{"id":20973,"date":"2017-08-11T00:53:39","date_gmt":"2017-08-10T14:53:39","guid":{"rendered":"http:\/\/www.campaignmastery.com\/blog\/?p=20973"},"modified":"2017-08-11T00:55:35","modified_gmt":"2017-08-10T14:55:35","slug":"elephant-gray-room-3","status":"publish","type":"post","link":"https:\/\/www.campaignmastery.com\/blog\/elephant-gray-room-3\/","title":{"rendered":"The Elephant In The Gray Room, Pt 3 of 5: Significant Repairs"},"content":{"rendered":"<div class=\"pps-series-post-details pps-series-post-details-variant-classic pps-series-post-details-54589\" data-series-id=\"317\"><div class=\"pps-series-meta-content\"><div class=\"pps-series-meta-text\">This entry is part 3 of 4 in the series <a href=\"https:\/\/www.campaignmastery.com\/blog\/series\/elephant-in-the-gray-room\/\">Elephant In The Gray Room<\/a><\/div><\/div><\/div><blockquote><div id=\"attachment_20975\" style=\"width: 420px\" class=\"wp-caption alignleft\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-20975\" src=\"https:\/\/www.campaignmastery.com\/blog\/wp-content\/uploads\/2017\/08\/blue-logo-element-1163038.jpg\" alt=\"\" width=\"400\" height=\"400\" style=\"border: 2px solid black\" class=\"size-full wp-image-20975\" srcset=\"https:\/\/www.campaignmastery.com\/blog\/wp-content\/uploads\/2017\/08\/blue-logo-element-1163038.jpg 400w, https:\/\/www.campaignmastery.com\/blog\/wp-content\/uploads\/2017\/08\/blue-logo-element-1163038-120x120.jpg 120w, https:\/\/www.campaignmastery.com\/blog\/wp-content\/uploads\/2017\/08\/blue-logo-element-1163038-360x360.jpg 360w\" sizes=\"(max-width: 400px) 100vw, 400px\" \/><p id=\"caption-attachment-20975\" class=\"wp-caption-text\"><strong>&#8216;blue logo element&#8217; from freeimages.com \/ A perfect1<\/strong><br \/>has only abstract relevance to this article, it&#8217;s a leftover alternative <a href=\"https:\/\/www.campaignmastery.com\/blog\/designing-zener-gate-rules\/\" target=\"_blank\">Designing A Game System (for the Zener Gate campaign)<\/a>.<br \/>That said, it still seems somehow appropriate&#8230;<\/p><\/div>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.campaignmastery.com\/blog\/wp-content\/uploads\/2017\/07\/The-Elephant-In-The-Gray-Room-Series-icon.jpg\" alt=\"\" width=\"200\" height=\"110\" style=\"border: 1px solid black\" class=\"alignright size-full wp-image-20858\" srcset=\"https:\/\/www.campaignmastery.com\/blog\/wp-content\/uploads\/2017\/07\/The-Elephant-In-The-Gray-Room-Series-icon.jpg 200w, https:\/\/www.campaignmastery.com\/blog\/wp-content\/uploads\/2017\/07\/The-Elephant-In-The-Gray-Room-Series-icon-120x66.jpg 120w\" sizes=\"(max-width: 200px) 100vw, 200px\" \/><\/p>\n<p>As long-time readers will know, I like to break up larger series, on the theory that any given subject will interest only part of the readership. On that basis, I&#8217;ve let this series lie fallow for a few weeks, but now it&#8217;s time to get back to it!<\/p>\n<p>The Elephant In The Gray Room is a metaphor to represent Plot Holes.<\/p>\n<p>These are matters of huge significance or importance that everyone is overlooking because they are not immediately obvious, but that once you see one, you can never forget that it&#8217;s there.<\/p>\n<p>This is a series about methods of fixing plot holes so that even when they get noticed, it&#8217;s just a spur to your creativity and not a complete calamity.<\/p>\n<p><strong>Part one<\/strong> introduced the topic and offered a system for determining how critical the problem was, and the concept of matching the severity of the solution to that measure of criticality (you can read it <a href=\"https:\/\/www.campaignmastery.com\/blog\/elephant-gray-room-1\/\" target=\"_blank\">here<\/a> if you need to get up to speed).<\/p>\n<p><a href=\"https:\/\/www.campaignmastery.com\/blog\/elephant-gray-room-2\/\" target=\"_blank\"><strong>Part two<\/strong><\/a> dealt with minor repairs, the sort of things you can do to handle small problems before they have time to metastasize into something nastier.<\/p>\n<p><strong>Part three<\/strong> &#8211; which you are about to read &#8211; deals with more serious repair techniques for plot holes of greater significance to the campaign in the medium term.<\/p>\n<p><strong>Part four<\/strong> &#8211; in a week or two &#8211; will deal with plot holes that lead to substantial structural problems. And <strong>part five,<\/strong> which will conclude the series, will deal with catastrophic problems and the critical repair techniques needed to correct them. And I hope you never need them &#8211; though, if you GM for long enough, the odds are that you will, eventually.\n<\/p><\/blockquote>\n<h3>Significant Problems need significant solutions. Or do they?