To be fond of roleplaying is a

certain step towards falling in love.

Good Society: A Jane Austen RPG

© 2018 by Storybrewers Roleplaying, all rights reserved
First edition, first printing

ISBN 978-0-6481505-2-7
Printed in PRC

Storybrewers Roleplaying
www.storybrewersroleplaying.com

With the utmost gratitude to Jane Austen—what a woman.

Playtesting: Caillin McKay, Alex Robinson, Claude Ying, Tess Gordon, Derek Proud, Lauren McManamon,
Sidney of Yon Icarus Manor, Lu Quade, Shayna Cook Brooke Wiegman (thtrnerd221), Tracy O’Brien, Yoshi
Creelman, Angel Garcia "Hijos del Rol", Megan Burgess, Moe Lane, Kelsey Rose, Hannah Gravius, Mikael Tysvær,
Clare Eastwood, Shannon Lee, Rob Nadeau, Christo Meid, Caitlyn B, Steven desJardins, Amanda Eisenberg,
Howard Brody, Bridge Geene, Nika Romanov, Emily Buza, Meghan Dornbrock, Scott Brown, Richard Kreutz-
Landry, Elf Vesala, Matt Lagemann, Carol Perry Lagemann, Aaron Elkiss, Rupert Dragonstone, Marie Welsh
Becker, Ellie Harstad, Sam, Rachel, Hauke, Jo, Julia, Lou Dorogi, Barbara Kciuk, Carolyn Noe, Ashley Power,
Nekochi, Violet Flohr, Jacque, Thursday, Randi, Matthew Barrowcliffe, Edith Barrowcliffe, Erin Hardee, Morag
Hannah, Derek Macloed, Cameron Ingram, Hannah Taylor, Romain Darmon, Jonathan Postillec, Fabrice Vicente,
Nicolas Béal, Fabrissou, Eleanor, Amanda, Kristen, Ben, Alex, Eli, Amanda Arute, Eli Seitz, Kristen Dabney, Eleanor
Tursman, Alex Trott, Ben Drabkin, Katrina Rue, Frank Super, Kate Kirby, Tiara Agresta, Adrian Agresta, Veronica
Leonard, Aaron Rusak, Michael Kidd, Lauren Saunders, Amy Kulchar, Nickolas Kulchar, Chantal Laumonnier,
Yves Laumonnier, Catherine Heinrich, Benoit Heinrich, Julia Page, Whitney Kaibel, Emory Cook, Megan Pressley,
Penny Sullivan, Jason Chappel, Isa Leira, HC, Bea CP, Elizabeth Brueggemann, Victoria Deal, John Westerfield,
Caity Logan, Julia Woodward, Miranda "MimosaVendetta" Rhys-Jones, Alexa Chipman, Megan Tomsky, Monique
Berger, Michael Cole, Lev Lafayette, Adam Daborn, Celeste DeAngelis, Joseph Unfried, Jay Novella, Cortney
Novella, Brian Trent, Douglas Sobon, Lee Thompson, Nicky Thompson, Willow Thompson, Kelsie Cleboski, Calvin
Chan, Nora Hill, Meaghen Krebsbach, Karen Poon, Wayne Peacock, Amanda McPherson, Buck Marchinton, Dee
McKinney, Ashlyn Cooper, Erin Cooper, Jasmin Faisal, James Waryga, Virginia Khavin, Matt Ainsworth, Emmy
Madrigal, Benjamin Chee, Helena Chee, Miranda Chee, Carlos Martín, Klaus, Michelle, Eden Lee Lackner, Colin
and Regina, Joan Barylski, Megan Smith, Deborah Bein, Beverly Tan, Mandy Petersen, Xa Lor, Oskari Pullinen,
Sisko Turunen, Kaisa Arminen, Miku Pesola, Barbara Lucas, Helen Davidge, Graham Woodhouse, Alex Barrett,
Heather Garrett, Anna Parikka, Bev Fortune, Ben Fortune, Jean-David Bodenan.

Deck of Connection characters created by: Alana Mancuso, Murray Dahm, Christine Ann Kneeland, Justina
Clayburn, Eric Williamson, Marc Miller, Richard Kreutz-Landry, Denis Ryan and Matthew Wallace, Daniel and
Joy Geaslen, Jonathan Villalobos, Mathew Sforcina, Gregory Hammond, Dorian Kelley, Elizabeth Bolden, Mike
Shema, David Tveraas, Joanna Kucharska, Stacie Arellano, Kel Cecil, Stephanie Mason, Marianya, Jonathan
Nease, Jessica Merizan, Karolyn Blake, Amanda Hamon Kunz, Elizabeth Corrigan, Alia Bigio, Grant Chapman.
 HAYLEY GORDON
Game Design and Writing

VEE HENDRO
Game Design and Layout

ALEX ROBINSON
Additional Writing

LAUREN McMANAMON
Editing and Proofreading

RAVEN WARNER
Cover Illustration and Interior Art

AVIV OR
Connection Art

Game resources available online at

www.storybrewersroleplaying.com
 05
04
RULES
CYCLES
OF PLAY
p.111
timing the
OF PLAY cycles
p.67 p.112

03
BACK-
resolve tokens
p.69
resolve token
negotations
p.82
novel chapter
phase
p.116
reputation phase

02
p.125
STORY reputation
p.37 rumour and

01
p.89 scandal phase
creating major p.126
characters inner conflicts
p.98 epistolary phase
COLLABO- p.38
p.130
RATION creating inner
OVERVIEW p.31 connections monologues
p.103
upkeep
p.3 p.48 phase
p.133
new major playing
characters connections play example
p.63 p.105 p.142

CONTENTS
06 07
09
FACILITA-
TOR PLAY-
p.149
SETS
facilitator tasks p.177

08
p.150 CHARAC-
using a playset
playing a major p.178 TERS
character p.213

10
p.166 creating a
playset character roles
first session p.179 p.214
advice ROLE-
p.167 tonal playsets PLAYING family
p.182 backgrounds
playing without
IN JANE p.240 KNOW-
a facilitator thematic AUSTEN'S ING
p.174 playsets WORLD AUSTEN
p.188 p.202 p.247

glossary & index, p.263.

 Good Society

2
 Chapter 1: Overview

Overview 01

Dearest friend,

You know now of the secret wants that captain my heart,

and I the desires which plague yours.

In times past, we would counsel each other: dismiss such

passions. Our families, our obligations, and indeed our
very reputations demanded it.

And yet, why should we not pursue our objectives

without injury? Opportunities stand ahead, afforded us by
connections, position, and wealth. We must use every tactic,
every relation, every favour to pursue our ends.

Outside, the dark of winter is thawing into a glistening

spring. As the flowers bloom, so does my resolve.
This year will be different.

t is a truth universally acknowledged that a person

I in possession of a love for Austen's novels must

be in want of the means to create such stories
for themselves. In pursuit of that end, we have created
Good Society, a collaborative roleplaying game that captures
the heart, and the countenance, of Jane Austen's work.

Good Society is a game of balls, estates, sly glances, and turns

about the garden—at least on the surface. Underneath this, just
as in Austen's own novels, it is a game about social ambition,
family obligation, and breathtaking, heart-stopping longing.

3
 Good Society

Most importantly, Good Society is designed to tell the story

you've always wanted to tell. It's a deeply customisable game,
and while the setting and structure remain the same, you will
sculpt the tone and content throughout play, so that every
game is different.

In this game, you and your fellow players will work together
to create your very own Jane Austen novel. You will take
on the role of a major character, similar to those found in
Austen's books—from a wealthy heir who falls in love with
the aloof new arrival, to a charming socialite bent on ruining
the reputation of their rivals.

But your influence over the story does not end with your
major character. Players in Good Society hold the power to
control the story itself, and change it to produce more drama,
romance, and scandal. Take the role of influential connections,
spread rumours, and orchestrate balls, carriage accidents, and
even marriages.

This book contains all of the rules you will need to play
Good Society. But you'll also find helpful tips for customising
your game, playsets for different themes and tones, and a
wealth of information about the characters and setting of
Austen's works. We have provided the author's tools—but the
fate of the characters and town that you create is entirely up
to you and your friends.

WHAT'S IN THIS BOOK?

ßß Chapter 1, in which you now find yourself, introduces
you to the main game concepts and play materials, and
provides an overview of how to play.
ßß Chapters 2 to 5 explain how to play the game. Chapters
2 and 3 explain Collaboration and Backstory, two steps
you will complete once at the beginning of every game.
Chapter 4 explains the rules of play, and Chapter 5 contains
the structure and cycle of play.

4
 Chapter 1: Overview

ßß Chapter 6 contains advice for the Facilitator, and the

rules for playing without one.
ßß Chapter 7 contains the playsets which you will choose
from when playing your game.
ßß Chapters 8 to 10 describe the world of Austen's works, as
well as the characters that dwell within it. These chapters
provide information and inspiration for use in your game.
We recommend you read the book in its entirety before
you play. But of course, that is the hubris of an author. If you are
playing a game to be facilitated by another, read this chapter
and pay as much regard to the rest of the book as you have
time for. You can also watch the video tutorials on our website.

A GAME OF EVERYDAY REGENCY LIFE

Good Society is concerned with everyday Regency life,
as portrayed in Austen's novels. It follows the emotional
struggles of characters through day-to-day events, from a
quiet carriage ride, to the excitement of a ball.

In a world of restraint, constraints, and formalised standards

of behaviour, small moments of interaction have a big impact
on characters' lives. While the events that Good Society depicts
are generally commonplace (well, for the Regency), they form
the subtle background for the jostling of status, wealth, and
affection by which the game's characters measure both their
hopes, and fears.

Good Society is set within the world of Austen's works, spanning

the years 1811 to 1818. However, historical details are only as
important as your group decides. You will determine during
set-up how important historical accuracy is to your game.

Along with a particular time period, Good Society is also

set in a particular place. Games occur in the fictional town
of H abershire, a well-situated country locale three days'
ride from London. The town is small enough to ensure an

5
 Good Society

acquaintance between all its foremost inhabitants—but not

so small that its gentry cannot hold a sizable ball. In both
location and character, it resembles the Bennet family's area of
residence in Pride and Prejudice. During your game, characters
can travel elsewhere—may we suggest Bath or London as
excellent holiday destinations?

Like Austen, Good Society is focused on the genteel class, and

the rising class of professionals, merchants, and industrialists
that emerged alongside it. The game is not concerned with the
upper echelons of nobility, such as dukes, princes and kings.
Nor is it concerned with the fate of middle or working class
characters. For more information about the kind of people
who populated Austen's works, see Chapters 8 and 9.

CREATING A STORY TOGETHER

Like all tabletop roleplaying games, Good Society is about
getting together in a group and telling a story. In Good Society,
this story is intended to mirror the experience of journeying
through an Austen novel, in both its substance and the
manner of its telling.

Good Society is a highly collaborative game, in which all

players work together to create the drama and determine
what happens. Every character, every scandal, every plot twist,
and every advantageous marriage is orchestrated by your
group cooperatively. Here are some of the ways you will work
together to create the story:

ßß Create and play major characters, as well as the most

important people who surround them.
ßß Pursue these characters' desires and objectives, and use
them to complicate other characters' lives.
ßß Decide together on each event and visitation we see during
the story, and take turns playing out the scenes that
happen within them.

6
 Chapter 1: Overview

ßß Create the town's rumour and scandal, and harness it to

add drama to the story.
ßß Create unexpected changes to the overall narrative, and
put pressure on other players' characters.
To play Good Society, you'll need four to six people. In most
games, one of these people will be the Facilitator, who will
step players through each stage of the game, and help to create
a shared story. Once you've become familiar with the game,
you may choose to play without a Facilitator—you'll find the
rules to do so on p.174.

EXAMPLES OF PLAY
As you read through this book, you'll find lots of
examples that look like this to help you understand
how to play the game. All of our examples centre on
one single game group, so we thought we'd share a
little bit about the players and characters you'll meet.

Our example group is made up of four people:

ƕƕ Edwin (he/him), who plays the major character

Charlotte, and a connection named Lady Thorn.

ƕƕ Shani (she/her), who plays the major character

Emma, and a connection named Isabel.

ƕƕ Nadia (she/her), who plays the major character

Fitzwilliam, and a connection named Henry.

ƕƕ Tammy (they/them), the Facilitator, who plays

the remaining connections, including members
of Charlotte and Emma's family, as well as Lady
Thorn's son Geoff.

We hope you enjoy hearing about the drama and

scandal in their game of Good Society.

7
 Good Society

COLLABORATIVE STORY TELLING

Good Society is a game built to foster collaborative storytelling.
But what does in-game collaboration actually look like?
Here's what collaboration means to us:

ßß Free and open discussion between players—even if it

would never occur between characters.
ßß Making an overall story together, rather than focusing
solely on your own major character.
ßß Putting the story (and fun!) above your character's
interests—even as you pursue those interests in-character.
ßß Making sure everyone's voice is heard in shaping the novel
you are creating.
ßß Respecting consent between players even when your
characters clash.
Good Society provides plenty of tools to help players work
together—but bringing a collaborative attitude to your game
is the best way to make it enjoyable.

8
 Chapter 1: Overview

THE PLAYERS
Each player will take on the role of a major character—
the Regency gentry at the centre of your story. Players in
Good Society also wield broad narrative power—and will have
more fun if they use it!

As a player your role is to actively contribute to the story

by playing the characters you control, offering ideas, and
creating drama for others.

You're not just a character, but an author,

working with your group to create your very
own Austen novel.

AS A PLAYER, YOU WILL:

ßß Respect the decisions made in Collaboration.
ßß Take action to pursue your character's desires and objectives.
ßß Be willing to accept (or even orchestrate) your character's
own misfortunes to create a more interesting story.
ßß Contribute to the story and support other players even
when your character is not involved.

WHY MUST I SUFFER?

In Austen's novels, characters suffer setbacks,
misfortunes, and uncertainty before they can achieve
their objectives. These setbacks are often what makes
the story interesting! The same principle applies to
the story you are creating in Good Society. Let bad
things happen to your character—you can reverse
their fortunes later and it will be a thing far sweeter.

9
 Good Society

THE FACILITATOR
In most games of Good Society, one person will take the role
of Facilitator. Unlike many traditional roleplaying games,
the Facilitator in Good Society does not have unlimited
narrative control. They do not plan how the story will go,
or determine the actions of all the supporting characters.
Instead, the Facilitator shares creative power equally with
the players. They play a vital role in bringing the best out
of the players, and making the game feel like an Austen novel.

If possible, the role of Facilitator is best taken by someone

with a bit of roleplaying experience. If you haven't roleplayed
before, but would like to facilitate the game, you can still do so.
However, we highly recommend you watch the example play
video on our website first, to get an understanding of what
playing the game might be like.

We'd also recommend the Facilitator have some familiarity

with Austen's style. Fortunately, in this world of excellent
movie adaptations, such knowledge is easily obtained.

As the Facilitator, your primary task is to help

everyone collaborate to build a shared story.

AS THE FACILITATOR, YOU WILL:

ßß Respect the decisions made in Collaboration and foster a
collaborative environment.
ßß Ask questions and build on the answers.
ßß Be responsible for structure and pacing.
ßß Play (some of) the supporting characters.
ßß Bring home the consequences of character actions.
ßß Bring home the consequences of the setting.
ßß Add drama and complication—but only if needed.

10
 Chapter 1: Overview

If you are playing the game without a Facilitator, then

responsibility for these tasks is shared among the players.

In Good Society, the Facilitator can also choose to play a major

character—which we highly recommend in games of four or
less people. However, even if the Facilitator is playing a major
character, they'll still need to perform the tasks listed above.
Their role as the Facilitator takes priority.

FLOW OF PLAY
Good Society has a structured flow of play to make the game
more like an Austen novel.

Every time you start a new game of Good Society, you will
begin by completing Collaboration and Backstory. During
these steps, you will decide what kind of story you wish to tell,
and create the characters that will feature within it.

COLLABORATION
Decide what kind of story
you would like to tell.
Make decisions about
the tone and content of
your novel so everyone is
on the same page.
BACKSTORY
Create major characters,
and their connections.
Explore their histories,
relationships, reputation,
and family backgrounds.

11
 Good Society

CYCLE OF PLAY
After that, your game of Good Society will take place in a series
of phases, arranged into the cycle of play. A game of Good
Society will usually consist of three to eight cycles. Each cycle
of play will take most groups two to three and half hours to
complete, making one cycle perfect for a single session.

CYCLE OF PLAY
1 Novel Chapter
2 Reputation
3 Rumour and Scandal
4 Epistolary
5 Novel Chapter
6 Reputation
7 Epistolary
8 Upkeep

Novel Chapter: In-character play. Pursue your secret desire,

exploiting reputation, rumours and connections to secure
your advantage. This phase will make up the bulk of play.

R eputation: Major characters adjust their reputation based

on the events since the last reputation phase. Who will rise
to a position of consequence, and who will fall into disgrace?

Rumour and Scandal: Players collaboratively determine

what rumours and scandal are flying about good society.
Which are merely whispers, and which will spread to every
drawing room in town?

Epistolary: A phase for the writing of letters. Capture inner

thoughts and feelings, or put machinations in place. The final
epistolary of the game is also the epilogue.

Upkeep: Perform upkeep, spend expanded backstory actions

and check in on characters' inner conflicts and desires.

We recommend you use the cycle of play sheet, included with the
PDF play materials, to help you move through the phases.

12
 Chapter 1: Overview

MAJOR CHARACTERS
In Good Society, each player takes on the role of a major
character. Major characters, along with their desires,

secrets, and problems are the central focus of gameplay.

These characters are the Regency individuals that most
captivate our attention—whether they are protagonists like
Elizabeth Bennet, or scheming antagonists such as George
Wickham, or Isabella Thorpe.

A major character in Good Society is created from four

components: their desire, relationship, character role,
and family background. Each has the ability to shape a major
character, and the narrative itself, in a dramatic way.

DESIRES
In the deepest heart of every major character is a secret desire
—a burning hope or passion they wish to accomplish.

At its simplest, a desire is a clear internal statement of

what a major character wants in the medium to long term.
Players have an obligation to act on their desire, pursuing
schemes, machinations, and plans to make it come to pass.
These actions will help to move the story forward.

Your major character's initial desire determines what is most

important to them as the game begins. This desire is the first
element of your character you will encounter, and will play a
significant role in shaping who they might be.

While initial desires are essential in driving the drama,

desires will also shift over time as characters change and
develop. If a player decides their desire is accomplished,
impossible to achieve, or is no longer interesting to explore,
they can create or select a new one during the upkeep phase.

13
 Good Society

DESIRE CARD

❶
❽
❸

❷ ❹

14
 Chapter 1: Overview

❶ Number: Each desire card has an identification number.

❷ Quote: Each desire card has an Austen quote on its back to

give players an idea of its content without revealing too much.
In games with hidden information, players can use these
quotes to help select which desire they would like to pursue.
Multiple desires share the same quote to avoid their contents
being too easily revealed to seasoned players.

❸ Desire: This is the desire your major character wants to

achieve as the game begins.

❹ Description: The circumstances surrounding your desire.

❺ Extra Instructions: Additional set-up instructions, to

be performed at the end of major character creation.

❻ Public Knowledge: Information known by all of society

about your character or their circumstances. You must share
any public knowledge on your card with all players.

❼ Mandatory Connection: Some desire cards contain

mandatory connections. If you have a desire card which details
a mandatory connection, you must create them as one of your
connections during Backstory.

❽ Basic and Complex Desire Cards: There are two types

of desire cards, basic and complex.

Basic desires are great for first time players, or faster set-up.
They may also suit players in longer games who want less
specificity in their initial desire and relationship—allowing
greater freedom and control over their character.

Complex desires have more aspects to their set-up, and

generally require more discussion between players during
Backstory. These desires are great for those comfortable with
collaborative storytelling, or who have played the game a few
times and would like to explore more nuanced scenarios. They
work best for those open to shaping their character around
their desire. Complex desires often create conflict from the
outset, perfect for shorter games packed full of drama.

15
 Good Society

RELATIONSHIP CARD

❶
❷ ❸

16
 Chapter 1: Overview

RELATIONSHIPS
Each desire card has one or more corresponding relationship
cards, which may change depending on which playset you
are using. Relationship cards detail relationships that exist
before play begins. Players will take relationship cards from
each other, establishing bonds between their characters.

❶ Number: Each relationship card has an identification number.

❷ & ❸ Public and Private Sides: Relationship cards

have two sides. The front side is the ‘public’ side. This side
contains the information widely known in society about
the relationship. The second is the ‘private’ side. This side
contains information about the relationship only known by
certain characters. Sometimes, it may be the same as the
public side—other times, there are secrets or scandals to hide,
and the two sides may be different.

❹ R elationship: The relationship that exists between the

giver and taker of this card.

❺ Giver and Taker: Relationship cards contain the

terminology ‘giver’ and ‘taker’, so you can tell who is who in
the relationship. ‘Giver’ refers to the person who picked up
the relationship card originally with their desire card. ‘Taker’
refers to the person who will take the card from the giver
during Backstory.

‘GIVER’ AND ‘TAKER’

When Shani picked up her desire card, it came with the
relationship card Former Friends. During Backstory,
Edwin takes this card from her to form a relationship
between their characters. Shani's character Emma
will be the giver of the card, while Edwin's character
Charlotte will be the taker of the card.

17
 Good Society

CHARACTER ROLE
While a proper lady or gentleman has a great many
characteristics, society reduces them to but one. A character's
role defines who they are, which connections they have to

call on, and what consequences their reputation will have on

their circumstances.

Only one of each character role can appear in the game at any
one time. In a community as constantly watchful, gossiping,
and judgmental as that of H abershire, every person is
defined both by who they are, and who they're not. There is
but one Socialite, one Dowager, and one Heir of note—and all
of society is talking about them.

❶ ❸

CHARACTER ROLE SHEET

18
 Chapter 1: Overview

❶ Character Role Basics: This section contains information

about the major character, including their name, age, appearance,
and temperament. When completing this section, you can
select from the examples available or create your own.

Appearance and temperament should consist of one or

two words. A person's appearance may be elegant, sickly,
gaudy, or foreign. Their temperament may be shy, excitable,
or pompous. Appearance and temperament are intended to
capture the external aspects of the character, observable from
a first meeting.

)
❷ Role Attributes: Role attributes are the typical hallmarks
of characters in Austen's fiction. It's up to you whether you
would like to incorporate them into your story or not. If you Role
Attributes
need inspiration for your character, role attributes are a great p.214
place to look.

>
❸ Inner Conflict: A major character's inner conflict is the
internal struggle they face within themselves. They may be
torn between love and duty, or their need for acceptance and Inner
desire for revenge. At the end of every cycle, players reflect Conflict
p.98
on their character's behaviour, and mark off where they have
taken action on one side of the conflict or the other.

❹ R eputation Conditions: Society is always watching,

and always judging. As it does, your character's reputation 1
Reputation
will rise and fall. In Good Society, a major character's reputation p.89
is represented by adjectives called reputation tags, which
describe how society views them. If their reputation rises,
characters will earn positive reputation tags, such as caring
or dutiful. If it falls, characters will earn negative reputation
tags, such as dishonest or petty.

If a major character accumulates several tags of the same

type, this will trigger one of the reputation conditions on your
character role sheet.

19
 Good Society

FAMILY BACKGROUND
More important than who one is in Regency society is

*
the family one comes from. Every major character has a
family background, ranging from Peerage to Humble Origins.

Family A character's family background determines their starting

Back- reputation, and provides them with reputation criteria
grounds
p.240 unique to their heritage.

Multiple characters can have the same family background.

There is, after all, Old Money everywhere, and New Money
these days appears to be worrisomely common. When two
characters are part of the same immediate family (for example
siblings, or parent and child), they will usually share the same
background. However, this need
not be so. When characters are
related, their players should
discuss whether they would like ❶
to share a background, or create
a narrative reason why they
should be different.

❶ Family Background: The ❷

family background and its
description.

❷ Initial R eputation: The ❸

starting positive and negative
reputation tags players can
choose from. These are unique
to each family background,
and are selected during major
character creation.

❸ Reputation Criteria: The

criteria that determine whether a
major character's reputation rises
or falls. This will be assessed
during the reputation phase.

20
 Chapter 1: Overview

OTHER GAME CONCEPTS

RESOLVE TOKENS
Resolve tokens allow you to
change narrative details about the
world, and twist events in your
character's favour.

They are named for, and reflect, a

character's determination to pursue
their goals.

Resolve tokens give you the power

to shape the story in a number of
influential ways. They can be used -
Resolve
to compel other characters to act, Tokens
to create balls, carriage rides, and p.69
convenient distractions, and to
find out delicious pieces of gossip
or scandal.

MONOLOGUE TOKENS
Internal monologue is a ubiquitous
and highly entertaining feature of
Austen's work that also appears in
Good Society.

Each player receives a monologue

token at the start of each cycle.

>
You may play your monologue
token on another player at any time
during the game. When you do so, Monologue
Tokens
the other player must immediately p.103
reveal their major character's
inner monologue, disclosing their
thoughts, feelings, and plans.

21
 Good Society

CONNECTION CARDS

❶
❷

❹
❺

22
 Chapter 1: Overview

CONNECTIONS

>
Connections are supporting characters that hold tremendous
influence over the lives, situations, or hearts of the major
character they are attached to. Characters may love or hate Connections
p.48
their connections, but their influence cannot be denied.

Each major character has a list on their character role sheet

of the connections most likely to be influential in their lives.
You will be able to pick from these options when creating
connections during Backstory. For the suggested connections
of each character role see Chapter 9.

Connections in Good Society are represented by cards from

the Deck of Connections. This deck is comprised of
connection cards that allow players to quickly and easily create
characters with a unique appearance and vivid personality. 9
Connection
Each connection card contains two sides which showcase two Creation
different aspects of the character pictured. Players can pick the p.53
side of their choosing during the connection creation process.

❶ Number: Each connection card has an identification number.

❷ Name: The character's first name. Surnames are not included,

so you can create family connections as needed.

❸ Portrait: A portrait of the character.

❹ Character Tags: Tags which describe the most important
attributes of the character. These may describe a character's
personality, wealth, or station in life.

❺ Character Description: A description of the character's

temperament, ambitions, or circumstances. The player controlling
this character can use the description as inspiration for their
personality and actions.

If you are playing without the Deck of Connections, you will still be able to
create connections using the alternate rules on p.59.

23
PUBLIC
INFORMATION Good ❶
Society
SHEET
The public information sheet is where
you will store important details about
your game and its major characters.
Place this sheet in a location easily
viewable by all players. ❸
1. COLLABORATION
DECISIONS
Record the decisions made by your
group during Collaboration. You can
refer back to these throughout the
game. You can update this section as
needed when reviewing Collaboration
in the upkeep phase.

The underlined options indicate the

game's default settings.

2. MAJOR CHARACTER
INFORMATION
This section records information
about each major character in a way
easily viewable by all players. It has
three sections.

3. NAME: The name of your major

character should be recorded here.

4. INNER CONFLICT: The inner

conflict of your major character.
When you mark off boxes on the
inner conflict table on your character
role sheet, mark the same number of
boxes on the corresponding side of
your conflict on the public information
sheet, so all players can see how your
character's conflict is progressing. 6. RUMOUR AND SCANDAL
5. REPUTATION TAGS: The current Record the rumours generated by players
reputation tags of your major character. during the rumour and scandal phase.
Positive reputation tags are written on
the left side, next to the up arrows, while 7. SPREAD RUMOUR: When a rumour is
negative reputation tags are written on spread, mark the circle next to it. This
the right side, next to the down arrows. indicates that a resolve token is now
attached to this rumour, and can be
When24 you fill out your third reputation used to have the rumour affect the story.
tag of either type in the grey box, you will Once the resolve token has been used,
trigger a reputation condition. the rumour is crossed off.
❷
❻
Chapter 1: Overview ❼❽

8. FADING RUMOUR: If a rumour has not

been spread at the end of the rumour
and scandal phase, it will begin to fade
out. These rumours are marked with the
fade out symbol (📉).

If they are not spread by the end of the

next rumour and scandal phase, they
will be crossed off.
25
 Good Society

BEFORE YOU PLAY

PREPARING YOUR GAME

Before you start a game of Good Society, you and your group
will need to make a number of choices. If you are planning to
facilitate a game, you may decide to make these choices ahead
of time. Your decision will affect how the game is set up and
some of the rules that you'll use. Decide the following:

How many major characters will appear in your game?

Each player will take the role of one major character. If you
are playing with a Facilitator, they may choose to play a major
character as well as facilitate the game.

We recommend that your game has three to five major

characters. If you have seven or more people, split into two
separate games. If there are too many major characters, some
of their stories won't have time to develop, and players will be
waiting a lot longer for their characters to appear in scenes.

Will your game have a Facilitator?

We recommend a Facilitator for players new to Good Society,

or for groups who want someone to help direct the game and
assist with the story. For those experienced with collaborative
games, a Facilitator may not be necessary. If you are playing
without a Facilitator, you will need to use the rule changes
outlined on p.174.

Approximately how many cycles will your game consist of?

For the full Good Society experience, we recommend games

of three to eight cycles, which will usually take between four
and eight sessions to play through. You can also play an
introductory game of one or two cycles. If you're playing a
game of three cycles or less, you will need to use the rule
adjustments outlined on p.28.

26
 Chapter 1: Overview

Which playset will you use to set up your game, and will
you use it in part, or in full?

Playsets are combinations of roles, backgrounds, desires,

and relationships tailored to a certain theme or tone for a
satisfying play experience. In Chapter 7, you will find a wide
variety of playsets to choose from, including romance and love,
scandal and reputation, and wealth and fortune.

Once you've chosen your playset, you'll need to decide whether

your group will use it in part, or in full. Most of the time, >
Playsets
we recommend you use your playset in part. However, games
p.177
of two or less cycles should generally use the playset in full.

When using a playset in part, use the desires and relationships

detailed in the playset, but not the character roles or family
backgrounds. During Backstory, players will pick a desire
and take the corresponding relationship. Players will then
choose their own character role and family background.

We recommend a playset in part for longer games, as it

allows players more flexibility to create characters, while still
reflecting the playset's theme or tone.

When using a playset in full, use the sets of desires, relationships,

character roles, and family backgrounds listed. Players then
choose the set which interests them the most. Using a playset
in full is recommended for single-session or convention
games, or when players are willing to trade control over their
character for a speedier set up.

If none of the existing playsets appeal to you, you can also

create your own playset to suit the interests of your group.
You'll find instructions on how to do so on p.179.

Grab your quill, you're now

ready to begin creating an Austen novel
with your friends.

27
 Good Society

RULE ADJUSTMENTS FOR GAMES OF THREE

CYCLES OR LESS
For games of three cycles or less, use the following five rule
adjustments:

ßß The number of connections is limited (see the table on

p.50).
ßß Inner conflict is not used. Instead, every player gains one
resolve token during the upkeep phase.
ßß Expanded Backstory is not used.
ßß Desires cannot be changed in the upkeep phase.
ßß Rumours don't fade out during the rumour and scandal phase.

RULE ADJUSTMENTS FOR GAMES WITHOUT A

<
Playing
FACILITATOR
There are four rule changes when playing without a
without a Facilitator. We've included these here for easy referencing
Facilitator
once you understand how to play Good Society:
p.174
ßß If you are playing with hidden information at a player
level, use the desire numbers contained in your playset.
Assemble the desire cards quote side facing up, without
any player seeing their ‘secret’ side.
ßß Instead of choosing just one connection to control during
connection creation, take turns selecting connections until
they are divided evenly between the players.
ßß When a new connection is created mid-game, collectively
decide which player will control them.
ßß In the epistolary phase, players may spend a resolve token
to write a letter from a background character to their
major character or a connection they control.

28
 Chapter 1: Overview

WHAT YOU NEED TO PLAY

Here's what you'll need to play Good Society whether in person
or online.

Playing in person

If you're playing Good Society You'll also need:

face-to-face, you'll need to
print the following materials:
ßß Character role sheets
ßß Family background sheets
ßß Connection sheets
ßß Public information sheet
ßß Cycle of play sheet
You'll find a print ready
version of these materials
included with the PDF
version of your game.
ßß Desire cards
ßß Relationship cards
ßß The Deck of Connections
(optional)
ßß Tokens in two different
colours—at least 30 to
represent resolve tokens,
and 6 to represent
monologue tokens.

Playing online

To play this game online, we When we play online, we

recommend you use a shared
virtual space, such as Google
docs or roll20, to manage
your game materials.
A shared virtual space will
allow your group to easily
document the following six
aspects of the game:
generally make use of a
Google document editable
by all players, and compile
the materials in a folder on
Google Drive.
You can find a link to the
document template we use
included in the play materials.

ßß Collaboration decisions
ßß Character information
ßß Connections
ßß Rumours and scandal
ßß Monologue tokens
ßß Resolve tokens

29
 Good Society

30
 Chapter 2: Collaboration

Collaborat ion 02

Liza,

I write to you on a matter of great importance, that the

abysmal tragedy of last season should not be repeated.
I recall it still with the utmost dismay and horror.
The indignity! The shock!

To think both of us in attendance at the first ball of the

season in the very same dress. From a pattern which the
tailor assured us had not yet been used!

This year let you, myself, Kitty, and May make our
preparations together. Let us all stride into the ballroom
with unprecedented confidence in our attire.

n the previous chapter, we mentioned that Good

I Society revolves around collaborative storytelling.

This core focus is reflected in the very first step of
the game—Collaboration.

Collaboration lets the players and Facilitator make important

decisions about the story's tone and content. It gives all
participants equal control over the game, and helps to make
sure everyone feels comfortable during play. It's a simple and
quick process, but an essential one.

Your group will perform Collaboration once at the start of

each new game of Good Society. All players should have the
chance to contribute during this process so that everyone has
a say in shaping the story ahead.

31
 Good Society

PERFORMING COLLABORATION
Before you start making decisions, discuss and note down what
Austen means to your group. What things does your group
expect to happen in the game? What do they want to do and see?
You can use this material to steer the game towards the
players' interests.

After this discussion, everyone should answer the questions

on the next few pages together. Read the descriptions for each
option out loud before deciding so all players understand the
choice ahead. If your group can't agree, call for a vote, or go
with the default option (which is underlined).

The Collaboration decisions your group makes should be

noted on the public information sheet.

USING COLLABORATION IN THE GAME

Collaboration creates a shared understanding of the
kind of story your group wants to tell. It's important to
refer back to your Collaboration decisions during the
game to make sure they are respected.

Collaboration is an agreement between all players.

Everyone should feel equally comfortable speaking
up if they feel something in play conflicts with that
agreement. When someone identifies a conflict,
rewind the mismatch, and replay the moment in a
way that respects Collaboration. Rare exceptions
to Collaboration are allowed, but only if the group
unanimously agrees.

