Grip & Go is an action packed indoor climbing and activity centre for all the family. Based in Rossendale, in the heart of Lancashire we offer an experience like no other. Adults and children from age 4 and above can scale our 22 walls of fun, adventure and skill…. and if you're feeling really courageous complete the ultimate challenge and attempt the Leap of Faith.
Whether you're a beginner or a climbing expert, Grip & Go has something for everyone. Most importantly parents, grandparents, guardians and carers can join in the fun too! Or just sit back, relax and enjoy a cup of tea and a cake in our Grip & Go Café.
Grip & Go is based in our colourful, modern Adrenaline centre where there really is something for everyone, from an indoor state of the art climbing wall to laser tag fun. We can guarantee satisfaction for all. We employ a range of fully qualified staff that helps to shape and create the friendly, welcoming atmosphere which is loved by our customers.
Whilst trying out Grip & Go why not also experience District A Laser Tag?
Wander through the eerie, abandoned District A unearthing obstacles as you go. Shield your target and eliminate your opponents. Work as a team to battle it out against your competition, fighting challenges along the way.
Whether you're a first time player or an experienced laser tag expert, our equipment gives you the functionality you need to battle it out.
The aim of laser tag is to defeat your opponent. Use the obstacles and derelict rooms to shield your target, whilst hunting out your opponent's next move. The targets will be situated on your helmet, which is given to you along with a wireless gun at the start of the session.
The equipment has real time hit player to player notification feedback as the gun says "Target down" confirming your laser reached its target.
The near miss system allows the player to hear near miss notifications via their helmet offering realistic gameplay.
Adrenaline also offers fantastic birthday parties for all ages so book a unique party experience with Adrenaline.
* Not open Christmas Day, Boxing Day or Easter Sunday.
Getting to the Adrenaline Centre couldn't be easier. Based in Rossendale in the heart of Lancashire there are many excellent road networks available to get here. Rossendale is easy to access from Lancashire, Greater Manchester, Yorkshire and the West coast.
Situated on Helmshore Road, Haslingden, the Adrenaline Centre is situated just of the M66 at the A56 bypass, onto Helmshore Road, following signs for Haslingden Sports Centre.
Upon arrival in Rossendale, the Adrenaline Centre is well serviced by bus, the Rosso 244 and the 484 service routes, as they go to Helmshore Road, Haslingden.
Also, the East Lancashire Railway runs from Bury and Ramsbottom to Rawtenstall and from there the Adrenaline Centre is easily accessed by the 244 Rosso bus service.
You can also get the train to Accrington, Burnley or Todmorden and then get the 465 Rosso bus into Rossendale.
You can also get the metrolink from Greater Manchester into Bury and then the 484 Rosso bus service.


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Things to do in Traralgon
Traralgon offers many things to do however you holiday
(On this page, history, walking trails, nightlife, markets, parks, model railway, places for kids)
Connect with Traralgon's history
Traralgon is a historical town boasting an 1875 hotel, it was built as the Star Hotel. It still operates today as Cafe Stellina. The post office and courthouse on the corner of Franklin and Kay Street built in 1886, is an icon of the streetscape. On the south side of town is Shakespeare Street, that has many old houses built by the railway, many are heritage listed.
Traralgon has an active community the Lions Club runs a monthly farmers market. With lots of goods and friendly
stall holders, on the last Saturday of the month. Toward the end of the year, there is an annual Christmas Street parade.
Walk the town
For those who don't want to stray too far from civilisation, Traralgon has many streets with lovely tree coverings for walking and many beautiful views to see while walking.
Rod Dunbar Park – Grey Street, is a roadside walking reserve, connecting the courts around the area.
Kay Street, has a centre strip with paved walking path starting at Franklin Street, all the way to Grubb Street. There is an
all ages fitness centre opposite the Traralgon RSL on this walking path. A gentle slope up and beautiful views of the historical houses and new houses mixed in.
Shakespeare St, East has a lovely tree line with stunning views of mountain range. This walk intersects with the Traralgon Creek Reserve, that follows the stunning creek that twists and turns all the way through town.
Traralgon Reservoir Reserve, at end of Hyde Park Road. This is a place for walking, it's far from major traffic sources, there is a lot of wildlife, they greeted me at the gate.
Just a short drive away, down the picturesque road pictured above, is the Tarra Bulga National Park. It has this waterfall nearby.
The Traralgon Ghost Tour is a peaceful walk around the streets of Traralgon, hearing about the local paranormal experiences and seeing some of the locations first hand.
There are many parks, for sports and play.
Popular Newman Park, on Peterkin Street, has a great park that caters to all abilities. Kids can watch the train go past. Every last Sunday of the Month the Gippsland Model Engineering Society runs trains. There are BBQ facilities, toilets and lots of parking.
Victory Park is a short walk from Newman park, there is a sound shelter, band rotunda, and sta
tues – great for a quiet reflections or picnic. You can watch the world go by on the busy Argyle St, or the trees.
Kay St, is the home of Nightlife, however, there are many pubs around town, scout around to find your scene.
There are wineries within a short distance of
Traralgon, including the Traralgon Vineyard.
Places for kids
Traralgon Skate Park, Harold Preston Park, Davidson Street.
