This is a guest post by Gwen Kortsen, writer of Unnatural Remedy, and featured in the Mangasm!! anthology, both published by Speedlines.
So many writers post their story ideas on internet forums etc, looking for an artist to work on “their” story. They’ll describe characters and whole story-arcs that have little or no room for change, and inevitably, there won’t be much interest from artists. It may seem silly to point this out, but artists are creative people too, and most artists have a few story ideas of their own. So, if you’re a writer looking for an artist, this is how I would go about finding one.
It takes two to tango
Before you start developing concepts and characters, before you start scripting that 20-volume saga – find an artist you can work with. “Work with” is the key phrase here. Don’t look for an artist who can draw for you, look for an artist you can write for.
It always works better when you develop an idea along with the artist. What’s important in the first run isn’t selling your concept to an artist, its convincing said artist that you are a person they can work with. Producing a comic is a lot of work – but, we’ll get back to that.
Of course, what I’m saying here will apply to amateur writers, rather than professionals. If you are a professional, and have been contacted by a publisher to produce “your” story, then things are different. For one thing, either the writer or the publisher will be paying the artist to draw what they’re told to draw. What I’m talking about is the process that happens when an amateur writer convinces an artist to draw what they write for free. In that case, it only makes sense for the artist to think, “What’s in it for me?”
An artist is much more likely to dedicate all that time and effort to a project they feel that they have a stake in; to invest in characters they’ve had a hand in developing. That expression about how two heads are always better than one? It certainly applies here; two creative minds pooled together can often come up with better plots and stronger characters than one person working alone.
To tone, or not to tone?
Speaking of one person working alone – no artist should have to do that. Even if an artist can produce a page a day, drawing the whole thing takes a lot of time. This is why I think it’s important that writers take on extra chores. One example I can think of is Naked Ape, where the writer always inks over the artist’s pencils. Personally, I’d never have the stones to ink – but I have learned how to tone, and that’s been a huge help in finishing comics faster. How much I do depends on who I’m working with, some people like to do a lot of their own toning, and some prefer not to tone at all. (I’ll also letter any comic I write, but that almost goes without saying.)
If there are two of you constantly working on a comic, you get this wonderful feeling of camaraderie, of “we’re in this together” – whether you’re working in the same room, or if you’re in different parts of the country. Instead of handing the artist a script and saying, “Phone me when you’re done,” you’ll be a part of the whole creation process, and surely that’s more satisfying?
Perhaps at this point, you’re thinking, “Baka!! The writer does the ideas, and the artist does all the art, that’s just the way it is!” or, “Sure, that might apply to other writers, but not to me, my story’s bound to be an instant hit!” All I can say to that is, it’s worked for me – at the time of writing, I’ve worked with six different artists. The point I’m making is this: You’ve got to have more to offer an artist than tons of unpaid work, if you want them to take you seriously. And only good things will come from picking up new skills, right – so why not give it a go?
Gwen Kortsen’s work appears in The Witch, Leek & Sushi (both by ITCH), Mangasm!! and Unnatural Remedy, both by Speedlines. Also on Amazon.co.uk: Leek and Sushi
This is the first ever guest post on ITCH. I will be hunting down some other “Guest Experts” to share a little chunk of their knowledge with us. If you have suggestions, or you would like to write a guest post yourself, get in touch or use the comments box.
{ 14 comments }
The writer doing the tones is a genius idea! What a great way to really work together on a project. The tones in Unnatural remedy were fab too! ^_^
Gwen did the tones for all her work with me (one of the hextet). One: I don’t have much of a clue at using tones and two: it was taking all my time drawing and inking never mind lettering and toning. I tried to make the transistion once and ended up using mostly pen work to hide the fact that I can’t tone. The point I’m trying to make is that having that support available from your writer/creative partner is invaluable in making the prduct work.
This was a really good and much needed article. It should be reproduced and posted up on all the comic creator forums on the web
The idea of a writer helping out with inks and tones is a brilliant one. It will no doubt also provide the writer with an accurate idea of the time and effort that goes into producing the art work for a page. Which would be a great thing, since many would be comic writers seem to hugely underestimate this factor, and often have unrealistic expectations of an artist.
