There have been a lot of new writers posting on the site recently with far too many people appearing for me to respond to them all. Artists, tell us what you want in a writer and what you want writers to present in their forum post. Writers with experience tell us how you get artists. Anyone published with experience would be interesting to hear from as well.
Sincerely,
Ruyei
Advice for New Writers here
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Advice for New Writers here
Last edited by Ruyei on Tue Nov 25, 2014 1:38 am, edited 1 time in total.
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lettydraws
- Forum Member
- Posts: 12
- Joined: Thu Oct 04, 2012 4:51 am
- Location: Wales, UK
The one thing I see time and time again is writers trying to pitch an idea for potential artists without telling us anything about the idea! Please, please please please you are a billion times more likely to find an enthusiastic and compatible artist if they know what the story is about and how it's told. Nobody is going to steal your idea, and even if they did they'd never carry it out like you - your idea and the way you'll write it are unique to you, so share it, please. treat it like a pitch to a publisher - tell us what the story is about, what sort of tone you're going for, how long you see it being, what sort of art style you picture it with (though don't ask for an artist who "draws like x other artist", we don't want a job pretending to be someone else, we're not actors.) If you have it written, consider adding a link to a couple pages of script, even. It makes no sense for an artist to have to wait till they're basically locked into a job before they can even see the script - we have to show our work before we're considered, so please think about reciprocating. Show us what you can do, and we're a lot more likely to fall in love with your idea than if you just say "it's a zombie western with a surprising twist."
I have to say.... as a Writer this thread is going to be helpful. When I first started I had no idea how to grab an Artists attention.
As things went on I found exactly what's been mentioned here to be true.
WRITERS! You are selling your story to Artists in the same way you would to a Comic Company. They don't want be told a story, they want to know what the PROJECT is. What this means is that you have to actually tell them.
Sure, you don't want your story to be stolen.... Well. Get it copy written if you're really so worried about that. Print and seal up a version of it with a date on it. If you find your story has been stolen you can use that to fight if need be. BUT.... it's very unlikely that anyone is going to steal your story. Folks have their own stories that they want to tell not to mention it's just not worth the trouble to steal someone else's story. (If you're smart you'll realize that you can possibly just be sued later on down the road and lose everything anyway.)
So... Tell the Artist what the story is. Sell it. Make it appealing, make them feel like what you're doing is going to be successful and worth their time. Simply offering to pay really isn't enough. Nobody wants to produce some half @$$ed bull$#!%. We're all here looking to be SUCCESSFUL. So if you think you've got a story that's going to be such take pride in it and share it. You don't have to share everything, not right off the bat, but at least share enough that the Artist can get enough of a feel for what you want to do that they can make an actual decision on whether or not they want to be involved.
Alternatively, you can just ACTIVELY hunt for an Artist. Instead of looking for Artists to come to you, go look for them. You won't have to share your story publicly, a quick email can get the job done and it'll be private between you and the Artist you're considering.
But always remember... Your Artist should know as much as you do about the Project. 99.9% of the time the Artist is going to be able to see these things visual far better than you ever will be, so trust them... Let them know everything and let them have some say about what goes on a page and I guarantee you that you'll find your Artist produces 10x better work and will be more likely to enjoy working with you.
Of course, this all hinges on your ability to write a Proper Script as well. So. LEARN... Please in the name of everything that is holy and sacred in the Universe learn how to write a PROPER Script.
Panel 1: a whole ton of $#!% happens described in 500 words and so and so is talking to so and so and they're saying over 200 words worth of things in this panel.
^ That my friends, is not a proper script.... Learn these things, read a comic a day and get a feel for what a script looks like when it's turned into a book. Read a ton of scripts by folks that have been successful in the game. You can learn scripting for FREE so there's no excuse for an improper script. And yes, while there are many styles of script writing they all follow the same basic rules, so yes there IS a proper way to write a script. You're special style of script writing more than likely is NOT it and unless you're working with a friend or someone you've got an established relationship with it's not going to fly.
So remember Writers....
Sell your Project as if you're proposing it to a Publisher.
Write a Proper Script, don't rush it. Take your time and do it RIGHT.
Keep your Artist in the know, they'll produce much better stuff.
Trust your Artist, they are an Artist because of their excellent "vision".
- James W. The Writer
As things went on I found exactly what's been mentioned here to be true.
