DAMMAM: Saudi comic writer Abdullah Al-Otaibi outlined the fundamental differences between graphic novels and traditional fiction during a public discussion hosted at the Saudi Arabian Society for Culture and Arts in Dammam on Sunday.
The session, part of the Literary Partner initiative launched by the Literature, Publishing and Translation Commission in 2021, focused on the creative and structural distinctions between writing for comics and writing novels, as well as the collaborative nature of visual storytelling.
Al-Otaibi, who has published two graphic works, “Wa” and “Bareh,” said the most significant difference was authorship.
“In novels, the writer is responsible for everything. Every word on the page comes directly from the author,” he told Arab News. “But in comics, the writer is only one part of a larger team that includes the artist, inker and colorist.”
This collaborative structure shaped not only the workflow but also the final output, he said.
While novelists maintain full control over the narrative, in some cases, comic writers must translate ideas into visual instructions that are interpreted by artists.
“The writer in comics writes for the artist and the artist completes the vision,” Al-Otaibi said, noting that visual interpretation can lead to slight variations between the writer’s original concept and the published work.
The discussion also addressed how storytelling techniques differ between the two formats. In prose, even silence must be described through language. In comics, silence can be conveyed visually without dialogue.
“In novels, even quiet moments need to be written out,” Al-Otaibi said. “In comics, you can show silence without words, just through the image.”
This distinction reflects a broader difference in how information is delivered. According to research on visual literacy and sequential art, comics rely on a combination of text and imagery to guide readers, allowing meaning to emerge between panels rather than through continuous narration.
Al-Otaibi also highlighted the role of panel structure in shaping the reader’s experience. The layout and orientation of frames could influence reading speed and pacing, he said.
“Vertical panels slow the reader down, while horizontal panels tend to move the story faster,” he said.
Studies in comic theory support this view. Scholars such as Scott McCloud, in his work “Understanding Comics,” describe panel arrangement as a key tool for controlling time, rhythm and emphasis in visual storytelling.
Audience questions during the session focused on practical challenges faced by creators, particularly the risk of disrupting narrative flow through visual missteps.
One concern raised was how artists avoid unintentionally revealing key plot points too early. Al-Otaibi said that layout planning played a crucial role in maintaining suspense.
“We usually place major moments on the right-hand page so they are revealed only when the reader turns the page,” he said, describing it as a deliberate technique to preserve the reader’s experience.
The conversation also explored differences in scale between the two formats. Al-Otaibi said that a single page of prose could contain significantly more detail than a page of comics, where visual elements replace descriptive text.
“In a novel, one page can carry a lot of words and detail,” he said. “In comics the same content might take multiple pages because the story is divided into images.”
The session also examined the writing process itself. Al-Otaibi said that writing for comics required a different approach, built on trust between writer and artist.
“You don’t describe everything in detail like in a novel,” he said. “You give the artist direction and they add their interpretation. That relationship depends on trust.”
He contrasted this with novel writing, where the author retains complete authority over the final product.
Editing processes also differ significantly. While revising a novel can involve relatively simple text changes, altering a comic page can be more complex and costly due to the number of contributors involved.
“In novels, you can easily edit or delete,” he said. “In comics, changes can be expensive because they involve multiple stages, from sketch to final artwork.”
To manage this, creators often rely on preliminary sketches and approvals before moving to final production.
The event reflects growing interest in graphic storytelling within Saudi Arabia, as local creators explore formats beyond traditional prose. With support from cultural initiatives and increasing audience engagement, comics are gaining recognition as both a literary and visual medium.
The discussion reflects broader literary theory and visual storytelling research, including cultural initiatives led by the Saudi Ministry of Culture.
As the Kingdom continues to expand its creative industries under Vision 2030, discussions like this highlight how storytelling itself is evolving, shaped not only by content, but by the form through which it is delivered.
