tell a scene that you are not prepared to run.5. Do not run another storyteller's plotline without permission.6. Do not kill a successful game with a plotline. Know how to time the appearance and ending of

plotlines.

Beware of Runaway Plotlines

If a plotline or scene ever threatens to spiral out-of-control, call for a time-out. Tell the players you need a few minutes to collect your thoughts before the scene continues. You can be subtle and say "ok, we'll



run the investigation of the warehouse as soon as I get a soda and check on some rules." Buy yourself some time and space.

If you are not prepared to run a scene, or if it's another storyteller's plotline, say so. Never run a scene that you are not prepared to run.

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NPCs

Some NPCs are created as-need during a game, but others are carefully detailed before they ever enter game. This section focuses on developing effective pre-planned NPCs.

NPCs Need Depth and Purpose

Build a complete character sheet, a short background, and a list of the NPC's goals. These three elements should help both you and the person portraying the NPC stay on target. At the start of night, give a specific list of goals to the person portraying the NPC. Don't let NPCs wander without purpose.

For example, a young runaway wanders into a kindred-run nightclub seeking warmth and shelter. On the surface, the runaway may be looking for someone to take him home, but more importantly he may be looking for attention. This NPC might serve well for a feeding scene. Players will be forced to respond to a real character rather than think of "blood traits" they consume. NPCs with dreams and aspirations will work to achieve them. The NPC might be slated to die early in the evening, but the NPC will not know that. He may pursue his goals until the end.

NPC Power Levels

Generally, most NPCs should be weaker than the average PC in your chronicle. The most powerful NPCs might be on-par with the most powerful player characters.

Remember, just because you can make an NPC at a certain power level and XP doesn't mean that you have to do so. Great NPCs can be created on less powerful templates.

Your supervising storyteller will probably want to know about your major NPCs, so they can help tie them into the larger chronicle.

NPC Player Restrictions

NPCs must be portrayed by someone who has the Membership Class to create the character on their own as a PC. If you want a Rank 3 Garou, then the NPC's player must be able to make a Rank 3 Garou. This



restriction may be waived, on a case-by-case basis, by a storyteller with High Approval Authority.

NPC Special Approvals

Just like PCs, some NPCs require special approval. See the Camarilla Rules Supplement and National Addenda for details.

If an NPC requires special approval, submit the plotline and the NPC to your supervising storyteller.

Expiration Date' for NPCs

Generally, we recommend that no NPC stay in play for longer than six months. Recurring NPCs, should be focused to a specific purpose.

Many rare NPC concepts will be assigned an expiration date by the approving storyteller. When the expiration date is reached, the NPC's role should end and the NPC withdrawn from active play. If for some reason you need an extension, contact the storyteller who approved the request.

Dedicated NPCs

In the plotline section, we talked about using dedicated plotlines to create stories for both new and experienced characters. Dedicated plotlines often have dedicated NPCs.

For example, you have created an NPC who will be stealing from player characters. You have decided that the thief will be relatively weak (compared to your average player). Tell the person playing the villain only to target characters that are played by new players. Tell your assistants that this plotline and NPC are designated for new players only.

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Awarding Experience

Consistent and balanced experience awards are necessary to the health any long-term chronicle, whether local or global. Players need to know what they can do to earn experience for their character. Generally, we advise following the principles established in Laws of the Night: Revised page 122, with a few modifications discussed below. Please note that these are guidelines, and storytellers with High Approval Authority or above may set different policies for their area.

No combination of Experience awards may exceed the monthly cap, unless a storyteller with High or Top Approval makes a special award.



Automatic Award

Players who portray their character for at least 90 minutes at the game should receive a base Experience Trait award. To be eligible for this trait, the player must register the character on the official sign-in sheet. Small games should generally receive an automatic award of 1 Trait, while large games might receive a base of 2 Traits.

If a player is inactive or disruptive, the storyteller can choose not to award this base award to the player's character.

Player Nominations

At the end of each game session, the storyteller can gather the players together and request player nominations for an additional 1 Experience Trait. Here are some possible categories:

● Best Roleplay● Best Costume● Best Leadership● Most Improved Player

No matter how many nominations are made, we advise that no more than 3 characters per 20 should receive this award. Players should only receive 1 additional Experience Trait per game, regardless of how many nominations they receive. Encourage your players to be fair in these recommendations. Do not let them become popularity contests.

Storyteller Awards

As a storyteller, you will see scenes that most players do not. You can recognize outstanding roleplay or actions that may not have been seen by everyone else. Don't use this award to heap praise on the popular. Recognize those who work hard and contribute to the game.

Player Feedback

A player may earn up to 2 Experience Traits per month by providing feedback to her storyteller about what her character is doing. Common methods include

● Game reports● Downtime reports● Character goals● Character journals

Short or generic responses should never be worthy of an Experience Trait. Players should be clear about



what their characters have been doing. Downtime reports, character goals, and journals may be submitted monthly.

Online Roleplay

Generally, players should not earn Experience Traits from IRC in the sanctioned channels. A supervising storyteller may choose to award Experience Traits base on roleplay that occurs in private scenes online. Often this requires pre-approval from the storyteller and may even require the storyteller's presence during the scene.

Very few players receive any Experience Trait award for online roleplay. Players should not receive more than 2 Experience Traits from online roleplay in any month, but an exception is made for online chapters, such as the Four Winds chapter.

Character Backgrounds

A supervising storyteller may award up to 3 Experience Traits, if the member has successfully completed the Ordeal of Creation and submits a well-developed character background. This award may only happen once per character, and it does not count towards the monthly Experience Trait maximum. This award applies to primary characters only.




Chapter 5: Game Night

1. Checking-In Characters2. Setting the Scene3. Good Descriptions (Show Don't Tell)4. Selling the Call5. Action/Consequence6. Game Wrap-Up

Checking-In Characters

The Sign-In Sheet

When you run a game, you will expect to see many of your local characters present, and you will already have these on-file. This section focuses on how to check-in visiting characters.

All games should have a character sign-in sheet. Every player should sign this sheet with the following information:

● Name● Camarilla member number● Chapter Name (or number)● Their e-mail address● All characters they portray that night

If there is a question of what characters were played at an event, this sheet provides the official record.

Tips for Character Check-In

Most visiting characters pose little, if any, problems for check-in. For most characters, you will want to review the following items:

● Character sheet (check for a recent ST signature)● Experience log (make sure it supports the experience shown on the character sheet)● Item cards (look for ST signatures on all items, non-standard items may require approval codes)● Special approval documentation (look for approval codes for all special approvals)● Powers or items you are unfamiliar with (if you see any of these, review the rules before the

game)

The presiding storyteller always has final approval on the suitability of any character or item brought into



that game.

Big Dog Characters

There are some characters that just don't fit the average mold, for any of the following reasons:

● Very long-term characters● High power class (generation, rank, etc.)● Special character concepts or elements

Collectively, these are "big dog" characters. They're not any more important than any other character, but they're just a bit different and sometimes more powerful. These characters require more attention at check-in.

If you're not used to checking in big dog characters, the first one you see might come as a surprise. Just relax and take a deep breath. Remember, the player is just another player who wants to play at your game. You are the storyteller, and you know the game and its players.

Big Dog Character Check-In

Check-in for big dog characters follows the same steps as normal check-in, but it adds a few extra steps. Basically, you will be taking some time to talk with the player about the following topics:

1. What is the character's reason for being here? 2. What are the character's goals? [ask them to be as specific as possible] 3. What will help the player have fun?4. Identify any dedicated plotlines you want them to avoid that night

Visiting players can also be of great help to you if you have new players or players who want to learn more about the global game. Our chronicle is larger and more complex than many new players imagine.

