So, without doubt there are a number of ways to write scripts for comics and graphic novels as each of the major comic co.'s have their own method of doing so. With some searching, you can find their exact format. Now with more screenwriters breaking into the comic biz you need to know how both cinematic scriptwriting and storyboarding can easily translate into creating your independent comics and graphic novels.
Both writers and artists need to be on the same page with the visual cinematic terms used for camera framing and angles:
Wide/Establishing shot (WS) - A wide shot takes in the entire area of the camera frame (or panel). It is used to establish the location of the scene. (example; a view of the city skyline, parking lot or house.) In the case of a person or specific item the WS will include a full-length view of the subject plus the scene.
Medium Shot (MS) - A medium shot takes in a much smaller area than a WS. MS's bring the viewer into a more specific area of the scene. In the case of a person or specific item, a MS covers the area from just above the top of the head to the waist or top of the item to midway down.
Close Up (CU) - A close-up is a shot that focuses specifically on the subject. Framing for a CU on a person or specific item has the entire face or a view of the item which fills the frame (panel). CU's are used to give the viewer a much more intimate look at the subject.
Extreme Close Up (XCU) - An extreme close up consists of a shot that fills the frame with only a specific detail of the subject (i.e., eyes, serial number, clock hand, etc.) This type of shot gives powerful emotional impact to the shot.
High Angle - High Angle shots have the camera (viewer) looking at the subject from an angle above (example; an adult looking down at a child or a sniper atop a building looking at a car in the street.)
Low Angle - Low Angle shots have the camera (viewer) looking at the subject from an angle below the subject (example; child looking at an adult or a policeman looking up at buildings for sniper.)
Once you've got an understanding of camera framing and angles then there's 'Screen Direction'. Ever watch a movie and in the middle of the action you were jolted out of the flow because the movement seemed to suddenly go the 'wrong way'? That happens when direction of the subject suddenly goes in the opposite direction with no visual cues to give you time to accept the change. That can happen in a comic as well though it won't be as dramatic. So to smoothly convey the direction of action you'll need to know how screen direction works.
Whether it's images on a movie screen, TV, computer or on a printed page screen direction in countries which read from left to right, the 'dominant side' (or entry point ) of the screen is the left while the exit point is on the right. This is also noted as Screen Left/Right. Now your action can and will go from either left or right, but to change direction without an abrupt illogical reversal of direction, you need a 'Neutral Shot'.
Screen Left (→) - Screen Left indicates the action within the frame moves from left to right in the frame.
Screen Right (←) - Screen Right indicates the action within the frame moves from right to left in the frame.
Neutral Shot (N) - A neutral shot indicates the action is moving neither to screen left or right. Close ups with the subject facing the camera directly are often used as neutral shots to transition from one screen direction to another smoothly.
Screen Up (↑) - Screen up is considered a neutral shot only if the action follows the center axis of the screen without veering to the left or right.
Screen Down (↓) - Screen down is also considered a neutral shot only if the action follows the center axis of the screen without veering to the left or right.
With these simple tools used to describe framing size of the subject and the direction of action within the screen/panels, the comic/graphic novel writer can use them to clearly describe how you perceive the action to flow and be framed without the artist having to guess.
In the meantime, to give you a good idea of how these terms apply to scripts and storyboards here's a link to the storyboard from 'Hellboy II'
Next we'll see how you can adapt cinematic script-style dialogue to your comics and graphic novels.
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