Story Games and resuscitating home grown Story!

#1:

Jason’s comments about art strike a chord here, too–the value of these games lies not entirely in the product, the story you take away, remember, talk about, build on, but the process of making it. Trial and error, learning what works well and not so much, the process of building your storyteller self. The performance, the collaboration, the challenge to your new muscles, sucking it up and allowing yourself to “suck” and awkwardly (at least, for me! Wink )move towards something really cool and useful and helpful and fantastic and life-giving.

Yes, thanks for underscoring that. In my haste to make my point, I never honored how much that perspective inspired me. I LOVE it. When we make Story, we make sand paintings, we make tracks, or more to the point, the Land makes us when we think we make Story. :slight_smile:

#2: On an entirely different and indie-story-game specific note, I want to say another reason why I like the In A Wicked Age game - you never have to play the same role twice, from game to game. In fact, you have to play hard enough to EARN the right to play the same character again. Therefore, as you work your story skillz, you can walk away from characters you don’t feel so inspired by (or proud of the work you did, or connected to, or whatever). I gives more of a feeling of freeness to make mistakes and play awkwardly in the beginning. I don’t really know any other game that does this. AND, in all honesty, I played Primetime Adventures just like this. Though our story group would say, every time, ‘yeah, let’s play the whole season of this show premise and these characters, we like it’, I would find an excuse to brainstorm a different show for the next story game night. Huh. Maybe it doesn’t work for everybody, but apparently it makes official what I wanted to do anyway.

So am i getting it when i say that there are no boundaries between story and not-story?. Or maybe a better way to put it, that story is as real as the tracks we leave in the earth? There is no extra-reality mentalplane type-of-thing, in which they exist. Stories are here with us, all around, real and ever-changing, ever open to interpretation, creation, destruction, adaptation. Dynamic & alive.
stories subsist in the same space we do. just as real.

I love how this post has spiralled into something i’d never had imagined. Im happy you posted your thoughts in such an accessible way Willem. It seems our lack of participating in that part of our reality that concerns itself with stories has gotten many of us conscious of our detached world-view. do we yearn for interaction with our lost world of stories? i do. and it seems many here with me. THat in itself creates a story to remember.

The story-games can obviously be of great value here. Telling stories of grief has been mentioned, and so we could tell stories of anger, of detachment, of tribes and individuality, of death and life. Tell stories to deal with your important issues, share your doubts with friends. Tell them from a different point of view, tell a story in situation you fear or tell a story of accomplishment. Find people you trust and ask them to sit with you. Ask what bothers them, what they would want to change if they could, and create a story of that together. Listen to eachother, build on eachother’s suggestions. Accept what’s being said, and jive to it.

Willem has said somewhere that telling stories together is like making jazz or jamming with a band. You learn to listen, to attune, and to create together, jive to that tune!

take care!

I certainly think so. Think of it this way, in the Lakota tradition, they don’t think of ‘singing’ as a skill, anymore than one Coyote howls more skillfully than another, or a Song sparrow sings more sweetly than another. Or for that matter, a deer poops, or a skunk sheds a hair, or a fox leaves a track more skillfully than another. All of them express their true nature, uncensored, and sing for that exact reason and no other. Your voice doesn’t differ from your smell, your nail-parings, your sweat - it works as one of many ‘appurtenances’ that signify you. So collaborative (and inherited) Story does the same. It works as an extension of your body, no different in its inseparability from any other element of the Land and relations.

There is no extra-reality mentalplane type-of-thing, in which they exist. Stories are here with us, all around, real and ever-changing, ever open to interpretation, creation, destruction, adaptation. Dynamic & alive. stories subsist in the same space we do. just as real.

Right. As real as our poop, our sweat, as real as drinking poisoned river-water means poisoned blood in our veins, which means poisoning river-water means we’ve already poisoned ourselves. The Land creates our stories just as through evolution she has created us, and continues to do so.

do we yearn for interaction with our lost world of stories? i do. and it seems many here with me. THat in itself creates a story to remember.

This thread has definitely surprised me too. It makes me happy to hear the voices chime in, and different folks write passionately on this.

The story-games can obviously be of great value here. Telling stories of grief has been mentioned, and so we could tell stories of anger, of detachment, of tribes and individuality, of death and life. Tell stories to deal with your important issues, share your doubts with friends. Tell them from a different point of view, tell a story in situation you fear or tell a story of accomplishment. Find people you trust and ask them to sit with you. Ask what bothers them, what they would want to change if they could, and create a story of that together. Listen to eachother, build on eachother's suggestions. Accept what's being said, and jive to it.

