Firstly, I am grateful and appreciative for the chance to interview with the professionals.
After these interviews, I understand that communication and writing are really important. The communication is not only to the development team, but also to the publisher, clients, and most important is to the player too
There are different stages for writers on game development. For game writer, they first will have to build the world, the lore, the characters and story, script, dialogues. Some writers will do all three writers job, including world building, narrative writing and scriptwriting. That depends on the studio and sometimes depends on the project.
To start out the path of Game Writer, I need to read more books, play games to explore the world, lore and characters emotions. The philosophy of a world. It is also a great choice to go to game jams to gain experience and make dreams happen.
Zec Chua is a Junior Scriptwriter in Ubisoft Singapore. He graduated from Singapore Polytechnic in Creative Writing. He has been working in Narrative design on Ubisoft’s new game which is called Skull and Bones since 2016.
Zec’s LinkedIn Profile
Skype Interview with Zec Chua in Script Writer:
How do you describe what do you do every day as a script writer?
Mostly I work on creating characters, coming out with storylines. That’s the most script writing part. I also do narrative framing, writing dialogues and line. A day to day of a Script Writer.
How did you get your job as a script writer?
I studied creative writing at Singapore Polytechnic, and part of my internship was to go to Ubisoft Singapore, and I worked there for six months. After that, I was able to get a full-time contract on another 6 months. And all of that I went to the army for two years. After I finish my army service, they told me that I have the chance to get another job back then. So I applied, then I managed to get a full-time job at Ubisoft.
What is your favourite part of the job?
What I really like about being in a huge creative studio is that everybody else is interested in games and stories. So you can talk to almost anybody about books, tv shows, movies and video games. Everybody is very passionate, so it’s a very good environment be in.
Does both Script Writer and Narrative Designer have a different kind of responsibilities?
The distinction between scriptwriting and narrative designs is not always very clear. It depends on which studio and also depends on the project. Generally, scriptwriting is more focusing on traditional stuff: writing dialogue, creating characters. Narrative design is more about coming out with mechanics or systems that can help show the player the story. But it really depends on which studio and which project because a lot of the time narrative designers also write lines and dialogue and a lot of scriptwriters is also working with designers to come out with a different systemic way of exposing the player to the narrative.
What aspect of the job would be surprising to people looking in from the outside?
I’m working on a game that is quite historically grounded. So, a lot of day to day stuff is just researching about the period and the important people at the time, the fashions at the time, you understand it. So, although it seems like I’m just might just be creating stories, but there’s a lot of work that, I have to do also with the research and understanding the historical context of the place. So I guess something not everyone would expect a writer will do.
What advice would you give to somebody who’s thinking about becoming a Game Writer for fresh graduates or juniors?
If you want to become a game writer, you have to read books, play games, so that you understand storytelling in books and you also understand storytelling in video games. And what makes a game good? You should keep working consistently on your own projects, or with classmates or anybody else. Just keep working on projects so that you’ll always have something to show, for also learning experience. You gain experience, you learn about writing from doing these projects. You also have works to show other people, whether it’s an interview or just a networking event. I highly recommend internships if you can, while you’re still schooling. If not, working at an indie company was a great way to just learn how to work on a game.
What aspect of the job would be surprising for people looking in from the outside?
I think people think of writers, they think that they are just writing text and text and text. When you look at the game writer though, they’re lots of circles, squares and diagrams. Because we do a lot of text anomy. A lot of the work we do is basically just trying to simplify and create a understanding of the world for people by creating words, vocabulary, and the text anomy that goes with this world.
What type of personalities does it take to succeed as a Narrative Designer or a Game Writer?
The most important thing is that you need to be a good communicator. You need to like to share and talk to other people. You need to start communicating with another person to create something. When you do a video game, especially if you are a game writer, you are probably the best communicator on the project. It’s very important to reassure everyone on the project that you’re not going to work in the corner and write something without helping everyone agree about what you’re going to write. The art department, game design department, the programmers, the writers, the narrative department, all these people need to align and come together and tell the same story. so the writer’s most important job is to make sure what you’re proposing cross spans (to all the departments).
The second most important thing is being able to synthesise your story to very few words. Why do I say that? Because for writers we can talk all day, but if you are working with the producer, programmer or the budget executive, they want to know the story, but they want to know it very quickly, because they are very succinct. So you may have had to write the whole big story, and then your job is to put it down into a little paragraph. The better you become at that, the better writer you will be.
