Article length: 1300 words (preview 400/wds)
[ Main site recommended reading: Visualizing Panels, Panel Descriptions, Visual Writing… there’s another one, but for the life of me I can’t remember which one it is, I’ll come back and update here when I remember.]
Frank Castle shoots the Kingpin.
I see this kind of panel description all the time in comic scripts. I see folks, even established writer folks, defending it as legitimate loose scripting. I generally call it insufficient, lazy writing, but above all, I call it missed opportunity.
Remembering back to the Working Writer’s Guide to Comics; the four essential elements of every comic panel are:
All four of these are absent in the above panel description.
But even forgetting the four cornerstones of comic panels, we can simply ask “what is this panel telling us in the story, other than the action at hand (which we could only hope, has significant implications)?
Answer: literally, nothing.
Every panel in a comic is a chance to control and express the narrative of the story. While it is possible to do this with broad, loose strokes, the devil truly is in the details.
Hey, whaddya know, dialogue/narration can make a huge difference in expressing narrative throughout a comic… but for this article, let’s ditch dialogue and focus just on the panel descriptions.
Also keep in mind, much of the time you will express deep narrative movements through a sequences of panels. Sort of reverse engineering things backwards from the kind of panel descriptions above is a bit tricky… eh, screw it, let’s revisit this panel description anyway and see if we can’t improve it, actually expressing the narrative through added details;