How to Create Non-Combat Encounters

How to Create Great Non-Combat Encounters

by Tony Medeiros

Struggling to create great non-combat scenes in your game? Non-combat encounters can be just as memorable and dramatic as a good, meaty fight. The best non-combat encounters are inspired by the bigger story of the adventure, and create excitement and dramatic tension in the scene.

One of the best ways to create great non-combat encounters is to start with campaign or story seeds, choose one or two types of classic non-combat encounter types, and connect them together. You're about to learn how to do this and then practice your newfound storytelling talents.

Identify Story Seeds

Campaign Seeds by Robert Ferency-Viars and Johnn Four tells us there are four key ingredients to creating a memorable, immersive campaign. The same advice holds true for all the mini-stories – adventures and encounters – within the grand arc of a campaign.

To create a great non-combat encounter, let's first identify the adventure components you will draw inspiration from. From Campaign Seeds, here are four of the best story elements to identify:

Villain: Rat Bastard with a goal.

Milieu: Interesting setting with a cool name, a great concept for adventure, and 2-3 notable NPCs who will stir the plot.

Stakes: PC goals and what happens if they fail? Make it personal.

Left Hook: Knock'em off their chairs.

Villain

First, identify and understand your adventure's villain. What are his personality traits, goals, connections, strengths, and weaknesses?

Make a note of each characteristic in clear, one-sentence summaries.

For example, Rayne speaks plainly, if not sarcastically. Rayne's goal is to become leader of the thieves' guild. She knows almost every arms and magic dealer in the city, and is an especially talented burglar with a weakness for high-profile art.

Milieu

Next, identify the adventure's setting. What is the iconic theme, flavor, or feel of your adventure? Similar to last month's Puzzles as Story feature, skim the adventure for clues. General or specific, one or multiple, pick as many as you'd like to work from to create non-combat encounters in the next section. Basic themes are easier to work with, as they're usually just one word.

For example:

Horror

Mystery

Romance

Imprisonment

Betrayal

Revenge

Murder

Or you might want to describe your adventure's theme with slightly more layers from the start. As with villain qualities, stick to a one or two-sentence summary.

Focus on a Problem => Action => Factions.

For example, "Fighting crime and corruption in a lycan-infested port city." Or, "Fighting back the undead plague while avoiding or preventing the Church's extremist response."

Stakes

Next, what are the stakes of the adventure? What must they accomplish? What happens if they fail? If the party is killed or captured in the adventure, who is harmed most and who benefits most? How exactly? What specific tragedies, losses, wins, or advances do the key people of your adventure experience?

Think about the NPCs, places, and things the party cares about, and their connections. Think beyond death or destruction. Think change in quality of life. This makes it personal. Do the same for your adventure's villain.

For example, a plague sickens the workers of the party's benefactor, who can no longer safely keep his shelter for the poor open. The villain uses this distraction as an opportunity to send his best burglars to the benefactor's home to steal his latest delivery of precious paintings.

Left Hooks

Finally, in Faster Combat, we show you how twists are vital to great encounters. Think of the left hook as a surprise story punch. What secret knowledge or major event significantly changes how the party views the rest of the adventure – its villain, milieu and stakes? For example, the NPC helping the party fight the corrupt officials of the city is secretly the scorned child of the Lord Mayor, after vengeance and power far more than justice.

The best part of identifying the left hook of your adventure? Non-combat encounters are the perfect way to deliver epic story punches.

Choose Classic Non-combat Encounters Types

To create great non-combat encounters, focus on exploration and interaction sequences in your adventure. Consider this your go-to short list of memorable and engaging non-combat scenes:

Exploration - Search for Information - Find Clues or Evidence

Interaction - Influence NPCs - Interrogate, Negotiate, or Threaten

When exploring in an adventure, what is the best information to look for? The kind that solves an important story question or mystery. Whether the party searches for clues as to who constructed a solid gold sarcophagus hidden behind the Church's smallest city temple, or is looking through a ledger to find inconsistencies to implicate a politician in a human trafficking ring, solving these questions or mysteries are game-changers. The party learns something critical, something important to key people or factions in the adventure. This leads to more burning questions and meaningful actions based on this new information.

For example, now that the party has determined the golden sarcophagus was crafted by the stone giants to the north, will the party question the clerics about the stone giants' involvement in the sarcophagus' creation? Or does the party decide they don't trust the Church to speak the truth on this and head for the mountains to confront the giants themselves?

When socially interacting in an adventure, there are three major ways to deal with NPCs: interrogate, negotiate, threaten.

Think of interrogation or asking questions as a neutral approach, where the party still searches for information (see example above).

Negotiations and threats are best when the party already has a specific or damning goal in mind. They've learned enough or feel strongly enough to influence an NPC's response. The party wants something and will make a reasonable deal with the NPC for it. Or, the party has learned a vulnerability of the NPC and threatens what the NPC values.