I love it. Yes, yes, yes.

Willem has said somewhere that telling stories together is like making jazz or jamming with a band. You learn to listen, to attune, and to create together, jive to that tune!

Woo-hoo!

[/quote]

I have a new word for collaborative storytelling:
[size=10pt][size=10pt]
Story-jamming!
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C’mon. You wish you thought of that yourself, don’t you. Ha!

And, without a doubt, I think story-jamming requires a higher and more keen sensitivity and skill than just storytelling.

Which means, practice story-jamming, and then story-telling should feel effortless.

Not only that, but I think every Story Band should get a Band name!

Yep. You wish you thought of that too, huh? Too bad!

Just imagine, a world full of Story Bands, jamming away, playing with story, bringing back the tradition in a renewal of collaborative story.

The end goal, as you know, means to fully develop the skill to vividly and collaboratively dream while waking.

Which means I officially have to move this thread to the Spiritual Technology topic.

Mwahahaha!

Bedtime.

I hope I have a dream about my new Story Band’s name.

Jason-

I cannot believe you didn’t post a link here to Bone White, Blood Red, the Pueblo Uprising of 1600 story-game. Jeez. Pueblo indians massacring cruel despotic Spanish citizenry. Resistance! (Spanish) civilization out of the Big River Valley! Free the village of Bead Water (aka Santa Fe )!

This wins the ‘too cool for school’ award, definitely.

I just glanced over the Bone White, Blood Red game. It looks quite nice indeed. I love the idea of the beads story and threads… just wow. Thanks for pointing this one out to us. Already got a name for your band?

AWESOM FUCKN NES, Willem! :slight_smile: Ye-ha! This gets me so amped-up for my next story shamanize coaction shindig, I see so many possibilities with these skill variations! Thanks a lot for sharin! Woo! Sigh!

I agree exactly with this, but doesn't that make an important point? We have no Story, for us (without an indigenous heritage, blooded or adopted), that has this in-dwelling perspective.

Only if you think science succeeds in its paradoxical pursuit of the god’s eye view. If it doesn’t, then, as much as that vain pursuit will hold it back, it still has to dwell and participate in the world, for lack of any other alternative. Science tries to build, but it still dwells, because the aspirations of the building perspective contradict each other. It can offer a story–impoverished, yes, but does Perfect war against Good? David Mech lived with wolves for years at a time; he aspires to a building perspective, but he still had to dwell. When Scott London asked David Abram, “Do we have any equivalents of medicine people in Western culture, people who perform a similar function?” Abram suggested, “We do have some distant equivalents, such as field biologists who are able to enter into a close rapport with the other species that they are studying.”

In my own case, I found some seeds worth cultivating. What science could tell me about the eastern coyote filled in more than I could observe myself, and helped me appreciate our kinship; learning the geology of the Appalachians has given me new dimensions of story to explore in the landscape. I wouldn’t call it an oral tradition in its own right, but it has helped me in the past.

No matter how much I work, I know certain books and texts just do not open for me as Story in that sense, as able to transport me somewhere Now. I usually describe these kinds of things as academic or some such. But perhaps I more honestly mean, 'academic for me - cold and stale for me - no journey anywhere, For ME'.

Excellent point. I see the building perspective as really just offering self-delusions. You always dwell, whether you see it that way or not. Aspire to the gods’ eye view, and you only fool yourself. Like Quinn’s point in Ishmael that the fruit from the tree of knowledge doesn’t actually give you the godlike power to tell good from evil, just the conceit. So as much as science hinders itself by trying to pursue that gods’ eye view, it still emerges from dwelling, because it can’t emerge from anything else. Scientists, geologists, biologists, all dwell, all have perspectives shaped by their participation in the world, and all have become skilled in their own ways. I think we lost a great deal in pursuit of this paradox of building, but we couldn’t lose everything. So long as we exist, we dwell, so we could never lose everything, no matter how hard we tried.

So, in the grand project of resuscitating our humanity, we’ll find shards scattered everywhere, and each of us will, thanks to our own skills and the ways we have dwelled, have a keener perception of one area or another. We’ll each find different shards in different places, even some in the most unlikely places.

The danger of that geology text may lie in that, on its surface, you will learn the relationship of a conquering people to their un-honored place. The potential of that geology text may lie in that, you can ignore that surface layer, and go on your own journey, right now, deep into the earth.

