What does your script look like for your webtoon?

[EncryptedWriting]

Currently, I am working with a fabulous artist on a comic, and I am questioning whether I am making a proper script or not. I think I am doing it right, but I am questioning whether it is detailed enough.

For reference, I plot out the panels, and then I sketch out the panels on paper for her to follow along with. I was just wondering if anyone could share their scripts by chance so I can ensure that I'm doing it somewhat decently. ><

Note: my goal is to make the process as easy as possible for my artist to work along with.

[migxmeg]

You'll find a rhythm together - I think it's different for every team.

Originally, my writer sketched out panels and gave a lot of direction for what he wanted (visually). But I'm the artist XD. So I had my own ideas about the scenes he gave me - it's been about a year and now I get a script of dialogue with some notes about particular faces the characters are making (if it's important) or how they are feeling/reacting to something if it's not obvious. Sometimes there's a special request for a particular type of panel but usually not. Then I draw thumbnails and we review it together to make sure it's right before I really get going.

Maybe your artist will enjoy the simplicity of having more information about how things are in your head or maybe they'll have an easier time coming up with something cool that will surprise you if you leave it a little more open. The best thing is just to communicate - see if they have any feedback about how the process is going. And ask if they have ideas. The fact that you're being considerate about it is a good sign - I'm sure you'll establish a method that works for both of you.

[ninjashira]

My my scripts look wildly different depending on whether I'm the one drawing it, or I'm writing it for someone else. If I'm writing a script for me to draw, it's literally just one big uninterrupted document of dialogue and basic actions.

I don't break it up by page or panel at this point, because I do it on my own when I get to the thumbnails.

If I'm writing a script for someone else to draw, it's definitely much more formal.

I dictate page breaks and panel breaks, include panel descriptions and occasionally camera shots if I have very strong opinions on that, along with scene and character descriptions for new characters.

I personally don't like to do panel sketches as a writer, because I like to leave that up to the artist. If the artist has a good idea for a panel layout, or thinks another panel needs to be added, or two panels need to be combined into one, I trust them to manage that as part of their job as the artist. I feel like, from the artist side of things, that I don't like it when script writers get too particular about their panel layouts and camera shots, because it leaves me less freedom to do what I do well.

On the flip side, some artists prefer to have a lot more structure and have the page laid out for them already and the camera shots called for them so they don't have to spend the extra mental energy figuring it out on their own. It's all up to how y'all work. Just keep an open communication with each other, talk about what you like to do, what your artist likes to do, how much page layout control you're willing to give up to your artist versus how much page layout control your artist likes to have. Things like that.

[rajillustration]

My scripts are real loose because I'm also the artist. But, I do denote where I plan for where Episode breaks will be. However, unlike when I do page format where panels are a limited recourse and so I will put where each panel lies, I don't actually divvy up my panels into my Webtoon scripts at all, and I'll get into why in a second.

So here's the script I use

Djali stands in front of the gate. It’s looming. The words over it read “L’amor che muove il sole e l’altre stelle.” (Love which moves the sun and the other stars)

We see both sides of the gate—one way is a black void, the other you can see through. The gate sort of looks like a stonehenge.

He sighs, and the wind picks up his hair, we can see he has...fangs. Maybe if you pay well enough attention, you pick up that his ears are long donkey ears.

Takoda: Excuse me, sir, this area is off-limits.

Djali turns, and sees Takoda, a deer-like monster who has a rake and looks very much like a gardener.

The gardener tilts his head

Takoda: Oh, you’re a hybrid?

Djali: Is that a problem?

Takoda: Of course not, but it does change things. Well? Are you going to give a shot? Walk right on through?

Djali: Waltz right on over there like a total asshole? Just march right on in to the nearest diner and eat a hamburger with humankind?

Takoda: I would like to see that.

Djali, looking back at the gate, crying: ...Why would I ever want to leave Chiaroscuro?

Djali sniffs and Takoda walks to his side.

Takoda: Then why are you here, son?

Djali sighs

Djali: ...just paying my respects...

Takoda: hm? It’s not a grave, my boy. The people in there are very much alive.
(page break for tapas)

Takoda: I’ve worked here a long time. Everyone does it eventually. Finds themselves here, at the gate...and I’ll find them standing here just like you…frustrated...tired...lonely...their bleakest moments...

Djali nods. He’s crying, but the Takoda doesn’t say anything.

Djali: Aren’t you afraid of it?

