Jon Samsel

Interactive writer/designer Deborah Todd says:

There are dozens of ways to say something, and as a writer, you get to use most of those dozens of ways in the field of interactivity. It’s not linear. It’s not one right answer, or one straight story line, or one interpretation. In fact, you have to prepare for people who will play the game, or explore the title, in ways that you don’t necessarily intend them to, and write for that.

The very best part for me in the whole process is the initial brainstorming and how collaborative it is. When a team is really coming together, it’s unbelievable how much fun that can be. And the ideas feed upon themselves, so they just keep getting bigger and better and these meetings can totally blow your mind. It’s great. Then, once you’ve got the concept outlined, it starts to mutate and morph and grow and it takes on a life of its own and you get to be there and witness it and work with it and see it turn into something truly amazing.

If you have really good character work, with bibles that have significant backstory, everybody gets into the characters and you get to watch them develop into “real” people.

I’ve been lucky enough to be involved in casting and directing as well, and let me tell you, when you’re a writer who gets to direct, that is heaven! The most fun I’ve had was doing rewrites on the spot with our director. We had some lines that weren’t doing it for us, so we just stopped and rewrote them in a frenzy, had the talent say the new lines right there, did a little more polish, then taped it. It was great fun. Very exciting. Very in the moment. And it made the product better, which was what we were after.

Writer/designer/producer Larry Kay, says:

I like to play games and solve puzzles. One of the things that drew me to this field was the opportunity for a larger quantity of my writing to remain in the final product, unlike in film and television, where so much of what you write just can’t fit on the spine of a linear format. It’s an eleven-minute cartoon, or it’s a 120-page screenplay, or whatever, and that’s that. In multimedia, it’s still possible to push those barriers out a lot further.

That doesn’t mean a writer should engage in hyper-creativity. Every project must have a solid narrative spine, a clear beginning, middle, and an end. If you do not know what the end of your game is before you start writing, you will probably get lost trying to get there. I spend a lot of time creating this macro-structure before I actually write the design document and/or screenplay.”

How much money can you earn as an interactive game writer? Half as much as the last gal and never as much as you need! Actually, it varies, depending on the job, the time schedule, and your level of experience.

Novice writers may have to create entire interactive scripts or design documents on a speculative basis (collecting no up-front income) in order to demonstrate to others an ability to conceptualize an approach to a subject, as well as to showcase your writing skills.Generally, it’s never a good idea to work for free unless the potential employer/buyer is a prestigious corporation or a prominent publisher–and this assignment is your big break. For any other firm, a writer must insist on some form of payment. A $3,000–$7,500 fee paid to a writer to work a few weeks on an interactive writing assignment is not uncommon.

Writer/designer Carolyn Miller claims that top interactive writers working on interactive entertainment titles are making rates comparable to that of Hollywood movie-of-the-week writers—somewhere in the $40,000–$50,000 range. That’s for delivery of a complete design document.

Noted interactive attorney Richard Thompson, says that the general range for his clients is around $30,000–$40,000. Writers with experience may get $60,000–$70,000. If you are simply copy-fitting (adding dialog or punching up previously written material), a writer may earn as little as $10,000.

Attorney Richard Thompson shares his thoughts:

Point number one. Lots of money.

Point number two is to define when the client gets paid –and for doing what. There’s a real tendency for projects to spin out of control and go on forever. Writers usually don’t earn much money on a web site or interactive game deal so the assignment really shouldn’t take up a year and a half of the client’s life. You won’t be able to eat if you do that. It is also important to try to define what the writer actually has to do to get the money.

Another thing a writer should insist on is a royalty. There are situations when a writer can’t get a royalty. For example, the writer is coming in on something that is a preexisting property or something that has a lot of design work already done on it. Many software companies, for example, don’t want to pay royalties. The reality is that once a writer who’s any good gets involved in a project that is already under way, the whole thing oftentimes must be substantially redesigned. It turns out to be a huge amount of work for the writer and that warrants a royalty.