Oh, indeed, but we see such perils and potentials all around. Even an indigenous story, even Prechtel’s story, pairs peril and potential: the potential you’ve already pointed to, yes, but also the peril of thinking we understand it better than we actually do. None of us here have ever dwelled in the traditional Mayan land, participating in the traditional Mayan life, the way traditional Mayans do–not even, in many crucial ways, Martin Prechtel.

We have no oral tradition of our own, no dwelling perspective of our own, developed from the relationship of our family and our land, so the shards we collect offer great potential, but always twinned with peril: either the peril of appropriation, and the conceit that we understand more than we do, or the peril of the conqueror’s perspective.

I think we can navigate between that Scylla and that Charybdis with care, though. If we always bring it back to our relationship with family and land, if we look to these for inspiration rather than the answers in and of themselves, tracks to follow rather than the Other we pursue itself, then I think we can hope to avoid those perils, and put together the potential they offer to rewild.

Or maybe a better way to put it, that story is as real as the tracks we leave in the earth?

So I see it from this dwelling perspective I’ve begun to look through.

There is no extra-reality mentalplane type-of-thing, in which they exist.

If I had to group all the major epiphanies that have rocked my brain in the past year under one heading, it would say, “The radical implications of actually rejecting dualism.”

Story-jamming!

Holy crap … you blew my mind, Willem. YES! Unbelievably fantastic! And I envy you viciously right now that you’ve found enough people to start getting such a thing off the ground. I’ve heard comparisons that drew parallels between story games and jazz before, but bringing it all together like you have really hits home.

Have you heard of the Rolemonkeys? I don’t think they think of themselves consciously in such terms, but they have a name for their band, and even release recordings of their sessions.

I cannot believe you didn't post a link here to Bone White, Blood Red

That would’ve made sense, wouldn’t it? Well, you’ve corrected my oversight. :slight_smile:

Only if you think science succeeds in its paradoxical pursuit of the god’s eye view. If it doesn’t, then, as much as that vain pursuit will hold it back, it still has to dwell and participate in the world, for lack of any other alternative.[/quote]

Well, in its Story world, I think Science does succeed in the god’s eye view. Doesn’t that explain why, knowing the Land makes us, dreams, us, that Science has created a landscape that makes a culture of ‘gods’, the urban landscape, dreams us as different and superior than the wild folks around us? The streets, sewers, sky-scrapers, all speak to our mastery and ‘different-ness’.

Maybe a cocky Land-spirit started this whole civilization mess by dreaming us into the world, so we would make more Land in kindred with its tastes.

Maybe a termite mound got excited and wanted to expand the project. :slight_smile:

In my own case, I found some seeds worth cultivating. What science could tell me about the eastern coyote filled in more than I could observe myself, and helped me appreciate our kinship; learning the geology of the Appalachians has given me new dimensions of story to explore in the landscape. I wouldn't call it an oral tradition in its own right, but it has helped me in the past.

Yes, this makes me want to stop picking at it the whole thing, at least in conversation with you. How can I deny something that so clearly created Life for you? I can’t. Full stop. End of story (so to speak). If I keep asking questions, and tell my story about it, I do it only because I remain so keenly aware of how the Science Story alienated, isolated, and turned me cruel to a loving, living world. But what the heck. My story, not yours.

So, in the grand project of resuscitating our humanity, we'll find shards scattered everywhere, and each of us will, thanks to our own skills and the ways we have dwelled, have a keener perception of one area or another. We'll each find different shards in different places, even some in the most unlikely places.

This does seem to capture the whole paradoxical situation well.

None of us here have ever dwelled in the traditional Mayan land, participating in the traditional Mayan life, the way traditional Mayans do--not even, in many crucial ways, Martin Prechtel.

Have you read the Disobedience of the Daughter of the Sun? And do you mean what I think you mean by ‘not even, in many crucial ways, Martin Prechtel’?

I think we can navigate between that Scylla and that Charybdis with care, though. If we always bring it back to our relationship with family and land, if we look to these for inspiration rather than the answers in and of themselves, tracks to follow rather than the Other we pursue itself, then I think we can hope to avoid those perils, and put together the potential they offer to rewild.

Well put. :slight_smile:

Holy crap ... you blew my mind, Willem. YES! Unbelievably fantastic! And I envy you viciously right now that you've found enough people to start getting such a thing off the ground. I've heard comparisons that drew parallels between story games and jazz before, but bringing it all together like you have really hits home.