32
 Chapter 2: Collaboration

COLLABORATION QUESTIONS

What tone should the story have?

͠͠ Drama: Things are difficult and actions have serious

consequences. Tensions are quick to inflame. Connections
viciously pursue their own ends. Society is harsh and
judgemental.
͠͠ Romantic comedy: Actions have consequences, but past
misdemeanours can be recovered from. Fortunate and
humorous coincidences can occur, and triumphant
moments are possible. Connections respect their own
interests, but can be swayed. Society is quick to judge, but
also quick to forget.
͠͠ Farce: Actions have few consequences outside the current
scene. Improbable coincidences and circumstances are
manifold. Connections may change their minds rapidly.
Society is prone to excessive silliness.

How important is historical accuracy?

͠͠ A little important: We'll do the best job we can, but

story is much more important than history.
͠͠ Somewhat important: We'll try to get it right where it
counts, but we'll never stop the game to find out a historical
fact. During breaks we will call on other players with more
knowledge when something seems particularly important.
If we're not sure, we'll make the best guess we can.
͠͠ Very important: We commit to arming ourselves with
knowledge ahead of time to enable more historical
accuracy. We will call on the expertise of other players to
help us get it right. We will avoid stopping the game, but
we can look things up during breaks and between sessions
to help with further play.

33
 Good Society

How will we treat the gender power balance?

The answer to this question need not change anything

aesthetic about the world—unless you'd expressly like it to.
Unless agreed otherwise, men will still wear the literal pants,
if not the figurative ones. It's worth taking a moment to check
what your group prefers.

͠͠ Historical: Standard Regency patriarchy.

͠͠ Off: It is normal and acceptable for people of all genders to:
• Have significant and respectable careers
• Make the first move
• Inherit entailed estates
• Have marital relationships with all genders
͠͠ In Reverse: It is normal and acceptable that only women may:
• Have significant and respectable careers
• Make the first move
• Inherit entailed estates

WHAT ABOUT RACE?

Gender is a central theme in Austen's work, so it's
important to discuss your group's approach to the
gender power balance.

Race is not. Austen's work is not about race, and

doesn't grapple with racial prejudice. For this reason,
we take the approach that in the world of Good Society,
racial prejudice does not exist, and characters may
be of whatever race they choose without incident.

34
 Chapter 2: Collaboration

How much hidden information will be used in the game?

This question will determine whether any game information

will be hidden from players. Most characters in the fiction
will not be privy to desires and private relationships no matter
which option you select.

͠͠ None: Desires and private relationships will be public

player knowledge. Of course, they will remain secrets to
characters in the fiction.
If you select this option, turn all desire and relationship cards
private side up during Backstory. Allow players to read all
desires and relationships before choosing which they would like.

͠͠ Some: Private relationships will be public player

knowledge, but desires will remain hidden from other
players at the table.
If you select this option, allow players to read the public and
private sides of all relationship cards during Backstory.
However, keep the initial desires a secret from everyone except the
player who chooses them.

Is there anything our THE X-CARD

game should avoid?
This question gives the
players a chance to suggest
anything they believe is
outside the tone of the game.
Examples may include
murder and serious crime,
non-consensual sex, or even
estate management and
advances in agricultural
techniques. After all, this
is Austen, and not every
Regency truth has a place
in the genre.
When playing this game, we
recommend you use the x-card, a
player safety tool created by John
Stavropoulos. It allows players
to stop the game if they become
uncomfortable with the content,
without giving a reason. To activate
the x-card, a player can hold up a
physical x-card, say “x-card”, or
make an x shape with their arms.
Play then stops, and everyone
discusses how the scene can
proceed in a direction that does
not make anyone uncomfortable.
To read more about the x-card and
find tips on how to use it, go to:
   http://tinyurl.com/x-card-rpg
 Good Society

36
 Chapter 3: Backstory

Backstory 03

John, I enclose my memoirs in their entirety. It is more

voluminous than I anticipated as I took the liberty of
including your life as well. I hope you will approve and
consider me as accomplished a chronicler as I am a friend.

ackstory has two parts. In the first, players develop

B their major character. In the second, players

create connections—supporting characters that
play a vital role in the story ahead.

Backstory is a group activity that requires all players to work

together. It's best done while everyone is present, and in a
context where players can engage in full and open conversation.

This step can take close to an hour and a half, especially if

there are five major characters. If you are running a shorter
-
Playset
in Full
game of one or two cycles, you can reduce the time taken by p.27
using a playset in full.

HAVE YOU CHOSEN YOUR PLAYSET?

Before your group can start the Backstory process,

>
you will need to know which playset you are using,
and whether you are using it in part, or in full.
Make sure you have all the playset's desire and Playsets
relationship cards on hand, as well as one of each p.177
character role sheet, and a couple of each family
background. For playset options, see p.177.

37
 Good Society

CREATING MAJOR CHARACTERS

Arthur,

There is no man in this world who can claim his life absent
from mistakes, and none who takes to the next life without
some regrets. As the estate and its care are shortly to
be yours, it is now time to reveal to you mine.

Before your mother and I were wed, I served in France.

Our garrison was far from the action. We found ourselves
isolated and bored for the better part of three years. It was
there I met Anne-Marie.

Arthur, when I am gone, please take good care of your two

half-sisters. I have sent them your portrait; they have written
me you look the perfect gentleman.

This section contains the process for creating the group's

major characters. If the Facilitator is playing a major character,
they will also need to complete each step of this process.

Character creation in Good Society cannot be done individually—

it must be done with the entire group present. You may walk
into the game with general ideas about the character you
would like to play, but save deciding on specific details until
you've gone through the steps below with the other players.

Creating major characters consists of six steps:

1. Set up your playset

2. Choose desires
3. Form relationships
4. Choose roles and backgrounds
5. Flesh out the major characters
6. Introductions

38
 Chapter 3: Backstory

We highly recommend you follow this process as written for

most games, with players choosing their desire, then forming
relationships, and finally choosing their character role

and family background. The exception is playsets in full,

where players pick their desires, relationships, character roles,
and family backgrounds in sets that have been pre-arranged
at the start of the process.

Character creation can be one of the most complex processes

involved in playing Good Society, but it is also good fun in
its own right. If you read through the instructions below,
but still aren't completely sure how character creation works,
step-by-step video instructions are available on our website.
Sometimes seeing it done is the best way to learn!

WHAT IF I KNOW EXACTLY WHO I WANT TO BE?

When you start the Backstory process, it's best not to enter the
game with too many restrictions on who your character might be.
However, there may be one element of an Austen character that
really captures your imagination—and you can absolutely include
that in your game. You may, for instance, want your major character
to be a Captain in the military, or perhaps you'd like them to be
secretly engaged.

If there is a particular type of character or situation you'd like to

explore in the game, let your Facilitator know ahead of time.
They can then choose or create a playset which is compatible with
your ideas. However, in general we would recommend keeping an
open mind. Remember, your initial desire doesn't determine your
entire character, and may also change as the game develops.

If you choose an initial desire during Backstory that doesn't reflect

the character you want to be, you can always quickly and easily swap
it out for the spare in your playset.

39
 Good Society

STEP 1: SET UP YOUR PLAYSET

Pair the desire cards with their corresponding relationship

<
Playsets
cards from your playset. If you are playing with some hidden
information, place the desire cards with the quote face-up
p.177 and don't let players look at the other ‘secret’ side. If you are
playing with no hidden information, place the desire cards
with the desire text face-up so that all players can read them.

If you are using a playset in full, lay out the desire cards,
relationship cards, character role sheets, and family background
sheets in sets as indicated. However, tell players not to fill out
their character role sheets just yet. This will be done in step 5.

Tammy has created an original playset for the group

based on their interests. They will be using the playset
in part, so players can pick their own character roles
and family backgrounds.

Tammy prepares the chosen desire cards in sets with

the corresponding relationship cards. Since the group
will play with no hidden information, Tammy places the
desire cards face-up for Edwin, Shani, and Nadia to read.

40
 Chapter 3: Backstory

STEP 2: CHOOSE DESIRES

Each player chooses a desire card and takes the corresponding
relationship card. If using a playset in full, they will also take
the corresponding character role and family background.
Players should then read both sides of their desire and
relationship cards.

If any player does not like the desire they have picked up,
they now have the opportunity to switch their desire and
relationship cards for the spare in the playset.

Once desires are finalised, players should then reveal any

information on their desire card marked as ‘public knowledge’.

Edwin, Shani, and Nadia read both sides of all the

desire and relationship cards. They then take the desire
that appeals to them most, and the corresponding
relationship card.

Nadia's desire card has public knowledge on it. Even

though Edwin and Shani have already read her desire,
she reads the public knowledge section out loud again
so everyone is aware of it.

41
 Good Society

STEP 3: FORM RELATIONSHIPS

Each relationship card is used to form a relationship between
two characters. At the end of this step, each player must have
taken and given exactly one relationship card, unless their
desire card says otherwise.

Each player places their relationship card on the table in front

of them with the private side face-up for all players to see.
Players then discuss with each other what relationships might
be appropriate for their character.

Players should actively work with each other

during this process.
If your group is playing the game with hidden information,
the Facilitator, who knows the contents of all the desires and
relationships, can also help.

If a player believes another player's relationship card would

work for their character, they may take the card and read
both sides. If the card is compatible with their desire, they may
choose to keep it. Otherwise, they can place it back in front of
the player they took it from, and select a different relationship.

Relationships may not always work out perfectly on the first

attempt, so don't be afraid to swap them around during this
step as needed.

Players should establish information about their characters as

required during this step; for example “For our relationship to
work, you have to have no children.” or “Do you think maybe
our mother has just died, and left you all the inheritance?”

Once each player has taken at least one relationship card,

go around in a circle with each player stating what their
relationship is, who it is with, and how it appears in public.

42
 Chapter 3: Backstory

AVOID TWO PLAYERS SWAPPING

RELATIONSHIP CARDS
Relationship cards make sure all major characters
are connected and are part of each other's stories.
For this reason, it's best to avoid two characters
exchanging their relationship cards with each other,
as these two players may end up disconnected from
the other players' stories.

Edwin, Shani, and Nadia all place their relationship

cards in front of themselves private side face-up.
They have the following relationships:

͠͠ Shani – Former Friend

͠͠ Edwin – Old Flame
͠͠ Nadia – Object of Affection

“Ooh, can my character be the former friend of yours,

Shani?” asks Edwin. “That fits perfectly with my
desire.” Nadia and Shani agree, and Edwin takes the
Former Friend relationship card from Shani.

“Well, Edwin and I shouldn't swap cards,” says Shani.

“So that makes my character Nadia's object of
affection, and Nadia's character Edwin's old flame.
Does that work with your desire Nadia?”

“Perfectly,” says Nadia. Nadia takes the Old Flame

relationship card from Edwin, while Shani takes the
Object of Affection card from Nadia. “Oh,” says Nadia,
“the public side of the Old Flame card says Friends.
So, I guess Shani's character doesn't know about what
happened between my character and Edwin's.”

“Drama already!” says Tammy. “I love it.”

43
 Good Society

STEP 4: CHOOSE ROLES AND BACKGROUNDS

Players should now select a character role and family
background they feel accords with their relationship and desire.
There can only be one of each character role in the game,
but family backgrounds may be selected multiple times.

This step does not apply if you are using a playset in full.

Nadia, Shani, and Edwin look through the character

roles and family backgrounds.

“I'd like to take the Socialite,” says Nadia, “if nobody else
wants it. From Old Money. Oh, no, wait the Peerage.”

“I'm going to be the Heir,” says Edwin, “but from New

Money. That fits my desire. And may explain why your
character and mine didn't work out Nadia.”

“Oh my gosh, my character definitely fits this ill-

reputed background! That's so perfect," says Shani,
"and for their role… I think the New Arrival. Oh no,
wait, that doesn't make sense with my relationship.
Actually, maybe the Hedonist. Why not? My family
already has a terrible reputation!”

Character roles, p.214

͠͠ The Heir ͠͠ The Meddler

͠͠ The Socialite ͠͠ The Careerist
͠͠ The Dowager ͠͠ The Cornerstone
͠͠ The Dependant ͠͠ The Hedonist
͠͠ The New Arrival ͠͠ The Tutor
Family backgrounds, p.240

͠͠ Old Money ͠͠ Clergy

͠͠ Peerage ͠͠ Military
͠͠ New Money ͠͠ Ill-Reputed
͠͠ Humble Origins ͠͠ Foreign

44
 Chapter 3: Backstory

STEP 5: FLESH OUT THE MAJOR CHARACTERS

Next, each player should create their major Step 5 summary
character by filling out the fields on their character
role sheet. They should also choose their starting 1. Complete
positive and negative reputation tags from their character role
family background sheet. Write these tags on the sheet.
public information sheet. 2. Choose starting
reputation tags
While doing this, players should think about their
and write these
major character's personality, past, and position.
on the public
What kind of family do they come from? Do they
information
have a profession? Are they married, unmarried,
sheet.
or perhaps (secretly) engaged?
3. Consider your
Encourage players to work together, especially if
character's
they have a shared relationship.
personality,
Players also need to determine the meaning of, past, and
and the events surrounding, their relationship. position.
How did Emma wrong Charlotte so completely?
4. Determine
What fires burned between Fitzwilliam and
the meaning
Charlotte all those years ago?
of your
At this point, players should also double check relationship.
they have shared all public knowledge on their 5. Share public
desire cards. They should also share anything knowledge.
else from their desire card they wish to be widely
6. Perform any
known—for example, if they were publicly
additional
disinherited, or raised by a relative.
instructions on
During this step, players should also perform your desire card.
any additional instructions listed on their desire
7. Confirm
card, such as creating a rumour, or gaining an
character
additional reputation tag.
pronouns.
This step is a great chance to confirm each major
character's preferred pronouns.

45
 Good Society

STEP 6: INTRODUCTIONS
Time for introductions. Ask lots of questions to encourage
players to elaborate on their major character's personality
and relationships. We recommend each player write the name,
title, and age of their character on a paper stand for easy
reference during the game.

Once these steps are complete, players should have a good

understanding of the story's main characters and their history.

Your major characters are ready to grace the

world with their presence!

CHARACTER AGE
The presence of generational gaps between major characters has
the capacity to affect the interpersonal dynamics of a game of Good
Society significantly. For this reason, it's best to discuss ahead of time
whether any of the players in your game would like to play an older
character (40+).

Playsets will indicate if they involve a generational gap, and whether

that gap is optional and can be removed. Desires that require a player
to take on the role of an older major character also indicate this with
the age tag.

Having older characters can add additional drama to the game

through parent-child relationships, past histories and scandals, and
wealth and inheritance. And of course, it's never too late for romance!

Older characters are generally more interesting to play when there

are other characters their age, whether they are major characters or
connections. The role of the Dowager will inherently produce an older
character, but almost every character role can be played as any age.

46
Chapter 3: Backstory

47
 Good Society

WHAT ARE CONNECTIONS?

Lynette,

I hope the preparations for the picnic are coming along well?
It was so noble of you to take on such a weighty undertaking
without my assistance—such self-sacrifice.

Still, I hope you do go to Eldric's for the smoked ham.

It is beyond compare, and Mr Tarlington is so fond of it.
Oh yes, I've invited Mr Tarlington—he is so lovely, he will
also bring all three of his sons, very eligible.

Naturally then, of course I had to inform my sister Eliza

of the affair, and would you know, she is so very lovely,
she offered to bring cherry cake. So of course she will come
and bring Thomas and George and George's new wife
Prudence and her sister Mary is to be confirmed.

I'm sure, I am so certainly sure, that everything is well

in hand, but really do call on me for any help you may need.
I do organise so many of these picnics, and I only wish to
relieve your burden.

Connections are supporting characters that hold tremendous

<
Playing
influence over the lives, situations, or hearts of the major
character they are attached to. Characters may love their
connections, or they may hate them, but their influence cannot
Connections
p.105 be denied.

The primary purpose of a connection is to

complicate the lives of the major characters.
Their secondary goal is to be a tool in the major characters'
plots and schemes. We talk more about connections and their
role in the game on p.105.

48
 Chapter 3: Backstory

Each player will create connections for their major character

using the steps outlined below. Ordinarily, connections are
generated using the Deck of Connections. If you do not
have access to either the physical or print-and-play version of
the deck, you can also create connections using the alternate
rules outlined on p.59 of this chapter.

As well as a connection card, players will also need one

connection sheet for each connection they are creating.

WHAT KIND OF CONNECTIONS SHOULD I

CREATE?
Each major character has a number of connection options
on their character sheet to choose from, such as sibling, cousin,
local vicar, or estranged aunt/uncle. These connection options
list the kind of people most important in that character's world.

If a player has any mandatory connections on their desire

card, they must create these connections first, and can create
other connections if spots remain.

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 Good Society

When deciding which connections to create, select people who

can put pressure on your major character. This pressure could
arise for any number of reasons, be it obligation and duty,
rivalry, love, or a shared family reputation. Create connections
your major character has strong feelings towards, or who have
strong feelings towards your character (or both.)

Consider including any important characters that were

mentioned during the first half of the Backstory process.
Did you mention a selfish elder brother, set to inherit the estate?
Or perhaps you decided that without their parents, your major
character survives only by the good graces of Sir Ainsworth
and his family.

You will discover much more about each connection during

play, so don't feel you need to know everything about them now.

HOW MANY CONNECTIONS SHOULD EACH

MAJOR CHARACTER CREATE?
The number of connections each major character will create
depends on the number of major characters, and the length of
the game.

# OF PLAYERS 1-SESSION 2-SESSIONS 3+ SESSIONS

● ● ● 2 2 + 1 midplay 2 + 1 midplay
● ● ● ● 1 + 1 midplay 1 + 1 midplay 2 + 1 midplay
● ● ● ● ● 1 1 + 1 midplay 2 + 1 midplay

In longer games, additional connections may also be added

during the upkeep phase, see p.140.

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 Chapter 3: Backstory

FACILITATOR CREATED CONNECTIONS

Ordinarily, the Facilitator will not create any
connections unless they are also playing a major
character. However, on occasion you may realise
someone important was left out after all the
connections have been created! In this case, the
Facilitator may choose to create one or two additional
connections.

In a game with a prevalence of romantic objectives,

but a lack of suitable connections for an advantageous
match, you may want to create some well-connected
suitors so the major characters can play the field.

Tammy, the Facilitator, knows that Fitzwilliam's desire

is to reunite two feuding families—the Ashworths and
the Thorns. However, the only family connections
created so far want reconciliation. This will not do!
Tammy creates the heir of the Thorn family, Geoff
Thorn, who is opposed to ending the feud at all costs.

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 Good Society

CREATING CONNECTIONS MID-PLAY

During a game, players may find themselves needing to
create new connections they did not anticipate beforehand.
If a mid -play connection slot is available, a player can create
a new connection at any time during play to serve the needs
of the story. If no extra connection is needed, they can also
decide not to create one.

The process for creating connections mid-play remains the

same as creating a connection during Backstory. However
instead of drawing connection cards, players may choose the
card from the deck they believe to be most appropriate.

Tammy is facilitating a five cycle game with three

major characters, so each major character will create
two connections during Backstory, and then have the
option to create one mid-play.

During Backstory, each major character creates two

connections, and keeps an extra connection sheet for
a possible third. In the second chapter of the game,
Nadia realises that Fitzwilliam's disinherited elder
brother, who she did not create as a connection,
is actually a vital part of the story.

Nadia quickly creates the connection while the chapter

focuses on other characters, and then shares the new
connection with the group. Tammy takes the role of
the elder brother, and brings him into the chapter
some minutes later.

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 Chapter 3: Backstory

CREATING CONNECTIONS
Creating connections is a six step process. Players can complete
these steps at their own pace, but should discuss ideas with each
other as needed.

1. Select connection cards for mandatory connections.

2. Draw connection cards.
3. Select connection options, and match these with cards drawn.
4. Fill out the connection sheet.
5. Select a connection to control during the game.
6. Place two resolve tokens on each connection.

STEP 1: SELECT CONNECTION CARDS FOR

MANDATORY CONNECTIONS
Some desires require that a player create a mandatory
connection. As usual, these connections take up one of a

player's connection slots.

Players with a mandatory connection may look through the

Deck of Connections and select any card they wish for
this connection. They should set this card aside for now.

Edwin's desire card requires him to create Charlotte's

aged aunt, so he selects an appropriate card from the
Deck of Connections. He puts this card aside for now.

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 Good Society

STEP 2: DRAW CONNECTION CARDS

First, shuffle the connection cards. Then, each player should
draw a number of connection cards equal to the number of
connections they are creating during Backstory, plus two.

Since this is a five cycle game, each major character will create
two connections, plus one mid-play. Edwin draws connection
cards equal to the number of connections he is creating during
Backstory plus two. Edwin draws four cards, and adds them to the
card he selected for his mandatory connection.

STEP 3: SELECT CONNECTION OPTIONS, AND

MATCH THESE WITH CARDS DRAWN
Players select one connection option from their character role
sheet for each connection they will create (e.g. sibling, rival),
and match it with a connection card they have drawn. For
example, a player may choose the rival option, and decide their
rival will be represented by connection card #58a, Cassandra.

Each connection card contains two sides which showcase two

different aspects of the character pictured. Players may choose
which side of the connection card they would like to use.

Players then record the connection option they chose in the

‘relationship’ field of a connection sheet, and then place the
connection card directly below the sheet.

For his second connection, Edwin selects the sibling option from
the connection section of his character role sheet. He chooses to
create the sister of his major character Charlotte. Edwin selects
connection card #47, Isabel, for Charlotte's sister, choosing side ‘b’
of the card as he believes it describes her personality. He writes
sibling in the relationship field on Isabel's connection sheet.

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 Chapter 3: Backstory

MAKING CONNECTION
CARDS YOUR OWN
The card you select from the Deck of Connections is simply the
starting point for your connection. Feel free to add additional
information, attributes, or opinions of this connection on their sheet.

For example, a card may not state a character is a military Captain,

and they may not be dressed like one—but feel free to make them
so. Similarly, you can invent their wealth, marital status, reputation,
age, or whatever else you feel is necessary. Connections are
flexible—customise them to suit your story!

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 Good Society

STEP 4: FILL OUT THE CONNECTION SHEET

Fill out the following details for all connections:

❶
❷
❺
❸
❹ ❼

❶ Name: The connection's name.

❷ R elationship: The connection's relationship with the

major character, as indicated by the connection option chosen
from their character role sheet, or as dictated by a desire card.

❸ Major Character: The major character the connection

has a relationship with.

❹ Opinion: The connection's opinion of the major character.

This may change during the game.

❺ Age and Card Number: The age of the connection and

number of the connection card they are represented by.

❻ Notes: You may then include any additional information

about this connection. Don't put too much here at this stage—
this section is useful to detail important facts that are revealed
about the connection during play.

When this is done, players may want to share a brief overview

of their connections.

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 Chapter 3: Backstory

Edwin then completes the required fields for Charlotte's sister

Isabel. Isabel shares Charlotte's surname, so her name is Isabel
Taylor. Her opinion of Charlotte, Edwin fills out with “Charlotte
is a complete bore.” In the notes section, Edwin writes that she
is unmarried. There's a bit of information about her character
on the connection card already, and he'll leave the rest for play.
Edwin completes the same process for Charlotte's aunt.

STEP 5: SELECT A CONNECTION TO CONTROL

DURING THE GAME
Each player (excluding the Facilitator) selects a connection
they did not create to control during the game. Players should
choose a connection that has no initial or obvious relationship
to their own major character. This approach reduces the
likelihood of scenes containing both a player's major character
and the connection they are playing. However, the Facilitator
can always temporarily play a connection to avoid a player
talking to themselves.

Each player then places the connection sheet and corresponding

connection card in front of themselves, and writes their name
in the ‘played by’ field (❼). They will play and control this
connection throughout the game. The Facilitator will play the
remaining connections.

Players may select to control a connection created by the

Facilitator, if any exist.

Edwin chooses to play Fitzwilliam's patroness, Lady Thorn.

Charlotte has never met Lady Thorn, and has little direct
relationship to Fitzwilliam's affairs, so it's a pretty safe choice—
it's unlikely Charlotte and Lady Thorn will be deeply involved with
each other. Although you never know, Lady Thorn does hold sway
over most of the town's gentry…

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 Good Society

STEP 6: PLACE TWO RESOLVE TOKENS ON

<
EACH CONNECTION
Place two resolve tokens on each connection for use during the
Resolve
game. These tokens will be used by the person controlling the
Tokens
p.69 connection. We'll explain how these tokens work on p.69.

CREATING UNEXPECTED CONNECTIONS

Ordinarily, the connections created during the game
will come from either a desire card, or a connection
option on a player's character role sheet. However, on
rare occasions you will need to create a connection
that is completely outside of what was anticipated.
Perhaps they are a small child, or an ill-reputed opera
singer. In these cases, you can create the connection
without a connection card using the rules outlined in
the following section.

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 Chapter 3: Backstory

CREATING CONNECTIONS WITHOUT

THE DECK OF CONNECTIONS
Creating connections without the Deck of Connections
takes four steps:

1. Select connection options.

2. Fill out the connection sheet.
3. Select a connection to control during the game.
4. Place two resolve tokens on each connection.
Creating connections without the Deck of Connections
is a straightforward process, but takes somewhat longer,
and requires a bit more inventiveness from the players.

STEP 1: SELECT CONNECTION OPTIONS

Players select the connection options they would like to
create from their character role sheet, and write these in the
‘relationship’ field of a connection sheet.

Shani wants to create a connection for Emma. She selects suitor

from the connection options on her character sheet, and writes
this in the 'relationship' field of a connection sheet.

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 Good Society

STEP 2: FILL OUT THE CONNECTION SHEET

Fill out the following details for all connections:

❶
❶
❷❷
❺
❸❸
❹ ❼

❶ Name: The connection's name.

❷ R elationship: The connection's relationship with the

major character, as indicated by the connection option chosen
from their character role sheet, or as dictated by a desire card.

❸ Major Character: The major character the connection

has a relationship with.

❹ Opinion: The connection's opinion of the major character.

This may change during the game.

❺ Age: The age of the connection.

❻ Notes: You may then include any additional information

about this connection. Don't put too much here at this stage—
this section is useful to detail important facts that are revealed
about the connection during play.

Players wishing for assistance fleshing out their connection

can select from, or roll on, the tables opposite. When players
are finished creating their connections, they may want to
share a brief overview of each.

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 Chapter 3: Backstory

WEALTH
Heir to more than
1 Comfortable or
£5000 a year
2 Recently rich or Hidden debts
3 Disinherited or Married into money
4 Appearances only or An honest living
5 Declining fortunes or Concealed fortunes
Unexpected
6 or Reliant on a patron
inheritance

REPUTATION
Whispers
1-2 Famous respectability or
and glances
Upholds the Rumours of past
3-4 or
family name misdemeanours
Extremely
5-6 Socially embarrassing or
well-connected

MARITAL STATUS (IF UNKNOWN)

1 Unmarried
2 Unmarried
3 Unmarried
4 Engaged or secretly engaged
5 Married
6 Widowed or divorced

PERSONALIT Y (ROLL TWICE)

Headstrong
1 Sweet and dutiful or Clever and worrisome or
and insistent
2 Awkwardly familiar or Strikingly handsome or Unrepentant flirt
Black sheep Dearest hope
3 or or Leader of the family
of the family of the family
4 Friendly and cordial or Aloof and proud or Unstoppable gossip
Authoritative and Two-faced and
5 or or Silly and free
intimidating scheming
Virtuous and
6 Earnest and naive or or Bitter and resentful
confrontational

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 Good Society

FLESHING OUT CONNECTIONS

Shani fills out Emma's suitor's name, Henry Worthing.
In the notes section, Shani writes that Henry is
unmarried and set to inherit. Shani then chooses to
use the tables to help her flesh out Henry. She rolls
on the personality table twice and selects appropriate
options, noting that Henry is an unstoppable gossip,
who is also headstrong and insistent. Now Shani can
imagine Henry in action!

STEP 3: SELECT A CONNECTION TO CONTROL

DURING THE GAME
Each player (excluding the Facilitator) selects a connection
they did not create to control during the game. Players should
choose a connection that has no initial or obvious relationship
to their own major character. This approach reduces the
likelihood of scenes containing both a player's major character
and the connection they are playing. However, the Facilitator
can always temporarily play a connection to avoid a player
talking to themselves.

Each player then places the connection sheet in front of

themselves, and writes their name in the ‘played by’ field
(❼). They will play and control this connection throughout
the game. The Facilitator will play the remaining connections.

Players may select to control a connection created by the

Facilitator, if any exist.

Shani chooses to play Charlotte's sister Isabel. She

can't imagine that Emma can have much to say to
Charlotte's sister, but if she does the Facilitator can
take over the scheming sibling for the duration of the
conversation.

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 Chapter 3: Backstory

STEP 4: PLACE TWO RESOLVE TOKENS ON

EACH CONNECTION

>
Place two resolve tokens on each connection for use during the
game. These tokens will be used by the person controlling the
connection. We'll explain how these tokens work on p.69. Resolve
Tokens
Once connections have been created, and all players are p.69
comfortable with who is who, then it's time to start play!

WHEN A NEW MAJOR CHARACTER

ENTERS PLAY
As we mentioned above, character creation is a process that
must be performed as a group. But what about when a new
player enters the game? Or when a player chooses to change
their major character in the upkeep phase?

There are many examples in Austen's works where important

characters with strong desires don't appear until halfway
through the book—for example, William Elliot in Persuasion,
or Lucy Steele in Sense and Sensibility. When these characters
enter the story, they need not be strangers from a strange land.
Rather, they have been part of the story all along—the novel
simply hasn't focused on them so far. Such is the situation of a
new major character entering a game of Good Society.

Creating a new major character should generally be done at

the end of a cycle, with that character entering the game at
the beginning of the next—but this can be altered to suit the
demands of your game.

Here are the six steps for introducing a new major

character into the game:

1. If the player is new, provide them with an overview of the

events so far, and a brief description of each character.
2. The Facilitator picks two or three desire cards they feel
are appropriate for the new major character in the current

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 Good Society

storyline, and relationship cards to go with them. Don't be

afraid of including close relationships such as old flames
or siblings—they will inject instant drama into the game.
3. The player of the new character chooses one of the desires.
4. The player of the new character gives their relationship
card to another player, to form a relationship between their
major characters. At this stage, it doesn't matter if the
card taker has an extra relationship, or that the new major
character has not taken a relationship card themselves.
The new character will inevitably be swept up in the
drama through their strong connection with a character
who already possesses a tangle of relationships.
5. The player of the new character then completes the rest of
the major character creation process, choosing their role
and background, and filling out their character role sheet.
6. Create connections for the new major character as follows:
• Create one connection in the usual manner.
• Create a second connection by choosing an existing
connection, then selecting a connection option from the
major character's character role sheet to describe the
relationship between that character and the connection.
Write this relationship in the ‘notes’ field of that
connection. For example, Charlotte's sister might also
be Fitzwilliam's rival or best friend.
• Hold the final connection to create mid-play.

The new major character is ready to go!

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 Chapter 3: Backstory

CHECKPOINT:
BEFORE YOU START
THE FIRST CYCLE
Before you begin the first cycle, each person playing a
major character should have the following:

͠͠ A desire card
͠͠ A relationship card (taken)
͠͠ A character role sheet
͠͠ A family background
͠͠ The connection sheet of the connection they will
play during the game
͠͠ Two resolve tokens
͠͠ One monologue token

In the middle of the table, place:

͠͠ The cycle of play sheet

͠͠ The public information sheet
͠͠ The connection sheets of all connections played by
the Facilitator

The Facilitator should have three resolve tokens, regardless

of whether they are playing a major character.

65
 Good Society

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 Chapter 4: Rules of Play

Rules
of Play 04

Edgar—It is certainly wise for you to write me on the point

as you have been so long away. And to enter a ballroom
without observance of the proper rules is to exit it again
swiftly with all the hurry of extreme embarrassment.
When approaching a lady, it is of course important to make
sure you are properly introduced and make all the necessary
cordiality. It is only then that the dance card may be inquired
about, and not, may I say, in the fevered state such things are
discussed in the public balls of London.
But most importantly, Edgar, a man of your fortune must
remember the cardinal rule. Do not dance with a lady,
no matter how pretty, more than once in a row. For she will
quickly consider you her property and your enjoyment in the
evening shall be greatly marred.

hen you play Good Society, you create a story with

W your friends. Chapters 4 and 5 outline the tools you

will need to help you tell that story. This chapter
covers the rules of play, while Chapter 5 discusses the cycle of
play that provides the story's structure.

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 Good Society

CONSENT
AND PLAYER COMFORT

Good Society is a highly collaborative game where

everyone at the table shares equal responsibility for
creating the story.

<
Consent is important, since players have the power
to take the story in any direction they wish (within
the bounds of Collaboration decisions). There is a
X-Card specific mechanic for managing consent where resolve
p.35 tokens are involved. However, players should always be
respectful of each other, even if their characters aren't!

If you're not sure whether you have another player's

consent, just ask. Remember, there is no substitute for
free and open conversation.

Ask “What do you think?” or “Is that okay with you?”

If you see player consent being ignored or overridden,
step in at an appropriate time and encourage dialogue.

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 Chapter 4: Rules of Play

RULES OF PLAY
ßß Resolve Tokens, p.69 ßß Inner Conflict, p.98
ßß Negotiations, p.82 ßß Inner Monologue, p.103
ßß Reputation, p.89 ßß Playing Connections, p.105

RESOLVE TOKENS

Hatty,

I don't how to explain it! The horror, the trepidation I felt

knowing that he was about to make his proposal.
That my mother and father would surely make me accept.
That James, so far away in London,
could do nothing on the matter.

But as I sat in the drawing room, a servant entered.

Naturally, I was sure it would be to announce Mr Summer's
presence. But no—the servant relayed to me the most
astonishing news! A storm had waylaid Mr Summer's
carriage and he could not attend today. Not only that,
the same storm had dashed James' hopes of setting off to
London, and he was coming to visit on our estate instead.

What an unimaginable twist of fate! Whatever divine author

orchestrated such events, I find myself eternally grateful.

In Good Society, every player has the ability to shape the story.
However, they must do so according to the game's rules.
These rules determine when you are allowed to shape the
story simply by saying what happens, and when you will need
to use a resolve token.

Resolve tokens allow the players and Facilitator to change

narrative details about the world, and twist events in a
character's favour. They are named for, and reflect, a character's
determination to pursue their goals.

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 Good Society

In general, you will need to use a resolve token when you want
to change or shape the narrative in a way that is significant
to the story, and beyond the actions of your major character.
You will not need to use a resolve token for minor narrative
changes or details.