What would you recommend for education, books, or other learning to start down the Creative Writer career path?
These are some of my book recommendations: The Invisible Art by Scott McCloud, The Anatomy of Story by John Truby, Writing Better Lyrics by Pat Pattison, Save the Cat by Blake Snyder and Morphology of the Folktale by Vladimir Propp.
Any Book on Philosophy, Sociology or Religion – they all help build better more believable worlds. The enemy is never a person, but a flawed philosophy that needs to evolve!
Kurt McClung is an American born writer who started up as an engineer. He lived in France, and moved to France when he was 23.
Might and Magic (Ubisoft, 2013)Brothers in Arms (Ubisoft, 2014)
Kurt McClung is passionate for building inspirational experiences and believable fictional worlds. His writing and world-building talent were first put to use in graphic novels and video games. They have also turned into television and animated series.
He has developed his own methodology, 360 narrative design, for building original interactive experiences and worlds that he teaches to cinema and video game students in several prestigious universities.
Kurt’s LinkedIn Profile
Skype Interview with Kurt McClung in Narrative Designer:
How did you get your job as a game writer?
I had a childrens’ book company and a game company, that I sold to a comic company. Then I wrote my comic book called Dragon Seed a long time ago. For my first job, a friend of mine actually called me to do dialogue for an adaptation of the video game The Mummy, this was over twenty years ago. That led to Ubisoft asked me if I want to work on a game they just bought, called Might and Magic. I left working on that. I did Might and Magic games for a while. After all of that, I became the lead writer of the IP (intellectual property).
What is your favourite part of the job?
My favourite part of the job is when you see the theme that you want to express. When you see the rules of the game designers, the narrative designers and writers, the art designers, and artist, they’re all telling the same story about the same subject. I love it when I see them and go “Ah, my story is in alignment with our rules, our game design and it’s in alignment to our art direction”. It’s kind of like a light in your head and you realise that creating something, you are creating a world where people could go and learn something about the real world, that’s my goal.
What aspect of the job would be surprising to people looking in from the outside?
People think that mostly, narrative designer and writers are easy and fun. Seeing game writers this glamourous opportunity. For example, I am going to in charge of the content, the project vision, that is really beautiful. It is really very rewarding experience, and I can say that because I’ve done that and I do that. And I wouldn’t change it, and I love what I do. But be mindful of the struggles you will go through. It’s not easy to manage a team, it’s not even easy clearly communicate your vision. It takes a lot of work, a lot of rewriting it, editing to make sure that you are really nailing down what you want to make sure people understand your story.
From a creative perspective, I think that it does take a lot of work to flash out the core of your experience and make sure that you’re working with the team. But working in a team means being effectively communicating the vision and also hear back from the team and be willing to accept feedback. So, you are willing to accept feedback, and that means you are willing to even improve your content. And set aside any particular piece you could have from the ego perspective. If you’re willing to make this a collaborate experience, I think that will have a lot of gains.
There is this famous Portuguese writer called Jose Saramago. He has a quote says “Everyone is writer, but some write some don’t”, which means reflectively everyone think it’s going to be easy, thinking this is going to be easy to write and everyone presents themselves as content creators. But effectively, when you create content, and you put it out there, that’s the proof that you are actually making it happen. So, you are not a writer until you write. And when you write, you understand that it really makes a huge different trying to articulate that all of the narrative elements that you in charge of handling.
From a technical perspective, what I think people don’t certainly expect writing for a video game, for example, involves a lot more creating content on the spreadsheets than most people would think. So, I worked on several games, and I can’t remember a project where I didn’t have to create at least one spreadsheet. And that spreadsheet could be to organise items, so you could have this spreadsheet with just about the picture of the item, the description of the item, a technical description, a flavourful description etc. It could be a spreadsheet in which I’m actually organising the story, the type of scripts like Sword legacy as I mentioned before, where has about 70 scripts. These include scripts for each level, scripts for each cutscene, and scripts for subsections in the game. And because of that, you need to find a way to properly organise that. So proper organisation is a must when it comes to managing a lot of content, and that is also the part of the narrative designer job that the content that is accessible to the whole team, but that also make sense.
What advice would you give to somebody who’s thinking about becoming a Game Writer for fresh graduates of juniors like me?
