Stabilising the platform

Platforms represent stability and normality.

Tilts introduce instability, uncertainty, disorder, and danger.

Stories end when the tilted platform is stabilised (and the danger and uncertainty are resolved).

How do you stabilise a platform?

To stabilise a platform, characters must adapt to new circumstances.

  • If they adapt successfully, the story might have a happy ending.
  • If they fail to adapt, then... maybe not.

For example, in The Fisherman and His Wife, the platform has the couple living in their shack.

They're not especially happy, but their life is stable:

Once upon a time there were a fisherman and his wife who lived together in a shack that was so filthy it might as well have been a pisspot. Every day the fisherman went out to fish, and he fished and he fished. One day he sat there looking down into the clear water, and he sat, and he sat, and his line went all the way down to the bottom of the sea. And when he pulled it out, there was a great big flounder on the hook.

The platform tilts when the fish grants the wife's wish for a nicer cottage.

Suddenly, the characters are tipped into a new reality where their wishes can be granted:

The flounder came up and said, "Well, what does she want?"

"Oh, there you are. Well, it's not my idea, you understand, but what she says is I should have asked you to grant a wish. And she told me what to wish for. She says she's tired of living in a shack like a pisspot, and she wants to live in a cottage."

“Go home," said the flounder. “She's got her wish already."

The fisherman went home, and there was his wife standing in front of a neat little cottage.

“There!” she said. "Isn’t that better?"

How will these characters adapt to this new reality?

One possibility, if they were both satisfied with the new cottage, is they could carry on with their lives and live happily ever after.

Alternatively, one of them might realise they could get more wishes out of the situation:

Everything was fine for a week or two. Then the wife said, "Listen to me. This cottage is too small. I can barely turn around in the kitchen, and as for the garden, half a dozen steps and you've reached the other side. It's not good enough. That flounder could have given us a bigger place if he'd wanted to, it's all the same to him. I want to live in a palace all made of marble. Go back and ask him for a palace."

"Oh, wife," said the man, "this is good enough for us. We don't want a palace. What would we do in a palace?"

"Plenty of things," said his wife. "You're a defeatist, that's what you are. Go on, go and ask for a palace."

"Oh, dear, I don't know . . . He's just given us the cottage. I don't want to bother him again. He might get angry with me."

"Don't be so feeble. He can do it. He won't mind a bit. Go on."

The fisherman felt bad about it. He didn't want to go at all. "It's not right," he said to himself, but he went anyway.

Both of these characters are trying to adapt to the tilt.

However, no matter what they do, they can't quite stabilise the platform:

  • The wife becomes more dissatisfied and ambitious, making ever-larger wishes
  • The fisherman becomes more distraught and afraid

Until, finally, the wife demands to be made God:

"I want to be God. I want to cause the sun and the moon to rise. I can't bear it when I see them rising and I haven't had anything to do with it. But if I were God, I could make it all happen. I could make them go backwards if I wanted. So go and tell the flounder I want to be God."

He rubbed his eyes and looked at her, but she looked so crazy that he was scared, and got out of bed quickly.

"Now!" she screamed. "Go!"

"Oh, please, wife," begged the poor man, falling to his knees, "think again, my love, think again. The flounder made you emperor and he made you pope, but he can't make you God. That's really impossible."

She flew out of bed and hit him, her hair sticking out wildly from her head, her eyes rolling. She tore off her nightdress and screamed and stamped, shouting, "I can't bear it to wait so long! You're driving me insane! Go and do as I tell you right now!"

The fisherman tugged on his trousers, hopping out of the bedroom, and ran to the seashore. There was such a storm raging that he could hardly stand up against it. Rain lashed his face, trees were being torn up from the ground, houses were tumbled in every direction as great boulders came flying through the air, torn off the cliffs. The thunder crashed and the lightning flared, and the waves on the sea were as high as churches and castles and mountains, with sheets of foam flying from their crests.

The story can't go any further: the wishes can't get any bigger, the sea can't get any more dangerous.

Either the wife will become God and rule the platform...

Or the fish shuts it all down and puts the couple back in their shack:

“What does she want?”

“Well, you see, she wants to be God.”

“Go home. She’s back in the pisspot.”

And so she was, and there they are to this day.

So this whole story models two characters attempting to adapt to a world in which wishes come true.

And the story ends when the couple conclusively fails to adapt.

They push it too far, anger the fish, and lose all their gains.

But it could have been worse! At least the original platform is restored.

First, a platform is stable; that doesn't mean it's good! From a character's point of view, a platform can be:

  • Good
  • Bad
  • Neutral

After being tilted, a platform can either:

  • Return to its original state
  • Settle into a new state
  • Remain endlessly unstable
  • Be destroyed entirely

In the process of trying to find stability, characters can either:

  • Adapt to the tilt and thrive/survive
  • Fail to adapt and suffer/die

And in adapting, characters can either:

  • Change in some deep way—become more wise, kind, generous, brave, patient, humble, cruel, corrupt, or...
  • Use their innate qualities to solve problems and set the platform right (common for tricksters and action heroes)

And remember, adaption is not a one-off action; it's usually an ongoing process throughout the story.

In many ways, adaptation is the story.

We can also look at adaptation as a learning journey for the characters.

Typically, characters begin with certain knowledge and beliefs about the world that fail after the tilt.

The story is then about how the characters learn the knowledge, beliefs, and behaviours needed to adapt to their new situation.

Dramas often end with the platform permanently altered and characters having more or less successfully adapted to the change.

