Concept

- Creative Writing –
MA Digital Narratives
Instructor: Alexander Daus

10. 10. - 11. 10. 2018

Class 10.10.2018 - LIFE

Preamble :

*Well for these two days I want to go through an evolution of story with you. It’s a leitmotif. I used it
to organize these two days. There is kind of a bigger point to it as well but don’t worry about it – for
now it’s just go to know this, so you don’t wonder about the rather clever names for the exercises.

 Today is all about play! No concept! No Agenda! We just try a few things. If it doesn’t make
any sense. You get extra points.
 You don’t have to read out anything aloud – unless you find it particularly funny or
interesting and feel like sharing. BUT YOU DON’T HAVE TO!
 In all exercises there is no revision or crossing out! Try to do them as fast as possible without
stopping to think.

Exercise 1: Primordial Alphabet Soup [ Writing time ca. 10 minutes)

This is a very simple exercise and those who have some experience in witting might be familiar with
the concept of automatic writing or free writing. For those who are – this is just a good way to start
the day and for those who aren’t congrats you learn something new.

The idea is simple – garb a piece of Paper and a pen – put the pen down on the paper and when I say
go you start writing and for the love of god do not lift it of the paper. Do not hesitate do not stop!
That is the only rule!

Just start with something on the top of your head the first thing that springs to mind – if you get
stuck just repeat the last word till something else comes up. BUT DO NOT STOP WRITING!

It doesn’t have to make any sense rhyme or reason. If it makes sense fine if not fine as well.
Exercise 2: Prompt Evolution [Writing time 10 min]:

To stick with the Leitmotif of evolution – I wanna work with the stuff you have already produced!

Take a few minutes to – not to long – to go through you text and find a phrase that speaks to you –
do not rationalize it --- no one will not judge you – if you find it intriguing for some or no apparent
reason go with it.

Write that Phrase on the top of the Page. And Use it as inspiration. Just write the same way – but this
time just with a more concrete starting point and a little bit more focus. BUT AGAIN – LOOK WHERE
IT LEADS YOU. IT DOESN’T HAVE TO MAKE SENSE!

Exercise 3: A List for land [Writing time 15 min]:

Close your eyes!

Now think of the text you wrote before – take some time to immerse yourself!

NOW – think of a place that somehow fits what you have read! What is it called?

Quickly pen down the name of a place that emerges.

Now make a list with five columns!

Locations| Colors| Mysteries| Rules| Faces

– What is it a continent/ and island/ a planet! – how does it feel? Hot cold? What colors are there? –
What do you not know about it yet? Some things present themselves to you but you wonder how
that would even work? Can you think of Rules? Laws of Physics? Behavior so you don’t get killed by
nature – Law of the land? – And what creatures or people who live there?

It’s again important not to think too much – move really quickly from column to column! Do not work
on one column, till you can’t come up with anything - just move across all of them – no order!
Whatever springs to mind - write it down! Even if it doesn’t necessarily fit perfectly.

Exercise 4: Give it a body [ca.30 min]:

Close your eyes. Imagine you’re sitting in a dark room.

You think about all the faces that live in your land and that you past getting here.

Something is happening . You hear someone moving a big metal thing behind you.

A Spotlight flashes on.

In front of you you can now see is a thick red velvet curtain- It’s a theater.

The curtain slowly opens. The stage is empty. Only the spotlight shines in the middle of it – where
something should be.
Slowly you see something moving in the darkness just outside of the spotlight –coming closer.

Someone steps inside the light- It’s one of those faces you passed coming here.

Look closely at the creature or the person. How does it move? – Does it stand or sit – or move around?
Is it confident or shy? Does it have ticks or certain gestures?

How does its face look – is it human or humanoid – Does it have eyes a mouth a nose or hair? How
many eyes? How many teeth? Does it look friendly –shy –dangerous?

What is its posture or the texture of its skin?

What is it wearing? Clothes? What kind of clothes? What colors? What materials? Do they look
expensive or Cheap? Is it part of a class – lower or ruling? Does it have Jewelry? Weapons maybe
tattoos or scars?

Does it smoke or chew tobacco or it’s fingernails – does it have another unhealthy habit – any habit at
all that you can see it can’t help but presenting?

Now stand up from your place and come closer – how does it react to you approaching? Come as
close as is save and decent. Just stand there for a second look at it close up – do any of your
impressions change – does something look different now than from far away.

