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Write Your Way into Animation and Games: Create a Writing Career in Animation and GamesFrom Focal Press
Free PDF Write Your Way into Animation and Games: Create a Writing Career in Animation and GamesFrom Focal Press
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Launch your career in writing for video games or animation with the best tips, tricks, and tutorials from the Focal press catalog--all at your fingertips. Let our award-winning writers and game developers show you how to generate ideas and create compelling storylines, concepts, and narratives for your next project.
Write Your Way Into Animation and Games provides invaluable information on getting into the game and animation industries. You will benefit from decades of insider experience about the fields of animation and games, with an emphasis on what you really need to know to start working as a writer.
Navigate the business aspects, gain unique skills, and develop the craft of writing specifically for aniamtion and games. Learn from the cream of the crop who have shared their knowledge and experience in these key Focal Press guides:
Digital Storytelling, Second Edition by Carolyn Handler Miller
Animation Writing and Development by Jean Ann Wright
Writing for Animation, Comics, and Games by Christy Marx
Story and Simulations for Serious Games by Nick Iuppa and Terry Borst
Writing for Multimedia and the Web, Third Edition by Timothy Garrand
- Sales Rank: #1590457 in eBooks
- Published on: 2012-11-12
- Released on: 2012-11-12
- Format: Kindle eBook
About the Author
Based in Los Angeles, California. Christy Marx is a writer, story editor, series developer, game designer, and interactive writer. Her many credits include: Babylon 5 and the Twilight Zone; 20,000 Leagues Under the Sea; He-Man; X-Men Evolution; Teenage Mutant Ninja Turtles; Lord of the Rings; Elfquest; and more.
Most helpful customer reviews
4 of 4 people found the following review helpful.
A well written resource, but it's probably better for aspiring game writers
By Lesley Aeschliman
Write Your Way Into Animation and Games: Create a Writing Career in Animation and Games is a book that contains pieces from several other books printed by Focal Press, as well as some new material written by Christy Marx to tie everything together. The title says the book covers both animation and games, which it does; however, only the first nine chapters actually cover animation. The remaining seventeen chapters focus on writing for games. But it should be noted that there are times in the game writing section where concepts from the animation section are referenced, so the animation portion does need to be included.
The animation portion of the book contains writings by two writers: Christy Marx (who has nearly 30 years of experience developing, story editing and writing animation series and features) and Jean Ann Wright (whose experience includes work with Hanna-Barbera, working as a freelance animation writer, and having her own business as an animation preproduction consultant). Both of these women provide great insight into the basics of writing for animation, as well as providing information on writing structure, character development, and information and advice for anyone who wants to try to break into the animation scriptwriting business. While some of the information provided by both of these women overlap somewhat, it turns out that one of them may only give a brief mention to a concept, while the other provides more in-depth information to flesh out the basic concept. As I read this section, I felt that both writers' information was very helpful and useful for an aspiring animation scriptwriter.
For the game writing portion, five writers are represented: Terry Borst (who has credits for game writing, as well as for screenwriting), Timothy Garrand (a principal user experience architect), Nick Iuppa (a designer of instructional media and game-based training), Christy Marx (who was written for games in the PC, console, and MMOG categories), and Carolyn Handler Miller (a pioneering writer in the field on nonlinear entertainment). The game writing section goes into more detail about the basics, because there's a lot more that goes into designing a game as opposed to an animation script. It also talks about how to create a work for digital storytelling, how to write and format a script for a game, how to go about writing and presenting the narrative for games, as well as what to expect when working as a digital storyteller and tips on potential ways to try to enter into the business of writing for games. Like with the animation section, some of the concepts are mentioned by multiple authors in different chapters, but one author is able to expand on a concept that another writer only touches on briefly in their chapter. For someone who is interested in game writing, the information included in this book is quite helpful; however, it probably would make the most sense to someone who already has some kind of knowledge about videogames.
This book is definitely designed to be used either as a textbook for a class or by someone who is interested in learning this information on their own. Some of the chapters include exercises at the end of them, which is why I think this could potentially work as a textbook for a college class. At the end of the table of contents, it mentions there are multimedia components for the book, and it lists a website where the content is located. I visited the site, and discovered that in order to access the information, you have to register at the site; registering for the site is free. At this point in time, I haven't registered to access the multimedia components, so I can't comment on how they enhance the information provided in the book.
