Matthew O. Goodwin

Matthew O. Goodwin's contribution, as detailed in the provided Wikipedia extract, centers on the mechanics and methodologies behind crafting comic book scripts. These scripts serve as the foundational documents for comic narratives, akin to screenplays for film or television. The process typically involves a script, which may follow a plot outline and precedes the visual stages of art creation, inking, coloring, and lettering.

Two primary scripting styles are identified: the full script, often referred to as the "DC style," where the writer meticulously details each panel's action, dialogue, and visual cues. The other is the plot script, or "Marvel house style," which originated at Marvel Comics. In this method, the writer provides a story synopsis, allowing the artist significant latitude in panel composition and visual storytelling before the writer adds dialogue.

The full script method, historically favored by DC Comics, involves the writer breaking down the story page by page and panel by panel. This detailed approach dictates the action, character expressions, background elements, and camera angles for each panel, alongside all dialogue and captions. For instance, writer Peter David described a system of labeling panels and dialogue balloons to ensure clarity for the letterer. In some cases, early work by writers like Jim Shooter also included drawing layouts for the artist. Contemporary examples, such as the process used for Action Comics #1004, show scripts broken down panel by panel, though dialogue might be omitted in early stages.

The plot script, commonly known as the "Marvel method," allows artists more creative freedom by having them work from a story synopsis provided by the writer. The artist develops the visual storytelling and panel layouts independently, after which the writer adds dialogue. This collaborative approach, prominent at Marvel Comics since the 1960s, was driven by factors like editor Stan Lee's workload and artist Jack Kirby's storytelling skills. The complexity of plot outlines can vary significantly, from brief descriptions to elaborate multi-page documents, sometimes including early dialogue suggestions. This method has been lauded for leveraging artists' visual expertise and offering them greater autonomy, though it can place a burden on artists if they lack strong writing or pacing skills and may lead to them being under-compensated for their co-writing contributions.

Beyond the two dominant styles, variations exist. The "Kurtzman style," attributed to Harvey Kurtzman, involves the writer creating rough page sketches with captions and dialogue noted within. The artist then completes the full artwork. This approach is favored by artists who also write, like Frank Miller and Jeff Smith, and was used by Archie Goodwin. Another variation is the "EC style," associated with William Gaines. Here, the writer provides a tight plot, and the artist lays out panels. Dialogue and captions are then pasted in, with the artist drawing the story to fit these elements. This more restrictive method is rarely used today, with Jim Aparo being one of the last to employ a version of it.

“I break down each page on a panel by panel basis and label them as PANEL A, PANEL B, and so on. Then I describe what's in each panel, and then do the dialogue, numbering the balloons. I designate the panels with letters and the word balloons with numbers so as to minimize confusion for the letterer”

“new means of collaboration . . . was born of necessity—Stan was overburdened with work—and to make use of Jack's great skill with storylines. . . . Sometimes Stan would type up a written plot outline for the artist. Sometimes, not”

“requires the writer to begin by writing out a plot and add[ing] words when the penciled artwork is finished. . . .[I]n the mid-sixties, plots were seldom more than a typewritten page, and sometimes less”

“might produce as many as twenty-five pages of plot for a twenty-two page story, and even include in them snatches of dialog. So a Marvel Method plot can run from a couple of paragraphs to something much longer and more elaborate”

“short, five-page filler strips ... placed in any of our comics that had a few extra pages to fill”