What if your next nonfiction project isn’t a picture book—or even prose—but a graphic novel?
That’s the question I explored in my recent conversation with author Teresa Robeson, who has written two Who HQ graphic novels and teaches others how to break into this fast-growing format. If you’ve been curious about graphic nonfiction but unsure where to start, this conversation offers both inspiration and practical next steps.
👉 Watch the full conversation here: https://youtu.be/R_uSsNdRocA
Why Graphic Nonfiction—and Why Now?
One of the biggest takeaways from our conversation is that graphic formats for kids are booming–including when it comes to nonfiction.
As Teresa points out around 2:05, while parts of the publishing industry have slowed, graphic novels continue to grow. For nonfiction writers, that makes this format especially compelling, not only as a creative challenge, but as a way to reach readers.
But the appeal goes beyond market trends. Graphic nonfiction invites writers to think differently about storytelling, to combine research, pacing, and visual thinking in ways that can feel both fresh and energizing.
What Makes a Story Work as a Graphic Novel?
If you’ve ever wondered whether your idea is “visual enough,” Teresa offers a reassuring answer: don’t overthink it.
Early in her teaching, she emphasized action-heavy, highly visual topics. But her perspective has evolved. As she explains around 3:05, almost any story can work in graphic form, even quiet, introspective material.
The key isn’t the subject; it’s how you tell it.
Graphic novels rely on breaking a story into moments. Each panel captures a piece of action, emotion, or information. That means writers need to think in scenes rather than summaries, letting the story unfold beat by beat.
The Biggest Craft Shift: Thinking in Panels, Not Paragraphs
For writers coming from traditional nonfiction, this is often the biggest adjustment.
In our discussion around 5:30, Teresa highlights one of the most striking differences: the level of detail required for illustrators. Unlike picture books, where art notes are minimal, graphic novels demand extensive panel descriptions. Every action, setting detail, and visual cue needs to be clearly communicated to the illustrator whose work is already far more intensive than required for a picture book.
At the same time, the writing itself must become more concise.
By 8:10, we dig into the challenge of resisting the urge to over-explain. Instead of relying on long captions, graphic nonfiction depends on the interplay between visuals and text. Dialogue, brief narration, and images work together to carry the story.
Another key difference? Page turns.
As Teresa explains, graphic novels invite you to think about pacing at the level of individual pages, especially the right-hand page, which can be used to create mini cliffhangers that keep readers engaged.
What Skills Transfer from Traditional Nonfiction?
If you’re already writing nonfiction, you’re not starting from scratch.
At 10:05, Teresa emphasizes that the same research skills are required, but with an added layer. In graphic nonfiction, you’re not just gathering facts. You’re also collecting visual references: photos, videos, settings, clothing, objects, and more.
These details help illustrators bring the story to life accurately and efficiently. Many writers, Teresa included, create organized reference files or visual databases to support this process. She keeps a shared Google doc with her visual references, which can be shared with the illustrator.
In other words, your research skills still apply, you’ll just expand them in a more visual direction.
How to Get Started (Without Feeling Overwhelmed)
So where should you begin?
The answer is simple: start by reading what you want to write.
Around 12:30, Teresa recommends immersing yourself in graphic novels for your target age group. Pay attention to panel count per page, word count, pacing, and how information is conveyed visually.
From there, try a hands-on exercise.
One of Teresa’s most practical tips comes at 20:05: take a published graphic novel page and reverse-engineer it. Write out what you think the script might have looked like, then have someone else compare your version to the published page. How well did you do? This helps train your brain to think in panels and scenes.
And if you’re worried about drawing skills? Don’t be.
As we discuss around 21:30, you can absolutely succeed as a writer-only in graphic nonfiction. Many projects are collaborative, pairing writers with illustrators who bring the visuals to life.
Scripts, Proposals, and the Publishing Process
When it comes to submitting graphic nonfiction, the expectations are a bit different from other formats.
At 15:45, Teresa explains that writers typically need a full script—not just a sample. This includes panel-by-panel descriptions, dialogue, and captions.
You’ll also need:
- A clear, 1-2 page synopsis (including the ending)
- Target age range
- Author bio
Interestingly, there’s no single “correct” script format. As we discuss around 22:00, what matters most is clearly communicating your ideas and readability. Whether you use Scrivener (which both of us prefer because of the included comics template), Word, or another tool, your goal is to make the story easy for editors and illustrators to follow.
Final Takeaway: Just Start
If there’s one message Teresa returns to again and again, it’s this: don’t wait until you feel ready.
Read widely. Study the format. Try scripting a single page.
As she encourages near the end of our conversation (28:00), you don’t need permission—or perfection—to begin. Graphic nonfiction is a flexible, evolving space, and there’s room for experimentation.
You might just discover a whole new way to tell your story.
📚 Mentioned in this episode:
- Understanding Comics by Scott McCloud
- Making Comics by Scott McCloud
- The Art of Comic Book Writing by Mark Kneece
- Kids Comics Unite (writing community)
- SCBWI Wisconsin Engaging Stories Conference
- Kirsten’s “Getting Into Graphic Nonfiction” Webinar
Watch the Full Conversation
🎥 https://youtu.be/R_uSsNdRocA
If you’re exploring graphic nonfiction, I’d love to hear:
What story are you thinking about reimagining visually?
