Monday, January 24, 2011

Books I Like

On my literary travels last year, I came across lots of books that helped me build a stronger understanding of how improv works in the brain. Not all of them look relevant to applied improv at first sight, so I decided to put together a short reading list of a few of my favorites for anyone interested in exploring the same topics. It's my hope to expand this list in future posts.

Influence: The Psychology of Persuasion (Collins Business Essentials)
Robert Cialdini
An astonishing book. In essence, it’s a guide to the operating system of human social behavior. Cialdini reveals ways that human beings run on automatic while trying to get along and shows how those behaviors are routinely exploited by the unscrupulous. This book is invaluable for anyone interested in not being manipulated by others, but is also incredibly useful from an improv standpoint. The chapter about the ‘authority principle’ is essentially a lesson on Status. However, there’s a lot more in here that improv hasn’t explored as deeply. The ‘reciprocity principle’, for instance, has a lot in common with ‘make your partner look good’ but seems to go deeper. The research that Cialdini recounts suggest a wealth of possible games that have yet to be explored.

Influencer: The Power to Change Anything
Patterson, Grenny, Maxfield, and McMillan
The best book I’ve read so far on enabling social change. Simultaneously readable and scholarly--this book encourages a data-driven approach to understanding organizational culture, and doesn’t pull punches about just how hard it can be to make a lasting difference. It outlines a clear plan of the steps that leaders need to take if they really want to mend the communities they work in.
There’s plenty here too for applied improvisers who don’t happen to be working directly with business. ‘Influencer’ provides a useful guide to the effect of human motivations on group behavior and draws on real life examples like drug rehabilitation programs and disease prevention projects in the developing world.

Predictably Irrational, Revised and Expanded Edition: The Hidden Forces That Shape Our Decisions
Dan Ariely
An approachable, clearly written book on the growing field of behavioral economics. While there are other books out there that also do a good job at introducing this material (eg: Sway by the Brafman brothers), Predictably Irrational lays out each important result in a clear and concise way.
For those out there who haven’t looked into behavioral economics, I highly recommend exploring it. It sheds a great deal of light on many quirks in the human decision making process--such as why we like free gifts so much, and how the credit crunch happened. This new field is rife with experiments that cry out for adaptation into improv games.

On Intelligence
Jeff Hawkins
This is a book on how the human neocortex works. Mr Hawkins wants to duplicate the learning system it employs and use it in software to create intelligent machines. His company, Numenta, is making great headway in this department, and has already developed software for motion detection and fraud analysis based on insights from biology.
At first sight, this might not seem like a book for applied improv enthusiasts, but in fact it was one of the most important books I read last year. It makes it very clear exactly what the brain does that’s so special, and how human learning actually works. Locked in here is the secret of why ‘I suck and I love to fail’ is such an important concept.

Drive: The Surprising Truth About What Motivates Us
Dan Pink
A friendly, highly digestible account of motivation theory research. While this book has some things in common with Influencer, its thrust is more inspirational in tone. Dan Pink shows how the principles of Autonomy, Mastery, and Purpose broadly define what people want out of life, and how some of the most enlightened business leaders in the world have been able to put those ideas to work.
In essence, the book is an appeal to managers to stop thinking in terms of cash incentives and old-fashioned economics, and to use modern psychology instead. Gratifyingly, his message lines up tightly with the kind of motivational wisdom that improvisers have been using for a long time. There are plenty of examples that trainers can grab hold of and apply directly with their clients.

Play: How It Shapes the Brain, Opens the Imagination, and Invigorates the Soul
Stuart Brown
This book is a must for applied improv enthusiasts. It lays out research that shows how the act of playing activates the oldest, most highly evolved system for learning that human beings have. The message is clear: training that doesn’t incorporate play isn’t really training. Sure, it might be informative, and even slightly useful, but nothing enables soft skill acquisition like the collaborative social experimentation that’s signaled by laughter.
This book very successfully explodes the myth that play is somehow trivial and that real business is serious, and reveals that the reverse is usually true. Effective businesses, communities and institutions leave room for play and laughter, while trying to be ‘serious’ tends to lead to impaired decision-making.

