Aug 2017
11 / 15
Aug 2017
Jun 2018
NanettesClouds
Aug '17
2

So I see a lot of (unpaid) offers/requests to find a collaborator, and most of the time it seems like they go unfilled.

For those of you who are in a collaborative relationship with someone, how did it start?
Also while we're at it what advice do you have for working with your collaborative partner?
Anyone working with more than one other person, how do you do that?

I've got two budding collaborative projects right now.
One with a friend who I've known for years, we've always tossed ideas and feedback to one another and we finally decided to work on a project together, a story that they're excited about writing and one that I'm excited about drawing.
The other with my girlfriend who's had a big sprawling story in her head for years, but doesn't know how to structure it/do it in an achievable way. So I'm helping her write it.

Both collaborative projects were with people I knew and became friends with before I ever considered working with them. And in both, even though there are clear writer/artist roles, we bleed into each-others jobs (In the one with my friend I've done a lot of plot-outlining while they do the actual writing, and they've helped me develop a style for the project.)

Both of these projects are still really early in development and I've never done real collaborative work before, so I don't really have advice, other than to make sure you really know the person you're getting involved with, and maybe experiment with a smaller project first to test the waters of how you work together before starting a larger project with them.

I'm excited to hear what others have to say!

  • created

    Aug '17

  • last reply

    Jun '18
  • 14

    replies

  • 5.6k

    views

  • 11

    users

  • 41

    likes

  • 9

    links

Michelle
Aug '17

I've just wrapped up on a collab myself, so here's a few of my thoughts:

-First, make it clear this is a collab and not a paying gig. You don't want to mislead anyone.

-When seeking collab partners, tell us about the project! Don't just say "I have a story idea" and leave it at that. If you have art samples, show them off. If you're a writer, link us to writing samples. Get people excited in your project; if it's worth doing, it's worth talking about.

-Consider starting small. If you're new to collaborating, and especially if this is an unpaid venture, maybe skip the 200+ epic. Try tackling a 6-10 page mini comic and see how it goes.

-Communicate clearly. All parties should have a clear idea of desired deadlines, and keep an open communication if people are falling behind. Especially with collabs, artists are easily sidetracked by paying jobs. Understand that your unpaid collab is probably not the artist's #1 priority. That said, it's the artist's job to keep the writer updated about any delays.

sarahrebecca58
Aug '17
1

From a writing angle, what should a writer say for artists? I do a little drawing from time to time, but sequential art just isn't a strength. It's like trying to learn algebra for me. Combine this being out of the loop with Tapastic for the last few months (I was kidnapped, I'll leave it at that) I'm somewhat confused by the changes to the website.

How can I make the artists job easier, if it's a collab?

Honestly with all that's going on in the world today, I'm surprised people have the energy to make collab requests.

emma123ag
Aug '17
1

I've actually started a collab with a good friend of mine, and we have just recently published work onto the site. Though I am an artist in this partnership, I can say that from what I've experience so far, my partner , while being consistent with communication, has been patient and very encouraging throughout the whole process. It could be because we are friends But I think the best thing a writer can do is be patient, but also a consistent communicator. Of course, consistent communication will only work if the artist is willing to do the same thing, So like niah146 said, it's good to work with someone you know. Or least someone you want to get to know, and wants to get to know you too.

VibrantFoxRegular
Aug '17

I think my question, as someone with pretty much zero experience in any form of creative/artistic collaboration, is what kinds of questions or "expectations should an artist have. I've only really dabbled lightly in writing but not something with a solid story and planned until recently. So as an artist I want to make sure that I can stick to any expectations I may be held to as such. Should I have certain questions and if so what do I ask. It's all a bit foggy to me :sweat:

LoboSong_Hitaka5Ever
Aug '17

It helped having a best friend that was interested in the idea I had and we work very well together. Our first comic was partly a test to see if we could do it and we have another one that still needs to be written. We did consider bringing in a 3rd person to do the background work because I couldn't do it, but my friend took on that responsibility and she's great at it. So we're sticking to a 2-man team : )

Kabushi
Aug '17

I've only ever worked with people in a more professional capacity (paid) but as a writer and ideas man, I'd say the best way to work with someone unknown to you is to first figure out what motivates that other person. You may have an awesome idea but be prepared to let your artist also contribute to the project in a meaningful way. Really, this should be done in paying gigs too, but more so when it's unpaid. The easiest way to lose a partner is getting them to draw something they're not fully invested in and the best way to retain an artist is to help them take ownership of their work.