WRITERS! You are selling your story to Artists in the same way you would to a Comic Company. They don't want be told a story, they want to know what the PROJECT is. What this means is that you have to actually tell them.
Sure, you don't want your story to be stolen.... Well. Get it copy written if you're really so worried about that. Print and seal up a version of it with a date on it. If you find your story has been stolen you can use that to fight if need be. BUT.... it's very unlikely that anyone is going to steal your story. Folks have their own stories that they want to tell not to mention it's just not worth the trouble to steal someone else's story. (If you're smart you'll realize that you can possibly just be sued later on down the road and lose everything anyway.)
So... Tell the Artist what the story is. Sell it. Make it appealing, make them feel like what you're doing is going to be successful and worth their time. Simply offering to pay really isn't enough. Nobody wants to produce some half @$$ed bull$#!%. We're all here looking to be SUCCESSFUL. So if you think you've got a story that's going to be such take pride in it and share it. You don't have to share everything, not right off the bat, but at least share enough that the Artist can get enough of a feel for what you want to do that they can make an actual decision on whether or not they want to be involved.
Alternatively, you can just ACTIVELY hunt for an Artist. Instead of looking for Artists to come to you, go look for them. You won't have to share your story publicly, a quick email can get the job done and it'll be private between you and the Artist you're considering.
But always remember... Your Artist should know as much as you do about the Project. 99.9% of the time the Artist is going to be able to see these things visual far better than you ever will be, so trust them... Let them know everything and let them have some say about what goes on a page and I guarantee you that you'll find your Artist produces 10x better work and will be more likely to enjoy working with you.
Of course, this all hinges on your ability to write a Proper Script as well. So. LEARN... Please in the name of everything that is holy and sacred in the Universe learn how to write a PROPER Script.
Panel 1: a whole ton of $#!% happens described in 500 words and so and so is talking to so and so and they're saying over 200 words worth of things in this panel.
^ That my friends, is not a proper script.... Learn these things, read a comic a day and get a feel for what a script looks like when it's turned into a book. Read a ton of scripts by folks that have been successful in the game. You can learn scripting for FREE so there's no excuse for an improper script. And yes, while there are many styles of script writing they all follow the same basic rules, so yes there IS a proper way to write a script. You're special style of script writing more than likely is NOT it and unless you're working with a friend or someone you've got an established relationship with it's not going to fly.
So remember Writers....
Sell your Project as if you're proposing it to a Publisher.
Write a Proper Script, don't rush it. Take your time and do it RIGHT.
Keep your Artist in the know, they'll produce much better stuff.
Trust your Artist, they are an Artist because of their excellent "vision".
- James W. The Writer
[ Do I still think in those little boxes? ]
^.^ <( I'm good. )
[ Ooh, I missed you little boxes! What fun we shall have together! ]
^.^ <( I'm good. )
[ Ooh, I missed you little boxes! What fun we shall have together! ]
More on what Kayo's saying
http://www.comicbookscriptarchive.com/archive/
Writers if you're looking for scripts just go to the link above. Tons of archived scripts from very famous scripters. I can think of no better way than to see what other people have written, however here's something I want to mention. Artists...well...have their own preferences. Some artists will insist on certain styles or will work better if you give a variety of formats to work from if you get the artist before the scripts are written. However, I find most writers work with this format.
Page 1
Panel 1- The ship crashes into the ocean, metal splinering off though no people are seen during the rather dynamic beginning of the ship sinking into the ocean
Captain narration box "Sir, we have a problem"
There are many ways to write a script but I find this way is the standard, but artists are invited to prove me wrong. What I've been told over and over again is to give panel by panel descriptions and to organize them in a page by page format. Another way to do it (But far less popular with artists) is to describe the page in entirety and let the artist himself split all the action into panels. Some artists who are more spontaneous and like my control seem to like this, including an artist I work with quite often who finds this style liberating. It's not a bad idea to ask an artist what he or she wants to see in the script in order to work well. It is well to know that even if you're paying the artist their input and contribution is very important.
Sincerely,
Ruyei
Writers if you're looking for scripts just go to the link above. Tons of archived scripts from very famous scripters. I can think of no better way than to see what other people have written, however here's something I want to mention. Artists...well...have their own preferences. Some artists will insist on certain styles or will work better if you give a variety of formats to work from if you get the artist before the scripts are written. However, I find most writers work with this format.
