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I already have my scripts written but my action sequences seem awkward. How do you write them so that it is clear to the artist what to draw? Right now I am writing it like a movie and it sounds good, but it seems like it would be hard for the artist. Any thoughts?

keep it simple .....never have too many action points happening within a panel.

just think about the action that is happening within a frame in real time....if you have to much going on it wont be able to be conveyed by the artist....although when writing you can often think in terms of a film,sometimes it's better to think about movement and action as a photograph....a snap shot of the action,so as not to get too elaborate with your description and try and putt too much in there.

i.e within a film the protagonist may be doing,a,b and c all at the same time as the scene flows and moves but you don't have the luxury of doing this in a stationary image.

so think about what it is you want to portray within the panel and then simplify it to fit in a single image.Be concise and trim your descriptive fat.

the main thing to watch out for is contradiction within your description,how can character 'A' be doing action 'B',when he is doing action 'A' and action 'C' already?

put yourself in the characters position and try and see how things would work out if you were physically doing them yourself.

it is also important that you trust the artist you are working with will be able to build the panel themselves with the least amount of information....don't over elaborate....the artist will be able to convey a scene in the best way they feel possible.


so sometimes when working with an artist description wise....less is more.

BrandonJames wrote:I already have my scripts written but my action sequences seem awkward. How do you write them so that it is clear to the artist what to draw? Right now I am writing it like a movie and it sounds good, but it seems like it would be hard for the artist. Any thoughts?

First, if the action takes place in a specific location, provide a diagram of the room, or outdoor scenery the action will revolve around.

You should also work out at least stick figure drawings of each panel to make sure what you're asking of the artist is possible (probably one of the most frustrating things for an artist).

And certainly get the input of the artist. They know what they can do, and have been thinking visually probably longer than you have.

Thank you so much! Your suggestions helped me a lot. I think I will do the stick figure drawings, then I will describe it as if it were a photo.