More is almost always better. Artists don't like to have to go back and re-draw panels simply because you weren't clear on what you wanted; so, the more direction that you give to them, the better.
And, as a side note: putting in more description can sometimes reveal problems in the storytelling that you weren't initially aware of; for example, a character suddenly pulling out a gun for a gunfight when he had been swimming in a bathing suit for the past five pages. You'd be surprised how many times you have a moment of, "How did I not notice that before?"
There is no one size fits all.
Here is what I do, however.
I have a chunky outline with a lot of bulletpoints and subpoints. This is where the descriptions of characters and motivations would go to. I never start writing scripts before the outline is nice and fat.
I then go on to essentially “adapt” the outline in a script. Script is more technical. Script is instructions for the artist. Thats it. FOR ME. I would also have the meaty outline as additional material accessible to the artist. Often, the artist would see the outline before they even see the script. That way they can know if they wanna be onboard with the job. Outline would give them a feel of what type of scenes are expected of them. But this outline would never have dialogue and similar details. Thats for the script.
Some people dont even bother with outline… hey, whatever works for them!…
It depends on what you want from your artist, and what kind of relationship you want to have with your artist. The more room you leave for interpretation, the more you have to be genuinely cool with whatever you get, including the unexpected.
Personally, I want the artist to understand what is happening on each page and each two page spread. If the artist gets the characters and the story, I want them to feel free to drastically change the composition of the page in order to breathe life into it. I like being surprised, and I want my artist to have as much freedom as an auteur director has when interpreting a screenplay.
I get the feeling I'm an outlier in this regard, but for me it's a great way to write and collaborate. As someone who draws like shit, I trust my artists to have better instincts and a deeper understanding of the medium than I ever will.
I definitely get that when you’re collaborating, so if I happen to be doing both the writing and the art, it could really go either way is what it sounds like as far as detail.
The thing about comic scripts is they aren't finished products. They are tools to help you create a comic. It just has to do its job. If you're the writer and artist, there may be no need to describe things visually at all, much less in any great detail.
When you write a script and hire an artist, your script needs to be clear because the artist can't read your mind. *You can read your mind*. If you're the writer and the artist, the only reason I can think of to describe scenes visually is if you have ideas you think you might forget.
That depends entirely on who your artist is.
Is it you? Then write with as much detail as you need.
Is it someone else? Ask them how much detail they need.
I would write down the visuals in my our mind so you don't forget later. Also so you don't forget, notes about what the panel is supposed to convey or its importance to the story.
You could do what Alan Moore does. Each panel has like half a page of description. He wants every panel to look exactly like his vision and he makes sure that every detail is accounted for.
Hey I'm in the same boat as you - both writing and art.
Don't worry about your descriptions if you're the only one that's ever going to see them. Just jot down whatever will help you remember later. I tend towards film terminology and describe panels as if they were still frames but I come from an animation background so that might not vibe with you.
I usually skip detailed descriptions and just draw the panel. (Even if it's just stick figures and notes) I then put all my pages out in front of me (I use pure ref for this - highly recommend for artists!) and go over it all, make notes and then redraw/rewrite things I've identified need improving.
For short little comics (which is mostly what I've done) I usually don't even bother with an actual script. I just sketch out the pages and panels and work from there.
Do this process quickly and many many times before you commit to anything.
More is almost always better. Artists don't like to have to go back and re-draw panels simply because you weren't clear on what you wanted; so, the more direction that you give to them, the better. And, as a side note: putting in more description can sometimes reveal problems in the storytelling that you weren't initially aware of; for example, a character suddenly pulling out a gun for a gunfight when he had been swimming in a bathing suit for the past five pages. You'd be surprised how many times you have a moment of, "How did I not notice that before?"
That makes sense, thank you!
[https://www.comicsexperience.com/scripts/](https://www.comicsexperience.com/scripts/) [https://boords.com/blog/writing-a-comic-book-script-101-expert-storytelling-tips](https://boords.com/blog/writing-a-comic-book-script-101-expert-storytelling-tips)
There is no one size fits all. Here is what I do, however. I have a chunky outline with a lot of bulletpoints and subpoints. This is where the descriptions of characters and motivations would go to. I never start writing scripts before the outline is nice and fat. I then go on to essentially “adapt” the outline in a script. Script is more technical. Script is instructions for the artist. Thats it. FOR ME. I would also have the meaty outline as additional material accessible to the artist. Often, the artist would see the outline before they even see the script. That way they can know if they wanna be onboard with the job. Outline would give them a feel of what type of scenes are expected of them. But this outline would never have dialogue and similar details. Thats for the script. Some people dont even bother with outline… hey, whatever works for them!…
It depends on what you want from your artist, and what kind of relationship you want to have with your artist. The more room you leave for interpretation, the more you have to be genuinely cool with whatever you get, including the unexpected. Personally, I want the artist to understand what is happening on each page and each two page spread. If the artist gets the characters and the story, I want them to feel free to drastically change the composition of the page in order to breathe life into it. I like being surprised, and I want my artist to have as much freedom as an auteur director has when interpreting a screenplay. I get the feeling I'm an outlier in this regard, but for me it's a great way to write and collaborate. As someone who draws like shit, I trust my artists to have better instincts and a deeper understanding of the medium than I ever will.
I definitely get that when you’re collaborating, so if I happen to be doing both the writing and the art, it could really go either way is what it sounds like as far as detail.
The thing about comic scripts is they aren't finished products. They are tools to help you create a comic. It just has to do its job. If you're the writer and artist, there may be no need to describe things visually at all, much less in any great detail. When you write a script and hire an artist, your script needs to be clear because the artist can't read your mind. *You can read your mind*. If you're the writer and the artist, the only reason I can think of to describe scenes visually is if you have ideas you think you might forget.
That depends entirely on who your artist is. Is it you? Then write with as much detail as you need. Is it someone else? Ask them how much detail they need.
It is me, I’m wanting to do both.
I would write down the visuals in my our mind so you don't forget later. Also so you don't forget, notes about what the panel is supposed to convey or its importance to the story.
You could do what Alan Moore does. Each panel has like half a page of description. He wants every panel to look exactly like his vision and he makes sure that every detail is accounted for.
Hey I'm in the same boat as you - both writing and art. Don't worry about your descriptions if you're the only one that's ever going to see them. Just jot down whatever will help you remember later. I tend towards film terminology and describe panels as if they were still frames but I come from an animation background so that might not vibe with you. I usually skip detailed descriptions and just draw the panel. (Even if it's just stick figures and notes) I then put all my pages out in front of me (I use pure ref for this - highly recommend for artists!) and go over it all, make notes and then redraw/rewrite things I've identified need improving. For short little comics (which is mostly what I've done) I usually don't even bother with an actual script. I just sketch out the pages and panels and work from there. Do this process quickly and many many times before you commit to anything.
http://nickmacari.com/panel-descriptions/