For example, the party questions the stone giants and manages to convince them to help the investigation. The party learns Astinus Cane, the Plaguebringer, cannot be killed due to some miracle – or curse – from the gods. But, centuries ago the last Plaguebringer was successfully sealed away in the Golden Tomb. The party also learns the current Plaguebringer is heading into the mountains to bring plague to the giants next. The party decides to make a deal with the giants. The giants agree to let the party borrow the sarcophagus' keystone, which defeats its wards and releases it from its magical anchor. In exchange, the party agrees to distract and prevent the Plaguebringer from heading into the mountains to spread the plague to the giants.

If Then

Finally, a great way to get comfortable with your first search and influence non-combat encounters is to use if-then statements to summarize them. Create story branches, paths, twists, or turns – think Choose Your Own Adventure books.

For example, if the party questions the stone giants, then the party learns Astinus can't be killed, but he can be sealed away in a golden sarcophagus hidden near one of the city's temples.

Match Seeds to Scenes

With your story seeds identified and your non-combat encounter type selected, it's time to match them up and create specific non-combat encounters. Much like Puzzles as Story, create logical, thematic associations. Your goal is to bake or reinforce story elements inside the framework of your non-combat encounter.

Here are example lists of seeds and non-combat encounter types and how they might connect, inspired by Dead Men Walking in the Campaign Seeds book.

Story Seeds

Villain: Astinus Cane the Plaguebringer.

Milieu: A war-torn, plague-infested world of undead soldiers and the extremist Church.

Stakes: The party must survive the plague, undead, and the Church's attacks. They must get the cure from Astinus Cane's Book of Dreams before the plague kills more crops, animals, and people, or worse, brings the fallen back as undead.

Left Hook: The Church hires a special agent known as The Accountant to deal with Cane and the undead horde. The Accountant sometimes cooperates with the PCs, and unintentionally complicates their efforts at other times. Ultimately, he betrays the party and the Church, as he is secretly employed by Cane's master, Golganth, arch necromancer and the original owner of the Book of Dreams.

Sample Story Seeds and Non-Combat Encounter Types

Interaction: If the party questions the acolytes of the most run-down Church temple in the city, they learn that years before he became the Plaguebringer, Cane used to visit a grave behind the temple.

Exploration: If the party explores the small graveyard behind Temple Dawn, they discover a gilded sarcophagus buried underneath the gravestones of the Cane family. If the giants directed the party to the sarcophagus, then the party can use the keystone to release it and search it. If the party doesn't yet have the keystone, then by studying the gilded sarcophagus they identify it as stone giant crafted.

This is how you create and connected story seeds and non-combat encounter types. Also note how exploration and interaction sequences can flow smoothly in and out of the same encounter or lead to related encounters.

Activity: Rewrite 1 Seed, Create 2 Encounters

It's time to practice this approach. Let's continue to work with Dead Men Walking from Campaign Seeds.

Review the following two questions, read the full seed excerpt below them, and then post your responses here for comments and feedback.

1) Review the four classic story seed ingredients in the Match Seeds to Scenes section above. Choose one (villain, milieu, stakes or left hook) to rewrite. What changes did you make and why?

2) Create one new Exploration encounter and one new Interaction encounter. Refer to the information in the Match Seeds to Scenes section and the full Dead Man Walking seed below. If you get stuck, use more if-then statements.

Dead Men Walking

Astinus Cane, apprentice to the arch-necromancer Golganth, has stolen one of his master's grimoires, The Book of Dreams. He intends to raise his own undead army and set up a power-base on the northern coast.

The PCs, serving in the military, have just engaged in a battle between two kingdoms. Having been incapacitated during the fray, they wake to see the field littered with thousands of dead. A black-robed figure moves among the dead, chanting, as corpses rise to serve their new master.

The PCs are infected with a deadly plague, a side effect of Cane's dark magic playing over the battlefield. Those who succumb to it will rise as undead. The only cure lies within The Book of Dreams.

The Church activates a renowned witch-hunter, The Accountant, to deal with the mess. Golganth sends the Unholy Five to kill Cane and retrieve his book.

More Non-Combat Missions

There are many other opportunities to create exciting encounters with zero combat. Once you get comfortable with the classics, here's a sample of non-combat-friendly mission options from Faster Combat you can experiment with.

Note the common threads of exploration and interaction throughout.

Acquire

Break or Destroy Item

Commandeer a Vehicle

Deliver

Distract

Escape Destruction

Establish Truce

Force Surrender

Infiltrate

Reach Before Enemy

Seal Away

Seal Off

Steal

Stop an Event

Survive

Trap

Trick

Need more encounter design help? Check out the 12 Design lessons in the Faster Combat course or ebook.

No Time for Fighting

You're now ready to create story encounters in your game! You've learned how to identify and connect story elements and classic non-combat encounter types to create engaging encounters in your adventures.

A Fechtschule in the 16th Century

A fencing-master who wanted to give a "fencing school" first had to demonstrate his qualification as master of the sword with the municipal council of the city in question and apply to be granted the use of an open space for the purpose.

If permission was granted and the day and hour set, then he could proclaim his intentions at the city’s Rathaus by posting a notice.

On this notice the letter of privilege of the Marxbrüder was generally printed–if the fencing-master belonged to that society–and the Free Fencers of the Feder1 were invited to appear in force to measure themselves against the Marxbrüder.

