LAYOUT
Now that we have our script ready we can start with the next stage. What we do now is take a bunch more papers. We like to work with ordinary A4-size printing paper, the cheaper the better. Each paper we fold into 8 squares, again, each square being a page. On these mini-pages we transfer the data of our script but this time in pictures. Nothing too fancy, just rough lines to give us an idea of the layout we need for each page, like how many panels we have to use and what shape and size.
Other questions that may arise, do we take standard panels or try something a bit more interesting. Have we divided our data well in the script or do we need to tweak things a little. We're still not putting time in actual drawing so when we find things need to change it's not a problem. Never do more work than is necessary, remember that. There's nothing more frustrating than having drawn the perfect picture only to find out later you can't use it.
A sketch needs to be just that. Don't waste time on elaborate thumbnails, as long as it's clear to you it's enough. The sketch on the left for instance makes clear to us we're dealing with Brunette and Pintail.
This is another moment for you to write down the dialogs if you wish to do so. For us the text is about the last thing we do (apart from colouring), but you might prefer to write it down now on paper so you will have a better indication on how big the text-balloons will be.
In deciding on your layout, there are several 'shots' to your disposal, that determine the feel of your story. First of all you have the wide shot to the (extreme) close-up. The first gives you a total look of the scenery of a situation. It makes the viewer take a step back to see it all. The close-up works the other way round, we're no longer looking at a situation, we're right there in it.  Between these shots you have several others, don't overuse a certain shot or you will lose the effect, especially with the more extreme shots.
A point of view can also be interesting. It allows the reader to see what the character is seeing, like in a flash back. When you have two characters in a dialog and you see nr. 1 talking and then nr. 2, this is also called a point of view. And then there is the bird's eye view or the frog's eye view. Does the situation require the reader to look down upon something or up? It can add a sense of suspense in your story.
When you're completely satisfied with your layout you can take the next step.