Sample comic and graphic novel scripts written by Antony Johnston, creator of. Before he switched to Scrivener), and is a good example of how to direct an.

Why the change? What’s the difference? Well here’s why and what, and prepare for some subatomic levels of pernicketiness I’m a real process nerd. I’m forever making notes on exactly how I came up with a pitch, put together an episode breakdown, wrote a script, or edited the finished piece. It often feels like I’m spending as much time writing notes as I am writing the scripts themselves, but it helps me figure out how to refine the entire process and avoid making the same time-consuming mistakes twice. I used to think I was wasting precious work-hours, but I’ve since learned it saves bags of time in the long run.

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So this change in formatting came about as part of an ongoing overhaul, a result of not only putting in place what works best for me, but also what works best for the artists and letterers, or so they tell me. A comic script is ultimately a very hands-off way of writing a story – certainly when you’re writing ‘ ’ as you do for 2000 AD. I don’t get to tinker with the dialogue or sound effects down the line. Once the script is written, I invoice the thing and start writing something else.

By the time the script sees print as the finished comic, I’m usually so immersed in another story that I’ve forgotten how the one that’s just been published actually ends! Writing a comic in this way is a bit like directing a movie without ever being on set. Instead, you write a detailed memo to guide the cinematographer, actors and editor in your absence. For obvious reasons, I like to smooth the transition from person-to-person as much as possible, making sure everyone has everything they need from me in order to do a great job. How I learned to stop worrying and despise writers Taking care with formatting also stems from me not wanting artists and letterers to hate my guts. Maybe this has something to do with personal insecurity or maybe the fact that I’ve worked for a long time as a subeditor.

Having subbed various publications for various clients over the years, I know what it’s like to be last in line, racing against an insane deadline while struggling to make sense of copy that appears to have been written by someone suffering a concussion. Seriously, kids, if you want to become a professional writer, you could do a lot worse than find a freelance gig as a subeditor for a magazine or newspaper. It helps sharpen your grammar and syntax, and your ability to condense (a vital skill when it comes to writing comics). It also erodes any fears you may have about committing words to the page. “500-word news piece by lunchtime? No worries, chief.” Most importantly, working as a subeditor will trample out of you every ridiculous romantic notion you ever had about writing. After several weeks of wrestling with copy that you’re pretty sure the writer came up with by pressing their face into the keyboard for several seconds before clicking ‘send’ with an invoice attached, you’ll have developed a healthy loathing for lazy writers.

Comics are a collaborative medium, and if the writer can’t be arsed to do their job that means everyone else in the collaborative chain has to pick up the slack (and do so for the same paycheck). I don’t ever want artists or letterers to feel like jumping out of a window the minute they learn they’ve been saddled with me on a project. I know where my responsibilities lie, and within those boundaries I will take care to be approachable, adaptable and do my best to resolve any issues that might trouble the pencil monkeys and letter wranglers later down the line. Last in line Formatting the script is actually the last thing I do before a final printout and proofread. Once I’ve broken down the action into pages and panels, I’ll open a new Word doc. And write placeholder panel descriptions, e.g.

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‘3.) Estab shot interrogation room’, ‘4.) Cop shows photo to Ang’, ‘5.) Cop angry; we see dagger’. Then I’ll bullet the exposition (that is, exposition that I’ve been unable to communicate visually) beneath the panel in which it’s most likely to appear, e.g. ‘DD unlicensed; against law’, ‘Explain dagger’, ‘Faeries want it back’. Then I’ll turn all that exposition into nice juicy character-revealing dialogue. I won’t add the attributions just yet; I read somewhere that good dialogue is so rooted in character that you should be able to tell who’s saying what without the attributions.