I have read a lot of first comic scripts by new writers lately.
A lot of them have very good ideas, but make basic mistakes in execution.
Here are a few bits of advice if you are just starting out writing comics, things to avoid.
Other pros welcome to add to this thread.
1/
A lot of them have very good ideas, but make basic mistakes in execution.
Here are a few bits of advice if you are just starting out writing comics, things to avoid.
Other pros welcome to add to this thread.
1/
NAME YOUR CHARACTERS.
This is annoying, and even pros do it. If you have a character we are supposed to know, you have to name them ON PANEL, not just in script.
I read a major publisher book recently where the main characters were never called by name.
A huge mistake.
2/
This is annoying, and even pros do it. If you have a character we are supposed to know, you have to name them ON PANEL, not just in script.
I read a major publisher book recently where the main characters were never called by name.
A huge mistake.
2/
TOO MUCH DIALOGUE
Almost all writers do this at times.
But it is wearying, it is exhausting to read, and mostly it shows a lack of awareness of how to use a comics page. There are people who do this well and a LOT who do it badly.
It's alienating. Don't do it.
3/
Almost all writers do this at times.
But it is wearying, it is exhausting to read, and mostly it shows a lack of awareness of how to use a comics page. There are people who do this well and a LOT who do it badly.
It's alienating. Don't do it.
3/
VARY THE CAMERA ANGLE
You can't always do this, and again, sometimes it's on purpose.
But for god's sake, page after page of it, it might as well not have art at all.
Sometimes, you write a diner scene and it's static. That's okay, but I see it in action scenes too.
4/
You can't always do this, and again, sometimes it's on purpose.
But for god's sake, page after page of it, it might as well not have art at all.
Sometimes, you write a diner scene and it's static. That's okay, but I see it in action scenes too.
4/
USE ESTABLISHING SHOTS FOR GOD'S SAKE
Establishing shots give us mood and tone and a ton of essential information. Over and over I read stories where I have no idea where the characters are.
A good establishing shot also helps the artist, they don't have to draw repetition.
5/
Establishing shots give us mood and tone and a ton of essential information. Over and over I read stories where I have no idea where the characters are.
A good establishing shot also helps the artist, they don't have to draw repetition.
5/
THE READER DOESN'T KNOW WHAT'S IN YOUR HEAD
Really, this shouldn't have to be said, but read your script through (or have someone else read it) as if you were coming in cold.
The stuff that you think is super cool means nothing if it's not actually on the page.
6/
Really, this shouldn't have to be said, but read your script through (or have someone else read it) as if you were coming in cold.
The stuff that you think is super cool means nothing if it's not actually on the page.
6/
TAKE A SECOND DIALOG PASS
This is serious, if your dialogue feels like you're heard it before, for god's sake, take the time to rethink it.
No one is excited by dialogue they have heard before. Only surprise makes an impact.
Write, then rewrite.
7/
This is serious, if your dialogue feels like you're heard it before, for god's sake, take the time to rethink it.
No one is excited by dialogue they have heard before. Only surprise makes an impact.
Write, then rewrite.
7/
INCLUDE YOUR ARTIST
The artist is your collaborator and partner, try to avoid what they hate drawing, and LEAVE ROOM for them to add their skills and talents.
I usually choreograph fight scenes carefully. With some artists, you just let them go, because they kill it.
8/
The artist is your collaborator and partner, try to avoid what they hate drawing, and LEAVE ROOM for them to add their skills and talents.
I usually choreograph fight scenes carefully. With some artists, you just let them go, because they kill it.
8/
PAY ATTENTION TO STORY VELOCITY
Stories have a speed to them. Try to vary it a bit, include a speaking scene before or after an action scene. The emotional response from the reader is well worth it, and it stops your script from feeling one-note.
9/
Stories have a speed to them. Try to vary it a bit, include a speaking scene before or after an action scene. The emotional response from the reader is well worth it, and it stops your script from feeling one-note.
9/
That's it, other writers feel free to add on. A lot of people want to try to write comic scripts, and it use to be that companies had editors teaching basics like this.
That doesn't happen as much now.
Take your lessons where you can and use what makes sense to you!
That doesn't happen as much now.
Take your lessons where you can and use what makes sense to you!
Also, feel free to ignore what doesn't work for you. Just be sure you're right. :)
Good luck!
Good luck!
@ronmarz added this, I am guilty of this one!
"I would add: the artist is not the audience. Don't keep surprises or reveals from the artist. They need to know if that little old lady is actually Batman in disguise before the story reveals it."
"I would add: the artist is not the audience. Don't keep surprises or reveals from the artist. They need to know if that little old lady is actually Batman in disguise before the story reveals it."
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