Ha ha, yes, the overenthusiastic writer looking for an artist who can complete 200 pages of manga in three weeks is a depressingly real stereotype.
I think writers should at least be willing to try to draw. Even if they’re absolutely no good. Laying out pages with blobs and stick figures may make your friends roll around on the floor laughing, it will still teach you things about how space on the page can or can’t be used, how pacing works, why you can’t have 9 – 16 panels on every page, etc.
My problem is finding an artist to start with. I understand the “team-work” idea, but what’s a team without…well a team? I mean, I’m not good at drawing and toning is the worst. *What’s wrong with simple black and white?*
First, I need to find an artist. Then I guess we can talk about their ideas and what not. But most of the people I’ve talked with charge $20-90 a page…sketches! So yeah, I think I might just go into the whole 3D thing and then just grey-scale the thing.
I would suggest you try joining a few forums, Elizabeth, or have a look around Deviant Art. When you find someone whose art you like, contact them and ask if they would be interested in working with a writer. Get a dialogue going, maybe ask if they’ve got any ideas that they find it hard to get down on paper etc.
There is nothing wrong with simple black and white, but since manga is so prevalent today, I think a lot of people might decide the art looks “unfinished”. Also, even black and white comics use cross-hatching etc to create a more varied look. Tones can really enhance the look of a comic, and you never know, if you do find an artist they might insist that their work should be toned. Learning to tone isn’t all that hard, and you’ve got to put some effort in to realise your dreams, right?
On the subject of toning, I just have to say that Angela Wraight toned so much of Unnatural Remedy that I’m honestly not sure where her tones end and mine begin – but I’m pretty sure she did much more than me. I don’t want it to look like I’m stealing the credit for someone else’s work!
Elizabeth: There are artists out there who are looking for a writer to help them out, or they would be if they thought they could find someone who could help them where they need it.
So many writers look for artists by saying “look, this is my stuff! work for me!” and the artists say: “OK, that’ll be $20 a page.” The trick is to say: “look, I’m a writer, I know storytelling, I can write realistic dialogue, let me work for you.”
To persuade an artists to work for you, you’ll have to talk about how you can help them. Once you get that straight, you’ll have a lot more luck finding artists willing to work with you.
@Willie
No self-respecting writer will approach an artist in such a way. Maybe an amateur, but not someone well versed in literature.
I’m tired of writing getting dumped on, like it’s not a big deal, along with the common thought that drawing is much harder. Maybe drawing is more time-consuming, but not harder. Coming up with a good story, but more importantly an intelligent one, is something the manga genre can afford to have. Coming of age themes and cheesy cliches rule the day here, and only a few graphic novels are worthy of respect.
A good, self-respecting writer will claim it’s “his story”, much to the dismay of the author of this discussion. I’d rather just pay someone for the art.
Hey Matthew,
I get that you’re tired of writing getting dumped on. Skillful writing is often not valued or recognised, not only by artists but also by people who call themselves writers and think all you need is an awesome idea about demons, or a government conspiracy. A skillful artist is much easier to recognise to many people than a skillful writer, I think that’s part of the problem.
I did not mean to sound as if writing is no big deal. It is. Storytelling skills, good dialogue, etc. are very important, that’s why why I hightlighted those as some of the things you could mention when you present yourself to an artist. Taking that angle has nothing to do with self-respect, it’s just the basics of persuasion. If you want to persuade someone to do something, you talk to them about how it benefits them.
On a final note, I don’t think being an amateur has anything to do with how well-versed you are in literature. I’ve got an MA in the stuff, but that doesn’t make me any less of an amateur. I, my guest Gwen, and most of the commentors here are amateurs, if you’re not, then maybe that’s why we got off on the wrong foot here. If you’re a professional comics writer, or you’re in a position where you can afford to pay your artist a page-rate, then obviously this discussion does not apply to you.
I know this is a really late post to this, but it’s been two months and still everyone I run in to holds out their hand and says, “That’ll $50 a page.” So not worth it. It may be easy for you Willie, but for people who doesn’t have artist friends and who can’t afford to go to con after con searching for Mr. or Mrs. Mangaka, it’s not easy and downright frustrating. I think I’m going to go with Mat on this one and just save $3000 to make one 75-page manga that will only sell $9.95 an issue.
