There is a misconception that comic books are only for kids, when in fact comics and graphic novels can be read and appreciated by any age.The main types of comic books are plot first and full script comics.No matter which type of script you choose, writing a comic book script is a lot of work.Learning how to write and format a comic book script can help you get your story off the ground.
Step 1: Determine if a plot first script is right for you.
Stan Lee's preferred style of script, called "Marvel style", leaves out a lot of the detailed instruction and gives that creative license to the artist or illustrator.Usually a plot first script is chosen when the writer and the artist have a good relationship, or if the author will also do his own illustrations, in which case the script serves more as an outline for the project.Characters, narrative arcs, and page instructions are typically included in a plot first script.The details of the script, such as the number of panels and pacing within the page, are left to the illustrator's discretion.The particulars of a scene, such as dialogue and caption, are added by the writer after the illustrator has created the art and broken the various scenes down into their panels.Unless you intend to write and illustrate your comic, a plot first script works best when the writer and illustrator have worked together in the past and trust one another's vision for the comic.
Step 2: There is a plot line.
A plot first script doesn't have to be as detailed as a full script, as the script serves as more of a template or outline of the comic's narrative arcs.There are still important decisions to be made, and a writer working on a plot first script must think in terms of storylines for the current issue as well as future issues of the comic.A plot first script usually focuses on the characters and story arcs involved in a comic's issue.The script will focus on which characters are involved in that issue, what will happen to each character, and how they will interact with one another.The artist illustrates the panels after the script is written.The writer often gives the artist extensive liberty to determine how events unfold, and at what pace, because the plot first script is so minimal.
Step 3: To fit the panels, write dialogue.
The writer reviews the panels and writes dialogue to fit the sequence of events depicted by the artist.The space provided for caption bubbles and the imagery chosen by the artist limit the writer's dialogue.Plot first scripts work best when the writer and artist have worked together in the past and have a shared vision for the style, format, and story arcs of the comic.
Step 4: A script format can be chosen.
There is no standard format for full script comics.You can either follow the script format of a comic series that you enjoy or you can mimic it.You can choose to create your own format that makes sense to you.If you format your script, be sure to include unambiguous directions that the artist will be able to follow visible page and panel numbers in the script for dialogue, caption, and sound effects.
Step 5: Decide on a layout.
You might want to take a bit of time to figure out how you want the comics to look on the page.There is no single page layout that a comic needs to follow.The comics progress from left to right.The larger, page-wide panels that other comics use progress from top to bottom.Some people use entire pages as a single panel.A series of panels are read from left to right, top to bottom, in a one page layout.A common tactic is to shift to a panel that takes up an entire page.During a dramatic death, an unexpected betrayal, or anything else that will shock or surprise your readers, this might happen.
Step 6: An outline can be written.
It's helpful to have an outline when you're starting your script because you will be able to expand the ideas and develop your characters more thoroughly.If you get too deep into expanding and developing, this will allow you to have a reference of your original intentions.A bare bones template can help you plan out how a given issue's plot and story arcs will relate to other issues of your comic.Write a single sentence for each event in the story.There are notes on which characters are involved in each major event and how they relate to one another.If you have ideas planned out for future issues of your comic, connect your notes for the current issue with other single sentence plot points.
Step 7: Think of it in a different way.
You'll need to start planning for the script once you've plotted out your story's outline.Think about the outline you've created before you start writing.Don't limit yourself to the main sequence of events.You can either give a lot of creative license to your illustrator, or you can give visual direction to the illustrator on how to depict the setting of your comic, including whether that setting's ambiance changes from day to night or from season to season.You will need to come up with concrete visual images for things like establishing shots, character closeups, and the general feeling you want readers to have about each character and their environment.If you want to become a comic writer, you should read a lot of comic books and graphic novels.Look at the style of the comic and the details in the panel.Think about what kind of direction you would need to give the illustrator to make that scene.
Step 8: Write a description.
The description lines tell the illustrator how the comic should look.It can be difficult to combine the visual imagery you've envisioned with the written instructions for the illustrator.Instructions for establishing shots in a comic, closeups of characters or images, and background imagery are common directions given in description lines.Page description provides the illustrator with the setting, mood, characters, and action sequence that are to appear on each page of the comic.The illustrator decides how many panels will appear on each page and how to represent the instructions in each panel.Instructions to the illustrator on how each panel should look are given in the panel description.Some writers suggest to the illustrator how to frame each panel.
Step 9: The visual elements should be highlighted.