Page 1
Panel 1- The ship crashes into the ocean, metal splinering off though no people are seen during the rather dynamic beginning of the ship sinking into the ocean
Captain narration box "Sir, we have a problem"
There are many ways to write a script but I find this way is the standard, but artists are invited to prove me wrong. What I've been told over and over again is to give panel by panel descriptions and to organize them in a page by page format. Another way to do it (But far less popular with artists) is to describe the page in entirety and let the artist himself split all the action into panels. Some artists who are more spontaneous and like my control seem to like this, including an artist I work with quite often who finds this style liberating. It's not a bad idea to ask an artist what he or she wants to see in the script in order to work well. It is well to know that even if you're paying the artist their input and contribution is very important.
Sincerely,
Ruyei
Thought I'd revive this thread
Haven't been too many new writers lately but I figured there should be a standard thread for writers to look for advice. When a new writer who obviously needs help shows up I think people should link to this or a similar thread should one get created.
Ruyei
Ruyei
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Victor Cabanelas
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- Location: Bs As, Argenina
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strega guy
- Regular Poster
- Posts: 45
- Joined: Tue May 20, 2014 10:40 pm
Have a story please!
I've dealt with a half dozen writers over the last 6 years or so. A common problem I see cropping up is ego. Too often I'll see a script emblazoned with a character who is ideal, powerful, beautiful and who looks to be a thinly disguised version of the writer themselves! The comic exists to promote their agenda on how great they are when in fact they are writing for a very narrow audience: one. These are excruciatingly boring to work on and I count the pages, and even the panels I have to render before I can be rid of it.
And the tragedy of it is a lot of time and money spent on an idea that actually could work if there was a story in it. A writer really has to take risks and have something to say other than 'lookitme!'
And the tragedy of it is a lot of time and money spent on an idea that actually could work if there was a story in it. A writer really has to take risks and have something to say other than 'lookitme!'
Resurrection
Thought I'd resurrect this after seeing a few writers who simply don't understand that they need to pitch. Everyone post your ideas on how you feel writers should post, how they should conduct themselves, ect.
-Ruyei
-Ruyei
Agreement and disagreement with Emocort
I wholeheartedly agree and disagree with your advice Emocort, though more specifically I agree. If a writer is indeed serious about his or her comic being a moneymaking venture than payment should be put upfront. 50$ is the rate for a standard black and white comic page around here to my knowledge and although it certainly does add up quickly it essentially adds up to a week's worth of eating out for the equivalent of one comic page. And I do admit, that certainly is worth it if you find the right artist, but that is a completely different story.
However, what if a writer is new? Should a new writer who knows nothing about scripting and story simply enter this forum and and offer money for a venture that may as well be doomed to fail due to the writer's own inexperience? That is very complicated. In my book if you have a full-time job you can afford an artist, but not all of us do. That's why for a new writer finding an amateur to practice with or to work with a semi-professional wanting a short diversion is so enlightening. Sadly comicing for a writer is collaborative and the writer needs practice collaborating. Working alone on scripts won't exactly cut it. In the case of a new writer or simply a hobbyist I would advise against the notion that they HAVE to hire an artist. The long and short of it is that there are artists willing to work for free.
But that route indeed is fraught with misery and suffering! I had an artist once who took A YEAR to finish an 8 page comic and multiple others who simply disappeared into the net, unresponsive after the first month. Working with "free" artists is frustrating and also emphasizes a factor that is not as prevalent if you pay the artist. This factor is the artist's happiness. If the artist is not happy drawing the piece even if you are paying you'll have problems, but if the artist is ambivalent you're pretty much golden. Not so with "Free" artists. The artist must LOVE you as a writer and LOVE the project. That's why the advice in this thread is so important, you need to pitch your project and find an artist who is as much a fan of your work as you. That's why I pitch not one but MULTIPLE ideas to get a wider net. But I myself don't pay because at this point I am a hobbyist...sorta.
