Creative Works
Nicholas Galinski
M.A. Creative Writing & Literature
I see creativity as an evolving conversation, guided by curiosity, refined through feedback, and grounded in craft. Every idea earns its place by how well it resonates.
Creative Works
Nicholas Galinski
M.A. Creative Writing & Literature
I see creativity as an evolving conversation, guided by curiosity, refined through feedback, and grounded in craft. Every idea earns its place by how well it resonates.
INFO
— PROJECT NAME
Sacred Grounds Gaming Kickstarter
— ROLE
Creative direction, copy, branding, scriptwriting
— DATE
2014
The Sacred Grounds Kickstarter was the first project I was involved in as a part of Sacred Grounds. The goal of this project was to raise money to offset some initial startup costs for the Sacred Grounds live gaming experience, but also to use Kickstarter’s high-visibility as an inexpensive marketing tool and means of soliciting media attention.
My role in this project was to develop a creative direction for the brand’s voice and tone. I created a video script and shot list, wrote copy for the Kickstarter, and created art briefs and photo lists. I directed video producers, artists, and writers, and the result was a successful campaign that met its goals and found attention in media related to the live gaming niche.
— PROJECT NAME
Sacred Grounds Gaming – The Colonist's Guide to Aularia, The Merchant's Guide to Aularia, The Fae of Aularia, Vaniiri of Aularia, City Elves of Aularia, Bara'kaa of Aularia, Wild Elves of Aularia
— ROLE
Creative direction, copy, branding
— DATE
2014-2019
Continuing with developing a voice around the brand’s tone of “adventure and discovery”, I directed a team of contracted writers, artists, and QA testers in development of a 273-page digital rulebook, The Colonist’s Guide to Aularia, managing the lifecycle from inception, to foundational docs, to final product.
From there, I continued with the 143-page Merchant’s Guide to Aularia in response to customer data showing strong interest. Beyond that, I wrote and managed creation of several supplemental “lore” packets that helped further define the game’s brand. I managed these products at all stages of the creative pipeline, sought out and contracted artists, and managed edits to the rulebook until the IP sale in 2019.
— PROJECT NAME
Sacred Grounds Gaming – Live events
— ROLE
Creative direction, copy, branding
— DATE
2014-2019
From 2014 to 2019, Sacred Grounds produced 50 high-quality live experiences at a near-monthly pace. These weekend events transformed campgrounds into immersive experiences for customers over the course of a weekend, where they could engage in a number of activities while playing as a character they developed using our rulebook and supplemental lore. As creative director, my job was to ensure that every event was packed with activities, were cohesive, stayed true to the brand’s vision, created emotional resonance, and had a satisfying conclusion. I managed writers and storytellers, led writer’s rooms, and vetted ideas through the lens of the vision I sought to uphold. Sacred Grounds continued to grow in customer count at live events through the IP sale in 2019.
— PROJECT NAME
Sacred Grounds Gaming – Convention events
— ROLE
Creative direction, copy, branding, stakeholder collaboration
— DATE
2014-2019
Another aspect of the Sacred Grounds Gaming business was running events at conventions, either as a means to funnel customers to our other products or drive convention attendance. Some of our key events included “The Supernal Gardens”, “Shadows Over Landriga Bay”, and “BREACH! An Arrowverse Experience”. I performed many of the same creative functions for these events, with the addition of having to step outside our typical brand to be good stewards of other existing brands, as well as collaborate with convention and IP stakeholders.
— PROJECT NAME
Sacred Grounds Gaming – Intellectual property sale
— ROLE
Stakeholder discussion, IP handover liaison
— DATE
2019
In 2019, Sacred Grounds Gaming was approached by Salt and Pepper Gaming for an IP sale, which I and my co-founder accepted. I managed handover of the intellectual property to the other company, including the archive of writing, in-house programs, and assets we had built up over the past 5 years.
— PROJECT NAME
Everland MMO - Lead Narrative Designer
— ROLE
In-game narrative, brand voice, system design, art direction
— DATE
2019-2020
I was hired by Everland MMO to give direction to their in-game narrative and brand voice. After putting together several proposals for what the story behind the game could be, I collaborated with stakeholders to give the game a “cozy, whimsical, and creative” feeling across all marketing copy, blog posts, and in-game narrative elements. As Lead Narrative Designer, I found where technical skills meet creative management skills. I was a significant contributor to the game’s direction, led meetings related art and game design to ensure that they would reflect the game’s narrative voice, and populated the world with NPCs, story seeds in dialogue, and lore. I also ensured social media posts, website copy, and blog posts all fit the style and narrative vision. We told a story of recapturing the nostalgia of social online games in an environment where players could be creative.
— PROJECT NAME
Channel F – Hatewatchers Podcast
— ROLE
Content producer, co-host, talent relations
— DATE
2023
I produced and co-hosted a limited-run special podcast called "Hatewatchers", focusing on influencers that had a major impact on the livestreaming and video content creation space. We partnered with "Elgato" as a sponsor. As part of my role I solicited influencers to appear on the podcast, created branding direction (including "Channel F" and "Hatewatchers Podcast"), co-hosted, and created outlines for episodes. Buoyed by guest selection, strong creative direction, and an awareness of the content our target audience would enjoy, the first episode reached 4k live viewers, 50k views on YouTube, and viral clips across all channels (including third parties) reached 500k+ views. The 7 long-form episodes of the podcast reached 180k views between YouTube and Twitch VODs, and averaged 2k live viewers.
— PROJECT NAME
Eschaton Media – Dystopia Rising: Embers of the Irradiated West
— ROLE
Narrative writer
— DATE
2013
I was contracted to write for a ttrpg book for the Dystopia Rising tabletop game. My role was to bring the story of Mexico after a zombie apocalypse to life. Utilizing existing lore documentation, I developed a narrative direction and delivered 70k words of lore content that was published in Embers of the Irradiated West
Copywriting
Website copy & brand voice
Copywriting
Website copy & brand voice
Producer – “Twitch Tinder”, “King of the Hill”, “Rajj Royale”
Talent direction, show concepts, & content outlines
Creative Director & Host
Talent direction, show concepts, & content outlines
Creative Direction & Talent