<\/h3>\n<p>There were three factors involved in assessing plot hole significance: the damage to adventure potential within the campaign, the interval until the damage becomes obvious to players, and the extent to which the damage will persist and cause ongoing harm to the campaign.<\/p>\n<p>Clearly, if we&#8217;re talking about an assessment of &#8220;significant&#8221; then there are only a few combinations that fit the bill. Critical damage with a reasonably high persistence that is still some distance away, for example, or critical damage that won&#8217;t linger but that is on you <em>right now.<\/em><\/p>\n<p>In fact, it&#8217;s hard to think of any combination that falls into this category and doesn&#8217;t have one of those two factors &#8211; persistence or immediacy &#8211; at a high level, but not both.<\/p>\n<p>Of course, these are relative measures; a less-damaging plot hole that has either of these extremely high is about the same as a more-damaging plot hole when you have a small window to correct before the world comes crashing down.<\/p>\n<p>These are nevertheless important distinctions to make. The more time you have for a solution to take effect, the smaller the solution that you typically need to apply. Similarly, if the problem will only be important for a short period of time (no matter how significant the impact might be for that period), the less radical you are justified in being in terms of a solution.<\/p>\n<h3>Solutions from Part 2<\/h3>\n<p>Before you implement any of the significant solutions to be discussed later in this article, you really need to satisfy yourself that a lesser solution won&#8217;t do the job while inflicting less harm. So that&#8217;s my starting point: by revisiting the part 2 solutions and discussing them in this new context.<\/p>\n<ul>\n<h5>Minor Repair Technique #1: Ignore the problem<\/h5>\n<p>The simplest of solutions, but it&#8217;s probably not the best advice for more serious issues. Still, you can probably get away with this one for a while &#8211; so long as you don&#8217;t forget that there <em>is<\/em> a problem that needs to be resolved eventually &#8211; if the problem isn&#8217;t immediate.<\/p>\n<h5>Minor Repair Technique #2: Acknowledge and ignore<\/h5>\n<p>This is a technique that might be employed as a last resort in those cases where the damage is contained and not ongoing. Under any other circumstances, I would not even contemplate it.<\/p>\n<h5>Minor Repair Technique #3: Depth Of Character<\/h5>\n<p>This is a much better solution under most circumstances, but it only works when a character (probably an NPC) has done something for reasons that make no sense, or has suffered some critical failure of logic that was only recognized after the fact. In many respects, it&#8217;s the exact opposite of solution #2 &#8211; instead of paying minimal lip service to the anomaly, this really requires that you revel in it, flaunt it, and throw it in your players&#8217; faces. And, if you can twist the reaction to reinforce the normal personality and modus operandi of the character, so much the better. Here&#8217;s a couple of quick examples:<\/p>\n<blockquote><p>\n<em>&#8220;Have you ever been consumed by one of those midsummer madnesses, fallen utterly head over heels for some stranger? It&#8217;s an insanity that sneaks up on you from behind, consumes your soul, chews it up, and spits it back out.  For a brief moment, you will do anything in its service, no matter how ridiculous. You are quite literally not thinking straight. I <\/em>hate<em> it when that happens, and I told her never again &#8211; right before I threw her to the starving pit fiends.&#8221;<\/em><\/p>\n<p><em>&#8220;It must have been the CIA and their mind-control satellites, there&#8217;s no other rational explanation. They wormed their way into my thoughts when I wasn&#8217;t looking. Well, it will never happen again, I&#8217;ve had tinfoil surgically implanted to stop it!&#8221;<\/em>\n<\/p><\/blockquote>\n<p>As I said last time: Never be afraid to make your characters more interesting!<\/p>\n<h5>Minor Repair Technique #4: NPCs are humanoid, too<\/h5>\n<blockquote><p>\n<em>&#8220;I don&#8217;t know what I was thinking back then, to be honest. It still makes no sense to me, in hindsight. I must have been seduced by my own cleverness and forgotten what I was really striving for &#8211; a mistake that I will never make again, you may be sure.&#8221;<\/em>\n<\/p><\/blockquote>\n<p>As explained last time, this solution only works in a limited selection of circumstances &#8211; notably, where the PCs aren&#8217;t in a position to observe the appropriate reactions when the flaw in logic responsible becomes inescapably apparent to the NPC whose thinking was faulty.