I think anyone has given the drive, given the desire to train your skill and to be a confident professional, anyone can become a narrative designer. Like most professions, it takes training and commitment. However, I think though that in life, we should always have the opportunity to experiment, to test things out because sometimes we’re pushed into a path where we need to make a very important conversation. We need to commit to a specific career path, when we’re still trying to figure out what’s going on, like what are the possible career path. So, I always encourage people to go to game jams. And I think game jams are amazing opportunities to test waters. Game jams are great opportunities for you to try making sound effect and music for a game in case you don’t have a composer. It’s great opportunities to you to make some art, for you to write some content, a game articulate that the content directed team, you can do so many things at game jams because it is above all about learning and sharing the experience with the community. And you can also try things that you might not like, and that’s great because if you try something that you don’t like that could be writing or that could be a game designer. Let say you’re not that, in fact, that is an interesting case, that relates to my experience. I went to law school, and I can confidently say that I don’t want to be a lawyer, but I don’t regret not going down the lawyer path. Nothing against it, but I can easily tell the more study, and I did graduate at law school. After I graduated, as I mentioned before I started studying and researching the connections between law, digital media and society, culture and arts. So, at that time, I am already very sure that I didn’t want to go to the lawyer path, and that’s a good thing. I mean we experiment lots of things in life, career paths, different skills and knowledge, and we’re able to understand which one caters to us more than others. So, in game jams, you get the opportunity to try something that you might not like, and if you don’t like, that a good thing because it helps you narrow down the possibilities of what you do like or what you excel at. So, and actually I think that excelling at something is a consequence of liking that because you need to be motivated and you need to be engaged on whatever you are working on if you’re willing to put a lot of energy and effort into it. So, if you are motivated, you are willing to train and horn your skills. So, I think game jams are great starts and then of course if you’re interested in narrative design as well, then I will also say going after your storytelling in general. That’s what I did.
When I started working in games, aside from game jams, I actually started studying a lot of screenwriting materials. So, I started understanding storytelling through screenwriting. But then I slowly started connecting myself on other fields like literature, theatre, video games. Can I work as a game designer? Yes, I do understand and perform the role of a game designer. Still, my profession is on story-driven, so I will always try to fit the mechanic of an experience serving the purpose in the message that wants to be communicated or the emotions. So that’s why I would rather introduce myself a narrative designer, rather than a game designer because I am more on an emotional content creator, rather than assistant creator.
Arthur Protasio is a passionate narrative designer with years of experience crafting tales of diverse formats and styles. He design narratives and creating content/ stories for multiple platforms.
His work has also nominated for the International Digital Emmy and BestGame, Best Storytelling, Best VR awards.
Sword Legacy: Omen (Team17 Digital Ltd, 2018)Angest (Black River Studios, 2017)O Rastro: The Trace We Leave Behind (Akom Studio, 2017)
Arthur graduated from a law school and started working in a research centre focusing on understanding the connections between law, culture and arts. He investigated freedom of speech and also how games were seen as a culture, an artistic artefact and be able to communicate messages. Eventually, he did a migration from an academic researcher to a freelance writer and started a YouTube channel in 2011, focus on discussing narrative in games. In 2015, he has founded his own company Fableware Narrative Design on providing creative writing, narrative design and transmedia storytelling services.
Arthur Protasio’s LinkedIn Profile
Skype Interview with Arthur Protasio in Narrative Designer:
How did you get your job as a game writer?
It is an interesting story because my background does not come from the necessary writing. I am originally a BA of Laws. After I graduated, I started working with the Research Centre that was focused on understanding the connections between law, culture and arts. By doing that connection, I started investigating more about freedom of speech and how games were seen as a culture and an artistic artefact. Games and emotions were able to communicate, history, culture or even politic. From that perspective, I started not only getting more involved in games for my research and also understanding games through a content production perspective. I have already been involved in writing, but I am very personal. So, what I did eventually did this migration from an academic researcher who had already experienced writing short stories, poems etc. I actually started applying that as a freelance writer in video games and started working on my own projects. I started a YouTube channel in 2011 focus on discussing narrative in games.
On the other hand, I had a more hands-on approach in terms of creating content, going to game jams, writing stories and finding ways to make them actually become games. It was a big mix of my experience from a law perspective. Also, the experience that acquired as a writer throughout time, which eventually let me to starting my own company, and even taking my master in design with the focus on interactive storytelling.
How would you describe what you do every day as a Narrative Designer?
