The recent Polygon feature, "How to Write A Video Game Story," by Colin Campbell, has elicited some fiery responses, especially regarding how much John Yorke charges for teaching a course in game writing, something for which he does not have any credits. However, right now, the page seems to indicate the course is a joint venture between himself and Caroline Marchal of Heavy Rain fame. I do not know if the copy has been adjusted since the publication of the article, which is prominently displayed on the homepage.
Other commentators responded to Yorke's remarks that in order to gain better stories, game developers should hire screenwriters who know how to create strong protagonists by analyzing wants vs. needs. Of course, there are game companies that have hired screenwriters and ended up disappointed. There are certainly pitfalls for able screenwriters while game writing, as I have pointed out before in this blog, starting with an obsession for the 3-Act structure.
In my experience, a screenwriting background does help, but so would a background in journalism or theater arts. I have experience in all 3 fields, so I can see how they all relate to game writing.
If you've been to one of my workshops or classes or seen it mentioned at PlayCrafting NYC, then you know that I tend to teach based on my game writing experience rather than what I would call "theory." I absolutely hated it in my writing classes when I was told to learn something, but to not pay attention to it while writing because "anything goes if it works." I can understand the viewpoint that "theory" or story basics is necessary, just like music theory is necessary for music composition. I too place a great deal of importance on themes. But is it necessary to teach theory first or can it be done later?
An actor friend of me once opined to me, "Can anyone teach anyone how to write? You're either talented or you're not." You can teach the basics but beyond that, a person floats or sinks based on that person's skill. To that end, I feel like talent gives a headstart but the work ethic also matters. Others feel like everyone is innately creative and it's the art of the teacher to cultivate that writer in everyone. The teacher ends up being more of a cheerleader.
Sometimes, I feel like the theory part is great for refining and shaping work rather than acting as a template. Otherwise, a lot of stories are just too predictable (and therefore, boring). Personally, I like to focus on the practical in my teaching: how to approach writing tests, what exact tasks might you be asked to do, or how do we shape this experience, etc. With the workshop approach, there tends to be support and sharing as well as feedback.
What do you find most useful in your writing classes?
Look to the summer for my course offerings. I am planning new workshops.
Sande Chen is a writer and game designer whose work has spanned 10 years in the industry. Her credits include 1999 IGF winner Terminus, 2007 PC RPG of the Year The Witcher, and Wizard 101. She is one of the founding members of the IGDA Game Design SIG.
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1 comments:
When I first saw John Yorke's courses advertised I had a lot of misgivings. I still do because he has no game writing credentials. I thoroughly enjoyed reading his book, Into the Woods, which is valuable for anyone wanting to improve their understanding of structure. But those ideas have to be adapted by people who understand how game writing works and how it fits with the gameplay design.
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