<\/p>\n<blockquote><p>\n<em>&#8220;I knew I should have paid more attention to lesson six in how to be a maniacal world-conqueror, but I wasn&#8217;t well that day. Don&#8217;t be so foolish as to expect a second lapse.&#8221;<\/em><\/p>\n<p><em>&#8220;For a brief moment, I couldn&#8217;t see the forest for the trees. Which is why, every morning since, I have recited my mantra of total dominion to remind myself of the bigger picture. You are the last and only witnesses to my failure, and it gives me just one more reason to see your existences snuffed out, erasing my humiliation forever!&#8221;<\/em>\n<\/p><\/blockquote>\n<h5>Minor Repair Technique #5: Retroactive Explanation<\/h5>\n<p>This solution is similar in scope to the primary solutions to be discussed today. The distinction is that in this case the explanation is simply dropped in as a sort of &#8220;sidebar&#8221; to the adventure, whereas something more substantial is made of the solutions that directly target more serious problems.<\/p>\n<p>When there is a trivial solution, this technique works &#8211; the caveats outlined last time remain very definitely in force: The Logic of the explanation has to hold up, and there has to be minimal domino effect, or some way of containing those ripples of continuity.<\/p>\n<h5>Minor Repair Technique #6: The Wisdom Of Players<\/h5>\n<p>GMs should never be afraid to confess their limitations &#8211; when you have a problem and can&#8217;t think of a solution, (1) crowdsource a solution, or (2) ask your players. There are two &#8211; no, three &#8211;  big benefits that make this worthwhile.<\/p>\n<p>First, players will be that much more tolerant when <em>they<\/em> spot a flaw in your designs, and more willing to overlook them for the sake of the campaign. Second, they will often think of solutions that would never have occurred to you in a million years, enriching the campaign. And third, it provides another avenue for the players to invest in the campaign, making them value it that much more. Compare that to the effect of being perceived as stubborn and standoffish to the point of bloody-mindedness, unwilling to dilute your &#8220;vision&#8221; even when it&#8217;s obviously flawed, and unwilling to let the players participate in the campaign beyond their assigned roles, and the choice becomes rather obvious, doesn&#8217;t it?<\/p>\n<p>If I get to choose between being perceived as a flawed human being doing his best to entertain the players who have chosen to invest their time in me, or a broody, prickly, prima donna, I&#8217;ll take door number one, every time, and without hesitation.<\/p>\n<p>I described the technique very clearly last time out, so I&#8217;m just going to quote from that:<\/p>\n<blockquote><p>\nDuring general chatter before play starts, simply mention that you&#8217;ve spotted a plot hole and are fishing for solutions, then describe the problem in terms of what the players already know (and not revealing anything that they don&#8217;t know from in-play). Then just sit back and listen.<\/p>\n<p>Of course, you are aware of constraints that the players aren&#8217;t; you know parts of the story that they aren&#8217;t. So you might not get anything usable. Or you might get a brilliant idea. I use those parts of the story that the players don&#8217;t yet know as filters for selecting the best answer.<\/p>\n<p>At the same time, anything that hasn&#8217;t been revealed in-game yet is subject to revision as necessary, and there have been one or two occasions when I have, on the basis of the discussion, completely junked the planned adventure in favor of something similar (i.e. cannibalizing whatever has been prepared) that incorporates their solution.\n<\/p><\/blockquote>\n<p>I also offered an on-the-spot variation that is probably not appropriate to the scale of problem under discussion today, but just in case:<\/p>\n<blockquote><p>\nIf I become aware of a plot hole in the middle of play, I have even simply pointed it out in-game as something that doesn&#8217;t make sense to the PCs, sometimes after a die roll, to make it seem as though <em>I<\/em> was prepared for it to happen, even expected it and had done it all deliberately, improvising the rest of the day&#8217;s adventure before formalizing the plot developments between game sessions.\n<\/p><\/blockquote>\n<\/ul>\n<p>And so we come to the meat of today&#8217;s solutions. There are three of them, and once you&#8217;ve read them, you&#8217;ll understand why they are not to be utilized for more trivial problems of plot logic and continuity.<\/p>\n<h3>Significant Repair Technique #1: A New Plot Device<\/h3>\n<p>The least severe solution in many respects, this involves complicating <em>everything<\/em> in the campaign, which is a rabbit that can only be pulled out of your hat so many times before the campaign becomes unworkably tangled and falls over from being too top-heavy with complexity.