I'm the weird guy who somehow got a publishing deal with the Zwol darlings Rocketblast and am working on pitches to other comic companies with pretty pro art. However it's taken me SIX YEARS of improving my craft and learning how to work with an artist. Are you willing to wait six years? Paying for an artist just makes things go so much easier, if you can make payments work (And I can't cause I have issues spending money) then make it work. If you can't pay be prepared to patient, you're going to have slow and/or amateur artists that you'll still have to please like royalty else they'll get bored and draw for someone else
. And you'll often have to COLLABORATE as in the artist will get a lot of say in the work you do. My advice...if you have an epic you must certainly get out there or can't/won't pay...learn art or adapt to a prose format. I would only recommend the "free" route to someone who is into comic writing for the long term. You will NOT get an Image worthy artist without payment starting out. Most likely you won't even get an Image worthy artist as a veteran either. If you need me, I'll be saving my money.
Signing out now.
Sincerely,
Ruyei
However, what if a writer is new? Should a new writer who knows nothing about scripting and story simply enter this forum and and offer money for a venture that may as well be doomed to fail due to the writer's own inexperience? That is very complicated. In my book if you have a full-time job you can afford an artist, but not all of us do. That's why for a new writer finding an amateur to practice with or to work with a semi-professional wanting a short diversion is so enlightening. Sadly comicing for a writer is collaborative and the writer needs practice collaborating. Working alone on scripts won't exactly cut it. In the case of a new writer or simply a hobbyist I would advise against the notion that they HAVE to hire an artist. The long and short of it is that there are artists willing to work for free.
But that route indeed is fraught with misery and suffering! I had an artist once who took A YEAR to finish an 8 page comic and multiple others who simply disappeared into the net, unresponsive after the first month. Working with "free" artists is frustrating and also emphasizes a factor that is not as prevalent if you pay the artist. This factor is the artist's happiness. If the artist is not happy drawing the piece even if you are paying you'll have problems, but if the artist is ambivalent you're pretty much golden. Not so with "Free" artists. The artist must LOVE you as a writer and LOVE the project. That's why the advice in this thread is so important, you need to pitch your project and find an artist who is as much a fan of your work as you. That's why I pitch not one but MULTIPLE ideas to get a wider net. But I myself don't pay because at this point I am a hobbyist...sorta.
I'm the weird guy who somehow got a publishing deal with the Zwol darlings Rocketblast and am working on pitches to other comic companies with pretty pro art. However it's taken me SIX YEARS of improving my craft and learning how to work with an artist. Are you willing to wait six years? Paying for an artist just makes things go so much easier, if you can make payments work (And I can't cause I have issues spending money) then make it work. If you can't pay be prepared to patient, you're going to have slow and/or amateur artists that you'll still have to please like royalty else they'll get bored and draw for someone else
. And you'll often have to COLLABORATE as in the artist will get a lot of say in the work you do. My advice...if you have an epic you must certainly get out there or can't/won't pay...learn art or adapt to a prose format. I would only recommend the "free" route to someone who is into comic writing for the long term. You will NOT get an Image worthy artist without payment starting out. Most likely you won't even get an Image worthy artist as a veteran either. If you need me, I'll be saving my money.Signing out now.
Sincerely,
Ruyei
One solid tip I would give to writers is:
You need a portfolio too!
We talk a lot about artists having portfolios. Writers need them as well.
Write a few short, complete scripts and put them on the internet. You can use DeviantArt (I do), but bear in mind that the upload process can be a little bit sticky.
Make sure they're the best work you can produce. Then when you want to hire an artist, pitch to a publishing company, etc, you can go "Well, this is what I'm capable of"
Now, I realize I haven't had much published yet, but the work I have got (that's in production) I got because I bothered to put together a portfolio. I have a pitch out right now that I'm expecting I won't get a response (if I get a response - some people are bad about responding to pitches) until after the holidays and another I plan on polishing up and sending out tomorrow. If I could art, this would be so much easier
.
So, yeah. Do a portfolio, make sure it's easily available to artists and publishers. Take a couple of copies to conventions - the chances that anyone is reading are slim, but you don't want to not have it with you if they are (Yes, I speak from experience).
You need a portfolio too!
We talk a lot about artists having portfolios. Writers need them as well.
Write a few short, complete scripts and put them on the internet. You can use DeviantArt (I do), but bear in mind that the upload process can be a little bit sticky.