Overall, this book is well done and well written, and provides a lot of helpful information from professionals who demonstrate that they are knowledgeable about their respective topic. However, this book is probably a better resource for someone who is interested in starting a career for game writing. For someone who is interested in starting a career in animation writing, they're probably better off locating a book that focuses more exclusively on animation.
2 of 2 people found the following review helpful.
Great Resource for Beginners and Some Intermediates
By R. C. Bowman
Before I can properly apply the book (which is textbook format, though a lot more interesting and fun than normal textbooks) here's a little background. I'm a lifelong writer, just now getting serious about publication, with an abiding passion for film (particularly animation) and video games. While I'm not bad on the designing end of the spectrum, writing is definitely my stronger suit. I researched screenwriting and animation writing in my teens, but, figuring I'd learn all this in film school (all of which accepted me, none of which helped me pay) I never took it seriously.
Fast-forward a few years. I'm still in love with writing; it's still a creative pursuit at which I excel (assuming I work very hard and polish each piece); I still love film, but that expensive hobby understandably got pushed onto a back burner. A few weeks ago, I began to wonder seriously, not idly as I've done for years, about what I could do to write for animation and games. Coincidentally, I stumbled across this book.
"Write Your Way into Animation and Games" is a fabulous resource for beginners, and even intermediates depending on what you're looking for. I was frustrated by the first chapters, which cover screenwriting basics and how to craft a simple story. I read them anyway (in case skipping would cause me to miss something). And I have to say, the advice is clear, concise, brief, thorough, and necessary. It was material I'm highly familiar with, but once I banished the "been through this before" conceit, the refresher did very well for me. I'd urge anyone not actually working in animation (not that you'd be picking up this book if you were) to please go over it. It's a little irritating at times, but the information is still valuable.
After the basics, it delves progressively deeper in terms of technique and resources. The information on animation writing, from script format to page count to dialogue and action balance, was fantastic. Without setting out any unbreakable rules, it gives a very clear idea of expectations and guidelines, which is much, much more helpful that something along the lines of "you always have to do this exactly this way."
My only disappointment--and it was fairly minor--was a relative lack of gaming resources. Writing for games and for animation is obviously very similar, but I was more interested in games than in animation at this point. I wish it had been more balances, or even biased in favor of game-writing. That said, given the amount of information and resources in this book, that really was a minor disappointment.
"Write Your Way into Animation and Games" is set up like a textbook. At very rare times, it reads like a textbook, but it's still a lot more interesting than most of the textbooks I have/am dealing with now. If the format would, for some reason, put you off, don't worry about it. This isn't dry reading. The writing is professional but vibrant, and bursting with examples (which I definitely need.) I can't promise this will be a perfect read for any beginner. But, overall, this was a really great guide for me, and I know I'll be using it in the future.
1 of 1 people found the following review helpful.
Most Important For What It Says About Developing A Career In The Field
By Gregory McMahan
This book, which strikes me more as a combination of a textbook and a memoir (a la how-I-got-into-show-business vein), covers all of the basics of writing an animated film and certain types of electronic games. It does a good job of presenting in a very down-to-earth and comprehensive fashion all of the basic terms, the general structure of the animated story (whether geared for TV or live action film) and the more typical simulated game, and the key elements of any script associated with them. The book also adequately shows how writing scripts for animation and gaming is similar to and most important, different from the more typical screenwriting associated with movies and TV.
The authors go to great length in their discussion of the care and feeding of editors and producers. Make no mistake- this is probably the most important element of writing for these types of media. That said, along these lines, based on a careful reading of this book, my key impressions of this kind of writing are as follows:
1. Script writing for these media in particular is very cookie-cutter in both approach and execution. But then, all commercial writing is this way.
2. Work within these media feeds off of collaboration and socializing. In this way, it's very unlike writing for magazines or publishing the book, which is more of a solitary process. In the latter media, the writer has the option of interaction with others and has some control over the process and the final product. In contrast, with animation and gaming, social interaction and collaboration is a requirement. Additionally, writers in the medium often find numerous constraints imposed upon them, and typically have much less control of the process and little or no control over the final product.
3. While it is definitely more lucrative than magazine or book writing, these media are also more convoluted in their execution, and requires a lot more schmoozing and networking.
4. Finally, I agree with Ms. Marx's most critical and very perceptive insight, which all aspiring writers looking to get into these media should keep in mind:
"The most difficult thing to sell in today's market is an original concept."
Truer words can not be said.
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