R esolve tokens are used in the...

ßß Novel Chapter Phase

ßß Epistolary Phase
ßß Reputation Phase

Not used, but may be accrued in the...

ßß Rumours and Scandal Phase

ßß Upkeep Phase

Each player starts the game with two resolve tokens unless
their desire card states otherwise. The Facilitator starts
with three. Each connection starts with their own pool of
two resolve tokens. Rumours and reputation tags can also
provide additional resolve tokens to use during the game,
allowing players an opportunity to bring them into play.

<
Negotiations
When you use a resolve token, discard it—unless the rules
direct you to negotiate with another player. In that case, give
the token to that player or a connection they control upon
p.82
successful negotiation.

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 Chapter 4: Rules of Play

RESPECTING COLLABORATION
Players may not shape the story outside of the boundaries agreed
during Collaboration, whether they spend a resolve token or not.
If a player tries to take the game outside of those boundaries,
stop play and point it out. You may also wish to suggest an
alternative that fits the boundaries of the game.

Edwin plans to spend a resolve token and says, “I want Geoff's

servant to poison him.”

“Are you sure that fits in with Collaboration?” asks Tammy.

“Yes,” says Shani. “We did agree on a romantic comedy, and I

don't think this really fits the tone.” The other players agree.

“Good point, you're right,” says Edwin. “What if Lady Thorn

arranges his engagement to Isabel instead?” Shani and Tammy
agree. Edwin discards his resolve token, and the engagement is
duly announced.

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 Good Society

WHEN DO YOU NEED TO USE A

RESOLVE TOKEN?
Knowing when to use resolve tokens can be a little difficult
at first, but it will quickly become second nature once you
start playing. If you're not sure whether or not a resolve token
should be spent, the Facilitator will help you to work this out.

If you're facilitating the game, we strongly suggest spending

a few resolve tokens during the first novel chapter phase to
illustrate how they work, and encourage players to use them.
If you notice a player taking an action which requires a resolve
token, it's your job to point this out.

Here is an overview of when resolve tokens are, and are not,

required to be spent. These rules are also summarised on the
cycle of play sheet for reference during the game.

You must spend a resolve token:

8 ‘Difficult
ßß If you want your major character or a connection you
control to do or know something difficult or unlikely,
or Unlikely’
which is of significance to the story.
p.80 ßß If you want a connection you control to do something
‘Significant harmful to the interests of a major character or connection,
to the Story’ which is of significance to the story.
p.78
ßß If you want to create, contribute to, or change narrative
‘Harmful to events or details that are significant to the story, and are
the Interests’
p.86 beyond the actions of your major character or a connection
you control.
‘Compel’
p.76 ßß If you want to compel a major character or connection
to do, or feel something.

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 Chapter 4: Rules of Play

RESOLVE TOKENS AND YOUR MAJOR

CHARACTER'S ACTIONS
You must spend a resolve token if you want your major
character to do or know something difficult or unlikely, which
is of significance to the story.

Edwin would like his major character Charlotte to know

that Emma is the illegitimate child of Lady Thorn.
This information has not been revealed to Charlotte
in-game so far, but it is clearly of great significance
to the story. Since it is both difficult and unlikely for
Charlotte to know this information, Edwin must spend
a resolve token to find out.

Outside of the above, you do not need to spend a resolve

token to say what your major character does, looks like, or
feels, or to draw on anything that would reasonably belong
to them.

Most actions taken by a major character during the course of

a game will not require a token.

Edwin describes how Charlotte arranges a meeting

with Emma and offers to help her marry Henry,
if Emma will aid Charlotte's sister Isabel in marrying
Geoff. Edwin does not need to spend a resolve token to
make the offer—but whether Emma agrees is entirely up
to her player, Shani. If Edwin wants to compel Emma
to help, then he must spend a resolve token (see
compelling other characters, p.76).

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 Good Society

RESOLVE TOKENS AND YOUR CONNECTION'S

ACTIONS
When you spend resolve tokens for a connection you control,
they come from the connection's resolve token pool—not your
personal pool.

You must spend a resolve token if you want a connection

you control to do or know something difficult or unlikely,
which is of significance to the story.

You must spend a resolve token if you want a connection

you control to do something harmful to the interests of a

<
Negotiations
major character or connection, which is of significance to the
story. Doing so will always engage the negotiation process.
Give your resolve token to the character or connection that
p.82
has had their interests harmed for later use.

Lady Thorn, a connection played by Edwin, is furious

at Emma. She decides to spread the facts of Emma's
illegitimate parentage throughout the town.

Since this is certainly harmful to Emma's interests,

and of significance to the story, Edwin must spend
a resolve token from Lady Thorn's pool. He offers
the resolve token to Emma's player Shani, and the
negotiation process between Edwin and Shani begins.

Outside of the above, you do not need to spend a resolve

token to say what a connection you control does, looks like,
or feels, or to draw on anything that would reasonably belong
to them.

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 Chapter 4: Rules of Play

SHAPING THE WORLD

You must spend a resolve token to create, contribute to,
or change narrative events or details that are significant to
the story, and are beyond the actions of your major character
or a connection you control.

Nadia wants Lady Thorn's carriage to be overturned

on her way to the estate so she doesn't make it to
the ball. This is significant to the story, as Lady Thorn
was planning to publicly reveal Emma's illegitimate
parentage. Nadia must spend a resolve token for the
carriage to be overturned. As this is harmful to Lady
Thorn's interests, the negotiation process is engaged
with her player, Edwin.

You do not need to spend a resolve token to create, contribute

to, or change minor narrative events or details in the story.

Nadia suggests that the masked ball should be

themed after Greek Mythology, with guests attending
as members of the Greek pantheon. This is fantastic
flavour, but isn't significant to the story, so Nadia
doesn't spend a resolve token.

As Lady Thorn approaches Emma at the party, Shani

mentions that Emma is surrounded by a crowd of
handsome men, vying for her attention. None of these
men are named, and this isn't important to the story,
so Shani doesn't spend a resolve token.

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 Good Society

COMPELLING OTHER CHARACTERS

You must spend a resolve token to compel a major character

<
or connection to do or feel something. Compelling other
characters always engages the negotiation process. The resolve
Negotiations token is given to the compelled major character or connection
p.82 for their later use.

Nadia would like Lady Thorn to distract Fitzwilliam

while Henry talks to Emma. Nadia offers the resolve
token to the player controlling Lady Thorn, Edwin, and
lets Edwin know what she would like Lady Thorn to do.
Edwin agrees, the resolve token is put in Lady Thorn’s
pool, and Lady Thorn wanders off to converse with
Fitzwilliam and dazzle him with her charms.

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 Chapter 4: Rules of Play

IF ALL PLAYERS AGREE, DO I NEED TO

SPEND A RESOLVE TOKEN?
If all players are in agreement, a resolve token is not
required unless the negotiation process is engaged.
If the negotiation process is engaged, the affected
player may choose to waive the resolve token, but
they also have every right to demand one!

HONOURING THE PURPOSE

BEHIND RESOLVE TOKENS
When a player uses a resolve token, it should have
both its literal and intended effect on the story.
In the example on the previous page, Nadia uses a
resolve token to overturn Lady Thorn's carriage so
Lady Thorn cannot get to the ball. To honour Nadia's
resolve token, Lady Thorn must really be unable to
get to the ball. She cannot simply hitch a ride with
another ball-goer after her carriage is overturned.
If the person playing Lady Thorn really wants her to
attend the ball, they should reject the resolve token.

Remember, you do not need to spend a resolve token

to create, contribute to, or change minor narrative
events or details in the story.

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WHAT IS SIGNIFICANT TO THE STORY?

You'll notice that many of the guidelines above revolve around
what is, and what is not, significant to the story.

Good Society draws a distinction between two types of

narrative content—that which is significant to the story,
and that which is not.

Story significant content, quite simply, is content

that has a material effect on the story.
Some content will always be significant to the story, such as
relationships between characters and connections, changes in
wealth or reputation, or the revelation of secrets.

Other content may or may not be significant depending on

the context. For example, a storm may not ordinarily be
story significant; but a storm that prevents Henry Worthing
from reaching the church before the wedding is extremely
significant to the story.

There is also a lot of content which may be very interesting,

but will almost never be significant to the story—such as the
appearance of Henry's horse.

Most of the time, it will be clear to the players and Facilitator

when content is significant, and when it is not. If players
disagree over the significance of any content, the group should
decide collectively, with the Facilitator having the final say.

If in doubt, treat the content as if it were

significant to the story.

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WHAT DOES IT MEAN TO DO OR KNOW

SOMETHING DIFFICULT OR UNLIKELY?
Something is difficult or unlikely if you wouldn't expect a
character to be able to do, or know it without preparation,
difficulty, or the use of significant resources.

Examples of knowing something difficult or unlikely

ßß Finding out secret information

ßß Overhearing a conversation
ßß Establishing a prior relationship with a character, where
none existed before
ßß Knowing or establishing a fact about a person or place that
makes it easy to achieve an end (e.g. Lady Thorn always goes
for a walk on a Thursday morning, leaving her son Geoff alone
in the manor. Knowing this, it won't be hard for Isabel to enter
and talk to him alone.)

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Examples of doing something difficult or unlikely

ßß Appearing at an unlikely but opportune moment during a

conversation or event (e.g. just as Lady Thorn is about to lie
to Henry, Shani spends a resolve token to have Emma appear
mid-conversation and tell Henry the truth.)
ßß Revealing in the middle of events how you prepared for
them ahead of time (e.g. Charlotte knew that Geoff would
check the chest for proof of the affair, so Edwin spends a resolve
token to say Charlotte placed the letters in the chest before the
chapter began.)
ßß Arriving or acting first in a situation where being first is
very advantageous (e.g. Nadia spends a resolve token to have
her connection, Henry, arrive first where Emma has “ fallen off
her horse”, ready to sweep her up into his arms.)
ßß Procuring a favour or outcome that takes a considerable
expenditure of influence or money (e.g. Isabel is forced to
find work as a governess when her family falls on hard times.
Shani spends a resolve token to have her find employment in
Emma's household. e.g. Nadia spends a resolve token to have
her major character Fitzwilliam use his political clout to find
his brother an army posting only a day's ride away from town.)

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RESOLVE TOKEN
NEGOTIATIONS
In the game, there are three
situations when a player wishing
to spend a resolve token must
first enter into a negotiation with
another player.

These situations are:

ßß When compelling a major

character or connection to do
or feel something, p.76.
ßß When harming the interests
of a major character or
connection, p.86.
ßß When interfering with the
effect of another player's
positive reputation

condition, p.87.
If any of these circumstances
apply, the player using the resolve
token cannot simply spend it for its
intended effect. Instead, they enter
the negotiation process.

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THE NEGOTIATION PROCESS

Step 1: The player using the resolve token offers it to the
player of the affected major character or connection, stating
exactly what they want to achieve with the token.

Step 2: The affected player can choose to:

ßß Accept the token

ßß Accept the token with conditions
ßß Reject the token

ACCEPT THE TOKEN

If the token is accepted, the desired effect takes place.
The affected player adds the token to their personal pool
if their major character was impacted, or the pool of a
connection they play if that connection was impacted.

Charlotte's player (Edwin) wishes to compel Emma

to set up a meeting between Charlotte and Geoff.
Charlotte asks Emma in play whether she will help,
but Edwin wants to make sure it will happen exactly
the way he wants.

Edwin offers his resolve token to Emma's player

(Shani), saying, “I want Emma to arrange a meeting
between Charlotte and Geoff, and I don't want anyone
else to know of it.” Shani agrees, and takes the
resolve token, adding it to her personal pool. Later in
the scene, Emma talks to Geoff and convinces him to
meet Charlotte alone in the estate gardens.

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ACCEPT THE TOKEN WITH CONDITIONS

If the affected player chooses to accept with conditions
they must say, “yes, but only if,” and then state a narrative
condition under which they will accept the resolve token.
The player offering their token may either agree to the
condition, or withdraw their token. If they withdraw their
token, play continues unaffected.

If the player offering the token accepts the condition, the

desired effect takes place. The affected player adds the token to
their personal pool if their major character was impacted, or the
pool of a connection they play if that connection was impacted.

Examples opposite ➤

REFUSE THE TOKEN

If the affected player refuses the resolve token, the effect does
not take place, and the token is not expended. The offering
player may choose to propose a different option, or let play
continue unaffected.

Shani wishes for Edwin's major character Charlotte to

go forward with her marriage to a connection named
Henry (to whom she is unwillingly engaged). Shani
offers Edwin her resolve token, and states what she
would like to happen.

However, Edwin is halfway through executing

Charlotte's elaborate plan to get rid of Henry and
marry Fitzwilliam. Going ahead with the marriage
to Henry is just not on the cards! Edwin refuses the
resolve token, saying, “No way, then Fitzwilliam would
be all yours!” Shani keeps her resolve token and
will have to think of other devious ways to transfer
Fitzwilliam's affections to Emma.

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ACCEPTING WITH CONDITIONS SUCCESSFULLY

Edwin wishes for Emma's sick father to suddenly pass away, leaving
her entailed estate to pass to her cousin. Edwin offers his resolve
token to Emma's player (Shani) and says, “I want your father, in his
sick old age, to suddenly pass away.”

Shani replies, “Yes, but only if Charlotte is mysteriously absent from

the funeral. That way she can't get in my way while I woo Fitzwilliam.”

“At a funeral?”

“Time is of the essence! He's about to propose.”

“Well, that's fine with me,” says Edwin. “Charlotte has other plans.”
Edwin hands his resolve token to Shani, and she adds it to her personal
resolve token pool. Emma's cousin arrives at the manor mid-chapter
with the shocking news of her father's death.

ACCEPTING WITH CONDITIONS UNSUCCESSFULLY

Edwin wishes for Emma's sick father to suddenly pass away, leaving
her entailed estate to pass to her cousin. Edwin offers his resolve
token to Shani and says, “I want your father, in his sick old age,
to suddenly pass away.”

Shani replies, “Yes, but only if his last request was that Fitzwilliam
marry Emma.”

“No,” says Edwin. “That doesn't suit Charlotte's purposes at all.”

Edwin keeps his resolve token, and Emma's father lives… for now.

USING RESOLVE TOKENS ON CONNECTIONS

Tammy controls a connection named Geoff, a rich young bachelor.
Edwin offers his resolve token to Tammy and says, “I want Geoff to
invite Charlotte to see the beautiful nature walks of his estate.”

Tammy replies, “Yes, but only if Geoff insists on also bringing his
sisters.” Edwin agrees, and gives his token to Tammy, who places it
in Geoff's pool. He's already thinking about Charlotte's plans to get
rid of them during the walk.

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WHEN IS A RESOLVE TOKEN USED IN A

WAY THAT IS HARMFUL TO A CHARACTER'S
INTERESTS?
Harming a character's interests should be interpreted broadly
to allow for player consent as appropriate. Although there is
no precise list, examples include:

ßß Breaking down a carriage on its way to somewhere

important.
ßß Making a character's brother fall in love with another
person of ill-repute.
ßß Causing a character to accidentally trip the Duke's wife at
the ball.
A token is not harmful to a character's interests simply
because it is helpful to another character's opposing interests.
For example, say Emma and Charlotte both had designs
on the same gentleman, Fitzwilliam. If Charlotte used her
resolve token to secure some alone time with Fitzwilliam,
that is not considered harmful to Emma's interests—even if it
means Emma is less likely to win his love.

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WHEN DOES A RESOLVE TOKEN INTERFERE

WITH A POSITIVE REPUTATION CONDITION?
A resolve token interferes with a positive reputation
>
Reputation
condition if it directly conflicts with that condition, Conditions
or cancels out one of its effects. p.95

Fitzwilliam has the reputation condition Social Capital. As a result

of the condition, when Fitzwilliam offers a connection relationship
advice in confidence, they will follow it. Fitzwilliam has advised
Henry he should tell Emma how he feels.

Emma's player (Shani) wants to spend a resolve token to stop

Henry confessing to Emma. Since the resolve token would prevent
an effect of Fitzwilliam's reputation condition, this engages the
negotiation process with Fitzwilliam's player, Nadia.

Nadia accepts Shani's token, and Henry decides it's not yet time
to confess. Other connections will continue to follow Fitzwilliam's
romantic advice as usual.

Note that you do not need to engage the negotiation

process to use a resolve token in a way that interferes with
a negative reputation condition. This is because this is
generally beneficial to the interests of the major character
with the condition. If it is harmful to that character's interests,
then the negotiation process will already be engaged.

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RESOLVE TOKENS AFFECTING

MULTIPLE CHARACTERS
What if a resolve token is harmful to the interests
of multiple characters, or is used to compel one
character while being harmful to the interests of
another?

Even if the use of a resolve token triggers the

negotiation process with multiple players, only a
single resolve token is required.

If only one major character is affected, the negotiation

process starts with the player of that major character.
Any affected connections will not receive a resolve
token, but their players can still give their opinion on
its use.

If multiple major characters are affected, their

players must all consent to the token being used.
The token then goes to the major character most
impacted by the token's effect. At their option, the
Facilitator can provide additional resolve tokens from
the general supply to make sure all affected major
characters receive a resolve token.

WHAT ABOUT THE FACILITATOR?

The rules governing resolve tokens apply to players
and the Facilitator in exactly the same way. However,
as a Facilitator it's best to accept tokens when they
are offered during a negotiation. You can always say,
“yes, but only if,” and add conditions as needed.

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REPUTATION

Mother, there is very little need for me to visit in order for

me to make my choice, for the characters of Mr Croft's sons
are so generally known in society.

Anthony, I could not have for the world for he is known

to have a jealous way about him, and while he is certainly
courageous, what need have I for such a husband?

Harry is, you will find, the silliest creature.

What is more, I have heard he proved himself scandalously
flirtatious at the Bennings' last summer. What men believe
they do in private is these days so widely known that they
would be better hiding it by conducting it in plain sight.

No, the one for me is certainly Frederick. He is sweet-

tempered and clever, and bucks the family trend of indolence.
You may inform Mr Croft of such.

This section explains how reputation works in Good Society,

and the different rules involved. The actual step-by-step
process of adjusting reputation, which occurs during the
reputation phase, is contained on p.125.

Success in Regency society demands an

impeccable reputation—but drama in Regency
society demands an imperilled one.
Reputation in Good Society represents society's opinion of
a major character. A character with a poor reputation can
expect to be excluded or ostracised, while a character held in
high esteem will be respected and heard.

During the game, society will judge the actions of your

character, and new opinions about them will spread through
drawing room circles. They may be pronounced a wise

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or thoughtful person worthy of good regard. Or perhaps

society will think them silly or stubborn and question their
desirability as company. As your character's reputation
mounts, it will begin to impact their daily life. Poor repute
could fracture a relationship with a close friend, while high
regard may earn them the attention of a patron.

Reputation is represented by three different concepts,

which chart society's opinion of the major characters, and
its consequences.

ßß R eputation criteria determine whether a character's

reputation will rise or fall. These criteria represent
society's values and standards by which everyone is
judged, as well as the specific expectations arising from a
character's family background.
ßß R eputation tags are adjectives that describe how society
views each major character as a result of their behaviour.
ßß R eputation conditions are narrative states that reflect
a major character's significant rise or fall in reputation.
Conditions trigger when major characters accumulate
three positive or negative reputation tags.
The three concepts above apply only to major characters—
the reputation of connections is entirely narrative.

REPUTATION CRITERIA
Each major character in Good Society has four standard
reputation criteria and two unique criteria on their family
background sheet. Three of these criteria will determine
whether a character's reputation falls, while the remaining
three determine whether a character's reputation rises.
During each reputation phase, you will assess your major
character's behaviour against the reputation criteria to
determine whether your character's reputation has risen,
fallen, or remained neutral. Only evaluate your character's
actions since the last reputation phase.

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If your major character meets any positive or negative

reputation criteria, their reputation will change, and you
will create a positive or negative reputation tag for them
accordingly (see reputation tags on the next page).

Negative reputation criteria

Your major character's reputation will fall if they:

ßß Act in contravention of society's conventions.

ßß Act on a desire in a way that compromises duty or morality.
ßß Fulfil the unique negative reputation criteria on your
family background sheet.

Positive reputation criteria

Your major character's reputation will rise if they:

ßß Act in the service of duty or morality in a way that

compromises their desires.
ßß Act in obedience to society's conventions despite
considerable hardship in doing so.
ßß Fulfil the unique positive reputation criteria on your
family background sheet.

PRIVATE BEHAVIOUR
Major characters will still meet reputation criteria even if their
actions occurred ‘in private’. Reputation represents the weight
of society's expectations which are ever constant, rather than
rumour or gossip spread by particular characters. Besides, in
Austen's world, the very walls have ears, and there is little done in
confidence which is not reported to the world at large.

However, whether an action took place in public or in private

can be considered when determining if it contravened society's
conventions, or created hardship for the character. For example,
while a private show of affection may be acceptable, a public
display during a dinner party is simply not allowed.

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REPUTATION TAGS
R eputation tags are descriptive words that show how wider
society perceives a major character. Each major character
begins with two reputation tags selected from their family
background sheet.

There are two types of reputation tags—positive and

negative. Players create positive reputation tags, such as

helpful, dutiful, brave, and gentlemanlike, when the reputation of

their major character increases. Negative reputation tags such
as disrespectful, dishonest and petty are created by players when
the reputation of their major character decreases.

Players create new reputation tags during the reputation

phase each time their major character's reputation goes up

or down. A major character may gain both a negative and

positive reputation tag in the same reputation phase—society
remembers all. If your character does not meet any of the
negative or positive criteria, their reputation will remain
unchanged, and no new tags will be created.

When you create a reputation tag, write it on the public

information sheet.

Helpful Disrespectful
Brave
Gentlemanlike

Reputation tags have two functions. First, accumulating three

reputation tags of the same type will trigger a reputation
condition. Second, they can be used to affect the story.

To use a reputation tag to affect the story, you must first

explain what change you want that tag to create in the
narrative. Then, trade that tag for a resolve token, and spend
it to achieve the desired effect, following the usual rules, and

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entering the negotiation process where necessary. Finally,

once the resolve token has been successfully spent, erase the
tag from the public information sheet.

For example, Fitzwilliam's reputation as wise might allow him

to convince Charlotte’s parents to listen to him, while Emma's
reputation as reckless could mean her brother won't leave her
side at the ball.

Positive reputation tags can only be used by the player of the

major character they belong to. However, any player can use
a negative reputation tag against the major character that
bears it. Where a negative reputation tag is used by the player
of the major character it belongs to, it must be used against
the interests of that character.

Once a reputation tag has been successfully used to affect

the story, it is erased. Erased tags no longer count towards
reputation conditions.

CREATING AND USING A POSITIVE TAG

Emma's self-sacrifice during the ball has earned her the
commendation of society. During the reputation phase, Emma's
player (Shani) creates the positive reputation tag ‘selfless’ and
writes it on the public information sheet.

During the next novel chapter phase, Emma wants to convince

Lady Thorn that her motives towards Geoff are pure. Emma
depicts her intentions towards Geoff as selfless, invoking her
reputation tag.

Shani then trades that tag for a resolve token, and offers it to compel
Lady Thorn to change her mind. Lady Thorn's player accepts, and
Shani erases ‘selfless’ from the public information sheet.

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CREATING AND USING A NEGATIVE TAG

After some shocking events at the party, Charlotte's reputation takes
a tumble. Edwin creates the reputation tag ‘disrespectful’ to describe how
society now views her as a result of her actions. He writes ‘disrespectful’ on
the public information sheet.

During the next chapter, Tammy, who plays Charlotte's mother (a connection),
decides to introduce some extra drama for Charlotte (Edwin's major
character). Tammy would like Charlotte's mother to ban Charlotte from
attending the upcoming ball, on the grounds that her disrespectful acts will
put the family name in jeopardy. Banning Charlotte from the ball would harm
the interests of a major character, so Tammy must spend a resolve token.

Since Tammy is invoking Charlotte's ‘disrespectful’ reputation tag, they

trade the tag for a resolve token and offer it to Edwin. Edwin accepts the
resolve token, and Charlotte's mother bans Charlotte from attending the ball.
The ‘disrespectful’ tag is then erased.

USING YOUR OWN MAJOR CHARACTER'S

NEGATIVE REPUTATION TAG
Emma (Shani's character) was so furious at Charlotte, she yelled at Charlotte
in front of everyone in attendance at the picnic! Emma's reputation drops
during the reputation phase, and Shani creates the negative tag ‘hostile’.
Shani writes ‘hostile’ on the public information sheet.

In the next cycle during an epistolary phase, Shani has a great idea of how
‘hostile’ can be used against Emma.

“What if Henry is too afraid to tell Emma the truth because of her hostile
reputation, so he tells Charlotte instead? Will you take a resolve token from
‘hostile’ to compel Henry to do that?” asks Shani.

“Oooh, that's so bad for Emma!” says Nadia, Henry's player.

Shani trades the ‘hostile’ tag for a resolve token and offers it to Nadia.
Nadia accepts the resolve token, and Shani erases ‘hostile’ from the public
information sheet. At least now it won't count towards reputation conditions!

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REPUTATION CONDITIONS
R eputation conditions reflect the impact of a character's
ongoing rise or fall in reputation. They are different for each
character role, and are found in the reputation section of your
character role sheet.

A reputation condition will immediately trigger when a major

character accumulates three or more reputation tags of the
same type (positive or negative). The player of this character
chooses one of the two reputation conditions in the appropriate
section of the character role sheet. After a player chooses a
reputation condition, they immediately frame a short scene
which shows that condition occurring and how it affects their
major character.

Reputation conditions remain in effect until a character drops

below three tags of the relevant tag type. If a character drops
below three tags, their reputation condition clears in the next
reputation phase. Except, of course, if the character gains an
additional tag of that type during that phase!

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When a reputation condition clears, the character's reputation

returns closer to moderation, and society is no longer spurred
to the reverence or condemnation they previously exhibited.
The character's player may choose to frame a short scene
exploring the consequences of this change in reputation.

Reputation tags that have been erased no longer count towards

reputation conditions.

Charlotte is facing a downhill battle with her reputation. During the

reputation phase, she gains her third negative reputation tag ‘liar’.
As Charlotte has three negative reputation tags, she gains a negative
reputation condition. Edwin picks from one of the two negative
reputation conditions on his character role sheet, the Heir. He chooses
the condition Black Sheep—“You are an embarrassment to your family.
They are ashamed of you, and treat you as such.”

Charlotte then immediately has a short scene with her father,

in which he expresses his disappointment and hurt, and introduces
her family's new attitude towards her. However, that's not the end of
the matter—Charlotte's family will continue to be ashamed of her until
her reputation condition clears.

Edwin tries to clear Charlotte's reputation condition by spending the

resolve token from ‘liar’ and erasing the tag, reducing her tags down
to two. But during the next reputation phase, Charlotte gains yet
another negative reputation tag, keeping her total at three. As a result,
Black Sheep isn't removed and remains in effect.

By the next reputation phase, Edwin has finally managed to reduce

Charlotte's negative reputation tags to two without gaining a new one.
As the number of tags has dropped below three, Black Sheep clears—
Charlotte's family are no longer ashamed of her! Edwin chooses to have
a short scene between Charlotte and Charlotte's mother, in which she
expresses her relief that Charlotte has mended her ways.

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WHERE REPUTATION CONDITIONS AND

RESOLVE TOKENS CONFLICT
What happens when a player tries to use a resolve
token in a way that conflicts with a reputation
condition?

Players can never use a resolve token to cancel out

the effect of their own reputation condition.

Other players may use their resolve tokens in ways

which conflict with the effects of a reputation
condition. However, conflict with a positive reputation
condition will engage the negotiation process with
that player. See p.87 for more details.

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INNER CONFLICT

Oh Edith, I am not at all sure how very much longer I can

bear things being in such a precarious state.

Is it strange that I wish that father would simply turn his

enmity into action and ban the marriage outright? Or that
Henry's uncle would decide against us, and remove Henry
from the will?

This perilous state of existence leads me every day to try to

please both my family and his, where neither will forgive me
for the respects I pay to the other.

I pray my own mind might teach me to abandon the good

will of his family, or my own, that I might finally find a
settled conscience and face my future.

Every major character in Good Society has an internal

conflict—a struggle they face between two pressures that
pull them in opposite directions. Should they choose a suitor
out of love, or marry for financial prudence? Should they
obey their family, or follow their heart? Should they seek the
town's acceptance, or pursue their craving for revenge?

Inner conflicts are only used in games of four or more

cycles, which give characters a chance to explore and develop
their internal world slowly over time. You will use inner
conflicts to understand your major character better, give
them a complex and interesting inner world, and heighten the
game's drama. It is also a way to get more resolve tokens.

Example inner conflicts

ßß Love vs Wealth
ßß Family vs Independence
ßß Acceptance vs Revenge

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ESTABLISHING AN INNER CONFLICT

The inner conflict of every major character is different,
and reflects their unique personality and circumstances.
Conflicts always follow the form of Something vs Something.

To create an inner conflict, think what two pressures weigh

most strongly on your major character. What has them torn?
What do they stay up late at night mulling over? What two
paths are they unable to choose from? What two compulsions
do they struggle between?

When creating an inner conflict, express it in abstract

concepts (Wealth vs Love), rather than specific examples
(Marrying Geoff vs Leaving with Henry for the continent).
This gives the conflict scope to affect the character's overall
behaviour, rather than being confined to a single choice.

Each player decides on their character's initial inner conflict at

the end of the first cycle. Once you have chosen your conflict,
write it in the inner conflict table (found on your character
role sheet). You should also write the inner conflict on the
public information sheet so all players can see it.

Nadia's character, Fitzwilliam, is torn. He wants to confess his newfound

(and unexpected) love for Emma. But he also wants to uphold his reputation,
and avoid besmirching his family name with inferior connections. Nadia
decides that Fitzwilliam's inner conflict is Love vs Status. That gives
Fitzwilliam a lot of fuel for the coming novel chapters.

Love Status

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PROGRESSING AN INNER CONFLICT

At the end of every cycle, players mark the inner conflict
table on their character role sheet to progress their major
character's internal struggle.

Look at the criteria listed in the inner conflict table on your

character role sheet. Did your character's actions over the last
cycle fit any of these options? If so, mark the box on the side of
the conflict that motivated them. For example, if Fitzwilliam
proposed to Emma, he has acted in pursuit of love, so he would
mark the box next to “you took action in pursuit of this side of
the conflict” on the Love side.

You may mark off multiple boxes for a single action if it meets
more than one criteria on the table. If your character took
action on both sides of their inner conflict, you may also mark
off the same criteria on both sides of the table.

Once you have marked off the appropriate boxes on your

character role sheet, check off the same number of boxes on
each side on the public information sheet.

Then, take one resolve token for each box you marked, up to a

<
maximum of two tokens.

Boxes remain marked off until the inner conflict is completed.

Completing an Until then, a player cannot mark off the same box on their
Inner Conflict inner conflict table again.
p.102

OUTDATED CONFLICTS
On rare occasions, unexpected events or plot twists
will render a character’s inner conflict irrelevant or
outdated. A player who believes their inner conflict is
no longer relevant may choose, instead of progressing
their inner conflict, to clear it off and create a new one.
This does not count as completing the conflict, so the
player does not receive an expanded backstory action.

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Nadia reflects on Fitzwilliam's actions during the last cycle. During

the first novel chapter, Fitzwilliam told his friend Geoff not to marry
Charlotte, based on the lowly industrial connections of her family.
This was action in pursuit of status, so Fitzwilliam marks the first row
on the ‘status’ side. When he did this, Fitzwilliam hurt and pushed
away Charlotte, so Nadia marks that box on the ‘status’ side too.

But then in the most recent novel chapter, Fitzwilliam proposed to

Emma! He certainly took action in pursuit of love, so Nadia marks
that box as well. She considers whether Fitzwilliam degraded his
reputation or went against his conscience when he proposed to
Emma, but decides he did not.

Love Status

Nadia also marks the progress of her inner conflict on the public
information sheet so that all other players can easily reference it.

Fitzwilliam Love Status

As Nadia marked off three boxes, she receives the maximum of two
resolve tokens. She's going to need them if Fitzwilliam is going to
have any chance with Emma.

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COMPLETING AN INNER CONFLICT

When a player has marked off six boxes on their inner
conflict table or all five boxes on one side, their inner conflict
is complete. When this happens, that player follows the four
steps below:

1. Reflect on the conflict.

Frame a short scene where your major character reflects on
their internal struggle.

This scene may be a vignette, letter, or inner monologue.

It can be about self-discovery if you feel your major character's
conflict was resolved, or being torn if the conflict still rages
in their heart.

2. Clear off your inner conflict table.

Clear off your inner conflict table, erasing both the conflict
itself and all marks on either side of it. Erase your inner
conflict on the public information sheet as well.

3. Create a new inner conflict.

Create a new inner conflict using the guidelines on p.99.
If your short scene was about being torn, then you may choose
to reuse the same inner conflict again.

4. Take an expanded backstory action.

When you complete your inner conflict, you are rewarded
with an expanded backstory action.

Expanded backstory actions give you the chance to add new

characters, plot twists, and events to your game. Expanded
backstory actions are explained in full on p.140.

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INNER MONOLOGUE
Wouldn't you love to know what your suitors and rivals are
truly thinking?

All players in Good Society receive a monologue token to

spend, which they regain at the end of every cycle. At any
time during the game, you may play your monologue token
on another major character. That character must immediately
reveal their innermost thoughts and feelings through an
inner monologue.

When you play a monologue token on a major character,

you may choose to ask them a specific question to answer,
such as, “Who does Henry really love?” Or you can simply ask
for their thoughts and feelings at the present moment. These
tokens are best played during the novel chapter or epistolary
phases at dramatic moments of high tension or emotion.

When an inner monologue is triggered, we pause the action

and focus on the major character's inner world. We hear,
out loud, the thoughts and feelings they would never
publicly convey. This could include what they are thinking,
their true emotions, and what they plan to do next. An inner
monologue doesn't need to be delivered in perfect Austen
prose (although it can be). Rather, it is a glimpse into a
character's internal thoughts delivered in any manner their
player may wish.

Discard the monologue token that triggered the scene after

the monologue is complete.

Players should not hesitate to use their monologue token

during the most dramatic parts of a cycle of play. If a player
does not use their token, they must spend it during the upkeep
phase (which occurs at the end of every cycle).

When a monologue token is used during upkeep, the player

delivering the monologue may choose to situate it within
a short scene to give their major character context—for

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example, while they look over old letters, or after spying their
old flame in the hustle and bustle of the town square.

Each player's monologue token is returned to them during the

upkeep phase at the end of each cycle, ready for the next.

