Self-Promotion for Illustrators
by Phyllis Pollema-Cahill, July 2001

In 1995 I was laid-off my job as a graphic designer and decided to finally try pursuing my dream of illustrating for children. The first few jobless months I spent in preparing my portfolio, database and marketing materials. I really didn't know how my work would be received by children's publishers. I had heard it was a tough market to break into and I needed to either make a living at it or find another job.

After my first promotional mailing a few assignments trickled in. Thankfully, with continued marketing efforts, I developed some regular clients and work became more plentiful. In the third year I had so much work I was in my studio 60-70 hours a week. That's not a lifestyle I savor either, so I had to start turning away work. I've been fortunate enough to have enough work to choose my assignments ever since.

The work & the portfolio
When I decided to enter this field, I took an objective look at the portfolio pieces I had and realized I needed a fresh start. I had an art school portfolio and a commercial illustration portfolio and neither were going to do the job. I needed a portfolio that applied to THIS market.

I read all I could find on children's publishing and learned that a good children's illustration portfolio should contain images of children of different ages and ethnicities in action and showing emotion. Animals are another popular subject. It's also good to show different settings - a cityscape, a landscape or a classroom, for example and to show adults in the proper proportion to children.

Illustrations should tell a story. In my search for good stories to illustrate for my new portfolio, I avoided well-known fairy tales or folk tales, because I can imagine how tired art buyers, whether editor or art director, get of seeing yet another "Three Little Pigs." I started looking in back issues of children's magazines and found some gems. You can also write stories of your own. Somehow the emotional energy from a story you really like helps bring the illustrations to life. Try to find or write a story with action and drama, in order to avoid too many illustrations of kids sitting, standing or posing for an imaginary camera. Make the kids look alive, do something fresh, use a different perspective. Show you know to allow space for text.

It's also very desirable to show that you can keep a character looking consistent throughout two or three illustrations. Not everyone can do this well, and it needs to be done well in picture books. Samples in color, B&W halftone and B&W line are good, but if your strength isn't in B&W line, don't include any samples.

Something I didn't learn from my reading was that if an art buyer is looking for an illustrator for a chicken story, they'll most likely be looking for illustration samples of chickens. It seems obvious now that they'd feel more comfortable knowing what they'll get beforehand. On the same hand, if you don't like to draw bicycles, never include one in your samples because, sure enough, you'll get a call to illustrate a dozen of them.

In your portfolio, keep your presentation clean and try to put only one large image per portfolio page. Don't go overboard with images, 10-15 are plenty. Replace the huge, black vinyl portfolio of art school days with a smaller, more professional one.

You might want to develop a logo. I created one which I put on my stationery and marketing pieces and art buyers have remarked that they remembered it.

"How many styles?" is a question that each artist has to answer for themselves. I prefer one style because I believe it's easier for an art buyer to remember me. Using one style frees me to put my effort into other aspects of the illustration, rather than technique. If you like working in multiple styles, create different portfolios or separate one portfolio into different sections. This works very well for many artists.

Creating a database
It's very important to study the children's publishing market. It takes time, but it's time well spent. To keep track of all the market information I was gathering, I created my own database using MailList & Address Book software. http://www.avanquestusa.com There are many others available, such as FileMaker Pro. You may already have software that performs the same functions.

I use my database software to print personalized letters & mailing labels, keep track of publishing house addresses, URLs, editor and art director names, phone numbers and the type of materials they publish. I also keep track of samples I've sent and when and any responses my mailings received. I categorize publishers by who seems most likely to use work similar to mine. With the sorting feature I can, for example, call up all the educational publishers in California who've responded positively to my work in the last three years and send them a new sample. I love sorting, it's like magic.

Creating your own database, rather than buying a mailing list, helps you to keep up with the ever-changing marketplace. You can customize a database to your needs and make it as simple or complex as you'd like. Most importantly, you don't appear uninformed by sending inappropriate submissions or not knowing what you've already sent. Knowing the market and targeting your mailings helps keep the slush pile down, which makes art buyer's lives easier, gives them more time to look at our submissions and saves trees.

I gathered information for my database from "Children's Writer's and Illustrator's Market" (CWIM) and by sending for catalogs and sample issues of magazines. Going to the bookstore or library to see who's publishing what is another way to choose the publishers you'd like to target. I also subscribe to "Children's Book Insider" newsletter for updates to CWIM. The SCBWI newsletter and "Children's Writer" newsletter also contain good market information. If you want even more data, "Literary Market Place" is a huge set of library reference books which contains information on all types of publishers.

In sending for catalogs, I also requested art guidelines, though they seem very similar from publisher to publisher. Art guidelines basically ask that you don't send samples larger than 8 1/2" X 11" and NEVER send originals.

Direct mail
I'd like to cover several marketing methods in the order that they've been most effective for me. You may find that a marketing method that only works moderately well for me will work incredibly well for you. The important thing is to get your best samples into the hands of receptive art buyers.

