I write the dialogue in my thumbnail sketches. I do it at the same time and then write the dialogue on my phone.
I definitely have the story laid out in bullets long before I put pen to digital canvas...I already have arcs planned out for next year and even the ultimate ending is already written down...
For the stuff in-between, I do bullet points for events/major story elements, separate arcs into parts.
Then I do thumbnail sketches, and dialogue included for each part, to visualize length of episodes (I try to make each part fit an episode, with either a continuation into the next part, transition, or revolution if it's the last part of an arc) See "Tryons" for my honest attempt.
I tried to write all lines of dialogue in a separate document, but that enables me to overwrite it (aka they talk too dang much!) The visuals (thumbnails/storyboard) actually help me to keep the dialogue itself short and simple...most of the time.
I can't do panel-by-panel scripts, that's too restrictive for my ever-changing creative brain...though that free-thinking explains why I have continuity errors (the fence in bg changes from picket to wire several different times, and a barn magically appears in my most recent arc, XD)
I have a script… kind of lol. It’s less like a script and more like me just writing paragraphs upon paragraphs- more like a really badly written story in my own words on a google doc that I then translate over to visual form. But I also have an entire other google doc with the main point points listed out in chronological order and important events, that when when i’m writing my “script” I know where I need to take the story and dialogue.
As you can very obviously see, it’s nothing like an actual script. It’s full of grammar issues, slang, typos, and emoticons lol. Basically whatever helps me visualize the scene I have in my head better through text. Some dialogue or part described don’t always make it over to the finished version on the comic. I could write it like an actual script, but this is just so much more fun to me.
In the end, this is what that paragraph translated into-
I don’t really think there’s a right or wrong way to script (unless you’re doing it professionally of course), and I don’t think a script is even necessary, though they’re extremely helpful, especially for larger, plot heavier stories. Whatever helps you convey your story how you imagine it is the best way to do it. For some people it’s a regular script, or just a few bullet points, or an entire story that they’re translating into a comic. Whatever works
For a more story-focused comic like mine, I NEED a script (and so do you, sorry!). The ability to rewrite, rework, redo, or cut scenes without having to redraw anything has a major positive effect on the quality of my writing. Maybe by scripting through thumbnailing, or if you have an absurdly good memory, you can get away with it. But having tried both storyboard-scripting and memory, it's much more fruitful to script.
I write my dialogue completely seriously, but I get a lil gibberish-y in the directions. Only my girlfriend and I need to understand what's going on (she proof reads my dialogue and tells me when my writing sucks). I find it much more entertaining for myself if I'm not completely serious all the time.
Here's part of pages 16&17
....and then if I'm passing my script to someone else (like for translating), I gotta simplify and serious-ify my script lol
I am turning my novel into a webcomic (because i'm a masochist I guess. who needs free time) so while I don't have a typical script I mostly follow that. I would be lost without any kind of written idea for it though
I find the easiest way is to just make an outline script. Each point is a panel. That way you know the number of panels and what happens in every panel. 
Of course. If someone making a comic doesn't do this, they should really start. Not only do I have the script written, but I have a timeline with each plot point mapped out to avoid inconsistencies.
Know what you're doing before you do it.
I do this all the time. Once I done that, I have a script editor that helps me to check any grammar mistakes and polish the sentences to make it more dynamic. After he has done editing the script, I start making my comic.
I started my main series without much planned because I was very new + it was meant to be a super short story.
But now I have a document with the big outlines (that I don't end up following lol) and shorter episode documents that I try to write before I start the particular episode.
The scripts I write aren't super detailed or complete, being focused on key dialogues and the occasional sound effects. (and sometimes I add new dialogue as I'm drawing.)
Plus it's a good litmus test -- if I myself can't tell who's speaking without those 'Character X says this, Character Y says that' notes, I know I've got some tweaking to do.
I don't write my scripts in English but if translated it'd look something like:
A complete nonsense script for anyone else ahaha
I have a written outline and then do all of my “scripting” in loose little thumbnails.
Old thumbnail examples
I used to try to strictly script for years but it always makes me write extremely stiff dialogue and if I’m working on a project on my own I don’t need anyone else to understand my notes and I’ve been doing it this way for over a decade. I like having the ability to improvise a lot when I get to the final version.
Even when I work with publishers most of them have never asked me for a proper script and when they have I just reverse engineer my thumbnails to a quick, dirty script. No editor expects a script to be exactly the finish product anyway.
I have scripts up to CH 30 of my story where my writing partner coudnt help with my project anymore (busy with his own)
So i have these for the stuff I wrote cause it's just easier for me
I absolutely write scripts first! Once a script is finished, or locked-in enough, it becomes the blueprint. I determine the amount of design work I need to do and after that I make a complete storyboard out of the entire script. I only start effectively making actual pages after I've gone through those steps.
I will admit, though, that my workflow is based on my experience with animated productions, where these steps are vital to have an entire team work consistantly on a single project.
Early scene of my script for Chapter 02
Int – Nan’s Orphanage – Daytime
Panel of ZACK putting down BLIP on the table, KYARA is standing by the side door. “Blip, I’d like you to meet Ky, Ky this is Blip.” Zack says.
“You named it Blip?” Kyara says with an eyebrow raised.
“Well yeah, it’s a lot more personal than BL-17.” Zack says.