Fitzwilliam proposes to Emma! At the height of this

dramatic moment, Edwin spends his monologue token
to hear what Emma is truly feeling and thinking. “Does
she love him?” asks Edwin. “Does she intend to go
through with the marriage?”

Shani, Emma's player, thinks about Emma's thoughts

and feelings. She begins Emma's internal monologue
as the scene around Emma freezes. “For two long
years, all I have wanted was Fitzwilliam's proposal.
But now I have it, I find myself cruelly wishing it had
not occurred. For since Henry came into my life...” (the
monologue continues).

USE YOUR MONOLOGUE TOKEN!

Monologue tokens are lots of fun, and add greatly to
the emotion and drama of the game. They also gives
every player a moment to shine. Use your monologue
token to encourage fellow players to delve into the
thoughts and feelings of their major character.

If you're worried about interrupting play, let the

Facilitator know non-verbally that you would like to
use your token, and they will indicate the right time
for you to go ahead.

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PLAYING CONNECTIONS
Connections are an instrumental part of the drama in
Good Society and add more interest and intrigue to the game.
They can provide a pathway to both a character's ambitions,
and their ruin.

While each connection is created by a particular player, that

player does not have ownership of them. Rather, connections
are controlled by the person playing them—whether another
player or the Facilitator.

During Backstory, each player will select a connection

of another major character to control during the game.
The remaining connections are played by the Facilitator.
Where needed, the Facilitator can also step in and play
connections ordinarily controlled by other players.

The person playing a connection has exclusive use of that

connection's resolve tokens. At the beginning of the game,
each connection has two resolve tokens in their pool.
The person playing a connection can use these tokens to
have that connection significantly impact the story. Go forth
and complicate the lives of the major characters!

THE ROLE OF CONNECTIONS

ßß Complicate the lives of the major characters
ßß Be a tool in the major characters' plots and schemes
Connections are not the central characters of the story, and
do not necessitate the same level of development or attention.
They are plot devices for enabling the major character's
struggles to be explored.
When you play a connection, your primary aim is to complicate
the lives of the major characters. Your secondary goal is to
be a tool in the major characters' plots and schemes. If your
connection isn't doing one of these two things, there's a high
chance they may not need to be in the scene.

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If you're not sure what your connection should do, or how they
would react in any particular circumstance, remember these
two goals and use them to help direct your play.

How often you use a particular connection in the game is up

to you. One connection may be fully fleshed out as an
important part of a major character achieving their desire.
Another connection may only appear for a brief moment in the
third chapter of the game. Some may not even appear at all.

Connections are tools to be used—do not feel as if they must

have play time. However, do not hesitate to bring them into
play to make the story more interesting.

Complicating the lives of the major characters

When deciding how to use your connection to complicate the

life of a major character, it's useful to think about the following
questions:

ßß Is this major character's life already complex enough?

If it is, consider waiting for some of the existing complexity
to resolve itself before your connection makes a move.

Edwin considers having a connection he controls,

Lady Thorn, threaten to reveal the truth about Emma's
parentage if she does not marry her nephew Peter.

However, Emma's plotline so far has revolved around

her courting of both Henry and Fitzwilliam, and her
struggle to keep her dual interests a secret. Bringing
Peter in as a suitor seems like a non-sequitur, and
an additional complication when Emma's love life is
complicated enough!

Edwin decides not to go ahead for now. Isabel's love

life is looking very bland, perhaps Lady Thorn can
concoct a plan to throw her nephew at her instead…

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ßß What is this major character's desire? Is there a way for

a connection to get in the way of, or create an additional
hurdle for, achieving the major character's desire?

Emma's engagement to Fitzwilliam, which forms

part of Emma's desire, is very close at hand. Tammy
realises this is their moment to strike!

Tammy decides that Charlotte's mother wants

Fitzwilliam to marry her daughter Isabel instead of
Emma. Charlotte's mother visits Emma and threatens
to expose her illegitimate parentage if she does not
refuse Fitzwilliam's offer of marriage.

ßß What is this character's inner conflict? Is there a way the

connection can add weight on either side of it? Can the
connection do something to make the major character
even more fraught or conflicted?

Charlotte is engaged to Geoff for no reason other than

to save her family from financial ruin. As time passes
however, she begins to develop feelings for Geoff.
Charlotte's inner conflict is Money vs Freedom.

Nadia decides that her connection Henry has romantic

feelings for Geoff, and wants to break off Geoff's
relationship with Charlotte. Henry visits Charlotte and
offers to bail her family out of financial difficulty if she
will break off the engagement.

Charlotte is torn! Initially she had no interest in Geoff.

Are her new feelings enough for her to go ahead with
the marriage?

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ßß Does this character need more romance in their lives?

Romance is an important part of Austen's stories! Creating
opportunities for romance where it is lacking is never out
of place. Undesirable suitors are also highly recommended.

Charlotte is a young woman of many charms, but

starts the game with no current romantic relationships
or connections. The first novel chapter is a ball, during
which Charlotte somehow meets no eligible suitors of
interest. Tammy reflects that the connection they play,
Geoff, is a young man much in need of a wife, and
resultantly Geoff asks Charlotte to dance the very last
dance of the ball.

USE CLOSE RELATIONSHIPS

Some relationships, particularly familial ones, have
pre-existing importance and weight.

If your connection is a character's mother, that

character is likely to care about and listen
to your connection solely as a result of
their relationship. For connections with
strong relationships to major characters,
their simple approval or disapproval of
the major character's actions can be
enough to add compelling drama to
the story.

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Be a tool in the major characters' plots and schemes

You can be a tool in a major character's plots and schemes

by responding to that character's actions in a way which
progresses the story. It is often just about saying “yes”, “yes
and”, or “yes but” to major characters who approach your
connection with requests or propositions.

Remember, you can always ask for a resolve token for your
acquiescence if they try to compel your connection. Use the
token to complicate their lives later.

At the ball Charlotte is trying her best to keep Emma

away from Henry. She tells Henry, a connection Nadia
controls, that Emma is planning to marry Fitzwilliam
and does not want to see him. Nadia, as a player,
knows that Emma has no such plans. But Henry
doesn't know that.

Nadia decides that Henry should be a tool in Charlotte's

plots and schemes. He takes great pains to avoid
Emma at the ball, and writes her a furious letter during
the epistolary phase about her going behind his back.

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Cycles of
Play 05

Home again! After three long months in London.

And spring arrived to greet me, the purple flowers

yawning up from the glistening ground as
we walked into the manor.

The colt I tended to with such vigour last autumn

is older now. He is bounding about with the others,
having forgotten me entirely, I fear.

This cycle of town and home, of bitter cold and then

fresh new life, of new coats in the winter and new shirts
in the spring, I feel it will sustain and entertain me
for the rest of my days.

If only you were here, my dear Lydia, that our days may rise
and fall together, like our chests as breath flies from our lips.

s mentioned earlier, Good Society is a game played in

A cycles. In this chapter, we will explain each phase

of the cycle in detail, and how they work together

as a structured framework to help you create an Austen novel.

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THE CYCLE OF PLAY

One cycle consists of the phases below, played in order:

CYCLE OF PLAY
1 Novel Chapter
2 Reputation
3 Rumour and Scandal
4 Epistolary
5 Novel Chapter
6 Reputation
7 Epistolary
8 Upkeep

TIMING THE CYCLES OF PLAY

HOW MANY CYCLES SHOULD MY GAME

INCLUDE?
Ideally, Good Society is designed for games between three
and eight cycles in length. However, it can also accommodate
shorter games of one or two cycles, using a playset in full
to allow for more play time. If you're playing a game of
three cycles or less, you'll need to use the rule adjustments
contained on p.28.

The number of cycles you choose to include in your game will

change its flavour considerably.
Shorter games are more likely to take on a lighter tone,
have more action, and less character development. Due to
their quick pacing, they may be more likely to resemble an
Oscar Wilde play than an Austen novel.

Longer games leave more scope for emotions to simmer

below the surface, for characters to change and develop,
and for multiple story arcs to occur. Pacing is more natural,
and these games will usually have a more Austen-like feel.

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If your game reaches eight cycles, assess whether all players

are still invested in the story. If they are, then continue on!
If not, it's time to finish the story and start a new game,
with brand new characters and desires.

HOW LONG SHOULD EACH CYCLE TAKE?

A cycle's length will vary, depending on the number of players,
and your group's natural pace of play.

As a rough guide, we'd recommend that each

cycle take between two and three and a half
hours of play time.
If your cycles last four hours or more, consider whether any
of the phases of play are taking too long. If novel chapters
are taking more than an hour, consider cutting the action and
ending scenes earlier. If rumour and scandal takes too long,
ask players to start thinking about what rumours they may
like to create during the preceding phase.

If your cycles take less than two hours, consider framing

your novel chapters more broadly to accommodate more
in-character action. For example, instead of an entire novel
chapter taking place between three characters in a drawing
room, consider instead a large event such as a dinner party,
church fair, or wedding. If characters do need ample time for
small conversations, then use a visitation chapter to make
sure every player gets a chance to frame a scene. If it seems
like little is happening, you may need to add more drama
and complications to the story using your resolve tokens and
connections, and encourage other players to do the same.

Depending on the time one cycle takes your group, the end of
a session and the end of a cycle might not align. That's fine,
simply pause the cycle at a phase of your choice when your
session is over, and return to that point next time you play.

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PACING YOUR GAME

Much like a novel, a game of Good Society has a beginning,
middle, and end. In a longer game, you can use this structure
to help shape the content of each cycle.

The first cycle serves as the story's introduction

Characters and their intentions are introduced, underlying

tensions and conflicts stew and simmer, and the status quo
is established. By the end of the first cycle, one or two
dramatic events may have happened that set the stage for the
story ahead.

The next cycles are the middle of the story

These will oscillate between dramatic events, adjusting

relationships, and character reflection and development.

During the middle of the story, some story arcs may wrap
up completely. If they do, players can change their major
character's desire in the upkeep phase, and start unfolding
new drama.

In a longer game, players may even change major character

during the upkeep phase to interject fresh tensions and new
relationships.

The last cycle is the conclusion

The last cycle is an opportunity for major characters to not

only take final actions towards their desires, but also resolve
any other outstanding conflicts. They may even take a last
stand, or make a radical choice.

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ENDING THE GAME

When it comes time to end the game,
you will enter the final cycle.

The final cycle operates slightly

differently to other cycles. Follow the
five steps below:

1. Let everyone know that the game

is entering its final cycle.
2. Skip the rumour and scandal phase.
3. Skip the second reputation phase,
and move straight to the final
epistolary.
4. The final epistolary is the story's
epilogue. Each player writes one
letter from their major character,
set some years after the events of
the final novel chapter. During
their letter, characters comment on
the progression of their lives since
the events of the final chapter came
to their close.
5. After the epilogue finishes, the
game is over, and the Jane Austen
novel you have written together is
complete. Now all that's left is to
give it a title!

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NOVEL CHAPTER PHASE

The novel chapter phase consists of in-character play.
A majority of the dramatic action occurs in this phase.

In each novel chapter, players pursue the ambitions and

desires of their major character, as well as playing the
connections that complicate their lives where appropriate.

During each novel chapter, play proceeds in a series of

scenes. Players call for the action they would like to occur
in the chapter, and the Facilitator asks questions and guides
the action. The chapter ends when all players have had the
opportunity to explore their character's story.
Novel chapters are typically between forty-five minutes and
an hour in length, but this will depend on your group's size
and play style. The novel chapter phase is one of the most
important phases in the game, and is covered in detail below.

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STARTING A CHAPTER
When you start a new novel chapter, you will need to do
three things:

1. Decide the chapter type.

Decide on one of the chapter types explained on p.118—
event, visitation, or split. The first chapter of the game is

always an event chapter. If you're not sure what chapter type

to pick, event is often the best option.

2. Define the chapter.

Define the chapter's details, such what event it will focus on
(if any), who will be present, and what scenes the players
might like to see during play. You may need to plan some
elements of the chapter ahead of time to help the action
proceed smoothly. However, there's no need to decide too
much upfront, as most details can be worked out during play.

͠͠ “I think Henry should arrive at the last moment with a ring.”

͠͠ “I think Fitzwilliam's disgraced brother should sneak in through
the servant's entrance.”
͠͠ “I'd love to see how Emma and Charlotte's relationship develops
at some point in this chapter—can they ever be friends again?!?”
3. Set the scene.
When a new novel chapter begins, the group should set the
scene together by describing the surroundings and deciding
where the chapter's action should start. You may want to ask
the person most connected to the chapter's events to describe
the scene—the organiser of the ball for example, or the player
of a connection who is getting married. In a visitation chapter,
the player who initiates the visitation sets the scene.
Where possible, it's best to start a chapter ‘in media res’—in
the middle of the action. This is especially true of the first
novel chapter. Think about what the reader would want to
see in your Austen novel, and skip straight to that moment.

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Take us straight to the shy Heir asking for the first dance,
the unexpected entrance of the old flame, or the Socialite
making a move on their rival's suitor.

There will be time to explore character relationships at a

slower pace later in the game.

In later novel chapters, it will often be clear where play should

start—begin with the first scene that the players want to see.

T YPES OF NOVEL CHAPTERS

Good Society has three types of novel chapters, each with
a different focus. The most common type of chapter is an
event chapter. Games of two or less cycles ordinarily contain

only event chapters. Visitation chapters are indispensable

in longer games, while split chapters are used in particular
story circumstances.

Event chapter

An event chapter centres on a particular event, such as a

birthday, funeral, long walk through nature, or the much-
anticipated ball.

Event chapters are usually ‘full cast’ chapters—they contain

the possibility for all or most of the game's important
characters to be present, even if they don't actually appear
in any scenes. The town fair, for example, can be attended
by anyone, and Lady Thorn's dinner parties are known for
boasting the presence of all of society's most fashionable.

Remember, major characters do not need to be in

every scene at an event chapter.
While some scenes may involve all the characters, most will
include only two or three. Two lovers can slip away for a
secret conversation in the garden, or perhaps the focus is on
two gentlemen competing for the lady's next dance.

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It seems all the notable gentry in town were

invited to Lady Thorn's dinner party, which numbers
some twenty guests. While all our major characters
find themselves thrust together, each nevertheless
has their own goals and plans for the evening.

As the novel chapter gets underway, we first see

Lady Thorn advertising the charms of her son Geoff
to Charlotte. Next, Emma catches Henry alone on the
balcony (scandalous!). Finally, Fitzwilliam is caught
in an awkward conversation as Emma and Charlotte
both try to procure his attendance at different picnics
the following week.

There's nothing more any of the players would like to

focus on during the dinner party, so the Facilitator
declares the novel chapter over—and the dinner to
have been a smashing success. Time to move on to
the reputation phase.

The possibilities for event chapters are almost limitless.

Some suggested events include:

͠͠ Birthday ͠͠ Wedding
͠͠ Funeral ͠͠ Hunting
͠͠ Picnic ͠͠ Army regiment parade
͠͠ Ball ͠͠ Sale of the family manor
͠͠ Masked ball ͠͠ A birth
͠͠ Engagement party ͠͠ Christmas
͠͠ Country fair ͠͠ Ghost watching
͠͠ Dinner party ͠͠ Court
͠͠ Long nature walks ͠͠ The deathbed of a
͠͠ Theatre connection
͠͠ Amateur dramatics ͠͠ Garden party, ft. hedge
͠͠ Church maze of love

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SPOTLIGHTS
During event chapters, you can also make use of spotlights.
A spotlight is where play follows one major character for an
entire novel chapter, or a substantial section of it.

Think of spotlights as the cameraman of this novel's movie

adaptation following that character around for the chapter's
duration. The person playing the spotlighted character
says what they'd like to do next, where they would like to
go, and who they would like to talk to. Other players may
suggest scenes with the spotlighted character, but the
player of the spotlighted character will decide if they wish
the scene to occur or not.

Spotlights are best for longer games and have two

uses. Firstly, if one major character has not had enough
opportunity to progress their story, a spotlight can pull that
character into focus. Secondly, in a game of several cycles,
each major character can be spotlighted at an important
point in their story. This allows a character's story to shine
at a crucial time, so its impact can be explored in full.

The Facilitator generally initiates spotlights. However,

players may suggest the Facilitator spotlight a particular
major character.

Visitation chapter

Visitation chapters are structured novel chapters that allow

for a series of short scenes between characters. They provide
an opportunity for intimate conversations, and for characters
to take action outside of the public eye.

‘Visit’ for the purposes of this chapter is interpreted

broadly—it may indeed be attendance at another's house,
but it could also be an arrangement to meet somewhere by
mutual agreement, or even a conversation between two
characters in the same household.

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During a visitation chapter, players take turns initiating

a single scene where their major character or a connection
they control visits upon another character or characters.
The Facilitator may also initiate a scene. The person initiating
the scene may decide where and when it takes place, and who
will be in attendance. They may choose any major characters
or connections they wish to be present.

Once the initiating player sets the scene, it then plays out.
Each visitation should capture one continuous moment of
action or conversation, and last only around 7 to 10 minutes
of play time. If necessary, players can establish what happens
before and after the conversation takes place.

“What does everyone want to do in their visitation?”

asks Tammy.

“Emma wants to visit Fitzwilliam,” replies Shani.

“Charlotte would also like to visit Fitzwilliam,” Edwin

says. Shani gives him a humorous look of shock.

“I'd like a scene with Henry visiting Geoff. I have a

proposition for him,” says Nadia.

“Ok,” says Tammy, “and I get a scene

too. I'd like a scene between Charlotte
and her mother. She has some things
to say to you after that last ball. But
let's start with Henry and Geoff.”

“Great,” says Nadia. “So I

think this is on Henry's estate,
and Geoff and Henry are off
hunting together well
out of earshot…”

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Split chapter

A split chapter portrays simultaneous but related events in

different places. These chapters increase dramatic tension by
showing events in parallel.

A split chapter is most commonly used to capture a situation

where timing is important, but you may find other uses arise
over the course of your game.

The content of split chapters can usually be described using

the word “meanwhile”. For example, Emma and Fitzwilliam
are getting married in the church. Meanwhile, Charlotte
visits Henry's estate to convince him to ride to the church and
stop the wedding before he loses the love of his life.

In a split chapter, the Facilitator, with help from the players,

will alternate the focus between the parallel events. The best
time to switch between events is at the conclusion of individual
scenes within them, or at a point of especially high tension
(cliff-hanger!).

During a split chapter, major characters can move from one

event to the other if this makes sense in the story.

For example, if Henry decided to stop Emma from marrying

Fitzwilliam, he could leave his estate and arrive at the church
during the wedding.

Emma talks with Lady Thorn, and discovers Henry is

the one she truly loves. Meanwhile, Henry, in a state of
despair, arranges a meeting with Colonel Hammond to
enlist in the army unit about to leave for France.

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WHAT HAPPENS DURING NOVEL CHAPTERS?

During the novel chapter phase, play will naturally be divided
into a series of scenes. Scenes are continuous moments of
action or conversation between characters.

Once a chapter is underway, players can call for scenes they

want to see. The Facilitator should accommodate these
requests in an order that makes sense, ask players questions
about the scenes, and guide the action.

As a player, you can request scenes involving your major

character and connection, and suggest moments in the other
character's lives. If you suggest a moment, the players involved
decide whether they would like to see it played out (but of
course, a resolve token can always be used as an inducement).

While most scenes will play themselves out until they cease
to be interesting, you also have the power to start, end,
or pause scenes containing your major character or a
connection you control. You should use this to help the story
progress, and to make sure every player gets their moment.

The Facilitator may also introduce further drama as

appropriate (or even better, tempt someone else to introduce
more drama with a well-timed resolve token).

The Facilitator will decide when the chapter has come to

a close. In games without a Facilitator, end the chapter by
player consensus.

AVOIDING PLAY INTERRUPTIONS

As Good Society is a highly collaborative game, there will be
occasions where players want to interrupt a scene—whether
it is to use a resolve or monologue token, create a mid-play
connection, or suggest the next scene.

However, interruptions must be managed to avoid disrupting

the flow between characters during a scene.

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For that reason, we recommend players signal when they

would like to interrupt play. The Facilitator can monitor this
signal, and call on players who wish to interrupt as appropriate.
This will improve the flow of your game tremendously.
In a physical game, players who wish to use a monologue or
resolve token can simply hold the token up in the air until the
Facilitator indicates that they should go ahead. Players who
wish to interrupt for another reason can use a signal such as
a hand gesture.

In an online game, players can write their reason for

interrupting in the chat. The Facilitator can monitor the chat
and call on players as appropriate.

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REPUTATION PHASE

>
The reputation phase takes place after each novel chapter.
Throughout the game, a major character's reputation will rise
and fall, and the effects of this change will be felt in their Reputation
daily life. During this phase, new reputations are formed, and p.89

potential consequences rear their head.

DURING EACH REPUTATION PHASE, YOU WILL:

1. Assess character behaviour against reputation criteria.
Each player assesses their major character's behaviour since
the last reputation phase against the reputation criteria on
their family background sheets.

2. Create reputation tags.

The Facilitator asks each player in turn whether their major
character met any of their reputation criteria. If they did,
the player, with the help of the group, creates an appropriate
reputation tag to describe how society now views their

major character. They write this tag on the public information

sheet. Base this tag on the events that caused the character's
reputation to change.

3. Trigger reputation conditions.

If any character has at least three positive or three negative
reputation tags, and does not already have an active
reputation condition of that type, they choose one of the

two conditions on their character role sheet to activate.

They then frame a short scene where we see the effects of
the reputation condition spring into action.

4. Remove reputation conditions.

If any character with a reputation condition has dropped
below three of the corresponding type of reputation tag,
that condition is now erased. This character's player may
choose whether or not to frame a short scene illustrating the
effects of the condition's removal.

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RUMOUR AND SCANDAL PHASE

The rumour and scandal phase occurs once every cycle.
In this phase, players determine what juicy gossip is
circulating through the drawing rooms of the gentry—and
which of it society believes to be true.

A rumour is a piece of gossip flying around town, such as

“Henry is planning to propose to Emma—but only if she'll
keep their engagement secret!” or “Thomas may not seem
eligible—but he's about to inherit the Churchill Estate.”
Rumours don't have to be about major characters; they can be
about connections, or even world events. In a game featuring
naval officers, the rumour “war will break out with France
and the navy will be called back” holds considerable power.

During this phase, players act as society rather than as their

major characters. It's not the characters that are creating
and spreading rumours, but rather the town as a whole.
This means players can create and spread rumours that are
against their characters interests, and without worrying
about repercussions or discovery.

Rumours help players connect plotlines and shape how the

story will progress. A rumour can provide inspiration for
where the story should go, and may in fact prove to be true.

IN THE RUMOUR AND SCANDAL PHASE,

YOU WILL:
1. Create and spread rumours.
Players will go around the circle and take turns to either
create or spread a rumour. The direction of the circle is

then reversed, and each player takes a second turn.

This means the last player to have their first turn will be the
first player to have their second turn.

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During their turn, a person can either create a rumour,

or spread a rumour. Each rumour can only be spread once.
If there are no rumours available to spread during a player's
turn, they must create a new rumour.

Record all rumours on the public information sheet so all

players can refer to them easily.

The Worthings are secretly in debt

Rumours that were not spread represent baseless talk passing

from sitting room to sitting room. Although not necessarily
true, these rumours can still be influential in shaping the
opinions of connections and noteworthy influencers.

When a rumour is spread, it becomes widely known, and most

in society will believe it to be true. It may even become true
during play!

When a player chooses to spread a rumour, mark the circle

next to it. This represents a resolve token that is now attached
to this rumour.

The Worthings are secretly in debt

Any person can spend this resolve token during a novel

chapter or epistolary phase to have the rumour change
the story. As always, the rules governing the use of resolve
tokens apply. Once the resolve token has been used, cross off
the corresponding rumour.

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2. Fade out rumours that have not been spread.

Gossip and scandal don't stay current for long, especially if
nobody is spreading them. During the rumour and scandal
phase, rumours that have not been spread will fade out.

Rumours that are fading are marked with a symbol on the

sheet (📉), while rumours that have already faded out are
crossed off.

Geoff and Charlotte are engaged

Henry has been disinherited

At the end of each rumour and scandal phase, cross off any
rumours not yet spread that have been previously marked
with the fade out symbol (📉).

Then, mark all remaining rumours that have not yet been
spread with the fade out symbol (📉). If these rumours are
not spread in the next rumour and scandal phase, they too
will be crossed off.

Once a rumour has been crossed off, it can no longer be spread.

It exists merely for characters to wonder at the strange news
that some of society once believed to be true.

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EXAMPLE: SPREADING RUMOURS

In the previous rumour and scandal phase, Shani
spread the rumour that Henry proposed to Emma, and
marked the circle next to it.

During play, Edwin decides to use this rumour to have

Emma's other suitor, Fitzwilliam, angrily confront
her about hiding Henry's proposal. The rumour that
Henry proposed was not true—but it spread so widely
that Fitzwilliam believes it. As this action is harmful
to Emma's interests, Edwin offers the resolve token
attached to the rumour to Shani (he takes the physical
token from the general supply). Shani accepts, and
the rumour is crossed off. Fitzwilliam arrives and the
drama begins.

EXAMPLE: FADING RUMOURS

During the first rumour and
scandal phase, Edwin creates
the rumour that Fitzwilliam's
family has squandered their
fortune. No one spreads the
rumour, so Tammy marks it with
the fade out symbol (📉) at
the end of the phase.

The next rumour and scandal

phase comes around, but no
one spreads the rumour.

As the rumour has already faded

out and has still not been spread,
Tammy crosses it off the sheet at the
end of the phase.

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EPISTOLARY PHASE
Between each chapter is an epistolary phase, for the writing
of letters. In this phase, each person may write up to two
letters from either their major character or a connection that
they control. The Facilitator may write as many letters as
required from a major character or connection they control,
or any other person necessary (for example, a records office,
a court official, or the Duke's chief of staff).

Players may write letters in any order—they do not have to

write both their letters consecutively.

WRITING A LETTER
To write a letter, a player must first state who the letter is
from (their major character, or a connection they play),
and who will receive it. They then dictate the contents of the
letter out loud.

There are no limits on what you can include in a letter,

but the normal rules for Collaboration and the use of resolve

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tokens apply. Letters may communicate a message, describe

a past event or series of events, or document a change in
feelings or intentions.

When players write a letter describing past events, they may

either flashback to a brief scene of when those events took
place, or simply describe what happened.

WHAT IF I WANT TO RECEIVE A LETTER?

Players may also use resolve tokens (using the standard rules)
to initiate letters written to them by another major character,
connection, or someone else entirely.

If the author of the desired letter is a major character

or connection, this counts as compelling that character
to do something. The negotiation process should be entered
into as usual. The player offering the resolve token may state
what they would like written in the letter. However, the player
of the major character or connection authoring it must still
dictate the contents of the letter.

If the author of the desired letter is a one-off supporting

character (such as a doctor, official, or a lawyer), then the
resolve token is discarded. The Facilitator then writes the
letter according to the desires of the player who used the token.

If you're not sure who (if anyone) should pay a resolve token to
receive a letter, ask, “Who gets to decide the letter's content?”
If the character sending the letter gets to decide its content
and significance, then no resolve token needs to be spent.
However, if the player of the recipient decides the letter's
content and significance, they will need to use a resolve token.

The epistolary phase is over once each player has

composed up to two letters.

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EPISTOLARY EXAMPLES
Edwin decides that Charlotte will write Emma a letter about the
events of the ball. Edwin dictates Charlotte's letter out loud,
repeating in exacting detail every embarrassing thing Emma did
to remind her of the perilous state of her reputation.

Nadia would like a letter from the University stating Fitzwilliam's

study debt is cleared. She pays a resolve token, and the Facilitator
dictates the letter's contents according to Nadia's wishes.

The Facilitator wants to complicate Fitzwilliam's life by having him

receive a letter from the University stating his debt is due to be
paid in two weeks' time. As this letter is harmful to Fitzwilliam's
interests, the Facilitator offers Nadia a resolve token, and they
enter into the negotiation process. Nadia agrees and takes the
token, and the Facilitator duly dictates the University letter.

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UPKEEP PHASE
Between each cycle is an upkeep phase, which refreshes the
game for the next cycle.

UPKEEP STEPS
Upkeep consists of seven steps. In the upkeep phase, you will:

1. Use any remaining monologue tokens.

Any player who did not spend their monologue token during
the cycle must immediately spend it to trigger a monologue of
another major character. If possible, this should be a character
that did not monologue during the cycle. The player using
their token may ask a specific question to shape the contents
of the monologue (“What do you think of Henry now?”), or
simply ask for the major character's thoughts and feelings.

When a monologue token is used during upkeep, the player

delivering the monologue may choose to situate it within a
short scene to give their monologue context—for example,
while they look over old letters, or after spying their old flame
in the distance in the town square's hustle and bustle.

2. Refresh monologue tokens.

Monologue tokens are returned to each player.

3. Refresh resolve tokens.

If the Facilitator has less than three resolve tokens in their
pool, they increase their number of resolve tokens to three—
regardless of how many they spent in the previous cycle.
If you are playing a game of three cycles or less, each player

>
also receives one additional resolve token.

4. Progress inner conflicts.

Establishing
If this is the first upkeep phase of the game, characters will Inner
Conflicts
establish their inner conflicts instead of progressing them.
p.99

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 Good Society

To progress an inner conflict, players will mark the inner

<
Progressing
conflict table on their character role sheet to show how their
internal struggle has evolved.
an Inner Look at the criteria listed in the inner conflict table. Did your
Conflict
p.100
character's actions over the last cycle fit any of these options?
If they did, mark the box on the side of the conflict that
motivated them.

Once you have marked off the appropriate boxes on your

character role sheet, make the same adjustments to your
conflict on the public information sheet so all players can
easily track its progress.

Next, take one resolve token for each box you marked, up to a
maximum of two tokens.

If any player has filled six boxes in total, or all five boxes on
one side, their inner conflict is complete. See p.102 for what
happens when a player completes their inner conflict.

5. Review Collaboration.
As a group, review the Collaboration decisions you made at
the beginning of the game. Is there anything you'd like to
change? Is there anything in the game you would like to see
more of? Or less?

6. Replace desires (optional).

Players may optionally replace their desires. See the section
on replacing desires on the next page.

7. Expanded backstory actions.

4
Expanded
Any player who completed their inner conflict in this upkeep
phase must take an expanded backstory action.
Backstory
p.140
Note that if players wish to avoid slowing down the game,
they can also hold this action for the end of the session,
or even in-between sessions.

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REPLACING DESIRES
Our desires do not remain stagnant forever—they fluctuate
and change with our circumstances, and as we learn more
about the world and ourselves. So too, do the desires held by
characters in Good Society.

During this step in the upkeep phase, players assess their

major character's desire, and decide whether it needs to
change. A player may change their character's desire for one
of three reasons: it has been achieved, it is impossible or
illogical, or it is no longer interesting to explore.

Achieved: The character has achieved their desire.

͠͠ Fitzwilliam's desire is to disinherit his elder brother, whom

he believes to be irresponsible. After revealing his brother's
true character, his parents decide to cut his elder brother out of
the will. Fitzwilliam has achieved his desire!
Impossible or Illogical: Due to developments in the story,
the character cannot, or would no longer want to, accomplish
their desire.

͠͠ Fitzwilliam's desire is to disinherit his elder brother, whom

he believes to be irresponsible. However, during a chapter,
Fitzwilliam's last remaining parent passes away and his brother
inherits the estate. Fitzwilliam's desire is now impossible.
͠͠ Charlotte's desire is to humiliate her rival, whom she believes
hurt her all those years ago. However, Charlotte discovers
that her rival was not responsible for the events of the past she
blamed them for, but in fact tried to assist her. Charlotte's desire
is now illogical—she would never try and humiliate a rival
who helped, not hurt her!
No longer interesting to explore: The action, plotlines,
and drama created by the character's desire have been
exhausted, and it no longer adds to the game.

If the major character took action on their desire in the next

cycle, would that still be interesting, or would it simply be a

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repeat of previous events? Are other characters still invested

in the outcome of the desire, or has everyone else in the story
moved on? If the desire seems irrelevant or repetitive, a player
may choose to change it.

A character's desire does not need to change simply because

they are conflicted as to whether they want to pursue the
desire or not. This inner struggle makes for very interesting
story material.

Rather, consider whether their desire still provides them with

motivation to act, and a way to move the story forward.

͠͠ Fitzwilliam's desire is to disinherit his elder brother, whom he

believes to be irresponsible. He tries several schemes to ensure
his brother's disinheritance, which created a lot of interesting
drama in the story—but none actually succeed. Nadia,
Fitzwilliam's player, decides pursuing this desire won't lead
the story anywhere new or interesting. Fitzwilliam switches for
a new desire—since he cannot seem to disinherit his brother,
his new desire becomes to marry rich instead.
When it's time for your character to change their desire, you
may either choose a new desire card, or create your own.

CHOOSING A NEW DESIRE

You may decide to choose a new desire for your character from
those contained on the desire cards. If so, ask the Facilitator
to provide three desire cards that might be appropriate.
You can then pick the option that most appeals to you.

It's usually best to pick a desire that is of a different type to

your previous one. For example, if your previous desire was
romantic, you might choose to pick a desire about family.
That said, a failed romance can of course provide ample
opportunity for another romantic motive.

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CREATING A NEW DESIRE

Rather than choosing a new desire card, you may also work
with the Facilitator to create an original desire tailored to the
circumstances of your story so far. If you are playing a game
with no hidden information, you may wish to involve the other
players in your discussion.

Your new desire must be...

͠͠ Suitably dramatic.
͠͠ Hard to accomplish, but not impossible.
͠͠ Connected to at least one major character (your own
character counts).
͠͠ Something you can achieve through the actions of your
major character.
͠͠ Within the boundaries of Collaboration.
The two best sources for your new secret desire are the inner
conflict of your major character, and any other wants they
may have.

Your new desire should generally feed into, or at least relate to,
your character's inner conflict. It may push your character in
favour of one side of the conflict or another, or it may simply
make your character more conflicted.

Shani needs a new desire for Emma. She considers

Emma's inner conflict of Freedom vs Security. What
freedoms could Emma desire that might compromise
her security? Or what security could she crave that
might compromise her freedom? Eventually, Shani
decides that Emma's new desire will be to marry
Henry, despite her feelings for Fitzwilliam. Fitzwilliam's
financial situation is in jeopardy, and Emma wants to
make sure she doesn't tumble down with him.

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You may also decide to base your new desire on an impulse or

want that has emerged within your major character over the
course of play. How could this impulse be made more concrete
and impactful?