In terms of scripts, references are key. It's hard to explain to someone what you want in text form, so using reference images whenever possible really help. I'll use references for particular perspectives I feel would work or expressions or scenery, etc.

As well, images/books/tv shows/movies that have a similar theme to what you're aiming for should be cited. What will your world look like during the day, at dusk/dawn, at night? Is there a specific colour scheme for each? Are there flashbacks or dream sequences that should be styled a particular way? Getting all these things out of the way early will really help the process going forward.

There should be goals (I prefer that term for unpaid work, rather than 'deadlines') but always be patient and make yourself available to your partner for anything they may need to keep the project on track. Always be positive, encouraging, and talk to your partner as an equal, not a henchman.

Definitely agree with some of the above comments in regards to pitching your project and keeping it small initially.

NanettesClouds
Aug '17

So in the project, I'm doing with my friend, we've had a lot of discussions about tone, and what we want the project to feel like, and then how to best get across that tone with the visuals and the writing. Ideally, the writing and the art complement each other to such an extent that neither could be removed or changed without impacting the final quality. "Total Artwork". It helps that we've known each other for a long time, and have a clearish understanding of each other's influences, and what we both like/don't like in media. I understand his goals, and he understands mine.

As an example, one of the big things we discussed was how to visualize the magic in the story, I asked them lots and lots of questions about how the magic worked, how it felt, what it does. "Does it hurt? Can they do this? Would doing XYZ make things more potent? How difficult is it to do something simple? Is this like Harry Potter or like Star Wars?" etc. Once I had a clear picture in my head of how magic worked in the story, I proceded to doing concept sketches, drawings of the characters casting the magic, designs for magical effects, etc. And I would show those designs to my friend and get feedback, he would say things like "This should be more forcefull, make this look more painful, make that bigger, this is very good so don't change a thing" etc, and I would go back and adapt my designs based on their feedback until we reached a point where both of us were satisfied, which sometimes meant me putting my foot down. "Hey no, magical swords are really dumb and doesn't fit with the tone we're going for at all. We're not doing that.", "What about just a regular sword that they use like a wand?", "Ehh, maybe? If I change their character design so that fits better, okay yeah that's pretty cool."

^That is effectively our process. It's a discussion.

mg78
Aug '17

if u re a writer and u want to help your artist... just draw a storyboard. it doesnt matter if your skill it's a disaster. every artist can see through your draw, even if the storyboard got stylised human bodies in a no prospective world.
then, give to your artist every kind of reference image. the artist must not loose time searching an image that fit what u re axplaining.

sarahrebecca58
Aug '17
VibrantFox

Yes I'm not even sure what to ask half the time.

At this point as well, I'm a lot more chill about how it looks like compared to how I used to be. I used to want it to be realistic, except when most people think realistic they're thinking 3D art or something DC/Marvel does.

By DC/Marvel goes into the uncanny valley for me.

So I'm like, whatever, I trust your judgement. Going to be hands off.:stuck_out_tongue:

Yea I used to do storyboards all the time. Fun times.

sarrowsmith10
Aug '17
Kabushi

THIS^^^ It helps so much OMG. Insert those references right into the script. Seriously.

All 3 of my published works are collabs. I suck at writing so I won't even try these days, I always work with someone. Mind you this is from an artist's perspective, so I can't speak for writers.

1st collab I met my writer through work. We had just gotten hired together, and a month later we ran into each other at an anime con and made the connection that we both love comics. We then started sitting together at lunch and from our conversations, the comic Goblins of Razard was born. She writes the script, I draw and ink, she colors, she letters, and I finish any extra effects.

My 2nd collab was also with the writer for Goblins. We also worked on the script together. Well, I had a vague idea and she wrote all the dialogue and the script itself. I drew it, she formatted it and added all the text and stuff. We ran a kickstarter to fund it, and split the profits evenly between us.

