Yesterday I shared an excerpt from THE BROADCAST’s script, today I want to give you a look at the next step — layouts.
Essentially, Noel takes the script and does a very rough version of the illustrated page. It’s a vital step in the process because it gives us a chance to make sure the story is being told visually.
While you want the art to work hand-in-hand with the dialogue that will eventually be included, a good artist will tell the story without a word on the page. Just look at the first set of layouts…
Already, we know three men are meeting behind closed doors (see how Noel stuck that panel in — and rightfully so).
We know that two of these guys are here to see the old man, and we know they’re pressing him about something (see how one of them is leaning forward, hands on the desk?)
We know it isn’t going well. Just look at the body language in panel five. Even in these rough drawings you can see he is getting upset.
And finally, we know the situation reaches a boiling point when the young guy finally snaps and pounds a fist onto the desk.
You’ll notice Noel added two panels to the second page. The last panel is a particularly important addition.
I initially wrote this page to end with Jacob’s dirty look — but showing Gavin and Eli as they watch Jacob storm away is a far stronger moment to end with. After all, Gavin and Eli are two of our most important characters. Leaving this scene without showing their dumbfounded reaction would have been a huge mistake.