This short-form game tills similar terrain as Reiterate/Repeat in that players cannot make their own offers without first utilizing the choices of their stage partners.
The Basics
Every line of dialogue in a scene must begin with the last word of the prior line of dialogue.
Example
Two circus clowns have just returned to their trailer after a grueling performance.
Player A: (as they remove their nose) “That was a difficult show.”
Player B: (as they slip off their oversized hoop pants) “Show me one good reason to come back tomorrow.”
Player A: (taking off their curly wig) “Tomorrow is another day, with a different audience.”
Player B: (hanging up their pants) “Audiences, Twinkles, just aren’t the same anymore.”
Player A: (sitting at the makeup table and reaching for a wipe) “More and more kids would rather just be sitting in front of their screens…”
The Focus
While this game looks very similar on paper to Last Letter, First Letter, it can exercise surprisingly different improv muscles. Unlike its variant which requires some spelling and language finessing, Last Word, First Word invites players to more closely scrutinize how they use their dialogue.
Traps and Tips
1.) Think essence. Don’t get too caught up in the absolute minutiae of the prior, inspiring word. (I think it’s a mistake to set the game up with this expectation for the audience, too.) In my example above, I’ve deliberately used homonyms (“show”), pluralized a word (“audiences”), and taken the second half of a compound word (“more”) to demonstrate that these all feel like appropriate repetitions to our ear. Honor the spirit of the launch word, rather than get bogged down in wrestling your sentences to obey precise grammar rules and idiosyncrasies. You’ll want to be careful of sloppily including preambles or utterances before you use the word in question, but taking artistic liberties to keep the story and action engaging and interesting are more than okay in my book.
2.) Think variety. I’d advise generally allowing sentences to form as they will, and end on the word that just happens to come out. That being said, there is some value in being a little strategic. If you always end your dialogue with your scene partner’s name, for example (or any other word, for that matter), that can become a little unhelpful once the initial joy of the challenge wears off. Having a philosophy of striving to offer up different final words (a least more times than not) expands the content of the game in fun and interesting ways, especially if you allow yourself to apply the above tip and use those words freely as jumping off points. If you’re heading accidentally to that same word again and it’s already been amply used, that would be a good moment to add a little postscript to your line, “you know,” “isn’t it,” “I’ve been told…” just to keep things interesting.
3.) Think subtext. Avoid the temptation to just parrot back the last word of your scene partner’s sentence to them. In my experience, this default approach often introduces a needlessly confrontational, questioning, or sarcastic tone that can loop content in less-than compelling ways: “Show? What do you mean show?” A little of that interplay can certainly add some fun and energy, but the scene will deepen if you really act your lines rather than just repeat words without clear intention. There’s no prize for speaking immediately, and a little earned silence will build suspense and interest. When you filter the required word through your established and evolving character’s point of view, you’re likely to create a more enticing and engaging relationship and story arc.
4.) Think brevity. And speaking of subtext, if you embrace shorter lines (so as to keep the improv ping pong game flowing), that will also encourage using your words in richer and more loaded ways. There are always exceptions to the “rules,” but as is the case with other iterations, there’s an expectation that no one player will hold onto the focus for too long. Long, winding passages decrease the challenge and effectiveness of the central device, especially when they are used as a way of evading the expected give and take. Concise dialogue, on the other hand, keeps the collaborative high wire act exciting as any final word might tilt the power balance or send the scene lurching in a completely unanticipated direction.
In Performance
This game seems much easier than its closely related kin Last Letter, First Letter. While their names and rules are similar, I find this variant surprisingly more difficult, especially if you’re committed to crafting a patient and nuanced scene.
Cheers, David Charles.
www.improvdr.com
Join my Facebook group here.
Photo Credit: Tony Firriolo
© 2024 David Charles/ImprovDr
Game Library Expansion Pack I
ImprovDr.com 