[PTA ] how to prep for sessions

[Ignotus]

I bought PTA at gencon a couple of years ago, and ran it last year.  Things didn't go too well.  I put it away on my bookshelf, but now, having just finished s2 of the Wire and starting s1 of Battlestar Galactica, I've developed a hankerin' for some TV show rpg goodness.  I've been thinking about why my previous attempt at running PTA was so dissatisfying, and I think that a big part of it was that I didn't really understand my role as producer.

Let's say the show is something like Buffy.  Buffy being all about supernatural-menace-as-metaphor-for-high-school-problems, I presumably provide a monster and a personal problem related to the issue.  Now we have all these scenes - investigating, researching, and fighting the monster - what do we do with them?  On the one hand, there's no real dramatic payoff to failing at investigating, research, or even fighting (sometimes).  Should I simply encourage people to find a way to make these scenes about internal conflict?  I worry that if I do that the game will feel railroaded and empty.  On the other hand, pointless conflicts won't accomplish anything either.  When should the conflict in the scene be like what it would be in a tradiitonal rpg (fighting or spotting or diplomatizing), and when should it be something hidden and issue-related?

In a traditional rpg, I feel comfortable coming to the table with a prepped "adventure" of sorts, knowing that the players will blow it up, and I'll roll with the punches, and story will happen (or at least a low-fat story alternative).  With the players constrained by genre conventions and buoyed by plot accomplishments given without a fight for dramatic reasons, it feels like I'm just making up the story.  What should PTA session prep and the producer's plans in-game look like for a PTA game with a focus on plot and external antagonists?

[Alan]

1. Remember what the group said when you all designed the show together.
2. Remember what the player of the spotlight character has said about his/her character's developement.
3. Note what the spotlight character's Issue is.
4. Brainstorm a challenge or conflict that affects all protagonists _and_ pulls the spotlight issue.
5. Visualize your opening scene and make a few notes.
6. Make notes about what 2 or 3 supporting characters connected to the spotlight protagonist might do.
7. Write down some cool twists that might happen during the episode.
8. Play game.

PTA works best with a minimum of preparation and definately no "must happen" scenes.

Oh, an often forgotten rule: Players propose the scene's purpose, but the Producer frames them. I hear that the player saying "this is the scene where ..." is a technique that works.

[REkz]

1. Remember what the group said when you all designed the show together.
2. Remember what the player of the spotlight character has said about his/her character's developement.
3. Note what the spotlight character's Issue is.
4. Brainstorm a challenge or conflict that affects all protagonists _and_ pulls the spotlight issue.
5. Visualize your opening scene and make a few notes.
6. Make notes about what 2 or 3 supporting characters connected to the spotlight protagonist might do.
7. Write down some cool twists that might happen during the episode.
8. Play game.

Nice instructions!!  I'd change the word 'remember' to 'review', ie before every show producer can restate setting and plot arc, then all players can remind everyone of their char's issue.
re: #4 -- when I am 'producer', I use all players as a resource.  If I'm stuck for a show premise, I ask other players what they'd like to see, and we might discuss the general issues that might get tossed around in this show.  We don't discuss how they will resolve, more that we'd like to dig deeper into these areas.  Also, when a Player's turn comes up, they lay out where the scene is, who's there, what's going on/premise ... and it just flows like water.
re: #5 -- the best opening scene in my games is one that is somehow repeated in all shows, like a murder in a detective show, or a spotlight character having a memory flashback, or similar.
re: notes & writing -- I never took notes in this game EVER -- EXCEPT for writing NPC's names, motivations, and setting names & ideas.  Over time, those started to grow and develop, so I tried to remember their aspects.

PTA works best with a minimum of preparation and definately no "must happen" scenes.
Oh, an often forgotten rule: Players propose the scene's purpose, but the Producer frames them. I hear that the player saying "this is the scene where ..." is a technique that works.

No must happen scenes, but remind players they 'refresh their Traits' when they have a scene in their home setting.

Also, sometimes my Players would start really fleshing the scene out and getting into the Producer role.  I sometimes would let them start and get all jazzed, and then I'd take it over in a handoff.

The Producer role is very interesting b/c players get to do a lot of story telling when they win a conflict.  Producers should expect this and be open to it.