Sometimes, a storyteller will ask a visiting player with a big dog character to 'give some attention' to a new player or to a player who is struggling to learn the game. The visitor can serve as a mentor. When you make a request to a player, be respectful. The player is not playing your NPC. Do not take their courtesy or help for granted; be sure to thank them.

Refusing a Character

You can refuse to accept a character for a number of reasons:

● The player does not have a signed character sheet



● The character does not have the required approvals● The character does not fit the venue style sheet

Sometimes, honest mistakes happen, and a player forgets some of the character's paperwork. If you feel that the character will not unbalance your game, you can let the player portray the character--either in full or limited capacity. Otherwise, you can offer the player the opportunity to portray a different character or an NPC. The final call is yours to make.

Explain Your Decision

Remember, players come to portray their characters. If you have to say 'no' to a specific character, make sure you explain your reasons and offer a realistic alternative. Refusing a character should not be a tool that you are eager to use; it is a tool of last resort. If a player has come to the game, whether they live down the street or traveled several hundred miles, they deserve a chance to play and have fun.

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Setting the Scene

Pick a Stage and Bring It to Life

If you developed a City Book, you will have a number of Stages available for use as game settings. Flip through the City Book and decide what Stage best fits the game's story.

When you choose a setting, remember that you can modify it to match the type of mood you are trying to create. Sometimes the changes should be small, but other times a major change to a setting can foreshadow larger events.

● What band is playing at the nightclub tonight?● What exhibit is in the art gallery?● Did lightning strike the intertwined live oaks that symbolically guard the entrance to the bawn?● Did one of the geat buckets in the steel mill finally fall with an earth-rending clatter?

As a storyteller, you want the Stages to vary over time. If every game begins with "It is a dark and stormy night...," your players will stop paying attention to the setting's details. In fact, players might think that you're stuck in a rut that would put both Snoopy and Bulwer-Lytton to sleep.

Create Story Hooks

Start the action in media res, that is, in the middle of the action. You might create an in-character newsletter or a game teaser for players to read when they arrive at the game.



You can also introduce stories through influences. Prepare a 'rumor board' before the game. On a sheet of paper, write a rumor that might be circulating around town, then fold the paper, and on the outside write what the character would need (influences, contacts, etc.) to know this rumor. These rumors, whether major plot lines or red herrings, give areas for the players to investigate, discuss, and explore.

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Good Descriptions (Show Don't Tell)

The Stage Can Shape Moods

Rich setting descriptions can help start a scene, but during the game you also use the setting to evoke moods and keep your players focused. You can give description of important details, such as lighting conditions, a creaky floorboard, a soft breeze, an out-of-place pungent odor, or a dog barking in the distance. Remember that the Stage itself is a tool that you can use during the game.

Encourage Full Sentence Bids

Challenges and combat are part of our story. Always ask your players to state their challenge (both the bid and victory condition) in a full sentence. Compare these three bids by players.

● "Physical Challenge. I'm using Feral Claws."● "I am brutal enough to hit you with my Feral Claws."● "I brutally thrust my Feral Claws into Max's gut, twisting and slicing his innards."

This technique can also bring NPCs to life.

● "NPC #2 attacks you. Physical Challenge"● "The street punk punches you."● "When you reach out to shake the street-punk's hand, he sneers and quickly throws a sucker-

punch."

It takes practice to be able to create good full-sentence bids on-the-fly. However, they encourage your players to use their imagination and visualize the scene.

If a player is stuck with a bid, ask them "what are you trying to do" and "how are you trying to do it?" Usually these two questions will help them form both a bid and a victory condition.

Descriptive detail will draw your players into the story. Combat scenes can be made more entertaining, if they are filled with dramatic and possibly even humorous details.



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Selling the Call

The plotlines are written, the players have arrived, the characters are checked-in, and your narrators have been briefed. Now it is time to turn all those ideas and pieces of paper into an actual game.

● Give yourself a few moments between check-in and your opening announcements● Find a quiet place away from everyone else● Focus on your plans for the night and think about contingencies.

When you return to the game-site, you will have become the storyteller-on-scene. Your role is much that of a referee at a sporting event. You manage the pace of the game and ensure that it is fair and fun, but you are not the star--the players are.

Wear the Uniform

If you are the lead storyteller at a game, you should introduce yourself (and your assistants) at the start of game. Some chapters have their storytellers wear a special t-shirt, hat, ribbon, or badge.

When running a game, a storyteller should project and air of calm confidence and authority. Here are a few tips:

● Stay calm● Don't wilt under the pressure● Maintain positive body language

Storytellers should never argue with players or lose their cool during a game.

Cover the Field

Before the game, brief your narrators. Make sure they understand their responsibilities for each plotline and or game area. You and your narrators form a team watching over the whole game.

At the start of the game, let players know what areas will have storytellers present. If players wanted outside of those areas, they should be limited to consensual challenges only. A player always has the right to ask that a neutral storyteller be present during any challenges involving their character.

As lead storyteller, stay in touch with your narrator team. If a storyteller calls for support or needs relief, make sure they get help.



Control the Pacing

The lead storyteller monitors the pacing of the game.

● Make sure that things keep moving; don't let players dawdle● Encourage players to stay focused and in-character● Send out-of-character members away from the game area--if they are being disruptive

If players are sitting around out-of-character, ask them why. If they're waiting for a scene, find someone who can run it for them. If they're bored, offer ways for their characters to become involved in stories.

Manage the Details

There are a lot of details in storytelling, but the greatest challenges occur during combat. As the on-scene storyteller, you have a number of responsibilities:

● Rule whether an action or victory condition is valid● Ensure proper use of traits and powers● Monitor all character locations and health levels● Supervise all challenges and results● Track rounds and actions● Ensure continuity

Don't let players rush ahead of you. You call when the next round starts, and you handle any issues before moving to the next phase. Work efficiently and purposefully.

Don't let players delay the scene, unless they're unclear on the rules or how a mechanic works. It takes a long time to learn how to unobtrusively manage the pace of the game. If you have an opportunity, take the time to observe how other storytellers manage the details. Your goal is to make storytelling look effortless and smooth.

Anticipate the Play

A good storyteller should anticipate her players' needs. This means that you need to be focused on storytelling. You can not be a good on-scene storyteller if you are playing an NPC, chatting with a friend, or have your head elsewhere. You have to be focused on the game.

Watch the game and consider what characters might do next.

● Are they preparing for a combat scene? If so, you should be mentally preparing yourself to run it. ● Are they going to be dealing with a status issue or another complex mechanic? If so, then start

mentally reviewing the rules in your head.



Anticipate the possibilities, but do not interrupt a scene prematurely. A good storyteller learns how to be in the right place to make the call. If an on-scene storytelling team is doing its job right, the players will never have to go looking for a storyteller, because a storyteller or narrator will already be there, lurking unobtrusively, ready to make the proper call.

Sell the Call

Rules arguments can kill a scene, cripple the authority of the on-site storyteller, and leave a bad taste in everyone's mouth. Players remember the arguments themselves longer than the scene that spawned the argument. You can prevent arguments by making clear and convincing calls.

This is as much about presence as it is about making the right call. Often during combat, when a challenged is resolved, the ST will confirm the results (e.g. verbally saying 'Ouch. Take an agg' and gesturing at the appropriate player.) Now, the trick here is to show that you, as storyteller, are making the proper call.