Although the Federfechter obtained their first letter of privilege from Rudolph II in 1607, this society had been acknowledged as of equal standing long ago, and their masters of the sword could also obtain permission from the city authorities, even though the Marxbrüderschaft did everything in its power to make their fencing schools impossible, because they encroached upon their privileges.

Under the notice of the master of the sword whose school we are going to describe was written:

"Whoever wants to see this art should come up to the Golden Star, About two hours before noon, and he will find as much room as he wants."

It is spring, the sap has risen in the trees, blossoming branches hang down into the streets. And as the gnarled branches feel that it is time to stretch, to expand and to grow, so too the young people are driven outdoors by a feeling of strength; they want to measure themselves against one another in combat. The birds sing their spring greeting from the branches into the blue air, the girls walk up and down in threes in front of the houses, giggling and waiting for their friends and neighbors. Everyone, everyone is lingering in the streets, for soon the players are to come by as the head of the procession of fencers which the onlookers will join. But anyone who wants to have a good place has to go on ahead.

Finally, the familiar melody of the city cornet players rings out from the Rathaus tower, and immediately drumbeats and piping are heard. There they are already! The boys greet them with yells of delight. First, the constable of the council, and the groundsmen with leather Dussacken, then the players and a troop of fencers, then a young boy with the parade sword, then a grey-bearded servant with a red velvet bag, heavy and well-filled, which a patron of the one holding the fencing school, a count living nearby, has sent so that prizes of two gulden can be given to the victors for inflicting a wound.

Behind him, the fencing-master paces proudly, the image of strength and agility. Then, another procession of fencers and finally the servants who are carrying the fencing weapons. All find themselves in the midst of a swarm of boys who run ahead of the procession and then allow it to pass by them again–now imitating the powerful steps of the greybeard, now mocking their acquaintances who are passing by so solemnly, teasing one, pulling another by the doublet, singing mocking verses about those who hesitate, overflowing with youthful high spirits.

The groundsmen had already had to intervene a few times because the procession was being held up by the boys, i.e. they had taken their leather Dussacken in their hands and made as if to strike out with them–but where were the boys now? Far ahead!

A festive mood everywhere, lifted by the colorful garments of the holiday and the clear blue sky, and in no way clouded by the fact that three surgeons with the tools of their trade have joined the procession and hope to earn good money today.

Meanwhile the procession has reached the appointed place. A large courtyard strewn with sand, surrounded on three sides by spacious buildings and closed off on the fourth by a board fence, behind which the boys’ heads can be seen; they have already taken possession of their ancestral free seats. They peer over curiously; sometimes one of the tow-headed lads vanishes–he had to give way to a stronger who now occupies the empty space.

The city council, a few exalted personages and "all womanhood" sit on chairs and benches which have been set up in the broad curves of the pathways, while the populace, who paid little or nothing, takes up a position behind stretched-out ropes.

The city constables stand alongside. A drum roll resounds, the servants carry the weapons into the space and spread them out on the ground according to the master’s directions, and he takes up an ornately decorated staff, the sign of his standing.

He swings the staff around his head and walks all around the space, passing by the council members; he bows deeply, then when he reaches the middle he stretches out his sinewy form, leaps back and forth, threatens with the staff and shows the agility of his body.

The players play a piece while he catches his breath. When it is over, he strikes the staff against the ground three times, the drummer plays–then silence falls. And now the master opens the Fechtschule with a loud, penetrating voice:

"Through the power and might of the Imperial Majesty of our all-gracious lord, whose privileges and freedom have been graciously granted and ceded to me, Peter Hauer, Master of the Long Sword, with the permission of the high council of this city, to set up a free public Fechtschule, with all knightly weapons present here in this place:

"So then, let all good fellows who are here present and have learned the knightly art of fence and are experienced in it, and who intend to bring joy and entertainment with due submission to the high-born gentlemen, the honorable company of knights and all the ladies with their skill, come forward unhindered to fight for the established prize, to keep the fitting passages of arms according to the honorable ancient custom of fencing. And I am minded and determined to keep myself unprejudiced towards all such good fellows, as befits an honor-loving master of the longsword, and to guard and protect them against and in opposition to arrogance and impropriety."

"Yet all men should know what is to be forbidden in this fencing school, such as Ort, button, point, Einlauff,2 breaking of an arm, violent push, reaching for the eyes, stone-throwing and all dishonorable devices which many no doubt know how to use, but I cannot mention them all, and have never learned them; and let no one strike either above or below the staves.3 Guard and protection is to be extended to each, as well as to all the rest, and likewise I wish to request that if two of you bear hatred and envy towards one another you will not fight it out in this school, but where it has power and might.

"And if one or more good fellows are present (excluding the noble order of knights, which I have no intention of dishonoring) who might desire that the combat be for money or something worth money (regardless of the fact that I have not much money), or for a good blow, dry or wet,4 that they should come forward in good heart and spirits following the custom of the justice of the sword, and set to freely, do not spare their swords, but their own fingers, and strike between the ears where the hair is thickest, and strike me too, seeing that I am also a good man."

