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Answers to Questions Illustrators
Frequently Ask
by Phyllis Pollema-Cahill
Q. A writer has asked if I
illustrate their book. Should I?
A. It's not necessary
for writers to find an illustrator before submitting their manuscript
to publishers. Normally, publishers prefer to choose their own
illustrator when they purchase a manuscript. Unless the writer
wants to pay you adequately for your time, illustrating their
book is a gamble on your part.
Q. I have recently been contacted about illustrating a
children's book for royalties only. Should I do it?
A. In my opinion, no. I'd only agree to work for an
advance. It's the rare book that actually earns enough royalties
to pay you adequately for your time. Working on speculation is
rarely a good idea, although there may be exceptions.
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 in their book is very reasonable. I've gotten the majority
of my assignments from direct mail promotions 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 with inappropriate samples and
help keep their slush pile (their pile of unsolicited submissions)
manageable. Send for their catalog or sample magazine issue first.
The library also has some sample magazine issues and the children's
librarian would probably let you look at her catalogs. You can
also look through the books at the library or bookstore. Many
publishers now have web sites. See below:
Children's Publishers and Booksellers on the Net http://www.ucalgary.ca/~dkbrown/publish.html
Children's Publisher Guidelines http://www.signaleader.com/chldwrit.html
Links to all children's publishers sites http://209.235.102.9/~sig16425/chldwrit.html
Publisher's 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. Publishers don't want
to get out their 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. This allows the publisher to see consistency
of character and how I tell a story in pictures. Subsequent mailings
could just be one piece, such as 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 samples of 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 a budget
to print a good catalog and buy quality illustrations. I also
choose those 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) which is found
in the public library's reference section, "Children's Writer"
newsletter, "Children's Book Insider" newsletter and
the "SCBWI Bulletin" newsletter.
Q. Do you include your resume?
A. Yes, with a list of published work, but I doubt
many publishers look at resumes. 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 respond during the next 3 months. I've received responses
up to two years later. Some publishers 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 samples I sent
and when and the publishers 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 the publishers 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. 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 and a cover letter.
There are many great books about how to get started in the
children's illustration market. If you haven't yet, do join SCBWI
and go to the conferences. I have learned a tremendous amount
from speakers at SCBWI conferences, also from the SCBWI newsletter
and publications. Conferences also give you a chance to network
with other illustrators, writers and publishers.
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 agree
to do a picturebook, you almost always illustrate 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. 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. Following is an article I wrote in 1998 about my
experience.
Showing My
Portfolio in NYC
This May I spent four days in New York City showing my portfolio
to children's publishers. I started by sending written requests
for appointments in January to twenty publishers who already
had my samples on file. I wrote again in March and enclosed a
sample of my work. Not all were prompt in responding, so in late
April I started making calls. I was able to meet with nine publishers
and drop my portfolio off at seven more.
I had several objectives in making the trip: to show them
my newest samples, to meet them in person and hopefully come
across as someone they'd like to work with, and to strengthen
the possibility of them calling me with assignments. In addition
to new samples, I brought a couple they'd already seen hoping
they'd recognize them and make the connection that I'd been sending
them my work for some time already.
Following are some points I found helpful:
Requesting Appointments
Start early and avoid the dates of national conferences by checking
the trade journals. Have their catalog and be familiar with their
line. See only those publishers who have expressed an interest
in your work. It would be wasteful of their time (not to mention
very disappointing to you) to invest the time, energy and money
only to be told, "Your work isn't appropriate for our line".
With your written request for an appointment, enclose a sample
illustration and a self-addressed stamped postcard for their
response. Suggest a date and time. Don't schedule appointments
any closer than 1 1/2 hours apart. I tried grouping appointments
by location, but found it rarely works. Call to confirm appointments
one to two weeks beforehand. Try calling early in the morning
to get through to a person instead of voice mail. Also confirm
that you have their correct address (including the floor), the
cross streets and correct side of the street.