A writer needs to figure out the scope of the work. If the work is more than just coming in and laying some copy on top of something that’s essentially done, then I think it’s something that merits getting a royalty. It’s an important deal point.

Another important deal point is credit. The only credit that writers are entitled to is what they negotiate for in their contract. And even though software companies and Fortune 500 firms tend to think that credits aren’t important, credits are important. In large measure, they define who people see you as in the business. Your stature and your ability to make future deals is often dependent on what you’ve already done.

Attorney Richard Thompson answers the question this way:

I think that in any case where you need either, you need both. The kind of person who doesn’t necessarily need any kind of representation is somebody who has a relationship with one company where they’ve worked a long time and they just want to keep on doing the same deals over and over again. They are prepared to be paid a fairly modest wage for their work, and don’t aspire to gain control of their own destinies.

If you want to be paid better or if you want to develop more industry relationships, or to gain control over your own destiny, then you probably need representation. Very few writers are capable of doing those things on their own. And it’s not the best use of their time if they are, because they should be writing.

That’s what they do best.

Agents are very important in helping to get the word out about writers, to help them develop relationships and to get particular projects submitted to the appropriate buyers. Buyers look to agents more and more to perform the screening function of weeding out the good material from the bad.

I suppose there are deals for which an attorney is not required, because the deals are non-negotiable. But it may still be a good idea to pay an attorney to review the deal to help the client decide whether to accept the non-negotiable terms or walk.

Former Talent and literary agent Carl Bressler had this to say about the role of an agent:

To me, what an agent does is procure, negotiate, advise, and counsel. Procuring is finding work. Negotiating is getting the best terms for the client without making the buyer hate the client. Advice is of the day and counseling is long-term. In other words, the agent is a mirror. This is where you said you want to go. Are you doing that or do you see yourself falling away from your dream plan?

Writer/designer/producer Larry Kay says: “I can’t really afford writer’s block. There is nothing like a good swift deadline to kick in the creativity! I think writer’s block often occurs when you don’t trust your ideas. Creativity is like a muscle, the more you use it, the stronger it gets. I don’t subscribe to the notion that every writer has a finite amount of stuff to say and uses it up. But, on the other hand, I know that I, like most writers, must be careful not to burn out. I definitely have some days that are surprisingly productive, while other days I have to trudge through on technique. When I get a little rest between projects or drafts, I tend to start a little fresher which makes me feel more free and spontaneous with my creativity. Ideas generate more rapidly and I throw out a lot of bad material on my way to finding the good stuff.”

To show proof of concept, many writer/designers painstakingly produce working prototypes or demos of their ideas. Sometimes this is done to secure financing. Other times it’s to demonstrate a concept. Demos or prototypes can also help you land a new job.

Whether a published blog or a fully-functional interactive game, a demo or prototype can serve as an ideal calling card to exhibit the quality of your work. And in business, companies tend to want to work with writers and designers who understand their industry and needs. Demos can sort out the wanna-be’s from the true contenders.

What is a prototype?

A prototype is an application made up of several key elements loosely thrown together to demonstrate a basic sense of what the project is and how it works. A prototype can be as simple as a sketch-up of several screen shots, sample music, and some narration. Or a prototype can be deeply interactive, including elaborate graphic designs, maps, and concepts ‘borrowed’ from other projects for illustrative purposes.

What is a demo?

A working demo looks and feels much like the final product. A website demo might include a home page, several interior screens, active hypertext links, interactive tools, along with several design variations to consider. A game demo might include an interface that illustrates the basic navigation, interactive methodology, game play, music score, sound effects, sample puzzles and other obstacles.

Beside the obvious benefits (landing a job), prototypes and demos can also serve a myriad of functions:

• Road test new ideas before your final product is put together
• A crash course in production (nothing like building something on your own to really learn)
• Marketing deliverable (use a sample game to serve as link bait on your website, or as CD leave behind on your next job interview)
• Shareware (as in game demos, you introduce a few levels of functionality in the hopes that some players will ‘try before they buy’ and purchase an upgrade to your full application)
• Key ingredient in your new business plan (to demonstrate proof of concept)

Nondisclosure agreements (NDA’s) are typically one-page agreements whereby each signing party agrees to share proprietary or confidential information and each side agrees not to divulge that information to a third party.

