Writing for Video Games
I was asked to be a guest speaker at Comic-Con about adapting written works into video games. It was an incredible conference experience, with lots of energy, a standing-room-only crowd of inquisitive minds, great networking, and a boatload of shared information. I thought I’d share some of what we discussed as part of this essay.
A suitable place to begin is to grasp and understand how interactive storytelling (which is what writing for video games is) and game narratives fundamentally differ from traditional storytelling. There are similarities but significant differences in how players interact with the story as opposed to readers or viewers of printed material and visual entertainment.
In video games, players are in control, not writers. Writers present options, but what options are chosen is up to the discretion of the players. In the best video games, players have full control over the open-ended narrative through their choices, actions, and explorations. My son and I spent much of his early years playing video games together, and what we loved most about them was the freedom that the medium allowed us to create our own adventures rather than being given to us as a single choice. In video games, stories are not linear as in singular narrative adventures. Instead, the program constantly adapts, predicts, and offers alternative options based on player input. For every move that is made, writers need to create possible branching paths or modular stories that predict player choices. The more freedom, meaning the more options available, creates a more immersive and satisfying playing experience than those that are more limited. Sometimes, in a game, you want to explore rather than follow the level goal of the section on which you work.
Multiple endings are common. My son and I would complete levels in the early games and eventually “beat” the game. As he grew older, the games became more complex and even presented the possibility of several outcomes for multiple endings based on the player's choices and actions. We loved these games because we could go back and play the same game and climax at different endings, telling ourselves, to a small degree, a different story each time we played. When you’re writing for more detailed video games, you must plan for multiple character arcs. It isn’t very easy, but it is user-appreciated. It’s also extra work; each diverging narrative arc must feel satisfying and cohesive to the player. It’s as though the video game writer is authoring multiple stories within one work.
For writers of video games, immersive worldbuilding is imperative. We want players to get lost in the experience, forget time, and do all the wasted time activities that helicopter parents and spouses deride their poor children and significant others for doing. Immersive worldbuilding is essential for making the experience unique and addictive. By giving a big world, there is much to explore. By creating a fascinating world, there is much to tantalize. Through the exploration and interaction of a well-built world, players have more experience with the narrative and open-ended conclusions. They can experience that excitement repeatedly without fear of boredom. Environmental storytelling (e.g., clues in the surroundings), dialogue, and gameplay mechanics must play a role in the story experience, as do visuals, sounds, and interactive elements that heighten and deepen the player’s experience. Video game writers must experience the world in all visual and auditory senses to create that all-important immersive player experience.
As in life, the actions of characters (as with us) have consequences. The video game writer must build on these consequences. The video game writer must allow these choices and expect success or failure associated with each option. Writing a video game is a mind-expansive enterprise. Players love it when they receive immediate consequences (good or not-so-welcome) for their choices and actions. When writing video games, writers must think dynamically by writing cause-and-effect scenarios that enhance a player’s engagement.
In traditional storytelling, we control the pacing of the story. Not so in gameplay. Depending upon the level of the game, and I’m referring to truly interactive games that older children will begin playing probably as they go into their teen years, players autonomously control their pacing through exploration and decision choices, allowing players, based upon their preferences, to move quickly through the narrative or take a slower exploratory path. In writing for video games, writers must design flexible pacing while still using critical story beats (because you still have to beat the game before you can go to total free play). Still, you design these story beats so that they are experienced and discoverable without forcing a constraining linear progression that would interfere with the individual player's preferred experience and playing style.
It is not all movement and action in story games. Sometimes, explanations are needed. These are provided in the interaction of characters using dialogue. The dialogue segments need to be short, to the point, and interspersed to prevent boredom. A good video game doesn’t do an info dump on instructions. A video game should use branching dialogue trees or contextual conversations at the proper junctures to share information and direction with the player when needed. Again, they must be strategically placed. You don’t want too many dialogue blocks together. It kills the flow of action. When writing dialogue blocks, writers need to consider how choices and tones in dialogue affect character relationships and tie in precisely with the larger game narrative. Revealing extensive and complicated backstories and hidden character arcs are primarily irrelevant in video games. Players want action. Too much dialogue exploring the character's backstories slows down the game. Video games are based on forward motion. Dialogue blocks need to be designed by the writer to achieve that. Never let the story stall.
Video games are different from traditional stories in their player-centric design. Instead of reading about a protagonist or experiencing one in a motion picture, the player is the protagonist who shapes the story. The character on the screen is the proxy for the player.
Writing for video games is like writing for film and television. The result will be a solid collaborative effort between the writers (usually, there will be more than simply you), designers, artists, and developers. Each position is vital and interactive. In writing for video games, there is massive input from other team members that the writer should and must consider. Because it is a team, there must be compromise. Writers unwilling to give up a preconceived demand will find continual frustration and unhappiness in the collaborative world of video game design. Players expect active participation, challenges, and triumphs tied to the narrative progression. The team provides this experience, not just the writer.
When writing video games, and continuing from the above point, video game writers must be prepared to constantly rewrite the story to accommodate gameplay mechanics. Even when the writers think they are finished, beta testing will prove that their expectations are ill-timed. Writers will continue to rewrite based on player testing feedback.
Video game writers must craft scenes and dialogue that can function independently, yet holistically, within a nonlinear structure. This is challenging. Each of these choices also must evoke emotions within the player, propelling the player to make choices because they care about what happens to the main character, who is the player.
Like traditional narrative writing, one of the best ways to prepare to write video games is to play them. It helps if you have a child or teen who loves to play games with you. Explore stories and worlds just as you would as a traditional writer by reading compulsively. See how video games are structured, follow the consequences of choices, make lots of notes, and look at the dynamic outline of trees you can create based on the players' many and nearly unlimited options.
Writing for video games is a challenge. But if you like working with others—other writers, designers, artists, developers—it’s a medium constantly looking for fresh talent. Of course, you’ll need to prepare yourself. Platforms such as Coursera, Udemy, and Skillshare offer specific narrative design and game writing courses. Events like Ludum Dare or Global Game Jam can help you build your experience and network. Of course, you’ll want to create a portfolio with sample scripts that would show off your skills at video game storytelling and traditional writing samples to show off your general storytelling skills (short stories, screenplays, etc.) If you’ve previously worked on video games, certainly reference these.
There are several entryways if you’re looking for access to this genre. Many companies and organizations post openings for video game writers on specific platforms. Game-specific job boards include Gamasutra (now Game Developer), Hitmarker, and ArtStation. You can find general job boards on LinkedIn, Indeed, and Glassdoor. On these, search for keyword phrases such as “video game writer,” “narrative designer,” “game writer,” and “interactive storytelling.” Network in the industry. As I mentioned, I spoke at Comic-Con. Other more specific industry events and conferences include GDC (Game Developers Conference), E3, PAX, and IndieCade. Look for online communities like Reddit’s r/gameDev and Discord communities. Check out the professional organization International Game Developers Association (IGDA) for invaluable information. If you want to go straight to studios or developers, check with larger studios such as Ubisoft, EA, Blizzard, and Rockstar Games or independent developers such as Supergiant Games, Annapurna Interactive, and Devolver Digital. When you’re just starting, sometimes freelance work provides great work. For freelance marketplaces, check out Fiverr, Upwork, and Freelancer. For specialized writing platforms, look at Scripted, Contently, and ProBlogger.
If you're interested in writing video games, I’d love to hear about your successes. Please email me at contact@claystafford.com. I want nothing more than to play a game you’ve written.