For example, in Walk Two Moons:

  • The opening platform is good, with Sal, the young narrator, happily growing up on a farm in Kentucky.
  • The platform is tilted when Sal's father takes her to live in suburban Ohio.
  • This tilt destabilises Sal's environment and her relationships, especially with her father, all established in the first few pages.

(It's worth noting that the tilt is triggered by a series of preceding interruptions which are later revealed in backstory: Sal falls from a tree, breaks her leg, and is carried home by her pregnant mother; her mother has a miscarriage, then develops depression; finally, her mother goes on a road trip, but is killed in a car accident—prompting the move that opens the story.)

Gramps says that I am a country girl at heart, and that is true. I have lived most of my thirteen years in Bybanks, Kentucky, which is not much more than a caboodle of houses roosting in a green spot alongside the Ohio River. Just over a year ago, my father plucked me up like a weed and took me and all our belongings (no, that is not true—he did not bring the chestnut tree, the willow, the maple, the hayloft, or the swimming hole, which all belonged to me) and we drove three hundred miles straight north and stopped in front of a house in Euclid, Ohio.

"No trees?" I said. "This is where we're going to live?"

"No," my father said. "This is Margaret's house."

The front door of the house opened and a lady with wild red hair stood there. I looked up and down the street. The houses were all jammed together like a row of birdhouses. In front of each house was a tiny square of grass, and in front of that was a thin gray sidewalk running alongside a gray road.

"Where's the barn?" I asked. "The river? The swimming hole?"

"Oh, Sal," my father said. "Come on. There's Margaret." He waved to the lady at the door.

"We have to go back. I forgot something."

The lady with the wild red hair opened the door and came out onto the porch.

"In the back of my closet," I said, "under the floorboards. I put something there, and I've got to have it."

"Don't be a goose. Come and see Margaret."

I did not want to see Margaret.

Sal's first response is to resist her new circumstances and get away.

Gradually, Sal adapts and learns, and the story ends with the original platform restored—but Sal's character growth has made the platform even better:

Ben and Phoebe and Mrs. Cadaver and Mrs. Partridge are all coming to visit next month. There is a chance that Mr. Birkway might come as well, but Phoebe hopes not, as she does not think she could stand to be in a car for that long with a teacher. My father and I have been scrubbing the house for their visit. I can't wait to show Phoebe and Ben the swimming hole and the fields, the hayloft and the trees, and the cows and the chickens. Blackberry, the chicken that Ben gave me, is queen of the coop, and I'll show Ben her too. I am hoping, also, for some blackberry kisses.

But for now, Gramps has his beagle, and I have a chicken and a singing tree, and that's the way it is.

Huzza, huzza.

The platform has been restored (Sal and her Dad return to the farm) but it has also been improved (they have healed from the trauma of Momma's death, and Sal has integrated her new relationships from Ohio).

Stabilising platforms in Frankenstories

Because Frankenstories are usually written quickly and under pressure, players rarely have time to develop a full platform–tilt–adapt–stabilise cycle. For example: 

However, if players are quick, it's possible to both tilt and stabilise a platform in the same game. For example:

  • In Everything Tastes Like Chicken, Heinrich fails to adapt and gets baked into a schnitzel as a result (having characters die is the easiest way to stabilise a platform).
  • While in Sparkleshorts, the narrator's platform is tilted by a flash of inspiration, forcing them to adapt to creative and commercial pressures, and ultimately thriving with a new platform.

Despite the pressures of time and space, it's worth practicing stabilising platforms so that players know what they're aiming for (plus it's a useful skill in longer stories).

Framing for students

  • Tell players the goal of this game is to establish and tilt a platform, then show how a character stabilises it, making it either:
    • better
    • the same as before, or
    • worse.
  • Encourage players to write at a summary level, don't get too bogged down in detail. (Can be hard to resist!)
  • In R2, encourage players to go for a big, bold tilt to give everyone material to work with.
  • In R3, remind players what type of resolution they should be working towards.
  • Adapt means "main character tries to adapt to their new circumstances"—it's a process, and they don't necessarily succeed.

Game 1: Better

Character adapts and establishes new and improved platform:

  • R1: Establish platform
  • R2: Tilt
  • R3: Adapt
  • R4: Adapt
  • R5: Stabilise 

Focus on the idea that the main character cannot cope in the new situation unless they learn to do something differently—what is that in this story?

Demo game: Gregore and Chips

Game 2: Same

Character adapts and restores original platform:

  • R1: Establish platform
  • R2: Tilt
  • R3: Adapt
  • R4: Adapt
  • R5: Restore

The challenge is doing this without immediately cancelling the tilt and making it pointless.

The main character has to put some work in (e.g. through brains, brawn, relationships, comedic rigidity, etc).

There are a variety of permutations:

  • Was the original platform good or bad? 
  • Did the character change or stay the same?

Demo game: Tickled by Tentacles: Another Fine Adventure with Captain Mango

Game 3: Worse

Character fails to adapt and ends trapped in bad new platform:

  • R1: Establish platform
  • R2: Tilt
  • R3: Adapt
  • R4: Adapt
  • R5: Fail (but not die!)

In this version, don't let the main character die!

You want to feel like the characters have run out of options and are now trapped an unhappy new reality.

Game 4: Dead

Character tries to adapt, but dies:

  • R1: Establish platform
  • R2: Tilt
  • R3: Adapt
  • R4: Adapt
  • R5: Die

The trick here is to make it seem like the character is succeeding, only to be caught out at the end.