A RPG cannot achieve a given agenda, or conform to given principles, if its techniques won't support that.
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If the agenda is stated in meta-terms rather than by reference to the content or tone of the fiction - eg play to find out what happens or always begin and end with the fiction - that puts demands on techniques too. You can't realise the first of those two agendas using a system of GM fiat or GM pre-authorship of the major events of play.
I've never found pre-authorship an obstacle to playing to find out. It's unwillingness to let it burn, more.
If the authorship isn't being used, then we don't have pre-authorship of the major events of play, do we?
Can you define what you mean by "major events of play" so that isn't ambiguous.
I don't know what you mean by "the authorship isn't being used". If it informs play, is it being used?
I think my understanding of
playing to find out is pretty typical - the participants (including the GM) collectively learn
what it is that happens next, in the fiction. The use of the word
learn is deliberate, and contrasts with
choose or
decide. There are techniques used - most typically the rolling of dice - which determine the parameters of outcomes and/or events at certain key moments; and there are constraints accepted and applied - some perhaps resulting from the dice rolls , others perhaps being general principles applied to concrete states of affairs (such as a description on a PC sheet) - which mean that whatever decision-making does take place is not unfettered but is shaped and directed.
A system of GM-fiat resolution does not count as
playing to find out in this sense, because the GM does not
learn what it is that happens next, in the fiction. Rather, the GM decides. I think there was a fair bit of advocacy for this approach to resolution in the 2nd ed AD&D era; and their are strong hints of it, at least, in some later D&D materials. The most overt form that it takes is the GM calling for a roll, but then narrating things much the same regardless of what the player rolls (perhaps overlaying slightly different colour depending on whether the roll is low or high - "With a lot of effort and sweat, you make it to the . . . ." vs "You easily make it to the . . . , barely raising a sweat".
A less overt form shifts the fiat slightly downstream in the overall cycle of play - the players fail the check to find secret doors, so the GM has a NPC tell the PCs where it is; or the players miss the turn off and so the GM has them come across the body of a dead NPC who happens to be carrying a map that shows the turn off; etc.
Both forms of fiat, but especially the second, can be used in combination with pre-authorship of the major events of play. The GM has decided that such-and-such a thing, or sequence of things, will happen in the fiction and then narrates the outcomes of declared actions, and frames subsequent scenes, so as to have those things happen. Here's an example, from the Prince Valiant Episode Book (pp 60-62; the author of the scenario is Mark Rein*Hagen):
You are hiking through the forest when you come across an abandoned hunting lodge, which is broken down and clearly hasn’t been used in many years. Exploring inside, you see a hunchback darting out of a secret passage in the fireplace and out the back door. The secret passage leads to a small dungeon where you hear clanking chains and eventually find a malnourished young boy locked in a cell. . . .
Get the Adventurers to sympathize with Bryce [the boy], despite him not being a warrior type. . . .
They need to capture and question Quink the hunchback and find out who he worked for, to find out who did this to Bryce. . . .
The Adventurers must now scour the forest to find Quink, for which they likely need a tracker or some trick (such as food as bait) to find the wily hunchback. Your goal here is to make them realize that he is truly terrified of the person who ordered him to care for Bryce in the dungeon, and cannot name them. But it is possible to get many other details out of him. At the same time, they can talk to Bryce while healing him back to health, which only takes 2-3 days. . . .
As soon as they enter the duchy, it is immediately obvious that there has been a peasant revolt of some kind. . .
In the distance, the Adventurers see the entire peasant army, numbering in the thousands, gathered outside the duke’s castle, parts of which are on fire, including the gatehouse. It appears they have come just in time to see the final storming of the castle. At this point the Adventurers’ actions can have a direct impact on the story. . . .
Whatever happened, you need to have things end up with Bryce’s father, the duke, dead. . . .
Bryce’s sister [Alia] is now left as the titular ruler of the castle . . . She receives the conquerors in the great hall (which is also the throne room), where she sits on the throne. One way or another, the Adventurers should be in attendance of this meeting, with Bryce trying to remain hidden from her. . . .
Which way things go should be greatly affected by what the Adventures do and say at this time. If you can somehow get them to take different sides without coming into direct conflict it would be perfect. . . . No matter what, however, before they leave the Throne Room, Bryce step out of the crowd and reveals himself. . . .
Unless the Adventurers step in, [the situation] quickly devolves into violence. Even if they do get involved, it ends in one single act of violence . . .
At this point you need to have things wind up with someone trying to kill someone else as a result of the heated argument over what to do. . . . but no matter what happens, Bryce throws himself in the way and takes the wound himself instead of them, and by so doing proves his true nobility. Try to arrange it that Bryce does not die, but you can leave it up to chance if you want. But as he lies there wounded, first the castle folk (or maybe the Adventurers) bow to him, then the yeoman, then the peasants.
What happens now is also mostly up to the Adventurers. Much of the peasant army will have left by now . . . If left up to Bryce, he would let Alia go, but that would be a mistake; she is an extremely capable and dangerous foe and would make trouble for years to come. The best solution would perhaps to have her become a nun, forcibly sworn to take the oath. Not matter what happens, if the Adventurers do not take Alia’s side in this, and she does not end up dead somehow, they will have an extremely capable and crafty enemy for life who will stop at nothing to take her revenge on them.
A group who plays this scenario as it is written is not playing to find out, because - as I hope the material I have quoted makes clear - all the major events of play are already set out: who the PCs will meet, what will be at stake in those encounters, what will happen to those NPCs, etc. There are many D&D modules that are broadly similar in this respect - two that come immediately to mind are Dead Gods (2nd ed AD&D) and Expedition to the Demonweb Pits (3E D&D).
There are approaches to the use of prep in play that do no involve pre-authoring the major events of play. Two quite different illustrations are the well-known module B2 Keep on the Borderlands; and town preparation in Dogs in the Vineyard. At least the latter is intended to support playing to find out. And Vincent Baker is very clear that prep for the game
does not include pre-authorship of the major events of play (DitV, pp 137-38, 143):
Don’t play “the story.” The choices you present to the PCs have to be real choices, which means that you can’t possibly know already which way they’ll choose. You can’t have plot points in mind beforehand, things like “gotta get the PCs up to that old cabin so they can witness Brother Ezekiel murdering Sister Abigail...” No. What if the PCs reconcile Brother Ezekiel and Sister Abigail? You’ve wasted your time. Worse, what if, because you’ve invested your time, you don’t let the PCs reconcile them?
You’ve robbed the players of the game. . . .
If you’ve GMed many other roleplaying games, this’ll be the hardest part of all: let go of “what’s going to happen”. Play the town. Play your NPCs. Leave “what’s going to happen” to what happens. . . .
If you’re GMing by the rules, you have absolutely no power to nudge things toward your desired outcome. It’s best for everybody, I mean especially it’s best for you too, if you just don’t prefer one outcome to another.
I've used Keep on the Borderlands for an approach to play that is a bit like what Baker is describing here, but that's not really canonical with how the module actually presents itself, which is as a dungeon-crawler.