From The New York Times:
When he was an immigrant boy growing up in New Jersey, the writer Junot Díaz said he felt marginalized. But that feeling was dispelled somewhat in 1981 when he was in sixth grade. He and his buddies, adventuring pals with roots in distant realms — Egypt, Ireland, Cuba and the Dominican Republic — became “totally sucked in,” he said, by a “completely radical concept: role-playing,” in the form of Dungeons & Dragons.
Playing D&D and spinning tales of heroic quests, “we welfare kids could travel,” Mr. Díaz, 45, said in an email interview, “have adventures, succeed, be powerful, triumph, fail and be in ways that would have been impossible in the larger real world.”
“For nerds like us, D&D hit like an extra horizon,” he added. The game functioned as “a sort of storytelling apprenticeship.”
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For certain writers, especially those raised in the 1970s and ’80s, all that time spent in basements has paid off. D&D helped jump-start their creative lives. As Mr. Díaz said, “It’s been a formative narrative media for all sorts of writers.”
The league of ex-gamer writers also includes the “weird fiction” author China Miéville (“The City & the City”); Brent Hartinger (author of “Geography Club,” a novel about gay and bisexual teenagers); the sci-fi and young adult author Cory Doctorow; the poet and fiction writer Sherman Alexie; the comedian Stephen Colbert; George R. R. Martin, author of the “A Song of Ice and Fire” series (who still enjoys role-playing games). Others who have been influenced are television and film storytellers and entertainers like Robin Williams, Matt Groening (“The Simpsons”), Dan Harmon (“Community”) and Chris Weitz (“American Pie”).
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Though Mr. Díaz never became a fantasy writer, he attributes his literary success, in part, to his “early years profoundly embedded and invested in fantastic narratives.” From D&D, he said, he “learned a lot of important essentials about storytelling, about giving the reader enough room to play.”
And, he said, he was typically his group’s Dungeon Master, the game’s quasi-narrator, rules referee and fate giver.
The Dungeon Master must create a believable world with a back story, adventures the players might encounter and options for plot twists. That requires skills as varied as a theater director, researcher and psychologist — all traits integral to writing. (Mr. Díaz said his boyhood gaming group was “more like an improv group with some dice.”)
Sharyn McCrumb, 66, who writes the Ballad Novels series set in Appalachia, was similarly influenced, and in her comic novel “Bimbos of the Death Sun” D&D even helps solve a murder.
“I always, always wanted to be the Dungeon Master because that’s where the creativity lies — in thinking up places, characters and situations,” Ms. McCrumb said. “If done well, a game can be a novel in itself.”
Link to the rest at The New York Times and thanks to Larry for the tip.