[arg_discuss] Book Chapter: Writing for ARGs

[Bryan Alexander]

Looks good, Wendy.

Will the book's format let you do sidebars?  If so, it might be worth having a couple for sample games (Metacortechs, World Without Oil perhaps) and sample puzzles.

TINAG: do you want to have a bit about the current controversies over it?  If the book's aimed at designers, the boundaries of TINAG might give some readers a wider area to explore.

The most recent ARGnetcast had this terrific line about how search and community are the two basic tools of net literacy, and of ARGplay.  Brilliantly aphoristic summary - might be worth mentioning.

OK, two plugs for Bryan interests:
1. Antecedents: always worth mentioning.  :)  Especially since there are games in that ancestry (http://www.igda.org/wiki/Alternate_Reality_Games_SIG/Whitepaper/Antecedents_to_Alternate_Reality_Games).
2. Web 2.0 storytelling: will this audience response to Web 2.0 language?  If so, it might be worth using this approach, since storytelling is such a powerful meme.

-----Original Message-----
From: arg_discuss-bounces at igda.org on behalf of despain at quantumcontent.com
Sent: Thu 10/4/2007 6:55 PM
To: Discussion list of the IGDA ARG SIG
Subject: [arg_discuss] Book Chapter: Writing for ARGs
 
Hello All,

The IGDA Game Writing SIG is in the process of putting together a sequel
to our first book. It's called (for now):
"FPS to RTS: A Game Writer's Guide to Genres"

I'm editing this book, but I'm also writing a chapter for it called:
"Writing for ARGs."

I'll include the chapter outline at the end of this message. I'd love to
get feedback on it, and if you'd like to collaborate with me on the
chapter, please let me know.

So take a look and don't hold back. Is it useless? Is it boring? Is it wrong?

Wendy Despain
quantumcontent.com

Writing for Alternate Reality Games
Outline
by Wendy Despain

I. What's an alternate reality game?
  - brief history, including the usual suspects - majestic, the beast,
    blair witch, my own credits
  - the multi-platform nature of the game
  - the intrinsic need for narrative in an arg

II. This is not a game
  - The TINAG concept in theory and practice
  - How TINAG impacts writing in an arg
      - you're not writing manuals and barks like in other genres
      - you're often writing in established forms like news articles,
        personal diaries, blogs, radio plays
      - learn the form! It has to be believable
      - learn how to include clues in otherwise "straight" forms

III. Evolving narrative over time
  - The initial plan never survives an encounter with the enemy
  - You MUST have a big, overarching plan
  - The player is not your enemy, but he/she will behave that way sometimes
       - embrace the conflict as an opportunity for drama
  - Go ahead and study modern battle tactics
       - Have objectives or "event nodes" with multiple branching
         possibilities
             - Be prepared for the enemy to come up with an alternative
               you didn't consider
       - Make sure every battle you fight is leading toward the correct
         objective
       - Communicate with your team and trust them

IV. Writing live - working without a net
   - What this means: writing when there's no opportunity to edit your
     work. your first draft goes live as soon as you type it.
   - Writing in chat rooms
       - post your "talking points" above your monitor
       - remember to stay in character no matter what
       - consider using multiple machines with character photos attached
         when playing multiple parts simultaneously
  - Writing in busy message board environments
       - use the "quote" function
       - take a step back when you need to
       - know when to ignore
  - Writing for actors who are "on stage" and need a hand with the improv
       - establish a method before you begin
       - don't rely on hand signals
       - pass notes whenever possible. write in ALL CAPS and in the actor's
         voice. No editorializing.

V. If the writer ain't having fun, ain't nobody having fun
   - Make sure you're comfortable with the scope and reach of your material
   - Give an in-character reason when you need to take a break.
     Remember, TINAG
   - Get another set of eyes on your work when possible
   - Don't neglect your timeline and organizational materials -
     keep it updated
   - Enjoy the ride. Characters in novels take you unexpected places
     sometimes, allow your players to do the same.

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