Why are NDAs so commonly used? It is not so much distrust as it is legal maneuvering by attorneys to protect a client’s interests at all costs. Many companies have been sued because they were pitched a project that was similar to something the company was already developing. A dated NDA helps establish when the exchange of ideas occurred, a date that can be cross-checked with the copyright date on the original source material.

However, the main reason NDAs are used so often is to prevent people from talking about the other side’s “intellectual property” in advance of that knowledge going public.

1. Start off with a teaser (hook the audience, then reel them in)
2. Emphasize elements that will keep audiences coming back for more
3. Pitch with conviction and passion (your idea must be infectious)
4. Humor helps (used sparingly and in the right situations)
5. Pitch from a common frame of reference (use of terminology)
6. Show your ability to create hybrid entertainment that can be franchised to other mediums such as television or books (think of the ancillary rights and merchandizing possibilities)
7. Concentrate on the most exciting aspects of your project, rather than all the minor details
8. Try not to resort to reading notes (if you can’t eat, sleep, and breathe your pitch, you’re probably not ready to deliver it to a room full of people)
9. Take command of the room (confidence sells)
10. Have fun! (don’t take a pitch meeting too seriously; many great ideas are rejected the first time they are offered to others; keep your chin up, smile, and try again another day)

Pitching is the art and business of taking your content idea (whether it’s a work-for-hire project or an original idea) and convincing someone on the other side of the desk to support it (usually by funding the project). Seems simple enough. In fact, many writers are great at pitching. However, for every writer who can really work a room, there are probably ten others who are lousy at it. And that’s unfortunate because poor presentation skills will lose you work in this highly competitive industry.

Larry Kay, an accomplished interactive writer/designer and producer, gives his thoughts on pitching:

“Before I pitch an idea, I put together a fairly full proposal. Sample writing, navigation maps, concept illustrations, etc. I pitch somewhat selectively, and try to prequalify that a producer might be interested in this particular category or may consider me for one of their assignments. A successful pitch more often leads to a writing assignment than to actually placing my spec project. Placing a spec project happens very rarely, but pitching one of my own original creations gives a producer an idea of what my own peculiar passions and voice are all about.”

Multimedia guru David Greene shared some of his thoughts on the pitching process:

“It is very important to understand the individuals you are going to meet with. Are they technical people who are more interested in the technology than the story, or are they marketing types who are more interested in the demographics than the specifics of the project? You will often find yourself modifying your pitch for your audience. Granted, this is a pain, but you need to target your pitch to your audience; otherwise, you stand a good chance of losing their interest rather quickly.

If possible, try to do more in-depth research on the individuals you will be meeting with. A lot of companies actually have biographies of their primary officers listed on their Web site. You don’t want to pitch your new concept ‘CyberChrist with an Attitude’ to a company run by a born-again Christian. A little research might save you time, effort, and embarrassment.”

In today’s busy book publishing world, neither agents nor imprints have the time, energy or patience to review the hundreds of query letters and manuscripts that flood their offices. Book publishing is big business—and to that end, writers must approach their craft as such.

A book proposal serve as both a creative and business outline that ’sells’ both the author and project. A proposal convinces the publisher that this is a topic that consumers want to read, that a book is the right format for this topic, and that you are the right person for the task.

Typically, a non-fiction book proposal is a little more focused on the business aspects of the book, such as book competitors (similar titles on the market), marketing of the book (what you are prepared to do to help sell sale books), and publicity (are you the type of author that can generate press and interest to get the word out there once the title is published). A fiction book proposal is more about convincing agents and editors that you are good writer, so fiction proposals contain sample chapters—and links to your previous novels (assuming you have any).