Charlotte no longer seeks to prevent Henry from

marrying Emma, and it's time to change desire. She
is, however, furious at Fitzwilliam, who changed his
behaviour towards her from caring to cold overnight.
Her new desire is to seek revenge on Fitzwilliam for his
unfaithful change of heart.

Once you know the idea behind the desire, write it out in full,
making sure it meets the requirements above. You might also
want to add the reason why your character holds that desire.
For example, “I want to ruin Emma and Fitzwilliam because
I seek revenge for Fitzwilliam's callous treatment of me.”

You can use the table below for inspiration.

DESIRE TABLE

marry, ruin, expose,

humiliate, restore or and
increase the reputation of, myself myself
bring substantial wealth to
a major a major
to, arrange a secret for
character character
I want to... engagement between,
(name them) with (name them)
exile from the family,
prove myself to, win the a connection in front of a connection
trust of, break up, get the (name them) (name them)
blessing of, hide, cover up from
or erase, repay

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CREATING A NEW DESIRE EXAMPLE

After Henry marries Emma, Charlotte's desire becomes
impossible, so Edwin works with Tammy to create a new one.
Charlotte's inner conflict is Independence vs Familial Duty.

“What does Charlotte want most right now?” asks Tammy.

“Frankly, it's to get out of her parents' house and start a new
life. But she's also worried about what will happen to the
rest of the family if she leaves,” replies Edwin.

“What's the main thing stopping her from leaving?”

“Why, money of course!”

“Of course. Well, maybe Charlotte's new desire is to get rich

by any means so she can leave her parents' house.”

“I've got an idea of how to make that same concept even

better. I think Charlotte is not ready to marry at this stage.
However, Charlotte's favourite person in the world is one of
her connections, her younger sister Isabel. Maybe Charlotte's
objective should be to marry Isabel to someone wealthy,
in order to secure both of their futures.”

“Another layer! I love it. I like that it's a struggle between

Charlotte's need for independence, but also to do
the right thing by her sister in how she proceeds
with this desire.”

“Yes, I love making things hard

for Charlotte!”

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EXPANDED BACKSTORY ACTIONS

The world of Austen's works is never constant. Desires change,
secrets are discovered, and new eligible suitors appear out
of nowhere. During upkeep, players who completed their
inner conflict have the opportunity to expand the world—
inventing new connections, changing fortunes, and even
switching major characters.

Expanded backstory actions can take a little while to complete,

and you may wish to save this step for the end of the session,
or even between one session and the next.

Any player who completed their inner conflict during the

current upkeep phase must take an expanded backstory action.
They can choose from the following options:

͠͠ Create a new connection

͠͠ Play an extra connection
͠͠ Change a connection's fortune
͠͠ Establish a relationship
͠͠ Create a new major character

Create a new connection

Create a new connection for any major character using the

same process as usual. If you are creating a connection for
another player's major character, ask their permission first.

Place two resolve tokens on the new connection. For now, the
Facilitator will play this connection.

This is an additional connection, and does not prevent a player

creating a mid-play connection if they haven't already.

Play an extra connection

Take over the role of a connection (other than your own)

currently played by the Facilitator. You'll play this connection
in addition to any you play already. Add two resolve tokens to
that connection.

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Change a connection's fortune

Something dramatic has happened to a connection between

this cycle and the next.

Pick one of the following:

͠͠ Reveal a shocking secret about the connection. Add it as a

spread rumour to the public information sheet.
͠͠ Reverse a connection's wealth—from rags to riches, or
perhaps riches to rags. Explain why.
͠͠ Reverse a connection's marital status—from single to
married, or perhaps engaged to single. Explain why.
͠͠ Give the connection a strong desire. Write it on their
connection sheet.

Establish a relationship

Establish an unexpected relationship between a major

character or connection you play, and another major character
or connection in the game. It can be anything that interests
you as long as it does not conflict with the story so far.

If the relationship involves another player's major character,

you must have their permission first.

Create a new major character

Create and play an entirely new major character with new

desires and new drama. Use the rules for introducing a new
major character, found on p.63.

Your old major character doesn't disappear! They become a

connection you control instead. Remember, they will no longer
be a major character in the story, and will only appear when
the plot demands. Their role becomes, as with all connections,
to complicate the lives of the major characters, and be a tool
in their plots and schemes. Your old character's connections
continue to exist without change.

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EXTENDED PLAY EXAMPLE

Novel chapter phase

We join our group halfway through the first novel chapter of

the second cycle. Lady Thorn is holding a ball to find suitable
partners for her son Geoff.

We are in the third scene of the ball, where Fitzwilliam and

Emma are deep in conversation. All of a sudden, Charlotte
strides over with her sister Isabel.

Tammy (Facilitator): Shani, I'll play Isabel during this

scene since you're already playing Emma.

Edwin (Charlotte): “Good evening Mr Ashworth. Please

excuse me, I've been asked to carry a message to Emma.”

Shani (Emma): Emma immediately looks suspicious.

Nadia (Fitzwilliam): “Not at all. What is it you have been

charged to convey?”

Edwin: “Henry Worthing has asked most particularly

if Emma will come and speak to him. I know not the
reason, but I conjecture from his tone it will result in
more than a few dances.”

Nadia: Fitzwilliam raises an eyebrow at Emma.

Shani: Oh my gosh, Charlotte is the worst! Can I pay a

resolve token for that to at least be true?

Tammy: You want to compel Henry to have a few too

many dances with you?

Shani: Yes.

Shani offers a resolve token from her personal pool to Nadia,

who plays Henry.

Shani: Do you accept my resolve token for that?

Nadia: Oh excellent, I do.

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Nadia takes the token and puts it in Henry's resolve token pool.

Shani: Right, so Emma goes bright red, gives a courtesy,

and heads off saying, “I'm very sorry Mr Ashworth,
you'll have to excuse me.”

Edwin plays his monologue token on Nadia.

Edwin: I want to hear Fitzwilliam's inner monologue at

this moment!

Shani: YES!

Nadia: Yeah, okay…

“With the absurd drama that is always plaguing my

family, you'd think I would be used to being perplexed.
But truly, when I observe the actions of Emma I become
perplexed in a surprising way. For I find myself not only
unable to read her mind and behaviour, but also unable
to master my own, my eyes following her wherever she
goes as if I no longer possess control of them. I have no
wish to compete with Mr Worthing in any respect… but
just one dance with her at the end of the night. Surely it
can be secured.”

Tammy: He's not angry then?

Nadia: No, he's wistful. Emma is his object of affection.

I think she's like a dream for him he doesn't think could
be a reality.

Tammy: That's pretty cute.

Edwin: Oh, but before we finish the scene I wanted to

introduce my sister. “Mr Ashworth, will you allow me
to introduce my sister Isabel?”

Nadia: “Charmed.”

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R eputation phase

It's Edwin's turn to assess his major character's reputation.

Tammy: How about Charlotte?

Edwin: My family background sheet states that I gain

reputation if I secure a personal invitation from someone
of higher social status than myself. And guess who got
invited for tea with Lady Thorn.

Tammy: Nice. So you'll gain a positive reputation tag.

What word do we think describes how society views you?

Shani: Popular?

Nadia: Yeah or favoured?

Edwin: I love favoured, let's do that. Ain't no stopping

me now.

Edwin writes Charlotte's new reputation tag on the public

information sheet.

Rumour and scandal phase

Tammy: Let's start with Nadia this time since we started

with Edwin last time.

Nadia: I'd like to create a rumour that the match between

Geoff and Charlotte has been settled by their parents.

Nadia writes the rumour on the public information sheet.

Shani: I'm definitely spreading that!

Shani marks the circle next to the rumour.

Tammy: You have two turns Edwin, since you're last.

Edwin: Um, I'd like to create two rumours. First, that

the Worthings are secretly in debt and have to sell their
estate. Second, that Fitzwilliam's parents are planning
to reinstate his older brother's inheritance.

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Edwin writes both rumours on the public information sheet.

Shani: Worst! I'm going to spread the one about the

Worthings. Even though it's terrible for Emma, it's so
much fun.

Nadia: Well it's not necessarily true! People just think

it is—maybe Emma can use that to her advantage.
Anyway, there's no way I'm spreading the one about
Fitzwilliam's brother, so I'm going to create the rumour
that Isabel is planning to elope.

Tammy: That leaves two rumours from last time marked

as fading out and still not spread, so I'll cross those off.

Epistolary phase

During the epistolary phase, Edwin informs the group that

Charlotte is writing to her mother. Edwin says out loud the
contents of the letter that Charlotte writes to her mother.

Edwin: “Dear mother, I'm sure you've heard I've been

greatly honoured with a personal invitation to visit
from Lady Thorn. I know this will provide me with
the opportunity to make the kinds of connections in
society you've always wished me to hold. But there is
one problem—should I wish to make an impression
on Lady Thorn, and appear worthy of her attentions,
I cannot arrive at her house by foot. As I have been
so particularly graced by her invitation, surely I may
borrow the carriage for the occasion?”

Edwin trades in his ‘favoured’ reputation tag for a resolve

token, and holds it up.

Edwin: I'd like to use the resolve token from my

favoured tag to compel mother to lend me the carriage.
I'm stressing to her the importance of an invitation from
Lady Thorn, and how impressive it is that I've secured it.
Do you accept, Tammy?

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Tammy: Absolutely.

Tammy takes the token and puts it in the resolve token pool
of Charlotte's mother.

Novel chapter phase

Shani: I think we all have important conversations to

play out. Let's do a series of visitations.

Tammy: Great idea, loving it.

Everyone agrees. After Shani, Tammy, and Nadia have had

their visitations, it's Edwin's turn.

Edwin: So, Charlotte owes Lady Thorn a visit. Idea—

I'd like to pay a resolve token to have Charlotte catch
Geoff alone. I've a great idea of how to play this into my
inner conflict. Lady Thorn can enter later in the scene.

Edwin discards one of his resolve tokens.

Tammy: Alright, where do you find him?

Edwin: He's in the drawing room, reading a circular.

I think I catch him by surprise, as the servant went off
to call his mother.

Tammy (Geoff): “Um, uh, oh, good day Miss Taylor ah!”
He jumps up.

Edwin: “Mr Thorn. I was invited for tea with your

mother.”

Tammy (Geoff): “Oh, uh, with mother how nice—that's

nice—that's lovely, yes.”

Edwin: So, has Geoff heard the rumour about our

parents arranging our engagement? I want to use the
resolve token from the rumour to compel Geoff to
believe that it's true, but not to have asked his mother
about it. Accept that compel?

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Tammy: Gosh! Yes, I'll accept that.

Tammy crosses off the rumour and places a resolve token

in Geoff's pool.

Tammy: Geoff gives you this kind of awkward wide

puppy dog smile.

Edwin: “Please forgive my frankness,” says Charlotte,

drawing closer. “I know this matter stands in the hands
of our families. But I could not imagine a decision
I would consider more favourably.”

Tammy: “Oh! Uh. I am so glad. I-I-I feel the same way.”

Edwin: “I'm so very glad.” Ha ha this scene is great.

Lady Thorn can enter now. Oh wait, that's me.

Tammy: I can play Lady Thorn. Or maybe we can end

the visit there? Is there anything else you want to see?

Edwin: No actually, that's perfect.

We’ll leave our extended play example there. But our group
will then proceed to a reputation phase, followed by epistolary
and upkeep, then onward to the beginning of the next cycle.

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 Chapter 6: Facilitator

Facilitator 06

Well, things certainly aren't like that anymore, George.

When the children were younger, I could simply tell them

what to do, and I would find myself obeyed by the mere
virtue of my age.

Now I am older, I suppose I should not be surprised to find

they no longer take my word as law. My role has changed.
Instead of instructing them as the captain, I must now guide
them as navigator, and show them how to steer their ship to
more desirable waters.

While facing the reality that one's children should be allowed

to have their own opinions, desires and—heaven help me—
philosophies on life, I cannot help but hope I guide them
wisely, and teach them to choose their path well all on their
own accord.

elcome, dear Facilitator, to this section composed

W especially for you. There is nothing unexpected or

secret in this chapter. Instead, it will provide you
with help and support in fulfilling a very important role.

As the Facilitator, your job is to help everyone

collaborate to build a shared story.
You're not the story master, but rather the story weaver,
threading together the players' narrative creativity into a
satisfying whole.

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FACILITATOR TASKS
͠͠ Respect the decisions made in Collaboration and foster a
collaborative environment, p.152.

͠͠ Ask questions and build on the answers, p.154.

͠͠ Be responsible for structure and pacing, p.155.

͠͠ Play (some of) the supporting characters, p.159.

͠͠ Bring home the consequences of character actions,

p.160.

͠͠ Bring home the consequences of the setting, p.160.

͠͠ Add drama and complication—but only if needed, p.163.

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When you're playing a game of Good Society, there will be

times when the players look to you for a response. If you're
not sure what to do, think about how you might help everyone
build a shared story. Look at your tasks, and see if any apply.

Remember, you're always allowed to stop and

think about what to do next.
In Good Society, everyone works together to create the story.
This means you can always ask the players how they think
a character should respond, or how a scene should play out.
Asking for help will not only create a better story, but make
players feel more involved.

As the Facilitator, we'd recommend you take the time to read

and digest all the material in this book. If you're not sure on
any part of the process, visit our website for tutorial videos
where we step through each section of the game.

Most of the time, the Facilitator doesn't operate using any

special rules. Rather, they step the players through the
rules that do exist, and occasionally take responsibility for
finalising group decisions.

You won't find any new mechanics in this chapter. Instead,

you'll find a breakdown of the Facilitator tasks, and tips for
running the game.

In this chapter, you will find:

͠͠ Facilitator tasks, p.150.

͠͠ Playing a major character as the Facilitator, p.166.
͠͠ Advice for facilitating the first session, p.167.
͠͠ Playing without a Facilitator, p.174.

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RESPECT THE DECISIONS MADE IN

COLLABORATION AND FOSTER A
COLLABORATIVE ENVIRONMENT
Collaboration helps to create a storytelling experience that
all players can enjoy. Everyone at the table has the obligation
to respect decisions made during Collaboration. As the
Facilitator, you have the added responsibility of fostering
collaborative behaviour, and stepping in when Collaboration
boundaries are crossed.

FOSTER COLLABORATIVE BEHAVIOUR

Earlier in this book, we discussed what in-game collaboration
means to us:

͠͠ Free and open discussion between players—even if it

would never occur between characters.
͠͠ Making an overall story together, rather than focusing
solely on your own major character.
͠͠ Putting the story (and fun!) above your character's
interests—even as you pursue those interests in-character.
͠͠ Making sure everyone's voice is heard in shaping the novel
you are creating.
͠͠ Respecting consent between players even when your
characters clash.
As the Facilitator, steer players towards this style of
collaborative play. You can make this explicit by stating
how the players should approach the game, or you can guide
players towards a certain approach.

If you think this style of play will be unusual or unintuitive

to the players, then consider running everyone through the
components of collaborative behaviour listed above before the
game begins. This is particularly important in a longer game
where player investment is crucial.

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“If you’re not sure what Fitzwilliam would know, we can

discuss that together. Free and open discussion is an
important part of this game!”

“Shani, what would you think if Charlotte did host the

picnic? Is there anyone you’d really like to be there?
We can all make suggestions.”

Players who have never played a story game before may also
benefit from understanding the ‘meta’ nature of Good Society.

Players are not restricted to the perspective,

knowledge, and abilities of their major
character.
Rather, they can use all of the story's circumstances to guide
their character's actions and shape the world. Yes—even
things their major character isn't aware of!

However, this means players must be ready, as the player

principles demand, to accept their character's misfortunes to
create a more interesting game.

START THE CONVERSATION WHEN

COLLABORATION IS IGNORED
Collaboration is everyone's responsibility. However, as the
Facilitator, if you notice players who are uncomfortable,
but not willing to raise their concerns, you may need to start
the conversation.

Where the game does go outside the boundaries of

Collaboration, rewind the mismatch and replay the moment
in line with the Collaboration decisions.

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ASK QUESTIONS AND BUILD ON THE

ANSWERS
As the Facilitator, questions are your best tool for bringing
the story to life. Ask the players lots of questions—and not
just about their characters. These questions could include:

Action-focused Questions
͠͠ What do you do?
͠͠ How do you respond?
͠͠ Do you run after them?
Internal Questions
͠͠ What are you thinking?
͠͠ How do you feel hearing that?
͠͠ What are you hoping for in this conversation?
Description Questions
͠͠ What does the ballroom look like?
͠͠ How does Lady Thorn work the floor?
͠͠ How does your family prepare for the party?
Story- shaping Questions
͠͠ Does your brother approach him?
͠͠ Does the carriage make it before the storm?
͠͠ Do they reply to your letter?
Backstory Questions
͠͠ Where did you first meet Fitzwilliam?
͠͠ When did your parents pass away?
͠͠ Did you know her before she left for London?
Editorial Questions
͠͠ Do you want to flashback to that conversation?
͠͠ Did you want to use your monologue token now?
͠͠ Can we see how that plays out?
Once you've found out the answers, use them! They should
provide plenty of opportunities for story fodder, or for creating
obstacles to a player's desires (or ways to tempt them with a
resolve token).

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BE RESPONSIBLE FOR STRUCTURE

AND PACING
All players will collectively write the novel you create in your
game of Good Society. However, as the Facilitator, you will
take the role of the novel's editor.

You will step players through the game's cyclical structure,

and describe rules as they become relevant. You can use the
play materials and videos on our website to help make this
process easier.

You will also work with the players to weave their narrative
contributions and character actions into a memorable story.
It will be your job to keep the narrative moving, focus on
the action, and make sure each major character gets an equal
share of the limelight.

FOCUS ON THE ACTION

Not everything that happens at the ball is worthy of our
notice—only moments that advance the story, or tell us
something important about the characters.

As novel chapters unfold, the actions of different characters

will take centre stage at different times. A chapter may begin
with Charlotte sweet-talking Fitzwilliam, but their scene
will end once the interesting part of that conversation is over.
The chapter's focus then moves to a new scene where Lady
Thorn grills Emma about her upcoming marriage.

If a conversation withers away into pleasantries or simply

stalls, it's your cue to end the scene and move the chapter's
focus to the actions of another character.
If a player mentions an important scene they would like to
see, or an issue they would like to address during the chapter,
don't forget to bring it up at an appropriate moment.

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Sometimes, there are a lot of different scenes that players want

to see. Consider writing down future moments, unresolved
questions, and pending conversations to frame where the
story is going—especially between one session and the next.

ESTABLISH FACTS AND ASK CLARIFYING

QUESTIONS
During play, there may be times where it's hard to tell what
is happening in a scene. Perhaps the situation's background
facts weren't established, a character acted in an unclear way,
or two characters acted in ways that seem contradictory.
If this occurs during your game, chime in early to clarify the
situation, and ask any questions that need to be answered.

“Charlotte asks Mr Ashworth if he would meet her

tomorrow in the garden,” says Edwin.

“Which Mr Ashworth?” asks Tammy. “Do you mean

Fitzwilliam Ashworth or his elder brother Edward
Ashworth?”

“Why Fitzwilliam of course!” replies Edwin.

“I think that’s when you see Emma on the balcony with

Fitzwilliam,” says Shani.

“Hang on,” asks Tammy, “isn’t Fitzwilliam currently

mid-conversation with Charlotte?”

“Yes,” says Edwin. “Charlotte was just about to ask

him to meet her tomorrow in the garden.”

“Ok, let’s see Charlotte’s conversation first,” says

Shani. “Then we can see how Emma manages to win
him away from Charlotte and out onto the balcony.”

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MEDIATE INTERRUPTIONS
There are a number of reasons why players may want to
interrupt a scene or letter which is playing out. They may
wish to suggest a direction for the story, play a resolve token
or monologue token, or ask questions about the unfolding
action. Players can hold up a resolve token or make a hand
gesture to show they would like to interrupt, or you may like
to house rule your own method.

As the Facilitator, hold these interruptions for an appropriate

moment in play to ensure you're not interrupting any prime
drama or tender moments. If multiple people have requests,
follow them in the order that makes most sense, but make sure
every player is heard.

GIVE EVERY MAJOR CHARACTER A CHANCE TO

SHINE
During a game of Good Society, give every major character's
story the opportunity to be in focus. If the story of a particular
character isn't progressing or seems to have stalled, try
introducing a new complication that throws them into focus.

In shorter games, giving major characters a chance to shine

will often translate to equal amounts of play time. To achieve
this, use questions to move the focus to major characters that
haven't appeared as much during the game, such as “What
does Charlotte do next? Is Charlotte still angry about Emma's
slight, will she do anything about that?” You can also create
further complications as necessary—“Charlotte, as you move
towards the refreshments table, Fitzwilliam approaches
you—he wants to ask your opinion of Emma.”
In longer games, while play time is still important, it's less
necessary to achieve an equal balance within each individual
chapter. Instead, explore the story of each major character
over the course of the game. In these games, you can let the
story move along at a natural pace, stepping in only if it starts

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to stall. You can use techniques such as spotlighting to bring

<
Spotlights
a particular major character into focus if they haven't been at
the centre of play for a little while.
p.120 Remember, connections don't need equal, or even any, play
time. Simply use them as the story dictates.

HIGHLIGHT POTENTIAL CONFLICTS OR

INTERESTING STORY TRAJECTORIES
In a game of Good Society, there are often questions or
tensions simmering below the surface that players may not
fully realise. If the potential exists for conflict between
characters, you can often nudge it along with a simple
question which demonstrates where the tension might arise.
For example, “How do you feel when Emma approaches
Fitzwilliam? Didn't you have your eye on him?” or “You
haven't seen Isabel since the incident that caused your
reputation to drop. Do you hold a grudge?”

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PLAY (SOME OF) THE SUPPORTING

CHARACTERS
As the Facilitator, you take responsibility for any connection
not controlled by a player. You may also temporarily need to
play connections ordinarily controlled by another player, if
that player's major character is also in the scene. If you do, ask
that player how they envision the connection would behave.
You also need their permission before you can use any of the
resolve tokens from that connection's pool.

When you take on the role of a connection, remember the two

functions they play in the story—to complicate the lives of
the major characters, and to be a tool in the major character's
plots and schemes.

Connections should always have their own feelings and

agenda. Sometimes this agenda will provide obstacles
and opposition for the major characters, and sometimes
it will need to buckle under the major character's desires.
Pick whichever option best suits the story.

As the Facilitator, you also play any background characters

that the story requires. These are characters which appear
only in a single scene and serve a specific function, such as a
servant, doctor, or the musician at the ball. These characters
have no specific mechanical rules that apply to them—simply
play them to perform whatever function the story requires of
them, and move on.

Charlotte would like to know if Geoff is already

waiting for her in the drawing room before she enters.
She calls for a servant. As this is a background
character, the Facilitator plays the servant. Charlotte
asks after Geoff, and the servant explains he is already
in the drawing room. Charlotte thanks the servant
who exits—the Facilitator’s job is done; now it’s all
about the drama between Charlotte and Geoff!

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BRING HOME THE CONSEQUENCES

OF CHARACTER ACTIONS
All actions have consequences—but in the world of an
Austen novel, even the slightest manoeuvre can be of the
greatest importance.

A stray glance, an improper familiarity, a

well-timed introduction, or even a simple
acknowledgement can all hold tremendous
significance.
As characters take actions, the Facilitator should reflect
the ripple these activities cause in the world. Sometimes,
other players will naturally react and respond to character
actions. But other times, a character may take an action
that is particularly tremendous or untoward—and no one
bats an eyelid. If so, it's your role to step in and change that.

As major characters accumulate reputation tags, make sure

their tags are reflected in society's viewpoints towards, and
opinions of, that character. Don't be afraid to have connections
espouse opinions that reflect these tags, and use negative
reputation tags against players as appropriate.

BRING HOME THE CONSEQUENCES

OF THE SETTING
The themes and historical realities underpinning Austen's
work also form the backdrop of Good Society. Issues of money,
rank, reputation, and gender are felt in every game, subject
only to the players' Collaboration decisions.

As the Facilitator, make these themes

and historical realities an influential part
of your game.

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This doesn't mean they must play a central role in the

story's plotline (although they may). Rather, you can make
the influence of Regency realities felt through well-timed
questions and the actions of connections.

Here are the setting elements which we believe to be the

most important:

͠͠ Rank, and the social pecking order.

͠͠ Gender roles and restrictions (depending on Collaboration
choices).
͠͠ Wealth and inheritance.
>
Setting
p.202
͠͠ Reputation and the ubiquitous judgement of society.

HIGHLIGHTING SETTING ELEMENTS THROUGH

QUESTIONS
The easiest way to highlight the consequences of Good
Society's setting is to simply bring them to the major
characters' attention. Ask a player questions highlighting the
importance these historical pressures play in their character's
lives. Remind them how these pressures make them inferior
or superior to other characters, and ask them what they plan
to do about it.

͠͠ “Charlotte, you've just been snubbed by someone far

below you in rank and wealth—are you really going to let
that stand?”
͠͠ “Henry, you'll control Lydia's entire fortune once you
inherit—are you going to let her talk to you that way?”
͠͠ “Emma, Lady Thorn is far above you in the social pecking
order, and is very influential—and here she is asking you
for a favour. How are you going to respond?”
͠͠ “Geoff, Charlotte has been a good friend of yours, but her
reputation lately has become enveloped in scandal! Are you
just going to allow her into your drawing room in such a
public way?”

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HIGHLIGHTING SETTING ELEMENTS THROUGH

CONNECTIONS
Connections often exert substantial influence over the
major characters, making connections the perfect vehicle for
reminding players of the importance of historical pressures.

Use connections to point out the importance of these pressures

in a similar way to the questions on the previous page.

Words coming from influential individuals in a

character's life will hold more weight.
If you want to push the point even further, have the connection
introduce a consequence for not paying due mind to these
realities of life. The epistolary phase is a great platform for
these communications, as the major character must listen to
the entirety of the charge against them before they are able
to respond.

Emma’s elder sister comes to find her in a flurry.

“My dear,” she says, “I am all astonishment! First to

hear that Henry proposed to you. But then to hear
that you refused him? A man of title and some three
thousand a year? Do you not know what is good for
you and your family? All three of us have little chance
of a decent match with such a small dowry—your
marriage to Henry could grant us all decent prospects.
And for you to make such a decision, how can you be
so selfish?”

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ADD DRAMA AND COMPLICATION—

BUT ONLY IF NEEDED
As the Facilitator, you are equipped with the tools to create
drama and complicate the story—but it may not always
be necessary. Judge by how the game is going so far; if the
game is full of tension and players are desperate for their
character's scenes to come around, hold onto your resolve
tokens and take a back seat. If the story is flagging, players
are uncertain, or there is no real opposition or obstacles,
then it's time to act.

There are two ways to add drama and complication in a game

of Good Society. The first is to suggest or compel players to
add more complications themselves, whether through their
major character or a connection they control. The second is
to step in with your own resolve token, or a connection you
control. It's best to use a mix of both throughout the game.

GETTING PLAYERS TO CREATE

COMPLICATIONS
There are three ways of getting players to complicate the lives
of both their own and other major characters.

First, you can suggest actions that will cause characters to

complicate their own lives, and give them a resolve token if
they act on it. For example, “You don't like Charlotte's family
do you Emma? I will give you a resolve token if you can't help
but let your hatred slip out during your conversation with
Charlotte's mother.”

Spending resolve tokens to create complications is great

for connections, but shouldn't be used too often on
major characters. Major characters should generally decide
their own behaviour.

However, you can steer towards these complications by asking

the major character's player a suggestive question and letting

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them decide how it plays out. For example, “You don't like
Charlotte's family do you Emma? How does that play itself
out in your conversation with Charlotte's mother?”

Second, you can highlight a problem that a character hasn't

realised is important, and then ask them what they would like
to do about it.

For example, “Emma, you saw the way that Fitzwilliam

looked at Charlotte. Could that be love? What are you going
to do about it?” or “Henry, you know the Ashworths despise
your family. Yet they are the ones who will be accompanying
Emma to London while she considers your proposal! What
are you going to do?” This technique makes full use of the
present storyline, and helps the players progress that story in
a natural way.

Third, you can ask players to think about how the connections
they control might complicate the lives of the major characters.
Take a good look at the connections, their attitudes and
attributes, and their relationship to the major characters
and their desires. Then ask a question to help the player
controlling them to frame a conflict.

For example, “Edwin, you're playing Lady Thorn, right?

She still needs to decide who will inherit her estate. What
might she demand of our major characters if they want to
inherit?” or “I see Charlotte's mother has high expectations
of her. Nadia, you're playing Charlotte's mother. What are
those high expectations? Is Charlotte meeting them right
now? I bet not.”

STEPPING IN WITH FACILITATOR

COMPLICATIONS
During the game, you may also need to step in with Facilitator
complications. As the Facilitator, you have two main ways
of acting—through connections and through resolve tokens.

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Complicating a major characters' life with connections

>
When you use a connection to complicate the life of a major
character, consider the ideas outlined on p.106:
Complicating
͠͠ What is this major character's desire, and how can this with a
connection get in the way? Connection
p.106
͠͠ What is this character's inner conflict, and how can I add
fuel to the fire?
͠͠ Does this character need more romance in their lives?
Examples of how a connection may create complications:

͠͠ Threaten or warn a character off something they care for.

͠͠ Get in trouble and need assistance.
͠͠ Reveal themselves to be an unexpected suitor.
͠͠ Bring the weight of parental or high ranking authority
against a character's actions.
͠͠ Ask for a favour.
͠͠ Make a rash offer or give an ultimatum.
͠͠ Offer an unexpected alliance.
͠͠ Reveal a betrayal or plans for a betrayal.
Make sure you also dedicate time to progressing the
relationships between characters and connections. This
will add emotional depth to the story, and allow you to use
those connections with greater impact in the future. This is
particularly important in a longer game, where the relationship
between two characters may form an entire story arc.

One- off complications

You can also step in with a resolve token to make a more

dramatic and sudden one-off complication. Here are four
examples of complications you can create with a resolve token:

͠͠ Reveal a threat to a character's fortune or position.

͠͠ Expose a dangerous secret.
͠͠ Reveal a secret arrangement or relationship.
͠͠ Cause an accident, illness, or injury.

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PLAYING A MAJOR CHARACTER AS A

FACILITATOR
In Good Society, the Facilitator may also choose to take on
the role of a major character. We recommend doing so if your
game has three or fewer other players.

If you take on the role of a major character, you participate

in Backstory alongside the players, and create your character
through the normal process. You also receive a monologue
token. You will still only have one pool of resolve tokens as
the Facilitator. As usual, during the upkeep phase, this pool
refreshes to three if it has dropped below that number.

If you are facilitating and playing a major character, pursue

that character's interests. However, remember that your role
as the Facilitator comes first. Your character's objectives
are secondary to your goal of helping the players create a
satisfying narrative experience together.

You will often end up with more resolve tokens than other
players—don't just use these to tell the story of your major
character. Instead, use these tokens to make the stories of all
the major characters intriguing and exciting.

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ADVICE FOR FACILITATING THE

FIRST SESSION
The first session can often be the most difficult to facilitate,
as you lead the players through Collaboration, Backstory, and
into the game's first cycle. There's a lot to discuss and explain.

In the section below, we share how we facilitate a first session

of Good Society. We've tried many different approaches, and
found this to work best for us. You can change and adapt this
process to suit your needs.

ADVICE FOR FACILITATING THE FIRST SESSION

OF A FULL-LENGTH GAME (3+ CYCLES)
Below are the six steps we follow when running a full-length
game, as well as some considerations we keep in mind:

1. Introduce Good Society and explain that it is a highly

collaborative, player driven game.
We generally provide an explanation such as the following:

“Good Society is a highly collaborative, player driven game.

As players, you will have the opportunity not only to control
what your major character does, but to shape the world and steer
the story in the direction that interests you. As the Facilitator,
I don't have any special narrative powers or knowledge about
the story that you don't have. My job is to help us work together
to create a Jane Austen novel we're all excited about.”

2. Complete Collaboration and introduce the x-card.

The x-card is an important safety tool, and we recommend
>
X-Card
you don't play without it. p.35

3. Complete Backstory.
When the players first receive their character role and
family background sheets, take a moment to walk through
them and explain the game's basic concepts.

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At the end of major character creation, we recommend

reviewing the relationships between major characters to see
if any have not yet been clarified. Discuss any additional
questions at this stage before creating connections,
such as, “How long have you been in town?” and “Why did
your brother get disinherited?”

When creating connections, it can be helpful to explain

their purpose. They exist to complicate the lives of
major characters, and be tools in major characters' plots
and schemes. They will appear in the game as the story
requires—they may be central to the narrative, or they
may only appear once in the final chapter.

Once all connections have been created, but before players

decide which to play, take a moment to assess whether you
need to create any Facilitator connections.

Don't worry if Backstory takes a little while—it's also a

fun part of the game. In a longer game, Collaboration and
Backstory usually take a little over an hour and a half.

4. Check each player has the appropriate materials.

Before you begin the first novel phase, each person playing
a major character should have the following:

͠͠ A desire card
͠͠ A relationship card (taken)
͠͠ A character role sheet
͠͠ A family background sheet
͠͠ The connection sheet of the connection they control
͠͠ Two resolve tokens
͠͠ One monologue token
In the middle of the table, place:

͠͠ The cycle of play sheet

͠͠ The public information sheet
͠͠ All remaining connection sheets
As the Facilitator, you should also have three resolve tokens.

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5. Explain the rules you need to know to start playing the

game.
We generally explain the rules in the following order:

͠͠ Player principles (contained on the character role

sheets), and the collaborative nature of the game.
͠͠ Cycles of play, and a brief overview of each phase.
͠͠ Resolve tokens with examples, including the negotiation
process and how connections use resolve tokens.
͠͠ Monologue tokens, including examples of when they
might be used.
͠͠ A brief overview of reputation, including examples of
how to use reputation tags during play.
͠͠ Initial desires and the ability for desires to change over
the course of the game.
The rest is best left for the appropriate phase.

6. Jump into the first cycle.

Try to start the first novel chapter in the middle of the
action to get the story underway. Usually, you'll be entering
the game with a great deal of pre-existing tension between
characters—starting the first chapter with that tension
can be a great way to begin your story.

Use resolve tokens early on in the first chapter to give new

players a practical understanding of when and how these
tokens can be used.

From there, follow the phase structure to complete the rest

of the first session, explaining each section of the game as
it arises.

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ADVICE FOR FACILITATING THE FIRST SESSION

OF A SHORT GAME (1-2 CYCLES)
Facilitating the first session of a short game can be even
more challenging than a longer one, as time is of the essence.
Here's our approach:

1. Choose a playset ahead of time.

In a short game, you won't get as much reward from the

<
Playsets
hour usually dedicated to Backstory. Instead, choose a
playset ahead of time, and use it in full so you can dive into
p.177
play as quickly as possible. We'd recommend you choose a
playset marked as appropriate for a short game. When in
doubt, the romantic comedy playset is geared towards a
standard play experience.

