Many people would consider these scripts as “fan fiction” but they are samples of working within an existing, established product. In other words, this is a great way to get use to the constraints that go with working within a pre-existing frame-set and style leaving you free to simply tell a story without having to figure out how to sell it.
As long as the story is strong and in keeping with the traditions mapped out by their creators, nothing should go wrong, right?
We'll see how that goes when I move into the analysis. That's where I take the time to re-read these masterpieces and see if they have withstood the test of time. The revisit will be both constructive and candid.
Likewise with all forms of writing, graphic novel script writing is a form that requires careful consideration. That's the difficult part. It has its own rules and in both form and function. Writing a comic book story for children is a fantastic area to write stories within. It is a discipline that takes time and effort. You can also have a lot of fun writing the material once the rules are fully understood and the foundations are in place.
Writing science fiction graphic novel stories is also a challenge, especially when you are writing for a very well loved property such as Star Trek. With all “existing products” you have to know the world that you want to create. Research is imperative, and the creators will not tolerate spelling character names incorrectly.
“The characters have to be the same characters that viewers and readers have come to know and love; so you have to make sure the babies in Rug Rats talk and behave like babies. You have to make sure that, for example, Major Kira (or Colonel depending on the chronology) is always suspicious of the alien Ferengi bartender, Quark and that Quark reveres her as an incredible specimen, for a female with clothes on.”
The other story I have listed here is Stephen King’s, The Jaunt which is a graphic novel script adaptation of the original short story. These are my first attempts at graphic novel script writing. They might not be completely accurate in the language of layout, but they are still, in my opinion, a lot of fun and worth a read.
- Stephen Radford 12/08/2016 (original draft 05/04/2003
So what do you expect to see in a graphic novel script? The Graphic novel script comprises (generally) of three areas: Page and panel number, panel description, dialogue balloons, thought bubbles, sound effects and caption text. The size and composition of the panel is explained in the panel description. Each panel is separated with a single white space (transition from Panel 6 to Panel 7)
Why am you not looking at a finished illustrated version? To be honest, I am not an illustrator. I know many but I don't have the dollars to throw at them to realise these scripts as final products. During the writing of these stories, i did however create panel layouts which give an impressing as to the shapes of the panels as they would be laid out, so use your imagination, and if you are an illustrator who is excited about the word "pro bono" (and believe me, who isn't pro bono) then lets go!