This long opening was supported by drumbeats during the important sections. Thereafter, at the repeated urging of the fencing master, young apprentices and also men of more advanced years come onto the field, put aside their cloaks, hats and weapons, and some also the outer doublet, and pick up some fencing weapon5 from the ground as they await an opponent.

But none of them wants to start; it is not hesitation or lack of courage–only that no one wants to be first.

Around the holder of the Fechtschule, who is a master of the longsword of the brotherhood of St. Mark, twenty Marxbrüder have gathered from the town and its surroundings, who wish to "offer their points" to the free fencers of the Feder; but since twenty-six Federfechter are present, so that they would have an advantage over the twenty Marxbrüder, after a short conference three Federfechter go over to the Marxbrüder to make the numbers equal.

Since no one has yet come forward, they "freshen" themselves for the combat with taunting rhymes, either sung or spoken. These taunting rhymes, as far as their content is concerned, understandably move within narrow confines; with almost identical expressions one’s own brotherhood is exalted to the skies and the opposing company is damned, or general remarks on swordsmanship, courage and other topics are repeated in bad verses.

After this, a beginning had to be made; the honor of the two fencing societies required it, and two stepped forward with longswords, just in front of the place where the council members were sitting: the Federfechter a young man with curly blond hair, tall and slender, and the Marxbruder, an older, powerful fellow with dark hair and a stocky figure, the former nimble and swift, the latter reflective, but not slow.

Scarcely had the Marxbruder taken up his stance in the rechter Ochs when the Federfechter struck a blow from the rechter Zorn, which the former countered with a Zwirch. But the Federfechter follows up swiftly from the Tag, while the sturdy Marxbruder drives up at the fists of his opponent with the heart of his blade, thereby weakening the stroke, pushing the man back and adding a long stroke which the blond fencer eludes by a powerful leap backwards.

There is clamorous applause after this bout, which is fought with great rapidity. Encouraged by this, the Federfechter presses his counterpart with the "defensive stroke." The other takes up the stroke on the long blade and simultaneously strikes with the short blade with a Zutritt, so that the point hits the head and the first bloody cut can be "confirmed" by the fencing master, who immediately stretches out his staff between the two. The blond man, for whom the first rote plume has blossomed, leaves the Fechtschule area through a small side door, accompanied by a boy, and enters a spacious room where the surgeons have already made all necessary preparations to meet the challenges which will confront their skill.

(There were no antiseptics in those days. People were satisfied with cleaning the wound, bringing the edges together as well as possible and bandaging up the victim, and the healing proceeded per primam.)

While the Federfechter meditated on his misfortune in the surgeons’ room and regretted his over-hasty ardor, the Marxbruder outside had received shouts of acclamation, the ladies had thrown a small wreath down to him, and the greybeard with the red silk bag had approached him solemnly and handed him the first four silver gulden, which he tucked away in his belt after a brief expression of thanks as money well-earned.

After the first pair, who fought alone, several pairs stepped forward simultaneously, this time with different weapons.

Two with long staves excited general attention by the skill with which they handled these long weapons, sometimes laying them on the left shoulder, sometimes letting them sink to the ground, striking swift blows, skillfully directing those which bore powerfully down on them to the forte and deflecting them.

Finally, one of them was careless and suffered a bump and a small bleeding cut just over the right eye, which earned his opponent two gulden; he followed the path which the first loser had taken.

The fights with Dussacken were lively, long-lasting and the most numerous, largely because there was no immediate danger of death. For the opposite reason, sword fights were rarer.

The fencing master and some Vorfechter,6 also equipped with staves, had their hands full separating heated fencers, who immediately stopped fighting when the staff was stretched between them.

Even if it sometimes may have happened that the fencing master held out his staff to favor someone when it was not strictly necessary to protect him, but only to prevent the other from seizing the advantage, yet the proceedings seem always to have been conducted with great exactness and justice.

The surgeons’ room was full by now. Fencers wounded by the sword had their heads bandaged and were sitting on a bench against the long wall, while the Dussack fencers "had great rising stripes on their faces and heads, so that at times they looked unrecognizable," covered their lumps with damp cloths and thronged together in a corner. Two of the latter were already prepared to reenter the lists, and were just discussing how they planned to be victorious this time. "Was sehrt, das lehrt,"7 as the proverb so rightly says.

A continual change in fencers kept the onlookers in a state of perpetual tension. There was particular applause for two Dussack fencers who made twelve passes without either of them being beaten, which of course did not cause the red bag to open in sympathy. But it had to pay out the promised prize without any battle to a giant, as tall as a tree, who stood there with his halberd and found no opponents.8

Suddenly there was a commotion. A furrier’s apprentice had offended against a prohibition by recklessly thrusting the pommel of his sword into his opponent’s face.

The fencing master took the sword from his hand and by throwing it down at his feet forbade him from taking up any weapon at all. The one who was publicly branded in this way crept away and was "soundly thrashed" in the gateway by some Federfechter and their relatives who had followed him [note: word for word according to the fencing-school rhymes of 1579], which of course was used by the furrier’s friends as an excuse to join in. The fist fight might have drawn even more people in if the groundsmen had not completely cleared the space with their leather Dussacken in a few seconds.