If you make a call with confidence, then players will follow your call. This technique works very effectively if you know which calls to sell. Only sell the close calls, the ones that require real rules interpretation. If you 'sell' every call, players will think you're a 'ham' or stealing their show. If you undersell a difficult rules call (one that could go either way), they will think you lack confidence in your decision. This technique is all about knowing when to show your confidence as a storyteller.

Sell the Right Call

When you project the confidence on the call, you need to make sure that you are making the right call. Know the appropriate rules and know how to apply them. If you are uncertain about how to rule, consult a rulebook.

When you make the call, make sure you project fairness. If you look as if you enjoyed making a call that goes against someone, you will receive an extremely negative reaction. You must be impartial and also look impartial.

Remember that the storyteller on-scene makes the call. If the ACST is the on-scene storyteller, then the ACST makes the call, even if supervising storytellers are present. A storyteller should not get involved in another storyteller's call (especially if it would put them in a conflict of interest).

There is generally only one exception to this rule. The storyteller on-scene can always request help. However, it is the choice of the on-scene storyteller to seek advice, and it is the decision of the on-scene storyteller whether or not to follow that advice.

Manage the Arguments



Selling the call will prevent most rules arguments before they occur; however, if someone brings up a point that you haven't considered, you should stop and take a moment to listen.

If the player persuades you before you have made your final call, this is fair and you can change your mind. The player has a chance to express her opinion on the rules, but they should not be allowed to deliver a soapbox speech. Be fair, consistent, and polite.

During a rules discussion, you should remember the following points:

● Keep your voice calm● Maintain a neutral body posture● Project confidence ● Make eye contact with the affected players● Let one person talk at a time● Thank players for their input● Give your ruling and briefly explain your reasons● Offer to answer questions after the game

If the player becomes upset with you, warn that arguing rules during a game is inappropriate and you will not accept it. Invite the player to talk with you after the game (or if they are not satisfied with the post-game talk, they can file a complaint on your decision). If the player continues to argue, you should issue a series of graduated warnings:

First Warning:"I've made my ruling. Please continue with the scene, or I will be assigning negative experience."

Second Warning: "Negative two experience."

Third Warning: "Negative four experience. If you continue, I will ask you to leave the game."

Final Action: "You may no longer participate in the game tonight. I will be informing the coordinator that you should leave."

Don't be too quick to assign negative experience, as sometimes players need to express a complex point in the rules. If a player becomes abrasive or insulting to you or another player, then you should give a warning immediately. Your job is to see the game is fun and fair. You are not required to take abuse for doing your job.

Back the Call

If you are the lead storyteller and one of your narrators makes a call, you should support it--unless the storyteller has a conflict of interest or the ruling was grossly unfair. Let your assistants know that you



will back them on their decisions. At the same time, let them know that you are always available to offer advice.

Never discuss a storyteller's call publicly. Call the storyteller aside after the scene (or the game) and explain your perspective. As lead storyteller, you job is to teach your assistants how to handle the situation better.

Learn from Bad Calls

Good storytellers try to make the right decision every time; however, we all make bad judgments. Sometimes there are elements you just don't see or rules that you forget. If you make an error, be confident enough to the player to admit you made that error.

If there is an easy fix that won't affect continuity, ask players to implement it. However, if there is no easy fix, don't try to 'make up' for the bad call by favoring the player. Your job is to apply the rules fairly and consistently. If players feel that a bad call was made, they can file a complaint with your supervisor who will review the decision and determine if any remedy is necessary.

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Action/Consequence

A World of Risks

The World of Darkness is a place of scarcity and loss. It is a dangerous world where characters, even the oldest and most powerful, can die. Characters are precious because they can be lost at any time. Thus, there should be a palpable sense of danger to the chronicle that you run. Creating the right mood takes a sense of balance and timing.

HitMarks don't lurk around every corner. Flame-thrower-toting Inquisitioners shouldn't be regular attendees at Elysium.

One of the best ways to establish the World of Darkness is to see that the venue follows the principle of Action/Consequence. Characters should be held accountable for their actions. Consequences can come from any of the following sources:

● Fellow members of the society (PCs)● Antagonists and NPCs● The world at large

Action/Consequence preserves game balance. Sometimes, in the course of a plotline the players will do



something that they will later regret. The principle of Action/Consequence tells storytellers to remember these incidents and save them for a rainy day.

Player-Enacted Action/Consequence

Ideally, Action/Consequence will be player-driven, and many situations will need little, if any, action from the storyteller.

A Silver fang breeds a Metis. Other Silver fangs should jump all over this breach of the Litany. If your chronicle's characters are well-suited to the World of Darkness, they will probably handle this situation for you. If not, you can always tell players that they have heard a Galliard is writing a song about this shameful act. That should be enough to stir them into action.

A Caitiff drives his motorcycle into court, shouting "Down with the Prince!" At this point, all the Caitiff should hope for is a quick death. If the Caitiff is really unlucky, the prince decides that the Caitiff will make a perfect lesson for the rest of the court. If for some reason, the Prince lets this incident pass, then there will be a different set of consequences. Everyone at court will know that the Prince is unbelievably weak.

Antagonist Enacted Action/Consequence

Sometimes, characters do things that are incredibly dangerous, without thinking about the risks or the consequences. Other times, players may be testing to see if you will enforce the action/consequence principle. If so, character death may be an appropriate (and necessary) choice. However, remember that other options are possible--fear and torment are also useful tools.

A Garou scouts a BSD hive alone. The character might be successful, but it also might wind up dead. For example, what if the Garou sees a glimpse of Wyrm totem, and it causes him to flee in fear? What if the Garou is captured and interrogated? Death is sometimes merciful.

Example of World Enacted Action/Consequence

Sometimes players take actions that deserve a response from the mortal world. If so, do not target characters capriciously. It is a good idea to slowly escalate consequences. This gives the player a chance to solve the problem before it gets worse. A player should always have a chance out of a situation (even if it is just a slim one).

The Sabbat throws a party in the downtown business district. The characters brawl, fight, and cause mayhem. At the first sound of sirens, everyone scatters. There were no witnesses who survived. However, the police discover some strange evidence:



● Fist-sized holes in a brick wall● A sewer lid embedded through an ATM● A fire hydrant that shattered a third-story plate glass window and landed on a

accountant's desk

The real world will try to make sense of the mess the characters left behind. Even with no witnesses, there's still potential problems for the characters. The characters should hope that the ATM cameras didn't get any clear photographs.

The Three Warning Principle

Sometimes storytellers let players know that they are about to do something that is very dangerous. The point is to give players several chances of realizing that they are doing something that might get their characters killed. We call this the three warning principle.

● First Warning means "Looks bad. Be careful."● Second Warning means "Character death is likely to occur."● Third Warning means "Character death may be imminent."

Please note that storytellers are not required to give any warnings, and when they occur, they are usually more subtle than "Warning One." Let's take a look at the example of a Caitiff riding his motorcycle into the Prince's court and how the storyteller gives warnings.

The player eagerly describes his character's plan. The storyteller responds, "While making your plans you remember that the Prince has said that any Caitiff who creates an incident will be punished harshly." This is the storyteller's first warning.

The character thinks "down with the man" and drives his motorcycle to the gathering's parking lot. The storyteller describes the scene inside. "The Prince seems to be making a formal announcement to over thirty kindred. Did you expect to see so many there tonight?" This is the storyteller's second warning.