In Advance
Get a subway map and study it thoroughly. Walk or run and climb
stairs to get in good physical shape. During my trip I walked
about 5 miles a day, plus stairs, and it was exhausting. Get
a good detailed map showing street numbers. Photocopy the section
you need and mark the exact location of your appointments in
a contrasting color. Type up your schedule with the contact name,
title, address, directions and phone numbers. SCBWI has a NY
Buddy program that is very helpful. They will send you a list
of affordable hotels and restaurants plus the buddy you're assigned
can give you advice and moral support.
Transportation in the City
The most difficult part is getting around the city. Traffic is
awful and the sidewalks are congested. Buses and taxis are slow.
The subway proved to be the fastest way to get around. It seemed
safe during the day and fairly clean, but it takes time to figure
out. Buy a metro card which can be used for the subway and buses
- rides are $1.50 each. Consider bringing your spouse or a good
friend. My husband helped me get from appointment to appointment
and was very supportive. If you have a question, New Yorkers
are very helpful.
What to Bring
Travel light. I use a small portfolio that holds twelve standard
size color photocopies and my resume with a list of my published
work. I labeled the photocopies with when and where they were
published. I also carried a separate case with extra photocopies,
printed books and tearsheets, a credit card, phone card, some
cash, my schedule, city map and subway map. Bring a dummy book
if you don't have printed books. A compass is very helpful to
show you which direction to head when you step out of the subway
stairwell. Don't forget an umbrella if rain is forecasted.
What to Wear
Absolutely, positively wear comfortable shoes with cushioned
soles. After the first day I quickly resorted to black tennis
shoes. Dress casually in layers. Wear clothes that don't show
dirt that you might pick up from public transportation.
The Appointments
Allow 45 minutes of travel time between appointments. Find your
appointment location at least 15 minutes early and sit in a cafe,
drink something and relax. Don't expect to get in immediately.
I waited up to 30 minutes and in two instances was stood up.
Receptionists can tell you how to pronounce names properly. I
thought I would be nervous, but wasn't. At that point, I'd done
all I could to prepare and now it was time to enjoy meeting new
people. Give the art director or editor your portfolio and let
them page through it at their own pace. Offer them samples to
keep that you've pre-labeled with your name, address and phone
number. Ask if they know of anyone else who might be interested
in your work.
Appointments generally last 15 minutes. I had a couple that
were 30-45 minutes and consider those to have been the most promising.
Many remembered my logo and illustrations I'd sent them. Take
notes immediately afterwards to help you remember the person,
what was said, questions asked and ideas about how you could
follow up. Write them a thank you note as soon as you can.
Drop-off Portfolios
Some publishers only see portfolios on a drop-off basis. You
usually drop them off at the front desk, mail room or messenger
center before noon and pick them up after 2:00. I prepared 3
drop-off portfolios using cheap, plastic folders. In the front
plastic window I placed a sheet with my name, address, phone
number and a very brief note thanking them for reviewing my work
and instructing them that the samples in the back pocket were
for them to keep. I also included blank lines where I wrote in
the name of the art director, when I would pick up the portfolio
and left space for them to write comments. Bring an extra drop-off
portfolio in case of loss or damage. In one case the art director
was out sick. In other cases my portfolio was seen by an assistant
rather than the person I had addressed it to. They will usually
enclose a letter giving you feedback.
What was the end result of my visit? I'm waiting to find out.
I've talked to illustrators who received contracts while in NY.
I felt it was promising that two publishers talked with me about
upcoming projects. It was a good experience to meet them in person.
I hope that by making the trip it shows my determination and
commitment. If I go again I will definitely allow more time between
appointments, send my drop-off portfolios through the mail from
home and spend my time in NY just for in-person appointments,
and wear the most comfortable shoes possible.
SCBWI-MI thanks Phyllis for allowing
us to reprint her article. To learn more about Phyllis and her
work, visit www.phylliscahill.com.
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