Do I need to find an artist before I write the script?

Not necessarily. You can write a script to show publishers or pitch to artists. However, if you're self-publishing or making a webcomic, having an artist committed before you write allows you to tailor the script to their strengths. Some writers and artists develop stories together from the start, which can result in better collaboration.

Should I describe exactly what characters look like?

Provide basic details (age, build, defining features) but let the artist design characters unless appearance is story-critical. Most artists prefer creative freedom in character design. If appearance matters (identical twins, specific scar, distinctive feature), specify it. Otherwise, general descriptions work: 'late 20s, athletic build, military bearing.'

How many panels should be on each page?

Standard is 5-6 panels per page, but vary for pacing. Action sequences can have 8-9 small panels for quick pacing. Emotional beats might have 2-3 large panels. Full-page splashes (1 panel) should be used sparingly for maximum impact. Balance across your story—too many dense pages exhausts readers, too many sparse pages feels padded.

Can I write comics if I can't draw?

Yes! Many successful comic writers don't draw. You'll need to find an artist collaborator. Build portfolio with completed scripts, pitch to artists on platforms like DeviantArt, Behance, or comic creator forums. Be prepared to split earnings or pay upfront. Self-publishing requires paying an artist, but traditional publishing houses pair writers with artists.

What's the difference between writing for webcomics vs. print?

Webcomics use infinite vertical scroll—no page turns or spread compositions. Focus on panel-to-panel flow down the page. Readers scroll at their own pace, so cliffhangers work differently. Color is standard (print B&W is common). Format for mobile screens (larger text, simpler panels). Print has page turns, spread compositions, physical pacing.

How do I pitch a graphic novel to publishers?

Need: 1) Complete script or detailed outline, 2) Sample pages (10-20 pages drawn and lettered), 3) Query letter, 4) Artist attached (for some publishers) or portfolio showing you can deliver. Research publishers' submission guidelines—some accept unsolicited submissions, others require agents. Self-publishing via Kickstarter or print-on-demand is also viable for graphic novels.

How to Write Graphic Novel Scripts and Comic Book Dialogue (2026)

You've written a comic script with detailed descriptions of character backstories, internal motivations, and complex emotional states. You send it to an artist. They reply: "This is great writing, but I don't know what to draw. What's actually happening in each panel?" You realize you've written a novel, not a comic script.

Comics are a visual medium. The script needs to tell the artist what readers will SEE, not just what characters think or feel. Internal emotions must be externalized through action, expression, and visual storytelling. A good comic script is a blueprint for visual storytelling, not a prose story with pictures added.

This guide breaks down how to write graphic novel and comic scripts that work—proper format, visual storytelling techniques, tight dialogue, pacing through panel composition, and collaboration with artists.

Understanding the Visual Medium

Comics combine words and pictures, but pictures do most of the heavy lifting.

What comics do well:

Show action and movement
Convey emotion through expression
Establish setting and atmosphere
Control pacing through panel size/count
Create drama through visual composition

What comics struggle with:

Internal thoughts (unless using thought boxes)
Complex verbal explanations
Abstract concepts without visual metaphor
Lengthy dialogue (crowds out art)

Your job as the writer: think visually first.

Script Format: Full Script Method

The industry standard is "full script"—detailed panel-by-panel descriptions with all dialogue.

Basic Structure

PAGE ONE (5 PANELS)

PANEL 1

[Visual description]

CHARACTER NAME
Dialogue

PANEL 2

[Visual description]

CHARACTER NAME
Dialogue

Example Page

PAGE FIVE (6 PANELS)

PANEL 1 (establishing shot)

EXT. ABANDONED FACILITY – DAY

Wide shot of enormous concrete building, windows shattered, covered in strange metallic growth. Maya and Kai approach on foot, weapons drawn.

CAPTION (MAYA)
"The source signal came from here."

PANEL 2 (medium shot)

Maya checking handheld scanner, focused. Kai watches surroundings, tense, rifle ready.

MAYA
Biosigns inside. Multiple.

KAI
Friendly?

MAYA
(shakes head)
Never are.

This format tells the artist exactly what happens in each panel while leaving room for artistic interpretation.

Panel Descriptions

Panel descriptions should be clear, specific, and focused on story-essential elements.

What to Include

Shot type: establishing, close-up, medium, etc.
What's in frame: characters, objects, setting
Character actions/emotions: what they're doing and feeling
Important details: story-critical visual elements
Mood/atmosphere: tone of the scene

Be Specific But Not Controlling

❌ Too vague: "Maya looks upset."

✅ Clear: "Maya's jaw clenches, eyes narrowed, fist balled at her side."

❌ Too controlling: "Maya positioned exactly center frame, standing 2 feet from wall at 45-degree angle, three buttons visible on jacket..."

✅ Collaborative: "Maya enters cautiously, on alert. She's in her late 20s, practical clothing, someone who's seen combat."

Give the artist clear direction but room for creativity.

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Visual Storytelling: Show, Don't Tell

Let visuals carry emotion and atmosphere. Dialogue should add information, not describe what readers can see.

Bad: Telling Through Dialogue

JOHN
I'm so angry right now! You can probably tell by my facial expression!

Good: Showing Visually

PANEL 1
Close on JOHN's face—jaw clenched, eyes narrow, fist balled at his side.