The character smiles cynically and accelerates his motorcycle towards the window. The storyteller again describes the scene inside. "You see several elders turning their heads towards the sound of the approaching bike. Their eyes lock on you as you approach." This is the storyteller's third and final warning.

The character shrugs off the concerns and leans forward on his bike to reduce his profile. Plate glass goes flying everywhere. At this point, it's all up to the PCs.

Game Wrap-Up



As the game progresses, pay attention to the clock. Try to bring some stories to a close and leave others on "cliffhangers." Give players a fifteen-minute warning before you call game.

In fact, some storytellers actively discourage challenges in the last fifteen minutes of game. After all, you're trying to wrap things up, and the last thing you want is a new combat. When you call the game, you should do the following:

● State that the storytellers are going off-duty● Thank your assistants, publicly ● Let players know if they can continue to soft-roleplay in the space● Ask for player nominations for extra experience● Announce upcoming games

Usually, coordinators will also have a few announcements--asking people to help clean the site as well as inviting them to "afters."




Chapter 6: The Art of Balance

1. Story vs. Mechanics2. Chronicle Balance3. Saying 'No'4. Soft Roleplay5. Proxies6. Cross-venue Play7. Repairing Continuity

Story vs. Mechanics

Should game mechanics and rules be obeyed? Well, the easy answer to this question is 'yes.' Should the story be the most important element in any LARP? Again, most people will say 'yes' without hesitation. The real problems start when these two principles do not provide the same answer to a difficult situation. There are really only three possibilities when we look at how players and storytellers can handle the question of story vs. mechanics. Let's briefly explore each possibility.

If You Favor Story

The first possibility is that players and storytellers will put all of their emphasis on the story, with game mechanics taking a back seat. Some people believe that players and storytellers should be willing to bend the rules whenever necessary for the good of the story. Unfortunately, if all of the emphasis is placed upon story and none upon game mechanics, it leads to a chaotic environment. Players will not know what to expect, game balance and fairness will suffer, and no one will have a good time.

If You Favor Rules

The second possibility places mechanics as the single most important element of the game. After all, if a rule exists, shouldn't it be obeyed? Anyone who has gamed for any length of time can remember games where this has been applied. Storytellers and players end up arguing over rules. You can easily bring a game to a crashing halt, if everyone argues their own interpretation of the rules, complete with page numbers and quotes. Fairness is upheld at the expense of everyone's fun.

Finding the Balance

The third and final possibility is to find a healthy balance between game mechanics and story. This happens when players and storytellers focus on building a quality story together, using the rules as guidelines to make sure that the game remains fair. To accomplish this, players need to trust the storyteller to keep the game balanced and make consistently fair rules calls. A storyteller should be



willing to trust his players. If a player expresses a concern, the storyteller should listen before making a decision on the situation.

In the end, the bottom line is simply this: we are all here to have a good time. Some people are more rules-oriented and others are roleplay-oriented. As storytellers, it is our job to find the middle-ground where everyone can enjoy themselves.

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Chronicle Balance

Six Consistencies for Chronicle Balance

Each local game has a slightly different tone and style of play, and this is not a weakness but a strength. However, we must bring these individual games together to form our global game. This means that some basic elements require consistency, and supervising storytellers are responsible for maintaining balance from venue to venue.

When we talk about chronicle balance, we are actually talking about six related concepts.

Consistency Type Requirements

Consistency of rules

● Rules, mechanics, and OOC procedures must be applied fairly for all players

Consistency of character

● Character types (clans, tribes, kiths, etc.) should resemble those in WW sourcebooks

Consistency of setting

● Venues must fit within global parameters defined by WW source materials, Camarilla supplements, and the local VSS

● Each venue has its own basic global elements

● Rare character types, elements, and items should also be rare in the Sanctioned Game



Consistency of continuity (facts and events)

● Basic historical events must be consistent across all venues in the Sanctioned Game

● If something is on the nightly news, it should be visible across all venues

● Actions that occur in continuity remain in continuity--unless a High/Top storyteller rewrites the scene

Consistency of mood and theme

● Venues stay separate to preserve each venue's unique mood and theme

● Game styles should reflect the venue's style sheet

Consistency of story

● Stories should make sense from session to session and across the chronicle

There are more chapter games than any other type of game. This means that most of the global game's action takes place in chapter games. Each local game sends ripples outwards. As a local storyteller, your job is to watch what ripples are spreading outwards and make sure they fit with the rest of the chronicle.

The World of Vanilla

In a small tabletop game, players can play characters that go against stereotypes. If a player character does not fit the traditional stereotype for a group, there is a world full of NPCs who fit that stereotype. However, in our Sanctioned Game , the percentages are reversed. There are thousands of PCs and comparatively few NPCs. Storytellers cannot maintain chronicle balance through mysterious NPCs. Player characters must also help to create that balance. We call this concept the World of Vanilla.

For example, in a tabletop game, the few Tremere characters will be outnumbered by the NPCs in the Pyramid. In the Sanctioned Game, player characters make almost the entire global Pyramid. Therefore, many responsible players actively help storytellers to create the paradigms established by White Wolf.

The World of French Vanilla

When you approve a rare element (or concept) you are essentially shifting the chronicle balance. Balance



can be very fragile, and sometimes it only takes a few approvals to really upset a local chronicle. Once a chronicle becomes unbalanced, only time and patience can repair it.

Consider what each special request will add to your local chronicle. Both you and the requesting player should know how the request fits with the rest of the game. A player with a special approval accepts some responsibility for overall game balance.

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Saying 'No'

Just because "no" is the right word to say doesn't mean the player will accept it easily. Some players will resent you for turning their request down, no matter what your reason. Two especially difficult situations occur when close friends are involved or when your reasons are not clear-cut or obvious.

Your friend may expect you to approve requests solely because of your friendship. The closer the relationship between yourself and the player, the more you will need to give a clear reason for your denial of the request. One way to diffuse the situation before it occurs is to have an assistant handle approvals for close friends or significant others. This removes you from the unfortunate position of possibly having to say "no." It also removes you from any "conflict of interest" issue.

A variety of reasons apply towards a Storyteller's decision to say "no," and only some of them are discussed in this Guide. In the final analysis, sometimes a storyteller can immediately provide a perfectly clear explanation. If this is the case, be honest and offer to discuss the situation. Sometimes meeting with a player to explain your decision can clear a lot of confusion and frustration.

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Soft Roleplay

Players often wish to portray their characters outside of scheduled game times, such as for face-to-face meetings, phone calls, or online roleplay. If the players roleplay outside of a sanctioned event, they are engaging in "soft roleplay." It is important that your players know what they can and can not do during soft roleplay.

What Players Can Do During Soft Roleplay

● Plot, plan, scheme, and otherwise roleplay with other characters● Engage in consensual challenges only● Appear at publicly accessible sites or sites under their control



What Requires a Storyteller or Approved Narrator

● Engage in non-consensual challenges● Interact with an NPC● Travel to sites not normally accessible● Expend Influence Actions or Background Traits● Learn lores● Earn Experience Traits

Please emphasize to your players that they cannot be forced to accept any challenge during soft roleplay. If they accept the a challenge, then they must accept its outcomes. A player can always refuse a soft roleplay challenge. In this case, either player may request a storyteller to supervise the challenges.

Players should, whenever possible, avoid initiating challenges in soft roleplay situations.

