Storytellers want their stories to be addictive so that the readers keep turning pages and viewers keep asking for more. How does one achieve that? What does engagement entitle? My proposal here is to turn stories into a game for the readers—or listeners, or viewers, anyone that consumes a story—to play.

No, I’m not proposing to write interactive stories in which readers decide with a click what is going to happen next, but for storytellers to use gamification principles when crafting a story to increase engagement. Basically, to reconcile the transportation-imagery model (Green & Brock, 2002; Laer, De Ruyter, Visconti, Wetzels, 2014) with self-determination theory (Ryan,& Deci, 2000) and Csikszentmihalyi’s concept of flow (Green & Brock, 2002). Don’t worry; I’ll try to lay my arguments in plain English.

Let us begin by defining terms. What is engagement? That which keeps you interested and willing to continue performing an activity, such as reading a book or watching a movie until interrupted by boredom. In other words, something is engaging when it is not boring. Lame definition, I know, but this is our first aha! moment: the first step to increase engagement is to avoid boredom.

We could blame boredom on the readers’ ignorance or lack of discipline, but the truth is that even the most compelling stories can become boring if told the wrong way. Likewise, the simplest adventures can be a rollercoaster of fun if spiced up. Is that what you should do, then, add more salt and pepper to your story? Yes, but, as the cliché says, one must also learn when to kill his darlings—those that are boring, that is.

Boredom is an emotion, and as every emotion, its function is to direct behavior (Bench & Lench, 2013). Boredom is related to disgust (Toohey, 2011), and as disgust, it convinces you to stop, plain and simple. Boredom signals the brain that the current goal is no longer attractive, even toxic (Willis, 2014), and that a different goal must be pursued (Bench & Lench, 2013). Therefore the feelings of discomfort one suffers when bored and still forced to continue. Not only that, boredom cuts the communication between the prefrontal cortex and the rest of your brain, impeding the formation of long-term memories (Willis, 2014).

Yes, boredom can prevent you from acquiring valuable knowledge. It is an evolutionary advantage to increase the chances of survival: Just like disgust prevents us from getting sick by not eating what we find repulsive, boredom prevents us from devoting our undivided attention to a single, unrewarding activity for too long. The world is a scary place, and if we wonder for too long why the sky is blue or how many angels can dance on a pin head, we may get eaten, killed, or left behind. The risk may not be as high in this modern world, but your brain doesn’t care. No matter how much time you have on your hands, your subconscious still decides whether a current task deserves your whole attention or not. That is, perhaps, why you keep checking your social media accounts every ten minutes, because you’re not sufficiently engaged at work.

So far this may sound like redundant advice: to be interesting one must not be boring, but the temptation to write long, insipid, unrewarding back stories or fill up pages with exposition exists. If it is boring, cut it, regardless of how beautiful the prose. Your readers’ brains will reject it anyway.

So how not to be boring? If boredom is an indication to stop and pursue a different goal, you need the opposite, to motivate your readers to continue by leading them into a state of flow, one that demands intense focus but is also meaningful, challenging, and rewarding by itself (Green & Brock, 2002) as when you read an amazing story or play an interesting game, and you simply don’t get bored. Applied to narratives, we say that an engaged reader has been transported to the world of the story to the point that they ignore their physical surroundings and instead “see the action of the story unfolding before them” (Green & Brock, 202, p. 317).

When fully transported, the decision to continue is automatic. If you get bored, the decision to proceed or not becomes conscious and will depend on an external reward rather than intrinsic enjoyment derived from the activity, as in “I better finish reading this BORING article if I want to pass the finals,” or “I better stop here, this article is BORING, and I have much better things to do.” That is the tenet of self-determination theory, which explains motivation. Concerning consuming stories, we can say that readers are intrinsically motivated to read a story when the story is rewarding by itself, and extrinsically motivated when reading depends on an external reward, like obtaining a good grade.

What this means is that to craft an interesting story, you must reward your readers because rewards keep them engaged.

Does that mean stories should be a sugary road to happiness? All the contrary. Rewards bring you joy, of course, but joy, like all emotions, fades with time and has a diminishing marginal utility (Bench & Lench, 2013). One pony is fantastic, two ponies better, why not, but the sixth pony is just meh! By pony number fourteen you are probably so sick of those tiny horses, you can’t care less if all die. Transportation is off, and you return to the real world. For stories to be rewarding they need to be painful too; otherwise, the rewards become meaningless. Conflict brings some of that pain. Pain is what makes rewards delicious. Too much pain, however, and the activity becomes harrowing. How much is too much? Conflict arouses your readers’ interest but only when there is hope this conflict will get resolved, and in the measure of the emotions it arouses. As directives of behavior emotions serve also as indicators of progress toward a goal (Bench & Lench, 2013), so what truly keeps readers engaged are the little steps toward a distant yet attainable goal. Here we get closer to what makes a story engaging: goal setting.

