From the Edward Tufte Forum

http://www.edwardtufte.com/bboard/q-and-a-fetch-msg?msg_id=0000yO&topic_id=1

In my line of work (designing games) I have to give referees a mind set and tool set for describing relationships between antagonist characters, their motivations, and the motivations of the characters played by other players.

I use causal diagrams, based somewhat off of Tufte, and a few books on writing romance novels(!).

There are three basic ties that matter for writing fiction, and for running roleplaying games: Ties of blood, ties of sexual tension, and ties of obligation. These all form bonds between characters that can be used to coerce them into acting.

So I give the following advice:

"Start with a blank sheet of paper - the bigger the better. 11x17 is ideal. In the center of the paper, write the name of your chief antagonist. Under that character's name, write down what they want, and if different, what they think they want, preferably in two different colors of ink, or one in block printing, the other in cursive.

Next, write down the names, wants and believed wants of people related to your antagonist. "Related" in this context means one of the following relatioships: Ties of blood and kinship, ties of sex or sexual tension, and ties of obligation and duty.

Now, write down the names and the motivations of all the player characters who will be playing in this scenario.

Draw thick black lines between the names of characters that are related to each other by blood.

Draw medium weight black lines between characters that are related by sex or sexual tension.

Draw lightweight black lines between the names of characters related by duty and obligation.

If there's a power disparity, have an arrowhead on the end of the line of the person at the lower end of the power continuum. If the power level is roughly equal, use a circle to indicate this. If you havn't decided on the power level, don't adorn the ends of the line - do that during the game.

This is the "sinew" layer of your conflict and relationship map. The next layer up are the nerves.

Take two highlighters (we recommend blue and pink, but any two colors will work), and draw arrows between characters - a blue arrow means that the character the arrow originates from likes the character the arrow points to. A pink arrow means the target is disliked by the originating character. If the tenor of the relationship is mutual, draw two arrows, going in opposite directions. If you need to, you can specify a particularly intense relationship with a thicker highlighter line, but we recommend against it.

This map is an easily grasped graphic of all the relationships that give velocity to your story. In particular, note that we've minimized the words put on the map to motivations and wants; this is deliberate. You may not even know, until the game is running, why there's a pink line indicating dislike between two characters...and something will pop into your head when you're setting up the scene. Jot a quick note down for future reference, and run with it - this is giving you a frame work for improvisational storytelling, and should be fluid, rather than rigid.

Because this is a graphical display of narration, any scene that doesn't alter a relationship on the map, or alter the perception of any relationship on the map, is unimportant and should be minimized or skipped. Similarly, when assigning motivations (the only words on the maps), you're assigning motivations that will be interesting for your players, not motivations that are interesting to the characters in question.

-- Ken Burnside (email), March 24, 2007