Try to catch a smell? How does it smell? Slowly stretch out you hand – try to touch it. Does it let you?
Touch the clothes, or its skin or its hair. How does it feel soft or hard, warm or cold – rough or slimy?

Now say hello. Ask it for its name. Does it answer?

Okay – now I’d say take some time to write down the name and what you remember. Feel free to go
back into the room and take another look.

Exercise 5: Give it a mind [ca.25 min]:

Imagine for a second- you’re in the head of your creature or character.

If possible: excluding the obvious like food or going to the toilet - when your creature wakes up in the
morning. What is its first thought, its burning desire? What does he need or want?

Write down the first thing that springs to mind - no matter how nonsensical it seems.

Describe form your characters point of view how it’s trying to obtain that? What stands in its way? On
the way there: How do things look, smell and feel to it considering it’s maybe special cognition and
senses. How does he feel about that in its special mind? – What are emotions or spontaneous
thoughts it has along the way?

Again just start and try to move on without too much thinking.
Exercise 6: Give it a tribe [ca.35 min]:

Imagine your characters family and friends, father, mother, wife, daughter, son, its cousins, its lover,
its teacher, his wok buddy or fellow warrior and so on sitting around a campfire or dinner table. Write
down what they say about it.

Write a dialog. Take a line or two to introduce the character who is about to speak for the first time.
What’s their Name - How do they relate – How do they look or feel?

What Opinion do they have about your character? Do they approve or disapprove of its behavior? Do
they like or dislike it? Do they wish it was here or him to stay away?

Reflexion:

So why did we do all this stuff today – this imagining and the quick writing and so on?

Well as some of you might already know the basic ideas of these techniques is to trick our rational mind
and force us to use other means of creative thinking. Or better to avoid patterns that are already deeply
ingrained in our thinking.

Also of course to silence the inner critic. The ordering, but often tyrannical rational mind that screams for
it to make sense and too be right and proper – this is not a problem in itself – after all we want our stories
to make sense – but when this aspect of the psyche is too judgmental right from the start it might
interfere with your creative exploration and block you.

There is this dichotomy at the heart of the creative process of creating and then looking at what you have
created and judging it. And then create anew and judge it again. It’s a process. When you try it to do too
much at the same time you kind of stumble over your own feet.

So today was kind of all about the first part of this process. Really just trying to listen to yourself trying to
explore.

But this is waste of time I hear you say. Well I actually thought so too back in the day:

When I had my first introduction into these techniques I didn’t really see the point of it and to be honest –
I have always been very rational working from constructing. That’s probably why I chose to write
screenplays over poems – because screenplays are above all structure.

I was reading how to books and was always trying to learn all that stuff and understand the patterns
consciously – and because I was always interested in why these patterns work and Archetypes and so on
I could also teach classes on this things. I like to know why certain things work and why not.

But recently I noticed there are more I understood the more I got bored by my own stuff – I mean yeah it
often has some clever twist to it and is structurally sound but I found that the flow experience and the joy
of writing was always connected to exploring something I didn’t already know.

I slowly came to the conclusion that I was missing something – something I lost along the way – while my
rational mind could better deal with the concepts – I got slow and more unproductive – I could work on
something way faster because I could order it better … but at the same time – I had no energy or
enthusiasm to do it because I kind of always knew the outcome beforehand. So in a sense – writing
became tedious work of the rational mind. Like doing your taxes.
That’s why I think after a few years that there is a point to this stuff after all. To playful exploration – that
nowadays often gets trampled by our ideas of efficiency and the age of the expert – where we kind of
know too much about how the sausage is made and we think we are clever enough to construct it all –
and plan it. When we are so clever why do most movies still suck? I say they suck even more than when
we weren’t that clever.

It’s because we might be clever – but where not wise. And there’s a difference. I think I’ts humility – to
accept that we might still not know everything and we have to listen to something else that is older and
wiser than we are.

I however believe that we are in luck. I think evolution was a long and painful process, but it left us with
some wisdom. Imagine that life comes up with variables … all of them are “ideas” on how you could live in
the world –only the good ideas survive.

Lungs to breathe on land – pretty good idea – an immune system – pretty good idea – prone to horrible
super cancer. Probably not the best idea. There has been a lot of testing of these ideas. And the best ideas
have been all coded in DNA and stored away. All new Ideas are built on old foundations. There is a lot of
cross-wiring – but we have to work with what we have … and I believe hey – if it ain’t broke don’t fix it.

