Introduction: Games Are Fun
Games are fun.
A Caveat
Chapter One: The Player
The player is the hero; the hero is the player
The hero moves the story along
The illusion of player agency
Plot Logic and Ludo-Narrative Dissonance
Side Quests
Chapter Two: Story
What is story?
A character we care about
A relatable objective
Obstacles, an opponent, and a personal flaw
Jeopardy
Stakes
The Ghost
Tell your story out loud
It's never only about the monkeys
Surprise vs. inevitability
Schmuck-Baiting
Deus Ex Machina
Theme
Subverting Tropes
A brief note about The Hero’s Journey
Narrative vs. Story
Chapter Three: World Building
Relatability and Strangeness
World story is non-linear
Environmental Narrative
Decals
Readables, etc.
Game Bibles
Chapter Four: Player and Non-Player Characters
NPCs need objectives, too
Flawed characters are more fun
The uncanny valley
Use a character flaw to make sense of a plot hole
Flaws
How can we build flaws into our NPCs?
Make their flaws the story
Make character flaws a core game mechanic
Reveal an NPC flaw as a way of sending you on a new adventure
Up the challenge through NPC character
Emergent flaws
Emotional Gates
Allow the player to define his character through actions.
Character Backstories
Give the protagonist all the best drama
NPCs in different worlds
Research
Chapter Five: Linear vs. Dynamic Narrative
Few Branch Points
The Gauntlet
Branch and Bottleneck aka Branch-and-Merge
State-Tracking, aka Factions
Let the player make their own story
Change the Meaning by Changing the Backstory
Explorable Story Space
Emergent Story
Chapter Six: Narrative Delivery Systems
Gameplay
Cinematics
Animatics
Tableaux vivants and other hybrid systems
In-game Conversations
Static Conversations
Dynamic In-game Conversations
Branching Conversations
Ambient Conversations
Systemic Dialogue, aka Barks
Audio Only
Audio-only Conversations
Narration
Self-Talk
Systemic Self-Talk aka PC Barks
Audio Logs
Environmental Narrative
Text
Readables
Player-pulled
User Interface Text
Readables are under the radar
Games Titles
Chapter Seven: Dirty Narrative
What is Dirty Narrative?
Absences
Mysteries
Misleads
Conflicting Narratives
Translucent Lies
Unreliable Narrators
Chapter Eight: Dialog
Dialogue is how we remember people talking.
Dialogue is not logical
One idea per line?
Cheeseburgers are good, too.
Push text into subtext.
Phrasing
Read it out loud.
Say something once, why say it again?
Omit Needless Words
Game dialogue is not movie dialogue.
Period Dialogue
Interlocutors
Branching Dialogue
Branching Dialog for Player Expression
Conversational Challenges
Pay attention to emotions
Software
Voices
Temp Speech
Casting
Trad vs. Method
Callbacks
Chapter Nine: Rewriting
How to take creative criticism
Forestalling Criticism
How to give creative criticism
A word about “ownership”
Listen to the Game
Play other games...
... But consume other media!
How to use AI
Chapter Ten: Breaking Into Video Game Writing
Getting Your First Job
Access
Write!
Portfolio
Website
CV / Resume
A personable letter
Knowledge of games
Free Experience
Writing Tests
Game Programs
War Stories
F&*#$ You Money
“Failure is not an option.”
Appendix – Scene Checklist
Glossary
A Random Assortment of Games to Play
Index
Biography
Alex Epstein has created new video game worlds and characters for both AAA studios and indies. As a narrative director and lead writer for more than a decade, he has been crystallizing tips and tricks for the writers he has coached. That’s this book.
His other books include Crafty Screenwriting: Writing Movies That Get Made and Crafty TV Writing: Thinking Inside the Box.
"Alex has managed a delicate feat: sharing his experience with those who already understand the craft of writing, but want details on the unique challenges and opportunities of moving that skill set into the interactive space." --Mike Laidlaw, Creative Director, Dragon Age franchise at BioWare from 2009-2017 and founder of Yellow Brick Games
"A superbly comprehensive guide to all the things you need to know but that nobody knows to tell you about game writing, this book is an invaluable resource for the up and comer and the experienced writer alike!" --Richard Dansky, Central Clancy Writer at Ubisoft 2001-2023 and Narrative Director at Romero Games.
"There’s no one way to write a game, and in Crafty Game Writing, Alex admits that right away! But this book does take us through the many moving parts that go into modern narrative games, all told in his friendly conversational style that gets straight-to-the-point. Definitely recommended reading if you want to get crafty with your game writing.” --Richard Rouse III, Studio Creative Director at FarBridge, Narrative Director for Rainbow 6: Patriots, and Creative Director for The Suffering: Ties That Bind.
