Script Format
Script it, Script it good!
How to Format a Comic Script
Writing a comic script involves more than just storytelling and dialogue. It requires a specific format that helps artists, editors, and letterers understand your vision for the comic. In this blog post, we will guide you through the process of formatting a comic script effectively. One of the things I do at the Rippaverse is review the approved scripts to for production and tweak them so they match the in-house format. This ensures a clear idea of what is going on, and who is speaking and keeps everyone involved on the same page.
I’ve been working with scrips and script formatting for the better part of four years now. In my time for doing editing independently, I’ve seen some scripts where I’ve taken notes and others where I wondered if the writer had a stroke. When I’ve given feedback on how to format scripts, I am either met with thanks or pushback because the writer is also the artist and the way they wrote the script is just how their brain works. If you are the latter, my thoughts and prayers continue on for your endeavors.
But if you want to work with a team, you need to be understood and make sure your vision is seen by others. We’ll be covering the fundamentals of scripting today with more details in the weeks to come.
What Should Your Script Look like?
Easy. At the very basic level, it should look like:
Page 1
Panel 1
Carrow in a green shirt and hat with bags under her eyes is staring at her monitor while fire and flames dance in the background. A notification sound goes off but a small sound bubble with the number 104 and a mail sign next to it is seen.
Carrow: Must be Monday.
SFX (Computer): Blip!
This is a loosely goosey example, but you would surprised by how often I don’t even see this. You always want people to know what page and panel you are on while clarifying who is speaking and any additional details your artist and/or letter needs. The only time I don’t hammer in this format for folks is when they tell me at the start they are writing for a scroll comic and that tends to happen in issues with panels of 16-30. I would encourage anyone making a scrolling comic to follow the traditional format still because if a publisher picks you up, they will ask you to do this adaptation anyway.
What do I mean by adaptions?
Each publishing house—if you are seeking traditional—has its own in-house formatting style that it would like to operate. If you have your eyes on one publisher, I recommend you crawl all over their website and find their style guide of how they like things done. The first thing that will get you a ‘no’ in the industry is when you can’t follow directions (that thing your teachers screamed at you to do).
What would make doing that easier? Software.
Choosing the Right Software
To start formatting your comic script, choose the right software. Popular options include Celtx, Scrivener, and Final Draft, which offer dedicated comic script templates and formatting tools. I have used these and also SuperScript and Write Duet. They all have pros and cons but today is not the day for the software review. If you can find one that is cloud-based, it will make it easier for you to work on the go. Do you have to use fancy software for your scriptwriting needs? No. You can write the entire thing in a notepad document so long as it is clear what is happening, who is speaking, and so on. These tools can save you time and help you adhere to industry standards, as many publishing houses like to have their own formatting.
Page Layout
When formatting a comic script, it's important to consider the page layout. Each page consists of panels that visually tell the story. Begin by specifying the number and size of panels on each page. Use descriptive panel descriptions to guide the artist and provide a clear visual direction. How many panels do you need? That will depend on your story type, what is happening, and how your artist likes to work. My general rule is to stick to having 4 to 6 panels on a page and be flexible afterward.
Writing Dialogue
Dialogue plays a significant role in comics and must be properly formatted. Start by introducing characters' names in uppercase, followed by a colon. Place the dialogue below the character's name, indicating the speaker. Make sure your dialogue isn’t full of everyday fluff. One of the first I do is take a red pen to the dialogue if it is pointless or taking too long to get to the point. Don’t waste your reader’s time with stuff that doesn’t push your story forward or is meaningful. No one cares about the weather unless the weather is being used as a weapon by an awesome badass female character with white hair (5 points if you get my reference).
Describing Actions and Settings
Alongside dialogue, describing actions and settings in your comic script is essential. Use concise and vivid language to convey the desired visuals to the artist—separate action descriptions from dialogue by using distinct paragraphs or indentation. Include details about character movements, facial expressions, and important visual elements. And be confident with your writing. What is happening in the panel? Your ‘kinda’ and ‘sort of’ don’t belong here. Be confident! Describe that panel like the badass you are.
Sound Effects
Sound effects are a unique aspect of comic storytelling. To properly incorporate sound effects into your script, use onomatopoeia words written in uppercase and place them near the visual element they correspond to. Consider the sound effects' size, style, and placement to enhance the overall visual impact. Also, consider consistency with your sounds. It may be too easy for you to think, ‘I’ll spice it up,’ giving an effect of multiple sounds for one item. Please don’t. Stick to one sound for an action where you can give your reader less work to figure out what is happening in the story. If you are working with a letter, they may recommend a suggestion or two and I’d encourage you to have that conversation with them.
Panel Transitions
Panel transitions are important for guiding the flow of the story. Use transition cues to indicate how one panel connects to the next. Common transition types include:
Cut: The action jumps from one panel to another, often depicting a different time or location.
Fade: The previous panel gradually fades out while the next panel fades in.
Dissolve: Similar to a fade, but the transition creates a dissolve effect between panels.
Action-to-action: Sequential panels that show a continuous action or movement.
Finalizing Your Script
Reviewing and revising it thoroughly is essential once you have completed formatting your comic script. Have you read it out loud? No? Do it. Don’t want to do it in front of other people? Do it alone, record yourself, and listen to the playback. This is a different kind of torture that writers endure, but it will help you find mistakes. Also, consider text-to-speech as I have always found that makes the awkward stuff stand out the most. This ensures the script is easy to read and understand, and double-check for inconsistencies or errors. Consider seeking feedback from other writers or industry professionals to refine your script further.
Conclusion
Formatting a comic script is an art in itself. Following the proper format, you can effectively communicate your ideas to the creative team and bring your story to life. Remember to stay consistent with industry standards and refine your script for the best results.
Now that you have a solid understanding of how to format a comic script, it's time to unleash your creativity and start crafting your own captivating stories! Need more examples? I got you covered. Below are several websites with industry pro examples to study how they were written. Good luck to you.
Mickey Mouse by Anina Bennett
Big Book of Bad by Anina Bennett
Julius by Antony Johnston
Script Guide by DarkHorse