Thursday, January 20, 2011

Open Tokenomics Event--Everyone Invited

Tuesday, Feb. 15th, 6-8pm
1590 Bryant St., San Francisco
This is a free event

Good news for everyone out there interested in experimental applied improv, and particularly for those who happen to live in the Bay Area. The SF Behavior Lab project will be holding its first public open event in San Francisco next month--on Feb 15th to be precise. The event is open to all, and will happen from 6pm to 8pm. Afterward, we’ll be going to grab some dinner in the neighborhood and you’re welcome to join us for that too.

The evening will require no improv training and will hopefully have something to offer both interested laypeople and experienced improv trainers looking for new workshop ideas. There’ll be an opportunity for improv professionals to share experimental games in a safe setting, and also plenty of new games to try out. While we build up steam, we'll be keeping the Behavior Lab events free, so make sure you invite anyone you know who’s looking for a fun evening out.

The focus of this first session will be on Tokenomics--the topic I gave a talk on at the world applied improv conference in Amsterdam this year. When I spoke again at the Bay Area mini-conference in December, we didn’t have enough time to explore games that addressed this topic. Next month’s session will hopefully address that imbalance, and give everyone in the area a chance to try the material out for themselves.

If you don’t yet have a clear idea of what Tokenomics is or what I’m talking about, the good news is that you can now find out through the Behavior Lab website. This talk is a little rushed (I was trying to squash about 45 mins worth of slides into about 25 mins) but will give you a sense of what’s in store. It should be a very entertaining evening, and hopefully highly informative too.

The Feb. 15th event will be held at Sports Basement, at 1590 Bryant St. in San Francisco. Sports Basement has generously offered a 20% store-wide discount that evening for anyone connected with SF Behavior Lab, so be sure to come early and browse the aisles.

PS: For those of you who have already signed up at the Behavior Lab website, please take another look and check that your membership still exists. The site encountered some minor teething troubles at the end of last year, and some attempted sign-ups were lost. (We want everyone who wants to play with us to get to!)

Hope to see you all there!

Thursday, December 9, 2010

I'm Back

Hello blog readers!
I have been away having numerous exciting adventures and am now back in improv land. Among my travels, I got to attend the AIN International conference in Amsterdam in September, which was a wonderful experience. The speakers were fantastic, the energy was incredible, and the aura of sheer utopian functionalness that came from having so many applied improvisers in the room at the same time needed to be experienced to be believed.

I was lucky enough to give a talk, and got to share some of the ‘science of improv’ content I’ve mentioned on this site previously. For those who’re interested, the slides can be found here.

Tomorrow, I’ll be giving the same talk at the Bay Area AIN mini-conference in San Francisco, which should also be a lot of fun.

Since getting back from Europe, I’ve been thinking hard about how to close the gap between improv training and the behavioral sciences and things are starting to come together in an interesting way. So, it’s with great pleasure that I’d like to announce the opening of a brand new website, the SF Behavior Lab:
http://www.sfbehaviorlab.com/

This site is intended as a local rallying point for those people in the Bay Area who’d like to get involved in collaborative events aimed at understanding human interaction through play. The site will include results from software simulations as well as live workshops (more about that in later posts), and hopefully also interactive virtual improv games.

If it sounds like fun, you’re right. I hope to see you all virtually there.

Monday, June 14, 2010

Employee Recognition and Cleaner Fish

My good friend Cindy Ventrice and I have been working for the last month or two on kicking off a rather exciting new training program. To help launch this venture, I wrote an article for Cindy's blog on the reciprocity principle and it's use in the workplace. I'm pleased with it. Anyone interested in the similarities between good management practice and swimming around in the mouths of large carnivorous fish should take a look. You can find it here.

Tuesday, June 8, 2010

The Science of Improv Part 1: How to Fail Magnificently

Why does improv change lives? Why are improvisers usually more relaxed and more open than the other people I meet? Why are improv instructors the most engaging teachers I have ever known? How come people who improvise seem to make better doctors, scientists, salespeople, leaders, writers, and engineers than their counterparts? Why do improv class attendees keep coming back over and over again as if for doses of some kind of magical drug?