2. Prepare and compile all materials before play begins.

Before play starts, assemble sets of the following for each
player according to your chosen playset:

͠͠ Desire card, relationship card, character role sheet, and

family background sheet, as indicated in the playset
͠͠ A connection sheet for each connection players will
create during the game
͠͠ Two resolve tokens
͠͠ One monologue token
3. Introduce Good Society, and explain that it is a highly
collaborative, player driven game.
We generally provide an explanation such as the following:

“Good Society is a highly collaborative, player driven game.

As players, you will have the opportunity not only to control
what your major character does, but to shape the world and steer
the story in the direction that interests you. As the Facilitator,
I don't have any special narrative powers, or knowledge about
the story that you don't have. My job is to help us work together
to create a Jane Austen novel we're all excited about.”

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4. Complete Collaboration and introduce the x-card.

We'd recommend that during Collaboration you exclude
the ‘a lot’ option when deciding the importance of historical
accuracy. In a short game, it's unlikely your players will
have time to prepare, and long historical discussions are
likely to slow the game down to an undue degree.

The x-card is an important safety tool, and we recommend

you don't play without it.
)
X-Card
p.35
5. Complete Backstory.
At the beginning of this process, ask players not to
complete their character role sheets until relationships
have been formed between the major characters.

When it comes time to complete the character role sheets,

walk the players through them and explain the basic
concepts of the game. Let them know the inner conflict
section will not be used.

At the end of major character creation, review the

relationships between major characters, and explore any
which have not been clarified so far. Discuss any additional
questions at this stage before you create connections,
such as, “How long have you been in town?” and “Why did
your brother get disinherited?”

When creating connections, we recommend you use the

Deck of Connections. If you do not have access to the Deck
of Connections, you can partially pre-generate a number
of connections for players to choose from. Tell players not
to flesh out too many of their connection's details now,
as these will emerge during play.

Do not forget to moderate the number of connections

created according to the number of players and the length
of the game (using the table on p.50).

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When creating connections, it can be helpful to explain

their purpose. They exist to complicate the lives of the
major characters, and be tools in the major characters'
plots and schemes. They will appear in the game as the
story requires—they may be central to the narrative,
or they may appear only once in the final chapter.

Once all connections have been created, but before players

decide which to play, take a moment to assess whether you
will need to create any Facilitator connections.

6. Explain the rules you need to know to start playing the

game.
We generally explain the rules in the following order:

͠͠ Player principles (contained on the character role

sheets), and the collaborative nature of the game.
͠͠ Cycles of play, and a brief overview of each phase.
͠͠ Resolve tokens with examples, including the negotiation
process and how connections use resolve tokens.
͠͠ Monologue tokens, including examples of when they
might be used.
͠͠ A brief overview of reputation, including examples of
how to use reputation tags during play.
The rest is best left for the appropriate phase.

7. Jump into the first cycle.

Before starting the first cycle, let players know the
expected length of the game, so they understand where
each novel chapter sits in the overall narrative arc.

From there, it's time to start the first chapter. Try to start
the first chapter in the middle of the action to get the story
underway. Usually, you'll enter the game with a great deal
of pre-existing tension between characters—starting the
first chapter with that tension can be a great way to begin
your story.

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 Chapter 6: Facilitator

Use resolve tokens early on in the first chapter to give new

players a practical understanding of when and how these
tokens can be used.

In a short game, don't be afraid to make dramatic moments

happen from the very beginning—unwanted proposals,
mounting family pressure, and backstabbing rivals all
make excellent content for a first chapter. If you're playing
a single session game, these kinds of developments are vital.

From there, follow the phase structure to complete the rest

of the first session, explaining each section of the game as
it arises.

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PLAYING WITHOUT A FACILITATOR

As you and your friends become more experienced at playing
Good Society, you might decide you would rather play without
a Facilitator. Playing without a Facilitator means all players
are responsible for running the game, but everyone also gets
to play a major character.

When you play without a Facilitator, the Facilitator's

responsibilities are still present and relevant. These tasks
are now shared between the players. All players should help
everyone at the table collaborate to build a shared story.
Every player should actively contribute to the tasks listed
in the Facilitator section, including asking questions,
contributing to structure and pacing, and creating drama.

RULES CHANGES
There are four rule changes when playing without a Facilitator:

͠͠ If you are playing with hidden information at a player

level, use the desire numbers contained in your playset.
Assemble the desire cards quote side facing up, without
any player seeing their ‘secret’ side.
͠͠ Instead of choosing just one connection to control during
connection creation, take turns selecting connections until
they are divided evenly between the players.
͠͠ When a new connection is created mid-game, collectively
decide which player will control them.
͠͠ In the epistolary phase, players may spend a resolve token
to write a letter from a background character to their
major character or a connection they control.

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SHARING THE ROLE OF FACILITATOR

When you play the game without a Facilitator, all players will
share the Facilitator's tasks. >
Facilitator
Tasks
To help share the Facilitator role, players may optionally
p.150
decide to give one player responsibility for collaboration
between players, and another responsibility for guiding the
story through the phases of play. This can make sharing the
role of the Facilitator easier—especially if any players in your
game are new to Good Society or collaborative games.

The player responsible for collaboration encourages players to

create the story together. This means they should:

͠͠ Encourage free and open discussion between the players.

͠͠ Encourage players to contribute to the story beyond the
fate of their own major characters.
͠͠ Ask questions and encourage other players to do the same.
͠͠ Identify if a particular major character's story has not
received enough play time, and suggest ways to bring
them into the limelight.
The player responsible for guiding the phases of play explains
the rules, and controls the procedural flow of the game.

They should:

͠͠ Read and understand the rules of the game.

͠͠ Walk players through the different phases of play,
explaining the rules of each phase as necessary.
͠͠ Make sure that all upkeep actions are performed, such
as reviewing Collaboration, and refreshing monologue
tokens.
In the rare event that a dispute arises over the rules,
this player is responsible for making sure an agreeable result
is reached.

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Playsets 07

Bath is always so overwhelmingly full of people compared to

Habershire that I know neither where to turn my head nor
my courtesies.

Truly, when at home among our local circle, it is so easy to

consider yourself as the main character of a story; a story
that seems at that moment so very consuming and important.

But here there are hundreds of people just like us, each the
main character of a hundred different stories told a hundred
different ways.

I find this idea a very freeing notion. If I do not like my

own story, then perhaps I shall simply trade with someone
here for a new one.

laysets are groupings of desires, relationships,

P roles, and family backgrounds designed to create

a satisfying play experience around a certain tone

or theme. They combine character concepts and motivations
that work well together, and will spark drama in your game.

As we mentioned earlier, there are two ways to use a playset—

as a playset in full or a playset in part. A playset in full uses
all of the character roles, family backgrounds, desires, and
relationships as indicated. This is perfect for shorter games,
as well as conventions with time limited play.

A playset in part uses the desires and relationships,

but allows players to choose their own character roles and

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family backgrounds. This is perfect for a multi-session game,

and gives the players more control over their characters while
still exploring the desired theme or tone.

In this chapter, you will find a number of playsets covering

different tones and themes, as well as details on getting the
best out of them.
Tonal Playsets Thematic Playsets
͠͠ Farce, p.182 ͠͠ Romance & Love, p.188
͠͠ Romantic Comedy, p.184 ͠͠ Scandal & Reputation, p.190
͠͠ Drama, p.186 ͠͠ Rivalry & Revenge, p.192
͠͠ Family Matters, p.194
͠͠ Wealth & Fortune, p.196
͠͠ Obligation, p.198

HOW TO USE A PLAYSET

Using a playset is very simple. At the beginning of Backstory,
complete the following three steps:

<
Preparing
1. Choose a playset with your fellow players.
Decide on a playset with your fellow players. You can pick
your Game from either a theme based playset or a tone based playset.
p.26 If you pick a tone based playset, the tone should reflect the
tone you selected during Collaboration.

2. Decide if you will play with the playset in full, or use

desires and relationships only.
Choose whether to play with the roles and family
backgrounds listed in the playset, or to allow players to
select their own during Backstory.

3. Assemble the required materials.

Gather the required desire and relationship cards, and if
you are using the playset in full, character role sheets and
family background sheets.

That's all you need to get your playset ready!

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MAKING YOUR OWN PLAYSET

If you are Facilitating a game of Good Society, you can create
your own playset to reflect your group's unique interests.
Ask the players ahead of time what they would like to explore
during the game, and then compile a custom playset which
captures their imaginations.

Creating a custom playset can be divided into two steps:

select, and troubleshoot.

SELECT
In this step, select the desires and relationships you will use.
If you're using your custom playset in full, you will also need
to choose a character role and family background to go with
each desire. Remember to select one or two spare desires with
matching relationships to provide alternatives in case players
wish to change.

Before choosing the desires for your game, consult with

the players about what they would like to see or explore.
After all, player input and preference are the main advantages
of creating your own playset!

Consider these factors when deciding on which desires and

relationships to include in your playset.

͠͠ Theme: What kind of subject matter does your group want

to explore? Romance, wealth, scandal, deception, social
status, or something else?
͠͠ Basic vs Complex Desires: For most games, you'll
want to include a balance of basic and complex desires.
)
Basic vs
In general, we'd recommend at least one complex desire, Complex
Desires
and no more than two.
p.15

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 Good Society

͠͠ Type of Relationships: Different desires dictate different

types of relationships. In your game, you should generally
aim to balance the three main categories of relationships:
familial, romantic, and other. If you're not sure, use the
table below.

# OF PLAYERS ● ● ● ● ● ● ● ● ● ● ● ●

Familial 0-1 1 1-2

Romantic 1 1-2 1-2
Other 1-2 1-2 1-2

͠͠ Number of Major Characters: Some desires don't

work as well in a game with few players. When choosing
desires for a game with only three major characters, avoid
combining desires that will lock players into a particular
dynamic, or make one character more central to the story
than the others. It's best to pick a broad range of desires.
͠͠ Character Age: Some desires require a major character

<
Character
to be old enough to have a child. Older characters are a
great addition to the game, but they do require player
Age
willingness to take on such a character. Raise this concern
p.46 with players before including desires that demand a
generational gap. See the note on age on p.46.

MODIFYING, OR CREATING
YOUR OWN DESIRES
What if there is a theme or concept your group would
love to explore, but none of the existing desire cards
quite fit the bill? You can easily make secret desires to
fit new themes by modifying existing cards, or creating
new ones using the guidelines on p.137.

Yes, we know you are already dreaming up your

steampunk hack (do it!).

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TROUBLESHOOT
Once you've selected the desires, the next step is to
troubleshoot your custom playset. When you do this, think
about the four questions below:

͠͠ Do these desires and relationships work well together?

͠͠ Will there be anyone stuck with no good choices when
they form relationships?
͠͠ Will there be enough tension between the major
characters?
͠͠ Do any of these desires feel too similar?

Tammy is making a playset for their friends.

After talking to each of them, they know they want a

light romantic game, but with some serious elements
of duty and obligation. Tammy searches for desires
that match these requirements—there are plenty!
They decide to include two complex romantic desires,
one basic familial desire about obligation, and one
basic desire about friendship. They include another
basic desire about obligation as a spare.

After thinking through the desires they've chosen,

Tammy realises that one of the complex romantic
desires doesn't fit very well with the others. They swap
this out for a simpler basic romantic desire.

Share your custom playset!

#GoodSocietyRPG

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 Good Society

TONAL PLAYSETS
Tone is very important to a game of Good Society. As a group,
you will pick the tone during Collaboration, choosing from
farce, romantic comedy, or drama. However, maintaining the
desired tone can be difficult if the subject matter does not
accord with the level of seriousness.

We've created playsets to match all three of these tones to

help your game hit the right note. These playsets are a great
option for a group playing for the first time.

FARCE
“Which of all my important nothings shall I tell you first?”

Farces are light-hearted, witty, and at times, ridiculous.

They are filled with misunderstandings, amusing secrets,
and coincidences. The desires and roles chosen for this tone
tend to deal with lighter subject matter—such as frivolous
romances and schemes for meddling in the business of others.

Suitable for...

͠͠ Games of three cycles or less

͠͠ New players
͠͠ Groups prone to excessive silliness

Using this playset

Establish a romantic relationship: The character with

desire #19 is tasked with breaking up a romantic relationship.
This means, such a relationship will need to be established
during the Backstory phase. One of the major characters in
this romantic relationship should be the Rival (relationship
#28) of the character with desire #19. The most obvious choice
is the relationship between the character with desire #9 and
their Object of Affection (relationship #4), but it need not be so.

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FARCE
● ● ● ● ● ● ● ● ● ● ● ●

Desire: #5 Desire: #9 Desire: #9

R elationship: #28 R elationship: #30 R elationship: #30
Role: Socialite Role: Meddler Role: Meddler
Family: Humble Origins Family: Peerage Family: Peerage

Desire: #3 Desire: #3 Desire: #3

R elationship: #23 R elationship: #29 R elationship: #29
Role: Hedonist Role: Hedonist Role: Hedonist
Family: Ill-Reputed Family: Ill-Reputed Family: Ill-Reputed

Desire: #20 Desire: #19 Desire: #19

R elationship: #35 R elationship: #28 R elationship: #28
Role: Careerist Role: Socialite Role: Socialite
Family: Clergy Family: Old Money Family: Old Money

SPARE Desire: #7 Desire: #7

Desire: #9 R elationship: #25 R elationship: #25
R elationship: #30 Role: Heir Role: Heir
Role: Meddler Family: New Money Family: New Money
Family: Peerage
SPARE Desire: #20
Desire: #20 R elationship: #35
R elationship: #35 Role: Careerist
Role: Careerist Family: Clergy
Family: Clergy
SPARE
Desire: #5
R elationship: #23
Role: Dependant
Family: Humble Origins

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ROMANTIC COMEDY
“When any two young people take it into their heads to marry,
they are pretty sure by perseverance to carry their point,
be they ever so poor, or ever so imprudent, or ever so little
likely to be necessary to each other's ultimate comfort.”

For most of Austen's books, the archetypal tone is the romantic

comedy. The romantic comedy can be a delight to play, with
both light and dark, funny and touching moments, as well as
genuine threats and antagonism. This is a good playset for
those new to the game.

Suitable for...

͠͠ Games of any length, from short to long

͠͠ New players
͠͠ Groups searching for a classic Austen experience
͠͠ Groups comfortable with roleplaying blossoming romantic
relationships

Using this playset

Beginner-friendly: This playset features only basic desires,

making the Backstory phase a little more straightforward for
those getting started with Good Society.

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 Chapter 7: Playsets

ROMANTIC COMEDY
● ● ● ● ● ● ● ● ● ● ● ●

Desire: #1 Desire: #1 Desire: #1

R elationship: #24 R elationship: #24 R elationship: #24
Role: Meddler Role: Meddler Role: Meddler
Family: New Money Family: New Money Family: New Money

Desire: #3 Desire: #3 Desire: #3

R elationship: #23 R elationship: #36 R elationship: #36
Role: New Arrival Role: New Arrival Role: New Arrival
Family: Foreign Family: Foreign Family: Foreign

Desire: #5 Desire: #5 Desire: #5

R elationship: #28 R elationship: #28 R elationship: #28
Role: Socialite Role: Socialite Role: Socialite
Family: Military Family: Military Family: Military

SPARE Desire: #7 Desire: #7

Desire: #9 R elationship: #25 R elationship: #25
R elationship: #30 Role: Heir Role: Heir
Role: Hedonist Family: Old Money Family: Old Money
Family: Peerage
SPARE Desire: #11
Desire: #16 R elationship: #27
R elationship: #31 Role: Cornerstone
Role: Hedonist Family: Take sibling's
Family: Humble Origins
SPARE
Desire: #16
R elationship: #31
Role: Hedonist
Family: Humble Origins

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 Good Society

DRAMA
“You pierce my soul. I am half agony, half hope.”

This playset is ideal for a group wanting to create an Austen

style drama that explores some more serious themes.

Suitable for...

͠͠ Games of three cycles or more

͠͠ New players
͠͠ Groups prepared for a more intense, emotional or dramatic
experience

Using this playset

An older character: To make this playset work, the player

holding desire #2 should let the other players know they need
to form their relationship Old Family Friend (relationship #26)
with an older character. Ask for a player who is happy to create
an older character for this purpose.

Bitter rivals: The player with desire #4 must be willing

to actively act against the major character that is their Rival
(relationship #28)—at least at the start. If they are not willing
to do so, they can swap their desire for the spare.
A scandalous past: The character who holds desire #8
aims to restore their family's reputation. When they create
the initial rumours required by their desire card, make sure
their family really did do something horrible in their past—
something that is hard to forgive. Otherwise, that character
will have little to do. Examples include an immoral affair
and illegitimate children, cheating in a duel to the death,
and misappropriating church funds.

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DRAMA
● ● ● ● ● ● ● ● ● ● ● ●

Desire: #8 Desire: #2 Desire: #2

R elationship: #24 R elationship: #26 R elationship: #26
Role: Cornerstone Role: Dependant Role: Dependant
Family: Peerage Family: Foreign Family: Foreign

Desire: #18 Desire: #8 Desire: #8

R elationship: #25 R elationship: #24 R elationship: #24
Role: Careerist Role: Dowager Role: Dowager
Family: Military Family: Peerage Family: Peerage

Desire: #4 Desire: #4 Desire: #18

R elationship: #28 R elationship: #28 R elationship: #25
Role: Heir Role: Heir Role: Careerist
Family: New Money Family: New Money Family: Military

SPARE Desire: #16 Desire: #4

Desire: #1 R elationship: #31 R elationship: #28
R elationship: #23 Role: Hedonist Role: Heir
Role: Meddler Family: Humble Origins Family: New Money
Family: Old Money
SPARE Desire: #16
Desire: #1 R elationship: #31
R elationship: #29 Role: Hedonist
Role: Meddler Family: Humble Origins
Family: Old Money
SPARE
Desire: #1
R elationship: #29
Role: Meddler
Family: Old Money

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 Good Society

THEMATIC PLAYSETS
These playsets centre on Austen's most prevalent themes.
Pick the one that captures you most.

ROMANCE AND LOVE

“There could have been no two hearts so open, no tastes so
similar, no feelings so in unison.”

Romance and love, whether frustrated, faked, or fulfilled,

are two of the most captivating themes of Austen. This playset
explores both of these from a variety of different angles.

Suitable for...

͠͠ Any tone
͠͠ Games of three cycles or more
͠͠ Groups seeking a lot of Regency flirting, heartbreak, and
romantic conversations and letters

Using this playset

Establish a romantic relationship: The character with

desire #19 is tasked with breaking up a romantic relationship.
This means, such a relationship will need to be established
during the Backstory phase. One of the major characters in this
romantic relationship should be the Rival (relationship #28)
of the character with desire #19. Possible choices would be
the character with desire #12 and their Intended (relationship
#32), or Object of Affection (relationship #30), or the character
with desire #18 and their Old Flame (relationship #25).
A death in the family: When using this playset, the aunt
of the character with desire #12 should pass away at an
appropriate time, leading to an abrupt shift in the story.
However, this should not occur before the relationship
between that character and their aunt has had ample time
to be explored. Players should decide collectively when the
appropriate moment for the aunt's passing may be.

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ROMANCE AND LOVE

● ● ● ● ● ● ● ● ● ● ● ●

Desire: #3 Desire: #7 Desire: #7

R elationship: #28 R elationship: #29 R elationship: #27
Role: Hedonist Role: Heir Role: Heir
Family: Military Family: Foreign Family: Take siblings's

Desire: #18 Desire: #12 Desire: #12

R elationship: #25 Relationship: #30 & #32 Relationship: #30 & #32
Role: New Arrival Role: Hedonist Role: Hedonist
Family: New Money Family: Peerage Family: Peerage

Desire: #5 Desire: #18 Desire: #18

R elationship: #23 R elationship: #25 R elationship: #25
Role: Socialite Role: New Arrival Role: New Arrival
Family: Humble Origins Family: New Money Family: New Money

SPARE Desire: #19 Desire: #19

Desire: #10 R elationship: #28 R elationship: #28
R elationship: #24 Role: Socialite Role: Socialite
Role: Careerist Family: Old Money Family: Old Money
Family: Ill-Reputed
SPARE Desire: #10
Desire: #10 R elationship: #23
R elationship: #23 Role: Careerist
Role: Careerist Family: Ill-Reputed
Family: Ill-Reputed
SPARE
Desire: #5
R elationship: #24
Role: Tutor
Family: Humble Origins

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 Good Society

SCANDAL AND REPUTATION

“Every man is surrounded by a neighborhood of
voluntary spies.”

Regency society is ever judging, and its appetite for scandal is

insatiable. This playset revolves around secrets, scheming and
revelations—especially those most ruinous to a good name.

Suitable for...

͠͠ Any tone
͠͠ Games of three cycles or more
͠͠ Groups willing to have their major characters scheme and
act with and against each other
͠͠ Groups ready for intense moments and drama—or even,
if playing with the farce tone, melodrama

Using this playset

An older character: To make this playset work, the player

holding desire #2 should let the other players know they need
to form their relationship Old Family Friend (relationship #26)
with an older character. Ask for a player who is happy to create
an older character for this purpose. If no one is happy to do so,
swap out the desire #2 for the spare.
A scandalous past: The character who holds desire #8
aims to restore their family's reputation. When they create
the initial rumours required by their desire card, make sure
their family really did do something horrible in their past—
something that is hard to forgive. Otherwise, that character
will have little to do. Examples include an immoral affair
and illegitimate children, cheating in a duel to the death,
and misappropriating church funds.

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SCANDAL AND REPUTATION

● ● ● ● ● ● ● ● ● ● ● ●

Desire: #8 Desire: #13 Desire: #13

R elationship: #24 R elationship: #27 R elationship: #27
Role: Cornerstone Role: Hedonist Role: Hedonist
Family: Old Money Family: Take sibling's Family: Take sibling's

Desire: #14 Desire: #8 Desire: #2

R elationship: #28 R elationship: #24 R elationship: #26
Role: Socialite Role: Cornerstone Role: Tutor
Family: Ill-Repute Family: Old Money Family: Military

Desire: #9 Desire: #14 Desire: #8

R elationship: #30 R elationship: #28 R elationship: #24
Role: Heir Role: Socialite Role: Dowager
Family: Peerage Family: Ill-Repute Family: Old Money

SPARE Desire: #16 Desire: #14

Desire: #16 R elationship: #31 R elationship: #28
R elationship: #31 Role: Dependant Role: Socialite
Role: Dependant Family: Humble Origins Family: Ill-Repute
Family: Humble Origins
SPARE Desire: #16
Desire: #9 R elationship: #31
R elationship: #30 Role: Dependant
Role: Heir Family: Humble Origins
Family: Peerage
SPARE
Desire: #9
R elationship: #30
Role: Heir
Family: Peerage

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RIVALRY AND REVENGE

“I find it hard to forgive the follies and vices of others,
or their offenses against me.”

Like Wickham and Darcy, deep seated rivalry and dislike

shapes the events and emotions of Austen's work. Whether it
is two suitors competing for the same quarry, or two families
fighting over inheritance, this playset will allow you to
explore characters who seek both reconciliation, and revenge.

Suitable for...

͠͠ Any tone
͠͠ Games of three cycles or more
͠͠ Groups willing to have their major characters scheme and
act with and against each other
͠͠ Groups ready to explore dramatic, meaningful and
complex relationships

Using this playset

Bitter rivals: The player with desire #14 must be willing

to actively act against the major character that is their Rival
(relationship #28)—at least at the start. If they are not willing
to do so, they can swap their desire for the spare.

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RIVALRY AND REVENGE

● ● ● ● ● ● ● ● ● ● ● ●

Desire: #3 Desire: #6 Desire: #6

R elationship: #23 R elationship: #27 R elationship: #27
Role: New Arrival Role: Cornerstone Role: Cornerstone
Family: New Money Family: Take sibling's Family: Take sibling's

Desire: #14 Desire: #22 Desire: #22

R elationship: #28 R elationship: #25 R elationship: #25
Role: Dependant Role: Heir Role: Heir
Family: Peerage Family: Ill-Repute Family: Ill-Repute

Desire: #1 Desire: #3 Desire: #3

R elationship: #24 R elationship: #23 R elationship: #23
Role: Meddler Role: New Arrival Role: New Arrival
Family: Old Money Family: New Money Family: New Money

SPARE Desire: #14 Desire: #14

Desire: #6 R elationship: #28 R elationship: #28
R elationship: #27 Role: Dependant Role: Dependant
Role: Hedonist Family: Peerage Family: Peerage
Family: Take sibling's
SPARE Desire: #1
Desire: #1 R elationship: #24
R elationship: #24 Role: Meddler
Role: Meddler Family: Old Money
Family: Old Money
SPARE
Desire: #17
R elationship: #29
Role: Tutor
Family: Clergy

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FAMILY MATTERS
“Nobody, who has not been in the interior of a family,
can say what the difficulties of any individual of that family
may be.”

Family and the duty, love, and affection we owe to them,

is one of the most emotive and interesting themes that Austen
portrays. This playset allows you to explore complex familial
relationships and their influence on our lives.

Suitable for...

͠͠ Romantic comedy or drama

͠͠ Games of three cycles or more
͠͠ Groups ready to explore tender, meaningful, and complex
relationships

Using this playset

An older character: As you might expect from a playset

about family, the five player version involves an older character.
If no one would like to play such a character, simply swap
desire #21 out for the spare.

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FAMILY MATTERS
● ● ● ● ● ● ● ● ● ● ● ●

Desire: #22 Desire: #22 Desire: #21

R elationship: #24 R elationship: #24 R elationship: #33
Role: Heir Role: Heir Role: Hedonist
Family: Old Money Family: Old Money Family: Take child's

Desire: #13 Desire: #15 Desire: #22

R elationship: #27 R elationship: #32 R elationship: #24
Role: Dependant Role: Cornerstone Role: Heir
Family: Take sibling's Family: Peerage Family: Old Money

Desire: #10 Desire: #13 Desire: #15

R elationship: #28 R elationship: #27 R elationship: #32
Role: Careerist Role: Dependant Role: Cornerstone
Family: New Money Family: Take sibling's Family: Peerage

SPARE Desire: #10 Desire: #13

Desire: #5 R elationship: #28 R elationship: #27
R elationship: #25 Role: Careerist Role: Dependant
Role: Tutor Family: New Money Family: Take sibling's
Family: Clergy
SPARE Desire: #10
Desire: #17 R elationship: #28
R elationship: #29 Role: Careerist
Role: Tutor Family: New Money
Family: Clergy
SPARE
Desire: #17
R elationship: #29
Role: Tutor
Family: Clergy

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 Good Society

WEALTH AND FORTUNE

“Single women have a dreadful propensity for being poor,
which is one very strong argument in favour of matrimony.”

Pursuit of a larger fortune (or simple recognition of its

necessity) preoccupies the mind of a great many of Austen's
characters. This playset is for the fortune seekers striving to
better their material circumstances.

Suitable for...

͠͠ Any tone
͠͠ Games of any length
͠͠ New players
͠͠ Groups ready to play a younger generation struggling
with the demands, prejudices, and predilections of those
who control their allowance and inheritance

Using this playset

A mandatory uncle: The player holding desire #17 should

use their Relation relationship card (relationship #29) to decide
which major character will be their cousin. They should then
create an uncle as a mandatory connection. During play, use
their uncle to push that player into action. When the question
of who will receive the inheritance is no longer interesting,
your group may consider having the uncle pass away.

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 Chapter 7: Playsets

WEALTH AND FORTUNE

● ● ● ● ● ● ● ● ● ● ● ●

Desire: #9 Desire: #5 Desire: #5

R elationship: #30 R elationship: #25 R elationship: #25
Role: Heir Role: New Arrival Role: New Arrival
Family: Old Money Family: Foreign Family: Foreign

Desire: #17 Desire: #15 Desire: #9

R elationship: #29 R elationship: #32 R elationship: #30
Role: Dependant Role: Cornerstone Role: Heir
Family: Clergy Family: Peerage Family: Old Money

Desire: #20 Desire: #17 Desire: #15

R elationship: #35 R elationship: #29 R elationship: #32
Role: Tutor Role: Dependant Role: Cornerstone
Family: Ill-Reputed Family: Clergy Family: Peerage

SPARE Desire: #20 Desire: #17

Desire: #15 R elationship: #35 R elationship: #29
R elationship: #32 Role: Tutor Role: Dependant
Role: Cornerstone Family: Ill-Reputed Family: Clergy
Family: Peerage
SPARE Desire: #20
Desire: #9 R elationship: #35
R elationship: #30 Role: Tutor
Role: Heir Family: Ill-Reputed
Family: Military
SPARE
Desire: #22
R elationship: #24
Role: Socialite
Family: Military

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 Good Society

OBLIGATION
“Always resignation and acceptance. Always prudence and
honour and duty. Elinor, where is your heart?”

There is no struggle more typical of Austen's main characters

than the internal battle between duty and desire. This playset
explores obligation and how much we owe to others.

Suitable for...

͠͠ Romantic comedy or drama

͠͠ Games of three cycles or more
͠͠ Groups ready to explore tender, meaningful, and complex
relationships

Using this playset

A death in the family: When using this playset, the aunt

of the character with desire #12 should pass away at an
appropriate time, leading to an abrupt shift in the story.
However, this should not occur before the relationship
between that character and their aunt has had ample time
to be explored. Players should decide collectively when the
appropriate moment for the aunt's passing may be.
A scandalous past: The character who holds desire #8
aims to restore their family's reputation. When they create
the initial rumours required by their desire card, make sure
their family really did do something horrible in their past—
something that is hard to forgive. Otherwise, that character
will have little to do. Examples include an immoral affair
and illegitimate children, cheating in a duel to the death,
and misappropriating church funds.

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 Chapter 7: Playsets

OBLIGATION
● ● ● ● ● ● ● ● ● ● ● ●

Desire: #16 Desire: #16 Desire: #11

R elationship: #31 R elationship: #31 R elationship: #27
Role: Dependant Role: Dependant Role: Socialite
Family: Ill-Reputed Family: Ill-Reputed Family: Take sibling's

Desire: #18 Desire: #18 Desire: #16

R elationship: #25 R elationship: #25 R elationship: #31
Role: Cornerstone Role: Cornerstone Role: Dependant
Family: Old Money Family: Old Money Family: Ill-Reputed

Desire: #8 Desire: #12 Desire: #18

R elationship: #24 Relationship: #30 & #32 R elationship: #25
Role: New Arrival Role: Heir Role: Cornerstone
Family: Peerage Family: New Money Family: Old Money

SPARE Desire: #8 Desire: #12

Desire: #11 R elationship: #24 Relationship: #30 & #32
R elationship: #27 Role: New Arrival Role: Heir
Role: Socialite Family: Peerage Family: New Money
Family: Take sibling's
SPARE Desire: #8
Desire: #11 R elationship: #24
R elationship: #27 Role: New Arrival
Role: Socialite Family: Peerage
Family: Take sibling's
SPARE
Desire: #20
R elationship: #35
Role: Tutor
Family: Foreign

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Chapter 8: Roleplaying in Jane Austen's World

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 Good Society

Roleplaying IN JANE AUSTEN'S WORLD

08
Dear Percy,

I am so very sorry to hear that your parents did, in fact,

proceed with your disinheritance! To strip a man of his title,
position, and future, it is unthinkable! My heart goes out
to you, dear friend.

As to our engagement, I'm sure you understood our

conversation to have been in jest. Our connection would
not only be disapproved of by our parents, but financially
impossible. Surely you must have known I was not serious.

I have little fear for you Percy. You are still a curate, and
what does a single man need with more than £50 a year?
But not so for a daughter, a wife, and indeed one day a
mother—if our children shall not have new dresses and
trousers in the spring, what shall our joys in this life be?

Agatha.

P.S. I enclose your letters to me, etc.

ood Society draws its themes, tone, and setting from

G the novels of Jane Austen and the historical realities

underpinning them. To help capture this feeling at
your table, we have created a trio of chapters about roleplaying
in Austen's world.

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 Chapter 8: Roleplaying in Jane Austen's World

͠͠ Chapter 8 explores the pressures and preoccupations that

underlie Austen's work and Regency reality. It outlines the
concerns and obstacles which characters may face during
the game.
͠͠ Chapter 9 provides a description of each character role
included in Good Society, and their primary attributes.
This chapter will give you a sense of the archetypal
individuals that exist in Austen's novels. It also outlines
the family backgrounds available in the game and
explores their significance.
͠͠ Chapter 10, by contributing writer Alex Robinson, goes
into greater detail about the practicalities and customs of
Regency life, including estates, dinners, and balls.
These chapters are not intended to be a compendium of
Regency history, or a comprehensive guide to Austen's works.
Rather, they identify the key issues and pressures that make
Austen stories… well, Austen stories.

We want to give players a shared understanding of the

conflicts, concerns, and social conventions that drive the
action in a Regency narrative, and inform the character roles,
backgrounds, and desires you'll find in the game.

Of course, many of the realities in Austen's setting will

change with the choices your group makes in Collaboration,
especially around gender norms.

Feel free to supplement these sections with your own

understanding of Austen, and the themes of her work that
most appeal to you.

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 Good Society

THE GREAT CONSEQUENCE

OF SMALL MOMENTS
Good Society, like Austen's works, is set in places of
everyday domestic activity and recreation. These places
are both intimate and public—fitting arenas for the battles
of power, affection, and wit on which the game centres.

In such a context, it's not surprising that small moments

are often of great consequence. The right dinner invitation
could secure your family's entire future, while a moment
of excessive familiarity at a ball could ruin your public
reputation. This is a world where the highest stakes are
often found in the most casual settings, and hesitation,
silence, and withdrawal can speak far louder than the
most dramatic words.

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MONEY IS CRUCIAL, BUT FORTUNES

ARE CAPRICIOUS
Money, in the Regency world, is everything. It is sustenance,
quality of life, respectability, eligibility, the ability to participate
in social life, and the governor of your children's prospects.
It is little wonder Austen's characters are so obsessed with it.

Even if your family was rich, if you were not possessed of your
fortune in your own right (which few women or young people
were), your financial situation was likely to be capricious.

Convention dictated that income earning estates passed in

whole to one person—usually the eldest son—to preserve the
status and fortune of the family name. While younger sons,
wives, and daughters did receive small amounts of money,
it was rarely enough to live on. An ailing father was therefore
akin to a ticking time bomb, leading to a ruinous future.

For women this was particularly ruinsome, as they could not

work within a genteel profession. The only commonplace
job for women, the governess, was a significant social and
financial step down from what they might otherwise expect.

