More drawn detail also creates a concentration of values (it’s darker and sometimes combines together as one shape or mass) More details (or more word bubbles) slow down time. Less important moments have smaller panels and or lesser detail.You can and should break up paragraphs, sentences, and if you need to single out words– to make smaller, more easily managed bubbles to scatter through the panel. You don’t have to present the text all in one go (one paragraph or bubble).Practice diagonal composition of objects and subjects within panels. Forget “true to life” perspective outside of the establishing panel).
…BEGIN THE WRITING ( DO NOT SKIP NO MATTER WHAT) like this, in this order: Roughly… the steps to making your comic is (treat the first page and the 2-page splash as you would the last). If you draw the pages from 1 to 12 sequentially you run the risk of fresh to burnt out- an uneven distribution of drawing skill. The end is the last page a reader sees- so spend your freshest energies on making it as epic, memorable, poignant, and beautiful as #$%^&. Everything in between is open to editing and hacking as the most important moments are emphasized and chosen. Personally I work “backwards” because the end is the only wholly necessary page or set of panels in the story. Here is my set of instructions, tips, and notes towards making a 12-page comic. I’m NOT an expert but I have some working experience I can share. Rapidpunches: SHORT STORY/ONE-SHOT/ONE CHAPTER/COMICS 101 CRASH COURSE RAPIDPUNCHES’ STYLE