I’ve spent the last five months conducting research propelled by the belief that these questions can be answered, and that the answers will be rooted in solid science. Finally, a clear picture is starting to emerge. This picture binds together thinking I’ve encountered from motivation theory, behavioral economics, emotional intelligence research, neuroscience, machine learning theory, and psychoanalysis. Explaining all that I’ve learned would take a book and I haven’t finished putting the pieces together yet. However, I’m going to start trying to explain what I’ve discovered. I have a bunch of thoughts to share with you, so I’m going to break the journey up into several posts. Hopefully, it’ll prove both useful and entertaining.

I Suck and I Love to Fail!
One of the greatest lessons that improv teaches is that if you don’t trust yourself to do something perfectly, do it with glee instead. Great improv teachers like Kat Koppett talk about ‘celebrating failure’. Troupes all across the world yell out ‘I suck and I love to fail!’ to each other with huge grins on their faces before going onstage. Trainers everywhere talk about ‘mistakes as gifts’. It all amounts to the same thing: making the most out of getting things wrong.

This idea might sound cute and more useful in a comedy show than the workplace, but I’m going to show you how it can help us overcome arguably the most fundamental limitation of the human mind. I’ll show you how it can change both the way we think, and what we’re capable of achieving.

The Brains of Bugs
In order to explain, let’s cover a little background about how thinking works. And, for starters, let’s look at the most basic kind of thinking we know about: the sort of thinking that happens in simple creatures like bugs and slugs. Unlike us, these creatures don’t spend much time worrying about bank balances or planning vacations. Instead, they just react to the stimuli they sense around them. It turns out they are capable of learning, but only in the most basic way possible: by associating certain stimuli with either pleasure or pain so that they know whether to seek them out or avoid them in the future.

AI researchers have spent plenty of time studying the brains of these kinds of creatures and it turns out that the root principle of how they work is pretty simple. Each neuron in a simple brain can be thought of as a bit like a voter taking part in an election.

Let’s imagine a contest a bit like American Idol. In this contest, all the viewers are watching over the internet and the footage that each voter sees is a bit different. With each round, the voters are all shown footage of the contestants, and on the basis of what they see, they vote. The votes are tallied up and one of the contestant wins.

However, what the voters in our contest don’t know is that their choices have big implications. Lucrative music industry deals are being won or lost on the basis of who gets picked. So after each vote, the entertainment company that hosts the contest changes the footage that each voter will get to see in the next round by just a little bit, so as to make sure that voting in future will be a bit more favorable to their interests. Those who voted for the ‘right’ candidate get to see more footage. Those who voted for the wrong one only get to see some edited highlights.

In a real insect’s brain, instead of singers to choose between, we have decisions like ‘remain very still’ or ‘flee from the spider’. Instead of an entertainment company we have the consequences of those decisions, such as ‘going unnoticed’ or ‘losing a leg’.

After each pleasant experience that our bug has, the voting neurons that caused him to have that experience get reinforced--they get to see more footage. Those that tried to guide him away get weakened--they get the edited highlights. It works the same way when our bug experiences pain. Those neurons that cause him to walk into an unpleasant experience get weakened. Those what would have helped him make a different choice get reinforced. In this way, and with a little luck, our bug learns to make better decisions over time. With luck he gets to breed before turning into somebody’s snack.

While this picture is, of course, a sweeping generalization about how simple brains work, hopefully it makes it clear that pleasure and pain use similar mechanisms. In both cases, some neurons have their connections strengthened while others are weakened. So far so good, but human brains aren’t like the brains of bugs. People, for the most part, are smarter.

The Human Difference
There are lots of differences that we could talk about between the brains of bugs and those of people. It’d be easy to get caught up in a conversation about consciousness, for instance, or creativity. But the broad, distinguishing difference, I would argue, between simple brains and brains like ours is that our brains can make plans.

Somehow, we’re capable of behaviors which don’t head us directly towards pleasure or away from pain, even though, at the end of the day, we like pleasure at least as much as your average insect. We’re even able to devise goals like visiting the moon. In order to achieve such goals we have to be able to build tools, cooperate, imagine, and reason out enormous problems, all without any kind of direct sensory reward, like, say, a large quantity of chocolate cake. How does the brain do it? I propose that the planning process in our brains happens by a process we might call recursive goal matching.

Recursive goal matching means that when a person is considering some reward he’d like to get, his mind identifies interim scenarios that will help him reach that reward. It then treats those interim scenarios as goals in their own right and tries to build chains of behavior that will reach those goals. Some of those chains of behavior contain interim scenarios that become new goals, and so on.