YEAH! Man. You make me want to hunt down some Pittsburgh band members for you. Matchmaker, matchmaker, make me a match! You deserve this wonderful experience more than me, as you thought of the whole line of inquiry to begin with. Maybe we can get your Band rollin’ soon. Certainly, tell me if I can help.

Have you heard of [url=http://www.rolemonkeys.info/]the Rolemonkeys[/url]? I don't think they think of themselves consciously in such terms, but they have a name for their band, and even release recordings of their sessions.

Yes, and the Durham 3, and others! This certainly qualifies as a case of me pointing out something that already exists, and saying ‘holy crap! this matters! this creates life! and people already do it! let’s do it too!’. Which will hopefully start a whole STORY-JAMMING REVOLUTION.

Ahem. Sorry. Got excited there. :wink:

[quote="Willem"]I cannot believe you didn't post a link here to Bone White, Blood Red[/quote]

That would’ve made sense, wouldn’t it? Well, you’ve corrected my oversight. :slight_smile:

Haha. Don’t let it happen again! ;D

Have you read the Disobedience of the Daughter of the Sun? And do you mean what I think you mean by 'not even, in many crucial ways, Martin Prechtel'?

I haven’t read that one, though I have read some Prechtel, and he seems like the real deal to me, but even he didn’t grow up in a Mayan village. They certainly seem to have accepted him, and that gives me all the confirmation I need, but even so, he can never have the same experience as a native-born Mayan. I don’t think he claims to, either, but you could come away from his books thinking you understand more than you really do. Of course, just because Prechtel tread those perils well doesn’t say anything for those perils not existing, anymore than Tim Ingold’s expert navigation around Science’s perils negates their existence. Such skilled navigation makes them excellent guides down these paths, but that doesn’t mean the paths have no dangers. We have no shortage of plastic medicine men, and for every Martin Prechtel, we have a thousand New Age hucksters who think their crystal healing pyramids or some such count as “native wisdom.” The pitfalls throw us into significant peril in both directions, and we shouldn’t mistake either road for a completely safe one.

You make me want to hunt down some Pittsburgh band members for you.

Heh, actually, I came across my best lead in a long time just yesterday, so maybe I’ll finally get something rolling over here. We’ll see!

If this is going to dumb down your discussion then just disregard it.
Jason could you kind of sum up what you are saying in your last few posts in this thread, in sort of a “cliff’s notes” plain language kind of way. I’m finding this discussion very interesting but you two can leave me in the dust very quickly with a lot of the way you express yourselves. Basically you’re talking over my head but I’m interested none the less.
I think I may have something to say but I don’t want to respond if I’m not understanding what you’re saying.

Eh, no. :slight_smile:

Not to sound flippant, but you asked if I can, and no, I really can’t. I haven’t really digested it all myself yet, so I can’t really summarize it very well. I wish I could–it would make my life a whole lot easier all around.

Basically, in the building perspective, you have a mental image that precedes physical reality; blueprints before houses, genotype before phenotype, the written word “tree” before a planted tree in the soil, soul before flesh, and so on. In the building perspective, you create art. You paint to create a painting; you sculpt in order to create a sculpture, and so on.

In the dwelling perspective, the process of participating and actively dwelling in the world takes precedence. You never finish the shelter, because it always changes; genes may start your life, but you never stop becoming yourself until you die; each tree emerges from its participation with the soil, with other plants, with animals, with the weather and everything else. In the dwelling perspective, the performance of art matters. Painting or sculpting means participating with the materials at hand, a performance. You don’t perform art in order to create a painting or sculpture, any more than you walk in order to leave tracks. You can see it from how often they throw it away immediately after the performance; the sand painting immediately destroyed, the Inuit mask hidden away as soon as they carve it, or the Waputi painting hidden away right after. Maybe the cave art painted at Lasceaux where no one would see it, in order to trace the patterns from the living membrane of the underworld where the animal spirits live, setting the pattern and hoping to entice them out? That one we may never know for sure, but it makes a lot more sense of Paleolithic cave paintings than we could ever make from the building perspective, and that tells us something, doesn’t it?

Hope you all don’t mind if I jump into this conversation. The issue of ‘story’ is something I’ve been fairly obsessed with for a long time. This is somewhat off-topic but I really would like to address Willem’s assertion that “We have no Story, for us (without an indigenous heritage, blooded or adopted), that has this in-dwelling perspective.”

