Archive for category: Writing Craft

Script Surgery

25 Mar
March 25, 2015

This post will contain a minor spoiler about the game’s plot. Don’t read if you want to be completely fresh.

In the last dev update I talked about how I was updating the narrative to have a bit more punch, a bit more personal conflict right out of the gates.

An important problem to tackle, that, but not the only plot issue I’d identified. The other, trickier problem, is moving the inciting incident to an earlier point in the narrative.

For those who aren’t familiar with script writing terminology, the inciting incident is the plot event that kicks the protagonist out of their everyday routine and forces them to grapple with the core conflict of the narrative, whether that’s saving the world or winning the heart of their love.

It’s Luke Skywalker finding Princess Leia’s message, Trinity contacting Neo, Ned Stark being called to King’s Landing. It’s Gorian’s murder and Imoen’s kidnapping in Baldur’s Gate 1 & 2.

And it’s best if you get to it fairly quickly, so as to give the story direction and movement. Wait too long to kick things off and your story feels limp and uninteresting, your audience gets restless and starts to lose focus. Like a crowd forced to wait too long for the band to come on stage.

And this, unfortunately, is what I did with System Crash. I kind of outsmarted myself (The KISS principle is something I wholeheartedly endorse but often forget to practice myself πŸ˜› ). I had this “neat” idea that I’d write a number of smaller story arcs that seemed isolated from each other, but would eventually be revealed to be tied to the main plot arc. So that later in the game the player would go “Aha! X and Y were actually about Z!”

Which sounds, like I said, neat, but my execution was a bit flawed. I held off on starting Z, the main plot arc, until the X and Y mini-arcs were finished. Which is a lot of stuff to get through before the story really gets its main surge of energy and motivation. The smaller arcs aren’t compelling enough, by themselves, to hold attention.

The answer, of course, is to start Z, the main arc, earlier. I’ll run it concurrently with X and Y, but make sure that X and Y are completed before getting to the part where it’s revealed that they’re linked to Z.

So that’s why I’m moving the inciting incident forward. It’s really the kick-off point for the main arc, for Z.

What that has entailed is figuring out how to rearrange the pieces of story that I have into a new, more compelling configuration. I really don’t want to rewrite a lot of narrative, I just want to shuffle what I have. Luckily, since there were already a number of smaller arcs, they can be rearranged without breaking the entire structure. The change looks something like this :


System Crash Sections Sml


System Crash Sections 2 Sml

Notice how much more overlap there is in the starting bit, and how much earlier that yellow blob starts. πŸ˜‰

I think this will be better. I hope so, I’m not rewriting the entire bloody thing.

Where’s The Conflict?

10 Mar
March 10, 2015

Stories are, at their core, all about conflict.

And by ‘conflict’, I don’t mean just dudes biffing each other. I mean conflict in the more general meaning of the word – Struggle, opposition, friction.

Whether internal to the characters or external, ratcheting conflict is what builds tension in a narrative, pulling the audience along through the story. Building up the pressure until it peaks, then releasing it in a final, (hopefully) satisfying climax.

So a lot like sex, then. And like sex, fumbling the beginning can kill the mood.

This feedback on the SC beta leads me to suspect that the latest version of SC’s storyline is a bit of a failure to launch. Luckily, like sex, writing is a skill that can be practiced, and stories can be refined.

Now, that forum comment is just one person’s opinion, I know. And you can’t necessarily take any single individual’s feedback as objective truth, everyone brings their own subjective tastes to the mix. But this comment rang true, down in my gut. And I’ve learned to trust that feeling, it’s rarely led me wrong.

As Maximillion says, he found it odd because the previous iteration of the story hooked him. Not that strange, if you examine both intros with an eye toward the underlying conflict. Here’s the last beta’s intro:

In the aftermath of The Great Collapse, the world teetered on the verge of chaos.

Starvation and rioting spread across the globe like wildfire, nation-states dissolved into anarchy, and militaries clashed over ever-dwindling resources.

The spectre of global war loomed once again.

Strained to breaking-point and facing populations in open revolt, western governments took desperate measures.

New legislation was passed outsourcing the management and security of entire cities to private corporations.

Though politically controversial, the transfer of city governance into corporate hands was extremely successful.

Armies of privately-funded security contractors re-established control of troubled urban centres, putting down rebellion with ruthless efficiency.

The new corporate enclaves were beacons of stability and prosperity in a world wracked by turmoil, and other nations soon followed suite.

Order was restored, but the balance of power had shifted permanently.

Megacorporations are the new global Superpowers.

There are some who reject the new corporate order.

Operating in the shadows cast by the gleaming towers of glass and steel, they follow their own code, surviving by taking on the dangerous, illegal jobs that the rich and powerful cannot be seen to be involved in.