Good for beginners, learning tricks.
BMX track on Shakespeare St.
Good for beginners, also great for Radio Control cars.
Traralgon Outdoor Pool on Kay St.
Parky's play centre – a multi-level play centre to wow the kids.
Inflatable world Traralgon
The Big4 caravan park on the western side of Traralgon has loads of kids activities, including laser challenge.
(If you have something to add or amend to this list please don't hesitate to email hauntedhillstours@gmail.com)
Our tours running from Newman Park
Traralgon Ghost Tour
Other things to do nearby
Things to do in Yallourn North
Things to do in Morwell
Another beautiful drive with heaps of history
People of Yallourn North tour
Rosedale History Tour
Crime in the Brown Coal Mine
Rosedale Crime Tour
Yallourn North Ghost Tour
Rosedale Ghost Tour
Yallourn North Park Hop
Moondarra Reserve

redpajama_set_name: RedPajamaCommonCrawl


I hope you all had a fantastic week on and off the golf course and welcome to a new edition of our weekly newsletter, keeping you up to date with the latest news within the walls of Epsom Golf Club.
I'd like to start this week asking for a little help raising money for a wonderful cause, some of you may or may not be aware that unfortunately I lost my mother to Cancer in September. However, the last few weeks she was in the Princess Alice Hospice which made an awful time as bearable as possible.
I'd like to take this opportunity to thank your generous lot in advance, its very much appreciated.
We'll kick off this week with Sundays Men's Winter League Rnd 7 and despite the chilly conditions still 80 gents headed out with this week's format being Texas Scramble. It was tight at the top but the pairing of Tony Ferdinando and Paul Balch turned out winners narrowly beating Adam Crockford and 'international globetrotter' Declan O'Brien into runners up spot.
The overall standings are also very tight with John O'Brien and Carl Parker in first, Richard Foot and Lee Alderman on second and The Williams' in third. However, with only three rounds to and poor scores to be replaced, anyone in the top ten could come through and take the coveted title. Will keep you posted.
The ladies this week competed in a three-player team aggregate stableford event with every point to count. The result couldn't have been any tighter as the team of Dena Shah, Sue Becksmith and Helen Davies totalled 100 points, pipping the team of Christine Newby, Clair Partridge and Angie Stevenson by just one point. Some great team golf from all.
The feedback that we have received from both you the members and the guests who have played over the Christmas and New Year period has been so positive but we have had a record level of traffic through as a result. Good for the club but the course has taken a bit of a battering, especially our tee boxes.
As a result, our Head Greenkeeper has asked if we can give some a rest so from Sunday, we are going to close the 1st tee for a week. We will move the yellow tees forward to the ladies tee for the week as there are no competitions due so please remain to play the 1st as a Par 4, it'll just be a nice easy one for a week.
Could I also ask, and you can see in the picture, that you keep your trollies to the path provided. If we want good teeing surfaces in the spring, we have to give them a chance to recover still from the damage caused by last Summer's extreme temperatures. Thank you for your co-operation.
We have literally just taken delivery of our BRAND NEW TaylorMade M5 and M6 fitting and demo kit, so if you would like to try the latest range please contact the Pro Shop for a fitting or drop in and take one to the golf course. Have to say hitting them in the Swing Studio, the numbers look great!
We are slowly turning the Callaway Performance Centre into our own personal facility having taken nine members down there since the start of the year and with another few booked in over the next week or so.
Callaway aren't launching their NEW Epic Flash and Apex Iron and Hybrid range until Friday, 1 February, however they are now fitting for them. So, if you fancy a bit of the latest kit please let me know and we will book you in and either myself or Adam will come down there with you to enhance your 'Callaway Experience'.
Now is the time to be thinking about making and establishing those improvements to the golf swing before the start of the new season. With this in mind please see below a New Years Coaching Programme to help you achieve those golfing goals in 2019.
The next Quiz Night is on Monday, 21 January, first question at around 8:00pm. With food available from 6:30pm and a £2 entry fee per person, just sign up on the notice on the Entertainment's Notice Board.
Come and celebrate the Club's 130th Birthday with a great evening of questions, silly games and a cracking traditional meal cooked up by 'Chef Bev'. Last year was a real hoot as I was quiz master but thankfully Epsom's resident 'Quiz Master' David Hylton has stepped back in. Always a great night so if you would like a table and view the menu please head to the Entrance Hall and get your names down fast.
Come and play against me in my Plus fours and my bag of Hickory Club. This event is a shotgun start and is open to all members and the idea is that your ¾ handicap nett score must beat my gross score and if you do, which a few do, you win a little momento of the day.
This year we are also running individual prizes but be warned you will have to play a couple of shots with hickory clubs within your round. Just to give me a chance that is.
If you would like to play you can add your names or fourballs to the startsheet on the Men's Competition board. £5 entry (small green fee supplement to 5 and 6 day members).
January we often try and cut back after the indulgencies of the Festive period so what better way to treat yourself at the end of the month than heading up to the Club for one of 'Chef Bevs' lovely meals.
Guests are of course more than welcome but please get your names down quickly as the last Supper Club was fully booked. Menu choices and sign-up poster is on The Entertainments Board. Please follow the link here for the menu.