I just want to point out that there is at least one holdout within civilized culture where people still live within the stories offered up by the nature of ‘place’ and nature generally. That holdout is astrology. Most people misunderstand astrology because they consider it a type of divination, but in fact learning astrology is a matter of fine-tuning one’s empathic relationship to the constellation-people and planet-people (if I may borrow a rewilders’ turn of phrase) of the night sky and learning to feel their personality traits in everyday life.

I have a pet theory that western astrology is an animist leftover that survived the rise of civilization in the middle east because it is the one aspect of animism that can be represented with alphanumeric literacy. All of the constellations correspond to some animal or phenomenon in nature, with the exception of Libra the scales, which got added sometime during antiquity, and Sagittarius the centaur, which recalls some images of the “revolution of symbols” that shortly predate cities. Moreover, the three zodiacal animals that are now domesticated — the ram, the bull, and the goat — exist in astrology in their undomesticated forms. For example, Taurus the Bull draws its characteristics not from what is apparent in a domesticated bull, but from the behavior one would see in an undomesticated bull.

If you’re at all familiar with astrological literature, you’ll find that astrologers are almost unfailingly uniform in their interpretations of the broad outlines of these stories; but the details get screwed up because astrology is wholly dependent upon place — even a tiny change in latitude, or a few minutes’ rotation of the earth, can drastically change the appearance of the heavenly bodies’ configuration. The details play out differently in different places because of this, and the best astrologers can do is make an empathic estimate of the next scene — the story itself gets written by the interaction of place with the wandering stars’ travels through the constellations.

It is also intensely interesting to me that the wandering stars, or planets, are entirely civilized archetypes that travel through the territories, or constellations, of specific animals. With astrology, it is completely impossible to divorce any human story from the personalities of animals — Scorpion, Lion, Ram, Goat, and the others exist in astrology in the same way Coyote exists among indigenous North American cultures. It is as if the collective, civilized unconscious remembers and enshrined this knowledge in such a way as to prevent us from forgetting; to carry us through 12,000 years of civilization with something still intact from our pre-civilized cultural ancestors. Astrology offers not just a story, but a practically unbreakable framework for creating stories of place that are culturally meaningful for those of us who come from western civilization, in whatever place we might find ourselves. In my own opinion it is crucially important to keep the story of civilization intact and evolve out of it, and then keep that story intact, rather than discard it and clothe ourselves with something else, lest our cultural descendants forget in the same way we have forgotten. By its nature, astrology protects the entire story from paleolithic through early empires, all the way through to collapse, and sketches the broad outlines of future stories waiting to be revealed.

Personally, my studies in astrology are unquestionably animist, and the whole point is to discover the stories — or more accurately, the ongoing story — the sky has to tell. From its position, it has seen and will forever see absolutely everything that happens on the Earth and it knows every story, including all the ones yet to be discovered.

I don’t really understand the notion that having been born into civilization means we have no indigenous heritage. I guess because I see the world through an astrological lens, and consider this a miraculous gift from pre-civilized, pre-western, animist culture, I feel very strongly that the paleolithic middle east is my cultural heritage. And this feeling is greatly bolstered by the animist interpretation of Genesis — indeed, of the whole bible — that I have been piecing together for a few years now. We are cultural descendants of those from whom western civilization first erupted and I personally feel very strong ties to those people. Scorpio feels the same to me as it has since the first person noticed what he feels like. That is a very strong, shared cultural experience. The story of western civilization’s break with nature, the rise and fall of civilization, and humans’ return to a state of grace looks an awful lot like an in-dwelling story to me… it is our experience, as the heirs to the cultural gold of those who came just before civilization — in the forms of astrology & the bible — it doesn’t make sense to me to disregard these things and try to make something up from scratch.

Well that was very long-winded. Hopefully my points didn’t get lost among all those words.

—paula

Well, I’ll need some time before I can respond to your thoughtful post, paula, but it has certainly left me with a lingering feeling of coolness.

so thank you. :slight_smile:

Jason,
Thank you for taking the time to do that. What you did write helped me understand a bit more.

Paula,
I really enjoyed your post, very refreshing. It’s true that Astrology is an ancient “science” “study” “pursuit” “story”. Although our western culture has largely relegated it to the entertainment category in other cultures around the world it is still considered a valid consideration when making plans of any kind. It connects us to “Creation” in many ways.

Thanks you guys, I appreciate your feedback. This is really one of the most gracious and intelligent communities I’ve come across on the internet since late-90s alt.music.tool, even if I don’t know what you all are talking about half the time. :wink:

—paula

When Scott London asked David Abram, "Do we have any equivalents of medicine people in Western culture, people who perform a similar function?" Abram suggested, "We do have some distant equivalents, such as field biologists who are able to enter into a close rapport with the other species that they are studying."