For instance, in order to get the payoff of eating the cake we’re keeping in the fridge, first we have to go to the kitchen. Visiting the kitchen is an interim scenario that becomes a goal. There’s no intrinsic reward in getting there, but in doing so, we’re helping fulfill our yummy plan. However, visiting the kitchen requires that we leave the couch and walk there. The goal of leaving the couch requires that we turn on the table lamp beside us so we can see our way. Etc.

When we successfully complete a goal scenario we’ve pictured in our mind, we receive a small jolt of internalized satisfaction. If we fail to match such a scenario after repeated attempts, such as for instance discovering that someone has locked the kitchen door to keep us away from the cake, the mind sends us a dose of frustration. Just as in the case of the insect brain we looked at earlier, our brains manage our behavior with tiny pulses of neurotransmitters that change how our voting neurons are wired, and thus, what they get to ‘see’.

For a fascinating account of how the brain constructs behavior out of hierarchies of such plans, I recommend ‘On Intelligence’ by Jeff Hawkins. However, what no book I’ve read so far has yet pointed out, though, is that the process of learning through planned behavior is asymmetrical. In other words, while achievement and pleasure have plenty in common, frustration isn’t experienced like pain.

The Magic of Failure
Just as in the case of a pleasure response, the satisfaction we get from reaching a goal reinforces those neuron connections that enabled us to get there, while weakening those that voted for other options that would have prevented us from succeeding. However, what happens in the case of frustration? When we fail to reach a goal, we have no idea which neurons to reinforce because we lack the knowledge of what would have caused our plan to succeed. My guess is that the brain has no choice but to weaken all the connections that might have been responsible. This means that unlike pain, failure is a universally negative sensation.

Let’s go over this again to make it clear. We’ll look at each emotion and the effect in the brain that it causes.
  • Pleasure: Strengthen connections that led to pleasure. Weaken connections to neurons who voted against it.
  • Pain: Weaken those connections that led to pain. Strengthen connections to neurons who voted against it.
  • Achievement: Strengthen the connections that led to us reaching our goal. Weaken those that voted against it.
  • Failure: Weaken those connections that led us down the path to the failed goal. Wait, what do I strengthen? We don’t know which neurons voted against failure, because any part of our plan might be responsible for it not working! If we get to strengthen anything, its the neurons that voted for us to not take this goal on in the first place!
The Frontiers of Science
Here’s an example of this principle in action. It happened to a good friend of mine. A scientist we’ll call Amy. Amy recently had a wild idea that she thought was going to change her field. She spoke to her boss about it, but her boss shrugged and pretty much dismissed the idea as impossible. So, undeterred, Amy boldly set about exploring the idea on her own.

To her great delight, it worked. Amy was terribly excited, and convinced that her discovery would make her career. She felt on top of the world, and was rightly proud of her achievement. When she carried out a literature search, she could find no evidence that anyone had uncovered the same extraordinary result. She wrote up the paper and submitted it. Then, out of paranoia because the stakes were so high, she conducted a second literature search the moment the paper was accepted. This second search turned up a paper that had uncovered the same result three years earlier! Amy hadn’t found that paper because no-one in the literature had been referencing it. She was mortified and withdrew her paper from the journal the same day.

When I learned all this from Amy, I could tell that her self-esteem had taken a hit. She spent the evening questioning whether she was in the right field and whether she was cut out for science at all. She felt like a failure, and stupid for having made a mistake. I’m sure we can all understand how she felt. But let’s take a closer look at what happened.

For starters, Amy’s result was right. The fact that she wasn’t first to find it didn’t affect that. Furthermore, it wasn’t surprising that she didn’t know the result had been found before because nobody had referenced the work. This was simply because the result wasn’t one that anyone wanted to be true. There’s a whole other blog post in here that I’ll save for another time, but broadly speaking, even in science, people see what they want to see.