As much as this is true for our bodies – the same can be said of the stuff our mind is made up of. And it
worked well for all of this time – more or less. The best ideas of 3.8 billion years all stored away in a
library that we carry with us – in our DNA.

We think of the rational mind as the new shit – as something really sophisticated and we think of
everything else as being really primitive, just because it’s old. But the truth is. It’s the other way around:
the other stuff has through a lot more and has been honed to perfection.

All that stuff that just works without us knowing. Our body, heartbeat, breathing, muscle movement,
hand eye coordination and so on, but also our thoughts are determined by older scripts. The stuff you
have control over is actually very, very limited. I mean try to consciously manage your liver for a day and
see how far you get.

Oh you arrogant rational mind. You think you’re hot but you know nothing you’re the new kid – you’re
the buggy new operating system. – You’re not fuckin’ dos. Be humble.

The rational mind is however not useless … I didn’t wanna bash it to much … it’s actually pretty cool – but
think of the rational mind as a debugger. He comes in when something isn’t working. When we have to
understand what happened and maybe rewrite some of the behaviors we exhibit. It’s an editing tool.

So we are aware of archetypes nowadays – and one might think neat little invention. But really we didn’t
come up with them. The same is true for some symbols or metaphors and even colors seems to be coded
in our evolutionary history. This is not all social construction.

For example – most people are somewhat afraid of snakes – and it is easy for someone who is not afraid
to acquire that fear. It is much harder to train someone to be afraid of a marshmallow. Some might say –
that’s because snakes are dangerous. Which is of course true – it is rational to be afraid of snakes. But
there seems to be old circuits under all that new wiring that just retained an inherent fear of snakes
because they were our primary predators when we were still little monkeys.

So using a symbol of a snake in a book is not learned behavior. It will always invoke a reaction –while a
marshmallow has to be build up to be a treat and probably as big as a skyscraper. So a snake might just
appear to you when your subconscious works overtime to find the right symbol – while you might not
have an idea of what a symbol even is.
In the same vein categories like male and female and the idea of the divine child – or the shadow – are
more expressions of our psychological set up than completely invented by culture. Because they have
been with us from the beginning of our species and even before that.

So when we do random stuff like we did today – we actually try to listen to our subconscious. As we
would when we remember a dream. Since we as humans are pattern searching creatures, we will always
produce a pattern.

But when we step out of our rational might we might find new patterns or better old patterns – we might
not understand how they connect … but they can be very powerful and ring a bell somewhere deep inside
of us – while our rational mind might not be able to explain why.

So in order to make your work richer with meaning – or find surprising connections – come up with a
solution for a problem you can’t solve rationale but only by intuition and a eureka moment … trust your
subconscious to do the work for you.

Trust that evolution already found an answer to your problem today.

---

Let’s just quickly go through the idea behind the exercises if you like.

So the first one :

Exercise 1: primordial alphabet soup

Was really just all about directly reaching in your subconscious. So whatever is going on there – without
input from the outside – we could have a raw look on what’s going on under the hood.

Exercise 2: Prompt evolution

Was based on the same idea of not getting any input, but by choosing one particular word or phrase to
focus in more on something that might be especially interesting to you right now.

Exercise 3: A list for land

Again was trying to not let you edit too much by using a list and just write down random chunks. At the
same time a first attempt to find images and emotions - to concretize a more abstract text. Maybe into
something that can be seen felt and experienced physically.

Exercise 4: Give it a body

In this progressive way I tried to add physicality to a character – creating a protagonist. Not however
from the inside out – constructing it to serve as a narrative agent – but from the outside in – to
experience it first with the body. Again taking out the rational and go with the sensory.

Excersise 5: Give it a mind

The Protagonist now embodied - can act. He wants something and something is standing in it’s way.
That’s the very way our perception is organized – we focus on our goals and ignore what is not important
– we’re not objective at all. And this maps perfectly on story structures.

We try to get a better understanding of the inner mechanics of our protagonist.

Exercise 6: Give it a tribe

Human beings are social creatures and that has been ingrained in us through evolution. Our thoughts are
organized by social categories. We have Archetypes that live in us. The Oedipal mother the tyrant father.
Our shadow. And so on – these archetypes represent psychological mechanism as well as they represent
actual people.