I’d add that some naturalists qualify as medicine men in Western culture, too. I think Barry Lopez touches on this rather nicely here:

Take care,

Curt

what are our stories about?

We make stories. right now. These stories will be the tracks we have left when the turn has come for our children to live. What will they find? Stories of Grief is the first and most powerful story that comes to me when i think of it all. My stories would tell them why we cried until the land would be fertile again. Then a story of anger comes to me. Stories of destruction and ancient wisdom to live as part of the land. Stories of guilt and doubt. Stories of hard choices. Stories to put us in perspective. To share. It is stories we watch and choose to follow or not like tracks in the earth. We are making stories wheter we want to or not but we have to understand one very important thing, that it is each and everyone of us that makes those stories. We all leave our tracks for others to find. So i will try and ground my stories to the land, where they come from.

Playing stories, enacting them and experiencing them is a great way for us to start to become aware of the tracks we leave. Telling stories makes us aware of the issues that we and our friends are dealing with. We gain greater awareness and understanding of our surroundings because we constantly practise and explore our creativity and empathy. You might say that you become aware of a whole new set of tracks. Tracks and signs that lie hidden behind a persons words, behind a smile that hides hurt and grief. Story tracks, tracks that leave us with ideas to follow or roads to understanding one another better. To speak stories one starts understanding intention, attunement, choices, because stories make us go there and live out these things together.

Story-jamming i love that… to attune to eachother…to listen to each other…to speak to eachother…to appreciate each other. Find your band! play a story. Explore with your friends. Shut down that TV, entertainment need not be meaningless and spoon-fed. Your friends might have great stories that you’ve never heard, everyday a new premiere!

and this is leading me to a new topic: Jamming as a way of (dis)organizing … :slight_smile:

cheers.

Thanks Paula for your thoughts and feelings! I feel really good knowing the forum provides something like that for you. awesome!

timeless-
i can only chant ‘yes! yes! yes!’ over and over again. haha.

for the curious-
i have highspeed internet access at the open space gathering. very handy. :slight_smile:

I’ve linked to this thread from my blog, as i see its gotten quite some attention.

this is what i wrote there, for your convenience,

I asked Willem from the College of Mythic Cartography to talk about story-games on the Rewild.info forums and the reply i’ve gotten is more then i could’ve wished for. The thread is spiralling out, starting its own story by now as people are coming along for the ride offering their insights. For ages we have spoken, shared, created, re-created, lived the stories that mattered to us as individuals and as tightly-knit groups. These “modern” days we are being spoon-fed stories of action-heroes, violence glorified, good guys and bad guys. These stories are not mine. They are not who I am and they do not bring me closer to you. Our stories need to be lived and experienced together. Our Anger, our love, our happiness, our meaning, our connection, our friendship. Our stories tell everything. We need to talk.

@yarrow dreamer: grieve and praise. id tell a story with you.

Warning: StoryGamesBabble Ahead!

@Willem:
Please tell me what you think of Polaris once you DO decide to try it out. From what i’ve seen i think it might rock your story-world.

When playing PTA it seems a common problem is the whole “stakes” thing being slightly misunderstood. Setting stakes does not mean deciding on everything that happens when a conflict is won or lost only to let the highest roll/card state everything all over again after the conflict.
Rather think of it like establishing what it is that players are trying to achieve. If you’re having trouble with this just try phrasing stakes like " im trying to …(insert stake here) … do not specify the details of the result…just state what you are trying to achieve. The result is narrated by the highest roll/card leave the details/story to him and don’t forget to spend your fanmail when he comes with great ideas! This might help ALOT!

I havent tried in A Wicked Age yet, but im reading lots of great things about it. I especially like how there’s no clear “we are the protagonists vs antagonist” division. I understand the conflict resolution has similarities to Sorcerer and that one is quite impressive, if i may say so. I read your story-report on the forge and thought it was way cool. Can’t wait to try this one out. What was it that made this work for you?

The group you are telling stories with, are they new to this in general? Do you think focusing one’s creativeness as iAWA does (by oracle) is helping them to come up with great ideas? whereas PTA’s pitch session leaves you with a scope that is too big?

Im thinking on what would be the best way to guide new people into story-telling, and i think that leaving everything open like PTA does is maybe not the wisest thing to do, really. I do want a shared-narrative experience though. What would you think are good things to do when starting new players with storygames and what have been pitfalls?