Tuesday, February 10, 2015
Friday, February 6, 2015
Comic Book Script Format
Sample comic book script pages (note that there are two standard types, either one is correct):
1. Header; 2. Page #; 3.-5. Panel description; 6. Caption & information; 7. Character & dialogue; etc.
SCRIPT FORMAT AND SPECIFICATIONS. Please create your scripts as follows:
TITLE PAGE:
WRITER’S NAME (name, address, and phone should appear only on the first page of your script) Street Address City,
State and Zip
Phone Number
(sometimes email)
HEADER: Book Title, Issue # • Writer’s Name (should appear at the top of each page after the title page) page number, etc.
PAGE ONE (# of panels) (Begin each new story page on a new sheet of paper, label it, and indicate how many panels make up that page.)
Panel 1. Number your panels. Panel descriptions should be typed in standard upper and lower case. Please do not use tabs, alternate fonts, or any other formatting.
CHARACTER: The “attribution” (the name of the character speaking) should appear in all caps on a separate line from their dialogue. It used to be that all comics were lettered by hand. These days, much of the lettering is done on computer.
OTHER CHARACTER: Typing the dialogue in standard upper- and lowercase, flush-left, with no tabs or other formatting makes it easy for dialogue to be copied and pasted onto the comics page.
Panel 2. There is no set limit for how much or how little information should be included in each panel description; generally a sentence or two is enough. If there are specific character traits, objects, or placement of either that you need, make sure you tell the artist. The most important thing to remember: if it isn’t in the script, don’t expect to see it in the art. You’ll get best results if you list characters in your panel descriptions in the order (left to right) that they need to speak in the panel.
SFX: Sound effects are indicated just like dialogue.
CAP: Captions are indicated the same way. All dialogue, sound effects, and captions should be listed in the order in which they should be read in the final art.
CHARACTER (thought): Thought balloons are indicated in this fashion. Captions and dialogue should be limited to approximately 25 words per balloon, and about 50 words per panel, max.
Panel 3. Exact panel layout is usually left to the artist, but if you have something specific in mind, put it in your description. If absolutely necessary, you can draw a sketch of what you want.
CHARACTER (OP): Characters speaking from off-panel are indicated this way.
OTHER CHARACTER (whisper): If a character is whispering, the letterer needs to know. Other common indications for modified lettering or word balloons are (small), (burst), and (weak).
Panel 4. For action sequences, you’ll get best results if you limit yourself to three or four panels per page. Remember: the more spectacular your action description, the less room you’ll have for other panels on that page. In comics, space is your major limiting factor. If you have two characters speaking to one another in a panel on a page containing five or more panels, chances are there won’t be room to show something happening simultaneously in the background. Also, except in rare cases, the most “back-and-forth” dialogue that will comfortably fit in a panel is a comment, a response, and a counter-response.
CHARACTER: [comment] Dialogue that carries over from one balloon, or from one panel to another is indicated by double dashes at the end of the first dialogue section --
OTHER CHARACTER: [response] -- and another set at the beginning of the next. Interestingly, long dashes and semi- colons are not used in comics punctuation. Colons are used only on rare occasions.
CHARACTER: [counter-response] Double dashes can also be used to indicate a speech that is cut-off by events in the story --
Panel 5. For non-action scenes, you can have more panels per page, but keep in mind how many characters and props are necessary in a scene as you’re writing. The more panels on a page, the smaller each of them will have to be. Trying to cram too much information into small panels will result in a comic that’s difficult to read and visually uninteresting.
CAP/CHARACTER “-- a caption can be used to carry over dialogue from a previous scene to a new setting by placing the speech in quotation marks.”
NEW CHARACTER: underline words that you want to emphasize. Ellipses (three periods) indicate a pause between ... sections of a speech, or a speech that trails off.
Tuesday, February 3, 2015
Second Semester; Graphic Novels; Ms. Jordan
Welcome to the second semester!
Some writing advice from Marking Period 2 (and before):
1. Schedule writing at least 1 page of creative work per week--this can be done in the lab or at home, or during an advisement period. The more you write, the better practice it is. There will, of course, be required assignments during the course, but if you really want to write a poem or a short story and we're working on a script, feel free to write a story or a poem. Writers write. To be successful in class, to improve your writing, and to raise a grade in a portfolio, I should see writing of various kinds and types in your portfolio.