From Blip’s POV (using the same HUD as in CH01) we see him scan Kyara. A warning goes off and an image of her rummaging through the Sanctum crates pops up. THREATH DETECTED Blip jumps off the table and charges at Kyara, intent on striking her with a powerful blow. But as he rams her he just bounces off. Kyara laughs at the little robot’s efforts. He straightens himself, shakes his little cannister head and looks up. He realizes his short stature, jumps back and skitters to safety behind Zack.
“I don’t think he likes you very much.” Zack says whilst picking up Blip.
“It’s a robot Zack, they don’t have feelings.” Kyara says while walking towards the computer.
“gasp you take that back!” Zack says while shielding Blip from Kyara’s words.
Kyara rolls her eyes. She looks at the dismantled Warmachine head on the table. “So did that thing have any cool secrets?” She asks.
“Surprisingly yes!” Zack says opening a bunch of folders.
Kyara looks at the computer screen. It’s filled with a lot of stuff she doesn’t understand. A bunch of green lettered gibberish in a black window, a lot of numbers and statistics. There’s also a window opened with a bunch of files. Next to these files there’s a list of dates. She notices one of the files is dated 25/06/6993. “Wait, this file is from 6000 years in the future?” she says.
“Huh, what are you talking about?” Zack says while leaning closer. “That’s not from the future, the Forebears just counted the years differently from us.”
“I guess that does make more sense.” Kyara says “So what is it?”
“I dunno, let’s find out.” Zack says opening the file. It shows an out of date map of an area that strongly resembles the scrapfields. On it a region to the north is marked along with text in an illegible foreign language. Kyara squints her eyes and looks a bit closer.
“Looks like the Forebears were interested in that area.” Zack says.
“I think I know where that is.” Kyara says.
“You do? How?” Zack asks.
“See that mountain ridge, that’s east of the scrapfields. And that marked spot, I’m pretty sure that’s the old mine.” Kyara says.
“Really? But then you should go and find out what’s there!” Zack exclaims.
He turns to face Kyara with a gigantic smile on his face, eyes wide open, sparkling with wonder.
Kyara looks down at him, arms crossed and one eyebrow raised.
Zack’s expression changes to a more worrying one.
“What?” He says.
“Just a few days ago you called me mad for going on these ‘crazy’ treasure hunts. But now you’re the one encouraging me!” Kyara says.
“That was one of the old guy’s crazy stories.” He waves his hand dismissively. “The fact that you actually found something is nothing but a fluke. This however, this is different!” He points to the computer screen. “This is an actual map, made by actual Forebears. No amount of gossip can match that.” Zack says.
“Well if you’re so excited about it, then maybe you should come with and see for yourself.” Kyara says throwing a hand in the air before dropping down on the table.
“Me…” Zack points to himself “out there…” he points outwards. “No no no, that’s far too dangerous.”
“Naaah, the old mine is perfectly safe, no one ever goes there anymore. It’s believed to have been picked clean decades ago.” She throws her hands dismissively. “But maybe you can find something everyone else missed.”
“I don’t know Ky.” Zack says turning in his chair away from Kyara. “I’m just not cut out for adventuring like you.”
“You wouldn’t be alone! I’d be there with you, every step of the way!” Kyara says.
Blip, still in Zack’s lap, sees the computer screen and the map on it. He tweets, jumps from Zack up on the desk and bleeps and bloops excitedly. Zack looks surprised.
“See, even the robot agrees.” Kyara says gesturing towards Blip.
Zack pets Blip‘s cannister head “You think I should go out there buddy?” He says. Blip cheerfully bleeps in response. “Fine then, I’ll do it.” Zack says “What’s the worst that could happen?”
I have everything vaguely planned out in my brain. I do sketch ahead and plan to an extent, but other than that…
Kinda yes and no. I know how my comic will go, all the major story beats, the ending. Although every chapter I jot out basic bullet points so everything is solidified, whenever I want to remember certain dialogue I'll write it down. Writing isn't fun for me at all, so I do as little of it as possible.
Of course, I won't share my notepad file. I don't bother with grammar, spelling or general readability since it's just there to help me remember small details. Lol
Typically, I know what beats I want to hit, and in what order from beginning to end, but this is how I write, each chapter.
I first write the dialogue, and small notes of action wear. There is no dialogue in my first draft.
I ask, chat GPT to write a script using a description of the chapter that I just wrote.
If the AI comes up with a similar script, or sections of the script, that is where I know I need to work on to improve. I keep on doing rewrites and comparing it to AI generated ones until my script and the AI's look nothing alike. Trust me, AI is the perfect tool to learn what to avoid.
That process takes about three or four or five rounds, and then, while I'm doing the thumbnail, sketches, regular sketches, and sometimes even ink and coloring, I am still rewriting and improving on the story.
Depends what you mean by 'script' -- I have the dialogue written down, and any crucial actions/things/etc that need to be shown. But I leave the exact compositions etc for thumbnailing. I can't pace well during the scripting stage; finalizing the panel count etc before thumbnails is a recipe for for cramming too much dialogue into a panel and other such disasters XD
Yes, I do ^^ It helps me a bit more, I also sometimes just write simple scenarios and think from there (If I can remember it for the next day)
Not the author, but in some of my Collaborations I do receive narrative text then I'm free to adapt the events in Comic script format.
I do the script for the entire thing, if it's a 20 page comic or the script for a whole episodes of an ongoing series.
I don't have permission to share the scripts but usually I go for this format:
Comic Script
PAGE 1:
( Small summary of what happens or the original Narrative source )
Panel 1: ( Here I add the actions, character if there are any, background and anything to be drawn, in which angle and with which type of camera )
Character // Narration: ( Dialogue )
( Repeat format for other panels )