JOHN
We're done.

The visual shows anger. The dialogue advances the plot.

Use Silent Panels

Some moments are better without dialogue:

PANEL 3
Maya stares at the photograph, hand trembling.

(NO DIALOGUE—let the visual carry the moment)

Silent panels create emotional weight and pacing.

Panel Composition and Pacing

Panel count per page controls pacing.

Many Small Panels = Fast Pace

PAGE 10 (9 panels—action sequence)

PANEL 1: She draws weapon
PANEL 2: Fires
PANEL 3: Enemy dodges
PANEL 4: Returns fire
PANEL 5: She dives
PANEL 6: Rolls behind cover
PANEL 7: Checks ammunition
PANEL 8: Prepares next move
PANEL 9: Explosive finish

Many panels create quick, dynamic pacing—readers move fast through the page.

Few Large Panels = Slow Pace

PAGE 11 (3 panels—emotional moment)

PANEL 1 (large): She holds the letter, tears forming
PANEL 2 (large): Silent panel—she sits, shoulders slumped
PANEL 3 (medium): She burns the letter

Fewer, larger panels slow down pacing, giving emotional moments weight.

Shot Types

Vary shot types for visual interest:

Establishing shot: Wide view showing location
Long shot: Full figures with environment
Medium shot: Waist-up, most common for dialogue
Close-up: Face or object for emotion/detail
Extreme close-up: Eyes, hands for high impact

Don't use the same shot type for every panel. Vary composition to guide the reader's eye and create visual rhythm.

Dialogue in Comics

Comic dialogue must be brief. Speech balloons take up precious panel space.

The Word Count Rule

Maximum 25-30 words per balloon. 15-20 is better.

❌ Too much: "I've been thinking about what you said yesterday at the coffee shop when we were talking about whether we should go through with this plan, and I've decided you were right after all."

✅ Better: "You were right. We shouldn't do this."

Show Personality Through Voice

Each character should sound different:

Formal character: "I believe we should reconsider our approach."

Casual character: "Maybe we should rethink this?"

Tough character: "Bad plan. Try again."

Same idea, three distinct voices.

Natural Speech Patterns

Use contractions: "Don't" not "Do not"

Show interruptions:

JOHN
I was thinking we could—

MAYA
—No.

Trailing off:

JOHN
If only we'd...

Page Turns

In print comics, page turns create suspense.

Left page (even numbered): Setup, question, tension

Right page (odd numbered): Payoff, answer, escalation

Example

PAGE 2 (left page, final panel)
Maya reaches for the door handle.

MAYA
"This is it."

(PAGE TURN)

PAGE 3 (right page, first panel - splash)
The door explodes outward in flames!

End left pages on cliffhangers. Pay them off on right pages. This creates natural suspense built into the physical format.

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Sound Effects

Format sound effects clearly:

SFX
BOOM

SFX (distant)
boom

SFX (quiet)
tap tap tap

ALL CAPS for loud sounds, lowercase for quiet/distant. Be specific: "CRASH" better than "loud noise."

But use sparingly—the artist and letterer will add most sound effects based on the visuals.

Collaborating With Artists

You're writing a blueprint, not dictating every detail.

What to Specify

Story-essential visuals
Character emotions and actions
Important environmental details
Mood and atmosphere
Panel count when pacing matters

What to Leave Open

Exact character appearance (unless story-critical)
Background details
Most camera angles
Art style and technique

Trust your artist. They're your collaborator, not someone just executing your vision. The best comics come from true collaboration.

Story Structure

Page Counts

Single issue comic: 20-24 pages
Graphic novel: 100-300 pages
Webcomic episode: 5-10 panels (vertical scroll)

Three-Act Structure

Act I (20-25%): Establish world, character, conflict

Act II (40-50%): Complications, obstacles, escalation

Act III (25-30%): Climax and resolution

End each issue or chapter with a hook that makes readers want more.

Common Comic Script Mistakes

Too much dialogue: Crowds out art, slows pacing

Talking heads: Page after page of people just talking—no visual interest

Vague panel descriptions: Artist doesn't know what to draw

Overcontrolling: Dictating every tiny detail, no room for artist creativity

No visual variety: Every panel the same shot type

Ignoring page turns: Missing opportunities for suspense

Prose thinking: Writing for a novel, not a visual medium

Key Takeaways

Comics are a visual medium first. Panel descriptions should tell the artist what readers will SEE—actions, expressions, compositions—not just what characters think or feel internally.

Full script format includes page numbers, panel counts, clear panel descriptions, and properly formatted dialogue with character names in ALL CAPS followed by their lines.

Panel count controls pacing: many small panels create fast action sequences, few large panels slow down for emotional moments. Vary shot types (establishing, medium, close-up) for visual rhythm.

Comic dialogue must be brief—maximum 25-30 words per balloon, 15-20 is better. Speech balloons take up panel space. Let visuals carry emotion; dialogue advances plot.

Page turns create suspense in print comics. End left pages on cliffhangers or questions, pay off on right pages. This uses the physical format as a storytelling tool.

Collaborate with your artist—specify story-essential elements but leave room for interpretation. The best comics come from true writer-artist collaboration, not writers dictating every detail.