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.