There's no such thing as bad weather for golf – just a poor choice of clothing. You might have got away with the old 'raincheck' excuse a few years ago, but golf clothing has come a long way since then. All you need to do is make sure you're properly layered up with golf-specific garments and you're good to go.
One such garment is the Milla jacket from Daily Sports; its stretch side panels give you a perfect fit whether out on the course or down the shops, whilst the breathable, wind-and-water resistant fabric means it's functional as well as stylish. We know it is all about the outfit for you, so why not complete the look by layering the stylish Anna underneath?
One such garment is the Storm Daytona vest from Under Armour; with internal air pockets and double-knit insulation panels for added warmth, this bodywarmer is a serious force to be reckoned with. We know it's all about the full outfit for you, so why not match it with the Storm Daytona 1/2 zip pullover and the Zinger SS Novelty polo layered underneath?
One such garment is the Storm Daytona vest from Under Armour; with internal air pockets and double-knit insulation panels for added warmth, this bodywarmer is a serious force to be reckoned with. To complete the look, try UA's Playoff Stripe polo and Storm SF Snap Mock layers underneath.
Doing the same thing over and over again but expecting different results is foolish. If you're frustrated at your lack of distance and accuracy in your golf swing, come and have a lesson with a member of the team – we'll be able to improve your game in no time, allowing you to take huge steps forward quicker than you ever thought possible.
Custom Fitting - not just for men!
If you've never been for a custom fitting before then make it one of your 2019 resolutions. We start off with you hitting a few shots with your current clubs whilst talking through what you're looking for. Then, we'll use our expertise to find you the perfect club to help improve your game.
When you're working out how you want to take the next step to improving your golf game, you can often hit a roadblock straight away. After all, you might have tried to fine-tune your game to be the best pin-seeker at the club, but you're still landing shots 30 feet from the hole. Well, we've got two foolproof ways of getting your handicap down to its best possible level.
Doing the same thing over and over again but expecting different results is foolish. So, if there's a part of your game that always lets you down, come and have a lesson with a member of the team – we'll be able to tailor the session to your exact needs and make sure you leave happy.
Lots of new products will be getting released over the coming weeks, so if you're after something new, make sure you come for a custom fitting to get the most out of any new purchase. You'll really get the VIP treatment and will leave with a much better understanding about your game.


Search Results - Found 11 results for roger.
All books of Agatha Christie are so highly recommended that it is really difficult to select some of the best ones among them. Her novels are genuine page-turners and her plot settings are absolutely matchless. But there are five novels among all of them in which the 'wow' factor and the 'chilly' appeal will simply keep you hooked to read more and more from her.
Here are those five novels for you.
List of all James Bond Movies, with details of when they were filmed, who directed, which actor played the lead James Bond Role, who provided companionship as the Bond Girls, the Villains, the Gadgets, the cars, the exotic locations and more.
Jolly roger shop is a premier resource site for everything pirate. Learn about the jolly roger flag and the most famous pirates in history.
The writer of this blog is a cricket fan but he is not an 'only' cricket fan. There are so many sports that are close to one's heart that this blog will not feature cricket views alone but also other global sports action. Thus the name 'not cricket'.
With two decades of training in four Buddhist temples in both Thailand and Sri Lanka, my fascination with Vipassana meditation methods is undiminished. So in the course I teach, my goal is to imbue the same fascination in my students, and the same enthusiasm for the unique self knowledge that Vipassana brings. To that same end, I have recently recorded and released an audio course that mirrors the course I teach, and this blog is a forum for all the questions and discussion that arises from that course.
The number one site on cat and dog nutrition and what pet food companies and vets won't tell you. The web site has reached an astonishing 502,421 hits in the month of July alone.
News and items from Shanes Queen Site, all the news relates to the Rock Legends Queen.
An ongoing collection of stories of my adventures and misadventures while travelling.


Two young children have come dangerously close to drowning in southeast Queensland this afternoon.
The child was playing in rapids-like conditions near the Wivenhoe Pocket Rd bridge crossing the Brisbane River at Fernvale when he went under the water.
Queensland Ambulance Service were called at 1:09pm to attend the child, who was suffering from serious but stable "post immersion" symptoms.
A critical care paramedic accompanied the child on the 50-minute journey to the Queensland Children's Hospital.
Later this afternoon, a second child was transported to the Queensland Children's Hospital after a separate near-drowning incident in Brisbane's inner-north.
Queensland Ambulance Service received the call to a private residence in Tenerife to attend to the young girl at 3:30pm.
The child remains in a stable condition in Queensland Children's Hospital.


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CJ Hauser: Against Lotus-Eaters (0 comment)
There is, so often, a phantom book lurking behind a published novel. I know mine are haunted in this way...
