Reading Between the Panels

MAYA

Jordan, quick question. When you read a graphic novel, do you actually read the pictures?

JORDAN

Read the pictures? I look at them.

MAYA

And that's how graphic novels get you. If you're only reading the words, you're missing a huge part of the story.

JORDAN

So I've been reading graphic novels wrong?

MAYA

Maybe. Graphic novels tell stories through words and sequential art. Images, colors, panels, empty spaces, and even lettering can reveal things the dialogue never says directly.

JORDAN

Okay. Show me.

MAYA

Start with speech bubbles. They contain dialogue, but their shape and style also communicate tone, volume, and mood.

JORDAN

Like what?

MAYA

Imagine a character says, "Leave me alone." Put that inside a smooth oval.

JORDAN

Normal conversation.

MAYA

Now put it inside a huge, jagged bubble.

JORDAN

They're yelling. Probably angry.

MAYA

Exactly. Smooth bubbles usually suggest normal speech. Jagged or spiky bubbles can suggest shouting, anger, or shock. Dashed bubbles can suggest whispering.

JORDAN

Same words. Different meaning.

MAYA

Right. Even word choice and bubble placement can reveal personality and relationships. So don't just ask, "What did the character say?" Ask, "How did they say it, and what does that reveal?"

JORDAN

And then we have thought bubbles.

MAYA

Those reveal what a character thinks privately. That's important when thoughts and speech don't match.

JORDAN

Like someone says, "Yeah, I'm fine," but thinks, "I am absolutely not fine."

MAYA

Exactly. That contrast can reveal hidden feelings, fears, desires, and internal conflicts.

JORDAN

So if the author doesn't directly say, "This character hides their feelings," I can still figure it out.

MAYA

That's indirect characterization. You use evidence to make an inference.

JORDAN

What about those rectangular boxes?

MAYA

Narration boxes provide background information, context, or a character's perspective.

JORDAN

Random rectangle of knowledge.

MAYA

We're not calling it that.

JORDAN

We should.

MAYA

Imagine a panel shows a girl giving someone a cold look. You might think she's rude. Then a narration box says, "She hadn't spoken to him in years."

JORDAN

Oh. Now there's history.

MAYA

Exactly. Narration can reveal past events, internal thoughts, or background information that changes how we interpret a character's actions and motivations.

JORDAN

Let's talk about panels.

MAYA

Panels organize the action, but their size, shape, and arrangement also control pacing and focus.

JORDAN

Meaning?

MAYA

Imagine a chase scene told through several tiny panels: run, turn, jump, look back.

JORDAN

Feels fast.

MAYA

Exactly. Small, rapidly sequenced panels can create urgency or tension. A large panel slows the reader down and emphasizes an important moment.

JORDAN

Like when a character realizes their best friend betrayed them.

MAYA

Exactly. A huge panel focused on their expression tells you, "This matters."

JORDAN

And now the empty spaces.

MAYA

The gutters.

JORDAN

The meaningful nothing.

MAYA

Gutters are spaces between panels. Readers use closure to imagine what happens there.

JORDAN

Example?

MAYA

One panel shows someone throwing a basketball. The next shows it going through the hoop. You never actually saw the ball travel.

JORDAN

My brain filled it in.

MAYA

Exactly. Wide gutters can suggest a jump in time, an emotional pause, or a dramatic shift. Narrow gutters often suggest continuous action or faster pacing.

JORDAN

So the reader actually helps construct the story.

MAYA

Exactly.

JORDAN

What happens when the artwork breaks out of the panels?

MAYA

That's a bleed. The image extends to the edge of the page instead of staying contained inside a border.

JORDAN

Why?

MAYA

To make a moment feel larger, more intense, or less contained. Bleeds often emphasize drama, powerful emotions, or major events.

JORDAN

So if a character finally loses it and their image takes over the whole page...

MAYA

The visual structure is showing you how overwhelming that emotion feels.

JORDAN

Basically, the panel can't contain the drama.

MAYA

Exactly.

JORDAN

Now color.

MAYA

Color communicates mood, emotion, and meaning without directly stating them.

JORDAN

Warm colors?

MAYA

Reds, oranges, and yellows can suggest energy, anger, excitement, or danger. Cool colors can suggest sadness, calm, loneliness, or fear. Muted colors can create seriousness, isolation, or tension.

JORDAN

So if a normally bright scene suddenly becomes gray and blue...

MAYA

Something has probably shifted. Maybe the character's emotions changed. Maybe a relationship changed. Maybe there's a new conflict.

JORDAN

And nobody has to announce, "Attention everyone. I am now sad."

MAYA

Exactly. Color gives you evidence. Contrast can also draw attention to important characters or objects, while repeated colors can become symbols.

JORDAN

Now for my favorite part. BANG! CRASH! ZAP!

MAYA

Those are sound effects, or onomatopoeia. They add sound and sensory detail.

JORDAN

And how the words look matters too.

MAYA

That's typography. Large, bold lettering suggests loud or powerful sounds. Small, light lettering suggests quieter sounds. Jagged lettering can make something feel harsh or chaotic.

JORDAN

So readers basically "hear" the scene with their eyes.

MAYA

Exactly.

JORDAN

What about all those lines behind a character who's moving?

MAYA

Action lines show movement, force, or emotional energy. Sweeping lines suggest speed, radiating lines emphasize impact, and jagged lines can show shock or fear.

JORDAN

So they can reveal a character's reaction before the character even speaks.

MAYA

Exactly.

MAYA

Let's put everything together. Imagine a character walks into school.

JORDAN

Okay.

MAYA

The colors are muted blue and gray.

JORDAN

Something feels wrong. Maybe loneliness or tension.

MAYA

Several small panels show them rushing down the hallway.

JORDAN

Fast pacing. Maybe they're nervous or avoiding someone.

MAYA

A friend asks, "Are you okay?" The character says, "Yeah. Totally."

JORDAN

Suspicious.

MAYA

Their thought bubble says, "Just keep walking."

JORDAN

Definitely hiding something.

MAYA

Then there's a wide gutter.

JORDAN

Pause or shift.

MAYA

Next page: one giant panel. The character sees someone at the end of the hallway. Jagged lines surround their face.

JORDAN

Important moment. They're shocked or afraid.

MAYA

A narration box says, "It had been two years."

JORDAN

Okay, now I need the next page.

MAYA

And that's the point. You figured out the character's emotions and possible motivations by combining visual and textual clues.

JORDAN

So what's the big takeaway?

MAYA

Don't just read the words.

JORDAN

Read the pictures.

MAYA

Read the colors.

JORDAN

Read the layout.

MAYA

Even read the spaces between panels.

JORDAN

The meaningful nothing.

MAYA

Exactly. Graphic novels use speech, thoughts, narration, panels, gutters, bleeds, color, sound effects, typography, and action lines together to tell the story and develop characters.

JORDAN

So when a graphic novel doesn't directly tell you what a character feels or why they're acting a certain way...

MAYA

Look for the evidence.

JORDAN

Basically, read between the lines.

MAYA

And between the panels.

JORDAN

Okay, that was good.

MAYA

I know.

JORDAN

And we're done.