About eight months ago, I had no idea games writing was even a thing. When a former undergrad professor urged me to submit my critique of the little sisters from the Bioshock franchise to a pop culture conference, it was the first time I stood before an audience and openly critiqued a game. I always had a critical eye when it came to pop culture, but my opinions were reserved for trusted friends on my personal Facebook account. The gaming community freaked me out because it was a place I no longer felt secure in. I feared operating within that sphere because of GamerGate and all the horror stories surrounding it. Had it not been for the urging of my professor, Iām not sure I would have got into games writing on my own.
My career in games writing wasnāt a linear or well-manicured path. It took some time to build connections and, at times, I had to force myself to ask for what I wanted, a panic-inducing task for a timid person. I firstĀ started out asĀ a regular writer for a feminist website called Not Your Mamaās Gamer. The site, which features all female writers, generally focuses on problematic gender representation in videogames. Though itsĀ content expands into negative portrayals of mentally ill characters and issues within the gaming community too, I got into the biz, as they say, by asking Samantha Blackmon, one of the siteās founders, if I could write for them. It seems kind of humorous now, given our close friendship, but the process involved me initiating conversation and putting myself out there. I took a chance and Iāve not regretted it since.
Not Your Mamaās Gamer was a great experience for a first time writer because I had a place to call home. I wrote on a weekly basis, which meant I churned out a lot of content in a short span of time. It was also a challenge, because I had to unearth certain truths about myself. When I first started writing for NYMG, I had no clue what kind of feminist I was.
I struggled with my identity as a writer, as a feminist, and as a writer of feminist content. I was afraid to openly identity as a feminist because of the negative assumptions and stereotypes. But we sorely need betterĀ portrayals of womenĀ in gaming. Games writing is more than just writing about a form of entertainment – itās downright political. Itās a medium that needs to be examined and treated as a work of art and a reflection of our culture.
Not Your Mamaās Gamer also ran a biweekly podcast, which I occasionally participated in. The experience was scary at first because Iām a naturally soft spoken and under-confident person, but the ladies at NYMG lured the demons out of me (in the best way possible). Whether weāre discussing feminism with Ashly Burch, the voice of Chloe Price from Life is Strange, or laughing at one of the writerās dogs, who squeaks her chew toy at the most inappropriate moments, I like to think weāre making a dent in game culture.
I now manage a YouTube channel called Hyrule Hyrulia, but I never would have had the confidence or skills to do so had it not been for my experience at Not Your Mamaās Gamer. My channel features interviews with professionals working in the gaming industry, letās plays, and more. Itās important I foster a safe and positive space for the people I interview because I know what itās like to get attacked and harassed. Iām particularly considerate of triggering content because I frequently tackled uncomfortable topics at NYMG. I hold myself personally responsible for the safety of my guests, so I refuse to tolerate mean or discriminatory comments. NYMG helped sculpt who I am and, now that Iām more confident and socially aware, itās my responsibility to educate others.
Itās not easy when youāre first starting out in this field. It takes time and dedication to build a following and get your name out there. My involvement with Not Your Mamaās Gamer opened up other doors in terms of opportunities and connections. Having previously worked with Ashly Burch on NYMGās podcast, I had already formed a business relationship with her and later invited her to join me on my channel. This field really depends on making connections.
If youāre looking to get into games writing yourself, I recommend starting your own blog or joining a reputable website youāre passionate about. You can be the most grammatically correct writer in the world, but if thereās no fire in your words, then whatās the driving force? Find something youāre passionate about, work out a unique angle, and write about it. Some places accept open submissions – if youāre not sure, locate a contact email and ask. It never hurts to reach out and make connections. A couple of fantastic places that are currently accepting new writers:
In order to be a games writer, you have to be confident about your work and be able to make strong connections with people who treat you well and take you seriously. Iām a naturally anxious person, so promoting myself and establishing business relationships with other people wasnāt always an easy task. I still struggle with asking for compensation, but itās entirely appropriate and within your right to ask about it. If your work is good enough to get published, itās good enough to get paid. Donāt ever sell your skills short.
For me, nothing compares to the joy of seeing your first published article. Itās even better when an online stranger either learns something from your article or is moved by it. I once wrote an article on how Everybodyās Gone to the Rapture helped me re-connect with my spiritual side. It was an incredibly personal article and I was afraid to share it with the rest of the world. But aĀ stranger who came across my article thanked me for writing it because of the negative stigmas surrounding spiritual and religious people. That was a real high, but of course there are lows to being a games writer, too.
The comment section on any website is, for the most part, a cesspool of despair. Though thereās the occasional enlightened or constructive comment, the toxic negativity can be a hard pill to choke down. I once angered a regular reader with my interpretation of an act in Bioshock Infinite. When one character stabs anotherĀ with a pair of scissors, I likened the action to a kind of sexual penetration. It was such a small part of my article, but that one section ruined it for him. Itās hard to be criticised and, in the very public space of digital publishing, itās also impossible to avoid it.
Iām still learning a lot about what kind of articles sell to a wider audience. Though I have mixed feelings about clickbait, I understand the logic behind it. Newer sites, especially ones that compensate their writers, require content that drives traffic. Right now Iām struggling with selling clickbait material while at the same time preserving the integrity of my writing. Iāve always prided myself on the honest content I produce, but clickbait material can sometimes be one-dimensional or sensationalistic. I donāt ever want to lose the rawness of my content because, to me, thatās why I get up every morning to write.
Lastly, on a more personal note, I’ve learned to be my own advocate. Every writer receives criticism, but the successful writers are the ones that learn from it and march on.
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