<\/p>\n<p>It involves introducing a new plot device that explains the anomaly. A new villain who has been lurking behind the scenes and using some form of mind control to distort his rivals&#8217; thinking at key moments, for example. Or some tactical consideration that the PCs weren&#8217;t even aware of.<\/p>\n<p>Such solutions always remind me of the metaphoric premise of the Belgariad: a child throws a stone which flies off in the wrong direction and is about to break someone&#8217;s window. If you move quickly enough, and can throw fast enough and accurately enough, you might be able to throw a second stone to deflect the first. The new plot device that you are introducing is just such a &#8220;second stone&#8221;, and its purpose is to make your plotline structurally robust. Another metaphor might be reinforcing the damaged foundations of a building before subsidence makes it uninhabitable.<\/p>\n<p>Get it right, and all is well; get it wrong, and you may do more damage than the original problem would have caused, or accelerated the onset of critical damage.<\/p>\n<p>Restricting the vast field of possibilities to the right ones is achieved by requiring the possible plot device to satisfy a number of constraints.<\/p>\n<ul>\n<h5>Constraint One: Lack of at-the-time detection<\/h5>\n<p>The place to start is always to assume that the players don&#8217;t know the whole story, and anyone who briefed them either suffers from the same shortcoming or <em>deliberately lied or withheld the information, in such a way that the PCs could not detect the distortion of truth.<\/em><\/p>\n<p>Always remember that: if the PCs didn&#8217;t notice the &#8220;new plot device&#8221; at the time, or have it brought to their attention, there has to be a reason for that failure. Only plot devices whose lack of discovery at the time can be explained are suitable as solutions to the problem.<\/p>\n<h5>Constraint Two: Intersections with subsequent events<\/h5>\n<p>The second constraint is that there must have been no opportunity for the plot device to have affected in-game events since the initial manifestation being contemplated. Having a character who logically should have been able to act, logically would have acted, and whose action would have been noticeable, <em>but who did not act,<\/em> is just as big a plot hole. However, because less is established in-game about this new plot device, you have greater operational freedom, so this may replace one problem with another <em>that is more easily patched or repaired.<\/em><\/p>\n<p>It&#8217;s all well and good to postulate some hitherto-unnoticed conspiracy to explain a past plot hole, but the question always then becomes, &#8220;what have they been up to, since then?&#8221;<\/p>\n<p>This can be an opportunity, however &#8211; are there <em>other<\/em> plot holes that can be resolved with the same plot device? Is it, in fact, &#8216;an elephant in the room&#8217; that no-one has noticed? Sometimes, a GM can discover that he has subconsciously been building another plotline into his campaign that not even he was aware of!<\/p>\n<h5>Constraint Three: Lack of subsequent detection<\/h5>\n<p>Why has no-one noticed the existence\/presence of the plot device since that original intervention? More specifically, why haven&#8217;t the PCs noticed? Did they make an assumption at the time that appeared correct, but is rendered inaccurate by the existence of this plot device? What other decisions have they made based on that assumption? Were these decisions incorrect, and if so, why didn&#8217;t they notice? Has someone been <em>using<\/em> the PCs for their own purposes?<\/p>\n<h5>Constraint Four: Impeccable Logic<\/h5>\n<p>Occam&#8217;s Razor states (in essence) that the explanation that requires the fewest assumptions and explains the whole of the observed phenomenon is more likely to be true than any alternative. Scientific history is full of explanations that were adequate for their time but that needed to be modified or even rejected completely when new phenomena were observed that were not explained adequately by the accepted explanation.<\/p>\n<p>In a way, that&#8217;s the sort of exercise that is being embarked upon with the introduction of a new plot device. The GM has noticed a phenomenon that was not adequately explained by existing explanations of the situation and is postulating a new assumption or theory to repair the explanation. It is therefore absolutely essential that the new interpretation of events does, in fact, adequately explain what happened at the time.