Recruiting - The Process.

[xadrian]

I'm not posting this to find talent, I'm just opening discussion for those who've assembled teams to relay how they've contacted people. Do you start with your home turf (like friends, board members) or do you start right in with an ad over at DWP or try to contact major talent and work down from there?

[amadarwin]

I usually start with people who's work I've seen and liked. Friends are just that, friends. If they are talented, I'd tap them in a non-sexual way but you have to be careful because some people can't differentiate a friendship from a professional relationship.

[Miss V]

If I was going to collaborate with someone, I would use my friends. I think just about everyone I know either draws, writes, or both, so I don't really see the need to look for people I don't know. Besides, then you have to PAY people.

[Awesome B. Rockinsocks]

Even if friend approached me, I'd definately need to see some money. I've lost alot of friendships over such issues, even ones I thought were really strong and close. But then again, I am extremely cynical towards the idea of artists even getting along with other artists gennerally. Just my two cents.

[cabralsoth]

i usually start with them in their bra and panties, i like to get a good look at what i am working with, i have em turn around for me so i can see the whole package... then... waitaminute... what are we talking about here?

[Inkthinker]

I try not to work with personal friends... I feel creepy asking them to pay me, for one thing. That's not to say that I don't enjoy making professional friendships, and I might consider professional friends to be as good as personal ones, but there's definitely a separation of the two that determines how I interact with them.

Last time I was involved in recruiting someone, it was a recent hire at HTF... I saw his work on DeviantArt, did a little background checking on him and looked to see where he was in his career and what he wanted to do, and then took that information to my boss who did the same all over again, and then we offered him a job.

Simple as that. It was largely based on the strength of the work he was showing, the work he had done, and his personality in talking to him before the job was offered (or the idea of a job even being available was put forth).

So what I would suggest is that you always try and act professional in your communications online, and that you always show your best work. If you have what people want, and you act like someone they can work with, then you're pretty much there.

[Dash Martin]

I become friends with people whose work I admire and would like to someday work with...so I guess it's a little bit of both. Recruit talented friends. hehe

[xadrian]

Follow up, do you approach it differently if you couldn't pay people? Do you even try outside of your "friends" if the project was a pitch or exposure thing or something you'd have to kick money into, like an indie anthology? Or would you still ask pros and see if they'd pro-bono something?

You ask your friends for money? ( )

[Mase]

If you can't pay people, I wouldn't bother. If they offer their services willingly - go with it. If you have a close friend with very similar goals whose a great artist - and owes you a big favor - then go with it. Otherwise, I think your time would be better spent raising the cash to pay someone.

[F!]

I'm working on a couple of projects at the moment where I'm mostly working for free. The reason I agreed to work pro bono/cut-rate (where I would normally ask for my regular rates) is that the projects have a good chance of making it to publication, and therefore netting me payment later.

These were just out of the blue emails from people who had seen my stuff online and were putting creative teams together. They laid out their pro credentials, the other members of the team, and their intentions for their projects, and asked if I'd be interested in being a part of it - all in a very polite and professional manner.

The key then, I think, is to inspire confidence in the quality and success of the finished product and the enjoyment of the actual process of putting it together. Do that, and I'm sold.