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Proxies

Introduction

Proxy play occurs when a player requests a storyteller to portray their character for them at a game. Sometimes, this can occur at a player's home game. For example, the player portrays the Sept Alpha but will be on vacation, so the player gives permission to the storyteller to portray the Alpha for the moot. More frequently, however proxies occur when a character wants to travel somewhere while the player stays at home.

Most storytellers ask that proxies be submitted several days ahead of any games. These policies should be detailed in the VSS. This section details the six basic steps for proxies, and then discusses some proxy complications.

1. Collect Information

When a player contacts you for a proxy, you will need to collect information. Here is a list of information you might ask for:

● Complete character sheet, including xp log and any special approval codes● One-paragraph summary of the character's attitude and personality ● List of the character's motivations ● Summary of the character's intentions/goals during the proxy● List of ways the character will try to accomplish these goals● Key things the character would avoid doing



● Player's contact information● Contact information for the player's supervising storyteller

2. Evaluate the Proxy Request

If, as you read through the proxy, you feel that the character's planned actions are dangerous (or that they will be walking into a dangerous situation), you should give the player a warning.

Your can refuse a proxy, but you should always provide a reason to the requesting player.

3. Communicate Your Decision to the Requesting Player

When you decide on a proxy request, contact the player and the player's supervising storyteller. Let them know whether their proxy has been accepted or declined. A simple e-mail or phone call to say 'proxy accepted' can save a major continuity snarl where a character was in two places during the same evening.

4. Choose Someone Responsible to Play the Proxy

Choose someone who you feel is responsible and also has the time necessary to play the proxied character. In an ideal situation, it will be someone who is familiar with the character and its mannerisms. In many cases, you will give the proxy information to a skilled roleplayer unfamiliar with the character.

5. Minimize the Proxy's Stage Time

During the game, the proxied character should focus on its goals. Get the character in and out as quickly as possible. Proxies that linger in-play often wind up in unexpected situations, so remind the proxy player to work towards the proxy's goals quickly and carefully.

Sometimes proxied characters die during a game. If this is a possibility, make sure that the proxied character is played to the best of its ability and gets a good end-story.

6. Report the Results

After the game, find out what the proxied character did and learned. Then, write a summary of this information and send it to the player and the player's storyteller. Ideally, you should contact the player as soon as possible, but close out all proxies no later a week after they end.

Remember, the player is waiting to hear the results and to have the character released back to them. If the summary will take a few days to prepare, you can send a short note saying the character is alive and released out of proxy. That way, they can play the character while you collect your information. Finally, if a character's actions during a proxy deserve consequences, the consequences should be able to follow them home.



Group Proxies

Sometimes you will have a small group of players wanting to proxy their characters to your event. Group proxies are much more difficult and take more time to set up. In these cases, you should ask them to fill out the proxy information individually, rather than as a group.

In the case of group proxies, it is advised that a storyteller familiar with the full proxy packet play the leader. In this way, they can keep a close eye upon the way the interaction is going. Minimize the time the group is present.

Large Proxy Situations

If you receive eight or more proxy requests for a single game, you should contact your supervising storyteller. They will want to know about the situation and will be able to offer you advice as to how to handle the proxy. Large-scale proxies are cumbersome and often difficult to coordinate effectively. They usually take a much longer time to prepare, coordinate and run. Thus, they tend to be rare.

Storyteller-Initiated Proxies

In special rare cases, a storyteller can initiate a proxy. Storytellers should be very careful when exercising this authority. Use your judgment, and consult with your supervising storyteller for advice. All incidents of storyteller-initiated proxies must be included in your report.

● You may only initiate a proxy if you have storytelling authority over the character● You may not force a character to cross-venue through a storyteller-initiated proxy

Player-Initiated Proxies

Eventually, you will run into the situation where a player requests a proxy that would send a character outside of your storytelling jurisdiction. For example, a Tremere Lord might require a Regent to report for questioning and tribunal.

In many cases, the presiding storyteller for the scene will be the storyteller of the player forced into the player-initiated proxy. This constitutes "home storyteller" advantage for the player forced to proxy.

If there is any question of jurisdiction or conflict of interest, either the local storytellers or affected players may request that a storyteller with "High" approval authority review the proposed proxy for fairness and assign a storyteller for the scene.

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Crossvenue Play

Introduction

This section discusses a number of crossvenue topics--from single game NPC antagonists to permanent multi-genre venues. Crossovers can offer a glimpse of the wild and dangerous world that lurks outside the borders of the home venue.

If a crossvenuing situation goes awry, it leads to chronicle instability and many storyteller headaches--this is especially true in a globally-linked chronicle. Cross-venue scenarios that work in troupe games usually do not work as well in our Sanctioned Game.

Be sure to follow all storyteller approval requirements for crossvenue play.

Discuss the Crossvenue Proposal with the Players

Ask the players reasons for the cross-venue. What are their goals? Do they understand the risks involved? Things get dangerous when you leave your home turf, especially in the World of Darkness.

Crossvenue play should not be a chance to wreak havoc with another venue. Crossvenue characters are at risk while they are crossvenued and also when they return home. Make sure the players know this beforehand, so they are not surprised when consequences occur.

Evaluate the Crossvenue Proposal

Due to the global nature of the Sanctioned game, crossover events can have long-term and unexpected effects. Treat both player requests and NPC cross-venue requests carefully. Here are some issues to consider:

● What is the character's motivation for interacting cross-venue? ● What level of cross-venue contact will happen?● Is the contact secretive or open (consider all venues)? ● How did this opportunity come about? ● Who will know about the contact? ● How does the interaction happen? ● What are the worst consequences for character? ● What are the worst consequences for venues involved? ● How will it add or subtract to the mood/feel of both the venues?● What motivates the cross-venue story? ● What information will spread across venues?



If you have doubts as to whether you should approve (or recommend) a cross-venue situation, your supervising storyteller can offer advice based on the crossvenue policies and previous history of your area.

Start with Small Crossvenues

We recommend that start with subtle crossvenue scenes. Learn how they work. Perhaps two characters share a common history or they live in a similar area. A possible cross-venue scene would allow the two characters to encounter each other alone. Let the players interact privately, rather than with a group of their buddies. Watch the nervousness and skepticism build. They may go out of their way to avoid each other, or they may interact and have a great scene.

Common Crossvenue Issues

Here are some of the more common cross-venue problems difficulties:

● IC information bleeds between the venues unexpectedly● Players assume they know IC information without justification (often unintentionally)● Characters get chummy without focusing on character motivations● Characters try to swap lores without storyteller approval● Other characters hear about the cross-venue and want to become involved.

Permanent Crossvenue Games

Permanent crossvenue games are rare, but they do exist. Setting up cross-venue games means the storyteller has to know more than one set of rules. Secrecy will be a very important factor, as each genre/venue considers itself very exclusive. If the characters visit other places, then they may be subjected to IC persecution--even destruction. It is most likely to be a small selective game.

When a Rumble becomes a Riot

Sometimes a cross-venue scene will go out of control. First, consider the problem and whether things can return to normal on their own. If so, only minor intervention may be required. If things are really bad, attempt to break up the scene and separate the venues through IC tools.

Asking For Trouble

If a character or group of characters goes out of their way to deliberately irritate/taunt characters of another venue through whatever method, directly or indirectly, then a cross-venue scene where the offending characters get their comeuppance is a very valid reason for a cross-venue game/scene. Classic examples of this sort of Action/Consequence include the Sabbat pack that trashes the zoo, shaves the wolves and performs unmentionables with them or the Lasombra Antitribu who attends a Sabbat



gathering, mocks the rites, and then flees.