Make sure they're the best work you can produce. Then when you want to hire an artist, pitch to a publishing company, etc, you can go "Well, this is what I'm capable of"
Now, I realize I haven't had much published yet, but the work I have got (that's in production) I got because I bothered to put together a portfolio. I have a pitch out right now that I'm expecting I won't get a response (if I get a response - some people are bad about responding to pitches) until after the holidays and another I plan on polishing up and sending out tomorrow. If I could art, this would be so much easier
.So, yeah. Do a portfolio, make sure it's easily available to artists and publishers. Take a couple of copies to conventions - the chances that anyone is reading are slim, but you don't want to not have it with you if they are (Yes, I speak from experience).
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liminalsoup
- Regular Poster
- Posts: 38
- Joined: Wed Dec 10, 2014 9:08 pm
- Location: Vancouver
- Contact:
I'm a writer, but here are my tips for new writers:
1. You need to tell the artist what the expressions on people faces are. For example:
"Bobby pulled the cat's tail as his friends watched" is bad comicbook writing. Is Bobby looking mean? Are his friends laughing? We don't know so how can the artist draw the panel?
"Bobby pulled the cats tail gleefully as his friends watched in horror". I only added a few words, but now we know that Bobby's face should show glee, and his friends faces should show horror. If I also add that "the cat is spazzing out", we now have a decent panel description.
2. Don't be verbose. It's a comicbook, the pictures should tell the story. Your dialogue/narration are just there to add a little extra flavour. You would think this would not need to be said but i recently encountered a new writer who had a 50 word "hand written letter" on page 1 in a panel. Why not just beg people to stop reading your comic?
2. 9 panels per page is a good maximum. Unless you are Frank Miller, then you can get away with 16 panels, once. 4 panels is great because it gives the artist a lot of room to be creative, and give you room to add an extra panel if needed without changing the whole script.
1. You need to tell the artist what the expressions on people faces are. For example:
"Bobby pulled the cat's tail as his friends watched" is bad comicbook writing. Is Bobby looking mean? Are his friends laughing? We don't know so how can the artist draw the panel?
"Bobby pulled the cats tail gleefully as his friends watched in horror". I only added a few words, but now we know that Bobby's face should show glee, and his friends faces should show horror. If I also add that "the cat is spazzing out", we now have a decent panel description.
2. Don't be verbose. It's a comicbook, the pictures should tell the story. Your dialogue/narration are just there to add a little extra flavour. You would think this would not need to be said but i recently encountered a new writer who had a 50 word "hand written letter" on page 1 in a panel. Why not just beg people to stop reading your comic?
2. 9 panels per page is a good maximum. Unless you are Frank Miller, then you can get away with 16 panels, once. 4 panels is great because it gives the artist a lot of room to be creative, and give you room to add an extra panel if needed without changing the whole script.
Someone once told me 'if you've got a world in your head, you have a responsibility to give it life'.
There is a way, if you don't want to tell exactly what your story is about on the forum. Just say that you are willing to pay a pagerate and trust me. The artists will come. No matter if you are a newbie or a seasoned writer. No matter if you only say that your story is a superhero book, scifi book or western. The almighty dollar, euro will make sure you get an artist.
Heck, even if you can't afford to pay for an entire book. Try it with several short stories. Get the best artist out there. I know alot of guys working for IDW or Dynamite, who are willing to help out indie-writers. Short stories is the key. Let's say keep your budget on 4-500 dollars for 5-6 pages for a short. You can get real good artists for that kind of money.
For the ones (like me) who only can do a backend deal it might be a good tip to put the entire synopsis on this forum, so artists can see if they are interested to collaborate.
Btw. sorry for my bad English. I'm a writer, but luckily I only write stories in my own language.
Heck, even if you can't afford to pay for an entire book. Try it with several short stories. Get the best artist out there. I know alot of guys working for IDW or Dynamite, who are willing to help out indie-writers. Short stories is the key. Let's say keep your budget on 4-500 dollars for 5-6 pages for a short. You can get real good artists for that kind of money.
For the ones (like me) who only can do a backend deal it might be a good tip to put the entire synopsis on this forum, so artists can see if they are interested to collaborate.
Btw. sorry for my bad English. I'm a writer, but luckily I only write stories in my own language.
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liminalsoup
- Regular Poster
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- Joined: Wed Dec 10, 2014 9:08 pm
- Location: Vancouver
- Contact:
But is there a market for shorts? Where do you publish them? How do you make back that $500?AtotheR wrote: Short stories is the key. Let's say keep your budget on 4-500 dollars for 5-6 pages for a short. You can get real good artists for that kind of money.
