Writing content for video games differs a lot from writing traditional "old-media" screenplays.

We will look at the differences (as well as the similarities) here.

Before that, here are six things you may be unaware of with regards to writing for games.

1 – Size of the industry

The games industry is worth $45billion worldwide – so there is money around. The UK is still a player (just about), so you can get a foot in the door. A big UK multiplayer online game will cost £50m to develop. Compare that to how many UK £50m films there are.

2 – It's not for kids

The average age of players is now 33. Your game writing doesn't have to be childish stuff – unless you want it to be. Especially as games for kids are on the increase too.

3 – Games aren't for gamers

Not a hard-core full-on nerdy gamer? Well, that's cool. Neither are the majority of people who play games if you look at the raw stats. They play on their Wii, or their iPhone, and they play with friends. There are many people who will say they don't play games, as they doss about on Clash of Clans or Candy Crush etc.

4 – You don't have to sit on your own

The biggest games right now are Facebook games and online games. The lonely teenage gamer in his bedroom is not the norm.

5 – The script is a small part, you need to let go

When you have actors on a stage, the director sets the rules and the script is their guide. In games it’s the same thing, but one step further removed. The game sets up the rules and we’re all actors on the stage. The script is a guide for us all. Games have become much more complex and character-led. But they’ve also become much less on-rails and more open world. Its more like you are setting up a role-play for improv, mixed in with some key dialogue. Tricky analogy, so hope that makes sense.

6 - There is a place of you

Just as there are low budget films, short films and major blockbusters, so there are a whole range of opportunities in the gaming world. Sure, the AAA titles get the big adverts on the side of a bus, but there are many smaller indies who are making some cool lower budget games. And lower budget increases the chance to experiment and try something new!

SKILLS YOU NEED!!!!

You’re not expected to have any programming or coding skills. Your job is about crafting words. Having said that, the more you are comfortable in getting your hands dirty in a bit of coding, if someone shows you how to put your text into the game engine, the better! If writing in excel freaks you out, this may not be for you.

Also, a good awareness of games and how they work will set you up nice. Just as how you wouldn't employ a TV writer who hasn't watched much television, the same goes for games.

But what skills are definitely needed and do you have them?

Transferable skills (skills what you already have guv)

Storytelling: Generally - saying interesting things, using your imagination to conceive of intriguing situations – that will always be the key skill. It’s easy to forget that other people really struggle with this, so pack your suitcase full of cool stuff.

Wide range of influences: Writers are good at drawing in ideas from everywhere. Other people in the games industry sometimes get stuck in a certain genre or a way of working. They may repeat ideas or remain on a familiar set of tracks. Bringing in ideas from outside the genre is welcomed, but knowing games and the language of gaming is key too. Anecdotally I've heard that many writers got their first games gig because they knew a lot about the genre (e.g. fantasy) or they had cut their teeth of smaller indie / profit sharing projects that were similar. So embrace your niche and explore it.

Rewriting and then rewriting again: someone who doesn't mind going back through work for repeated drafts will be met with open arms. Pressure on a project can come from hardware restrictions, coding issues, graphics constraints, all sorts of directions – you may need to keep reworking your drafts through no fault of your own. And not moan about it. We can all tick that one off.

Dialogue: We’ve all played games where the dialogue is awful – of a sub-TV movie quality. That’s because someone in the company did it who shouldn't have. Obviously, if you’re hired it’s because at least someone has recognised their weakness in this area. All your usual dialogue skill and techniques will work here: people not saying exactly what they mean, using dialects, adding personal quirks, etc.

Curiosity: Again, an undervalued skill as we take it for granted. Why would someone do that? What kind of person says that? If I was like that, what would I do?

Think of the audience: Or in this case, the player. Will people be able to follow the game? How many plots and characters can any one person follow?

Different skills ( new stuff you will now need)

New structures: All the theories about three-act, nine-act or sequence structure don’t really matter at all anymore. The structure will be set by the gameplay mechanics and you have to fit within that. As an example, the game may be mission-based. If a mission lasts x minutes then that’s how long it lasts. Fit around it. Remember, you do the same in film where you work around the length of an old film reel – it’s just the technology has moved on since then and the structural ideas haven't.

Living with the vague: In a film, as you know, there’s all sorts of fun to be had by playing around with what the characters know, and what the audience knows that the characters don't know. But if you’re doing a non-linear game, that’s all jettisoned. You may not know what the player knows. This may take some time to get used to.

Technical nous: If you’re the kind of writer who struggles with Final Draft software and sending an email, this may not be the right job for you. You’ll need to get into a bit of techie stuff just to make sure your work comes out OK. Being able to find your way around servers is a prerequisite of the job.

Grammar: Some of your work will be text-based as well as dialogue-based, so brush up on your grammar and spelling.

Style of interaction: You’ll be collaborating closely with others rather than being an isolated writer. Even if you are a collaborating kind of writer, the style of working together may be different. Table readings are out. Playtests are in – followed by discussion on a wiki. Everyone uses instant messenger. Even people who are 10 feet away!

But the opportunity and the challenge is there. Play on!

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This is an extract from my new book, co-written by TV writer Danny Stack, on being a working writer in the UK today. Get it here - tinyurl.com/UKscripthandbook

You can see a one-pager on my games work via - http://timclague.moonfruit.com/games-work/