A reader’s goal is to be entertained as she relives how characters suffer and rejoice toward achieving their goals. To be engaged then, or transported—we should prefer this term since we are talking about being engaged in a story—means to emotionally identify with the characters’ predicament, empathize with their plight, and wish for them to achieve their goals, regardless of what these are. Goal setting is not the only determinant of transportation but an essential one because without goals there cannot be an emotional investment in the characters and we get bored!

Therefore the success of the hero’s journey, a classic map to create engaging stories. You have a hero, one with a clear goal and a journey that is but a rollercoaster of emotions as he rejects the quest first, then accepts it, then succeeds, then fails, then gets help from a supernatural power, then fails again, then succeeds. The problem I see with the Hero’s Journey is that it becomes a recipe that storytellers follow to achieve success rather than an example. Works with children, who are easy to please, but as you mature and have watched or read your fair share of stories, you gain the ability to anticipate any new development. When the rewards start coming at a predictable pace, the story becomes less engaging (Eyal, 2012).

How does this relate to gamification? Gamification refers to the application of game elements to non-gaming activities to increase motivation (Conaway & Garay, 2014; Crowley, Breslin, Corcoran, & Young, 2012; Landers & Callan, 2011). Understanding what causes a state of flow, and Self-Determination Theory explains how games keep you motivated.

Let us use a game we all know to explain it: Candy Crush Saga. Solving puzzles is basically a waste of your time, and as we said before boredom protects us from wasting time. Why then is the game so addictive? Because we derive satisfaction from solving puzzles, it makes us feel smart. What Candy Crush Saga does is to allow the player to reach a state of flow, one that demands her full attention and is rewarding by itself (Morris, Croker, Zimmerman, Gill, & Romig, 2013). Then, the game keeps the player motivated by satisfying her needs of autonomy, competence, and relatedness, which per Self-Determination Theory are key to motivation (Ryan & Deci, 2000).

Candy Crush Saga satisfies your need for autonomy by allowing you to play at your own pace and devote only as much time—or money, if one decides to buy the boosters—as you want. You can play the game anywhere, anytime, as long as you have a device with an internet connection.

Candy Crush Saga satisfies your need to feel competent, with puzzles that are easy to solve at the beginning but get increasingly challenging as you progress. Instead of boring us, the increasing challenge keeps us going, and we only quit when the game becomes too easy or too difficult—or reality calls. Additionally, the game continually rewards you for your good decisions with catchy sounds, power ups, explosions of color, and words like “divine” and “tasty.” By the time you complete level 252 with over two million points you feel nothing less than the Queen or the King of the world, especially because completing a level is yes, product of your own effort but also occurs relatively at random, which keep you even more hooked: uncertainty increases our willingness to continue, because our dopamine levels increase with anticipation (Rose, 2012; Eyal, 2012). In other words, we are happier when we are about to attain what we want than when we attain it. Lastly, if you fail, no big deal, you can try again, and then again, and again, until you complete the level. Candy Crush Saga won’t judge you. It celebrates you the same whether it took you ten minutes or a year to complete a level.

It doesn’t stop there: The game also makes you feel part of a community, satisfying your need for relatedness by allowing to brag about your success on social media, see your friends’ progress, help them or ask for their help, and gives meaning to your apparently purposeless efforts by interjecting the story of how Tiffi lends a hand to the residents of Candy Kingdom. These may be only fictional characters, but they sure are grateful.

To summarize, the elements of gamification are: 1. progress path, through the use of challenges; 2. constant feedback, on what you do right and what you do wrong, and instant gratification to keep the user motivated and make forward movement obvious; 3. social connection, with both real and fictional characters, providing competition and support, and 4. interface and user experience, which refers to the aesthetics of the game (Conaway and Garay,2014).

How can you apply this to increase transportation?

Let’s recapitulate. To increase transportation, a reader must willingly join the characters’ on an emotionally bumpy quest to achieve their goals. Bumpy, because if it isn’t challenging enough, the journey becomes boring. To remain engaged, the reader must constantly be rewarded, but these rewards must come after solving the challenges along the trip. If the trip is too easy, the reader may get bored; if it is too difficult, the reader will get frustrated, and bored and frustrated readers quit. Because seeing the characters’ attain their goals is the ultimate reward—in addition to those smaller rewards collected along the way—these goals must be set as early as possible. The reader must know what the purpose of immersing into a story is. Otherwise, boredom will signal the reader’s brains to occupy herself with something else.