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Repairing Continuity

Introduction

Sometimes during a game, a continuity snarl will need direct storyteller intervention. The best way to solve these problems are through preparation and good consistent storytelling. Let's start with some basic terms and concepts.

ActionWho Can

CallEffects Notes

OOC Pause PlayerMomentarily halts game flow

● Check rules or ask for ruling

● Request a storyteller run the scene

● Request a scene description

● Check character sheet ● Request clarifications● Ask an ST to confirm

if IC information is valid

● Real life situations

Time Freeze StorytellerHalts game for all affected players

● Limited to storyteller's area of jurisdiction

● Used to address continuity issues



Scene Revision

StorytellerModifies behind-the-scenes elements

● Continuity repaired by making subtle changes without altering any characters' perception of events

● Only works when there is room for change and doubt

● Use must be documented in next report

● Rare

Scene Rewrite

High Approval Storyteller

Rewrites continuity

● Usually employed after a time freeze

● Requires formal storyteller investigation

● Use must be documented in next report

● Very rare

Comments on Time Freezes

Often, time freezes occur because of simple misunderstandings between players. Encourage players to resolve their own miscommunications. If they can't reach an agreement, you may need to impose a short time freeze. Listen to both sides and make a decision. Do not let the game get bogged down over small disagreements.

Comments on Scene Revision

Scene revision follows the Schrödinger's Cat principle of storytelling. If it hasn't been proven conclusively, there's still a chance to repair continuity without a full rewrite.

For example, a Domain Storyteller hears about a game where a Mokole/Nosferatu Abomination supposedly showed up in Elysium. The DST knows that this NPC would



have required significant levels of approval. The DST talks to the CST and players about the game. Nothing conclusively revealed the NPC as a Mokole/Nosferatu Abomination to the characters who saw it. Since there's no definitive proof, it might have just been a really ugly Nosferatu with scales and lizard limbs. In some cases, where scene revision fails to fix a scene, then the only recourse is a scene rewrite.

Comments on Rewrites

Scene rewrites are very rare. In the United States, we usually have less than a dozen scene rewrites each year. Rewrites require investigation by a storyteller with High Approval authority. If you think you have a rewrite situation, you should enact a time freeze on the affected characters and contact your supervising storyteller.

The Principle of Continuity Repair

The best policy is to make minimal changes. Investigate the continuity issue, find the key junctures, and change as few elements as possible.




Chapter 7: Things Your Mother Didn't Teach You About Storytelling

1. A Storyteller's Image 2. Conflicts of Interest 3. Care and Feeding of Assistants4. How a Coordinator Can Help Keep a Storyteller Sane

A Storyteller's Image

One of the most important duties a storyteller is to maintain a fair and impartial image—regardless of the situation or the persons involved. As a storyteller, you need the trust of your players. You may not become friends with every person in your group, but each player needs to know that you will treat them fairly.

Why should you worry about your image? Well, it is possible that you may make decisions that are completely appropriate and fair, but they may seem to be biased. Consider the following example.

When Image Counts as Much as Fairness

A CST receives two requests for the same type of special character. The CST knows that there should only be one of this character type in the local venue.

Application 1 Application 2

● Solid 15 page background● Character sheet reflects the

background● Character history is well-

researched● Special request questions are

well-answered

● Weak 1 page character background

● Significant errors on the character sheet

● Background does not fit WW continuity, sanctioned game, or local venue

● Special request questions not fully answered

Based on the two applications, the decision would be clear. Application 1 is the superior application. However, Applicant 1 is a close friend, and Applicant 2 is convinced the CST dislikes him. The CST knows that at this point, approving the first character would be the right storytelling call. However, CST wants to maintain the image of fairness.



The CST writes to both players, pointing out the strengths and weaknesses of their character concepts. The storyteller explains that only one character will be forwarded to the DST. However, both have two weeks to make revisions. Each player can schedule an hour to speak with the CST during that time. After two weeks the storyteller reevaluates the characters and makes a recommendation to the supervising storyteller.

Maintain a Good Image

Players will judge you as a storyteller based on your image. This section addresses how to make a commitment to being fair to everyone.

1. Seek Advice on Tough Decisions

Before making a major decision, you can ask for the advice of your supervising storyteller, your peers, or your assistants. You can discuss a situation in the abstract or, when appropriate, share specific information. Find out what that storyteller would do in your place.This helps you see the issue from an outside perspective.

2. Address Issues Immediately

You should regularly invite players to talk to you. If they have an issue or concern, you should discuss it. Additionally, you should ask your assistants to help keep an ear open for player concerns or dissatisfaction. Do not let frustrations linger. Show that you are committed to your players and you are willing to listen to them.

3. Explain Your Decisions

When you make a decision, be prepared to explain it. Try to avoid sounding vague and generalized. Make yourself available to answer questions. You can also explain your decisions to your coordinator counterpart and your storytelling assistants, so that they can help answer questions for you. If a player knows that you have listened to their concerns, they are usually more willing to accept your decision, regardless of what it may be.

4. Don't Put Your Image Above Your Responsibility

You have to not only look fair but also actually be fair. Be consistent in your rulings. Players want a storyteller who keeps promises and makes consistent rulings. Do not change your opinions from day-to-day.

5. Keep Records of Your Decisions

Whenever you make a ruling, be sure to keep a formal copy of it. If it is a policy, make sure it is



accessible to all current and future players. If it is a formal disciplinary action, give a copy of the decision to the player, the involved coordinators, and include it in your report.

These guidelines should allow you to be responsive and consistent with your players.The next section, Conflicts of Interest, discusses situations where storytellers must be especially careful when exercising their authority.

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Conflicts of Interest

On the simplest level, a conflict of interest occurs when your ability to act as a fair and impartial storyteller is limited by other situations. Often the conflict of interest occurs between the character you portray and your duties as storyteller.

Storytellers make a commitment to ensure that the game is fun and fair for their players. The basic rule for conflicts of interest can be summed simply: If you are directly involved as a storyteller, then you must keep your character away from the situation.

Below are a series of recommendations that can help storytellers keep clear of possible conflicts of interest. These suggestions are not intended to question your storytelling ethics or your roleplaying skills. Rather, these concepts are established to show the players that we, as storytellers, place their fun first. This list is by no means complete. If you have feel that you may have a conflict of interest, contact your supervising storyteller. Also, your supervising storyteller may have set specific policies--in addition to the recommendations listed here.

Plotlines

If you wrote the plot, or know the plot in detail, do not let your character get involved in it; keep your character uninvolved.

Discussion:

Do not design plotlines that would involve your characters. If characters are continuously pressuring your character to become involved, and you can find no other way, it is acceptable to stop a scene and let your players know you can not be involved in the plotline. It is unfair for them to penalize your character because of your conflict of interest. Note: This only applies to plotlines you have written or know as a storyteller. It does not apply to player-generated storylines or plotlines run by a supervising storyteller.

In- Character Leadership Roles



Don't put your character in a starring role in the game you run. This sort of behavior can very easily look like grandstanding or self-promoting.

Discussion:

If you're the lead storyteller in the local area, don't take local in-character leadership positions. Even if you try to keep storyteller knowledge and character knowledge separate, this situation is unhealthy for the game. If the character is in a central role, you will find it difficult to avoid plotlines with your character. Also, it is no fun to hear players complain that you took ST knowledge and used it for the benefit of your character.

This does not apply if you are an assistant on the local level—thus an ACST does not have a conflict of interest, because they are not the lead storyteller in the area. Also, a CST can hold the position if there is DST present.

