Time for something basic. Some thoughts on scripting a comic.
The Format
One of the difficulties of scripting for comics is that, unlike in its sister medium, TV and film, there’s really no agreed format for what a script should look like. It can be, but isn’t necessarily, broken into scenes. It might contain detailed, panel by panel descriptions, or it could be simple the dialogue with minimal stage directions. It really depends on what the writer and artist prefer.
Normally, a script will consist of at least the dialogue, and information on what characters are present, where they are, and what things (characters, props, environment) looks like.
Scene X: Bob and Kate explore the storm drain. Both now wear winter coats. Bob carries a big flashlight, Kate has the map.
Bob and Kate peer into the storm drain opening. It is dark and quiet and threatening (extra double scary please).
Kate: “This is what the map says, right?”
Bob: “Uh… I dunno, it’s your map!”
It is useful for an artist (even if it’s you!) to have information about what the characters’ emotions and motivations are. It’s easy to go overboard with this though; ultimately, if it’s not visible, or an explicit internal monologue, it might not matter. If someone is inwardly seething but outwardly calm, it’s probably OK to say:
Mr Giovanni (calmly): “This… is not acceptable.”
Rather than:
Mr Giovanni looks calm, even though the implied betrayal is making his blood boil. He is a very reserved man, always in control.
Mr Giovanni: “This… is not acceptable.”
The second option is perfectly valid though, especially if the psychology of the characters is important to the story. And, no, that isn’t always the case. There are stories where what happens is more important than how everyone feels about it, and there’s nothing wrong with that.
To Panel or not to Panel
Many American comics include part of the script as an extra when they are printed in graphic novel format. These scripts generally have very detailed instructions regarding the size and position of panels, as exactly what is visible in the panel, too. That is one way of scripting, and it’s generally how I write scripts for myself (though not quite as detailed).
I was surprised to learn that some artists would consider this style of scripting controlling and even a bit insulting. After all, the reasoning goes, working out the page layout and choosing the contents of panels is part of the artist’s job, not the writer’s. They preferred a looser scripting style, with just the dialogue and events detailed, not the precise picture.
I think both these approaches can work very well, if both parties agree, and whoever is making the panelling decisions knows what they’re doing. Panelling is equivalent to directing a film, it’s a big responsibility and it’s an art rather than a science. I have seen both artists and writers get it quite badly wrong.
So, with that in mind, I think it should probably be up to the person who is most experienced at working for comics. Note: not how much experience you have as a writer is what counts, but how much experience writing for comics. Likewise, it doesn’t matter how long you’ve been drawing, but how long you’ve been drawing comics. If you’re of about equal skill, I would say the writer makes suggestions and the artist can do what they want. That’s how I like to work, both as an artist and a writer.
What do you think?
Do you prefer detailed, panel by panel scripts or do you like to work that stuff out for yourself? If you work alone, do you write scripts for yourself (as I do) or do you find that unnecessary?
{ 3 comments… read them below or add one }
Having only ever written comic scripts for myself I tend to half thumbnail / half write the script. It starts out as just written notes, but as I go if I have a good idea for a particular page layout I’ll sketch it down so I don’t forget it, which kind of morphs into the entire thing being thumbnailed by the time I’m done ^^; Either that or I have a story idea but no good page layout ideas at all, which means I end up with very sparse notes as to what vaguely happens and not much else o.O;
I think, as I am used to thumbnailing, I would find it strange to work from a script where page layouts were given to me. However, as long as the writer had some really good page layouts, I think I might find it quite freeing to work to the best of my ability under the constraints provided (if you know what I mean? ^^; )
I have actually laid out one short comic with a writer (which never got drawn in the end) – it was a really good experience as we were both very open to the other one providing ideas about page layouts and order of events, so we sat down and bashed everything out working entirely together – I would like to do that again sometime, but actually draw the comic too ^_^;
I would be the guy who would easily find his intelligence insulted by panel-by-panel scripts as it suggests my role would be that of a mere art monkey
Most artists don’t have a problem with this and even get paid for it. Of course my preference for creative freedom stems from having seldom read a script in which the panelling showed particularly intelligent consideration and insight. When faced with a superior mind for panelling, I imagine I would gladly draw as suggested.
I also write, and adjust the extent of control in my scripts to the artist’s experience. I like to write a small summary of characters’ background and personalities before the actual script. If the artist has psychological insights, he or she can imagine the character’s motivation throughout the story without my having to spell it out. For me as an artist, personality descriptions are absolute must-haves.
I don’t write scripts for myself, but do sketch thumbnail storyboards and make notes of important dialogue and motivations. Especially since some of my stories are puzzles and I like every loose end, no matter how insignificant, tied up.
Ooo interesting article! I’m always curious about the way other people work
Like wikivic I’ve only ever written scripts for myself. I tend to limit them almost exclusively to what the characters are saying. There’s not much in the way of inner feeling description or action detail – I work those out when I start drawing and panelling. I can’t go straight to drawing without working out the dialogue though because I like to fiddle around and change it so much-and it’s waaaay easier to change words than drawings. Also I like to know that the dialogue makes some sense on it’s own before I commit art to it.
I can see why some artists wouldn’t like the American way. Writers can sometimes be clueless about how much time/effort it takes an artist to draw different things. They might include things in the panel description that aren’t strictly necessary to tell the story. But I can also see how this method would be a bonus in a conveyor belt system. For one it means the editor would have to approve the layout before it was sent to the artist, so I guess there’s less chance of an artist being told to make changes on their work