PORTFOLIO

Q: Just what is a Portfolio?

A: A portfolio is a collection of your best work used to market yourself. Writers often refer to this collection as “samples” and will use the terms interchangeably. “Portfolio” is used here in order to emphasize the organizational structure of the collection.

Q: How many writing samples should I put in my portfolio?

A: That depends on the quality of the works you’ve created. Only your strongest pieces should make it into your portfolio. Ultimately, the goal is to have a portfolio that gives a complete and favorable view of your skills as a game writer. You will need several pieces as a minimum; you can’t show what you don’t have.

Q: What kind of material should I include?

A: Anything that exemplifies your strength as a writer, particularly as a game writer. If you are creating material specifically for your portfolio, it is recommended that you focus on pieces that demonstrate your interest and skills in game writing. The preference of many companies is for material that directly relates to video games, though some are willing to look at other materials as well. The more your portfolio demonstrates an understanding of the unique nature of video games the better.

Q: Can you be more specific as to what exactly should be in a writer’s portfolio?

A: Since each company uses writers differently, your samples should demonstrate any of the writing responsibilities that you are willing to take on. Among the things that you should consider putting into your portfolio should be:

• Narrative and Dialogue Samples
• Dialogue Maps
• Barks
• Character Bios
• Treatments
• Technical and Design Documentation
• Game Manual Writing

Q: Can I use my…(insert favorite type of written media here)?

A: Writers have been hired based on strong writing samples of all types. If you feel that you have an amazingly strong sample you should include it even if it’s not something game companies normally ask for. Realize, however, some companies may not read submissions that do not match their requests or expectations. Such atypical pieces should compliment a strong portfolio, not replace the type of writings game companies want.

Q: Okay, so now I’ve added a lot to my portfolio, but how do I tell if it’s finished?

A: It’s never finished. Your portfolio should be constantly revised with new, superior works going in, and weaker, existing pieces getting pruned away.

Q: Does it matter how varied my portfolio is?

A: Yes. Don’t assume that you’ll only be interviewing to write futuristic 1st-person shooters with an all-male cast. Your portfolio should include samples that show that you can handle a variety of settings, genres, and characters.

SUBMISSIONS

Q: So now that I have a portfolio, who do I send it to?

A: You don’t. A portfolio is a tool for you to draw from. Eventually, when you get an interview you will likely bring the complete portfolio with you. You may also want to post your portfolio, or portions of it, online. What you send to prospective employees though will vary from company to company based on their needs.

Q: How do I know what a specific company is looking for?

A: Check their job listings, either at an industry site like gamasutra.com or at the company’s website. Many companies will list what exactly they want submitted and how. The samples you submit should be the ones that fit closest to the project they are hiring for.

Q: I looked but the company’s job listing doesn’t specify much. What should I do?

A: A careful look at how they describe the job can provide you clues on what they are looking for. You should also look up which games the company has made, research which ones they have currently in development, and play any that you are not familiar with. This can give you a clearer idea of what genres they focus on and who there target audience is.

Q: How many samples should I submit?

A: At least 2-3, but don’t go overboard. Use the job listing to give you an idea of what responsibilities they are looking to fill and select the fewest number of pieces you can submit that shows your capabilities in meeting them. This way the person reviewing your submissions can easily find pieces that showcase the skills they’re looking for.

Q: How large should each sample be?

A: Again, you want to highlight your skills without requiring the person reviewing your submission to dig through a lot of pages. Small but meaningful samples, five pages or less, are generally preferred. You should note that full versions of the documents are available when applicable and list their exact size, in page numbers. This way the company knows they can ask for a larger sample if they are interested.

Q: I have an unfinished script with at least five good pages, can I use it?

A: Many potential employees want to know how well you can write a complete story. If they are interested by a sample, they may ask to see other parts of the script. You should clearly label which samples have full versions available and realize that certain documents, such as scripts, will not be considered as strongly if they are from an unfinished piece.

Q: I’m being considered for a position but they’ve asked for either a working demo or a script written to their specifications. Should I do it?

A: Some companies will ask for these and while some of them pay, others don’t. It is up to you to decide if you want to spend time on developing something under these conditions. You should make sure you understand what the exact terms are; you may want to find out how seriously you are being considered for the position.

Q: Should I register a copyright for my material before submitting it?

A: Normally you’re only sending out very small samples, but if you are concerned about protecting the larger works they can be registered at the US copyright office. You can also register scripts with the WGA. Considering the low cost of registering a work and the benefits (including peace of mind) it gives you, it’s hard to ever recommend against registering.

Compiled and Edited by Dan Carreker.
Contributors: Roane Beard, Philip Bloom, Richard Dansky, Wendy Despain, Stephen Dinehart, Dana Fos, Bryan Howell, Elizabeth Hubbard, W. Jenkins, Christy Marx, Mark Morrison, Haris Orkin, Sheri (Pocilujko) Rubin, Miko Wilson, and the IGDA Writer’s Guide (vs. 2.05).