<\/p>\n<p>There is a certain degree of fuzziness about the whole thing that can be used to the GM&#8217;s advantage: the &#8220;human error&#8221; factor applies here. The NPC who made the mistake for which the GM is seeking to provide a rational explanation may have noticed or acted in response to the new plot device but misinterpreted or misjudged the sensitivity of the phenomenon. Just because it might be possible for a &#8220;hidden rival&#8221; to take advantage of the NPCs actions, causing the NPC to altar his planning, doesn&#8217;t mean that the necessarily would have been able to convert that theoretical possibility into a real benefit. Or, if it offered an advantage that the NPC was hoping to take advantage of or acquire, he might not have been successful in obtaining that benefit &#8211; little pleases a player more than learning that his PC not only blocked the plans they were aware of, they also spoked the enemy&#8217;s wheel in the plans they <em>weren&#8217;t<\/em> aware of!\n<\/ul>\n<p>Any solution that satisfies those four constraints is suitable, but may not be <em>desirable.<\/em> If you&#8217;re lucky, there may be several possibilities to choose from. How you choose which one to implement is up to you, but questions relating to the long-term impact on the campaign of the new plot device, entertainment value, and personal preference should be your guides. In particular, you need to think about how the whole situation will come out &#8220;into the open&#8221;.<\/p>\n<p>There are a number of options:<\/p>\n<ul>\n<li><strong>PC discovery (bespoke adventure):<\/strong> A PC &#8220;discovers&#8221; the plot hole following clues and breadcrumbs set before them by the GM. This works especially well if you have a new PC studying the past exploits of his compatriots. This leads into an adventure for the sole purpose of exposing\/containing\/eliminating the plot device, repairing the damage to the campaign.<\/li>\n<li><strong>PC discovery (drop-in scene):<\/strong> It might be that the PCs don&#8217;t need to take any such action; a dedicated scene or two may be added to another adventure and be sufficient. For example, if the plot device was a hidden ally to the PCs, having the NPC who was affected open his next appearance by smashing that hidden ally makes perfect sense. This would obviously have been the point at which the original plot hole would have become obvious, so applying the solution at that point works perfectly and has a certain elegance. Employing some metagame logic, It might be that if the PCs had spotted the plot hole sooner, they might have been able to save that ally &#8211; a nice way to up the ante while replacing a plausibility hole with a realism enhancement!<\/li>\n<li><strong>NPC revelation (drop-in scene):<\/strong> If you can write in an opportunity for the NPC affected by the plot hole to monologue as part of hid next appearance, you can have him gloating about &#8216;solving the problem&#8217; or lamenting his failure to achieve his hidden side-goal &#8211; effectively casting the &#8216;solution&#8217; in the past tense. This also enhances the realism of the campaign by implying that there are things going on behind the scenes that the PCs may not be aware of, again turning a liability into an asset.<\/li>\n<li><strong>NPC revelation (bespoke adventure):<\/strong> If the situation is dramatic enough, it can justify incorporating a new appearance\/plot by the affected NPC purely as a vehicle to give him the opportunity to deliver a drop-in scene as described above. The only danger comes from the PCs being able to implement some sort of &#8216;permanent solution&#8217; to the problem of the NPC &#8211; you want this to be a standalone episode that essentially restores the status quo to what the players already thought it was.<\/li>\n<li><strong>Plot Device Becomes A Factor (drop-in scene):<\/strong> So far, the implementation methods described all focus on writing out the plot device as completely as possible, it&#8217;s &#8216;work&#8217; (in campaign terms) done. The alternative is for the GM to embrace it, and make it an ongoing background element within the campaign, and the best way to do that is for the plot device to make an overt difference in an already-planned adventure, thereafter being a factor that everyone has to take into account. The PCs can then realize, after the fact, that it&#8217;s been &#8220;playing a part&#8221; behind the scenes for some time. Obviously, this enriches the campaign &#8211; but its easy to have too much of a good thing, so this is not an approach to employ every time. In fact, I tend to reserve it for plot devices that can&#8217;t rationally be written out easily and naturally.