Despite the fact that Amy was now one of only two people in the world to understand a deeply important result, Amy felt like a loser. This was because the goal she’d built in her head was that of publishing a paper and getting recognition for the result. Her brain had automatically matched to the end result of the process she’d anticipated, without considering the interim benefits like ‘doing good science’. Furthermore, her instinctive response to this crisis wasn’t ‘I need to do better literature searches’, but instead simply, ‘I failed’. She went from contemplating her own genius to wondering if she needed to look for a new job, all inside of about half an hour. To my knowledge, Amy still hasn’t really pursued her line of research further. She feels kind of bad about it. Being brilliant hasn’t prevented Amy from having a brain that doesn’t know how to process failure.

I strongly suspect that if we look back over our own life experiences carefully, we’ll spot situations we’ve all been in that are very much like Amy’s. I know I have. Such episodes can be hard to pick out because the brain doesn’t like to think about failure, but they’re there. In my experience, it’s often easier to catch such experiences while they’re happening. Next time you experience a sudden surge of self-criticism, ask yourself exactly what the goal is that you’re not matching, and whether it even makes sense.

Loss Aversion
So, in a nutshell, when we succeed, we get reward for a specific result. When we don’t match a goal, we get blasted for everything we’ve done recently, even if the goal we were matching against wasn’t a very meaningful one. This effect changes the kind of plans we’re likely to come up with. We’re going to be biased toward those plans that avoid failure, because failure experiences are going to be disproportionally negative.

Sure we can all ‘learn from failure’ as self-help books encourage us to do, but those very same books have to encourage us to do it because it’s not a natural part of our thinking process. Without conscious coaching, the brain usually has no idea exactly what the lesson is that each particular failure grants us.

The fact that we treat failure differently from pain can help explain why people react irrationally to the presence of free gifts as Dan Ariely describes in Predictably Irrational. Something that’s free comes without mental attachment to costs, and therefore potential failure scenarios, which makes it automatically desirable in plan building. It also explains the principle of 'loss aversion', as described in Sway by the Brafman brothers, that causes people to sometimes go to seemingly absurd extremes to avoid failure.

Is there any evidence to support the idea that this difference in learning patterns is responsible for these effects? So far, the evidence is still thin, but it’s building. Recent research has revealed that damage to the amygdala causes loss aversion to be suppressed. The amygdala is the part of the brain that’s responsible for dealing with the consequences of fear and other similar sensations. If the phenomenon of loss aversion is bound up with the process of suppressing links between neurons, just as pain is, then this is exactly where we’d hope to find the experience centered. This result is far from conclusive, but it’s a start. However, while this result is interesting, it still doesn’t say much about improv. For that, we have to look at some of the implications of how the brain processes failure.

Emotional Intelligence
When the brain knows that it’s failed, but not why, it has a problem. Just like any general waging a campaign, it has no choice but to invoke ‘Plan B’. Plan B, in this case, is a suite of backup behaviors designed to resolve tricky situations. These behaviors are ones with a long track record of proven evolutionary success and broad applicability. However, they’re often significantly less sophisticated than the behaviors we build via planning. Our backup behaviors are designed to get us out of trouble fast and often come with physiological knock-on effects to accelerate our responses. These behaviors are ones we might class as ‘irrational’. Which behaviors are kicked off depends on how much stress we’re already under when our plans start to fail.

This is why people become irrational when negotiations fail or expectations aren’t met. It underpins the sort of situations outlined in Crucial Conversations by Patterson et al, and connects up tidily with the themes of emotional intelligence research pioneered by Dan Goleman.

What we know from this research is that by changing how we look at failure, we can change how we respond to it. Our subconscious mind isn’t so hot at deciding what kinds of failure are genuinely dangerous, because failure, by definition, represents a lack of data. However, with a little conscious reflection it’s often straightforward to see that we’re being intuitively navigated away from situations that just aren’t that risky. Consequently, exercises that encourage the brain to treat failure as something to be accommodated and embraced mean that our more extreme ‘Plan B’ responses get activated far less frequently. By habituating a reasoned, conscious, up-beat response to failure, we stand a far better chance of coping well when something goes wrong, and this is what makes improv exercises so powerful.

By remembering to say ‘I suck and I love to fail!’ we are directly targeting and deactivating that part of ourselves that gives us stage-fright, makes us panicky in romantic situations, or gets us into fights. The more we practice that response, the easier it gets. This is what makes improvisers look so witty and fearless on stage. They look that way because they are witty and fearless. However, this isn’t because some kind of innate talent. It’s because their brains have learned to treat being on stage as exactly what it really is: just being at the other end of a room from a bunch of people sitting down.

