This post originally appeared on DyingEarth.com between 2004 and 2007.
A column on roleplaying
by Robin D. Laws
For the past couple of installments we’ve been examining investigative scenario construction from a macro perspective, mostly looking at the way scenes interact with one another. This time let’s zoom in a bit and talk about a couple of other narrative devices you can use to add spice to the basic mystery format.
From the investigator’s point of view, any mystery can be seen as a set of possibilities, which through probing, legwork and the occasional confrontation with interesting danger, is eventually narrowed to the truth. It is a process of elimination. In any investigative scene, the characters separate what might have happened from what did. Especially in the opening scenes of a scenario, they’ll be busily ruling out suspects, motives and methods.
From the players’ point of view, it is the various competing possibilities that make the mystery into an interesting puzzle.
To create a mystery, first decide what it is that the characters are investigating: a murder, theft, kidnapping, mysterious apparition, whatever.
GMs enjoy an advantage over mystery writers. They often don’t need to create red herrings, because the players create them for them. Players love to speculate, frequently generating wildly off-base explanations to connect what little information they have available to them. Sometimes this slows the action down, and you’ll have to remember to rein them in and suggest that they collect more facts before attempting to reconstruct events.
However, sometimes you’ll find yourself wanting to add complexity to the storyline, rather than subtracting it. There are two ways to build red herrings into your adventures.
The first is preplanned, as you create the scenario. After you work out what really happened, look at the facts that will be available to the investigators in the first scene or two. Take these and construct plausible (but wrong) alternate theories that connect these clues. Then prepare scenes in which the investigators pursue these avenues. In these scenes, the clues they gather rule out the false possibility, allowing them to move back onto the right track.
The second method of red herring generation is improvised, as a response to player speculation. Players will often seize on an alternate theory of the case that you would never have considered in a million years. Rather than see these theories as annoyances to be dispelled, capitalize on them. Invent evidence which seems on its face to support their theory, leading them into scenes in which they eventually find the counter-evidence forcing them to go back to the drawing board, and move toward the actual solution to the mystery. (Especially flexible GMs may decide that the players’ bizarre theory is more entertaining than that given in the scenario and adjust to make that retroactively true. Because it’s hard to assemble an airtight clue trail on the fly, this is recommended only for talented improvisers who breathe story logic like oxygen.)
Whether preplanned or made up as you go along, a red herring should either be extremely interesting in its own right, or so boring that it can be dispensed with quickly. In the first case, the scene makes no contribution to the actual story, and therefore justify its time in the spotlight by being entertaining and memorable in its own right. Invent a crazy character. Vividly describe a unique setting. Inject some social commentary or fun topical references. Parody absent friends or obnoxious public figures.
In a supernatural or fantastic setting, you can use a red herring scene to enhance the apparent reality of your world. Do this by taking a familiar situation or type of behavior and place it within your outlandish boundaries of your chosen reality. In a police procedural set in a superhero world, you might, for example, include an encounter with an enraged citizen wondering how to track down insurance information for the masked crusader who totaled his car while using it as a weapon against a rampaging mutant.
Red herrings can also justify themselves by shedding contrasting light on your story’s themes and images. First, you’ll need to identify your scenario’s themes and images, if you haven’t already done so. These are often inherent in the crime itself. The underlying crime behind The Esoterrorist example scenario, “Operation Slaughterhouse”, is abuse of power. The scenario in the upcoming GUMSHOE horror supplement, Fear Itself, is about madness, and the random nature of its onset.
Suitable red herring scenes should throw a different light on these themes. If abuse of power is the theme, the players might meet a witness (who turns out not to know anything) who has been the victim of shenanigans by high officials. Or he might be an apologist for government corruption.
You can also find imagistic inspiration for red herring scenes. If much of your scenario is set in a forest, a red herring encounter might be shaded with images of wilderness of vegetation. Maybe it takes the players to a hunting lodge, its walls festooned with mounted taxidermy specimens. Or inside a greenhouse, where a frail non-witness pours all of her life energy into her precious forest of rare plants.
Although GUMSHOE ensures that the players have all of the tools at their disposal to solve the mystery-provided they look in the right places, it by no means ensures success. As mentioned last time, they can fall prey to all kinds of disruptive events, which, if they fail, keep them from crossing the finish line.
Sometimes the finish line itself can be a disruptive event. Make use of a classic trick of suspense narrative by putting a time limit on the characters. If they fail to solve the mystery in X amount of time, something horrible happens. A bomb goes off. A buried captive runs out of oxygen. An innocent man is executed.
The use of a ticking clock requires you to keep closer track of elapsed time in the game world than is typical for an investigative scenario. When the players are discussing what to do, you’ll need a clock to keep track of how much real time they’re eating up. During action sequences and cuts between scene, you’ll tabulate game world time, adding it to the total.
Ticking clock plotlines only work when the players know that they’re on a deadline. They can also create some tricky timing issues: for example, they lose steam if broken up over a number of sessions. Casual groups who prefer a relaxed pace and plenty of room to chitchat may flounder or rebel if you tighten the pressure on them in this way.
However, for a dedicated group of problem solvers, nothing gets the adrenaline flowing better than the old ever-present countdown.