Hello, this is andi guinness. I’ve had a behind-the-scenes role here at Affect 3D for quite some time now, from being the writer for the Girlfriends 4 Ever DLC script to making many of the products that you’ve bought sound better – hopefully. I recently released the first product that has my name on it. (Pssst, you should check it out!) So you could say I know a thing or two about collaborating with artists.
But what do artists say about collaborating with writers? If the new world of erotica miro seeks out is to flourish, writers must get involved. However, artists may not share the same sentiments as we do. This is not to say that they don’t like writers. It just means we should take care in how we also enter the world of 3DX. For vets such as myself and Camille Juteau, this is a little old hat. So this is more for writers – or would-be writers – who want to get their foot in the door. Talking to different 3DX artists over the last several months, here are what lessons I can relay to you all.
Lesson 1: Not every artist wants to collaborate…
I think this goes without saying, but I can understand some of us being a little giddy when an artist we like wants to tell a story. Maybe they have an interesting set of characters or setting. Perhaps they have a set of fetishes we also enjoy. However, that alone doesn’t mean the artist wants to work with you, let alone anyone else. All the artists I spoke to have done collaborations in the past, but at least a couple of them are hesitant about working with others in the future. At least one flat-out said they would not do any at all.
The reasons can vary. Some feel uncomfortable yielding narrative control of their work to a third party who might get it wrong. This is not insignificant: The narrative can and will influence the art. That’s a lot of power to have, so you have to understand it’s something they want to give up.
Other artists may find it difficult to work with others. A few back out of the idea for financial reasons. And some simply prefer to work alone. Whatever the motivations, writers should at least respect them when contacting artists about doing work. At the very least, knowing this will help you overcome the sting of rejection. But more importantly, it will help you establish what artists will feel most comfortable with the idea of collaboration.
Lesson 2: …But it doesn’t hurt to ask
Of course, telling people not to work with certain artists is not my intent here. A lot of artists are happy to at least hear out your ideas. So send them a message if possible, preferably through email. Always be polite and kind when doing so: Start with complimenting their work, saying what you like about it. Then ask if it’s okay to pitch an idea or suggestion to them. It’s better to know whether artists are interested in what you have to say before soliciting that information.
Then, when you do pitch, try to keep it as simple and concise as possible. As I’ve seen from certain forum members on this site, it’s very easy to feel compelled to write “suggestions” or pitches that are the size of multi-page essays. But not only does that drag and cause the artist to lose interest, it already suggests to them that you desire a lot of control over the end result. That’s a great way to get rejected. The important thing is to get the basic idea down first, because you can worry about the details later. Many artists often started collaborations based on this alone.
Lesson 3: Get your work out there!
In addition, sometimes artists will seek out writers in different ways. One method that some of the artists mentioned using was holding events such as contests to pick out writers. That gives you an opportunity to shine as a writer based on the artist’s tastes. Seize this opportunity when you get the chance. More importantly, it stands to reason that you should follow your favorites closely.
Finally, a few artists mentioned just seeking out writers for help on projects. Sometimes they’ll post a mention on their websites, while other times they’ll just look for storytellers with similar interests as theirs. That’s why you want to consider getting some of your work out there, whether it’s on particular forums, Literotica, Deviant Art, or Hentai Foundry. Showing your stuff publicly will attract some attention, including artists you like.
Lesson 4: The story shouldn’t get in the way of the art, or vice versa
Once you get started with an artist, the real work begins. It’s important to take into account the medium you’re working in, whether it’s a story with images attached to the pages, a comic, or something in between. Being the person behind the words may give some control over the narrative, but that doesn’t mean you should run roughshod over the artist.
Many artists made a point that you should know what your role is in the context of the collaboration. On the most basic level, you may just be writing words to already-completed works. There’s nothing wrong with doing that, so don’t feel put out by the limitations this presents. You may be asked to write the whole script with dialogue, but nothing further. In that case, be sure you have ideas on what each image looks like so you can fill the space, or give the artist guidance on where each chunk of text will fit into each image. Finally, some artists will request you help them plan out each image, similar in many ways to storyboarding in film. While this is the most rewarding type of work, it’s also the most challenging aspect when collaborating, so be sure you’re prepared to take such a responsibility on.
Lesson 5: Be open-minded, honest, patient, and trustworthy
What artists expect from writers is not just someone who can write coherent sentences between the moans. They see them as partners in many ways. They like it when writers come up with new and interesting ideas, helping them think outside the box they exist in. It helps them get more creative with the work they do.
With that said, such a partnership only comes when we writers actually get along with the artists. That starts with being open-minded with your approach. While it’s important to challenge who you’re working with unique takes and cool ideas, it’s also necessary to stay on the level with them. Don’t be afraid to take on things they send you that are unusual to you or make you hesitant, at least at first. It will help you become better at creativity. Restraint is the mother of imagination, after all.
You should also be patient with your artist. While writing takes a lot of work and time, so does rendering models. This matters because you may be done with a script, but your artist will not be done with the images for that script. Artists admire who respect the amount of time it takes to complete this work. More importantly, you can use this time to make tweaks or work on lore if it’s part of a larger narrative.
Finally, being honest and trustworthy will do you wonders. This matters especially with the stickier parts of collaboration, such as money matters of any kind or tight deadlines. Those are never pleasant situations. Every artist acknowledged that someone who can deal with that without being a flake or a cheapskate was someone they wanted to work with in the future.
Conclusion
Make no mistake, 3DX artists do want a hand in creating their works and making them into interesting stories. As writers, we have a great opportunity ahead of us. If we play it cool and responsibly, more collaborations will come to light, and great works will happen. It’s a new world of erotica out there. We can stake our claim, but we shouldn’t do it alone.
Jess
January 31, 2016Best writer ever is Miranda Morgan!!! She wrote Farm Girl and the most intense monster stories I have ever read!!! If all comics were based off of her stories they would all be legendary!!
redrobot3d
January 28, 2016Great article! I would even suggest that writers pick up the valuable skill of lettering. If a writer can help letter the book as well it greatly increases the overall production time allowing the artist to generate more images. Lettering a full book can take up to 2 days sometimes depending on the length of the project. With super cheap programs like Manga Studio (or a $20.00 a month sub to adobe illustrator) a writer can easily learn basic comic stye lettering and become a bigger part of the production!