In essence, transportation results from leading readers into a state of flow, but not any state of flow, but one that leads to the creation of mental imagery and developing empathy for others. Solving a simple puzzle involves no characters. Narrative transportation occurs only when the task at hand involves interpreting a story, a sequence of events with identifiable characters. Interpreting is the key word. One must differentiate then between a story, as one that is told, and a narrative, as one that is interpreted by the reader (Laer, De Ruyter, Visconti, & Wetzels, 2014). The difference is important because interpreting is what makes consuming a story an active and progressively challenging task that can lead to a state of flow. Therefore, all the writing advice clichés: Show; don’t tell. Less is more. Make the reader read between the lines, and kill your darlings. In other words, provide just enough information so that the reader is forced to solve a puzzle. Exposition should set the rules not drive the story. Too many rules and nobody will want to play. Too little rules and players will get confused. Start easy and acknowledge the reader’s abilities and familiarity with the subject, the characters or the genre. Do not waste time explaining how a submarine operates, unless the reader needs the information to solve a future puzzle. If she does, bring the information closer to that puzzle; if she doesn’t, delete it. That not only makes a story engaging but also satisfies the readers’ need for autonomy, for they become the ones building the story with you. Give them control over the little details; let them decide the make and color of the heroes’ automobiles; the clothes they wear, etc. It is not a matter of losing control but of staying in control by constantly teasing, by leading the path with crumbs, create anticipation, and not losing their attention. An increased sense of presence should result not only from the creation of mental imagery suggested by the story but also by speculative thoughts.

For instance, in Valerian and the City of a Thousand Planets (Besson, 2017), the origins of the city are suggested with a series of images of the International Space Station accompanied by a well known song, Space Oddity. The Bowie song puts you in a good mood and because we all know it (and love it) and because the International Space Station is also a concept we are all familiar with, as viewers we easily reach a state of transportation and do not question what comes next: the City of a Thousand Planets, Alpha, growing from all sorts of interplanetary species joining the station. The details of how the different technologies and politics were reconciled are irrelevant. We are too busy interpreting and enjoying the story. Had Besson chosen to explain the origin of Alpha with exposition, say by listing the circumstances under which each civilization joined the station, the result may not have been as transporting. What he did was to exploit the knowledge that most viewers already possessed: a catchy song that suggests the magic of space exploration and the existence of a real international enterprise, and then lead the viewers to connect the dots.

Is the experience rewarding? Absolutely. Not only is aesthetically beautiful, but it inspires a sense of hope in the future of humanity. Then it becomes valuable knowledge for what is coming next, the most exotic world you could ever imagine, compressed in a relatively small space, the size of a “city.” By the time we return to Alpha, we do not question its existence, or how it became such a chaotic place, but it remains an intriguing place, we want to know ans see more, and thus we continue engaged.

The Alpha sequence does not introduce us to the main characters or their goals; nonetheless, it sets a clear goal in the reader’s mind: to learn more about this world. It prepares us for wanting more.

Cinema as a medium has the advantage of being more immersive than print narratives because a film can provide in one frame much more detailed information than text could in one line and without disrupting the pace of the narrative (Biocca, 2002). Immersion, however, does not guarantee continuous engagement. All the contrary, ambiguity does, because ambiguity leads to the creation of mental imagery and speculative thoughts. Take the opening scene in Jane Austen’s Pride and Prejudice:

“It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife. However little known the feelings or views of such a man may be on his first entering a neighbourhood, this truth is so well fixed in the minds of the surrounding families, that he is considered the rightful property of some one or other of their daughters.

‘My dear Mr. Bennet,’ said his lady to him one day, ‘have you heard that Netherfield Park is let at last?’

Mr. Bennet replied that he had not.

‘But it is,’ returned she; ‘for Mrs. Long has just been here, and she told me all about it.’

Mr. Bennet made no answer.

‘Do you not want to know who has taken it?’ cried his wife impatiently.