A stellar book proposal can land you a well-earned book contract with a cash advance before you even start writing one word of your final tome. It is incumbent upon you, the writer, to provide editors and agents with insights and answers to the following questions:

1. Cover Sheet
2. Introduction of Book Concept
3. About the Author
4. Market Demographics
5. Competitive Books
6. Marketing, Author Promotion and Publicity
7. Overview, Purpose & Description of the Book
8. Table of Contents
9. Sample Chapter
10. Book Timetable

Sample Non-Fiction Book Proposal:

>> Dead Ahead: 1999 (pdf)

Back when I was twelve years old and in 6th grade, I was fortunate to have won the ever-so-coveted title of “Best All-Around Male Student” of Vallejo Mill Elementary School in Fremont, California. I remember my teacher, Mr. Potter, pulling me aside after the school assembly and telling me how proud he was of my accomplishments and how confident he was that I would succeed at anything I put my mind to. He fancied I would become a famous writer or perhaps even a Hollywood filmmaker. Mr. Potter was the first person in my life (other than my Mom and Dad) who expressed a belief in my abilities. His simple words of wisdom became my lifelong creative inspiration––words which would motivate me to overcome difficult challenges in my life, even to this day.

Take a few moments to reflect on events in your life that have served as your creative inspiration. Were you awarded an athletic scholarship? Did you receive words of praise from a thoughtful instructor? Perhaps you survived an automobile accident and the horror of that event has forever altered your purpose for living. When times get tough, what inspires you to carry on?

What is it about memorable life events that allow people to draw creative inspiration from them? Dainin Katagiri Roshi (a Zen teacher) once said that talent is like a water table under the earth. You tap it with your effort and it comes through you. Nobody owns it. Events which inspire our creativity have the uncanny ability of helping us channel our creative energies to the surface so we can use them to better ourselves. Quite simply, these events tap into our creative souls.

“When I was a child my
mother said to me, “If
you become a soldier
you’ll be a general. If
you become a monk you’ll
end up as the pope.”
Instead I became a painter
and wound up as Picasso.”
––Pablo Picasso

Perhaps it’s psychological, but there is something about completing a first page that often sets everything in motion. The writing inertia has been overcome, and the words start to flow, sometimes like a sweeping tide. Some authors get bogged down in those first few pages, but for many, completing the first page acts as an incentive to continue. After all, with the first page done, you have proved to yourself that you can make a start on a book. In other words, for a great many authors, page one has a way of growing into five, ten, or 20 pages. Sooner or later, you realize that those pages have combined to produce a chapter or section of your book. That can be a great feeling.

Some authors are simply stimulated by a blank page. They warm to the idea of all that white space to be filled with words, sentences, and paragraphs. Others may stare in horror for hours or days at the blank page before them. One person makes an easy start, while another author finds it painful or difficult to write. You will soon discover your type or if you are somewhere between the two. Once writing has you hooked, the need to write will drive you regardless of whether it comes easy or not.

Another clue that you have true writing ability lies in this blank white paper. Do you like the feel of it in your hands? If so, it could be a sign that you are in the right work.

Even older, established authors with many years of experience behind them, still get a thrill from handling blank paper, pens, and pencils. And now word processors and computers in all their shapes and sizes. Mystical? Perhaps, or maybe the sign of a born writer.

Most books, novels or nonfiction, require advance thinking and preparation. Here is a checklist of some things to consider before starting your first chapter. You can use the ones that seem right for you.

Nonfiction Books

• Research, reading, and interviews completed. The time needed for research varies from several weeks to years, depending on what you are writing
• Outline written with all changes to date included
• Subheadings or sections planned. Chapter titles ready
• Special examples, anecdotes, and quotations selected

Novels

• Theme of novel stated in a short sentence
• Decision made for setting and time of the story
• Statement of the conflict of the novel and its resolution
• Chart or table of characters written, along with a clear description of each (age, appearance, traits, motivations). Many authors complete a sketch for each character
• Breakdown made of the scenes or action of the first chapter. Some novelists plan chapters one at a time, as they come to them. Others block out the entire book, and still others work with no plan at all