They struck out without mercy wherever they could find a mark, and people naturally withdrew from these blows, which were painful but not dangerous, inflicting only disgrace and mockery, with suitable rapidity. Finally, after the graybeard's bag has been emptied, the fencing master steps forward, in order to execute some bouts with one or two who might wish to do so, as he had already mentioned at the opening of the school.

He takes up a sword and gives his staff to one of the champions. A counterpart steps forward and faces the master, who initially tempts him forward by weak counterstrokes and hesitant attack and would certainly have done him some harm if the champion had not "brought down" the staff and ended the fight. A second and third opponent fare no better in Dussack fighting, and only the fourth gained the advantage over him in the rapier, because he was already overly tired.

The fencing arena has been cleared, the guests are departing, and the wounded, who have waited for the end, also creep towards their homes by side streets. But the victors and those who are not too badly wounded gather around a table set up in the courtyard to recover from the exertions of the day and to refresh their thirsty throats.

"The one who is lucky will sing in the evening," so says one of the Fechtschul rhymes, and indeed cheerful song rings out, given a higher blessing by the innkeeper’s message that the exalted patron has donated a keg of beer.

From Nordic Culture

Nine Charges from Odin:

1. To maintain candor and fidelity in love and devotion to the tried friend: though he strike me, I will do him no scathe.

2. Never to make wrong-some oath: for great and grim is the reward for the breaking of plighted troth.

3. To deal not hardly with the humble and the lowly.

4. To remember the respect that is due to great age.

5. To suffer no evil to go unremedied and to fight against the enemies of Faith, Folk and Family: my foes I will fight in the field, nor will I stay to be burnt in my house.

6. To succor the friendless but to put no faith in the pledged word of a stranger people.

7. If I hear the fool's word of a drunken man I will strive not: for many a grief and the very death groweth from out such things.

8. To give kind heed to dead people: straw dead, sea dead or sword dead.

9. To abide by the enactments of lawful authority and to bear with courage the decrees of the Norns.

Nine Noble Virtues

Courage

Truth

Honor

Fidelity

Discipline

Hospitality

Self Reliance

Industriousness

Perseverance

Viking Laws

1. Be Brave and Aggressive

-Be direct

-Grab all opportunities

-Be versatile and agile

-Attack one target at a time

-Don’t plan everything in detail

-Use top quality weapons

2. Be Prepared

-Keep weapons in good condition

-Be in shape

-Find good battle comrades

-Agree on important points

-Choose one chief

3. Be a good merchant

-Find out what the market needs

-Do not promise what you cannot keep

-Do not demand overpayment

Arrange things so that you can return

4. Keep the camp in order

-Keep things tidy and organized

-Arrange enjoyable activities which strengthen the group

-Make sure everybody does useful work

-Consult all members of the group for advice

History of the SCA

We in the Society for Creative Anachronism are very good at teaching others how to play our game.  We teach people how to dress, how to prepare for camping trips, how to make garb, armor, feasts, trim, etc...  We teach people how to fight, dance, and behave in formal settings (comportment).  We even teach how to run events, and how to run the organization itself to anyone willing to learn.  There are hundreds, even thousands of things we teach to those who are receptive.  

Ours is a club based on studying and re-creating history.  We talk to each other about our time periods, and how things were done by the Vikings, Saxons, Greeks, Mongols, and more.  Tales of Agincourt and peaceful ships full of Viking merchants are often heard around our campfires.  We love history!

By now, in its 50th year, the SCA has had time to establish its own history, myths and legends.  We have stories of epic deeds of arms, glorious battles, lavish feasts, shires with stolen treasuries, and even fallen Kings.  Every few months, I am notified, or read about the passing of a longtime member, or SCA—legend.  And with the passing of each one, we lose the SCA-history and stories known and witnessed by that good gentle.  These stories are important— all of them!  They are part of what has shaped our collective culture.  

It is paramount that we learn and pass on those stories before they become completely lost.  Just because a story about Duke So-and-so is not your story does not mean that you shouldn't learn it, and retell it.  We must keep those stories alive.  The bad/hard stories must be kept alive as well.  Think about the old axiom of those that do not study history being doomed to repeat it.

So, my charge to you all is this:  Learn the oral history of this organization.  Gather every story you can, and retell it often.  Tell it at combat practice; tell it around the campfire; tell it whenever you find an audience who hasn't heard it before.  And while doing that, encourage others to do the same.  I will tell you the stories of Albert at Pennsic V, if you promise to tell them to two more people on your own.  If the members of the Order of Chivalry are the guardians of the SCA, then it is incumbent on all of us to guard its history as well.  

Keep the history of the SCA alive!

This is exactly what I've been talking about!

