How many scripted pages would you want before collaborating?

[Chroma]

As a writer that can't draw (although I am practicing, to change that), I was hoping to collaborate with an artist for a story idea I had. However, I'd like to have several pages written, along with character descriptions and a plot summary to present as a kind of "proof of concept" per say? The problem is, since the series may be a long one, I don't think I'll have the script completed any time soon. How many pages should I create in order to give a general idea as to my writing ability to anyone who may be interested?

[joannekwan]

The more the better I feel.
That way the artist knows you are sure of where you're going in the story and can get a feel of whether or not this is really a story they'd like to draw. The more dedication to the project you show, the more confidence the artist will have in you.

[digitalvalium1]

I've never collaborated on a work, but I'd insist on the first 3 chapters scripted with a full arc outline. A definitive beginning and end with a summary of subplots for act I and II, and some idea of devices to foreshadow for act III. Mostly because you can't hide in fiction. If you write enough words, there you are. There's no escaping you. I like to know who I'm working with.

That's just me though. Others might not be so demanding.

[NanettesClouds]

I'm gonna eccho what @joannekwan said but also offer up a counter point.

I'm working on a small colaborative project with a friend, and right now all we're doing is a small test page to see what people think and to how well we work together, It;s a 2 page script for a single long-scrolly-type episode format comic.

Point is it's something that depends on the project and who you're working with. Start small if you've never worked with the artist before just to see how that chemistry is, even if it's someone you've known for al ong time.

[somvi]

I would say a self contained story around 8 comic pages scripted is enough to judge writing skill. It shows you are able to self-edit and write with economy to fit all the important parts in without cramming the pages with excessive panels. If you're looking for a long term collaborator, try cutting out a small piece of your story that would still make sense in about that length. Maybe it's even a side story but it should really wrap up within 8 pages without depending on some "to be continued" hack.

I feel you need to focus and be able to communicate the essentials in order to show your quality as a writer to potential collaborators. Info dump all you want later, but most people aren't willing to read 100 pages of backstory and world building notes just to get started.

[AnnaLandin]

I'd say that as a writer looking for an artist, the more detail you can offer them, the better. That way, they have a better idea of what they're getting into. Having at least a chapter or two finished is definitely a good start!

It might be a good idea to do a trial-run once you find an artist, though? Like, give them a page or three to work on, just to see how you two work together, before you jump into the deep end?

[DMBrigman]

I agree with the points so far, as an artist I really want to get an idea of what you have in store. Especially if it is a really long series. I want to know where it is heading, how far ahead you have thought it through, and what the end point may be. The last point may be the most important. Lots of artists are less likely to agree to a collaboration if it is going to span one hundred issues than one that is 24 pages. So, if you can't give a ball park for how much time they will have invest then the artist can realistically gauge whether they want to take on the project. At least one completed script is needed so the artist can get a sense of what you are asking them to draw and how well you know the medium.