It depends on the project, but I can thankfully say that it involves a lot of writing. On a daily basis, my activity is ranged from let say writing, it could be pitching a concept to a client or even to a publisher. Depending on the stage of the project, either I’m pitching that project and having meetings. Some of them online, some of them offline and in person. But I usually have meetings with the partners. Once we have gone past the stage of agreeing and deciding on the concept that we’re going to develop, then that’s where I usually really focus on writing the content itself. That is where it just me or it could be a team. Still, it’s this very focus process of sitting down and writing the story and writing the story can happen in so many levels because it could be a script which can be breaking down the scenes, describing the scenes and then going down to into dialogues. But usually, that’s like the final stage when I’m done with the script, people review that, and I make adjustments etc.
Before we get to that, there’s a lot of development when it comes to the process of the concept development project. Also, I have to work with lots of spreadsheets and distributing information to the different columns and lines rather than a typical script that we would see for a movie. There’s also the part of just where putting together, one-sheet document, explain the concept of the story.
Sometimes the clients approach me with already concept in mind. I help them flash it out and find the potential flaws or find ways to make it better. But sometimes it very open-ended as in we want you to pitch something, the story, and if we like it, we will move ahead with it. So, it can change a lot. It can be a very multi-faceted work process, even on a daily basis.
What is your favourite part of the job?
I love writing, creating content, and seeing writing as it’s one of the many ways it’s actually communicating a specific message, your concept or create a vision.
My favourite part of the job is creating as in understanding how can we process emotions, human emotions and apply them on characters, the stories, the plots. Also, understand the connection between them with the platform that we’re using.
If I’m writing a comic book, I always need to be mindful of how I choose to distribute the story, and where I’m placing specific element of the story to make sure I have something really interesting right in the end. People are very curious like what’s going to happen, and you turn the page, and then have two other pages of development. So that’s the case of a comic book.
If I’m working with the game, what mechanics do we have in the game? Is it a strategy game? We released an attack core RPG called Sword Legacy in 2018. And it is the story about Uther, a dragon King Arthur’s father. King Arthur is not even in the game, it’s just the game original story about Uther and Merlin. What’s interesting is that it’s this emotional journey that Uther goes through to try to meet again Princess Igraine who some people know in the myth in the legend, is actually King Arthur’s Mother. But the story isn’t very emotional on one side, because it is Uther trying to see her again, trying to help her and the other hand it is also this very strategical logical experience because it is a strategy game. So, we create this polarizing relationship between obsession and strategy. And if you are very strategic the game, you would able to advance throughout the levels. And if you give in to obsession, if you have given in to emotion, that means you can use will power which is a feature in the game to boost your stats, so that’s a metaphor of the characters emotions and the experience.
But on the other hand, if you gave too much into obsession, that means your character could be panic, you can lose control of the character. So bad things can happen when you give in the obsession, and that is actually the message of the whole game. Like how do you deal with the desperate desires of the heart, for example of what we want, how can desire corrupt us. That is one of the questions of the game. And we choose to manifest that through the mechanics, the features, through the experience.
So, in this case, understanding the way and which the player interacts with the experience is absolutely crustal and I think that’s without a doubt. That’s why I enjoy creating content for so many platforms. It is always a challenge to understand what you want to communicate and how you’re going to communicate that. Because the same story as in the same character, in the same world, and the same plot, they can be adapted to different platforms. It could be a comic book, a movie, a game, and could be a novel. And all of them would tell the same story, the same content in different ways.
What kinds of talents and personality does it take to succeed as a Game Writer?
With ANY writing career I always have the same advice – learn to be honest with your own work. When people are learning to cook they often say “I don’t know what’s supposed to taste good!” but, obviously, when people cook or eat food they know what tastes good. Writing is the same, we know when our writing is good and when it’s not. Never be afraid to dissect your own work, figure out why it works and why it doesn’t. Ask advice from people you respect.
You’re also going to need some thick skin. Great ideas are going to be thrown out, your work is going to be mercilessly edited – that’s part of the job, and it’s always in service of making something better. Perseverance is king.
What advice would you give somebody who’s thinking about becoming a Game Writer for fresh graduates or juniors like me?
Specific to game writing – learn overarching concepts of game design. Understanding different mechanics, game-play loops, and design philosophies will make you a better writer. Try to understand what makes a good game tick on a game-play level and start to understand how the writing reinforces it. Also, start to pay attention to writing outside of dialogue or cut scenes – how does the wording of something push a player towards the desired “game feel”? Board games are actually a wonderful way to dive into this. A well “written” board game, puts players in the mood the developers want in very subtle ways. It’s magic, really.