Powell's Books: Powell's Picks Spotlight: Colson Whitehead's 'The Nickel Boys' (0 comment)
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Marrow Island
by Alexis M. Smith
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From Powells.com
Alexis Smith's second book is a suspenseful page-turner. We meet Lucie Bowen after she has survived an attempt on her life. Set on the San Juan Islands in the Pacific Northwest, Marrow Island isn't your usual suspense fare. Aside from being the place where Lucie loses her father, now her best friend is entangled in some sort of (eco-terrorist?) group that has set up a commune on the island. Addressing environmental issues, family loss, broken friendships, and cult behavior, Marrow Island is a quick-paced, riveting read. Recommended By Dianah H., Powells.com
Twenty years after a great earthquake has changed life dramatically in the Pacific Northwest, two Puget Sound childhood friends reconvene on Marrow Island, where colonists may have found a secret to rebuilding ecosystems. Marrow Island is a graceful, beautifully written, surprising, and suspenseful novel from Alexis Smith, author of Glaciers (and former Powell's employee!). Recommended By Jill O., Powells.com
A wonderfully bewitching story, Alexis M. Smith's second book is as amazing as her first. This novel weaves together her skill with character and a delicious thread of intrigue and mystery. The voice is simply beautiful, and I can't wait to reread this one. Recommended By Dano H., Powells.com
Publisher Comments
What would you give to save the thing you love the most?
It has been twenty years since Lucie Bowen left the islands. Twenty years ago, the May Day Quake set loose catastrophic waves along the west coast, from Alaska to California, shattering thousands of lives. Twenty years ago, Lucie's father disappeared in an explosion at the Marrow Island oil refinery, a tragedy that destroyed the island's ecosystem and sent Lucie and her mother to the mainland to start anew. Twenty years ago, Lucie and her best friend, Katie, were just Puget Sound children, tucked up under their desks, hovering under mylar sheets, hoping to survive.
Now, Katie writes with strange and miraculous news. Marrow Island is no longer uninhabitable, no longer abandoned. She is part of a community, a mysterious Colony, that has, somehow, conjured life again from Marrow's soil. Lucie returns. Her journalist instincts tell her there's more to the Colony and their charismatic leader—a former nun with an all-consuming plan—than its members want her to know. The island's astonishing rebirth seems to have come at great cost—perhaps to the colonists themselves. As she uncovers their secrets, will Lucie endanger more than their mission? What price will she pay for the truth?
I was always a part of you, and you were always a part of me, Katie writes. And in this marvelously spun story Alexis Smith reaches into the depths of our connections to our pasts, our loved ones, our devotions. Our choices may bring us to the brink, but within our promises to each other and our hopes for the future, at the intersection of science and faith and grace, there may well be miracles in the making.
"Atmospheric, intense, and mysterious - Alexis Smith's Marrow Island is a smart novel, richly peopled and lyrically written. Smith is a writer genuinely at home in the natural world, and willing to write truth, darkness, and beauty into the island landscape. She understands well how environmental pressure translates into human pressure and loss. An important, gripping book." Megan Mayhew Bergman, author of Almost Famous Women
"Wrenching and limpidly written...Smith is excellent at showing the terrible things people can do for the sake of their ideals...A near-perfect read." Library Journal
"[Marrow Island] is weird and glorious and I loved it. Different from Glaciers, but still wonderful. Marrow Island is about a journalist who returns to her home island to possibly report on a sketchy environmental colony that has set up residence on the island, and to visit her childhood best friend, who is one of the colony's residents." BookRiot, "Our Most Anticipated Reads of 2016"
"A compelling, complex meditation on both the power and the vulnerability of the natural world." Booklist
"A stunning novel about sacrifice for the sake of survival in the aftermath of natural and man-made disasters...In graceful and dolorous prose, she captures a dense and dramatic landscape, evoking questions of what it means to harm -- ourselves, our surroundings -- and to heal. Engrossing eco-fiction, eerie and earnest." Kirkust
"Smith's excellent command of language gives life to arresting characters and their creepy surroundings, keeping the suspense in this dark environmental thriller running high." Elle, "19 Summer Books That Everyone Will Be Talking About"
It has been twenty years since Lucie Bowen left the islands. Twenty years ago, the May Day Quake set loose catastrophic waves along the west coast, from Alaska to California, shattering thousands of lives. Twenty years ago, Lucie's father disappeared in an explosion at the Marrow Island oil refinery, a tragedy that destroyed the island's ecosystem and sent Lucie and her mother to the mainland to start anew. Twenty years ago, Lucie and her best friend, Katie, were just Puget Sound children, tucked up under their desks, hovering under mylar sheets, hoping to survive.
Now, Katie writes with strange and miraculous news. Marrow Island is no longer uninhabitable, no longer abandoned. She is part of a community, a mysterious Colony, that has, somehow, conjured life again from Marrow's soil. Lucie returns. Her journalist instincts tell her there's more to the Colony and their charismatic leader--a former nun with an all-consuming plan--than its members want her to know. The island's astonishing rebirth seems to have come at great cost--perhaps to the colonists themselves. As she uncovers their secrets, will Lucie endanger more than their mission? What price will she pay for the truth?
"Excellent...Smith's story carries the same heft, descriptive nuance, and narrative spark that distinguished her debut [Glaciers], but this time, she more finely hones her characters' emotional rhythm and atmospheric location to create a thoroughly eerie reading experience capped off with a startling conclusion." Publishers Weekly (Starred and Boxed Review)
Alexis M. Smith was born and raised in the Pacific Northwest. She attended Mount Holyoke College, Portland State University, and Goddard College. Her debut novel, Glaciers, was a finalist for the Ken Kesey Award and a selection for World Book Night 2013. She lives in Portland, Oregon, with her son.