Direct mail has generated the most assignments for me. When first contacting a publisher, I send out an 8 1/2" X 11" introductory packet. It includes about five images, a very brief cover letter, a stamped reply card and a large SASE with appropriate postage for the return of my samples, in case the publisher isn't interested in my work. Of course they're more than welcome to keep the samples, and I mention this in my cover letter. Some illustrators don't include an SASE, but I prefer to learn if art buyers aren't interested so I can note it in my database and save myself time and postage by not sending them future mailings.

A self-addressed stamped reply postcard has been very helpful to me in getting feedback. I make it as easy as possible for the art buyer by putting checkboxes in front of brief statements such as:
__ I like your illustration samples
__ Please send me a full portfolio
__ I'll keep your samples on file
__ Please send me new samples periodically
__ I'm returning your samples, they're not appropriate for our current needs.

It's best to avoid cleverness in reply cards and cover letters because you don't know how it will be received by an art buyer. Be professional and you can't go wrong.

Also on the reply card I adhere a mailing label with the art buyer's name, title and address so I'll know who returned the card. Below it I include the sentence, "If this mailing label is incorrect, could you please write in the correct information?" I also include a few blank lines on which they can write comments. Many art buyers do correct the mailing label or write a brief note.

A resume isn't really necessary in a mailing, but you can include it. A brief paragraph in your cover letter about yourself and your work might be more readable. Of course, the most important element in a mailing is your illustrations. Only send your very best samples, not those you have doubts about.

When preparing a mailing, it's most enlightening to put yourself in the place of an art buyer. They may have a 12-foot-tall stack of mailings from illustrators that has accumulated in their office while they've been busy with other aspects of their job. When they do find time to attack the pile, each submission may get 3-5 seconds of their attention. Your samples have to stand on their own because you won't be there to explain anything. Make sure they're eye-catching and appropriate to that publisher. Show you've done your homework. Many samples go directly in the trash because the artist didn't take the time to learn what kind of art the publisher buys.

In my experience it can take anywhere from a week to four years (seriously) to get a reply card or samples back. Most publishers seem to take about 3 months. No response doesn't necessarily mean they don't like your work or haven't kept it. I've gotten calls with assignments from publishers I had assumed weren't interested.

What to send and when
You can send color copies of your samples. I prefer Canon color copiers for their accurate color reproduction. Modern Postcard will print 500 full-color postcards for only $105. Color printouts from a quality ink-jet printer will work. Epson is a brand of color printer that many illustrators use. Art buyers understand the limitations of color copiers and printers, but do your best to send accurate reproductions of your work. Be sure to label every sample with your name and contact info. You don't want your sample to be the one an art buyer likes, but they don't recall who sent it and it's not labeled.

If you buy an ad in a source book you'll also get a box of additional copies called tearsheets. These make great direct mail pieces. Magazines will also send you a few tearsheets of assignments you've done. You can make additional color copies of these to have a quantity to mail.

Some artists do more elaborate pieces that are cut, folded or glued. I prefer promotions that are quick, simple, cost-effective and that emphasize the image rather than the presentation. I'd avoid sending gifts like chocolates, T-shirts or tea bags with your samples in the hope that they'll make your mailing stand out. They may, but not necessarily in a positive way.

When to send samples? It depends on your work flow. A quarterly postcard seems to work well. Once a year it's good to send updated samples to publishers who keep your work on file. Repetition of your name over time will help art buyers remember you, but don't send them the same illustration over and over.

Referrals, Who You Know, Networking
Children's publishing is a small world. It helps to make as many connections as you can. Get to know children's writers and other illustrators. You never know who might give you a recommendation. Go to conferences and workshops and meet art buyers in person. SCBWI puts on conferences around the world. There are also conferences hosted by the American Library Association, the American Bookseller Association and the International Reading Association. BookExpo, Bologna Children's Book Fair, Kindling Words and Keene Children's Literature Festival are also events for those in the children's book field.

It applies to illustration too -- one of the best advertisements is word-of-mouth from satisfied clients. Keep your clients happy and meet your deadlines and be cooperative. Stand up for yourself when appropriate, but don't throw a fit if your art is criticized or if minor corrections are requested. Make sure your final art for an assignment looks like your samples. If you find the style you've chosen is too time-consuming, don't switch styles without the knowledge of the art buyer. Keep the lines of communication open. There's nothing more positive than one art buyer recommending you to another art buyer.

Portfolio critiques and displays
Often portfolio critiques or displays are part of a conference. I'd participate in them whenever possible. They can be a good opportunity to make contact with an art buyer and get feedback on your work. Plus, you never know who might see your work and remember you. Be sure to bring sample pieces that art buyers can take and that you can give to people you meet. Take every opportunity to show your work.