Now, specific to students: you, like me when I was in school, thought I was going to graduate and become a damn rock star. It won’t happen. If it does, congratulations. Writing in particular is a skill that takes a long time to develop, but takes even longer to actual make money on. Never stop writing, but expect that it will take a LONG time to break in with writing alone. If you can develop other skills related to game design in addition to writing – that is your best bet to get your foot in the door. Me, on the other hand, I am a dumb dumb who came from video production so I didn’t have that luck (but even knowing how to properly format screenplays etc is seen as valuable – so there’s that).
What would you recommend for education, books, or other learning to start down the Game Writer career path?
I’m always hesitant to recommend “how to” type books. And even any advice I’ve given here…if it works for you, great. If not, that’s fine. Every writer is different, embrace what makes you unique. The best education for writing is reading great writing. Don’t just read what you like or what’s popular – that’s like trying to found a business on SEO keywords alone – it only gets you so far. Read challenging fiction, read nonfiction and learn history – often the stories of history are weirder than anything anyone’s come up with in fiction.
But most importantly – WRITE. Every writer will tell you the same thing, but you simply can’t get better at it without doing it all the time. Try and write every day, in whatever format works for you. This not only will help you stay fresh, but when you do get an opportunity to prove yourself, you’ll have some samples of work to show. Getting a good writing gig does involve a lot of luck. But as I often say: you can’t predict when lightning is going to strike, but you can walk up to the top of the nearest hill with a big metal poll.
Chris Krubeck is a creative person who craft quality work regardless of whether it’s for a game script, ad, book, business or creative venture.
Chris works on game writing, screenplays and creative-driven copy-writing for more than 6 years. He also consult and do developmental editing for other writers of any skill or experience level.
Some collaboration works of Chris Krubeck: Twilight Monk, Tokyo DarkDepth Of Extinction (HOF Studios, 2018)
Woogi Create (Woogi Global, 2016)
Chris graduated from Falmouth University with a degree in film production in 2011. He went to Tokyo, Japan and started working as a game producer and scriptwriter in Boonmachine K.K. in 2014. While living in Tokyo, he met the lovely founders of Cherrymochi and collaborated a horror game Tokyo Dark which published by Square Enix Collective.
Chris Krubeck’s Portfolio Website
Interview with Chris Krubeck in Game Writer:
How would you describe what you do every day as a Creative Writer?
It’s hard to pin down. Writing can mean different things for different industries, and what I do as a game writer, say, versus what I do when I’m writing a novella or script are very different. Fundamentally, of course, it’s all about telling a story – and making sure you’re telling the right story for the medium. But to more directly answer your question, a lot of the day to day of a creative writer is throwing stuff out – writing drafts then deleting them; coming up with ideas that don’t go anywhere; all in the process of finding the right path forward. Behind the stuff that people do see are a lot of ideas and words that aren’t used.
How did you get your job as a Game Writer?
Honestly, I kind of fell into it. I was working more in TV and video production, but did a lot of writing on the side. When I lived in Tokyo, Japan I had a regular board game meet up with some other creative guys – one of them was developing an alpha demo/proof of concept for a game. I offered to edit the scripts and provide feedback on the writing. He was suitably impressed with that work, I wrote another sample, and we decided to work together – that game eventually became Tokyo Dark.
What is your favourite part of the job?
The collaboration is great – sometimes it can get easy to be stuck in place when you work alone. Game writing by necessity requires a lot of coordination between different teams. It can be very inspiring. Also, working in games provides a lot of roadblocks (limited art assets, budgets, etc) – and finding the perfect solution to get around these is a wonderful feeling.
What aspect of the job would be surprising to people looking in from the outside?
I think there’s an image among some people that the Game Writer is a lot like the script writer – coming up with the skeleton of a story that turns into a fully realized world. In fact, many great games are born out of a gameplay concept or from systems that the writer then has to work with. Also, some people seem to think that writing games is just writing dialogue for cutscenes – but it’s so much more.
Every game is different obviously, but a lot of the game writer’s job is to interpret the gameplay through a narrative lens, not the other way around. If you go in to game writing wanting to write your Magnum Opus/epic science fiction or fantasy story – you should write a book or a screenplay instead. To be a great game writer, you need to write in a way that serves the game itself. You also need to be flexible enough to change your style to suit different genres.