Share your thoughts on this title!
Average customer rating 4 (1 comments)
clloop , September 27, 2016 (view all comments by clloop)
I really enjoyed this book, but feel the jacket description is not a great synopsis of the book. The Earthquake is a secondary character and the book could nearly exist with out it. It is a great story of some one who has returned to their childhood home to find it unfamiliar. The commune on a nearby island is a result of the earthquake, but doesn't need to have been. I suggest this book, but it is not the dystopian tale I presumed from the description.
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Tim Stout
Writer & Editor
Graphic Novel Writing
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Home > Blog, Graphic Novel Writing > Graphic Novel Script Format
Graphic Novel Script Format
06/21/2010 timstout Leave a comment Go to comments
Last summer, I worked as an Editorial Intern at First Second Books. One of my responsibilities was to read spec script submissions and I was floored by how many different formats were used for graphic novel scripts: screenplay format from a screenwriting software, stage play format written in Microsoft Word, prose outlines with sample pages of finished work…
I love reading scripts but sometimes the writer seemed to be making up the format as they went. I often found it difficult to make out what information was describing the action, what was a line of dialogue, who was saying which lines, what was background information unnecessary for the reader but potentially interesting for the artist, what was direction for the artist, etcetera.
Needless to say, reading those scripts was not fun.
A script is not just words on paper. A script is a visual experience for the reader.
A script is like a map for your story. The pictures and symbols on a map do not hold a candle to the actual experience of the trip, but reading a map can either be a simple, pain-free, enjoyable process for the reader that leads them from spot to spot along the journey or it can be just plain awful. The last thing that we want as writers is for our reader to get lost using our map.
This is why formatting your script in a clear, easy-to-follow way is so important.
Fortunately or unfortunately, a standard format for graphic novel scripts does not exist; at least, I haven't found it. Depending on your intended approach to producing the comic, there are many accepted ways to approach formatting.
In the 1960's, Stan Lee was responsible for writing more than 50 stories a month. To take the pressure off his shoulders, he would write a short paragraph of plot for each page of the comic and leave the comic artist to design the page. Only after everything was drawn did Stan write the dialogue for the story (which is why so much of the dialogue is expository – used to convey information when there was no room to do so visually).
If your intention is to just get work out the door, and/or give each role of production a good deal of autonomy, this hands-off approach, later coined as the "Marvel Method," is a fantastic way to do that. (To the right and left are samples of Marvel Method-type scripts. Click the image to get an expanded view.)
If you prefer the opposite, hands-on, side of the spectrum, consider Alan Moore's scripts, which rival the length of most novels. Moore wrote pages of prose for each panel, describing every element of every image in perfect detail. Needless to say, this approach offers the writer more control of the story and more responsibility. The best type of artist for this collaboration would be someone who just wants to draw and would appreciate all the homework you put in to make every last detail count (and doesn't mind reading a lot).
When developing my own approach to writing scripts for graphic novels, instead of making formatting decisions based upon whomever I would be collaborating with – since I rarely know who that person will be until I have finished writing the script – I utilized my time spent as a reader of poorly formatted script submissions as my primary influence.
First and foremost, instead of using two or three script pages to describe one page of comics or one paragraph to describe five pages of comics, I try to have all of the panel descriptions and dialogue for each page of comics to be on each coinciding page of script. Everything that happens on page one of the comic is written on page one of the script. The same with page two and so on.
On the same note, I also arrange the pages during printing so that the even numbered pages (which are always on the left-hand side) are printed on the left-hand side and the odd numbered pages are on the right. This allows the reader to get a more accurate feel for pacing. For example, instead of imagining when the page turns take place, the reader actually turns the page on the page turns.
Second, I don't separate thumbnails from the script. If thumbnail images are on a separate piece of paper, requiring the reader to turn their head back-and-forth to find the text that coincides with the image, they can easily get lost and frustrated. Having thumbnails on separate sheets of paper also requires more sheets of paper to be carried and kept organized. A 200-page script and two hundred pages of thumbnails is a lot of paper to lug around.
To address this, I adopted the format in the picture to the left and placed the thumbnail on the script page. Working in Microsoft Word (a software that the majority of people have access to and know how to use), I use the square tool bar to make small boxes and place them in the top right hand corner of the page. These are now my rough thumbnails. It's not perfect, sometimes those boxes can be difficult to maneuver but it's better than any alternative I've attempted, thus far. (To the right is an example from Archie Goodwin, who drew his panels in by hand — though, I would advise against putting them in the bottom right; readers generally tend to look top right before bottom right).
Lastly, I want the reader to be able to glance at my script and visually register the difference between a description of action, a line of dialogue, a character name, anything and everything they would need to know. Eventually, my hope is that they will forget about all the design work I've done and simply enjoy the story.
With all this said, I do not consider my suggestions to be the end-all, be-all. Much like the work samples above, my format works for me, and it's still evolving. If something else works for you, please share it, I'd be up for trying something new.
(Note: The samples above are — in order of appearance — by Mark Waid, Scott Peterson, Roger Stern, Alan Moore, Scott McCloud and Archie Goodwin. With the exception of Moore's script page, the samples were all taken from The DC Comics Guide to Writing Comics by Dennis O'Neil — an excellent introduction to writing comics.)
