#Tips on storywriting for games professional

#Tips on storywriting for games professional

Congrats - you've got your first professional writing credit! Now go network!ĭO email loads of devs (ideally smaller ones in less established territories like eastern Europe) out of the blue telling them how much you love their games (if you do) and how you think you can help. Do it enough and one of them might turn pro. Working on something amateur is very easy to get into (by comparison to, say, writing a novel). Do note, though, that telling your seasoned QA manager that you're only there to get a 'proper job' is most likely a poor idea.ĩ.

Entry level positions in production, level design and QA are all realistic goals for a talented writer and, with some careful planning and a constant eye on opportunities within the company, can be converted into a writing role - either over time by picking up basic writing responsibilities, or as a direct move. It'll still require excellent networking to make the switch, though.Ĩ. Books and comics in particular are far lower cost, and have more releases every year - and therefore have more demand for good writing. Sounds like a big ask, but look at it this way: every medium other than games is better equipped to recognise and reward writing talent. Be a professional writer in another medium. Can you guess how I got in touch with my fabulous agency? Networking.ħ. The rest is through my fabulous agency (who, I'm afraid, only consider established professionals). 70% of my work comes through networking and repeat custom. Go to events, buy people beer, bum a cigarette, blog, twitter, remind people you exist.Ħ. Doesn't matter what route you come into the business through, getting jobs - particularly writing jobs - isn't always a case of seeing an ad and sending in your CV. Build an indie game, write for a mod, write reviews, email devs, work in QA, build a portfolio.ĥ. Keep trying, take anything, try everything.

To those ends, play lots of games, read lots of books. You've got to think about games critically as any developer would - that's what makes you a narrative designer, not just a hired hack.ģ. Playing lots of shooters probably isn't enough. But if you're a naff writer - if you've not written for yourself, or braved honest critique with your work - that's your first stumbling block. Frankly, like me, you could get away with being competent with a bit of personal flair, provided you also have a bit of luck and know games inside out. I don't claim to be any kind of expert at 'getting in' - after all, I've only done it the once - but for what it's worth, here's the definitive guide as I see it to becoming a professional narrative designer.ġ. Even assuming you're remarkably talented and know everything that's everything about games, you're facing long odds - but you know that already. We talk about it in panels, in classes, in interviews, and in the pub. It's the number one question we get asked.