Writing for New IP - Professional Techniques for Video Game Writing - page 143

• Focus on looking at the different ways that narrative can be embedded in the

world, from interactive and noninteractive cutscenes right through to ambi-
ent and level dialog. Also, think about how visual aspects of the world might
further the story—newspapers, letters, billboards, TV spots, radio/TV broad-
casts, etc.

•

Make sure your employers are aware of your range of skills. If you have experi-
ence with localization prep, casting, audio direction, manual writing, market-
ing, or writing advertorial copy, then these can all be utilized to strengthen the
narrative production.

Parachuted In
We're not just writers when it comes to games, you know. We're narrative paramedics,
parachuting in with our magic word bandages to patch up an ailing story. Outside
of the golden window, there's no guarantee just how much influence a writer will
be able to have on a new IP. At best, you might get a couple of months in which
to polish a game's story and dialog, possibly sew up a few plot holes, and if you're
lucky, turn no-necked space marines or buxom, sword-wielding wenches into actual
characters. At worst, you'll have a couple of weeks to merely polish up the dialog.
In either case, you can usually still do some good with honest, diplomatic, and
constructive feedback. Most developers/publishers will listen, but you still do get the
occasional case where they just want you to tick off the story they've already written,
rather than actually put your writer's skills to good use. My personal motto used to
be that of Commander Peter Quincy Taggart in the very fine Galaxy Quest “Never
give up, never surrender,� but now, after more than a few headbangs against walls,
it's more like “Pick your battles!�
You should also be aware that many writers do hike up their rates for short-notice,
short-running gigs, as the stress and turnover rates are greatly increased. This is up
to the individual writer to decide, based on a client-by-client basis.

Overview: The Role
Whether you're in-house or freelance, the tasks that await the game writer when
working on a new IP will be more or less the same. Where it differs from other forms
of game writing is that you don't just have the challenge of building the narrative
world but also helping create the bricks you're going to use. It's a task that is as much
about narrative story design as it is about dialog creation, namely defining how and
where narrative is dispersed through the story, as well as the content of that narrative.
More often than not, there will be ideas for the central gameplay already in place
(even for an in-house writer), and the writer will have to work with the design team
to create the best story and characters to complement and enhance the gameplay.
Ultimately, although the needs of narrative and gameplay rarely run along exactly
the same path, there needs to be that fusion there to avoid the feeling that the story
has merely been poured on top of the gameplay like some kind of narrative custard.