Categories: Blog, Graphic Novel Writing
Comments (42) Trackbacks (9) Leave a comment Trackback
timstout
Matthew Holm (illustrator of the Babymouse series) quoted this post on his blog and added a description of his own process. Thanks, Matt!
http://www.matthewholm.net/2010/06/graphic-novel-manuscript-formatting.html
This was a great little lesson! I'll definitely be using some suggestions you made. Thanks!
misfitz
Hey, thanks for this! I have had an idea for a novel that i think will translate much more effectively into graphic novel format but didn't know how to go about a script format. Thanks so much, especially for showing the different examples!
Helena Juhasz
THANK YOU! THANK YOU! THANK YOU!!! You answered all of my questions in a quick, neat tutorial. I've been needing this information for a long while!
You're so very welcome! If you know anyone else who could use this info, please spread the word.
Julian Moretti
Just download celtx. It gives you a comic book script format and you just write away.
Just for anyone that's interested, as said above, Celtx provides a good format for writing graphic novels, and so does Final Draft 8 – though I don't yet know if the format of a graphic novel would differ from that of a comic.
Ivanka Aleksandrova
Interesting article….I was wondering which method is the most preferred by publishers?
Good question, but unfortunately there is not a satisfying answer. At the present moment, publishers have not expressed a mass preference. An individual publisher may have guidelines on their website or an editor may express a preference once they are working with you, but for the most part publishers except any of the formats above or anything you create as long as the information is written clearly.
Ayden Quinn
when writing the graphic novel should we have a page discribing the apperance of the character? Since we arent writing a novel.
I've seen it done both ways. A page of character descriptions at the beginning of the script — like a stage play — is fine. But I don't recommend it.
When I read scripts, I skip character description pages. By the time a character is introduced in a story, I have often forgotten their description before page 1 and rely on their actions and dialogue to tell me who they are. (And if I can't gather who the character is by what they do, a character description page is moot, anyway).
For this reason, I prefer to get a description of the character as they are doing something. Pairing the description with a characteristic action can do much more than a summary at the beginning of the script. For example, the introduction of Ricky Fitts in American Beauty has him videoing his neighbors through a window as they have a fight:
CLOSE on the face of RICKY FITTS, illuminated by the screen of his DIGICAM as he videotapes. Ricky is eighteen, but his eyes are much older. Beneath his Zen-like tranquility lurks something wounded… and dangerous.
It's only three sentences, but pairing the action of voyeurism with his description adds a level of intrigue that the following just doesn't have:
RICKY FITTS (18): Has a Zen-like tranquility about him. His eyes are much older than his age and his gaze appears both wounded and potentially dangerous. Likes to use his video camera to record moments in life that strike him as beautiful.
After reading that I'd have to wait until Ricky appears – many pages into the story – to understand why any of that information was important. Better to just hit me with it in one moment than hope I remember the character description by the time the character is introduced in the story.
I love you're advice, it is always helpful. Can I ask you how do I discribe dream sequence in a graphic novel script? Is This correct? I'll use batman as an example.
PANEL 1 INT: BATMANS ROOM NIGHT
Side view of Batman shirtless sleeping in his bed.
Begins to dream….
Panel 2 INT DARK ROOM NIGHT
Fuzziness around edges- batman is hand cuffed and chained to a chair, face down, sweating and dazed a bright light hovers over him.
The joker laughs annoying.
(no dialogue)
the joker pulls back batmans hair pressing his cheeck agianst batmans.
whats wrong batsy, the little bright light hurting you're bat eyes?
portrit shot of the joker smiling wide
Im going to skip to the part where batman wakes up.
PANEL 1 (out of dream) batman sits up in his bed dripping with sweat, pressing his hand on his forehead
Damn that joker, It was olny a dream.
Thanks for reading, Ayden! I'm glad I could help.
The sample you've written here is technically fine. It's clear that Batman is having a dream and the description leaves a lot of room for the artist to play.
I'd have to see the rest of the script to make constructive comments about the content, but if you want to add more description to give a feel for the DARK ROOM, that would elevate my reading experience. What kind of room? There would have to be some source of light to see anything, so where is light coming from? Is it soft light? Dramatic light with lots of shadows? Is it dank? Are there rats? Can I see the sky? etc. Little details like that can add a lot. Of course, you don't have to add any of that; you can let the artist make those decisions.
"Fuzziness around the edges" is a little unclear. Are you saying that the panel borders are fuzzy? Or are the panel borders normal with blur lines within them?
That helps alot! Thank you so much! I've been telling my friends about you're site and they love it!
"Fuzziness around the edges" is for the borders, yes. But I've also made an artist note letting the artist know that its a dream..I've also suggested faded color. I appreciate you're time and feedback Tim, I will contiue to let people know about this site.
Annerliegh Pappos
Madeleine Swann
Hello! I know it will differ but roughly how many pages does the average graphic novel script have? And do places accept just a script? Thanks loads!