Special Note: If your character holds a leadership position and you then become a storyteller with a conflict of interest, you should resolve s this situation as quickly as you can. For example, if you are playing the prince and become the CST for a solitary chapter, you don't have to drop princedom that night, but you should making plans to find an appropriate solution to the situation. Your supervising storyteller may have a policy that requires you to resolve discovered conflicts of interest within a certain time period (generally thirty days).

Character Actions

Just because your character might take a certain action, it does not mean that your character should do it. Storytellers should keep themselves out of conflicts of interest, even if it means they have to adjust their character's actions. Don't blend ST knowledge and PC knowledge.

Discussion:

Design characters that will not leap into the fray every time. Characters portrayed by storytellers need to have some restraint built within them. Otherwise you will find yourself getting caught up in conflicts of interest time and again.

Neutral Storyteller

If, through the actions of another player, your character is put into a situation where you have a Conflict of Interest, you should find a neutral storyteller to run the scene. You should never serve as storyteller for your own character.

Discussion:



Consensual challenges (ones that players agree to self-adjudicate) are acceptable. However, if it progresses beyond simple challenges, you should find a neutral storyteller and ask them to run the scene. Storytelling for your own character is one of the quickest ways to get complaints filed against you for bad storyteller ethics, and even if you make every call fairly, it isn't worth the potential ill-will or complaints. Above all, if your character seeks to seriously affect or kill another character, you should find a neutral storyteller.

Storytelling and Playing

Don't story tell scenes when you are portraying a character. Don't play a character if you are the storyteller on-call for the game.

Discussion:

Never simultaneously story tell and play your character. You will have a hard time keeping both roles separate and will lose your objectivity. Ask someone to serve as narrator for the scene, or if you have to run the scene, then have your character drop out of the scene. Major storytelling mistakes happen when you try to narrate a scene you character is involved.

If you are playing a character, play your character. If you are storytelling, focus on storytelling. Don't try to mix the two. Now, this doesn't mean that once you become lead local ST you'll never play again. This means you need to have a good assistant or two. Find someone who can share the at-game storytelling duties with you. If you want to play your character at your game, have your assistant be the ST in-charge for an hour or two (it gives them good experience too).

Note : if your assistant is the storyteller on-duty, and you are playing, you should not overrule them or try to coach them. They are the storyteller for the scene and you are a player. This is sometimes very hard to remember. You may want to jump in and correct them, but it is their scene and story to tell. Set a good example for your players.

If there is a neighboring chapter that you can travel to on a regular basis, talk to that storyteller and see if you can base your characters in that city. Let everyone know that when you are there, you are a player and nothing more.

Character Approvals and Close Friends

Be mindful of the number of special approvals your close friends have. Your close friends may become a possible conflict of interest if they start asking for many special approvals . Make sure that every special approval request has the required background and questionnaire. Keep records of all your decisions. Some people will be watching you for abuse of power, and it's always smart to be able to prove that you and everything you do is fair and ethical.



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The Care and Feeding of Assistant Storytellers

The Qualities of a Good Assistant

Assistant storytellers (or A*STs) are chosen by storytellers at all levels of the organization. Assistants help storytellers divide their workload, expand the reach of their capabilities, and above all stay sane. While some energetic and incredibly organized storytellers may be able to survive without assistants, most will find themselves in need of regular help to keep their chronicle running well. A good assistant embodies certain qualities.

● Works well as part of a team● Maintains good contact with their supervisor● Understands role and responsibilities ● Maintains a good storyteller image

Provide Focus and Direction

Clearly defining the responsibilities and future projects of an assistant beforehand will save the storyteller a lot of headaches and save the assistant from reinventing the wheel. For example if you hire an ADST Rules, you might define their responsibilities as monitoring all official rules clarifications and distributing them to the entire domain. Here are some tips for providing focus and direction:

● Set specific goals and tasks● Define what you need done and set reasonable deadlines● Check in on the assistant to see how work is progressing, but don't micromanage● Praise good work and offer suggestions for improvement

If an assistant misses a project deadline or does not produce what you expected, then you need to sit down and find out what happened. Sometimes, real life gets hectic. Be understanding, ask them when the project will be complete, and let them know that you expect them to contact you if they need help.

Local Assistants

Assistants are not always pigeonholed into delegated categories. Each chapter should choose at least one general ACST. Storytellers at all levels frequently choose a legacy. On the local level, this assistant is your back-up, so that if you can not be at a game, or if you need to take a break, someone can step easily fill in for you.

At a local level, assistants are much more like "narrators" as per the MET books helping storytellers with any or all of the following:



● Creating and running NPCs● Checking-in characters at game sessions● Narrating scenes and combat● Answering player questions

Sometimes, a Chapter Storyteller will ask an ACST to run a game or even be the lead storyteller for an entire venue. You can delegate authority as you wish; however, it is always your job to see that the job gets done.

Assistants Beyond the Local Level

Beyond the local level, assistants are often very experienced storytellers in their own right. Many have served previously as CSTs or DSTs. Assistants at the regional, national, and global level often handle issues directly and make decisions within their area of authority.

Praise and Reward

After all of the hard work an assistant puts in for their storyteller, they should be rewarded. Prestige is the obvious reward for a job well done, but you can also offer congratulations and thanks.

Ask their advice on sensitive or complicated issues, and really listen to what they have to say. Encourage them to work with you on the creative development of the game.

Take a break once in a while, get to know the person you work with, and enjoy the time you work together on the game.

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How a Coordinator Can Help Keep a Storyteller Sane

Coordinators and Storytellers may have separate areas of responsibility, but without regular communication they will soon feel that they are bashing their heads against a wall. Ideally, the coordinator and storyteller should work together as a team that communicates and supports each other. In this section, you will find ideas as to how you can help your coordinator as well as how they can help you.

Choosing and Preparing the Game Site

One of the most common areas of coordinator and storyteller collaboration is the planning of a game event. Now, at first, this might seem the duty of the storyteller, but there is a lot that the coordinator also needs to do. The storyteller chooses the mood, theme and setting of the event. The coordinator can help find a game location that will establish that setting.



During the event-planning, the coordinator should consider real-world issues such as possible rental costs for the site, dangerousness of props, or site suitability. For example, if a storyteller decides to run a Sabbat game with ritae, the coordinator might decide that the church basement might not be the best site for this month's game. Good communication between the coordinator and storyteller will eliminate confusion and problems on game-day.

Promoting the Game

Once the coordinator and storyteller have planned the event, it is the coordinator's responsibility to promote the game to the membership. This may be through phone calls to members, electronic lists, or newsletters. In many ways, a game is like a theatrical production. The storyteller is the director and the coordinator is the producer.

At the Game

Coordinators should help with OOC check-in. Coordinators should verify membership (by checking for membership cards) and keep a sign-in record of attendees and the characters that they play. The presiding coordinator (or a named assistant) should always be available on-site. If any OOC issues arise, they should be handed to the coordinator. The coordinator should be willing to drop out of character immediately to resolve any real-world situation.

Changes in Membership Class

The coordinator can supply the storyteller with such details a monthly Membership Class list for members.

Membership Eligibility

The coordinator monitors real-world disciplinary actions. If necessary, the coordinator can inform the storyteller of a player's ineligibility before they begin play.

Disciplinary Action

As a general rule, coordinators handle disciplinary actions. However, if there are game-related disciplinary actions, the storyteller should inform the coordinator--it's just a smart move. If a player was behaving particularly inappropriately, you may need your Coordinator there to ask that person to leave the event. You may just ask your Coordinator to document the occurrence in case problems come up later--even for small offenses. Regardless of the level of punishment, make sure you both agree on it. That way the player can't try to play one of you against the other.