I suspect that at the scale of whole societies, some well-applied improv exercises might go a long way toward making the world a more peaceful, rational place. Not a bad result for a trick to take the edge off unplanned performances. Admittedly, though, I haven’t said anything yet about what shape our mental plans actually take or how we choose which ones to follow. I’ll cover that next time, and that’s where it starts to get really interesting.

Friday, April 16, 2010

An Intro to Archetypal Improv

On Sunday, I ran an introductory workshop on Archetypal Improv for the excellent SFImprov group and was delighted at how it went. We had a really nice turnout and managed to get through loads of material. Several people asked me, though, if I’d be supplying notes afterward, so that they could go back over what they’d learned. Here then, in the spirit of sharing, is a brief outline of what Archetypal Improv is, and how it works.

Archetypal Improv is an approach I developed with a great deal of help from the other members of Amazing Spectacles in Cambridge (Gary Mooney, Denis Howlett, Netta Shamir, Justin ‘Rob’ Coleman, and several others). Using it, we were able to turn out some of the best long-form improv I’ve ever come across.

The style is based around the idea that in order to create really great improvised plays, players need to understand how stories are built and to have a way of communicating narrative ideas to each other. To provide a shared storytelling lexicon, Archetypal Improv draws inspiration from Joseph Campbell’s theories on the ‘Hero’s Journey’, along with observations from fiction, theater, and machine learning theory.

We use, broadly speaking, two ways to communicate story ideas--through plot, and through character. Communicating through plot helps drive the narrative forward. Communicating through character tells you where the plot should be going. For plot communication, Archetypal Improv focuses on the idea of trouble. For character communication, we focus on the role that each character plays with respect to the greater story--it’s archetype.

Many long-form improv approaches rely predominantly on plot offers and divide a play into sequential segments, often using a ‘story spine’. The archetypal approach instead attempts to build a kind of map of the story within the first few scenes that can drive many of the choices that follow. The map is created by making the purpose of each character clear.

The most basic play format used in Archetypal Improv is the Vanilla Six-Hander, or V6H. ‘Vanilla’, because the format is the basic flavor, and ‘six-hander’ because it makes use of six archetypes. The V6H is a training tool designed to encourage players to think clearly about character roles, and to give them almost all the information they need to complete a strong play within just three scenes. A quick outline of the V6H reveals the archetypes that we generally use.

Scene One: The Banishment
This scene introduces the following pair of archetypes:

The Protagonist or Hero
The protagonist is the focus of the play. It’s their job to desire change, to be flawed, and to have the capacity to learn. The role of the protagonist is telegraphed to other players by creating a character who’s empathetic and limited in their choices without being weak. The protagonist generally starts low status. Their interior monologue generally sounds like this: ‘Somehow, I’m going to make things better!’
As a rule of thumb, the best protagonist flaws are the ones you can imagine being reflected in the moral to a story. Eg: the flaw ‘has no self confidence, can lead you to create a play with the moral ‘always believe in yourself’. A flaw like ‘is terrified of chocolate’ isn’t going to take you very far. ‘Don’t be afraid of chocolate’ doesn’t lend itself to a compelling narrative arc.
Unlike in some other long-form methodologies, the protagonist doesn’t usually drive the narrative. Rather, the protagonist is affected by the offers of trouble that they receive from other characters. Having the protagonist make active choices that propel the play tends to create a ‘willing hero’, and leads the play to tend to take on a tragic format, which is fine, so long as you’re aiming for tragedy.
Using the first Star Wars movie as an example guideline, our protagonist would be Luke Skywalker.

The Banisher
The banisher’s job is to either pull or push the hero out of his or her ordinary world. Generally speaking, the role the banisher will have in the play depends on how that ejection happens. If the banisher, for instance, fires the protagonist from their job, then they’re not likely to feature strongly in the work that follows. We call this kind of character a ‘framing-device banisher’. If, instead, the banisher creates an ultimatum that drags the protagonist with them into a troubled world, they’re generally referred to as a ‘mentor’. Mentors often feature extensively in the play that follows and guide the protagonist on their path.
The banisher usually starts with higher status than the protagonist, because this makes it easier for the banisher to exert the necessary force to make the protagonist leave their world. It’s also much easier if the banisher has a pre-existing relationship with the hero. However, it’s not necessarily always the case that the protagonist is familiar with the banisher. Many interesting mentor banishers are characters who know who the hero is, but who are unknown to the hero.
The banisher’s self-talk is usually something like: ‘I must lead this person on to something better,’ where the person in question is the hero.
Our Star Wars example for this archetype is Obi-Wan Kenobi.

