Being contrary comes natural to all improvisors when they first start out. We can make a lot of rules about "Saying Yes!" but that still doesn't stop people from saying "No, no, no!" and ruining the potential of perfectly good scenes. Let's talk a bit about why. Here's a typical case:
A: Honey, let's go to the park. It's such a lovely day!
B: I don't feel like it.
A: Oh, but it's so wonderful out!
B: It's raining.
A: Oh, er, yes! I just love the rain. Let's dance in the puddles.
B: I don't even know you.
Player A is doing their damndest to do something in this scene. They attempt to tapdance around Player B's denial but the scene is eventually derailed. To the audience it looks like a weird mess. Player B, however, thinks "I'm doing rather well!"
Getting thrown into an improv scene doesn't give us a lot of time to think. Once that first line of dialogue is delivered, there's really no time to dawdle. We have to start making decisions quickly. Most people starting out want the easiest decision. In a split second they have to think about how this story is going to work and what's their role in it. A spilt second isn't really that long, so they start to condense all storytelling into something simple. An easy to remember, and monumentally flawed formula:
"Story = Someone wants something, Others try to thwart them."
Now, we can look at a lot of stories and this seems to fit. Would Romeo and Juliet be interesting if there wasn't something keeping the lovers apart? Would a superhero story be interesting if the bad guy didn't fight back? Would a highschool story work if the new kid was easily accepted into the social circle? Drama isn't life made easy, so obstacles do seem like the logical choice for storytelling.
People say "No" in various ways performing improv because they think they've figured out their purpose in the scene. "I create conflict. I create the obstacles. Player A seems to want something, so my only choice can be to not give it to them." They lock themselves into this mode so thoroughly, that improvisors begin denying even the most basic facts of a scene in order to keep the obstacles coming. They'll deny relationships, objects, their very surroundings, anything the other player brings up. I've seen an improvisor deny his own character's existence! All these No's do nothing to reinforce the scene or the story. They just confuse and frustrate the audience (not to mention the other player).
If you want to make better improv scenes, you need to remember that story is not characters being stopped by obstacles. Story is what characters do to overcome those obstacles. There's always a way over, under, around, or through a wall. You just need to find it.
In the example above, having a simple, uneventful walk in the park does sound incredibly boring. Obstacles can be created, however, without resorting to the No's. Here are some examples I can think of.
1) Player B could be sick/fighting allergies. They force themselves outside and are tortured by pollen and pet dander. They could overstuff themselves with medication or be such a hypochondriac that they smother themselves in sunscreen and wear a medical mask. Perhaps they can only go outside wearing a giant balloon, which tears on a branch and nearly get them killed.
2) Player B could be busy or have plans that will be interfered with. They could force themselves outside anyway and attempt to speed up every park activity to finish early. They could take their work with them and either have their papers blown away by the wind or have such a good time that they throw their work away (only realizing, too late, the consequences of not finishing). Player A could even opt to stay indoors and help Player B finish their work, eventually turning a humdrum activity into something oddly romantic.
3) Player B could sarcastically comment on every thing in the park, trying to give Player A the hint that they hate it. Player A could become upset and Player B has to come around or risk angering them completely. Or Player A could giggle and ignore Player B's negative disposition. Player B makes bigger and bigger grumbles which just make Player A laugh harder and harder. We now get the glimpse into a very bizarre relationship.
Use your imagination and you can come up with dozens of ideas that keep the action moving forward without denying Player A's offer of "going to the park." This isn't even to mention the infinite number of ideas/problems that could be created if you just plain go to the park! Say "Yes" and indulge in any number of park activities. If needed, trouble can brew after the event's begun. You can even make the activity odd and exciting enough on it's own.
A: Honey, let's go to the park. It's such a lovely day!
B: You're right, dear. There's bound to be numerous joggers we can kidnap!
A: Better clean out the trunk before we leave!
See, saying "Yes" can be just as fun.
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