Matt Forbeck is an award-winning, New York Times – bestselling author and game designer. He has designed board games, collectable card games, role-playing games, miniatures games, and interactive toys. He has written comic books, video games, mobile games, alternate reality games, magazine articles, novels, nonfiction, screenplays, and short fiction. He has more than thirty works of novel and games, which have won dozens of honours and published in over 15 languages.
Some of the representative works of Matt Forbeck: Halo: Bad Blood, the new Dungeons & Dragons: Endless Quest books, Life Is Strange: Welcome to Blackwell, the Star Wars: Rogue One junior novel, Dungeonology, and The Marvel Encyclopedia, plus work on Assassin’s Creed: Origins, Ghost Recon Wildlands, and the Shotguns & Sorcery roleplaying game based on his novels.
Tom Clancy’s Ghost Recon® Wildlands (Ubisoft, 2017)
Assassin’s Creed® Origins (Ubisoft, 2017)
Forbeck graduated from University of Michigan with a degree in creative writing in 1989. He landed his first job as an editor at Games Workshop in Nottingham, England. Forbeck has worked as a writer and game designer full-time after he came back to America about thirty years ago. Forbeck and Shane Lacy Hensley formed Pinnacles Entertainment Group in 1996 to publish Deadlands and work four years as the president of Pinnacle before he returns to Wisconsin. After that, he worked two years as the director of adventure games division at Human Head Studios.
Forbeck’s LinkedIn Profile
Interview with Matt Forbeck in Creative Writer:
How would you describe what you do every day as a Creative Writer?
I create stories that wind up as novels and games. To do that, I mostly sit at my desk in my house and smack my keyboard for hours at a time.
How did you get your job as a Creative Writer?
I have a degree in Creative Writing from the University of Michigan. When I was fresh out of college, I grabbed a student work visa for the UK and landed a job as an editor at Games Workshop in Nottingham, England. About thirty years ago, I came back home, and I’ve been a full-time writer and game designer ever since.
What is your favourite part of the job?
I love telling stories and entertaining people. I also like the fact that I can set my own hours, which means I can be there for my kids whenever they need me.
What aspect of the job would be surprising to people looking in from the outside?
It’s not all that exciting most days. People see writers at conventions and book signings and think it’s all a long party, but it’s really about putting your butt in the chair and getting the work done.
What kinds of talents and personality does it take to succeed as a Creative Writer?
You should enjoy being by yourself for long stretches of time, and you should like to tell stories whenever you get a chance.
What advice would you give somebody who’s thinking about becoming a Creative Writer for fresh graduates or juniors like me?
Give it a shot while you’re young, before you have all sorts of obligations like houses, cars, kids, and such. Those responsibilities make it harder to make the leap to full-time writing, but when you’re young and relatively carefree, it’s a lot easier to take those risks.
What would you recommend for education, books, or other learning to start down the Creative Writer career path?
All you really need is the determination to succeed and the willingness to learn from study and feedback. Most writers don’t have a Creative Writing degree, and many of them never went to college at all. These things can help you, of course, but they’re not strictly necessary the way they are for other professions.
Jaymen is teaching Animation course in Raffles College of Higher Education. He teaches students in storytelling, screenplays and scripts. He has written a lot of screenplay in the train, home, whenever he’s free.
Jaymen’s LinkedIn Profile
Voice Interview with Jaymen Ng in Script Writing:
How would you describe what you do every day as a Script Writer?
On a daily basis, as a Script Writer I would be paying attention to people, events and the environment around me to gather interesting ideas and experiences with potential for future scripting projects.
What is your favourite part of the Script Writing?
My favourite part of Script Writing would be to successfully transport readers and audiences into a parallel universe for a totally, alternate experience.
What aspect of Script Writing would be surprising to people looking in from the outside?
The numerous possibilities of anything happening, anywhere and involving anyone.
What kinds of talents and personality does it take to succeed as a Script Writer?
A successful Script Writer should HAVE an inquisitive and creative personality – someone who can see possibility in anything yet being able to stay within the realm of logical believability.
What advice would you give somebody who’s thinking about becoming a Script Writer for fresh graduates or juniors like me?
Read a lot, ask questions and be a hard core researcher. Most importantly dissect and understand the works of successful writers – reflect on what works and what did not, somewhere in between you may discover their secrets!
What would you recommend for education, books, or other learning to start down the Script Writer career path?
I would say “Go google the best script writers/directors! Or perhaps, look at the Alfred Hitchcock, Francis Ford Coppola, Oliver Stone and Stanley Kubrick.
Nicole’s Blog 