<\/li>\n<li><strong>Out In The Open (bespoke adventure):<\/strong> The final method is to embrace the plot device so completely that a new adventure is required simply to bring it out into the open (from the PCs point of view). This is the most dramatic technique, and should be reserved for cases in which the plot device enhances the drama, or merits it. The extent to which the plot device then becomes an ongoing element within the campaign depends on the circumstances and the outcome of the adventure. Revealing that the PCs have had a hidden ally helping out behind the scenes all this time and then taking that ally away is a great way of upping the ante going forward!<\/li>\n<\/ul>\n<h3>Significant Repair Technique #2: Historical Event Narrative Revisit<\/h3>\n<p>I&#8217;ve only employed this solution once or twice, and only in the most extreme of circumstances &#8211; when a past adventure has been so totally corrupted by one or more plot holes that the only solution is to rewrite it completely, but in which there is limited exposure to future campaign events caused by domino ripples, or when those future ripple effects justify the correction immediately..The PCs, of course, get to keep any experience they earned the first time around, but this is a genuine retcon in which a part of their past is rewritten in the form of a short story.<\/p>\n<p>It takes time to write, much longer than it does to play. It took me eight weeks, from memory, or maybe it was twelve, to write <a href=\"https:\/\/www.campaignmastery.com\/blog\/if-i-should-die-before-i-wake\/\" target+_blank\">If I Should Die Before I Wake<\/a>, which was supposed to be two or three double-sessions of play &#8211; call it about 24 hours worth of play. That was weeks of writing at least six hours a day. On top of the difficulties of characterization that were described in the &#8220;afterword&#8221; article section of that post, I had to work out how I thought the characters would function and interact based on the personalities of the <em>players<\/em> (I got a lot of kudos from them when they read it at getting most of that right).<\/p>\n<p>I only pull this weapon out of my toolkit when there is some reason why it can&#8217;t be roleplayed <em>effectively.<\/em> It&#8217;s no fun for the players to sit and listen to the GM for hour after hour, for example &#8211; so the <a href=\"https:\/\/www.campaignmastery.com\/blog\/series\/orcs-elves\/\" target=\"_blank\">Orcs and Elves series<\/a> content had to be in narrative form and presented outside the game itself (the original plan was to be a lot less comprehensive and deliver a much smaller block of information in-game, then let the players read the more substantial version for &#8220;the full story&#8221;) &#8211; a &#8216;full story&#8217; that remains untold to this day; I got through the critical parts that the players needed to know and then took the decision, on reflection, to end the series, because it simply wasn&#8217;t as popular as the more usual standalone articles. Will I ever return to it? Maybe, but not at the expense of the usual posts.<\/p>\n<p>That&#8217;s a factor that needs to be taken into account &#8211; how much time do you have, and how much time do you need? I discussed the sort of scheduling that you need to implement in <a href=\"https:\/\/www.campaignmastery.com\/blog\/plus-n-to-longevity\/\" target=\"_blank\">Game Prep and the +N to Game Longevity<\/a>, but that technique presupposes that you have some sort of reasonable baseline from which to estimate <em>realistically<\/em> how long things will take.<\/p>\n<p>Writing prose is also a learned skill. It&#8217;s not <em>quite<\/em> the same as writing an RPG adventure &#8211; the players make a difference, and so do the things you need to do in order to accommodate player freedoms. Some of these differences can make the prose process faster, some make it slower. The more practice you have, the faster you can do it, and the less time you will usually need for revision and rewriting.<\/p>\n<p>The bottom line is this: you may have enough time to do the job, or you may not, and you won&#8217;t know until the deadline begins to loom. That&#8217;s where the development process that I describe in <a href=\"https:\/\/www.campaignmastery.com\/blog\/one-word-at-a-time\/\" target=\"_blank\">One word at a time: How I (usually) write a Blog Post<\/a> (and everything else) comes into it&#8217;s own. If you have the plot broken down into a bullet-point synopsis, you can at least present <em>that;<\/em> and, as you go, you get a clear measure of progress. It&#8217;s not perfect; three bullet-points became 20 chapters of the Orcs and Elves series, for example. But, if half-way through the time available, you aren&#8217;t at least 1\/3 of the way through the task (allowing for a substantial increase in pace as you proceed), you can state fairly confidently that you aren&#8217;t going to get there in time and need a plan &#8216;B&#8217;.