Posted by C. Souba Reyes on September 21, 2008 at 7:18pm
Hi all,I'm a newbie to this group but I'm not new to creating stories or writing. Even though I just published my own comic, I know that one day I may have to have an artist help me out, so I want to continue to learn what I can about comic writing. I read the book DC's Guide To Writing a Comic and noticed that there were several different ways to write a script, so I was wondering what style that most of you prefer, especially those of you who have written comics professionally. What basics should every script have?Beloved in Grace,Souba
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I'D SAY, EVEN IF YOU ARE THE AUTHOR, A FULL SCRIPT WILL HELP. IN FACT, I'D DO IT IN THREE PARTS : OUTLINE, FULL STORY AND "SCRENEPALY " - THE LAST BEING WHAT YOU ARE LIKELY TO ACTUALLY PUBLISH. BTW, READ ADDAPTIONS OF SCRENE PLAYS/MOVIES AS WELL AS BOOKS UPON WHICH MOVIES WERE BASED; AND IF YOU CAN FIND THEM "THE MAKING OF " SUCH AS DAVID GERRALD'S "TROUBLE WITH TRIBBLES ".
YOU MIGHT ALSO CHECK ADDAPTIONS OF CLASSICS INTO GRAPHIC NOVELS - SOME OF WHICH CONVEY THE MESSAGE, BUT MISS THE STORY.
Unless you have a solid relationship with your artist and know you can trust his judgment, use full script.
I have a copy of Dennis O'Neal's "The DC Comics Guide To Writing Comics". His formatting suggestions will give you a good starting point. The truth is, there are as many variations on full script format as their are writers who use it.
That was actually very good advice, Kathleen! I was just asking for script samples, but this is actually a lot better! Well looking at my story now, I'm happy to say that I do have the ending done in mind, everything else I'm just letting develop naturally in between. :-D
Okay so here's a script sample done by me, but it's based on the submission guidelines for Dark Horse. I used it as a way to get me started on writing comic scripts.
The Crow/Jackket Knightmare Crossover
PAGE EIGHT (Five Panels)
1. (Eric is sitting on the step as Jackket now stands behind him.)
JACKKET KNIGHTMARE: Aren’t you going to kill him?
THE CROW: I… I can’t do it.
2. (Jackket joins him on the step.)
JACKKET KNIGHTMARE: That’s the funny thing about vengeance… it was never ours to give or take.
THE CROW: You knew this would happen, didn’t you?
JACKKET KNIGHTMARE: Not really…
3. (Eric looks shocked and skeptical at Jackket. Jackket looks amused as he replies.)
JACKKET KNIGHTMARE: But then again I’m only a pastor, not God.
THE CROW: You’re a pastor?
JACKKET KNIGHTMARE: I wonder why everyone asks me that…
4. (Eric now looks questioningly as Jackket talks with him.)
THE CROW: How do you do it… forgive the people that did this to you?
5. (Jackket is looking off into the distance his arms crossed and the wind blowing.)
JACKKET KNIGHTMARE: You look at them through eyes of a love that goes beyond mortal love, one that was created in sacrifice.
End of Sample...
Btw, Even though I've met Mr O'barr a couple of times, no comics are the works for our characters teaming up at present. ;-)
On my first visit to Archie Comics office in 1986, I met John Goldwater--the one who started the whole Archie phenomena. He told me something I never forgot. A good story is like a journey--it has three parts: a beginning, a middle, and an end. That may sound simplistic, but it has helped me tremendously. If you have a good beginning and a good end, the middle will probably take care of itself; but if you don't have either a good beginning or ending, your story will either falter or outright fail. A good beginning helps hook your reader in--getting their curiosity up to see how the tale will unfold. A good ending leaves them feeling satisfied (even if you plan sequels). And I'd also point out that a good middle can keep your reader's attention, so they will want to finish the story, rather than stop reading and toss the book aside.
I've also learned from reading Gus Arriola's wonderful Gordo script the trick of splitting up dialogue. Put half your dialogue in one panel, and continue it in the next, leading your reader through the story. It's not necessary to do that in every panel, but it's good to do it occasionally so you keep pull your reader along. Another trick is to make them want to turn the page--in other words, the last panel of your page should have a hook to make them feel they want to keep going.
Not sure if that's what you're looking for, but thought I'd pass it along anyway. One other thing? Don't let writer's block scare you. Take a break, get away from what you're working on, even for a couple of days. Refresh your mind, and the block will eventually melt.
Sorry this isn't something earth shattering, but sometimes little things help as much as big things.
Replies
YOU MIGHT ALSO CHECK ADDAPTIONS OF CLASSICS INTO GRAPHIC NOVELS - SOME OF WHICH CONVEY THE MESSAGE, BUT MISS THE STORY.
I have a copy of Dennis O'Neal's "The DC Comics Guide To Writing Comics". His formatting suggestions will give you a good starting point. The truth is, there are as many variations on full script format as their are writers who use it.
Okay so here's a script sample done by me, but it's based on the submission guidelines for Dark Horse. I used it as a way to get me started on writing comic scripts.
The Crow/Jackket Knightmare Crossover
PAGE EIGHT (Five Panels)
1. (Eric is sitting on the step as Jackket now stands behind him.)
JACKKET KNIGHTMARE: Aren’t you going to kill him?
THE CROW: I… I can’t do it.
2. (Jackket joins him on the step.)
JACKKET KNIGHTMARE: That’s the funny thing about vengeance… it was never ours to give or take.
THE CROW: You knew this would happen, didn’t you?
JACKKET KNIGHTMARE: Not really…
3. (Eric looks shocked and skeptical at Jackket. Jackket looks amused as he replies.)
JACKKET KNIGHTMARE: But then again I’m only a pastor, not God.
THE CROW: You’re a pastor?
JACKKET KNIGHTMARE: I wonder why everyone asks me that…
4. (Eric now looks questioningly as Jackket talks with him.)
THE CROW: How do you do it… forgive the people that did this to you?
5. (Jackket is looking off into the distance his arms crossed and the wind blowing.)
JACKKET KNIGHTMARE: You look at them through eyes of a love that goes beyond mortal love, one that was created in sacrifice.
End of Sample...
Btw, Even though I've met Mr O'barr a couple of times, no comics are the works for our characters teaming up at present. ;-)
I've also learned from reading Gus Arriola's wonderful Gordo script the trick of splitting up dialogue. Put half your dialogue in one panel, and continue it in the next, leading your reader through the story. It's not necessary to do that in every panel, but it's good to do it occasionally so you keep pull your reader along. Another trick is to make them want to turn the page--in other words, the last panel of your page should have a hook to make them feel they want to keep going.
Not sure if that's what you're looking for, but thought I'd pass it along anyway. One other thing? Don't let writer's block scare you. Take a break, get away from what you're working on, even for a couple of days. Refresh your mind, and the block will eventually melt.
Sorry this isn't something earth shattering, but sometimes little things help as much as big things.