Personal Space



Storytellers are volunteers. We are not expected to handle Camarilla issues twenty-four hours a day. This means that coordinators should work with storytellers to help set up times (office hours) when the storyteller is available to work with members and answer questions. The coordinator can, if necessary, discipline a member who repeatedly calls or visits the storyteller to talk about the game at an inappropriate times.

Social Events

Coordinators should promote having social events after each game. This may be going to a late-night restaurant, gathering at someone's home, or maybe even going and seeing a movie. These after-game events ("Afters") help members get to know each other and help create friendships. The person who plays the Shadowlord Ragabash Metis elder may appear to be a manipulative and scheming monster at the game, but he might be a really nice guy in real-life. Often, "afters" help defuse OOC misperceptions between members and keep the chapter healthy.

In addition, coordinators should actively promote social activities that do not involve games. These events are informally known amongst the storytelling community as storyteller's holidays. It gives the storyteller a chance to relax and associate with friends without having to work every time the group gets together. It is easy for members to fall into the trap of seeing the storyteller as a storyteller and not a person. A storyteller holiday can a storyteller relax and feel like they're part of the group.




Chapter 8: Hard Choices

Guidelines for Dealing with Unethical Players

As storytellers, we prefer to run good games and entertain our players. However, we also must ensure that the games remain fair. Unethical play hurts our games, both locally and globally. The Camarilla recommends the following guidelines for conducting investigations and implementing disciplinary action. You will need to adapt these guidelines to each individual case, but they provide a starting point.

Evaluate the Preliminary Evidence

Soft evidence is often gossip or hearsay—something which cannot be proven. A player might accuse another player of cheating. Something may be wrong, but it might be a misunderstanding.

Hard evidence is demonstrable through any of the following: a copy of a character sheet, multiple witnesses, or a storyteller witness.

If you have credible soft evidence or have hard evidence, you should begin a formal investigation.

Formal Investigations

A formal investigation occurs when a storyteller feels there is a strong likelihood that a player has engaged in unethical behavior.

Please be aware you can only investigate events that occur within your storytelling jurisdiction.

● If you oversee the player as part of their storytelling chain, you can open an investigation. ● If a visiting player engages in unethical behavior while in your storytelling jurisdiction, you can

investigate that event. ● You cannot investigate players or events outside of your storytelling jurisdiction. Contact either

the appropriate local storyteller or your supervising storyteller if this incident arises.

When opening a formal investigation, you should notify the following people:

● The player● The player's coordinator● Your coordinator counterpart● Your supervising storyteller

Clearly identify the purpose and scope of the investigation; do not go on a fishing expedition.



Request Statements and Documentation

An investigation requires you to collect hard evidence. You might need any of the following documents or statements:

● Copies of character sheets, game sign-in logs, or approval codes● Statements from members who witnessed a scene● Statement from the player accused of unethical behavior

All written statements should be kept brief and focus on the key issues.

Maintain a Professional Attitude

Investigations should always be handled promptly and kept confidential to the involved parties. Do not attempt to publicly embarrass the member, because it will not make the situation any better. Remember that the player may not have known the rule, and this may be an ideal time for education.

Review the Final Evidence

Once the investigation is completed, assess the evidence and all statements. If you feel there was unethical behavior, then the mistake needs to be classified by its severity. We use three basic categories:

Minor breach

Definition: Most likely a mistake. Player admits the error and understands the problem.

● Character sheet was 1-5 points out-of-balance● Character sheet lists a special approval element or item, but player does not have the necessary

approval ● Player uses out-of-character knowledge ● Player misused lore or knowledge once or twice● Player used (or reused) traits not possessed once or twice

Player uses an item without possessing the appropriate item card

Suggested punishment: A warning.

● Talk to the player. Make sure the player understands the correct rule or procedure.● If the incident occurred at a game, consider awarding the player "0" XP for the evening.● If it is a second occurrence, you might award negative XP or award "0" XP for the month.

Medium breach



Definition: Player is being deliberately unethical or making huge mistakes.

● Two minor breaches● Character sheet was 6-15 points out-of-balance● Player’s characters intentionally interact or intersect with each other ● Player plays a character without storyteller approval ● Player portrays a special approval concept without appropriate level of approval● Character made with incorrect membership class ● Player uses powers not on the character sheet● Player maliciously uses out-of-character knowledge● Player argues with a storyteller during a game

Suggested punishment: censure and review

● The character should receive “0” or negative XP for the month. ● Additionally, the character should be removed from play for a period of time—usually two to four

weeks. ● During that time, a storyteller should audit all the player’s characters.

Major breach

Definition: Player demonstrates sustained or extreme unethical behavior.

● More than two minor breaches or more than one medium breach● Character sheet is more than 15 points out-of-balance● Using a character for “revenge” for a previous character ● Player deliberately abused the rules to take advantage of a new player● Player lied and attempted to conceal unethical behavior

Suggested punishments: Any or all of the following:

● Permanent desanctioning of the character involved ● “0” or negative XP amounts assigned to other characters● Limitations on special approval privileges ● Increased character tracking requirements● Referral of the incident to a coordinator for additional disciplinary action

Aggravating and Mitigating Factors

After determining the level of the breach, ask yourself these questions:



● Did the player admit the behavior or try to cover it up? ● Is the abuse continual or just a single incident? ● Was it an honest mistake? ● Is the player a new player? ● How long has the offense been going on? ● What sort of impact did it have on the game? ● Does the player even realize that the behavior is inappropriate? ● Was the player belligerent or argumentative?

Use these answers to slide the offense up and down the scale if you feel it is appropriate. There may be several aggravating or mitigating factors for the same event.

Consult with Your Supervisor

If in doubt about the severity of the behavior or the appropriate punishment, you should consult with your supervising storyteller as well as other storytellers in your area. They can offer advice and may know of similar cases that provide precedents.

Desanctioning

Temporary removal and permanent desanctioning are recommended punishments for medium to major offenses. Be sure to document your evidence and include a copy of this action in your report.

It is important to note that storytellers can temporarily remove or desanction any PC under their authority at any time.

Excessive Unethical Behavior and/or Lies

A player who lies or tries to conceal unethical behavior always increases the type of breach. If the player lies or has committed excessive breaches, you should refer the matter to a coordinator. The coordinator may demote the player to a lower Membership Class or suspend membership privileges. Unethical game play hurts both our game and our club, and it is taken very seriously.

Examples

A new CST requests that players provide copies of all their character sheets. Paul’s character is 23 points out of balance (hard evidence). This is his first offense, and he immediately owns up to his sloppy experience tracking. He promises not to guess game awards anymore. The CST treats this as a medium breach. All of Paul’s characters are audited, and the offending character is brought back into balance. Additionally, the CST docks 4 XP from the offending character and removes it from play for four weeks. The CST tells Paul that his character sheets will be audited again in two months, and if they are ever out of balance it will be a major breach.



Pattie claims her character has Puissance and uses it to beat two characters into torpor. Three players and a narrator witness the scene (hard evidence). The CST knows that Patty’s character only has Might. When the CST speaks to her, she says that the ACST approved Puissance for her character earlier in the evening. While the improper use of a power would normally be a medium offense, the negative effect on game and lies make it a major breach. The CST desanctions the character and refers the matter to her coordinator, recommending a reduction in Membership Class.

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