I have been locked onto the idea of teaching innovation in our students. This article, with its links, is what I’ve been talking about. If you are curious about teaching innovation, something I believe is unteachable, this is a great place to start your reading. Current political rhetoric wants teachers to “teach” innovation. Hell, if I could teach it, I would! I can teach nearly any skill you can identify, but innovating is not a skill. I think innovation, like artistic creativity, is an attribute that must be fostered. We must provide the environment, resources, guidance and encouragement so that kids will “take the risks” that lead to, or become innovation.

http://ww2.kqed.org/mindshift/2012/08/27/five-ways-to-bring-innovation-into-the-classroom/

George Washington’s Rules of Civility and Decent Behavior in Company and Conversation

by BRETT & KATE MCKAY on JUNE 14, 2009

Respect. All men wish to have the respect of those around them. One man who earned respect from his comrades and his enemies alike was America’s first president, George Washington. Washington was known for his gentlemanly comportment. Some might argue that his formality bordered on being frigid. But his formality helped earn him respect wherever he went.

When Washington was just 16 years old, he copied by hand a list of 110 rules on civility that were compiled by 16th Century Jesuit priests. I’m sure the time Washington spent as a boy writing out these rules helped shape the magnanimous statesman he would become as an adult.

While some of the rules on the list are a little too stuffy, formal, and school marmy-ish for our modern taste, many of them are still just as applicable today. A man who practices these rules will definitely distinguish himself from the other cads out there.

George Washington’s Rules of Civility and Decent Behavior in Company and Conversation

(Note: The original spelling and punctuation was retained)

1.  Every Action done in Company, ought to be with Some Sign of Respect, to those that are Present.

2. When in Company, put not your Hands to any Part of the Body, not usually Discovered.

3. Show Nothing to your Friend that may affright him.

4. In the Presence of Others Sing not to yourself with a humming Noise, nor Drum with your Fingers or Feet.

5. If You Cough, Sneeze, Sigh, or Yawn, do it not Loud but Privately; and Speak not in your Yawning, but put Your handkerchief or Hand before your face and turn aside.

6. Sleep not when others Speak, Sit not when others stand, Speak not when you Should hold your Peace, walk not on when others Stop.

7.  Put not off your Cloths in the presence of Others, nor go out your Chamber half Dressed.

8.  At Play and at Fire its Good manners to Give Place to the last Commer, and affect not to Speak Louder than Ordinary.

9.  Spit not in the Fire, nor Stoop low before it neither Put your Hands into the Flames to warm them, nor Set your Feet upon the Fire especially if there be meat before it.

10. When you Sit down, Keep your Feet firm and Even, without putting one on the other or Crossing them.

11. Shift not yourself in the Sight of others nor Gnaw your nails.

12. Shake not the head, Feet, or Legs roll not the Eyes lift not one eyebrow higher than the other wry not the mouth, and bedew no mans face with your Spittle, by approaching too near him when you Speak.

13.  Kill no Vermin as Fleas, lice ticks &c in the Sight of Others, if you See any filth or thick Spittle put your foot Dexterously upon it if it be upon the Cloths of your Companions, Put it off privately, and if it be upon your own Cloths return Thanks to him who puts it off.

14. Turn not your Back to others especially in Speaking, Jog not the Table or Desk on which Another reads or writes, lean not upon any one.

15. Keep your Nails clean and Short, also your Hands and Teeth Clean yet without Showing any great Concern for them.

16. Do not Puff up the Cheeks, Loll not out the tongue rub the Hands, or beard, thrust out the lips, or bite them or keep the Lips too open or too Close.

17. Be no Flatterer, neither Play with any that delights not to be Play’d Withal.

18. Read no Letters, Books, or Papers in Company but when there is a Necessity for the doing of it you must ask leave: come not near the Books or Writings of Another so as to read them unless desired or give your opinion of them unasked also look not nigh when another is writing a Letter.

19. Let your Countenance be pleasant but in Serious Matters Somewhat grave.

20. The Gestures of the Body must be Suited to the discourse you are upon.

21. Reproach none for the Infirmities of Nature, nor Delight to Put them that have in mind thereof.

22. Show not yourself glad at the Misfortune of another though he were your enemy.

23. When you see a Crime punished, you may be inwardly Pleased; but always show Pity to the Suffering Offender.

Don’t draw attention to yourself.

24. Do not laugh too loud or too much at any Public Spectacle.

25. Superfluous Complements and all Affectation of Ceremony are to be avoided, yet where due they are not to be Neglected.

26. In Pulling off your Hat to Persons of Distinction, as Noblemen, Justices, Churchmen & make a Reverence, bowing more or less according to the Custom of the Better Bred, and Quality of the Person. Amongst your equals expect not always that they Should begin with you first, but to Pull off the Hat when there is no need is Affectation, in the Manner of Saluting and resaluting in words keep to the most usual Custom.

27. Tis ill manners to bid one more eminent than yourself be covered as well as not to do it to whom it’s due Likewise he that makes too much haste to Put on his hat does not well, yet he ought to Put it on at the first, or at most the Second time of being asked; now what is herein Spoken, of Qualification in behavior in Saluting, ought also to be observed in taking of Place, and Sitting down for ceremonies without Bounds is troublesome.