My 3rd collab was Lockhart, written by Jacob Thomas. He commissioned me the first number of pages (pages 1-10, but then he rewrote the chapter and we are drawing new pages). Since then we have made other paid arrangements. He was a total stranger, but he was local and had seen me at cons and followed my Goblins of Razard comic. I wasn't advertising for comic work, but he asked anyways. Things that attracted me to the project:
1. He had a full script, that was already proofed and editted (and it was not a thousand pages long. Seriously, don't send your epic novel. Just the first chapter will do)
2. He had a budget for the project (yay money)
3. He was already invested in my current work
4. His story was in the genre I was already drawing.
5. He had a very good pitch for the story (I generally don't read scripts without a good short summary)
6. He is an all around good person and turned into a good friend.

Migue
Aug '17

I think the best thing to do, as in actually any kind of relationship, is to have good comunication. Speak up your opinions but be receptive of your partner opinios and try to reach a win-win situation.

Early this year I wrote a story that a friend of mine draw, who is very girly and likes shojo manga and stuff (things that I don't really dig). The story was this suspense/mystery thing, and I had it all planned, but when I send her the first draft of the script she sugested that the protagonist and the antagonist both be fashion designers. I was a little bit baffled at first because that was not the vision I had for the characters, but instead of shutting her idea I started to think how it would add to the story. Long story short, I didn't put all of her suggestions into the story, but decided to work with the fashion designer angle for the characters and it actually added a lot to the story and the progression of the plot. That suggestion ended up helping a lot to the story and we both were happy with the final draft of the script because it was something that we both enjoyed equally.

Also, I think is important to have a well tought length for the project and don't tackle something that will take years to finish. For a longterm to work you and your partner have to be really invested in the comic and both will have to be passionet of what your doing, otherwise you shortly be bored by it and drop it sooner or later.

All and all I think that writers need to be receptive of the artist and take to consideration that drawing takes much more time than writing so they have to listen to them and try to help cut corners for the artist. On the other hand, artist have to be honest about what they can and can't do, and be willing to spend a lot of time on the writer vision.

sarahrebecca58
Aug '17

Not entirely sure I agree, but I can respect it.

For me, letting the artist change the story completely stall my creativity. This is why often I will complete the novel or story, before I even consider the idea of coming up with a script.

And now, I no longer make artist request threads. They should come to me, only if they subscribed and are familiar with my work. Then I can arrange a deal we can both be happy with.

But they should be familiar with my work, before the negotiation begins.

16 days later
sandpaperdaisy
Sep '17

The writer I collaborate with started out as a paying client and became a dear friend and creative partner. It developed like this:

My first experience with him was being introduced by a close friend of mine who is his niece, so I had personal assurances of his ethics and disposition. We discussed his project and I thought it sounded neat. We discussed terms and he had no problem paying me a reasonable page rate, which of course impressed me. He provided me with simple panel layouts and a script and I was seized with how well he was able to tell me exactly what he wanted, so working on the pages wasn't stressful. Initially he just wanted 3.

Since he did such a great job telling me what he wanted and paid me promptly, I came back very quickly with three pages which were exactly ("eerily" in his words) what he wanted. This led to him wanting more pages, and with his great descriptions and ideas and his reliability as a customer, I quickly agreed. He was very enthusiastic and I began catching the enthusiasm for the comic too, ultimately helping with the editing and adding ideas of my own.

The result was very much OUR comic. He was writing an album to go with it and he was so excited he wrote a song about me as well. I did some of my best art to date for his back cover...for free, because I enjoyed working with him so much at that point. We ended up tabling together at a convention and having a blast.

The latest is that I asked him to be my writer, even though I had no interest in outside writing up to that point, because he's just that awesome. But it wouldn't have happened if he didn't start out as a paying client who began our relationship by respecting my time and not expecting me to be immediately in awe of his ideas. In the end it was his enthusiasm, talent and great collaborative skills (constant calls, meetings, emails, etc) that completely won me over.

9 months later
NanettesClouds
Jun '18

Heya, bumping this thread because of the recent influx of "writer looking for artist" threads due to the Creator Incubator. I figure that folks might find the advice here useful.