Hey Madeleine! Thanks for the comment. You're right. Page count does differ depending on the project. As you've probably noticed in book stores, mainstream comics tend to have 128-256 page graphic novels because they are collections of 4-8 issues of 24-32 pages each. And stand alone graphic novels are typically 150-300+ pages. So, unless you intend to do a 1,000+ page graphic novel, I wouldn't worry about page count. (If you are planning to do 1,000+, well… I'd recommend trying to split that up into issues or chapters or into a trilogy — easier bites for publishers to swallow.) As for accepting just the script: some do. Some publishers want a completely finished book before they publish while others are willing to take a script — best to ask them individually. And it'll definitely help to have well-drawn, well-suited visuals to accompany the script. Even if it's just the first ten pages, or finished character sketches. An image is worth 1,000 words, and when a GRAPHIC NOVEL publisher has to choose between a 200-page script of just text or a 200-page script that has comics accompanying it, of course they will want to read the latter. I hope that helps!
Thank you so much, you've been really helpful! I'm going to add your comment to my writing blog if thats OK? I'm not stealing your words!
That's absolutely okay. Thanks, Madeleine!
Jauntae
I'm working on a graphic novel now. I was concerned if their was a specific format, but now your post has helped clear that up. I plant to be the writer and the illustrator. I can see the images in my head, the only difficulty I foresee is dialogue. Thanks for your post.
You're very welcome! Thanks for the comment. Good luck with your project.
Anthony Fertino
Hello Tim. It's been a while since this article was written, but I was wondering–I wrote up a screenplay for Film that would make a terrific graphic novel. However, it's 130 pages. Do you see me having to convert every page into the guidelines Dark Horse for example advises? It'd be an arduous task, certainly ominous.
Hey Anthony. It depends on who you are trying to please. If you are submitting to a publisher then read the submission requirements for that publisher in detail. Dark Horse doesn't mention adapting a screenplay into graphic novel script format, specifically, but they do direct writers to their script format link more than a few times and they say "You can download our Script Format Guide on which to base your script format" in section 3 (http://www.darkhorse.com/Company/Submissions#writers). You can submit whatever you want but my guess is that they prefer to read their script format, and since they are the ones you are trying to please I'd just bite the bullet and do it. On the other hand, if you're trying to please an artist then they may not mind screenplay format.
Pauline Cera
Nice post. It really helps, I never considered that you could do so many different formats. I just found this site online today and it couldn't have been at a better time. I ran into a problem. I've been writting a story and attempting to make it into a graphic novel or comic book; maybe even a novel because its pretty unintentionally long haha. I was curious what your thoughts were regarding an ensemble cast of essential characters when writing the plot and/or story? How do you keep the story from getting too bloated, when there's a few plot points & story arcs going on, each person with a their own back story that eventually intertwine. Thank you and would love to hear your ideas at your earliest convenience.
Thanks for the comment! My answer to your question turned out to be rather long for a comment, and I figure other people might benefit, so I made it into a post: https://timstout.wordpress.com/2013/11/10/what-is-an-ensemble-cast/
I hope that helps!
Are you (or anyone on this thread) familiar with Final Draft Pro? I confirmed that one of the templates in the current version is "graphic novel" but can't find what that looks like without first buying the software. The software looks super useful, but with only one graphic novel template (out of 100 templates), I'm curious what format that is specifically. Personally, I really like the concept of one script page per graphic novel page.
I am familiar with Final Draft Pro. I've owned it in the past. It is the current industry standard for screenplays (however, that is gradually changing due to more inexpensive software options on the rise–you can hear a conversation about that between professional screenwriters and the makers of Final Draft Pro here: http://johnaugust.com/2014/the-one-with-the-guys-from-final-draft), so if you want to write screenplays as well as graphic novels, then go for it. If you want to write graphic novels, only, don't bother. It's expensive and publishers don't require it. You can buy Microsoft Word for less money and it's far more versatile. That's my two cents.
Thanks, Tim. I appreciate the quick response!
Hello Tim… thank you for your post. It's been extremely helpful. I have a 2-part question for you. 1st… I'm a writer with little to no contacts as far as graphic artist are concerned (and I can't draw/ sketch worth a lick).. so my question is, I've read different instructions pertaining to the writer of a graphic novel giving panel instructions to the artist (ex.: Med. close view of Dora's left hand/ WIDE shot of man looking down on the city, from the ledge of a tall building)… From your experience, do you suggest doing the same thing, or should the focus strictly be on the action/image the viewer is looking at, and leaving the panel size up to the artist?
Secondly, for an unpublished writer, do you find that it's absolutely necessary to have a finished product when writing something that will probably have 5 – 6 editions… or ultimately is the strength of ones material based off of the 1st book enough to gather interest?
1) Ideally, it's best to write to the artist's strengths and adjust your style to suit them. But since your artist is yet to be determined, then I'd advise writing the script how the story feels. If the story has a simple plot, is light on emotionally complexity, and you are flexible to what the artist eventually produces, then write the description in the same way: light on the details, like the Marvel Method. If the story is dense and complex, and you are married to a specific visual outcome, then write out each panel in detail.
Personally, I'm somewhere in the middle. I went to cartoon school and I know how to draw comics, so I usually have a specific visual outcome in mind. But I choose to work with artists who are better than me, so my descriptions become suggestions because I'm flexible enough to hear if they have a better idea. That's why I write out each panel in the kind of detail similar to your provided example, Craig, "(ex.: Med. close view of Dora's left hand/ WIDE shot of man looking down on the city, from the ledge of a tall building)." This is not Stan-Lee loose, nor is it Alan-Moore dense. It's somewhere in the middle.
