FREQUENTLY
ASKED QUESTIONS
Q.
I've written a picturebook.
Would you illustrate it?
A.
I'm sorry, I only
work with publishers. It's not necessary for you to find an illustrator
before submitting your manuscript to publishers. They prefer
to do that for you once they purchase the manuscript. A good
organization to join to learn more about the process is SCBWI
(Society of Children's Book Writers and Illustrators). They have
a site at http://www.scbwi.org.
Q.
What do you feel is
the most effective way for a starting-out illustrator to promote
himself?
A.
Mail color copies
or printed samples of your very best illustrations of kids and
animals to publishers (after you've done market research) or
buy a sourcebook ad and mail the tearsheets that you get as part
of the deal. Picturebook
Sourcebook targets the children's illustration market and
the price to buy a full page ad is very reasonable. I've gotten
the majority of my assignments from direct mail and referrals
from art directors (A.D.s) happy with my work.
Q.
Should one query a
children's publisher before sending samples?
A.
No, but absolutely
find out what they publish so you know if your work is suitable
for them before sending anything. Don't waste their time or yours
and help keep their slush pile (their pile of unsolicited submissions)
manageable. Send for their catalog or sample magazine issue.
The library also has some sample magazine issues and the children's
librarian would probably let you look at her catalogs. You can
also just look through the books at the library or bookstore
and many of them have web sites now:
Children's Publishers
and Booksellers on the Net http://www.ucalgary.ca/~dkbrown/publish.html
Children's Publisher Guidelines
http://www.signaleader.com/childrens-writers
Publishers' Catalogs - One of the most comprehensive directories of publishers on the Internet - arranged geographically. http://www.lights.com/publisher/index.html
Q.
What form should samples
take--photocopies?
A.
Photocopies are
fine or color printouts from a high-quality color printer. Slides
are frowned upon. They don't want to get out the slide viewer
and you want to make their lives as easy as possible.
Q.
Is there an appropriate
number of samples to send at a time?
A.
For an initial
mailing I sent 5 samples, 3 of which were from the same story
so the publisher could see consistency of character and how I
tell a story in pictures. Subsequent mailings could just be one
piece, like a postcard. If you send an entire portfolio don't
send more than 12 pieces and NEVER send original art.
Q.
Are there different
procedures for sending samples to magazines vs book publishers?
A.
Not that I've
noticed.
Q.
What do you recommend
for a first time mailing?
A.
Some nice color
reproductions of kids and animals in action and showing emotion.
Adults, objects, architecture, landscape are other good things
to include, but kids should be first and foremost. You can send
B&W work too.
Don't send anything you
wouldn't want to do. If you hate drawing bicycles, don't send
a sample of one.
I send my samples in a
folder. Every sample has my name, address and phone number on
it. I also enclose a cover letter, resume, response card and
SASE.
Q.
How do you go about
selecting the publishers?
A.
I choose those who look like they have enough of a budget to print a good catalog and buy quality illustrations and who use work similar to mine in subjects that interest me.
Q.
Where do you get their
names, addresses and contact names?
A.
Children's Writer's
& Illustrator's Market book (CWIM), Literary Market Place
(LMP) in the library reference section, Children's
Writer's newsletter, Children's
Book Insider newsletter and SCBWI newsletter.
Q.
Do you include your
resume?
A.
Yes, with a list
of published work, but I doubt many publishers look at it. I
believe it's the work they're interested in.
Q.
Do you send off the
entire package unsolicited and hope for the best?
A.
Yes. Some publishers
respond in the first week, others straggle in over the next 3
months, a few up to a year or more later. Some never respond.
I always include a response card and an SASE so hopefully I'll
learn whether they like my work or not. I keep track of what
I sent and when and their responses. On the response card I ask
them to check the appropriate boxes. For example:
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;
Other
comments_____________________________________________
I also ask them to update
their address info on the label I've attached to the response
card.
Q.
How do you submit
picturebook manuscript/illustration packages?
A.
I've never done
this, but the common advice seems to be to send the manuscript
typed to conform with manuscript standards. Also send a dummy
with text in place and rough sketches on the pages with at least
one page done as final art. Enclose an SASE.
There are many great books
about how to get started in the children's market. If you haven't
yet, do join SCBWI and go to the conferences. SCBWI is a wonderful
organization.
Q.
Is there anything
in between illustrating an entire book and having nothing in
the children's book area?
A.
Yes, but not in
the picturebook arena. If you sign on for a picturebook you almost
always do the whole thing. Outside of picture books there are
many illustrations purchased for book covers and separate interior
illustrations for early readers, workbooks and chapter books.
Don't forget magazines and Sunday school papers, which are great
ways to get started.
Q.
I have recently been
contacted about illustrating a children's book for royalties
only. Should I do it?
A.
No. I'd only agree
to work for an advance. It's the rare book that actually earns
enough royalties to pay for your time. This person is asking
you to work on spec, which is never a good idea.
Q.
Should I take my portfolio
to NYC to show to publishers?
A.
Many illustrators
have had great success doing this and it is a great idea to make
personal contact with art directors and editors. Click here to read an article I wrote in 1998 about my experience.