But as far as your last point, even though you are taking on the financial risk in paying a page rate, the artist is giving up time, and a lot of it. Time is money too. If I were to spend 20 hours a week on a project for a year, that would equal a ton of money if I were to be paid my professional rate. So it’s just something to consider when thinking that you are the only one taking on financial risk. The artist could be out getting his full hourly rate so he can pay his bills.

I guess it’s different though if you are not sure if it will make any money. You both just have to accept that you are either going to spend money or time to peruse something you enjoy like a hobby.

At that point, do you artists generally consider it a work for hire and are more than happy to let me roll around in the giant piles of royalties (yep, my expectations are suitably low)? It seems like coming in with an insultingly low offer would just torpedo any talks right away. On the other hand, if I’m sinking money that I can’t really afford into a project, particularly if I’m giving to my collaborator and not someone like a printer, I’d be a bit miffed if they expected an equal share assuming a fat check ever did come in. I mean, I would be the one taking the financial risk.

I've done some shorts that are part of an ongoing series, but written to work as a single story. These are best, in my opinion, if they'd be publishable as part of an issue some day. (I'm a big believer in always producing work with the intention of having it seen by a wide audience.)

That said, most of the shorts I'm working on are designed to stand on their own in a wider sense, to be included in anthologies. They can be intended for specific anthologies, or to pitch once they are done– and in most cases, also printed as part of a self-published collection to help get the stories out there regardless.

–M

“Now if I were to meet someone who had a personal project that they wanted to share with me and I loved it too than it would be different. I don’t see that as working on spec though. I see that as a personal project but with two people involved.”

This is what I’m talking about. Honestly, considering the amount of time an artist has to put into a project I don’t see how one would work on a project OTHER than under these circumstances (except for pay).

Being a self-contained creative force (writer/director/DP/Editor/Producer) I clearly have majority stake in my projects and I wouldn’t expect a PA doing 3 day’s work on set to regard much, if any, “ownership” or responsibility (beyond their duties) of “my” project but key collaborative players (lead actors (and going forward writers, producers, editors, DP etc)) that are not simply hired guns I would hope would consider some “ownership” of what they’ve contributed (unless they feel their contribution was ruined in some way). Basically I would like them to be as invested in the projects success as I am.

Regarding my definition of spec, I consider it anything that you do, without pay up front with the anticipation that you will be able to sell it (or distribute) after completion, including what you call personal projects. You say you don’t work on spec as an illustrator anymore but ReMind is a totally spec project. You are working on it for free with the anticipation that it will sell later on. Total speculation.

Here’s a question: Are there ANY artists out there looking for writers or material to work on?