That means you ought to write in formatted text to bold or underline any emphasis. One final eyeballing will quickly confirm all capitalizations are as they should be. Your letterer will thank you. It’s best when a script is done to do a “Find all” for the letter i by capitalization / spaces on either side, and replace in bulk, then second “Find all” for for any dialogue or narration where the first-person singular I has been diminished where it shouldn’t be. The reason is that most comic fonts are all caps, so you’re making work for them to compare the script to the lettering file, in order to ensure they’re laying down dialogue and descriptions the way you want.Īdditionally, the quirk of all-caps lettering is the letter I is a serif in the first-person pronoun, but sans serif in other words, including starts of sentences and names (I am way overdue to amend all the erroneous versions of this in Indelible, Inc.) so you’re making, at best, an extra “replace all” for them. Third, I do my own lettering, and sometimes my own drawing, so I’m thinking of those needs in mind: most letterers don’t want you capitalizing words for emphasis. Second, I don’t really do second drafts so much as piecemeal writing and editing throughout (more the Xeno’s ship of scripts than a single major renovation), so I end up moving a lot of stuff around, and I hate the time lost to renumbering. and Citizen X do for conspiracy clues and explanations of stuff from Antiquity, but Heist is carefree fantasy, so it doesn’t). Why I don’t write comic scripts the standard wayįirst off, a lot of my scripts require deep explanations ( Indelible, Inc. Sure, it’s a nice and easy format if you write clean and short, but I don’t often use it. It’s straightforward, short, and keeps the writer out of the artist’s way without leaving them adrift. Comics Experience has a great compendium of scripts by author, so you can mimic your favorite scribe’s hot writing style until they’re inevitably outed as a sexual predator and booted from the industry. You’ll find that or some variation of it everywhere. JACK (thought balloon): Hmmm, my Powers-Sense tells me Dr. Steamy sewer grates, bustling taxis, and all that good late-night city stuff is happening. We get a beautiful establishing shot of Metro City, home to JACK UBERMENSCH, a.k.a. The Daily Dishrag Building, a typical metropolitan newspaper that owns the most prestigious skyscraper in the city. If I were to depict the average of all regularly published comic scripts, it would look something like this: You won’t be signed up for my mailing list unless you choose to select that option, and I don’t share addresses with anyone. I’ll be referring to it throughout this post, but WordPress makes it next to impossible to download macro-enabled Docs, so e-mail is easier. What a standard comic script looks likeįirst off, email me to receive a free Word template of how I write comics that will speed up your writing. But I can show you the broad view of a typical script at Marvel, DC, Dark Horse, Image, etc. Mine is a little involved, and I wouldn’t foist it on anybody except the artists who know what they’re getting into. However, that means there are redundant and repetitive means of describing the same effect, because everyone has their own way of writing comics. So you want to write a comic book? If you’re looking for formatting tips, I’ve got good news: there’s no industry standard, so all you need is a text editor, not any fancy software.
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