As in the example above, you’ll want to note how much page space each panel will occupy, as well as the “shot” (e.g. 🎥 If you script panel-by-panel, specify the size and “shot” of the scene. Remember when Twitter only allowed 140 characters per Tweet? According to Gluckstern, this is also a good limit for each line of comic dialogue - and try to keep it to 10-12 total lines per page, captions, and speech bubbles included. Any more than two or three distinct actions per page (say, a character climbing the stairs, opening a door, and locking it behind them) is too “busy” to show on a single page, and can really throw off the pacing of your comic.
🙅♀️ Don’t try to cram in too much action. Generally, though, the artist is eager to work with you and make you happy.” More tips for comic book scripts
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You’ll find a compatible artist no matter what! As Rachel Gluckstern says: “Some artists love the full detailed script, some love the freedom of a looser skeleton. However, if you’re flexible on the details and would like some room to improvise, then the page-by-page option might be better.Īnd do write your script based on what you think is best, not what you think an illustrator would want.
Most writers go with the panel-by-panel script, which is best if you have a clear, specific vision for your comic book. What a panel-by-panel script might look like. A page-by-page script simply summarizes what should happen on each page (which may contain up to 10 panels), leaving the contents of the panels more open-ended, to be finalized at a later date. As you’d expect, a panel-by-panel script details exactly what should go in each panel, complete with captions and dialogue. You have two options here: a panel-by-panel script or a page-by-page script. Though author-illustrators may want to supplement this part with some sketching, the important thing is to get the words down - and if you’re hiring an illustrator to provide the visuals, it’s even more important that you have a solid script for them to work from.
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The next step in how to write a comic book is to, well, write it. So think about this early in the process, and try to get as clear a picture as possible. Though all forms of storytelling must strike a careful balance between canonical familiarity and the elements that make them unique, it’s especially crucial with visual storytelling, as readers will be able to see how other works have influenced yours. Who are your favorite comic book creators? What techniques and styles would you like to emulate? At the same time, how will you ensure that your comic book stands on its own? Now is also an excellent time to consider your influences and sources of inspiration. Mind map for a (not real) Pride and Prejudice comic. A freeform mind map may be especially useful for this kind of outlining (not to mention it’s great practice drawing speech bubbles). This will include the core ideas and themes of your comic, but also the major plot points, the characters, the tone you want to strike, etc. Start by putting together a rough outline of everything related to your concept. But there may be a few important elements you haven’t considered yet - which is why your first step should be to develop your concept, making it as strong and unique as possible. If you’re interested in creating a comic book, you probably already have an idea of what it will be about.
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