This was an attempt to ground your character in a social web and at the same time see his inner
working hang ups and neuroses that this social web produces.

Class 11.10.2018 - ENVIROMENT

Introduction:

Okay so yesterday we did try to listen to our subconscious – we did try to come up with interesting
ideas and material. It was all about not judging it. We came up with random variants of characters
and worlds.

In a sense random like - evolution. Like life comes up with random creatures. So I secretly called
yesterday’s class “life”. But what is missing in the process of evolution.

Any ideas? --- Right. Environmental pressure. The thing that kills you. So today class is secretly. Well
not so secretly anymore - called Environment. Yesterday it was all about listening to your inner voice-
today we bring the judge back – the rational mind and outer factors will be the focus today.

Also I gonna tell you what we’re going to do beforehand – because yesterday you shouldn’t be
tempted to look for some kind of outcome. Today that is different.

Today we continue the evolution – we will utilize the characters and the material form yesterday -
don’t worry we will not read your secret texts.

In a flurry of time restrain, cooperation and competition. Your variants will be pitted against one
another and will be extinct. At the end only one story will survive.

---

But before we start let’s talk some more Evolution. You know the leitmotif you’ve been hearing so
much about.

When we think about creativity nowadays it seems to be this lofty concept of some Brooklyn Hipster
sitting in his apartment and making shoes out of old Barbara Streisand Records. That’s so creative.

Companies say they want it - for innovation and such. But not really. Because creativity actually is a
trait, which is rarely useful if everything is set up – and everything works. You want people who do
what they’re told. Creative people don’t do that.

In our culture it’s often romanticized as something everybody strives to be. But other than in creative
fields that are occupied by artists it seems more like a hobby. A nice to have.
But if a trait like creativity is just nice to have would evolution not got rid of it – something that takes
time and energy when you could have been out hunting – you paint neat little pictures in a cave.

The truth is the trait creativity is essential to our survival. It’s a problem solving strategy that we
somehow lifted from the principle of life itself. Trying variants sticking things together and see what
they do and explore yes – but other than life we don’t have to randomly create variants and then
wait for the environment to shift. We can actually tackle a problem – that already exists.

In a weird ironic twist on my leitmotif – Evolution - Evolution has ingrained its own process in us.

Our ability to come up with new ideas – like life – that’s our creative mind. And our ability to kill of
ideas –we simulate them and we judge them. That’s the environmental pressure we anticipate with
our rational mind.

So creative work is a constant back and forth between the creation of ideas and them being judged
and killed off if deemed unfit. One could go as far as to say. It’s evolution.

But creativity – in order to be useful has to be directed to solve a problem. To solve a problem you
first have to see that there is a problem.

What is a problem?

Assume most of the time you go through your life in blissful ignorance, uninterrupted by the pesky
chaos that surrounds you at all times. But you don’t care cause it ain’t getting in your way. Suddenly
something appears in the high grass, which disrupts your plans to survive and propagate. This is an
obstacle … the problem is how to get around it to your goal. That is a very narrow frame you put on
your creativity – you will not paint a picture or write a song in this situation.

But your mind poses a question in front of you … how to circumvent this specific situation? You look
at what you want – what is in your way and what tools you have at your disposal… then you come up
with a solution and then you act on it.

Creativity here is focused like a laser beam on a specific problem that has beforehand been defined
by our rational mind. By putting a frame in form of a question around it makes your creativity
narrow- your reasoning narrow – but it limits the processing power you need - it’s often quicker and
more effective to work that way, when you have a task on hand – when you’re under pressure.
Those deadlines you know.

I think that’s a good way to think about the difference between Art and Design. Art is an exploration
of possibilities, variants that come from a deeper place – that carry wisdom and beauty. That build a
bridge to our lost soul. Design is a very directed use of creativity for a specific goal defined
beforehand. It’s beautiful in its pragmatic efficiency.

Good Design can however be art – when the designer was able to contact his inner wisdom and Art
of course has elements of design the second you consciously try to match the form to content or
send a message and so on.

It’s really never that clear-cut.

However the „questioning method“ – that is to formulate a question, that you want to have
answered and deriving more question from that that structures the whole creative process very
tightly is more a function of reasoning – a function of a rational mind.
It is far better suited for problems that are known unknowns – as Donald Rumsfeld put it - problems
that you can clearly see in front of you and properly formulate the question to be answered, but you
don’t know the answer yet … artistic exploration however is better for the unknown unknowns –
things you cannot conceptualize just yet – so you have to see what your subconscious has to say
about them.