They call themselves Runners.

I took inspiration from the opening of Blade Runner there, introducing the dystopian futuristic setting in a little text sequence, trying to squeeze the maximum amount of expository and thematic efficiency out of those few lines. If you’re unfamiliar with cyberpunk genre tropes, that was intended to get you up to speed.

But where’s the conflict?

Sure, it suggests some larger themes of conflict in the overall setting. But where is the direct, personal conflict for the player? There isn’t any. Not good, not good. You have to touch your audience in the right places, if you want to get them excited. πŸ˜‰

(Try not to picture these sexual metaphors, you’ll creep yourself out. Or, perhaps, get yourself excited. You pervert.)

Now, I’m not going to replicate the old intro for comparison, because it was 7 pages long, a lot to read before getting into the game proper. One of the things I’ve had to practice is brevity. But I will share the new intro I’ve been working on, or at least what I have at the moment (it may get a few more edits). It cannibalizes and repurposes plot elements from the old intro, which some of you may recognize. No use wasting good words, after all.

The sprawling San Angeles Metroplex rises around you, brightly lit towers thrusting up through the smog to rake the sky, neon ad boards jostling for your attention.

You take a deep breath, almost smiling at the foul, familiar taste of the air. It’s been more than a year since you were on the West Coast. You’re glad to be done with Europe and its miserable winters. The assassins didn’t help, either.

The job in Berlin, the one Jackson promised would be a piece of cake, was anything but. Things had gotten real messy, real fast, and you’d had to leave Berlin in a hurry, hired assassins hot on your trail. If you’d known you would be tangling with the Syndicate, you’d never have accepted Jackson’s offer.

No use holding a grudge, now. Jackson died in Amsterdam when the hunters ambushed your team in a small cafe. He and Summers were torn apart in the initial burst of gunfire, you barely made it out of there alive. You had to pay a black market body shop a small fortune to graft you a new hand to replace the one you lost to a grenade. A rush job, the colour doesn’t quite match.

The team split up after Amsterdam, those that were left figuring that travelling alone would be less conspicuous than in a group.

Six months you traveled the globe, staying one step ahead of the killers looking to collect the Syndicate’s bounty. Six months before you were convinced they’d lost your trail.

And now you’re back in San Angeles. Your first order of business was getting a new deck, you’d had to abandon your old rig in Amsterdam. And the kind of deck you need, they don’t sell those at the mall. Black market cyberware is expensive and you’d burned most of your credits getting out of Berlin. A bank loan was out of the question, the background check would poke holes in the fake ID you’re using.

That had left only one option – a loan shark.

Miriam had a reputation for ruthlessness, but she was the only one whose terms you’d found even slightly palatable. She’d agreed to lend you the 25 thousand credits you needed for a new Hijati, on condition that you paid her back 50. You’d had little choice but to accept her terms. You can’t buy a deck without credits, and without a deck you can’t work to earn the creds.

You have 3 months to pay back the debt. After that, Miriam will send her goons to collect your organs.

That’s better. Gives you a nice, clear conflict for the player character, a reason to be doing the game’s missions. And I’m introducing a some scripting and missions involving Miriam, the loan shark, in the early game. The push to earn enough money to pay her back before she comes to collect your kidneys will carry players through into the primary storyline involving…well, you’ll have to wait and see. πŸ˜‰


So that’s what I’m currently doing on System Crash. Painting Miriam, prepping her dialogue and scripting, cutting and chopping the mission flow and storyline a bit to accommodate that. If I do it well enough, new players won’t even be able to see the stitches where I performed my script surgery. πŸ˜‰

Josh Sawyer, on writing Genre Fiction

20 Dec
December 20, 2013

Josh Sawyer, who answers fan questions on his tumblr, the Frog Helms Fan Club, posted this excellent, thoughtful response to a question on avoiding cliche in writing genre fiction.

Good stuff.

The Passive Protagonist Problem

24 Nov
November 24, 2013



“The Passive Protagonist Problem,” try saying that five times quickly!

As many of you know, I’m in the final stages of building System Crash, the cyberpunk, story-heavy collectable card game I’ve been working on for about two years now.

The end of an artistic or creative project can be a tricky time, because it’s difficult to know when to call it “done”. An engineering project is simpler, you’re judging utility, ticking items off of feature lists, testing stability. Qualities that are directly and objectively measurable. With art, you’re dealing with subjectivity and nebulous principles. Read more →

More Than Skin Deep

20 Nov
November 20, 2013



I’ve always loved words. And I’ve also always had a deep and abiding admiration for those who use them well.Β Whether it’s an insightful and engaging analysis of the world around us or building fantastical worlds of the imagination, good writing resonates. And it’s a skill I want for myself. Read more →