2) If by "editions" you mean five or six issues of 24–32 pages each, then just write the whole thing.
But if by "editions" you mean five or six graphic novels of potentially hundreds of pages, then just write the first book. Publishers have been publishing book series based on the strength of book one for a long time, but don't expect the publisher to buy the entire series from an unpublished author. If they're interested, they'll buy the first book and see how it goes.
Chance Knight
Hey, Tim. First off, I want to thank you for your information. I've been working on a graphic novel project of my own and I've had little information in the way of what other people do for script formatting in comics. The method I eventually settled on was much closer to the Alan Moore method. I have a pretty dense concept of what I want it to look like visually (though I've been having to temper myself in terms to panels since I seem to enjoy breaking them more than using them) as well as where the story is going. What I've been doing is essentially drawing empty panels for every page and including in them notes on the individual scenes. I really have a very clear vision of the pacing and the way the story moves. Each panels is mostly empty with a few lines of dialogue or exposition and sometimes sketches, and it's accompanied by a sidebar that describes the scene in its entirety. My question is this: Should I accompany with a proper script? I'm working with a team, so I'm not the only person giving ideas and input into how the scenes hold develop and the pages should look, but we don't have an actual artist yet to know what their style would be.
Also, we were planning on releasing the first Volume of the six volume set for free on the internet when it is completed and then opening ourselves up to outside funding to help us continue making the rest of the series. We're currently just starting on building our social media presence (fracturedbloodlinesmanga.tumblr.com), which we're keeping active through notes and short stories set within the world of the graphic novel. Would it be smarter to try and sell to a publisher? And if I did, would we still be able to continue making it as our own team? I don't want to lose creative control or the team of writers I currently have collaborating with me. Thank you for your time and I apologize for the heavy level of questioning.
Hey, Tim. First off, I want to thank you for your information.
You're very welcome.
My question is this: Should I accompany with a proper script? I'm working with a team, so I'm not the only person giving ideas and input into how the scenes hold develop and the pages should look, but we don't have an actual artist yet to know what their style would be.
What does your team prefer? What would be more/less helpful for them? Go with that. And when you get an artist, ask them what they prefer, and go with that.
Would it be smarter to try and sell to a publisher? And if I did, would we still be able to continue making it as our own team?
It depends on your goals and the goals of the publisher. Their goals might match up with your goals or they might not. But you'll never know unless you ask them. (And if you intend to ask them, you'll need to write up a proper script, for sure.)
Tina Germain
Thanks! This was great 🙂 We are doing a graphic novel project in my English class and I was looking for a good example to give to my students who don't draw – this is it!
Demarie
I'm trying to come up with a GN format for scrivener. I plan on doing a GN for NaNoWriMo. 🙂 Ive got the picture to fit on the page but its not been easy to duplicate. Anyone familiar with scrivener enough to walk me through an easier way to get a thumbnail on the script page? TIA
Turtleburd
This is super helpful. Thanks!
June Benson
Hello Tim, My dream is to have a comic book series .Thanks Tim for the info. i'm in the process of writing my first comic book. I'm like a baby in this huge world of comic book life, so this info gives me some insight in kinda tweaking my writing style to conform close to what format closely mirrors mine. I've learned just recently that the minimum page requirement for comic books is about 22 pages and 48 for graphic novels. Also Artists can be very expensive per page, i would love for this dream to come true someday but i know there is going to be many challenges. last but not least a slogan i have adopted is NEVER GIVE UP ON A DREAM!
Kevin Noone
Very nice tutorial. Thanks!
Is there a format that is better to use if I want the artist to have as much freedom as possible? I only want to tell the basic story and dialogue, then have the artist make the decisions about character looks, clothing, surroundings ( apart from story line requirements ) and background details. What format would best provide me the option to just say what is happening in the scene, then the dialogue of each character in the scene, without the need for anything specific regarding artistic expression of the artist? Then move into the next scene description and dialogue?
What is the minimum amount of information that an illustrator or graphic designer ( usually ) needs in order to illustrate a comic or graphic novel to completion? Where can you find illustrators and graphic designers to partner with or hire? I realize this is a lot of questions. Thank you for the assistance 🙂
Monique Desir
Reblogged this on adaratrosclair.
Julius G.
I have a problem. Everywhere I've looked that shows how to write graphic novel script pretty much gives the same simple examples that were expected from the way comics were done year, probably decades ago – I know it is still pretty much the same, but I've seen a 2-page Splash and wondered how to write that in a script when every example is telling you to write Page 1, followed by the panels on it, then Page 2, followed by the panels on it. How to write it when Page 1 and Page 2's image is one huge image with smaller panels across both pages? Then, they have it where on the next page there is a panel dead center with four or five panels circling around the one as a focusing technique. It is actually very excellent work, but there aren't any examples of that kind of expertise graphic novel writing, or at least I haven't been able to find any online.
Very interesting article – and loved the Stan Lee and Alan Moore examples. Thank you so much for taking the time, Tim.
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