 That’s the weirdest thing but it seems that we as humans have to be able to articulate
problems/ and concepts in drama and art before we could really conceptualize them
rationally and have them as categories … so it seems that our rational mind is really taking
the credit for the hard work of our subconscious.

The questioning method

works a bit like the scientific method --- you formulate a problem – then you come up with solutions
and you question the solutions some more … in a sense falsifying them, till something sticks. That’s
what an editor would do with you. Question the shit out of you.

Today we will try to utilize this “questioning –method” as much as possible!

 Identify an obstacle to the goal - [for example: Good Story]

 Pose a concrete question – framing the problem.
 Create variants of possible solution [Brainstorming]
 Run a simulation – pose more questions
 Choose the idea that works best - or - create a new tighter frame with new criteria
 Rinse and repeat

Example:

 A policeman character is unlikable.

 How do I make him likable?
 Introduce another character he can care for/ give him a skill that makes him admirable/
make another character the protagonist
 Another character would serve no other function and complicate the plot/ he is supposed to
be a Joe Schmo – special talents don’t fit that character/ there is other characters that might
have a more interesting angle on the story
 So who would be an interesting Protagonist instead? He has to be likeable.
 [ now it’s no problem if the policeman character is unlikable – maybe he is a minor
antagonist]

You have successfully redefined the problem.

Just as a final anecdote – you might have heard about:

The writers of breaking bad made it a rule not to change the story how we did just now … the
purposefully wrote themselves into a corner – Walt was in a bad situation and they as he had to
come up with a creative solution in the framework of Walts abilities and tools he had at hand to get
out of the situation – they forced themselves to find creative solutions to problems instead of
reframing the whole thing or simply go with lazy deus ex machine. In this way you can also get rid of
stereotypes and tired tropes – when you take the situation serious enough to not change it to make
it easier.

You see how successful they were. That’s is the power of creative limitation!
So let’s start with the practical part:

Today the rules are a little different:

 Today we actually try to make sense! Hardcore sense!

 We will work on the texts you produce together. So nothing is secret!
 In all exercises there you can revise! You’re encouraged to! That’s why we have laptops!
 Still it’s all in good fun okay – please no tears 

Today is all about not thinking too much once again – but this time it’s all about reacting!

Exercise 1: Patient Zero [ ca. 35 min]:

Well for the first game partner up with someone.

Imagine your character from yesterday fell sick. It has to cross the entire “city” or whatever to get
to the hospital or shaman in time. But more and more symptoms are showing.

Both partners please make a list of 5 Symptoms [5 min.] – that would make it harder to get to the
hospital. Without killing or crippling our Patient zero permanently.

The story starts for the writing partner with the first symptom. Without reading the text the Plague
bringer throws in a symptom at random intervals. To the writer please take the situation serious – do
not use deus ex machines or random events or secret superpowers to help your patient out.
Only what you have established so far.

When your guy makes it to the hospital you swap places. Or after [15 Minutes]

To be fair tell your partner, when your character for example is a chair - or a magical creature or
something like that … so he can think of symptoms that would apply!

What transport can he use in this world? Would he use it with these symptoms – does he not want to
be embarrassed or infect others – or does he not care?

Exercise 2: Scientific Method [ca. 35 min]:

„Imagine you are physicians. Patient Zero tells you the story of how he got into the hospital. But like
Dr. House you know „Everybody lies!“ Find inconsistencies in his story and ask the patient for
explanations. „

Please form teams of 2 people

Read the story of the other – make notes [ 10min]

[ 10 min each story]– 1 Doctor is asking Questions and the writer of the story – the patient -
explains. Those who do not provide a convincing story will not have insurance and must go home and
die.
Please rewrite the text when you answer.

What we learned!

 This is more of an editing game than an actual writing game, but I realized doing this exercise
that when asking critical question towards the system of the world we created – you can
force yourself to ground the world in consistent logic – maybe examining the rules and why
they are there.

When the protagonist is supposed to act dramatically in this world [ or in general] there
needs to be a systematic approach. Otherwise the audience cannot anticipate behavior and
dramatic stakes. The audience cannot orient itself in this world and the narrative and loses
interest. So having an outside voice questioning the world at this point makes a lot of sense.