28. If any one come to Speak to you while you are are Sitting Stand up though he be your Inferior, and when you Present Seats let it be to every one according to his Degree.

29. When you meet with one of Greater Quality than yourself, Stop, and retire especially if it be at a Door or any Straight place to give way for him to Pass.

30. In walking the highest Place in most Countries Seems to be on the right hand therefore Place yourself on the left of him whom you desire to Honor: but if three walk together the middest Place is the most Honorable the wall is usually given to the most worthy if two walk together.

31. If any one far Surpasses others, either in age, Estate, or Merit yet would give Place to a meaner than himself in his own lodging or elsewhere the one ought not to except it, So he on the other part should not use much earnestness nor offer it above once or twice.

32. To one that is your equal, or not much inferior you are to give the chief Place in your Lodging and he to who ‘is offered ought at the first to refuse it but at the Second to accept though not without acknowledging his own unworthiness.

33. They that are in Dignity or in office have in all places Precedency but whilst they are Young they ought to respect those that are their equals in Birth or other Qualities, though they have no Public charge.

34. It is good Manners to prefer them to whom we Speak before ourselves especially if they be above us with whom in no Sort we ought to begin.

35. Let your Discourse with Men of Business be Short and Comprehensive.

36. Artificers & Persons of low Degree ought not to use many ceremonies to Lords, or Others of high Degree but Respect and highly Honor them, and those of high Degree ought to treat them with affability & Courtesy, without Arrogance.

37. In speaking to men of Quality do not lean nor Look them full in the Face, nor approach too near them at lest Keep a full Pace from them.

38. In visiting the Sick, do not Presently play the Physician if you be not Knowing therein.

39. In writing or Speaking, give to every Person his due Title According to his Degree & the Custom of the Place.

40. Strive not with your Superiors in argument, but always Submit your Judgment to others with Modesty.

41.  Undertake not to Teach your equal in the art himself Professes; it Savours of arrogance.

42. Let thy ceremonies in Courtesy be proper to the Dignity of his place with whom thou converses for it is absurd to act the same with a Clown and a Prince.

43. Do not express Joy before one sick or in pain for that contrary Passion will aggravate his Misery.

44. When a man does all he can though it Succeeds not well blame not him that did it.

45. Being to advise or reprehend any one, consider whether it ought to be in public or in Private; presently, or at Some other time in what terms to do it & in reproving Show no Sign of Cholar but do it with all Sweetness and Mildness.

46. Take all Admonitions thankfully in what Time or Place Soever given but afterwards not being culpable take a Time & Place convenient to let him him know it that gave them.

47. Mock not nor Jest at any thing of Importance break [n]o Jest that are Sharp Biting and if you Deliver any thing witty and Pleasant abstain from Laughing thereat yourself.

48. Wherein you reprove Another be unblameable yourself; for example is more prevalent than Precepts.

49. Use no Reproachful Language against any one neither Curse nor Revile.

50. Be not hasty to believe flying Reports to the Disparagement of any.

51. Wear not your Cloths, foul, ripped or Dusty but See they be Brushed once every day at least and take heed that you approach not to any Uncleaness.

52. In your Apparel be Modest and endeavor to accommodate Nature, rather than to procure Admiration keep to the Fashion of your equals Such as are Civil and orderly with respect to Times and Places.

53. Run not in the Streets, neither go too slowly nor with Mouth open go not Shaking your Arms kick not the earth with R feet, go not upon the Toes, nor in a Dancing fashion.

54. Play not the Peacock, looking every where about you, to See if you be well Decked, if your Shoes fit well if your Stockings sit neatly, and Cloths handsomely.

55. Eat not in the Streets, nor in the House, out of Season.

56. Associate yourself with Men of good Quality if you Esteem your own Reputation; for ‘is better to be alone than in bad Company.

57. In walking up and Down in a House, only with One in Company if he be Greater than yourself, at the first give him the Right hand and Stop not till he does and be not the first that turns, and when you do turn let it be with your face towards him, if he be a Man of Great Quality, walk not with him Cheek by Joul but Somewhat behind him; but yet in Such a Manner that he may easily Speak to you.

58. Let your Conversation be without Malice or Envy, for ‘is a Sign of a Tractable and Commendable Nature: And in all Causes of Passion admit Reason to Govern.

59. Never express anything unbecoming, nor Act against the Rules Moral before your inferiors.

60. Be not immodest in urging your Friends to Discover a Secret.

61. Utter not base and frivolous things amongst grave and Learned Men nor very Difficult Questions or Subjects, among the Ignorant or things hard to be believed, Stuff not your Discourse with Sentences amongst your Betters nor Equals.

62. Speak not of doleful Things in a Time of Mirth or at the Table; Speak not of Melancholy Things as Death and Wounds, and if others Mention them Change if you can the Discourse tell not your Dreams, but to your intimate Friend.

63. A Man ought not to value himself of his Achievements, or rare Qualities of wit; much less of his riches Virtue or Kindred.

64. Break not a Jest where none take pleasure in mirth Laugh not aloud, nor at all without Occasion, deride no mans Misfortune, though there Seem to be Some cause.

