Use SFX merely as audio elements sparingly. KSSSHHH for breaking glass, BLAM BLAM BLAM for a gunshot etc. Most of the time when you’re embedding SFX in your script, give […]

I talk about keeping your panel descriptions on point the Writer’s Guide, but to bring the point home, let’s take a look at an excerpt from the screenplay of Big […]

In Writing Natural Dialogue, I discuss a number of focal points to do just that. In this article we’re gonna discuss an important common problem and dive into a more […]

Accents are a distinct pronunciation of dialogue and a detail many less experienced writers quickly embrace. Usually with far too heavy a hand. Accents in comics are a slippery slope […]

Someone who purchased the Working Writer’s Guide to Comics and Graphic Novels had a question about formatting a double page spread. Because comic real estate is generally in such high-demand, […]

If you’ve bee following this site for a while, you probably already know the difference between a “loose” and “tight” comic script. A tight script can essentially touch on any […]

I recently came across this panel description in a script posted to a public forum. “Twelve rebellion members were trekking through the jungle. One young member was struggling to keep […]

One of the new things I discuss a bit in the digital edition of the Writer’s Guide is keeping dialogue and art in sync. This is particularly important when it […]

One of the first things I look for in the first editorial pass of a script, is repetition—unwanted, accidental redundancy. Unintentionally repeating the same thing, either specifically (having the MC […]

I always find it insightful to stop, take a moment and really look at the trends of comic writing. Not just the trends going on today, but the trends that […]