Agents
Connecting with the right agent can be wonderful for your career. Making that connection isn't always easy, nor does it always happen on the first try. Agents do have advantages to offer illustrators. They have connections that might be difficult for most illustrators to make and maintain. Because they have established relationships with art buyers, they can more easily get your work in front of them. Art buyers know that represented artists have met an agent's criteria. Agents usually get reduced rates on sourcebook ads and the cost savings is passed on to their illustrators. A good agent should know the marketplace, how to best market your work, and be able to negotiate fair pricing and contracts for you. These are skills artists can (and should) develop themselves, but if you prefer to spend your time illustrating, an agent can free you up to do that.

Not so you think getting an agent is the quickest route to marketing success -- there are disadvantages. A good agent can be very difficult to find. The best have full stables and are very particular about who they represent. It's also practical for them to represent artists who'll make them money, or they'll soon be out of business. Some agents may sign you on, but not get you any work. Worst of all is an agent whose actions reflect badly on you. The 25 -30% commission for an illustration agent (literary agents take less) can be substantial. Hopefully they earn their commission by freeing up your time and by negotiating higher fees. You may not like the possible loss of control over your own marketing. If you're thinking of going the agent route, choose carefully. Don't be afraid to ask for references. Also ask other illustrators what they may know about the agent you're considering.

Sourcebooks
Sourcebooks are full-color books in which illustrators buy ads. These books are then distributed to art buyers. They can reach a large audience you may not be able to connect with through other means. Art buyers usually save sourcebooks, so they may have a longer shelf life than individual samples.

I don't think anyone can predict whether a sourcebook will work for you or not. You just have to try it and see. Before you buy an ad, learn as much as you can about the particular sourcebook. Request a copy and evaluate its distribution. You may get lost among all the other illustrators. There's a chance your ad may not work at all. Even though you'd be out a lot of money, the tearsheets can be used for direct mail.

I've had good success with Picturebook. It's a sourcebook targeted to the children's book market. Check out their site at www.picture-book.com for rates and a lot more great information.

The Web
More and more illustrators are getting their own web sites. I have two - one which I created and maintain myself and one with an online portfolio. My sites aren't my most effective marketing tool, but I think as modem speeds increase and the Web becomes a more popular method of searching for new talent, they will become more helpful.

I include the URL of the site I maintain on my marketing materials. If an art buyer is interested in my work, they can go online and see my portfolio in a matter of minutes. They can also learn how I work, who my clients are and more.

I was at first reluctant to learn web page building and decided to have someone else do it for me -- thus the creation of my online portfolio web page. There are several online portfolio sites. Some charge more than others. The quantity of artists can be a draw to art buyers because it offers a kind of one-stop-shopping. Agents and sourcebooks now have sites too.

If you learn web page building, you can control your own site, which is a definite advantage. I use Quark and Adobe Illustrator software, so when I bought Adobe Pagemill to build web pages I found it quite easy to use. Having a personal web site allows you to show many samples and change them whenever you'd like without paying a fee for someone else to do it. You can include more information about yourself. It's a good investment to buy your own domain name. It gives you a URL that's short and easy to remember and it seems more professional. There are several sites and search engines to which you can link your site, such as scbwi.org, picture-book.com and yahoo.com.

The NY trip
Since so many trade publishers are located in New York City, some children's illustrators go there to show their portfolios. I made the trip about three years ago. Visiting New York gives you face-to-face contact with art buyers, which is very valuable. I know some artists who have been offered book assignments while showing their portfolios. Though it's a very exciting place to visit, it is an expensive way to see only a handful of art buyers. Because of the quantity of artists and the busy schedules of art buyers, many publishing houses now only allow portfolio drop-offs. My trip was quite an experience so I wrote an article about it.

Book dummies
Some illustrators write their own stories, make them into book dummies and market them. I haven't tried this yet because it seems like such a large amount of time to invest in a speculative project. If you want to do a book dummy on spec, I'd suggest doing rough sketches throughout and only do final art for one or two pages. Chances are great that what you submit will be changed. With your dummy you should include a typewritten manuscript, formatted according to manuscript guidelines, and an SASE with the appropriate postage.

If writing isn't your strength, seek help. It takes a lot of skill and talent to write a good children's book. There are many how-to books on the subject. Read them and practice writing. Get critiques and consider enrolling in a writing for children course.

Contests
Another way to get your work noticed is to win contests, for example the SCBWI Magazine Merit Award contest. For a large listing of contests see the contest section in this book.

Elements of success
As an overview, there are several things I believe help illustrators succeed in children's publishing. The most important is a good knowledge of the market. Another is the awareness that art buyers like to see samples similar to what they need. Directing your focus totally on your goal of illustrating for children, even for only an hour a day, will make a difference. Consistency and recognizability in your mailers will make them more memorable. And, of course, the four "p's:" persistence, patience, professionalism & postage.

On my site you'll find listings of online portfolios, agents, sourcebooks, conference sites, critique services and more.

Some helpful books:

Children's Writer's and Illustrator's Market by Alice Pope
Creative Self-Promotion on a Limited Budget by Sally Price Davis
The Graphic Artist's Guide to Marketing by Sally Prince Davis
How to Write and Illustrate Children's Books by Felicity Trotman