65. Speak not injurious Words neither in Jest nor Earnest Scoff at none although they give Occasion.

66. Be not froward but friendly and Courteous; the first to Salute hear and answer & be not Pensive when it’s a time to Converse.

67. Detract not from others neither be excessive in Commanding.

68. Go not thither, where you know not, whether you Shall be Welcome or not. Give not Advice without being Asked & when desired do it briefly.

69. If two contend together take not the part of either unconstrained; and be not obstinate in your own Opinion, in Things indifferent be of the Major Side.

70. Reprehend not the imperfections of others for that belongs to Parents Masters and Superiors.

71. Gaze not on the marks or blemishes of Others and ask not how they came. What you may Speak in Secret to your Friend deliver not before others.

72. Speak not in an unknown Tongue in Company but in your own Language and that as those of Quality do and not as the Vulgar; Sublime matters treat Seriously.

73. Think before you Speak pronounce not imperfectly nor bring out your Words too hastily but orderly & distinctly.

74. When Another Speaks be attentive your Self and disturb not the Audience if any hesitate in his Words help him not nor Prompt him without desired, Interrupt him not, nor Answer him till his Speech be ended.

75. In the midst of Discourse ask not of what one treateth but if you Perceive any Stop because of your coming you may well intreat him gently to Proceed: If a Person of Quality comes in while your Conversing it’s handsome to Repeat what was said before.

76. While you are talking, Point not with your Finger at him of Whom you Discourse nor Approach too near him to whom you talk especially to his face.

77. Treat with men at fit Times about Business & Whisper not in the Company of Others.

78. Make no Comparisons and if any of the Company be Commended for any brave act of Virtue, commend not another for the Same.

79. Be not apt to relate News if you know not the truth thereof. In Discoursing of things you Have heard Name not your Author always A Secret Discover not.

80. Be not Tedious in Discourse or in reading unless you find the Company pleased therewith.

81. Be not Curious to Know the Affairs of Others neither approach those that Speak in Private.

82. Undertake not what you cannot Perform but be Careful to keep your Promise.

83. When you deliver a matter do it without Passion & with Discretion, however mean the Person be you do it too.

84. When your Superiors talk to any Body hearken not neither Speak nor Laugh.

85. In Company of these of Higher Quality than yourself Speak not til you are asked a Question then Stand upright put of your Hat & Answer in few words.

86. In Disputes, be not So Desirous to Overcome as not to give Liberty to each one to deliver his Opinion and Submit to the Judgment of the Major Part especially if they are Judges of the Dispute.

87. Let thy carriage be such as becomes a Man Grave Settled and attentive to that which is spoken. Contradict not at every turn what others Say.

88. Be not tedious in Discourse, make not many Digressions, nor repeat often the Same manner of Discourse.

89. Speak not Evil of the absent for it is unjust.

90. Being Set at meat Scratch not neither Spit Cough or blow your Nose except there’s a Necessity for it.

91. Make no Show of taking great Delight in your Victuals, Feed not with Greediness; cut your Bread with a Knife, lean not on the Table neither find fault with what you Eat.

92. Take no Salt or cut Bread with your Knife Greasy.

93. Entertaining any one at the table, it is decent to present him with meat; Undertake not to help others undesired by the Master.

94. If you Soak bread in the Sauce let it be no more than what you put in your Mouth at a time and blow not your broth at Table but Stay till Cools of it Self.

95. Put not your meat to your Mouth with your Knife in your hand neither Spit forth the Stones of any fruit Pie upon a Dish nor Cast anything under the table.

96. It’s unbecoming to Stoop much to ones Meat Keep your Fingers clean & when foul wipe them on a Corner of your Table Napkin.

97. Put not another bit into your mouth till the former be swallowed. Let not your morsels be too big for the jowls.

98. Drink not nor talk with your mouth full; neither gaze about you while you are drinking.

99. Drink not too leisurely nor yet too hastily. Before and after drinking, wipe your lips; breath not then or ever with too great a noise, for its uncivil.

100. Cleanse not your teeth with the table cloth napkin, fork, or knife; but if others do it, let it be done without a peep to them.

101. Rinse not your mouth in the presence of others.

102. It is out of use to call upon the company often to eat; nor need you drink to others every time you drink.

103. In the company of your betters, be not longer in eating than they are; lay not your arm but only your hand upon the table.

104. It belongs to the chiefest in company to unfold his napkin and fall to meat first, but he ought then to begin in time & to dispatch with dexterity that the slowest may have time allowed him.

105. Be not angry at the table whatever happens & if you have reason to be so, show it not; put on a cheerful countenance especially if there be strangers, for good humor makes one dish of meat a feast.

106. Set not yourself at the upper of the table; but if it be your due or that the master of the house will have it so, contend not, least you should trouble the company.

107. If others talk at the table, be attentive but talk not with meat in your mouth.

108. When you speak of God or his attributes, let it be seriously & with reverence. Honor & obey your natural parents although they be poor.

109. Let your recreations be manful not sinful.

110. Labor to keep alive in your breast that little spark of celestial fire called conscience.