If there was no male heir, the situation was somewhat

improved, as the estate was usually left to the wife, or divided
between daughters. Unless, of course, the estate was entailed
as in Pride and Prejudice, in which case it passed relentlessly
onwards to the next male in line.

Without a sufficient level of income or a generous family

member or benefactor, those born to the gentry faced a
standard of living dramatically below what they were raised
with. Not only that, participation in social life was both
practically impossible, and socially embarrassing.
This reality explains the obsession with money in Austen's
works, and in Good Society.

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 Good Society

HOW MUCH MONEY IS ENOUGH?

The lowest income that could sustain a small household
within Austen's social sphere was between £400 and £500
a year. For such an income, the three Dashwood women in Sense
and Sensibility afforded themselves a four bedroom cottage
(at a discount), and three servants. To be able to afford to
keep a horse and carriage as well, at least £700 was required.
Mr Bennet's income of £2000 would have been quite
comfortable, even for so large a family; while Mr Darcy's
£10,000 would easily place him in the country's top percentile
of wealth.

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THE SOCIAL PECKING ORDER

Once the wealth of a potential suitor or connection has been
discovered, one must next determine their place within the
social pecking order.

The pecking order is a matter of predetermined social status

rather than individual behaviour. It affects, but does not
determine, a person's reputation.

At the top of society are those with formally entrenched rank:

the peerage. Regency peerage consisted of five ranks. These,
in descending order of precedence, were: Duke, Marquess,
Earl, Viscount, and Baron. In 1818, only 535 individuals in
the United Kingdom could claim one of these ranks.

Just beneath the peerage were Baronets (who could claim

hereditary title), and Knights (usually awarded their title for
life, for service to the Crown).

But what of those with no title? How can one know what
social status they hold? Never fear, social stratification of
those beneath the peerage was equally entrenched.

A social group known as the gentry sat below those with

title, from which the majority of Austen's characters spring.
The gentry were a class of landowners who did not need to
work for a living, but rather earned their income from their
estates. Originally, membership of the gentry was sufficient
to make one a ‘gentleman’. However, by the Regency era this
term also began to imply certain standards of behaviour.

By the time Austen wrote Persuasion, the genteel social

class had also expanded to include those with ‘gentlemanly
professions’—military and naval officers, vicars, barristers
and judges (but not mere solicitors), and certain kinds of
prestigious physicians. These professions had a high financial
and educational barrier to entry, a protective mechanism
against encroachment by the lower classes. However, as the
Napoleonic Wars raged on, the armed professions became

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 Good Society

less easy to safeguard, with rich industrialists buying their

children commissions in hopes of obtaining legitimacy.
Of the gentlemanly professions, that of barrister paid the best
(earning an average of £4000 a year), and naval captains
could often make respectable fortunes capturing enemy ships.

Beneath the gentlemanly professions in social standing dwelt

the regular professions—such as solicitors, engineers, traders,
and manufacturers.

As the Regency era continued, so did the industrial

revolution. There was increasing propagation of families from
‘new money’ who made their fortunes from trade or factory
ownership. Such families could be a great deal wealthier
than the lesser gentry, but could not equal their social status.
Many ‘new money’ parents were concerned with securing
their children the respectability and social standing they
could not achieve themselves.

THE MARRIAGE MARKET:

THE ONLY MARKET THAT MATTERS
Given the importance of status and wealth, and the difficulty
of obtaining this outside of inheritance, the preoccupation
with marriage in Austen is rather unsurprising.

For characters in Austen's works the marriage

market was a complex equation of money, status,
reputation, and affection.
One can only hope to know their value in such a market,
and aim to find another that can match or better it. The best
marriages combine both financial prudence and affection—
the latter alone could not suffice. To indulge oneself in a
marriage less lucrative than might have been expected was
to throw away one's prospects, and those of good sense would
let such a course alone.

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WHAT WAS THE PROCESS OF SECURING A

HUSBAND OR WIFE?
The pathway from meeting to matrimony in Austen's works
is very much like the modern romantic comedy. The couple
meet, a series of misunderstandings and frustrations occur to
jeopardise their relationship, but eventually such distractions
are overcome, and a marriage takes place.

While the trajectory may be similar, the nature of courtship is

entirely different. Courtship in the Regency era was a public
process, which was acted out according to fixed conventions.
Couples were rarely permitted to be on their own together, and
the progress of their relationship was universally observed.

The path to matrimony could also be a rather short one.

The courtship in Northanger Abbey lasted just eleven weeks,
and even speedier was the engagement between Charlotte
Lucas and Mr Collins in Pride and Prejudice.

In general, women were on the back foot in the courtship

process. As Henry Tilney states in Northanger Abbey, “Man
has the advantage of choice, woman only the power of refusal.”
If a woman accepted a proposal, a man would then apply to
her father. Once consent was obtained, a marriage could be
officially announced.

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REPUTATION AND PROPER

BEHAVIOUR
Reputation was vital to social standing and success upon the
marriage market. It was also, however, under constant and
severe scrutiny. The world of Good Society is one in which
individuals are continuously watched, judged, and gossiped
about by the community that surrounds them—and they
watch, judge, and gossip about others in turn.

In Austen's world, very little social behaviour

could occur in private.
There were always onlookers, whether they were parents,
chaperones, servants, or relatives. Actions were always
subject to judgement and scrutiny, and every part of a person's
character was observed, dissected, and discussed.

Constant observation and judgement also meant that rumour,

gossip, and even overheard conversations had tangible and
considerable power. Misunderstandings and exaggerated
reports could be ruinous, but the constraints of social
convention prevented their subject matter being discussed
and corrected in an open manner.

Reputation and good behaviour were not just matters of

etiquette—they were considered the outward manifestation
of an individual's moral character and social worth.

To defend their good breeding and avoid giving offense, those

in Austen's world adhered to precise forms of introduction
and address, and onerous conventions for paying and
returning social visits, and mixing with different social ranks.
Appropriate behaviour was often limiting and could place
significant restraints on daily conduct.

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DUTY AND OBLIGATION

Where wealth and rank determine social standing, obligation
and duty determine moral standing. In Austen's society,
there was a prevailing belief that individual happiness could
not exist separately from the duty and responsibilities held
towards others.

Duty was what was expected of one by society—

but it was also what one expected of oneself.
Within your family, there were even more compelling
reasons to meet your obligations. Most young people were
practically, economically, and socially dependent on their
family. Disinheritance, or loss of family assistance in pursuing
a gentlemanly occupation, could mean destitution and social
ruin—even vexation might see a cut in your spending money!

There was good reason to keep your family in line. The bad
manners or etiquette of one family member could reflect very
poorly on the rest—as in Pride and Prejudice, where Mrs
Bennet's behaviour and Lydia's elopement threw the family's
reputation into jeopardy.

A family's marital fortunes could also be tied together, with

the advantageous marriage of one child providing invaluable
connections and status for the others.

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 Chapter 9: Characters

Characters 09

Lucia,

Do not tell me his actions actually astonished you?

It is true that they are shocking from a moral standpoint.
But to suffer, my dear sister, from actual surprise would
suggest that you have never attempted to judge his character.

In my experience, every person can be correctly and fully

understood within five minutes of their acquaintance,
provided three facts about their person are known.
Firstly, how rich are they? Secondly, how rich do they
expect to be? And thirdly, how rich do they wish to be?

The first is a matter of their position, the second of their

family, and the third of their character. Once the answers
to these questions have been obtained, there is nothing
left to astonish.

Where all three lie in harmony, there is complacency

and pleasantness. Where they do not, there is either the
insufferable virtue of modesty, or the insatiable appetite
for a sufficiently foolish heir.

his chapter explores the different character roles

T and family backgrounds you can choose from

when creating your major character in Good Society.
It primarily focuses on each character's role attributes—
the characteristics and traits that make each archetype unique.
You can use these attributes to shape and inspire the kind
of character you choose to play.

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 Good Society

CHARACTER ROLES
Players should read through both their own character role
and family background, along with those of their fellow
players. The Facilitator can also consider role attributes when
stepping in with problems or complications for particular
major characters.

͠͠ The Heir, p.216 ͠͠ The Meddler, p.226

Destined for a substantial
inheritance—but has seen
none of it yet.
͠͠ The Socialite, p.218
Views good company as a
springboard for their lofty
aspirations.
͠͠ The Dowager, p.220 ͠͠ The Hedonist, p.230
Revels in the social and
financial freedom afforded
to them by age.
͠͠ The Dependant, p.222
Depends on the good will
of another for the daily
necessities of life.
͠͠ The New Arrival, p.224
Has only recently arrived.
Or perhaps returned?
Delights in manipulating
the affairs of others. It's for
their own good of course.
͠͠ The Cornerstone, p.228
Devoted to keeping their
family from orchestrating
their own ruin.
Enjoys the finer things of
life in the largest quantity
possible.
͠͠ The Tutor, p.232
Placed as a tutor or
governess in the house of
someone important.
͠͠ The Careerist, p.235
Dedicated to their career
above all else.

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 Good Society

THE HEIR
͠͠ Emma Woodhouse
Though it is often said a pheasant
͠͠ Reginald De Courcy
in the hand is worth two in the
͠͠ William Elliot
woods, when you have two thousand
pheasants in the woods of your estate, the situation is rather different.
Your pocket may be empty at the present time, but your future is
full of carriages, country manors, and only the most opulent of
London fashion. Yes, mummy and daddy provide you with enough
to get by. But the truth is, since your birth you've been awaiting a
death so your real life can begin.

The Heir does not have much money yet, but is defined by
the large inheritance they will receive when their parent or
relative passes away. They are generally a young person, living
their life in preparation to take up the mantle required of them
as the sole inheritor. For now, they have a large allowance
to spend, and large family expectations to fulfil.

THE HEIR IS…

Destined for future riches

Right now, the Heir is reliant on an allowance. But once their

parent or relative passes away, they will be indisputably rich.

Plagued with financially motivated suitors

A natural consequence of wealth is an inordinate number

of suitors, or at least would-be suitors, with very little care
for the Heir's personality and rather a lot of care about their
financial status.

These suitors tend to come in three varieties. First, suitors

of known inferior financial status courting the Heir for their
money. Second, suitors of inferior financial status hiding
their poorness or motives to appear as if they are not simply
courting the Heir for their money. Third, suitors with wealth
of their own from very good, respectable families put up to
the match by their parents.

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 Chapter 9: Characters

Weighed down by family pressure and obligation

The Heir has to carry forth the family name and estate into
the next generation. As such, they're likely to experience
a lot of pressure to act or behave in a certain way
from the person controlling their inheritance.
They may even be tasked to do a certain thing,
such as help their younger siblings, or marry
appropriately. Either way, their relatives have
a close eye on them, and there is a standard of
behaviour they must always meet.

The beneficiary of nepotism

The flip side of that family

pressure is the nepotism and
favouritism the Heir can
expect. Family will go out
of their way to help the
Heir—mummy and daddy
to make sure their child is
set up well for when they
inherit, and other relatives
because they know the
Heir will one day control
all of the funds.

CONNECTIONS
The Heir will benefit from
having the person they
will inherit from appear
as a connection or a major
character in the game.

They may also choose to

create a suitor, as an Heir
might expect many.

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 Good Society

THE SOCIALITE
͠͠ Mary Crawford
Complex theologies and scientific
͠͠ Caroline Bingley
theories always have a tendency to
͠͠ George Wickham
bore you. Not, as others think, because
you do not grasp them—but rather, they cannot be grasped. It is
not ideas or ideals that change a person's fortune, but the petty
predilections of mankind. For those of your particular skill set,
lengthy looks and half smiles are all that is needed to turn a room
full of cold observers into desperate admirers.

The Socialite is someone who seeks to use social situations,

conventions, and expectations to their advantage. They are
driven to act and operate by external signs of importance
and influence.

THE SOCIALITE IS…

Purposeful and deliberate in company

The Socialite does not simply socialise; they have a goal

in mind. They may seek wealth, social legitimacy, rank,
or simply popularity, but they are never just socialising.
There may be altruistic reasons behind this motive, such
as paving the way for their family to enter genteel circles.
On the other hand, they may quite simply be a fortune hunter,
looking for financial comfort. Either way, those playing the
Socialite should think about what their goal is, and why.

Quick to win favour, just as quick to lose it

Until they are secure (for example, until they finally marry
that Earl or Countess), the Socialite is vulnerable to rapid
changes of fortune. Their attachment to, and success with,
important and wealthy individuals can quickly elevate their
social status. But they are especially vulnerable to gossip,
ostracisation, and slander on their good name.

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 Chapter 9: Characters

The master of social capital

The Socialite plays a high stakes game—and they

wouldn't risk such social gambles unless they
foresaw a likely victory. Rather than denying
the Socialite success at charming the object
of their intentions, those playing with the
Socialite should consider letting them succeed,
but bringing in additional complications or
consequences as a result.

At risk of being ‘ found out’

The downside of approaching

all of social life with an
ulterior motive is the risk of
being ‘found out’, for your
detachment to any particular
individual to be revealed, and
your manipulative ways exposed.
The Socialite must live constantly with
this danger in return for their social power.
Even worse, should they begin to develop
genuine feelings and connections, the risk of
having their previous detachment exposed
becomes even higher.

CONNECTIONS
The Socialite may have a range of
connections. However, it is most interesting
if the Socialite has at least one connection
who knows their true motives and character.
This connection may be a confidant, or
the reverse—someone the
Socialite has betrayed
who knows their true
inner nature.

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 Good Society

THE DOWAGER
͠͠ Lady de Bourgh
It was but a few years ago now your
͠͠ Lady Russell
spouse passed away, leaving their
considerable fortune in your hands. And fortune is the very word
you would use to describe it. Free from the loathsome restrictions
and predilections of another, you can finally play the field on your
own terms. Your children and nephews wait anxiously for their
large inheritance, and daily expectant of news of your death.
Unfortunately for them, you have much better plans in mind.

The Dowager has lost their far wealthier spouse, but received
new independence in the form of the family estate. They are
an older character—old enough to have children, nieces,
or nephews desperately struggling for a place in their will.
But they are also well placed to wield the power they've
earned through wealth, status, and age, to achieve… well,
whatever they wish really.

THE DOWAGER IS…

Possessed of independence and authority

The Dowager has the power to act much more freely and with
much less regard to social convention than the other roles.
They have insulated themselves from society's opinion with
the trinity of money, social status, and age. They are often
among the most outspoken and strong-willed in society,
engaged in a constant fight to have things their own way.
Depending on the character, they may also wield a lot of social
authority and clout, holding the power to advise and support
those they like, and humiliate and insult those they don't.

Beset by financially motivated children and relatives

The Dowager has few relatives left of their own age—

what they do have however is a litany of children, nieces,
and nephews, all eager to recover a portion of their wealth.

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 Chapter 9: Characters

This gives the Dowager quite a lot of power and influence

over their progeny, but with the downside of being
constantly applied to, and of in-fighting between
the possible inheritors.

Full of ambitions for those around them

The Dowager doesn't often have too much trouble

doing what they like, and so their struggle shifts
to fulfilling their plans and ambitions for those
around them. They have a clear vision of what
they want, from marrying off a favourite
nephew, to seeking revenge upon a rival.
The Dowager's struggle to assert their
dominance and make other people do what
they want is usually the focus of their
conflict in the narrative.

H aunted by pain from their past

Unlike many of the younger characters,

the Dowager has had a multitude of life
experiences. Dramatic events occurred
in their past with unfinished endings,
pushed aside by marriage, relocation,
or simply time. The reappearance of
characters or problems from their past
may also inform an important part of a
Dowager's conflict within the game.

CONNECTIONS
A Dowager might have all kinds of
connections, but giving them at least
one expectant relative, and one
connection from their scandalous
past works well for their drama.

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 Good Society

THE DEPENDANT
͠͠ Fanny Price
It is your ill fortune to rely on the
͠͠ Lady Susan
kindness of another for the necessities
of existence. Tragedy struck your parents or spouse, and as its
consequence you live your life in a household not your own.
Whether you stay with your relative, guardian, or benefactor,
to be at the whim of another at all times is a capricious situation.
A fine roof is above your head, yet you have no home.

The Dependant is someone who, much to their misfortune,

lives in the house of another and is dependent on their good
will for the necessities of life. They are the most vulnerable
of the character roles, and are generally striving to find
something that might be theirs on a permanent basis, or at
least a sense of belonging.

THE DEPENDANT IS…

Without a true home

The Dependant has nowhere they truly belong. They have no

alternative to the house they find themselves in. It may be the
Dependant literally has no other home, if they are an orphan
or a penniless widow. Perhaps their old home is so broken
or inferior they cannot return there; or perhaps they were
ejected from their previous home due to scandal or terminal
disfavour. Whatever the reason, they have no true home, and
nowhere they feel they can settle on a permanent basis.

At the mercy of those who house them

The Dependant relies on someone else for the necessities

of life, leaving them at the mercy of those they live with.
While they can try and pursue their own interests, they have
little ability to resist a direct requirement or command from
the person they are staying with—and if they do, they are
at risk of retribution. Not only that, maintaining the good will

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 Chapter 9: Characters

of those who house them is necessary for the day-to-

day pleasantness of their existence.

Seeking permanence

The Dependant craves permanence and stability

above all else. Whether that means marriage
(or the marriage of a relation), securing an
inheritance, or receiving a permanent living,
they are dedicated to the pursuit of ending their
tenuous dependence and finally establishing a
house that may also be a home.

H aunted by their first home

Wherever the Dependant came from,

they certainly can't go back there. But
that doesn't mean their first home doesn't
follow them, and that its inhabitants don't
continue to torment them, or demand things
of them. Whether it is a much-loved younger
sibling left penniless, a tyrannical father
seeking revenge, or simply scandalous
secrets from their past, the Dependant's
origins always make themselves felt.

CONNECTIONS
The Dependant should choose to
include the person who houses them
as one of their connections, unless
it is another major character.
Further good choices include
others they live with who
may dislike or have a rivalry
with them, as well as people
who may appear from their past to
haunt them.

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THE NEW ARRIVAL

͠͠ Fitzwilliam Darcy
Wherever it is you were in these past
͠͠ Frank Churchill
years, it was certainly nothing like
here. These people are strange to you; their habits, manners, and
views as if lifted from a theatre play. Still, to the outsider comes the
gift of objective observation. You view their dramas as a spectator,
able to see what the actors cannot. It's a skill you will need if you are
to prove your own ambitions among them.

The New Arrival is someone who has arrived from somewhere

else—whether it be another country, or simply a town an hour
up the road. Perhaps they have lived here before and left, only
to return years later. Perhaps they've never set foot nearby.
Either way, their appearance upsets the precarious social
balance in town, and leaves the social order uncertain.

THE NEW ARRIVAL IS…

A loof and mysterious

Little is known about the New Arrival, rather they are

shrouded in rumour. Even if they were from here, their
disappearance or their return is surprising and unpredictable
enough to start talk. They are the subject of much speculation,
and invariably people go out of their way to find out
information about them—even if that information isn't true.

Brimming with hidden secrets

Before the New Arrival came to town, they were caught

up in significant, and perhaps scandalous events. Perhaps
they saved someone from a terrible fate with a kind deed.
Perhaps it is the opposite, and it is they who were saved
from ruin by someone in town. Perhaps they left a scandal
behind them, hoping it would never be revealed. No matter its
nature, whatever they did while away is a mysterious secret.
But of course, secrets don't stay secret for long.

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A novelty

When the New Arrival comes to town, their place

in the social order is unknown, though people
may speculate. More often than not, everyone is
excited to meet them or at least look at them.
For the first few weeks after their arrival, they
have the ability to fall in with almost any crowd.

A pawn in local politics

The New Arrival walks into a pre-

existing social order and state of affairs
that they are in all likelihood unaware of.
This makes them especially vulnerable
to those in town who might see
fit to use them in their schemes
and plans. They have a degree
of naivety that extends merely
from ignorance—after all,
why should they suspect
there is something awry in a
suggestion or invitation?

CONNECTIONS
The New Arrival's connections will
differ depending on whether they left and
returned to the town, or whether they have
come here for the first time. For those who
are returning, childhood friends and rivals
create an instant connection to the town
and its people. For those arriving for
the first time, all options are open,
but the connections
may be the reason
they've come.

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THE MEDDLER
͠͠ Mrs Bennet
Some look down upon the spread
͠͠ Emma Woodhouse
of vexatious gossip, but is it not the
duty of every person to be informed? Not only that, it seems the
majority of people are quite unable to handle their own affairs to
any degree, constantly doing the wrong thing—and worse, being
overly reluctant to do anything at all. Fortunately for them, you are
ready, able, and oh so very willing to help them out.

The Meddler is someone whose life's work is to report upon,

arrange, and rearrange the affairs of others. They have an
opinion on absolutely everything possible and can scarce be
satisfied until its correctness is proved. Their greatest joy is
to see their predictions realised by the workings of fate—even
though they had to work very hard to help fate along.

THE MEDDLER IS…

An outrageous and inaccurate gossip

The Meddler controls and orchestrates the free exchange

of information—even if that information isn't exactly true.
They will not hesitate to use gossip for any purpose they
deem worthy, and its spread can of course be worthy simply
for its own sake. Moreover, the attainment of confidence and
the discovery of new intimate information they can share are
also worthwhile causes and a mainstay of their pursuits.

A lways scheming in the ‘ best interests’ of others

Not only is the Meddler an unstoppable gossip, they are also

adamantly committed to pursuing what they believe to be
the best interests of others. The first step is to decide what
these interests might be—sometimes with consultation,
sometimes without. The second step is to do everything in
their power to pursue these interests, even when all hope
appears (or is actually) lost.

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Possessed of few social barriers

The Meddler has few social barriers,

and cares less about social norms and
appropriate behaviour. They find it
hard to hide what they truly think
and believe. Their attempts at being
covert can be just as embarrassing as
any overt confession of their schemes.
They can therefore be socially
embarrassing or at least inappropriate.

Blind to intentions or schemes

directed towards them

While able to see the situations of

those around them in minute detail,
the Meddler is invariably unable to
see any plans, schemes, or intentions
towards themselves. They are blind
to the feelings of those around them
about both their own behaviour and
character. They do not know when
they are not wanted, but they most
especially do not know when they
are wanted and loved.

CONNECTIONS
The Meddler is highly involved in
the lives of perfect strangers, and
can therefore hold more interesting
relationships with connections that
may be too distant for others—
such as the local vicar or town
mayor. They are more likely to be
connected to local figures than
other character roles, as they are
very involved in town life.

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THE CORNERSTONE
͠͠ Elinor Dashwood
From an outside view, many would
͠͠ Catherine Vernon
say your family is doomed to be a
disreputable failure. And in truth, you might well agree with
them—if it wasn't your family. There's debts and entailed
estates to worry about, socially embarrassing cousins and uncles,
failing engagements to save, not to mention several relatives
approaching twenty four and yet unmarried! Fortunately, they
have you, the Cornerstone, the only thing keeping your family name
from falling into absolute, crumbling ruin.

The Cornerstone's first and only priority is to protect the

family name, even as everything around them erupts into
chaos and scandal. They are a virtuous and self-effacing
person who finds themselves beset by a constant and unending
barrage of poorly behaving family members, and threats to
their family security. Sometimes their unending duties as
family saviour also leave them jaded, tyrannical, or narrow-
minded, trying to control and discipline their family members
rather than just protect them.

THE CORNERSTONE IS…

Possessed of a family in constant trouble

The Cornerstone would have little to do without the

distressing and worrisome behaviour of their many relations.
Their family continually get themselves into trouble that
is not only bad for themselves, but potentially fatal for the
family name. Everything from the extremes of elopement and
gambling debt, to the minor upsets of being yet unmarried or
appearing too attached in public, the Cornerstone observes and
takes upon themselves to fix. Of course, this does not mean that
their family likes them for it.

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Self-effacing

The natural consequence of continuously placing family first

is to place themselves second. The Cornerstone is generally
self-effacing, interrupting pursuit of their own desires at the
slightest family problem. They are particularly self-effacing
in the field of romance, and may find themselves having
difficulty continuing a relationship which could impact their
familial duties.

The enforcer of conventional behaviour

Keeping a family out of scandal means continually

enforcing conventional behaviour. The Cornerstone
generally has very conventional and conservative
thoughts and opinions, and polices the behaviour
of others to make sure it fits into the same.
This is the dark side of the Cornerstone,
the enforcer of social order.

Perceptive, but ignored

Unlike the Meddler who puts their own concerns

onto others, the Cornerstone is generally a very
perceptive individual who can actually read the
intentions of those around them with reasonable
clarity. They can see bad intentions ahead of time,
and may warn their family members with the aim
of preventing injury. Unfortunately, they are
rarely believed.

CONNECTIONS
Naturally, a Cornerstone needs family
connections to operate—but not just any
family, a family in trouble. Naive younger
siblings, wastrel cousins, and
socially embarrassing parents
are perfect fodder for the
Cornerstone to tell their story.
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THE HEDONIST
͠͠ Lydia Bennet
It is the thirst for pleasure that coaxes
͠͠ Sir Walter Elliot
us from our beds each morning, and
you consider it your duty to provide it. Your life is a beautifully
orchestrated succession of parlour parties, partridge hunting, and
drunken picnics. When the happiness of others is at stake, you are
quick to act in its preservation. The results of your endeavours speak
for themselves—your friends are many, and your only enemy is
boredom itself.

The Hedonist has decided to make the most of the idle

lifestyle they were gifted as a member of the gentry. They are
the beating heart of the town's social life, and are constant and
consummate hosts of balls, dinners, and picnics. The Hedonist
is always surrounded by people, though sometimes this very
trait distances them from their closest relations.

THE HEDONIST IS…

A squanderer of wealth

While the Hedonist is usually from a wealthy family, their

continual parties, entertainments, and vanities have taken a
toll on their income. More often than not, the Hedonist has
money problems. Even if they have the level of wealth required
to finance their habits, they are viewed as squanderers of
wealth by those around them. They could be perceived as
unfit to control large fortunes, or easily taken advantage of by
those who would share in their wealth.

Extremely popular

The Hedonist tends to have many friends that enjoy partaking

in the social situations they orchestrate. They are both talked
to and about by everyone, and can have a kind of easy grace
that often attracts strangers.

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Prone to reckless behaviour

There is an element of recklessness

in the Hedonist's behaviour that
lays the groundwork for their
problems. Aside from their obvious
financial recklessness, the Hedonist
may also be reckless in who they
associate with, falling into bad crowds.
They may be reckless in who they trust,
spreading secrets too widely. They may
even be reckless with their intimacy,
proving themselves far too familiar
with too many people.

Censured by those closest to them

While those distantly connected to the

Hedonist hold them, or at least their parties,
in high regard, those closest to the Hedonist
often feel a very different way. The Hedonist's
recklessness takes its toll on their closest friends
and relations—so it's not surprising that these
people often bear grudges against them. They
may despise the Hedonist or simply disapprove
of their habits, but either way a degree of tension
exists in the Hedonist's closest relationships that
they would never abide in their wider network.

CONNECTIONS
The Hedonist's most important relationship is the
person who suffers for their recklessness. If this isn't a
major character, a connection should be created to
fill this role.

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THE TUTOR
Every child of means is in need of an ͠͠ Mrs Anne Weston
education, and it just so happens that
you are in need of a child of means. Though much of your learning
derives from books, your dashing manner and acerbic wit has been
sharpened well against the greatest cynics pastoral England has to
offer. An introduction of circumstance is all that is required—and
one of these little brats whose silver spoon you hold is sure to oblige.

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The Tutor works and lives in the house of another to educate

their children. The house they work in is most likely both
very rich and important. The life of a tutor or governess
is a continual dichotomy. They are surrounded by very
rich, influential people, some of whom they have close
relationships with. Yet they are also considered inferior by
most of those around them, preventing them from ever
finding full acceptance.

For a person of genteel birth, the position of tutor or governess

could often be one of last resort, or a temporary stopgap
until other arrangements are found. The vast majority of
governesses earned only around £30 a year, however the best
of the best could command a wage up to £200. Tutors earned
substantially more than governesses, and a live-in tutor in
a peerage household with a large library could earn around
£250 annually.

The Tutor's role parallels the Dependant, but the two are
also very different. The Dependant enjoys a higher standard
of living than the Tutor, and most often higher social status.
However, the Tutor has the security and independence of
an employment relationship, and can earn and save money
(if only a small amount). They are less dependent on any
one family, and more removed from those they live with.

THE TUTOR IS…

Beneath those around them

The Tutor is beneath those they live with, and is treated

by them as such. After all, who hires an equal as live-in
childcare? Their relationship with those they live with, as
nice as it may be, is that of employer and employee, and it
would be inappropriate for it to be anything else (of course,
that doesn't mean that it won't be!). While their status as
a lady or gentleman allows them to mix in genteel circles,
they can never be equals in the house in which they work.

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Privy to household secrets

As the Tutor is not considered a social equal, their employing

family and guests often forget themselves around the Tutor,
or simply ignore their presence. As a result, the Tutor is privy
to a great many private secrets they probably shouldn't be.

Struggling not to be defined by their employer

Work has seen the Tutor subsumed into their employer's

household. It is difficult for them in social situations to establish
themselves as an independent person with wants, opinions,
and a reputation separate from their employer's. As a side
effect, the Tutor's social fate may be tied up more than they
would like in their employer's social standing. A scandal
in their employer's household, or a drop in their fortunes,
may have an unwanted impact on their own circumstances.

Strongly attached to their students

The Tutor is likely to form close relationships with the

children they teach. A governess might educate a girl from
age five to the end of her teenage years, creating a strong
attachment between them. And, though not always live-in,
tutors educated their charges until later in life, even closer to
marriageable age. Many employers perpetually feared that a
romantic entanglement, or even worse, an engagement, might
develop between their children and the tutor or governess.

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THE CAREERIST
͠͠ Capt. Frederick Wentworth
Good, hard work is the backbone of
͠͠ William Price
the English nature, and you cannot
help but despise anyone who has never attempted it. Yours may
not be a manual labour, but it is nevertheless a tireless dedication.
An endless devotion, christened in sweat, to a noble and honest
vocation. You cannot help but feel sorry for those that consider
themselves to hold the privilege of leisure, as in your view it cannot
be anything but a curse.

The Careerist is someone who is dedicated to, and performs

well, in a profession they chose for themselves. They combine
the good character of the industrious with a gentlemanly
profession, allowing them easy acceptance in genteel circles.

Careerists in Austen generally belong to one of the four genteel

careers: clergymen, military or naval officers, physicians, or
barristers. These occupations were considered appropriate for
a well-bred gentleman.

WHICH CAREER?
The clergy

Clergy was a popular choice for younger siblings, especially

if the family estate included a living in which the future
clergyman could one day be instilled.

To be a clergyman, a person had to first obtain a university

degree, after which they could be provisionally ordained.
They then spent a year as a deacon, assisting a priest.
After this, they could be fully ordained and eligible to be in
charge of a living.

In the Regency era, a clergyman's living was lifelong.

This created problems for aspiring vicars, as there were far
too many clergymen compared to existing livings. A well-
connected clergyman could walk straight from ordination

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into a living, but others could wait ten or twenty years for
the opportunity. Clergymen who had not yet received a
living served as curates, assisting a vicar for a paltry wage.
They generally could not marry at this stage, as their income
was not sufficient. The most unfortunate clergymen found
themselves curates for life.

If they were lucky enough to receive a living, a curate became

a vicar. They then received an annual benefice from their
living, and could live in the parsonage. This benefice varied
widely in value from as little as one hundred pounds to
several hundred. Particularly lucky clergymen could also hold
multiple livings.

Other than delivering sermons, clergymen also conducted

baptisms, marriages, funerals, and visited the sick.

The military or navy

Service in the military or navy was one of the oldest and most
prestigious choices for younger sons, especially if such service
ran in the family. Such service was entered into through
purchase of a commission.

In the army, most genteel individuals entered the commission

by purchasing the rank of ensign. From ensign, they could
advance to lieutenant, captain, major, and then colonel.
Promotions could be bought after a certain length of service,
or achieved through vacancies resulting from the death or
incapacitation of a senior officer—an event that became
increasingly common during the Napoleonic Wars.

In the navy, commissions began at lieutenant, and a naval

career could see individuals rise to commander, then captain.
Unlike the army, recruits couldn't directly buy their way to
a more senior rank, but required both merit and a degree of
nepotism (or at least patronage) to progress. Advancement
from captain to admiral was by seniority, and required an
existing admiral to retire, resign, or pass away.

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Pay in the army and navy was not enough to maintain a

household to the standard most gentry expected—especially
in the lower ranks. Income from other sources, such as an
allowance from a father or brother, was generally required.
However, seizing enemy ships or goods and supplies during
wartime could attract a generous reward that could quickly
build a substantial income. A naval captain could receive
£6000 or more in a single capture.

Barrister

The law was a less distinguished profession than the military,

navy, or church, but it paid far better. Barristers took a gratuity
as their fee, making their profession genteel—unlike mere
solicitors who received a wage. Once established, barristers
earned an average of £4000 annually, with a rare few earning
as much as £15,000.

However, becoming a barrister was a rather difficult task.

Qualifying as a barrister was an expensive proposition,
costing as much as £2000, and also took between five and
eight years to accomplish. First, a university degree was
required, then a period at the Inns of Court for three to five
years. After this time, aspiring barristers had to be chosen by
the Inns to proceed to the bar. Otherwise, they were relegated
to the inferior occupation of solicitor. For this reason, the
number of practicing barristers in 1810 was a mere 600.

Physician

The role of physician was arguably the least prestigious of

the gentlemanly professions. Only doctors with medical
licences, as opposed to those trained through apprenticeships,
were considered genteel. To become such a doctor, they would
attend medical school and then train in a hospital. Such
doctors were also paid in gratuities, and earned an average of
around £300 a year—although specialists, or those hired by
rich patrons on a regular retainer, could earn far more.

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THE CAREERIST IS…

R espectable and dedicated

The industry and devotion that a Careerist must show to

advance in their profession marks them as a respectable
person in society's eyes. As long as their chosen career is a
genteel one, they are worthy company in almost any circle.

Judged to have poor to moderate prospects

Working for a living restricts the Careerist's financial

prospects—at least by the gentry's standards. Even career
progression could not elevate their income to the level of an
heir (with the notable exception of barristers). One does not
marry the Careerist for the money, but rather for the virtues
of their character and general dependability.

A victim to the whims of duty and their superiors

The downside of being devoted to one's career is that one

actually has to go to work. The Careerist is liable to be called
by the fickle winds of duty to go hither or thither at the
most inopportune times. The Careerist is also vulnerable to
the inordinate influence of their superiors, upon whom their
future success depends.

