In light of the recent discussion on how horrible it is for a writer to offer partnerships, I'd like to point out some things about why there are so many writers looking for artist collaborators.
EDIT: This ran a bit long, but it's not a rant - I'm trying to convey some useful information here; please read fully.
Firstly, publishing companies (at least the big ones) do NOT accept submissions from writers. They also will not even view or feedback work from writers. That means we are not allowed to send scripts, script samples, ideas for comic books, story treatments, etc. Most publishers (including indies like Image, Dark Horse, etc.) have a standing policy - for legal reasons - to delete/destroy such submissions on sight. So there's no way for a writer to get their work read or even just to receive critique on it from editors - unlike artists, who can show their portfolios and distribute their work during conventions and such (likely because art is really easy to recognize as good or bad quickly, whereas it takes time to look into a writing sample and gauge the skill, style and professionalism of a script).
Anyway, as a result, companies will only look at PROPOSAL submissions from writers. A proposal usually contains a series' title, logline, pitch, summary, one cover page, and a preview of 6-8 sequential pages from the first issue of the proposed book, pencilled, inked and lettered, for which you need an artist. Some companies will insist on colored pages, but not all. This will allow the editors to get a look at what the finished product will look like and decide whether to move forward.
This is the ONLY way for writers to get our work to even be SEEN by a publisher. Artists can showcase their portfolios to get noticed by comic publishing companies, but writers can't - no matter how many scripts we write, chances are really, really low that anyone we send them to will sit down and read through them. There's also the very real risk of getting our ideas stolen - writers have to come up with original ideas to show our talent (that by definition, is our job) whereas artists can take other, pre-existing ideas and draw about them. Even if we were to write about existing characters like, say, Spider-man, the story would have to be unique enough to get noticed and would be at risk of getting ripped off by anyone who sees it - this is also why, as I mentioned before, publishers have legal reasons to destroy any scripts they receive from writers.
In other words, we cannot even practice our talent.
When it comes to webcomics, we hope to get ourselves noticed through them, just like artists. It should be common enough knowledge here in Tapas that a webcomic will take some time to start earning money - it won't get thousands of views the day it's posted. Artists that are adamant on commissions to do these webcomics are essentially insisting that we, the writers, need to be wealthy enough or be earning enough during that time to support both ourselves AND the artist.
Ask yourself this - if we had money like that, why wouldn't we just hire an artist to do a proposal to a real indie comic publishing company? The possible benefits are much greater compared to the possible losses. Any writer who can afford that sure as hell wouldn't be looking for an artist in Tapas - there are any number of sites like DeviantArt or Artstation where you can select from any of their members and throw your money around if you have it. It would also keep the rights to our work in our pocket - an artist doing work-for-hire by page rate would have no claim on revenue share, publishing rights, etc.
Most here on Tapas don't have that kind of cash. Trust me, aspiring writers have even less money than aspiring artists.
Hence why writers ask for collaborators, offering a share in the rights and revenue. That's actually a bad deal for us - if the comic really takes off the artist will end up making a lot more off of us than a simple page rate, but it's the price we're willing to pay for breaking into the biz.
I understand your side as artists, I do. But please remember a few things:
1) This may sound harsh, but understand: Artists are NOT writers. We're talking about two completely different skillsets. I mean, yes, there's the rare guy like Eisner or Matt Wagner who can do both, but for most of us? No. I'd be kidding myself if I told myself I can draw - same thing. The idea that the experience you get from drawing your own stuff is the same as working off of a (good) writer's script is simply not true.
2) "Save a bit of money and pay to get two pages done" - does not actually accomplish ANYTHING. The artist will be able to pocket that cash, and show off that work on a portfolio - but how are two pages of a story going to do anything for a writer?
3) Unpaid collaborations are unpaid for both parties - we don't make money unless you make money, so it is also in our best interest to ensure that you guys get paid. If you already have a commission you wouldn't be looking for a collaborator anyway; so as long as you're trying to build a portfolio, it is better to build it with real stories.
So what can you do to ensure that you get the best out of the deal? Here are some ideas.
1) Remember, your own work can be enhanced by a good writer. Someone mentioned that doing fanart will get you noticed and get you work by comic companies/get you free stuff and trips to E3, etc. Good! Take that a step further - instead of looking at writers looking for collaborations, OFFER unpaid but credited collaborations to writers. Instead of simply doing Far Cry fanart, post a proposal asking for writers to help you do a small Far Cry fan comic. Offer the same deal - unpaid, but credits and benefits go to both parties. I guarantee if your art is good you will get many offers. Ask the writers for writing samples and tell them to pitch you an idea for the story to select from them. If you like their writing and the story idea, go for it - chances are very good that it will be better than what you could've come up with yourself.
If you're noticed by a comic publisher, the writer gets attention too. Since you're both credited, free stuff like E3 and convention trips come to both of you.
2) Do smaller comics. Instead of jumping right in to 20 pages per month (which will require a lot of work from you); do smaller stories, like a four panel comic strip - this won't interfere with any commissions you have and still allow you a chance to work from scripts, which is how you will be working in the industry.
3) Look through writers' work samples and portfolios - I absolutely agree that a collaboration should happen only with a work that you love - think about it: if a writer's skill, idea, and script don't inspire enough confidence in you to do some work in advance in exchange for half of ALL REVENUE from the story, how can you expect that it will succeed?
4) If a writer's idea and script grabs you for a collaboration, make sure you both sign a contract detailing sharing of revenue, how you will publish, what happens if one of you leaves the project, etc. It protects both your rights.
And finally -
5) Take advantage of us! Don't be the person that's looking for collaborations, be the person that OFFERS collaborations. I can't believe I'm sitting here reading complaints that there are actually too many writers looking for artists - do you guys realize how strong a bargaining position that puts you in?
Take the initiative and offer the same deal backwards - Artist looking for unpaid collaborators for credited and shared revenue. Take your pick out of everyone who responds. Hell, if you start an anthology comic here on Tapas I'm pretty sure you'd be able to work with a different writer every month.
6) If you want to do original work, come up with a basic story and characters on your own - this will keep the rights to them in your side - and then ask for writers who'd be willing to do one "episode" based on your characters and outline. Doing a few pages of script based on an outline takes a lot less time for us and won't interfere with our life, so many writers will cooperate. This allows you to create something original, retain the rights to it, and use dedicated writers to get it done.
Trust me, we writers are aware that our situation puts strain on you guys, and we'll be happy to work around those obstacles - if you let us.
I guess the point that I'm trying to make is, don't dismiss a writer just because they're offering an unpaid collaboration. Any number of perfectly feasible choices might still be yours to work with those writers, and they might just have an interesting story worth telling.