Beyond Nine Shots: Wally Wood's 22
Yo! So I recently unpacked the mighty nine shots that every filmmaker needs on their shot list and every screen scribe needs to know. But what if I told you there's a secret expansion pack waiting in the comic book world? I'm talking about Wally Wood's legendary "22 Panels That Always Work" - that gritty, ink-splattered cheat sheet comic artists have used for decades.
Wood created this guide for comic artists stuck drawing talking heads page after page. His solution? Break that visual monotony with style, contrast, and punch. And guess what? This stuff is also pure gold for cinematographers and scribblers.
WW’s Legendary 22 Panels
Here's the full Wood arsenal - ready to for addition to Scribblers Toolbox and augment your visual storytelling prose:
Big Head - Extreme close-up that dominates the frame
Silhouette - Character or object shown only as a dark shape
Reverse Silhouette - Dark surroundings with light figure
Profile - Character seen from the side
Part of Head - Just showing a portion of the face
Back of Head - Character shown from behind
Over the Shoulder - Viewing another character/object from behind someone
Long Shot - Small figure(s) in a large environment
Medium Shot - Figure from waist up
Two-Shot - Two characters in frame together
One Big Object - A single large item dominates the frame
Upshot - Looking up at the subject (low angle)
Downshot - Looking down at the subject (high angle)
Crowd Scene - Multiple characters in frame
Frame Within Frame - Using doorways/windows to create boundaries
Reflection - Character seen in mirror, water, etc.
White Background - Figure against stark white space
Diagonal Composition - Elements arranged on a slant
Deep Focus - Multiple planes in sharp focus
Foreground Detail - Object close to "camera" with action behind
L-Shape Composition - Elements arranged in L pattern
All Black Panel - Total darkness (dramatic beat)
Comics and screenplays might seem like distant cousins, but they're both obsessed with the contents of every frame - what's in it, what's out, and where does your eye go first?
Wood's panels are a crash course in how framing, contrast, and silhouette can amp up emotion and theme, even in those dreaded "two people talking" scenes. Remember that you’re not just writing dialogue - you're orchestrating visual jazz.
Think of Wood's 22 panels as style mods for your nine foundational shots. They shouldn’t replace your coverage, but supercharge it. Here are some faves, remixed for screen scribes:
Big Head / Extreme Close-Up
This isn't just "get close" - it's emotional intensity. Not what your character says, but how the audience FEELS it. Perfect for those moments when someone's world is imploding.
Silhouette / Reverse Silhouette
Let the lighting tell your story. Try scribing a moment "seen only in silhouette" or "backlit, face hidden but eyes catching light." That's not being a camera hog - it's a cinematic vibe.
Profile / Part of Head / Back of Head
Sometimes NOT seeing the face packs more punch. Gives room for mystery or detachment. We used this all the time on Hannibal - showing the back of someone's head while terrible things happened in front of them.
White Background / Dark Foreground
Contrast isn't just pretty - it's thematic as hell. Your hero framed against white, your villain emerging from black. One line in your scene description can set this up: "Dark shadows shift against stark light."
Depth / Cast Shadows / Down Shot
Use height and depth to show power dynamics. "We watch her from above, tiny against the massive corporate atrium."
Reflection / Frame Within Frame
Mirrors, windows, security feeds - these add layers. Like on Lost, when we'd show characters watching other characters on monitors. It's about duplicity, surveillance, fragmented identity.
One Big Object / Foreground Detail
Put something meaningful in the foreground. A gun on the table. A wedding photo facing down. Now you've got tension before anyone speaks a word.
L-Shape / Diagonal Composition
This is visual shorthand that creates energy. "He's trapped in the corner, shadow cutting across his face as he seeks cover."
All Black Panel
Darkness isn't empty - it's loaded with possibilities. A fade to black can suggest grief, mystery, or just the brutal period at the end of a sentence. Use like Beyonce deploys the mute in a melody.
The Wood + 9 Combo Platter
With Wally's 22 and your mighty nine, you can remix like Martin Garrix at EDC.. "Medium Shot + Silhouette" or "Wide Shot + Reflection + Diagonal Frame." Level up from basic coverage to Malick-worthy moviemaking. When readers SEE your scene before it’s on screen, you've won. So when in doubt, drop a Wally Wood bomb in your description. Because boring isn't just a choice - it's a missed opportunity.