‘YOU want to tell me, and I have no objection to hearing it.” (Austen, 2009, Kindle Location 21659)

Austen takes advantage of our familiarity with similar characters and circumstances to let us deduce that Mrs. Bennet talks a lot, but her husband doesn’t. From the text we also infer that the new resident of Netherfield Park is rich and single, that the Bennets have daughters of an appropriate age to be married, and that Mrs. Bennet wants to marry one of them with him. Nothing of this is stated, though, merely suggested. The reader becomes acquainted with the characters, and that without being told what they look like, how they’re dressed, where exactly the action takes place, or any other information irrelevant to the story. I imagine the Bennets in a small drawing room, one similar to the many drawing rooms I’ve seen in British movies, Mr. Bennet busy with a book, Mrs. Bennet pretending to be examining the curtains. Austen presents us with a challenge, that of interpreting the story, but she gives us the absolute liberty to recreate the scene in whichever manner we want. In a game, we have the autonomy to move and explore with liberty as long as we follow certain rules. In Austen’s novels, we have the autonomy to imagine what the Bennets look like, where they are, as we discover what they want. Our reward? Elegant yet easy to follow prose, which plays the role of hyper realistic graphics, and the comedic situation. Impossible not to smile at Mrs. Bennet’s attempt to call her husband’s attention! By the time we meet the Bennet daughters, we have already sided with their mother’s intentions whether we approve of them or not. Alas, when Lizzy and Mr. Darcy first meet, they dislike each other intensely… And how fortunate that is! It would have been a waste of our time if the story ended without any obstacles. Finally, not every reader will be enthused about the limited options for the Bennet daughters, but as the story progresses, it becomes impossible not to relate and dream about living too in that world, England’s countryside at the turn of the nineteen century, despite the lack of comfort, the threat of war, the poor hygiene, and other circumstances from which the narrative distracts us.

Laer et al. (2014) list identifiable characters, imaginable plot, and verisimilitude as antecedents dependent on the storyteller, and familiarity, attention, transportability, and demographics such as gender and age, as antecedents dependent on the story receiver that influence transportation. My proposal is not to change these ingredients, but the way they are cooked: as a series of puzzles following a progress path, providing feedback, social connection, and a pleasurable user experience. A storyteller must not limit to introduce characters and their goals but invite readers to recreate these characters and infer their goals based on the rules that the storyteller sets upon consideration of the readers’ abilities, that is by taking advantage of the readers’ experience and their willingness to confront a challenge, because this will satisfy the readers’ need for autonomy and competence. The storyteller must also reward readers with beautiful images, witty lines, and by allowing progress to be evident to keep the readers’ attention, and be careful to provide these rewards only when they are deserved, after some good tormenting, and not as often or in a pattern that makes them predictable, to satisfy the readers’ need for competence. And a storyteller must invite his readers to bond with his characters and feel part of their world, and their circumstances. Who wouldn’t change places with Harry Potter, orphaned as a baby, raised without love, surrounded by enemies, and in constant peril, for a chance of attending courses at Hogwarts and Christmas at the Weasley’s? A story needs to satisfy our need for relatedness to be complete.

References:

Austen, Jane (2009). The Complete Works of Jane Austen (Annotated with Biography and Critical Essays) (Kindle Locations 21662-21666). Douglas Editions. Kindle Edition.

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Besson, L. (Director). (2017). Valerian and the City of a Thousand Planets [Film]. France: Europa Corp.

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Crowley, D., Breslin, J., Corcoran, P., & Young, K. (2012). Gamification of Citizen Sensing through Mobile Social Reporting. Paper presented at the Games Innovation Conference (IGIC), 2012 IEEE International.

Eyal, N. (2012). Hooks: An Intro on How to Manufacture Desire. Retrieved March 26, 2016, from http://www.nirandfar.com/2012/03/how-to-manufacture-desire.html

Green, M. C., & Brock, T. C. (2002). In the mind’s eye: transportation-imagery model of narrative persuasion, in M. C. Green, J. J. Strange & T. C. Brock (Eds.), Narrative impact: Social and Cognitive Foundations (pp. 315-342). Mahwah, NJ, US: Lawrence Erlbaum Associates Publishers.

Laer, T. V., De Ruyter, K. , Visconti, L. M., & Wetzels, M. (2014). The extended transportation-imagery model: A meta-analysis of the antecedents and consequences of consumers’ narrative transportation. Journal of Consumer Research, 40(5), 797-817. doi:10.1086/673383

Landers, R., & Callan, R. (2011). Casual Social Games as Serious Games: The Psychology of Gamification in Undergraduate Education and Employee Training. In M. Ma (Ed.), Serious Games and Edutainment Applications (pp. 399-421). London: Springer-Verlag.

Morris, B., Croker, S., Zimmerman, C., Gill, D., & Romig, C. (2013). Gaming science: The “Gamification” of scientific thinking. Frontiers in Psychology, 4, 1-16. doi:10.3389/fpsyg.2013.00607

Rose, F. (2012). The art of immersion: how the digital generation is remaking Hollywood, Madison Avenue, and the way we tell stories (Kindle ed.). New York: W.W. Norton & Company.

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Willis, J. (2014). Neuroscience Reveals That Boredom Hurts. Phi Delta Kappan, 95 (8), 28-32. Doi: 10.1177/003172171409500807.