The players should aim to have the banishment happen by the end of scene one, but shouldn’t be worried if they don’t make it. There’ll be another opportunity in scene four. It’s worth pointing out, too, that a banishment doesn’t have to be physical. A change of emotional or physical state can effectively put a person in a new world even though they don’t go anywhere. Thus a banishment can be anything from being divorced, to being sent to China, to growing antlers.

With this scene, as with all others, it’s best to try not to have the offers in the scenes be too prescriptive about what follows. We want to know that the protagonist has been ejected into an uncertain world, but we don’t want to know too much about what that world is just yet. Over describing future events creates expectations that it can be very hard for other improvisers to follow through on.

A checklist for the banishment scene goes like this:
  • Establish an ‘ordinary world’ that the protagonist inhabits--preferably an imperfect but tolerable one.
  • Try to establish strengths and a flaw for the protagonist.
  • End the scene with the protagonist being forced to leave the ordinary world.

Scene Two: The New World
Scene two establishes the world that the protagonist is going to be banished into. Players should aim to set this part of the story in a context that makes things as awkward for the protagonist as possible, given their flaw and what else we know about them. The scene introduces two characters who have a shared problem that they can currently neither escape nor solve.
The archetypes we use here are:

The Catalyst
The catalyst’s job is to symbolize trust, and to be the character with whom the hero is going to build a strong empathetic bond that that will allow them to change. Catalysts are often rescued, or are rescuers somewhere in the play. In many stories, this character is what you might think of as the ‘love interest’, but their role doesn’t need to be romantic. The catalyst looks for clean, positive solutions to problems. They generally have lower status in their opening scene, and their self talk goes something like this: ‘there has to be someone out there who can save us’.
Our Star Wars example would be Princess Leia

The Turncoat
The turncoat represents an ambivalence of trust. This character isn’t necessarily evil, and isn’t driven by a clear agenda. Rather, their moral position is unclear. They act as a foil to the catalyst by being ready to consider all manner of dubious solutions to the shared problem. They generally have higher status, and their self talk is: ‘what’s in it for me?’
A turncoat can start on the side of good and go bad, or start as deeply unreliable and become a strong force for good by the end of the play. Both choices work, so long as this character creates opportunities for the hero to feel uncertain and betrayed.
The Star Wars example is Han Solo.

Here’s a checklist for scene two:
  • Establish a new world that’s the worst place you can think of that the protagonist might end up.
  • Establish a problem that the catalyst and turncoat are stuck trying to solve together.
  • Make the moral difference in attitude between the catalyst and turncoat clear.
  • End the scene with one of the characters going off to try to pursue some solution to the problem.

Scene Three: The Plan
In this scene, any confusion or unresolved offers from the previous two scenes should be folded into a clear direction for the story. The scene focuses on a ‘nemesis’ outlining his or her plan for the world to their ‘henchman’.

The Nemesis or Antagonist
The nemesis is usually what we think of as the villain. Their job is to create trouble that will propel the story. This character almost always has the highest status in the play. Their self talk says: ‘Nothing will stop me from achieving my goal!’
Our Star Wars example is Darth Vader
Whereas the role of the nemesis in the story often ends up as that of a villain, as an improviser, this role requires giving a great deal of attention and support to the other players. Because the nemesis has so much power, they generally create the trouble that the other characters need to overcome. This means that the nemesis has to provide a large number of helpful offers that both keep the story on track and give the others something to work against.
It’s also worth saying that the nemesis doesn’t have to be evil. Many interesting plays feature characters in this role who have a fixed agenda, but are also empathetic to the audience, at least in part. The more that the force driving the nemesis is recognizable to the audience, the more nuanced the character will feel.