2. In ficion primarily, but in other genres as well: focus on a protagonist dealing with a conflict. This is your story. Don't avoid conflict in your stories. It's the element that makes a story interesting. It reveals your character. You need it. Stories are about a character dealing with a situation (usually a problem or situation out of their control, or at best because of a poor decision). Use models of our reading and see this truth in every successful story we read: a main character must overcome a conflict that threatens his/her way of life.
4. Build your ideas from earlier drafts. You wrote a story or a poem because you had to. Whatever you wrote, develop your ideas. If you are stuck, use the writing process to help you. Generate ideas. Outline. Mind map. Brainstorm. Use "writing assignments" as first drafts, but feel free to revise (see #5 below!)
5. Revise. Actually re-see your original drafts. Attempt to turn a 10-line poem into a short story of at least 1,000 words in length. Turn a play scene into a poem, or rewrite a homework assignment as a how-to manual.
6. Use imagery. That means visual imagery. That means metaphors, similes, allusions to famous or well-known myths or historical events, figurative language, symbols, etc. Learn the poetic devices we've been teaching you since 9th grade and USE them.
7. Risk. Write something that scares you because it's not like your normal writing. Walk the ledge and at the edge: jump.
8. Learn dialogue punctuation rules.
9. Learn sentence punctuation. Use punctuation in POETRY! Breaking grammar rules in poetry--you are NOT e.e. cummings. Not yet.
10. Write from your soul, not from your apathy or disinterest. Surprise yourself by enjoying the creative process. Try to fall in love with writing again. It's trying to get back with you.
Until March 15, Ms. Jordan will be working with you. While she is under my direction as regards curriculum, she is learning how to instruct high school students and will be directing and writing her own lessons. Please use the link below to check her blog for our course.
Ms. Jordan's Blog:
http://craftofwritingjordan.blogspot.com/
Some writing advice from Marking Period 2 (and before):
1. Schedule writing at least 1 page of creative work per week--this can be done in the lab or at home, or during an advisement period. The more you write, the better practice it is. There will, of course, be required assignments during the course, but if you really want to write a poem or a short story and we're working on a script, feel free to write a story or a poem. Writers write. To be successful in class, to improve your writing, and to raise a grade in a portfolio, I should see writing of various kinds and types in your portfolio.
2. In ficion primarily, but in other genres as well: focus on a protagonist dealing with a conflict. This is your story. Don't avoid conflict in your stories. It's the element that makes a story interesting. It reveals your character. You need it. Stories are about a character dealing with a situation (usually a problem or situation out of their control, or at best because of a poor decision). Use models of our reading and see this truth in every successful story we read: a main character must overcome a conflict that threatens his/her way of life.
- In drafts that do not have a central character, create a central character. Ask yourself: Who's story is this?
- In drafts that do not have an important or significant conflict, add conflict. What does your character want to avoid in his/her life? Once you answer, make this happen to your character.
4. Build your ideas from earlier drafts. You wrote a story or a poem because you had to. Whatever you wrote, develop your ideas. If you are stuck, use the writing process to help you. Generate ideas. Outline. Mind map. Brainstorm. Use "writing assignments" as first drafts, but feel free to revise (see #5 below!)
5. Revise. Actually re-see your original drafts. Attempt to turn a 10-line poem into a short story of at least 1,000 words in length. Turn a play scene into a poem, or rewrite a homework assignment as a how-to manual.
6. Use imagery. That means visual imagery. That means metaphors, similes, allusions to famous or well-known myths or historical events, figurative language, symbols, etc. Learn the poetic devices we've been teaching you since 9th grade and USE them.
7. Risk. Write something that scares you because it's not like your normal writing. Walk the ledge and at the edge: jump.
8. Learn dialogue punctuation rules.
9. Learn sentence punctuation. Use punctuation in POETRY! Breaking grammar rules in poetry--you are NOT e.e. cummings. Not yet.
10. Write from your soul, not from your apathy or disinterest. Surprise yourself by enjoying the creative process. Try to fall in love with writing again. It's trying to get back with you.
Until March 15, Ms. Jordan will be working with you. While she is under my direction as regards curriculum, she is learning how to instruct high school students and will be directing and writing her own lessons. Please use the link below to check her blog for our course.
Ms. Jordan's Blog:
http://craftofwritingjordan.blogspot.com/
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