Creative process
Overview
Whether you're collaborating or working on your own, there's no one "correct" way of creating and developing a story. Here are just a few I've picked up over the years.
Full scripts are organized by page with panel descriptions and "camera" angles. The writer is completely responsible for dialog, captions, SFX onomatopoeia, and story pacing.
- Some writers begin with thumbnail sketches before typing anything. "Chicken scratch" drawings can help visualize "camera" angles, left-to-right speaking order, space for word balloons, and the like. These thumbnails are only tools for writing a script, and should never be given to the artist.
- Writing just panel descriptions and dialog -- without page numbers and panel indications -- is an alternative approach that lets the artist pace the story.
Mainstream methods
Harvey Kurtzman method
Workflow pioneered by Harvey Kurtzman when working for EC Comics.
- Writer provides final script, thumbnails with lettering indications, and all reference.
- Letterer formats orignal art with lettering and panel borders.
- Artist illustrates on pre-formatted art boards.
Marvel method
Creative process Marvel Comics adopted out of necessity when almost going out of business in the late 1950s.
- Writer and artist create a plot synopsis.
- Artist pencils the entire story without words.
- Writer then adds copy to the pencil art.
Larry Hama method
Workflow pioneered by Larry Hama when writing and drawing on GI Joe.
- Create live-size original art of your entire story, each page with a different layout regardless of content (essentially pages of blank panels).
- Circle back to fit your story into these arbitrarily-designed pages.
Similar to the Harvey Kurtzman method, except the artist is involved in the thumbnail process. Pioneered by Al Feldstein when working for EC Comics.
- Writer sends tight plot to artist.
- Artist breaks down plot into pages and panels.
- Writer creates full script based on artist breakdown.
- Letterer formats orignal art with lettering and panel borders.
- Artist illustrates on pre-formatted art boards.
The Post-It Method
Create panels in isolation, organize them into groups for pages, which you'll eventually organize into a multi-page comic book story.
- Draw panels on Post-Its
- Content can be art and/or words. Don't worry the number of panels. You should be creating moments freely, without getting distracted by visual expression (camera angles, lettering placement, page design, etc.). You could have 10 or 100 panels, maybe more.
- Group panels into pages
- Don't worry about visual design yet. Five or six panels per page is a good starting point, but don't stick to that for every page. Some might have only one or two panels, others might need nine or 12...maybe more. Feel free to to reorder panels for dramatic effect!
- Design your pages
- Use the results of this process to draw page thumbnail sketches on paper or screen. This is when you figure out page layout, camera angles, lettering placement, maybe even consider the three-act story structure. The visuals will be a guide for what to write.
Now you're ready to write a full script. Use thumbnails as a guide for page groupings (and panel descriptions if you're the writer). Get specific with dialog, captions, and SFX onomatopoeia.
Page Builder
Create each page one at a time in one uninterrupted session, without an outline, script, layout, page count, or overall plan in mind.