A script is a document describing the narrative and dialogue of a comic book in detail. It is the comic book equivalent of a television program teleplay or a film screenplay. In comics, a script may be preceded by a plot outline, and is almost always followed by page sketches drawn by a comics artist and inked, succeeded by the coloring and lettering stages. There are no prescribed forms of comic scripts, but there are two dominant styles in the mainstream comics industry, the full script (commonly known as "DC style") and the plot script (or "Marvel house style"). Full script In this style, the comics writer (also comics scripter, comic book writer, comics author, comic book author, comics scribe, graphic novel writer, graphic novel author or graphic novelist) breaks the story down in sequence, page-by-page and panel-by-panel, describing the action, characters, and sometimes backgrounds and "camera" points-of-view of each panel, as well as all captions and dialogue balloons. For decades, this was the preferred format for books published by DC Comics. Peter David described his specific application of the full script method: "I break down each page on a panel by panel basis and label them as PANEL A, PANEL B, and so on. Then I describe what's in each panel, and then do the dialogue, numbering the balloons. I designate the panels with letters and the word balloons with numbers so as to minimize confusion for the letterer". In addition to writing the scripts, Jim Shooter drew layouts for the artist in his early work for DC. Plot script In a plot script the artist works from a story synopsis from the writer (or plotter), rather than a full script. The artist creates page-by-page plot details on his or her own, after which the work is returned to the writer for the insertion of dialogue. Due to its widespread use at Marvel Comics beginning in the 1960s, primarily under editor-dialogist Stan Lee and writer-artists Jack Kirby and Steve Ditko, this approach became commonly known as the Marvel method or Marvel house style. Comics historian Mark Evanier writes that this "new means of collaboration . . . was born of necessity—Stan was overburdened with work—and to make use of Jack's great skill with storylines. . . . Sometimes Stan would type up a written plot outline for the artist. Sometimes, not". As comic-book writer-editor Dennis O'Neil describes, the Marvel