While Mattias was telling me about a game he’s preparing for, and the layers of growth and reveal that he has planned, he reminded me of terminology I’d first learned in Kenneth Hite’s 3rd ed. GURPS Horror sourcebook (this links to the 4th ed.). Page 71 of the 3rd edition book introduces “scope” and “scale,” two narrative concepts widely applicable to stories beyond horror-gaming. They’re not necessary for good narrative construction or fun gaming, but they’re extremely useful for both analysis and planning. They’re also likely to show up regardless of whether you intend them to or not, and manipulating them is a straightforward way to change tension in a story.
It’s worth noting that scope and scale are related to but separate from stakes. I’ll cover changing scope, scale, and stakes to affect tension later.
First, I’m going to roughly quote Hite’s definitions of scale and scope, and then follow up with a definition of stakes.
In Hite’s usage, scale is “the level at which protagonists are interacting with the world, and the results of their actions upon it.” Characters operating on a prosaic scale are struggling for their lives and hoping to simply get by, while characters operating on an epic scale are larger than life and deciding the fate of countries or worlds. Scale is a measure of the grandiosity of a character’s actions, and it’s possible to operate on multiple scales simultaneously, or to change scale rapidly without detracting from a story. As an example of multiple simultaneous scales, a hero might struggle to survive the onslaught of a demon (prosaic), knowing that if she can withstand it and defeat it she will change the fate of her world (epic).
Meanwhile, Hite defines scope as “what the PCs can see,” meaning the boundaries of their awareness or the perceived importance of their actions. If a story’s characters only know about the spread of a dangerous cult in a small town, or a single person on the run from one person who wants them dead, that’s a fairly narrow scope. The scope is broader if the story’s characters know that this dangerous cult is the latest outgrowth of a wider group bent on finding a potent mystical artifact in the town, or if that person on the run holds a larger power which might ultimately defeat the nation which sent their hunter to murder them. Furthermore, it’s useful to distinguish between a story’s visible scope (what we’d usually just call scope, and what characters are aware of at any given time, like “there’s a cult in this town”) and the story’s actual scope (what the characters might discover, like “this cult is just the tip of the iceberg”).
Stakes, meanwhile, are whatever is in jeopardy, at risk, or to be gained by a course of action. A story’s stakes inform the scale and scope, though it’s possible for them to operate independently. For example, the life of that person on the run is relatively small stakes, and a story about keeping them alive might have a prosaic scale. But as the characters’ visible scope expands (through gaining more information about the world) and the characters recognize their position in a larger story, the stakes increase and the scale at which the characters are operating may take on multiple levels. In that above example, the characters’ struggle to save the person’s life is prosaic, but may ultimately have epic consequences.
Not every story needs scale, scope, or stakes to change. Sometimes we just want something picaresque, episodic, or repetitive. But I think those repetitive stories are less popular than ones in which scale, scope, and stakes change and grow.
And even within those more repetitive stories, there are often changes to the characters’ visible scope: the characters recognize that “X is bigger than we’d thought,” and thus the stakes (and tension) rise. This change in visible scope can happen for characters and audience simultaneously or separately, but it most often happens for characters shortly before the story’s climax. In the denouement following the climax, the visible scope often recedes once again, as various plot threads are tied up and completed. Characters may still know that something greater is going on, or that events are operating at a larger scale, but their access to that broader scope usually diminishes with their part in that larger story.
So, expanding stakes and visible scope are straightforward ways to heighten tension. Focusing on the prosaic scale is also useful for heightening tension, even as it often expands alongside scope and stakes. Remember: expansion of scale is okay, because characters can operate on multiple scales at once… and can feel more relatable by struggling in prosaic conflicts despite possessing epic powers.
Because variation in tension is considered de rigueur in most adventure and dramatic genres, those stories generally thrive on changes in scope and scale. This is especially true of long-running stories that involve character empowerment, or which cover new ground; without that variation in tension, and believable changes in characters’ scale and visible scope, audiences lose interest. Similarly, arbitrarily or too-frequently returning to prosaic scale and stakes will eventually rob that technique of its tension. The eighteenth time Batman fights a dangerous baddie isn’t as tense as the first time.
What does that mean for us as writers or storytellers?
We can plan for expansions of scale, scope, and stakes. And when I say plan, I really mean “have a very general idea of what might change.” If you’re making stories collaboratively, e.g. playing RPGs, it’s best to leave little hints and clues for you to pull on later and tie into something bigger for the players to discover. It’s not necessary to know how those things will work, or what they’ll connect to when you put them there! You could do all that work, but then you run the risk of never having players discover anything you made because they wanted to go elsewhere or follow other clues.
If you leave little hints and tidbits lying around, and have general ideas of what the larger scope, scale, and stakes might look like, it’s easier to put everything together when the time comes and players finally follow those leads. A villain’s ties to a larger organization or their correspondence with an unnamed person are useful here. Likewise, when the PCs learn the specific modus operandi for a particular group and recognize that elsewhere in a new situation, they’ll often connect the dots and identify the relation between the two. It’s all about building up the skills and world-knowledge of your players (or audience), and letting them draw the connection and feel that frisson of understanding (and maybe dread).
This has gone longer than I’d anticipated. I suspect there’s more material here. I may revisit the topic.
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