I first heard the phrase “circle of belief” as a young teen, and have found it to be a useful mental model ever since. I thought I’d written about it here before, and was wrong. While looking for other sourcing for this post I found a lot of Slayer lyrics and not much else, so… here goes.

Someone’s circle of belief governs what they see as plausible, something they can follow along with, versus what they see as implausible or alien. There’s a lot of overlap with genre expectations or something similar, but they’re not quite the same. The key is that everyone has a circle of belief for any given context. When I’m trying to shape someone’s circle of belief I’m not trying to alter their genre expectations writ large—just their specific assumptions for a given story or game.

Note: this is more or less how propaganda and political messaging works. Here, though, I’m going to focus on fun fiction and story games.

Expected and accepted elements exist inside the circle of belief—they do not require any additional suspension of disbelief from the audience. Working inside a circle of belief is relatively low effort. Inside the circle of belief, you don’t have to convince the audience to agree with you. You don’t risk alienating your audience by including an element that doesn’t fit. Breaking an established circle of belief, however, may push someone out of the story.

When reading a fantasy story, elements like dwarves and elves probably fit inside most people’s circle of belief, while giant killer robots probably don’t. Similarly, a sober spy novel has lots of room within most readers’ circles of belief for skullduggery and betrayal. But if that spy story suddenly featured a goblin going on air and declaring herself a prophet, that might break the audience’s circle of belief and create cognitive dissonance. That cognitive dissonance can lead to confusion and disenchantment. Breaking the circle of belief can break audience members’ emotional investment in a story or their suspension of disbelief,  and a story which had been fun could become too bizarre to enjoy.

This isn’t to say that those examples above would be inherently bad stories. Each of those examples could exist and be done well. The audience’s circle of belief could be shaped to include them. But shaping that circle of belief requires specific work, and it takes more work the further the new circle of belief is from the audience’s existing circles of belief.

That work could involve carefully laying out clues and hints before some surprise reveal, a genre twist. Alternately, that work could require laying out the future story elements as early and blatantly as possible to prepare the audience for later. Tropes and foreshadowing, for example, offer more options for manipulating circles of belief—as does marketing copy. If I describe a story as “Harry Potter but ___,” the audience will probably assume they know large chunks of what to expect.

Each person’s expectations will be a little different, of course. Everyone has their own circles of belief.

In many ways, this laying-out-the-elements is what worldbuilding is about. Every little detail can build context for the larger story, and thereby shape the audience’s expectations. But it’s easiest to do this work at the very start of a story. That’s because, in general, the longer a given circle of belief remains static the more work you must do to change it.

In RPGs, and any time that you’re in a shared narrative space, it’s important to know what is inside and what is outside of your fellow players’ circles of belief. That could be for the structure of the game itself: I might assume that my character could die, or that the storyteller is my adversary, while someone else might assume that we’re playing a collaborative narrative game. It could also be for the fiction within the game: I presume that we’re playing a hard fantasy game, while the storyteller thinks this is a magical post-apocalypse full of the ruins of ancient civilizations. These assumptions aren’t all incompatible with each other, but you can probably see how they might cause trouble if unaddressed.

 The simplest way to handle this is to talk about the story elements everyone wants to play with (or avoid) before you play. You can also check back in about these things, and see whether there are any pieces people want to add or remove after any given session. I recommend checking in every once in a while. You’re less likely to be unhappily surprised that way, and more likely to make stories that everyone finds fun.