You love storytelling. You love games. Maybe you've dreamed about writing for one someday — helping shape quests, characters, and branching storylines that players will never forget.

So you start Googling: How to become a game writer.

And the advice you find? Feels... vague. Like:

“Build a portfolio.”

“Network on Twitter.”

“Apply to job postings.”

“Just keep at it.”

You try. You do the things.

But you still feel stuck — invisible, even.

If you’ve been spinning your wheels and wondering if you're doing something wrong, you’re not alone.

The truth? Most people who actually break into game writing aren’t following the advice you’re reading online.

They’re taking a different path — one that’s harder to see, but much more effective.

Let’s talk about it.

The Problem: The Game Industry Isn’t Built for Outsiders

Let’s be blunt: the “application trap” is real.

Most writers think they need to find an open job posting, write a dazzling cover letter, and hit “submit” — over and over — until something sticks.

But here’s what most of those rejections won’t tell you:

📌 Studios rarely hire cold.

📌 Your writing talent isn’t being seen in context.

📌 There’s no feedback loop — just silence.

And that silence? It messes with your head.

You start thinking you’re not good enough. Or that the door’s permanently closed.

But the issue isn’t you. It’s the system. The truth is…

The Root Cause: Why It Feels So Hard To Break In

This industry runs on trust. And trust doesn’t show up in a resume.

Game writing is deeply collaborative — writers work closely with designers, audio leads, VO directors, producers, and more. So hiring managers want to know:

• Can this person think like a game writer?
• Can they collaborate without ego?
• Will they make our project better — not harder?

Here’s the kicker: they often find those answers through referrals, past relationships, or communities — not through blind applications.

Add to that the fact that most early-career writers:

• Don’t get actionable feedback
• Don’t know how to build the right kind of samples
• Don’t have access to a network

… and suddenly, “breaking in” feels more like breaking down. 😫

The Real Solution: Relationships, Practice, and Feedback

If this is resonating, take a breath — you’re not behind.

You’ve just been handed the wrong map.

Here’s what actually opens doors:

✅ Community: A space where you can ask questions, share work, and connect with people walking the same path.

✅ Practice: Not just writing scenes, but learning to write systems. (Dialogue trees. VO barks. Player-driven stories.)

✅ Feedback: Not from a friend who “likes it,” but from someone who’s done this work professionally — and can help you grow.

That’s how game writers get good. And how they get noticed.

What You Can Do Right Now

Here’s the good news: you don’t need to wait for a job posting to become a better writer.

You can start moving forward today:

🎮 Write a short interactive scene in Twine or Ink

🎮 Revise one of your samples with a “developer’s lens” — what’s the player experience? What choices matter?

🎮 Join (or create!) a writing pod — even just two or three people can change everything

🎮 Follow narrative designers and studios you admire — not just to network, but to learn how they talk and think

And most of all: don’t go it alone.

You’re Not Behind. You’re Just Early.

Breaking into game writing is hard — but not because you’re doing it wrong.

It’s hard because no one’s showing you what actually works.

When you stop trying to crack the code alone — and start building skills, sharing work, and connecting with others — everything changes.

You don’t need to be perfect. You just need to keep leveling up.

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Susan’s first job as a game writer was for “a slumber party game - for girls!” She has gone on to work on over 25 projects, including award-winning titles in the BioShock, Far Cry, and Tomb Raider franchises. Titles in her portfolio have sold over 30 million copies and generated more than $500 million in revenue. She founded the Game Narrative Summit at GDC. Now, she partners with studios, publishers, and writers to help teams ship great games with great stories. She is dedicated to supporting creatives in the games industry so that they can do their best work.