Takoda looks up quizzically. We look back at the gate.

Djali: those words, there on the gate?

Takoda, smiling: Always.

Takoda: Humans have a saying: If a tree falls in a forest, and no one is around to hear it, does it make a sound?

Djali: I have read a book, old man, I know that saying.

Takoda: ...If you listen very closely, you can hear the other side…Sometimes you can hear lost conversations, secret whispers, affirmations of love...what do you hear?

Djali and he lean their heads towards the gate, listening. zoom in on the darkness. A sound cccfrrrrkrkrrcckccrk!!!!!!!!!!(this is the same sound effect as the car). Djali falls over in shock.

Takoda: ah! Another tree falls!

Djali: So what does that make me? What does that make you? Does that make us no one?

Takoda smiles: ...depends on the tree...

If you look at the link https://tapas.io/episode/2120759 (it's two episodes), you can see what it looks like finished. One of the biggest differences I faced writing a comic with scroll format is wrestling with the pacing of the font and the bubbles. It really changes the flow. You have to break up word bubbles--like a lot. Since it's phone viewable, you have a much bigger font, and that bigger font means you can't fit as much dialogue, and so you just...chop em bubbles to give the impression that you are using less font (when in fact, you are using way more font than what I used to fit in page format.)

When I initially did was pace out all the dialogue like this:

Takoda: I’ve worked here a long time.

Everyone does it eventually. Finds themselves here, at the gate

...and I’ll find them standing here just like you…

...frustrated...tired...lonely...

...their bleakest moments...

But I was having some issues with repeating myself and making some conversations too long, which is why I condensed it to be just one line in my script, and then when I layed out the page I broke the bubbles by how it felt on the page. So, I think your approach of having it scripted but also with a draft is really, really helpful. Especially since the feeling of time passing happens with...length...and your artist needs to know how long that length should be.

You may want to ask your artist what they would prefer. But you can't really know if you have just an expanse of dialogue bubbles where you need art to go until you've drafted that out on a rough draft (which is why I have a huge ass landscape on the second episode of that script I wrote--but didn't write that huge ass landscape into my script).

When it comes to the panels themselves, that's a lot of cinematography, and if you are mostly a writer, you may want to leave those camera angles up to your artist. That and since it's scroll format, you no longer have to really worry as much about...making a panel for every spoken sentence. You can have some dialogue just float (and that's why I personally don't panel out my webtoon in the script phase. But, I will write down what are the most important actions in that scene that need to be drawn.)

TL;DR It kind of depends on the artist, of course, but for me personally, the biggest thing I'd want out of my writer is the pacing of the episode--and in particular the bubble placing around potential panels (and you and your artist can decide in a later draft if all the panels are necessary or if there's a better way to lay out.) But if your artist is real green, they may want more of a hand--and then I'd put in more in the panels than vague descriptions--I'd probably lay out some stick figures within the panels to get ideas across. And, if that is what you are already doing--then you don't need to have very detailed descriptions in your script. It's on the page.

[Jenny-Toons]

For reference, I plot out the panels, and then I sketch out the panels on paper for her to follow along with.

I say you're already doing a pretty good job. If you're in a team, it definitely helps to have sketches or at least some type of storyboard to go along with the script. That way, if you both are going for a certain look, the artist knows exactly how that looks. There becomes of a less need for interpretation, which makes things easier for both of you.

---

Overall, my scripts are heavily detailed: narrative form with color-coded labels. Since I'm doing this alone, I mostly do this to help with panel arrangement, chronological sequence, and character development. I do a lot of see-saw with voice-overs, flashbacks, unreliable narrators, and present scenes, so it's nice to have that all organized. This is how I usually label my comics:

And this is an example:

[eochoa92]

I used to do the same thing.
I asked an artist once what they thought of the writer mapping out the page for the artist. He said it depends on the artist. Some are OK with it. Some aren't.
Eventually, I gave up on doing that, seeing as how they have more artistic talent than I do, they'll know how to better organize the page.
As far as scripting goes, it totally is up to you and should be clear enough for the artist to interpret.
When I started (I kid you not) I was writing full-on prose novels as my scripts.
Then, I thought script writing had to be this elaborate process - based on what I heard other writers talk about, what I saw people on YouTube talk of and hearing about various script formats.
I think eventually, seeing how Tom King (DC) writes his stuff - told me everything I need to know.
You should see how simple he does his.