It helps to make you think about mechanics that might be important to the next game or for
later use as a literary universe.

Exercise 3: Chain Reaction [ca. 80 min]:

We start with 4 stories -> we form teams of 4 people [combine 2 2 people teams]!

Please read and familiarize yourself with the text of the other team!!! [10 min]

What we learned!

 We use the universe as it was established so far with it’s rules and specific features!
 We work on one Lap Top!
 Standing up!
 We read along while the others are writing so we can switch position without delay.
 We Use a big fond to ease reading along.
 We might as a variant use the 1st teams character -> in the second teams world – instead of
playing the game 2 times!
 We take our roles seriously and try not to encroach on the other players “area of expertise”.
 The order is – the Protagonist begins and together with the antagonist creates a situation-
which destiny resolves - than chance introduces a new element – and the Protagonist reacts
to the new situation!
 The protagonist might get the last word … that isn’t quite fair, but it rounds out the story
nicely – not to end on the chancepart feels unfulfilling story wise. Having the protagonist
have the last open ended reaction – or- a chance to tie it up - feels more natural and elegant
in storytelling terms.
 When you play this game [ and “It’s a Trap”] outside class with less time restrictions – you
can take it a bit more serious and learn in detail about the other teams world. That might
figuring out a way a real challenge in reasoning.

„The plague spreads. The City has been infected with the sickness of your Patient Zero – the final
Symptom Murderous Rage. A „ 28 Days later“- Scenario. Our Patient, now cured, wants to leave the
city. But that’s not as easy as he thought.“
The teams from before please come together again. But this time – you play against each other. One
of you will be the protagonist, antagonist and one will play the role of destiny and one the role of
chance. We draw lots for it.

The protagonist wakes up in the hospital. It’s the „Zombie“ Apocalypse out there.

The Character with all his known skills and weaknesses must try to survive. All three will be put on a
rotation. In intervals of [ 2 minutes x 4] each you write your part directly in the text – we exchange
writers 4 times total.

The protagonist wants to run, the antagonist wants him dead and the destiny keeps the balance:

For example: Can he make that jump when he weighs around 240 pounds? Destiney decides – did he
just imagine the jump and now falls face first into the alley.

Does the „Zombie“ catch up to him or does one of the symptoms cripple the zombie first … again
destiny decides. Protagonist or antagonist are not allowed to make life or death decisions destiny
decides whether the kill is final.

Chance may introduce new and random elements – to stir up the situation!

Who was very eager on the first exercise might have an easy way out cause the illness might restrict
the Zombies to much. But maybe it’s too easy and there is no conflict. Here the Antagonist has to
step up: How are the Zombies still dangerous?

[5 min break]

 WE REPEAT THE SAME PROCESS FOR THE OTHER STORY WITH SWITCHED ROLES ->
 Protagonist and Antagonist switch Roles with either Chance or Destiny!

The story in which the character dies – dies!

Exercise 4: It‘s a Trap [ca.60 min]:

Now teams play against teams. Cooperation and Competition in just one game.

„ Your character has (hopefully) escaped the city alive. Sadly the people in the countryside are
cannibals as usual. They lure your character into a trap – from which there is no escape.“

Then they see a wanderer – a stranger coming into their land a snack. ( Remember to make these
cannibals very much people of your land)

They don’t know him – his abilities or his tools – only what the y can gleam from the Spyglass.

Team – please describe to the other team what your character looks like and carries! [ 2x5 minutes]

NOW! Every Team builds the best trap it can think of in its own story world!

LIMITATIONS: You can’t use anything that hasn’t already been introduced in your world!

 We don’t have time to check, but be fair –it’s not about winning, but about challenging
yourself as writers- so writers honor!
Now start building your Trap! [20min]

So done? Now change Laptops!

The other team will now try to escape [20 min] – considering the skills the character has – what he
knows- what tools he had on him or that he finds in the trap and so on! Really think about it! Find a
way the other team didn’t think of!

Your character gets the Breaking Bad treatment. – Try to use the questioning method and really
falsify every idea that doesn’t stand the test.

When you think you’re ready - there is no way the can hold you – hand the Lap top over to the other
team again.

They have a chance to examine your plan [5 min] - if you were wrong – and they find you couldn’t
have escaped that way – you are done. You’re dinner!