Specific details about any visual elements that are important to the plot should be mentioned by the writer.This may include meaningful objects, characters who will be relevant later in the story, and even what season or time of day a panel takes place in.Give any relevant information that the artist will need before drawing out each scene, such as time of day, expressions on characters' faces, and any objects or environmental details that will be significant later in the comic.
Step 10: Write a caption.
It is thought of as the voice of the narrator who informs readers of where the action is taking place, or providing "voice overs" during meaningful events in the comic.They are usually located at the top or bottom of a comic panel.The artist's images should be used in conjunction with the caption to help inform the reader or elevate their experience of the comic.The order in which the caption should appear in the comic should be written.The visual cue from the comic should not be repeated in the caption.Don't use caption to tell the reader what they would have seen if they had looked at the comic.
Step 11: Talk.
The conversations and soliloquies that characters speak during the comic are called dialogue.A small "tail" to a character's mouth indicates that they are speaking in a dialogue box.In speaking order, the characters should appear in the panel.The character on the left should talk first, with her dialogue bubble appearing above any subsequent dialogue bubbles.If there is a back-and-forth conversation between the two characters, the character on the left should speak first, and the other should respond with a dialogue bubble below the first speaker's text.One lengthy dialogue bubble or conversation between two or more characters should be contained in a single, still frame.Don't try to cram too much into one panel.If you want a back-and-forth conversation where one panel shows a closeup of one speaker and the next shows another, you may want to opt for a panel so full of conversation that it blocks out the characters.You should read your dialogue out loud after you've written it.It may sound different when heard out loud and you may notice that some lines are hard to read and sound weird.When reading your dialogue out loud, ask yourself if the dialogue conveys what you want it to convey in the scene.Don't get stuck in verbal writing.The visual element is the primary characteristic of a comic.
Step 12: Write what you are going to do.
This part of the script is similar to a film script in that it gives a lot of detail about what will happen during a comic.If you want to be a successful comic writer, you should first write for yourself and the audience.Don't compromise your vision for what your comic should look like because of what you imagine people to do or not do.If the comic is meaningful and sincere to you, it will most likely be meaningful to your audience.The narrative story should be further developed by each panel.Make the action count for something in your story and don't be wasteful with your panels.The primary action of your comic will be visual.Don't get too text-laden when writing the action for the script.Provide the illustrator with detailed instructions on how the action should look.
Step 13: You should write transitions for your comic.
You'll need to write how the illustrator should transition the comic from one panel to the next once you've written the action, dialogue, and caption.Poor transitions can make the comic feel choppy, inconsistent, or even confusing.Each panel should flow smoothly regardless of the comic's pace.Moment to moment transitions - the same person, object, or scene is shown in succession across multiple panels, with each panel showing a different (but not too distant) moment. This may be useful for showing transitions in mood as one character relays information to another character.Action to action transitions - the same person, object, or scene is shown in succession across multiple panels depicting different actions.This can be used to show the passage of time as a character trains for a fight or embark on a journey.Subject to subject transitions, each panel depicts a different person or object.This can be used to break a longer conversation into smaller panels.The two panels in a scene to scene transition show completely different scenes, which may take place in different environments or time periods, and may depict different characters or actions.Aspect to aspect transitions show different aspects of the same place, people, or action.Non sequitur transitions make a drastic jump from scene to scene without any apparent continuity or connection from one panel to the next.This type of transition is very rare in most comics that follow a continuous narrative.
Step 14: Pick the comic's duration.
Do you think your comic is a stand-alone story or part of a larger narrative?Do your comic's narrative follow a single person, a group of people, or multiple generations?Before you try to get your comic published, there are important factors to consider.If you go through a publisher, they will want to know what the future holds for your comic.Knowing the "mythology" of your comic's universe will help you find a publisher who will make your dreams come to life.
Step 15: Take a look at your publishing options.
A comic writer can take many different routes.Depending on your vision for your comic, what kind of audience you see the comic appealing to, and whether you'd prefer to work with a smaller "indie" press or a larger publishing agency, you can choose which route you choose.No single option is better than any other.Read about each publishing press's submission guidelines, contractual obligations, and monetary compensation when searching for different comic publishers online.You should check to see if a publishing press accepts unwanted manuscripts.
Step 16: A proposal package should be compiled.
Once you know what kind of press you'd like to work with, you need to put together a proposal package to send to the publishing press.If any pages are lost or separated from the package, please include your name and contact information on every page.A cover letter that addresses the editor of a press by name and includes all of your contact information is a good proposal package.