Comic Book Writer’s Guide
Browsing the reference section of a bookstore reveals that there are many guides available designed to teach writers how to tell a story in a certain way. There are books that instruct readers to write a story the classical way. There are books that train readers to write a story the modern way. There are even books that show readers how to tell a story the Marvel or DC way. And yet all of these books demonstrate one truth about the field of writing:
Storytelling is an art, not a science. There is no single style, formula or way to tell a story.
In the realm of comics, one of the biggest concerns many beginning writers have pertains to style. “How do I write a script?” they wonder. “Should I use a screenplay format, a play format or a novel format? What do I need to include? What should I leave out? How dumb will I look if I do it wrong?” The answer to all of these questions, of course, is to use the style that fits naturally for you and focus on the story. And yet many writers still find themselves preoccupied with scripting technique when their energies would be better applied towards scripting itself.
There is no correct way to script a story.
Some writers script in a very rigid format, not unlike a screenplay, giving careful stage directions to help the artist portray a character’s movements and expressions. Other writers focus on the dialog, leaving the artist free to make decisions about a character’s actions. Some work by the “one page rule,” which states that if an entire scripted page exceeds one letter-sized page in a 12-point, monospaced font, it’s too long. Others cram as much dialog as they can into a single comic page, hoping the letterer will be able to fit everything in. All of these methods are valid, and even common among professionals. They are only inappropriate when they go against the scripting style a company or editor has requested. And that brings up the final point:
Styles are a preference, not a law.
Hollywood screenwriters generally use a framework known as “classical” or “three-act” structure to tell their stories. The idea is that the first act introduces the audience to a story’s characters and moves them into action, while the second act tears them down as much as possible so that, in the third act, they can overcome their obstacles and achieve their goals. This style of storytelling has been popular and established since the days of Ancient Greece, and it quite possibly dates back even further in history. It’s proven, it’s compelling, and it’s common. But it’s not the only way to tell a story, nor should it be, because the one thing that makes stories dull is when they become predictable.
Ultimately, a writer’s job is not to simply craft a script, but rather to craft a world that enchants readers every time they venture in. For that reason, I have split this guide into two sections: scripting and storytelling. The scripting portion will focus upon the techniques required to construct a solid and readable draft of a comic book story. The storytelling portion will delve into the techniques writers use to develop and deepen their creative work as well as traditional styles and archetypes.
And as you use this document to examine and improve upon your own writing, please remember: this guide is not meant to tell you how or what you should write. It is intended, rather, to help you find those answers for yourself.
- Comic Book Writer’s Guide - Chapter 1: Developing a Style of Your Own
- Comic Book Writer’s Guide - Chapter 2: Let the Pictures Do the Talking
- Comic Book Writer’s Guide - Chapter 3: The Art of Dialogue
- Comic Book Writer’s Guide - Chapter 4: Effects and Action
- Comic Book Writer’s Guide - Chapter 5: Pacing Your Story