Hi Elizabeth,
I’m sorry you’re not having any luck. And yes, it IS hard, especially if you don’t know anyone yet. All I can suggest is to keep putting yourself out there, and hope you find what you’re looking for.
Finding an artist willing to work with you on a ‘for fun’ project is a bit like finding true love. Two months is not a long time to look. Maybe the people you’re asking are all professionals? Maybe your presentation isn’t really working? Maybe the fact that you called your previous artist ‘crazy’ in public is putting people off? I don’t know. Good luck, anyway.
To Elizabeth,
toning is a great idea!! and as gwen said if you really can’t tone, acutally lettering is a perfect idea- since most lettering is done digitally n’ all these days- and i found that what takes up the most time for me personaly is doing the lettering.
as for the difficulty of finding an artist- i think that’s silly, and i come across loads of artists who are totally willing to work for free. there is one thing you can promise them- good exposure! if you are willing to put the work up online ect. and then maybe the two of you banging some cash together for a book, that’s cheaper for everyone =)
I think you may well be looking in all the wrong places, or prehaps going about it the wrong way. all this ‘no self-respecting writer would ask an artist in that way’ talk from that matt guy, well if you talk like that then, yeah, you ain’t going to get anywhere.
i just think, the fact is- if you are going to cons and looking on the internet for an artist, or can’t afford that crazy amount of money for a page, then you must be an amature writer- if you are an amature writer then i think you have to maybe be willing to accept work from ammature artists.
ofc. i don’t know the whole story, but the only artists i know who wouldn’t work for free are those who are professional. most artists i know (including myself) aren’t amazing, but there are loads out there with great potential who will work for free, if you allow to work with them as a team, as the article suggests, ect.
prehaps you are being too picky/looking in all the wrong places? god forbid you are being too ‘picky’, then you have to think, ‘beggars can’t be choosers’ you know?
to the whole thing about ‘not everyone has it so easy, having money to go to con after con and having lots of artist friends’ is bullcrap! we as smallpress work our asses off, and go into debt just to go and have a good time at a con, and enjoy ourselves.
i, and many people i know have writer friends, and artist friends, probably because we make an effort to go into the community and talk to people, to build a relationship- it’s not just about money, not just about making it big and not just about making comics- the small press and comics scene as a whole is a community. for me it’s just saomethng i fell into. i count myself very lucky to know the people i know, i can look to them for wisdom and all that- but also it’s just nice to knowothers are in the same boat. =)
i might be wrong/quick to judge prehaps but to me, you give the impression that you don’t see it that way, and maybe that’s why you’re havin’ so much trouble.
On Paying for artists:
I worry at the view that if you pay an artist you can hold onto more of your creative vision as a writer. It’s true, you have more say- but you’ll just annoy your artist- and that way bad comics lie. You want your artist to have some connection to the project, if only for the sake of creating a good book. Your artist is never an employee, they are exactly HALF of your creative vision and as such, it is in your best interests to have them wildly excited by your story. They need enough creative freedom to produce their very best work for you. This is always prefferable to holding onto more of your vision and having an uninterested art monkey. I would argue that “No self-respecting writer” would ignore this fact. Even one well versed in literature will have had to deal with editors, marketing, art directors and publishers all chipping away at their idea in order for it to see print.
~John~
On $50 not being worth it, it’s really worth keeping in mind how long a comic page actually takes to create character designs, plan layouts, draw, ink, tone, letter and prepare for press. If they’re not invested in it personally, you’re asking a professional to give you hours and hours of their time and if that’s how people are earning their rent, that’s a big thing. If you can’t afford that, then you need to build contacts and find a team you can work with, where people are willing to put down the big time commitment.
There are people out there who are looking for writers, but building friendships and working relationships takes time. In the mean time, you can work on more scripts. It might even be a good idea to write some shorts, 5-pagers and the like that you can use to see how you and your artists work together. That’s a lot less intimidating than jumping straight to a whole issue or GN.
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