Someone once told me 'if you've got a world in your head, you have a responsibility to give it life'.
to all the writers out there
Yeah I'm shamelessly bumping this. I've e-mailed the admin about making this a sticky, no response. It's our duty to continue posting to this and bumping it before it disappears. Writers need to know the environment they are in here and how to take advantage of it!
-Ruyei
-Ruyei
Bump and stuff
Bumping this before it leaves the main page. Seems a lot of people (including me) are making webcomics. Any advice?
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strega guy
- Regular Poster
- Posts: 45
- Joined: Tue May 20, 2014 10:40 pm
3 examples writers need to see:
As an artist I'm scanning ads all the time on Craigslist, ZWOL, Digital Webbing, etc. I want to share with you two prime examples of simply 'mailing it in' without much effort versus doing a bit of leg work, with the third example nailing it:
------------------------------------------------------------------------------
EXAMPLE 1:
Amateur Comic Book illustrator needed (NYC)
compensation: TBD
Writing a graphic novel. Preparing presentation to get funding. Need preliminary illustrations to help bring my idea to life.
No pay at the moment but will be prepared to compensate once I get funding. Contact for details.
Ideal for art students building portfolio.
------------------------------------------------------------------------------
EXAMPLE 2:
Hi,
I am looking for a comic book artist, or someone skilled in drawing comics. I am not looking to pay. What I am looking for is a collaborator. Someone looking to collaborate on a comicbook, and submit to different comic book publishing companies. The aim being that both the artist (you), and the writer (me) can get our foot in the door of a indie or major company. I have a script written. If you would like to read it, just drop me a line, and I will send you copy. If it interests you, then we can discuss further.
Thanks!
------------------------------------------------------------------------------
EXAMPLE 3:
Hello.
I am a writer looking to collaborate with an artist on a story about a fraudulent "spirit photographer" in the 1880s. Synopsis:
THE SPECTRES OF WILLIAM MORIER
"It's 1880. Desperate to raise cash for an operation for his ailing wife, William Morier devises a wicked scam. He photographs the corpses of rich men, propped up with wooden stakes to look alive. He then visits their widows, promising he can sense their husband's spirit. He shoots the widow using the same photographic plate, and superimposes the dead man so he appears to haunt the scene. The widows splurge their inherited fortunes on these "spirit photographs."
When a cop discovers one of the "spirits" from William's photos alive and working as a butcher downtown, William sinks to the depths of depravity to keep the scam alive.
He visits the policeman on the pretence of proving his innocence. He sets up his camera and has the cop pose. He ducks under the black shroud and with a concealed pistol, blasts a bullet through each of the policeman's eyes.
In the following days, the policeman's widow visits William at his home. She's a believer, she wants a spirit photograph of her dead husband. She wants it by the morning- she'll pay double.
It's impossible, the policeman is already six feet under. But William has no choice. He swigs a flask of whiskey 'til he's suitably smashed, smears mud on his face to disguise his identity, and trudges off into the night to dig up his eyeless victim for a photograph."
The script has been developed over three years and five drafts. I am looking for an artist with whom I can work in partnership, as opposed to a hired gun. I have some ideas regarding publishing. Ideally I would like to partner with someone without outlaying funds in development, but that's negotiable. It's currently sitting at around 66 pages but I think I can tighten it up.
We're tapping into Victorian creepiness. Completely morbid, with biting humour to keep things from becoming too heavy.
I'm looking forward to hearing from some artists keen to make a dark masterpiece. By email, preferably: xxxx dot xxxxxxxxxx at gmail dot com. Thanks for reading.
xxxx
------------------------------------------------------------------------------
The first two you see dozens of times everywhere. Starting out with the negatives (no money, collaboration only). A few crumbs of incentive (will add to your portfolio). Offering zero information about the story or project itself. Meh.
The last one shows someone giving a damn, who has a unique vision and wants to get it out to you as soon as possible. He may not have any money to pay either but at least he cares enough to put something of value (his story) in the post. He also shows in a few short paragraphs his writing ability; something that makes posts like this stand head and shoulders above the others. Added bonus he included the title, so that people have something to refer to specifically, instead of 'victorian murder mystery.' (He contacted me a week later and said he found an artist that will work for free by the way).