R evealed through their work

The Careerist does not always fare well in social situations,

and can sometimes be awkward, shy, aloof, grim, or even
embarrassing. However, unlike the other roles whose true
personality can be determined in the social world, the
Careerist's personality can be found in their relationship to
their career. A shy, aloof Careerist may show their bravery
and virtue through military honours. Or in reverse, a well-
mannered, charming young man may prove himself through
his career as a coward and deserter.

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CONNECTIONS
Since the Careerist's individuality stems from their career,
consider creating connections that bring this part of their
life into focus, such as demanding superiors, upstart juniors,
or hard-to-please clients.

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FAMILY BACKGROUNDS

OLD MONEY
Since your distant ancestor hired his first historian, history has told
of your family's superiority in station and economy. On occasion,
you pay visit to the family vault, and imagine your progenitors
admiring the same golden trinkets as you now cradle in your hands.

The most classic Austen family background is quite simply,

Old Money. A character descended from Old Money has a
family possessed of an estate that would generate a worthy
income of anywhere between £1000 and £10,000 per year,
dependent on exactly how wealthy they are. Of course,
whether this character has, or stands to inherit, any of this
fortune is entirely a matter of their circumstances.

Those from Old Money are members of the landowning class

known as the gentry, affording them respectable social status.
Whether they succeed in hanging on to this respectability is
a matter of their personal character.

PEERAGE
Whichever ancestor replaced the dull grunt of “Mrs” with the
pleasant tones of “Lady”, you cannot help but be daily grateful.
For in being so elevated they gave you and yours a gift which
withstands the infidelities of wealth and reputation. Those four
letters which appear before your name grant you access to situations
and circles, which in truth, you have little business entering.

Add one of the following titles to your character sheet:

Title holders: Spouses or children of

title holders:
͠͠ Earl / Countess
͠͠ Viscount / Viscountess ͠͠ Lord
͠͠ Baron / Baroness ͠͠ Lady
͠͠ Sir ͠͠ The Honourable

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Those born into the peerage find themselves at the top

of society. They could expect formal precedence, and informal
fawning in most situations. Their family would likely have a
hereditary estate that has been in the family for generations,
and would most likely proceed, with the title, to the eldest
male. Like those from Old Money, those born from the
Peerage background may be from a family with considerable
income. Alternatively, the debts of maintenance and
extravagant spending may have taken their toll, and the
social superiority they enjoy may not match their wealth.

NEW MONEY
England's industrial age charges but forward, and yours was
the family that grabbed it by the horns and rode it bareback to
substantial wealth. Though your parents are not genteel in manners,
their considerable influence in economic matters has convinced
most that they are still worthy of association.

During the Regency period, and the years that preceded it,
industry and trade grew rapidly. Developments in mining,
automation, and transport meant that raw materials were
substantially cheaper and getting products to market ever
easier. With these developments came a new class of nouveau
rich—those who made their money in industry or trade.

A character from the New Money background would

find themselves with familial wealth that could match
most gentry—and yet, socially, relegated to the fringes.
Most likely, their parents' deepest wish is to shake off the
taint of their industrial upbringing and find true social
respectability. It is interesting to ask those with the
New Money background when their family became rich—
were they rich from birth, receiving all the benefits of a
genteel education? Or did their family become rich only in
their lifetime, leaving them with a steep learning curve to
understand the strict formalities of genteel society?

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HUMBLE ORIGINS
Jesus, they say, was born in a stable—and though few know it,
your place of emergence was little better. Hard times hit your
family without notice, and have made you humble and resourceful.
Your circumstances have won you the trust of poorer people even as
your wealthier relations strive to teach you to rise above them.

A character born from Humble Origins is born from

comparatively humble origins. They may have descended
from the poorest of the gentry, commanding an income
of only £100 to £200 a year, split between a large family.
Their family may be the poor offshoot of a good family name;
poor relations left with nothing in the battle for inheritance—
like Austen's own family. Perhaps they are the child of a
curate who never secured a living as a vicar. Either way,
their family certainly are poor when compared to those who
surround them.

However, they are unlikely to be from truly humble origins.

They are most likely not from a servant or working class
family—or if they are, they were certainly adopted out of it at
a young enough age for most of society not to know it.

Either way, by the time play begins, something has happened

to grant this character from Humble Origins the ability to
mix with respectable society—although such society almost
certainly looks down on them for it.

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CLERGY
There is nothing more worthy of the expended effort of the
generations before you than knowledge of the divine. Your coffers
have grown but modestly from your family's labour, but you are
unconcerned. For your true inheritance came in a different form—
your substantial moral capital.

Membership of the clergy was a common choice for younger

sons, and it was considered a genteel profession by society.
Jane Austen's family itself had a clerical background.
Her father was a clergyman and served as the rector of the
Anglican parishes at Steventon and Deane.

The wealth of a church family was highly variable, but in

itself it was rarely a very lucrative profession. A young,
recently ordained man would become a curate and receive
only a trifling salary, far from enough to support a family.
Some individuals never advanced from this position.
Those who managed to be awarded a living became vicars,
the most commonly encountered cleric in Austen's novels.
These vicars received a parsonage house, and also received
a living that could amount to anything from £50 to £1000.
It is, of course, up to the player who chose the Clergy
background to estimate the wealth of their family.

Despite uncertain wealth, there were two benefits to a

Clergy background—first, immediate acceptance into
genteel society, and invitations to all the events that entailed.
Second, a degree of moral authority, or at least influence,
that at times could be very useful.

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MILITARY
Though in reality looks may be deceiving, your family has no
qualms in equating sound body with honourable character. As those
before you, you were born to stare in the eye the worst humanity has
to offer, and yet remain genteel. Your family may be strict, but their
unwavering discipline has driven them only to vast accomplishment.

Joining the military or the navy was one of the few genteel
professions—but only with a purchased commission as
an officer. A character from a military family might expect
their father and brothers to be often away at sea or in the
field—and, if their parents saw their future in the armed
forces, be involved in naval or army activities from a young
age. They may even be sent to a military or naval academy,
specialised boarding schools where students learn the basics
of being an officer.

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ILL-REPUTED
There is little more tedious than being born to a family constantly
plagued by scandal. Always finding yourself having to move from
place to place, constantly finding out that some uncle or another
has offended fashionable society, and thus excluding you from the
latest ball. Not to mention the questions you have to field at church
on a weekly basis. If only everybody would conduct themselves
sensibly—society that is, you love your family dearly.

Some families are so ridden with scandal that it quite simply

overshadows what they have achieved or what they possess.
A character born from such a background has a peculiar set of
troubles that beset them. There are, of course, those guardians
of reputation and propriety that would seek to exclude such a
character from their social world. But equally there are those
who are ripe with curiosity, fascinated by difference, and very
ready to entertain a reasonably respectable relative to get a
closer glimpse of the scandal.

FOREIGN
It isn't simply that your family is “not from here”, though indeed
none of your family had lived nearby until recent times. Rather, it is
where you are from that you find fills your life with both prejudice,
and delight. On one hand, you will always retain the burden of an
outsider. On the other hand, it is surprising how often “outlandish
customs” prove themselves useful.

The town in which your game is set seems, to its inhabitants,

to be the centre of the world. Anyone from further afield than
London therefore is classed as ‘foreign’. Their family may be
from across the seas, or simply northern England, but either
way they are not from here and have strange and peculiar
habits. Characters from a Foreign background face the
prejudice of otherness, but can also use their outsider status
to their advantage.

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 Chapter 10: Knowing Austen

Knowing
Austen 10

By Alex Robinson

o, you've never read an Austen novel? The following

S is a brief guide to the locations, events, pastimes,

tropes, and plot twists to help you fake it 'til you
make it (to the library or bookstore). While this chapter aims
to be as historically accurate as possible, our goal is to capture
the world of Austen's works rather than Regency society as it
existed historically. After all, this fictional world is the true
setting of Good Society.

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LOCATION, LOCATION, LOCATION

ESTATES
Most of Austen's heroes and heroines live in the countryside on
large parcels of land known as estates. The wealthier gentry
lived in manors or large houses on these estates, which they
often owned. Less fortunate families, such as the Dashwoods
in Sense and Sensibility, lived in attached cottages.

Estates included both gardens and wider grounds, the size of

which depended on the landowner's wealth. In Mansfield Park,
Mr Rushworth's Sotherton Court was 700 acres—very large
indeed—and provided him with an income of £12,000 a year.
Comparatively, Netherfield Park, rented by Mr Bingley in Pride
and Prejudice, would have been smaller in size to match his
smaller (but still very substantial) income of £5,000 annually.

While part of the estate was used to earn income through

agriculture, game, and rent, part was also left for the enjoyment
of its inhabitants. Many estates included pleasure gardens,
carefully designed so that manors would have favourable
views of the grounds.

Houses on estates were generally named after the estate

(e.g. Pemberley House in Pemberley, from Pride and Prejudice)
and identified geographically by their nearest village or town
(e.g. Lambton, again, Pride and Prejudice).

Homes themselves were divided into formal and informal

spaces. Any rooms that hosted guests would be more elegantly
dressed and considered a formal space.

Not all families had the luxury of separate dining rooms and
drawing rooms for entertaining guests, so these would be
family spaces as well. Dining rooms were, as suggested by the
name, where the meals of the day were taken (though some
very large houses may have had a different dining room for
breakfast). Drawing rooms were the precursor to modern-day
living rooms, where all manner of entertainments took place.

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Many large houses hosted balls for the neighbourhood in

dedicated ballrooms, while small abodes hosted a few dancing
couples and family members in the drawing rooms for
the evening. When guests were not in attendance, drawing
rooms accommodated the family while they undertook quieter
pursuits.

Parsonages were a specific kind of cottage where a clergyman

and his family resided while providing spiritual services to
the estate and the local village. It was part of the lifelong
living provided to a clergyman in exchange for his work.

TOWN
Life was different in town. In town, friends were close by and
constant social activities were expected. Gentry often rented
lodgings for several weeks or a season away in Bath or London.

Cities featured considerably more public spaces than their

country counterparts, including dining rooms, formal spaces
for balls, and other gathering places where gentlefolk could
see and be seen by society. While a village might have one or
two restaurants or inns, cities were full of other social delights
such as concert halls and theatres.

When in town, friends and family would visit each other

at their homes, eat meals together at restaurants or coffee
houses, and go on day trips to other nearby villages to enjoy
the scenery. At night, it was unusual to dine alone or in
small family units. Families would often entertain guests or
dine out. Following dinner, there were plenty of balls, theatres,
and concerts to be enjoyed.

Two cities feature in Austen's novels, Bath and London.

Trips to London were often undertaken by gentlemen to
organise their business, as most lawyers and accountants
were located in the city. It was common for many of these
trips to take place throughout the year.

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When families moved to London, it wasn't the short stays

often taken to holiday towns like Bath, but month or year-
long inhabitations, with wealthy families specifically buying
property to maintain their London presence.

Compared to London, there wasn't very much business to be

done by a gentleman in Bath; but there was plenty of leisure to
be had. In Persuasion, the family of Sir Walter moves to Bath
for an indefinite period, but it was more frequently considered
a holiday location.

Featured in both Persuasion and Northanger Abbey, a common

spot for social interaction was the Pump Room, where coffee
and gossip took place during the day, and balls and supper
were arranged for the evening's entertainment.

“Oh! Who can ever be tired of Bath?”

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HERE WE ARE NOW, ENTERTAIN US

PRIVATE PURSUITS
Very few of Austen's main characters worked, and those that
did often laboured in a gentlemanly profession such as naval
officer or clergyman. For the gentry, there were plenty of
other tasks that required doing. Landowners ran their estates
and managed their businesses. Married women raised their
children and helped organise the household.

Beyond management of their stewards and housekeepers,

ladies and gentlemen of wealth weren't further required in the
day-to-day running of the house and had plenty of time for
their own entertainment.

At home, people might be expected to better themselves

through reading. Men would peruse the newspaper to stay
on top of current affairs, and women would read non-fiction
books and novels. Young men might indulge in a novel or two,
especially if it provided an interesting topic of conversation to
engage young women.

Time was also spent writing letters to absent friends and

family members, which was especially important for keeping
up acquaintances between trips into town.

Ladies were expected to have at least one accomplishment,

preferably a few, and preferably those she could show off at
dinner parties to entertain guests. These accomplishments
would take development and practice, so it was natural for
ladies to set aside hours in their days to sew, embroider, paint,
and draw. More showy talents included singing and playing
instruments—such as the pianoforte and harp—and could be
performed for guests and the family. Particularly rich families
hired tutors to develop these skills, while in general women
were self-taught.

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COUNTRY ACTIVITIES
On nice days, people might enjoy a walk through the
countryside or a horse-ride. For families with curricles or
horse-pulled buggies, this was another fun and fast way to
get around. Getting fresh country air was considered good for
the constitution, and exercise was recommended at least a few
times a week. Walks might be taken to the nearest village, to
visit nearby friends, or merely to take in nature.

Many of Austen's heroines had a keen appreciation of nature,

none more-so than Fanny Price of Mansfield Park. However, as
Catherine Morland learned in Northanger Abbey, there's more
required than a simple appreciation of nature—it's important
to have an artistic eye for the aesthetics of a landscape too.

Other more formal or organised outdoor events included

picnics or hunting. Woods on estates were specifically stocked
with fowl for hunting, and gentlemen would set off with dogs
in the morning for some good sport. Properties with well-
stocked lakes were suitable for pleasure fishing—as Mr Darcy
offers to Lizzy Bennet's uncle, Mr Gardiner, when they visit
Pemberley Estate. More leisurely water activities included
taking a boat out on a river or lake. On dry land, ladies and
gentlemen could laze about on a picnic blanket, under a
parasol and attended to by their servants, of course.

For neighbouring estates and manors further afield, it was

common to go and view properties, especially particularly
large and beautiful residences. Visitors might be given a tour
of the more public areas of the estate by the gentleman of the
house, his steward, or his housekeeper, depending on who
was available. When properties changed hands, old family
paintings, artworks, and furniture might stay with the house,
providing visitors with a little of its culture and history.

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TOWN ACTIVITIES
In town, residences tended to be smaller, less fancy, and were
often rented for a season rather than owned by a family,
making them less interesting targets for inspection. While
there, people visited their friends and extended family to pay
their respects, cement relationships, and generally enjoy each
other's company.

Visiting usually occurred in the morning or early afternoon,

giving people time to invite and be invited to dinner, typically
timed towards sundown. Visiting was also an excellent place
to introduce individuals who might not be acquaintances
through mutual friends and the best way to stay up-to-date
on gossip. For most friendships, a visit would last up to half
an hour, but young couples may like to stay in each other's
presence for much longer.

Just like in modern times, being a good conversationalist was

a skill, and proving one's knowledge of many subjects meant
there was never a quiet moment. While the men in Austen's
novels who display an admirable and sharp wit are praised
by younger women and potential suitors, such characters are
often the most likely to be involved in a scandal.

If someone wasn't home when their friend tried to visit,

it was polite to leave behind a calling card so they would
know who they missed. This was also a great opportunity
to display the cards of your better off friends for anyone else
who might take a peek. Leaving a calling card meant that the
next day missed neighbours could catch up with one another,
by deliberately setting out to visit them or strategically
staying home to be called upon again. It was, of course,
possible to visit friends and family in the countryside, but
these activities were more likely to be pre-arranged or occur
over a longer period of time.

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DINING
Dinner was the most important meal of the day in Regency
society. Dinners of the gentry could be extravagant and take
several hours. It was usual to have friends and family over
for a simple dinner, but when guests were due, the lady of
the house and her housekeeper might pull out all the stops.
Dinner parties weren't expected to be an every night affair.
However, when there was a party, the gentry would go all out.

A dinner party would start with a procession into the

dining room, led by the gentleman of the house and the
most senior lady in attendance. They would be followed by
the hostess and the most important guest, followed by other
senior, married individuals and couples, and finally the
young singles. The hosting gentleman would be seated at
the foot of the table, with his wife opposite him at the head.
Seats next to the hostess were considered most prized and
would be saved for the important guests.

Dinners with multiple courses would often start with soup

and be followed with courses of fish, meats, cheese, salads,
and finally dessert. The gentleman of the house would
carve the meat (mutton was a Sunday special) and the other
men in attendance would be responsible for passing plates
(or directing servants to) and serving the ladies seated next
to him. Wine would be drunk with dinner and once again,
a few good conversationalists were highly desirable to keep
the guests content.

After dinner, the ladies would retire first to the drawing

room, while the gentlemen remained behind to drink port and
partake of their pipes, which was considered uncouth to do in
front of women.

Later, everyone would gather in the drawing room, where

young ladies could show off their singing and musical skills
at the pianoforte or harp. Depending on the group and the
number of young couples, a few dances may also take place

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with a willing accompaniment. Older members of the gentry

would watch the musical entertainment or dancing, or engage
in card games to pass the time. In Sense and Sensibility and
Mansfield Park, the lady of the house or another female family
member requests the card table and convinces the younger
party attendants to help her form a round. Austen features
many varying card games in her novels, including whist,
cassino, loo, and quadrille. Playing at cards and other parlour
games gave young men and women a chance to interact less
formally, converse freely, and enjoy each other's company.

BALLS
One of the best and most popular ways for young people to enjoy
each other's company was, of course, at balls. As mentioned
above, dancing was a good way to pass the evening, and a ball
expanded that pastime to a large-scale public event.

Balls were held as private functions in ballrooms at larger

estates whenever a host desired, or as public village-wide
events in a parish ballroom. In Bath or London, specific
venues hosted balls regularly as part of the wide variety of
entertainments available in town.

Austen's heroines are all familiar with country dances; dances

that involve multiple couples dancing together at one time.
Country dances are quintessentially English compared to the
more formal, French dances for individual couples. Dancers
would line up in parallel lines opposite each other and make
their way from the end of the room down to the other,
with new dancers joining at the top end while those at the
bottom retired until the next dance started. Waiting to be the
next couple wasn't necessarily dull, as it meant time to talk and,
more importantly, time to flirt. Like the art of conversation,
the art of dancing was highly regarded, especially in a partner.
When Emma, titular character of Emma, finally sees
Mr Knightley dance, she's overcome by the “gentlemanlike
manner” and “natural grace” that his fine steps display.

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While dancing was the main attraction of balls, it was mostly

young people who partook in this energetic activity. For the
older and more refined, tables and seating were available
around the edges of the dance floor to view the frivolities
and converse with friends. Card tables were sometimes set
up in the same room or neighbouring rooms for patrons to
engage in a quieter pastime. The ball would be interrupted in
the middle for guests to enjoy a sit-down supper provided by
the hosts, which gave friends the opportunity to catch-up and
new acquaintances to affirm friendships.

Austen was immersed in the culture of Regency balls and

doesn't spend much time in any of her novels describing the
minute details of ball etiquette, as she would have assumed
her readers were already familiar. There were, however,
a few important conventions a ball-goer should be aware of
to stop themselves seeming a fool in public. In private balls,
the lady of the house or someone she selected would choose the
dances and be one half of the opening couple. At public balls,
the Master of Ceremonies would have ladies draw numbers to
determine in what order their couple would enter the dance.
The number one lady would also have the honour of choosing
what the dance would be.

Gentlemen were expected to have a number of different partners

throughout the night. Committing to two consecutive dances
was a public sign that they were quite attached to their partner.
In order for ladies to keep track of who they had promised
dances to, they might have a dance card—some small piece of
paper to mark a gentleman's name next to the dance or dances
they had promised to have with him.

While in town, other pursuits for the evening might include

visiting the theatre or a musical concert. Unlike entertainment
at home, professional troupes performed these shows in public
spaces, making them another excellent opportunity to mingle
and people watch.

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TROPES AND PLOT TWISTS

FIRST IMPRESSIONS
Austen's heroines always seem to end up in love triangles
between two different gentlemen, usually with vastly
different personalities. In these stories, our leading lady
often forms a strong first impression of the newcomers which
ends up a poor reflection of their true nature and motives.
The classic example comes from Pride and Prejudice; Wickham,
who initially appears a most charming young man, is truly
a knave; while Darcy's prideful exterior leaves a bad first
impression, he reveals his true nature in assisting the Bennet
family at their time of greatest need.

In Austen, it is often the gentleman with the most winning

personality who hides the largest secrets, and while the
heroine might favour him to start, she almost always falls for
the less-assuming, milder-mannered wallflower.

That isn't to say women aren't capable of the same evils.

Mansfield Park's Mary Crawford and Northanger Abbey's
Isabella Thorpe both come off as elegant, well-mannered
women and befriend the heroines of the aforementioned
novels before they turn out to be morally deficient and cruelly
two-faced, respectively.

Revelation always comes later in the narrative, through a

letter or a story of the past outlining the character's terrible
deficits and history.

SCANDALS
With all the rules governing society, it was easy to make a
mistake and a fool of oneself. When someone really broke the
rules, their actions were considered scandalous, potentially
destroying their good reputation once and for all. For women,
a scandal could also mean ending life single and destitute,
estranged from all friends and family. A gentleman's fall from

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grace might not be of equal consequence. Even when noble

men had bad reputations they could marry women from lower
classes and still inherit their father's lands and money.

Pride and Prejudice features one of the most well-known

Austen scandals when young Lydia Bennet runs off with a
gentleman in an attempted elopement. They are missing for
several days together before being recovered, luckily before
any “irreparable damage” could occur. A common cause of
an elopement was a father's disapproval of the match for his
daughter, as fathers were generally required to give their
permission and have the wedding agreement drawn up.

While women could decline a marriage proposal, it was

considered very poor form for either a gentleman or a lady to
call off an engagement, and having one partner explicitly end
the engagement could ruin the other's reputation. The strong
sense of obligation an engagement could create led Edward
Ferrars to continue his engagement with Lucy Steele in Sense
and Sensibility, despite having little interest in marrying her.

For men attempting to break an engagement there was the

added threat of a ‘breach of promise’ legal suit that would
force him to continue through with the marriage or pay out
the woman's family for damages.

Gentlemen with a history of engagements or who were known

for having several relationships in the past, such as Persuasion's
Mr Elliot, would have a reputation that ladies would be aware
to avoid; such individuals might work hard to keep their past
a secret.

Children born out of wedlock or illegitimate children are a

fertile trope for rumour and scandal. When Colonel Brandon
in Sense and Sensibility takes in his father's ward's daughter,
there is a substantial amount of gossip that the child is in
fact his. Illegitimate children would generally not be eligible
for inheritance, but a child who was recognised by their
parents would gain the chance to be included in their will.

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Men who squandered money gambling or on other earthly

delights, and women who danced and flirted with many
different men would still be tolerated by society. But gossip
would always abound, and rumours and scandals certainly
made eligible bachelors and bachelorettes less enticing
marriage prospects.

INHERITANCE
All gentry families would have some money to pass on as
an inheritance, even if their wealth was not particularly
large. For families that owned estates, these too would be
passed on. Therefore, inheritance might include both a lump
sum of money and an income drawn from the estate, as well as
the house and all the furniture in it.

Eldest sons were often in the privileged position of being able

to inherit the family estate, while younger sons and women
were reliant on being left a sum in the will.

A woman could own property, but when marrying, all of

her property came under the ownership of her husband.
At the time of marriage, the contracts drawn up by the wife's
family would include a settlement—an amount of money
set aside to look after her following her husband's passing.
A husband may also provide a jointure or allowance to his
widow after his death if he was generous.

Estates could be entailed, which ensured that property would

pass on to the nearest male relative (even a distant cousin) or
left in wills up to the discretion of the head of the household.

When no will was left, everything went automatically to the

eldest son or was divided up between the daughters when there
was no son. In Pride and Prejudice, the Bennet sisters would
have divvied up their father's estate, but it is unfortunately
entailed to the unlikable Mr Collins.

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Second and third sons were encouraged to seek appropriate

employment. In Austen's novels, clergy, military, and naval
positions were popular choices. Gentlewomen on the other
hand had only one option for increasing their wealth—marry
and marry well. A father would provide a dowry, however
small, and then a woman's husband would continue to
provide for her and her children throughout life. If a father
was unlucky enough to die before seeing his daughters all
married off, her allowance and dowry would come from the
mother's settlement or jointure or up to the kindness of the
inheritor of the estate.

Disinheritance was a severe measure for a child who had truly

disgraced themselves. Edward Ferrars in Sense and Sensibility
is disowned by his very wealthy mother when he refuses to
end an unfavourable engagement. This is considered by all in
his society to be a very harsh punishment.

FAMILY MATTERS
Family was incredibly important to the gentry in determining
a person's identity and thus their social status. A good name
or good estate allowed access to society at large and granted
invitations to places and occasions that they would not have
otherwise had. Sir Walter in Persuasion has a book of his title
and lineage, such is the importance of a family that many
would write a book of their history with a family tree included.
Preserving the lineage with good marriages was vital.

Families were not always a source of pride, but could also

be a source of shame or disgrace. Elizabeth's family in Pride
and Prejudice are judged throughout the book for being
embarrassing, partly through their circumstances but mostly
through their behaviour—loud, unrefined, and with several
uncontrollable daughters. Lydia brings further disgrace to the
family through her attempted elopement, rescue, and speedily
arranged marriage. Anne Elliot is embarrassed by her family
in Persuasion for their overly prideful manner and conceited

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attitude towards their neighbours in Bath. In Mansfield Park,

Maria brings disgrace to her entire family through her
extramarital affair which ends in her divorce from her very
respectable husband.

Having such scandal in the family would almost certainly

make it difficult for family members to make new friends and
continue old friendships. A family of ill-repute would reduce
the number of proposals directed towards young women of
the family, and make the rejection of a marriage proposal
more common for a young man.

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GLOSSARY
Background Character:
A character of no importance
that appears in a single scene to
serve a specific function—such
as a doctor, servant or lawyer.
The Facilitator players these
characters.
Character Role: Archetypes
players can choose from when
creating their major character
(Heir, Socialite, Dowager etc.)
Each character role has a
corresponding character role sheet.
Character Role Sheet:
A sheet each player will use
to detail information about their
major character. Each character
role has a different associated
character sheet.
Connection: A supporting
character with a relationship
to a particular major character.
A connection may be controlled
by a player or by the Facilitator.
Connection Card: A card
from the Deck of Connections,
containing a pre-generated
character that can be used to
quickly create a connection.
Connection Options:
The options a particular character
role has to choose from when
creating connections. These are
found on the character role sheets.
Connection Sheet: A small sheet
which stores details about one
single connection.
Controlling a Connection:
Playing a connection, but also
making decisions about how they
act, when they appear, and what
they want.
Cycle: A series of eight phases
played in a defined order.
Play consists of cycles played
one after another.
Cycle of Play Sheet: A sheet
used to keep track of your
position in the cycle of play.
Desire: A major character's
ambition or objective that
drives their actions.
Desire Card: A card with a desire
written on one side, and an Austen
quote on the other. The quote
hides the desire during Backstory
in games with hidden information.
Facilitator: The person whose
primary responsibility it is to run
the game. They help players to
collaboratively build a shared story.
Fading Out: The process of
removing old rumours that have
not been spread.
Family Background: A major
character's familial origin (Old
Money, Humble Origins, etc.)
Family Background Sheet:
A sheet detailing the nature of
a family background, as well as
reputation criteria and starting
reputation tag options. Each
family background has a different
family background sheet.
Inner Conflict: A major
character's internal struggle
between two pressures pulling
them in opposite directions.
Acting on this struggle can earn
players additional resolve tokens.
Major Character: A central
character on which the story
focuses. Each player creates
and plays a major character.
The Facilitator has the option
to play one too.
Mandatory Connection:
A connection that must be created
during Backstory. Mandatory
connections are detailed on
desire cards.
Mid -play Connection:
A connection that is not created
during Backstory. Instead, they
can be created at any time during
the game as needed.
Monologue Tokens: Tokens that
allow players to trigger the inner
monologue of another player's
major character.
Phase: A section of a cycle played
in a particular way, with its own
set of rules and requirements.
Playset: Groupings of desires,
relationships, roles, and family
backgrounds designed to create a
satisfying play experience around
a certain tone or theme. Use
playsets to set up your game.
Playset in Full: Using a playset
as written, including desires,
relationships, character roles, and
family backgrounds.
Playset in Part: Using a
playset's desires and relationships,
but allowing players to choose
their own character role and
family background.
Public Information Sheet:
A sheet all players can see which
keeps track of Collaboration
decisions, reputation tags, inner
conflicts, and rumours.
R elationship Card: A card with
a relationship written on it,
given from one player to another
to form a relationship between
their characters.
R eputation Conditions: Effects
which occur if a major character
accumulates three negative
or positive reputation tags.
Reputation conditions are found
on your character role sheet.
Role Attributes: The typical
attributes of a character role.
Role attributes are found on your
character role sheet.
Session: One continuous period
of play. For example, your group
may sit down and play Good
Society for three hours in a row,
then play another three hours a
week later. Each of these blocks
constitutes a single session.

R eputation Criteria:
The criteria determining whether
a major character's reputation
rises or falls, and whether they
gain a new reputation tag.
Reputation criteria are detailed
on your family background sheet.

R eputation Tag: A tag

describing a character's reputation
in the eyes of society (e.g. dutiful,
impolite, etc.) Reputation tags
are detailed on the public
information sheet.
R esolve Tokens: Tokens that
allow the players and Facilitator
to change narrative details about
the world and twist events in a
character's favour.
INDEX
A 18 how long 113
Collaboration 31–35, how many 112
Age 46
152–153 novel chapter phase
116–124
B performing 32
pacing 114
questions 33
Background respecting 71 reputation phase
Characters 159 review in upkeep 125
Backstory 37–65 134 rumour and scandal
creating connections Collaborative phase 126–129
53–63 Storytelling 6, 8, summary table 112
creating connection 152–153 upkeep phase
without deck Connection Cards 133–141
59–64 22–23
creating major Connection Option
D
characters 38–46 54 Deck of Connections
Balls 255 Connections 23, 23, 49
Barrister 237 48–52, 105–109 Dependant 222–223
creating 53–63 Desire Card 14
C creating without deck Desire Cards
Careerist 235–239 59–64 basic and complex
Character Role 18, facilitator created 51 15
213–239 how many to create Desires 13
The Careerist 50 age tag 46
235–239 mandatory 15 basic and complex
The Cornerstone midplay 52 15
228–229 playing 105–109, creating your own
The Dependant 162 137–139
222–223 role of 105 replacing 135–136
The Dowager Connection Sheet Dowager 220–221
220–221 56, 60 Duty 211
The Hedonist Consent 68
230–231 See also X-Card E
The Heir 216–217 Cornerstone 228–
The Meddler Ending the Game 115
229
226–227 Epilogue 115
Country Activities
The New Arrival 252 Epistolary Phase
224–225 130–132
Cycles of Play 12,
The Socialite 111–147 receiving a letter
218–219 131
epistolary phase
The Tutor 232–234 writing a letter
130–132
Character Role Sheet 130–131
Estates 248–249 G Monologue 103–104
Event Chapter Monologue Tokens
Gender 34
118–119 21, 104, 133
Expanded Backstory refresh 133
Actions 140–141
H use in upkeep 133
Habershire 5–6
F Hedonist 230–231 N
Facilitator 10, Heir 216–217 Navy 236
149–175 Hidden Information Negotiation Process
first session, full 35 83–88
length 167–169 Historical Accuracy New Arrival 224–225
first session, short 33
New Major Character
170–173 63
playing a major I Novel Chapter Phase
character 166 Inheritance 259–260 116–124
playing without a Inner Conflict 19, event 118–119
174–175 98–102 split 122
Facilitator Tasks completing 102 starting a chapter
150–165 establishing 99 117–118
add drama 163 outdated 100 types of 118–122
bring home progressing 100– visitation 120–121
consequences 101, 133–134
160–162 upkeep phase O
collaborative 133–134
environment Obligation 211
Inner Monologue
152–153
questions 154
103–104 P
See also Monologue
structure and pacing Tokens Pacing your Game
155–158 114, 155
supporting L Phases 12, 112
characters 159 epistolary 130–132
Letters 130–132
Family Background novel chapter
20, 240–245 116–124
Clergy 243
M reputation 125
Foreign 245 Major Characters 13 rumour and scandal
Humble Origins 242 creating your 38–46 126–129
Ill-Reputed 245 introducing new upkeep 133–141
Military 244 63–64 Physician 237
New Money 241 roles 214 Play Cycle
Old Money 240 Mandatory See Cycles of Play
Peerage 240–241 Connection 15, 53 Players 9
First Session 167– Marriage 208–209 player principles 9
173 Meddler 226–227 Play Example 142–
Military 236 147
Money 205–206 Playing Online 29
Playing without a affecting multiple 257–258
Facilitator 174–175 characters 88 Setting 5–6, 202–
Play Interruptions affecting reputation 211, 247–261
123–124 condition 87 entertainment
Play Materials 29, 65 all in agreement 77 251–256
Playsets 177–199 compelling 76 locations 248
how to use a 40, 178 connections and 74 setting the scene
in full 27 difficult or unlikely 117
in part 27 80 tropes and plot
making your own harmful to interests 257–261
179–181 86 Setup
setting up 40 major characters playing online 29
thematic 188–199 and 73 preparing your game
tonal 182–187 negotiation 82–88 26
refresh in upkeep summary checkpoint
Preparing to Play
133 65
See Setup
shaping the world 75 what you need 29
Proper Behaviour 210
significant to the
Public Information Significant to the
story 78
Sheet 24 Story 78
when to use 72
Public Knowledge 15 Small Moments 204
Role Attributes
Socialite 218–219
See Character Role
R Rule Adjustments 28
Social Order 207–208
Race 34 Split Chapter 122
games without a
Relationship Card 16 facilitator 28 Spotlights 120
avoid swapping 43 See also Playing
giver and taker 17 without a Facilitator T
public and private 17 games with three Tone 33
Reputation 89–97 cycles or less 28 Town 249–250
conflicts with resolve Rules of Play 67–109 Town activities 253
tokens 97 reputation 89–97 Tutor 232–234
initial 20 resolve token
phase 125–126 negotiations U
private behaviour 91 82–88
Upkeep Phase
Reputation resolve tokens
133–141
Conditions 125 69–81
steps in the process
95–97 Rumour 126
133–134
Reputation Criteria create and spread
125, 90 126–127
fade out 128
V
Reputation Phase
125–126 Rumour and Scandal Visitation Chapter
Reputation Tags 125 Phase 126–129 120–121
92–94
Resolve Tokens 21, S X
69–81 Scandals 257, X-Card 35
 Ever inspired by
JANE AUSTEN'S WORKS
NOVELS
Sense & Sensibility
Pride & Prejudice
Mansfield Park
Emma
Northanger Abbey
Persuasion

SHORT FICTION
Lady Susan

UNFINISHED FICTION
The Watsons
Sanditon

...and such novels completed while playing

Good Society...