The Henchman
The henchman helps the nemesis achieve their goal. They act as the nemesis’s eyes, ears, and hands, and often feature more frequently in the play than the nemesis himself. Also the henchman role can be comprised of a large number of characters, all of which are potentially disposable. Their status is lower than that of the nemesis, but often high with respect to the other characters in the play. Their self talk goes: ‘Through you, I have purpose and value,’ where the ‘you’ in question is the nemesis.
The henchman role has a large amount of comic potential, but this should be used cautiously, as a completely ridiculous henchman is less able to make plausible trouble for other players.
Our Star Wars example is every storm-trooper that appears.

The plan revealed in this scene should ideally clarify the offers made in previous scenes and make sure that the choice of which scene defined the ‘new world’ clear to all, just in case something untoward happened in scenes one and two. Ideally, the plan heaps trouble onto the ‘new world’ developed in scene two, but does so in a way that happens to make matters worse for the protagonist, even though usually the Nemesis character doesn’t usually know of the protagonist’s existence.

Here’s a checklist for scene three:
  • Establish a plan.
  • Bind together the ideas raised in scenes 1 and 2 into a coherent whole.
  • Establish the objective that will drive trouble in the play.
  • End the scene with the henchman being sent off to advance the plan.


That’s it. By the time the third scene is over, players have pretty much all the information they need to create a compelling story. If you don’t believe me, come along to a workshop and watch it in action. Do note, though, that it takes some time to develop the skill of making full use of everything that these scenes reveal. As a starting point in developing this skill, improvisers should ask themselves the following two questions when the third scene is over.

How does this story end?
What is the resolution for each signifiant character we’ve created in the course of this play?

What’s the lowest point I can imagine for this protagonist?
How bad can we make it for our hero before he learns to change? This is important, because this is exactly where the play needs to be headed before real change can be revealed.

With these tools in your hands, creating great plays is a hell of a lot easier. But before I finish, here are a few other important things worth mentioning.

First, the archetypes described here aren’t the same as those you’ll encounter in any book on the Hero’s Journey. That’s because they’ve been derived from the principles of character function, rather than from storytelling tradition. That means that unfortunately, further information is hard to come by on the web.
The mapping between standard archetypes and the ones used here is roughly as follows:

Protagonist>Hero
Banisher>Combines elements of Herald and Mentor, but isn’t strictly either
Catalyst>Not really covered in Campbell-style archetypes
Turncoat>Has themes in common with the Shapeshifter
Nemesis>Shadow
Henchman>Has themes in common with the Herald and Threshold Guardian

Secondly, it’s worth reiterating that the V6H is a training tool. Keeping the first three scenes of a play to the same structure each time will eventually start delivering predictable work. Once the flavors of each archetype have been well understood, plays can and should be started in any way that takes the cast’s imagination. Assuming that you know which character fulfills which role simply because of what scene they happened to appear in will result in confusion, and should be avoided, particularly as characters can shift from one role to another.

Lastly, the archetypes raised in the V6H are applicable to a huge range of kinds of storytelling, from written fiction to screenplays. However, crafting non-improvised stories to open like a V6H won’t make your story as strong as it could be. Compromises have been made in the structure of the V6H to help improvisers gain a clear picture of what’s going on in the minimum number of scenes.

Hopefully this is all clear. There’s tons more to say, of course, but I’m out of steam for now. If anyone has questions or comments, I’d love to hear them.

Wednesday, March 10, 2010

Multiple Launches

Things here the Bay Area are starting to get interesting. Today I’ll have my second workshop with UC Berkeley grad students. Following that will be a series of seven more workshops for UC Berkeley open to grad students from all departments. I’m excited.

Meanwhile, on the other side of the bay, I’ve kicked off discussions with Olya Lapina of the excellent SFImprov group. Assuming that everything goes to plan, I’ll be running a two-year long-form improv development program with them that will result in a self-sustaining performance troupe. This should be a lot of fun. I’m thrilled at the idea of adding an archetypal improv team to San Francisco’s impressive pantheon of players.

Then, later in the spring, if things go well, I’ll be running two five-week communication skills workshop courses in Berkeley that’ll be open to the general public. This is all on top of some other splendid projects still in development. Notably, a possible one-day ‘basics of long form’ workshop with the marvelous San Francisco Comedy College. Looks like I'm going to be busy!

If you want to know more about any of these projects, just email me at *alex dot lamb at gmail dot com* and I will happily answer all questions.