------------------------------------------------------------------------------
EXAMPLE 1:
Amateur Comic Book illustrator needed (NYC)
compensation: TBD
Writing a graphic novel. Preparing presentation to get funding. Need preliminary illustrations to help bring my idea to life.
No pay at the moment but will be prepared to compensate once I get funding. Contact for details.
Ideal for art students building portfolio.
------------------------------------------------------------------------------
EXAMPLE 2:
Hi,
I am looking for a comic book artist, or someone skilled in drawing comics. I am not looking to pay. What I am looking for is a collaborator. Someone looking to collaborate on a comicbook, and submit to different comic book publishing companies. The aim being that both the artist (you), and the writer (me) can get our foot in the door of a indie or major company. I have a script written. If you would like to read it, just drop me a line, and I will send you copy. If it interests you, then we can discuss further.
Thanks!
------------------------------------------------------------------------------
EXAMPLE 3:
Hello.
I am a writer looking to collaborate with an artist on a story about a fraudulent "spirit photographer" in the 1880s. Synopsis:
THE SPECTRES OF WILLIAM MORIER
"It's 1880. Desperate to raise cash for an operation for his ailing wife, William Morier devises a wicked scam. He photographs the corpses of rich men, propped up with wooden stakes to look alive. He then visits their widows, promising he can sense their husband's spirit. He shoots the widow using the same photographic plate, and superimposes the dead man so he appears to haunt the scene. The widows splurge their inherited fortunes on these "spirit photographs."
When a cop discovers one of the "spirits" from William's photos alive and working as a butcher downtown, William sinks to the depths of depravity to keep the scam alive.
He visits the policeman on the pretence of proving his innocence. He sets up his camera and has the cop pose. He ducks under the black shroud and with a concealed pistol, blasts a bullet through each of the policeman's eyes.
In the following days, the policeman's widow visits William at his home. She's a believer, she wants a spirit photograph of her dead husband. She wants it by the morning- she'll pay double.
It's impossible, the policeman is already six feet under. But William has no choice. He swigs a flask of whiskey 'til he's suitably smashed, smears mud on his face to disguise his identity, and trudges off into the night to dig up his eyeless victim for a photograph."
The script has been developed over three years and five drafts. I am looking for an artist with whom I can work in partnership, as opposed to a hired gun. I have some ideas regarding publishing. Ideally I would like to partner with someone without outlaying funds in development, but that's negotiable. It's currently sitting at around 66 pages but I think I can tighten it up.
We're tapping into Victorian creepiness. Completely morbid, with biting humour to keep things from becoming too heavy.
I'm looking forward to hearing from some artists keen to make a dark masterpiece. By email, preferably: xxxx dot xxxxxxxxxx at gmail dot com. Thanks for reading.
xxxx
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The first two you see dozens of times everywhere. Starting out with the negatives (no money, collaboration only). A few crumbs of incentive (will add to your portfolio). Offering zero information about the story or project itself. Meh.
The last one shows someone giving a damn, who has a unique vision and wants to get it out to you as soon as possible. He may not have any money to pay either but at least he cares enough to put something of value (his story) in the post. He also shows in a few short paragraphs his writing ability; something that makes posts like this stand head and shoulders above the others. Added bonus he included the title, so that people have something to refer to specifically, instead of 'victorian murder mystery.' (He contacted me a week later and said he found an artist that will work for free by the way).
Hey there :)
As an artist I think that I will agree to do some work unpaid just to establish an online fanbase but I think that writers shhould be specific of what they want , 
do they want only the drawings and they will do the rest? or what?
do they want only the drawings and they will do the rest? or what?what a writer wants
I agree, writers should be specific on if they want they have planned. However I'm not sure entirely what you mean, but I can tell you as a writer some of my own experience. A couple times I have found an artist, given a script, and then was shocked to find no letters. Turns out quite a few artists only do pencils and inks and a writer will have to find his own letterer. Not that this is a "bad" thing, letterering is a skill like any other. I looked for a leterer for my comic when my artist demonstrated poor lettering skills. Just a warning for writers that an artist may not do lettering and you may want to find another member of your team. Luckily it is a lot easier to find a letterer than an artist these days.
Sincerely,
Ruyei
Sincerely,
Ruyei