<\/p>\n<p>You do have a &#8216;Plan B&#8217;, right? Because if you don&#8217;t, you can find that your crisis has escalated.<\/p>\n<h3>Significant Repair Technique #3: A Corrective Scene or Encounter<\/h3>\n<p>This solution down-sizes the concept of &#8220;a new plot device&#8221; to a retcon that can be dealt with in a single scene or encounter.<\/p>\n<p>The restrictions, conditions, and caveats described earlier all still apply. The retcon scene can either be written as narrative or roleplayed, but it&#8217;s really hard for a player to recapture his frame of mind <em>unless the problem and retcon take place immediately, i.e. the game session after the plot hole occurred at the latest. So, most of the time, you&#8217;re talking about a literary retcon, but one on a more manageable scale than rewriting the whole adventure.<\/p>\n<p>Typically, you&#8217;ll need to frame the rewrite with a synopsis of what had happened up to the point of the retcon at the start and a synopsis of what happened afterwards <\/em><em>and how it impacts the outcome through the rest of the adventure.<\/em> The best choices of retcon are those that have <em>no<\/em> impact on the rest of the plot, they simply correct the sequence in which the NPC acted out of character or made a fundamental mistake in logic.<\/p>\n<h3>These solutions won&#8217;t solve every problem of this scale<\/h3>\n<p>While it&#8217;s true that you can sometimes solve a serious problem with a smaller-scale solution, there are also occasions when you have to unlimber more powerful tools. Those will be the subject of the next article in the series.<\/p>\n","protected":false},"excerpt":{"rendered":"<div class=\"pps-series-post-details pps-series-post-details-variant-classic pps-series-post-details-54589 pps-series-meta-excerpt\" data-series-id=\"317\"><div class=\"pps-series-meta-content\"><div class=\"pps-series-meta-text\">This entry is part 3 of 4 in the series <a href=\"https:\/\/www.campaignmastery.com\/blog\/series\/elephant-in-the-gray-room\/\">Elephant In The Gray Room<\/a><\/div><\/div><\/div><p>As long-time readers will know, I like to break up larger series, on the theory that any given subject will interest only part of the readership. On that basis, I&#8217;ve let this series lie fallow for a few weeks, but now it&#8217;s time to get back to it! The Elephant In The Gray Room is [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[29,180,67,83,70,84,288,74,188,89,12,297,91,13,85,87,298,299,86,95,88,96,81],"tags":[151,106,155,116,172,286,218,137,283,223,165,232],"series":[317],"class_list":["post-20973","post","type-post","status-publish","format-standard","hentry","category-campaign-management","category-cyberpunk","category-dnd","category-fantasy-games","category-gm-ing","category-horror-games","category-metagame","category-mike","category-mystery-detective-games","category-npcs-etc","category-pcs","category-pirateswashbuckling-games","category-plans-and-prep","category-players","category-pulp-games","category-sf-games","category-spy-secret-agent-games","category-steampunk","category-superhero-games","category-tools","category-cowboy-games","category-write","category-zenith3","tag-campaign-admin","tag-campaign-background","tag-dd","tag-game-mastery","tag-npcs","tag-opinion","tag-pathfinder","tag-plausibility","tag-players","tag-sci-fi","tag-tools-techniques","tag-writing","series-elephant-in-the-gray-room"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/p1toiD-5sh","jetpack_sharing_enabled":true,"jetpack-related-posts":[],"jetpack_likes_enabled":true,"_links":{"self":[{"href":"https:\/\/www.campaignmastery.com\/blog\/wp-json\/wp\/v2\/posts\/20973"}],"collection":[{"href":"https:\/\/www.campaignmastery.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.campaignmastery.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.campaignmastery.com\/blog\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.campaignmastery.com\/blog\/wp-json\/wp\/v2\/comments?post=20973"}],"version-history":[{"count":9,"href":"https:\/\/www.campaignmastery.com\/blog\/wp-json\/wp\/v2\/posts\/20973\/revisions"}],"predecessor-version":[{"id":20983,"href":"https:\/\/www.campaignmastery.com\/blog\/wp-json\/wp\/v2\/posts\/20973\/revisions\/20983"}],"wp:attachment":[{"href":"https:\/\/www.campaignmastery.com\/blog\/wp-json\/wp\/v2\/media?parent=20973"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.campaignmastery.com\/blog\/wp-json\/wp\/v2\/categories?post=20973"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.campaignmastery.com\/blog\/wp-json\/wp\/v2\/tags?post=20973"},{"taxonomy":"series","embeddable":true,"href":"https:\/\/www.campaignmastery.com\/blog\/wp-json\/wp\/v2\/series?post=20973"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}