Whether it succeeds or fails, each project you launch is a stepping stone towards your next idea. Don’t bank so much on the success of one project that you don’t move on to the next one.
Do common things uncommonly well to set yourself apart.
Don’t force every idea to become a cash cow; leave some art just for yourself. You might still make money off of it, but don’t create it for that cause. Focus on the purity of the craft and let other endeavors (artistic or not) pay the bills.
Time spent perfecting your craft is not time wasted, and neither is time spent earning a living. Find the balance and appreciate both pursuits.
Robert asks, “Any words of wisdom for my sister? She lost her artistic passion after graduating from art school ten years ago. Although she’s had some freelance jobs, there were many empty promises from this school about ‘guaranteed job placement’ after graduation. She is slowly returning to art but she’s been burned pretty badly and is afraid to jump back in.”
Let’s be honest: most people who study art in school will not end up working as full-time artists. It’s a demanding, highly competitive field requiring herculean effort to stay afloat. Schools can’t and shouldn’t promise employment to their art students as it depends on the individual’s skill level, dedication, and willingness to work hard. However, the past is in the past, and if your sister wants to enjoy making art again, it’s time to move on from false hopes and promises and step into the next chapter of her creative journey.
It’s easy to become discouraged when you rely on your art for your living. The key is to make the art you love to make and then find the people who are eager for exactly that. If you’re making what you love, the process itself is rewarding.
Hannah asks, “I want to hire an artist or illustrator to produce a special edition cover for my short story collection. How should I pitch the job? What questions should I ask? Should the illustrator read the book? How much art direction do I have to give? How can I purchase the copyright to use the image freely and for as long as I want to?”
Pitch the job by describing the story, intended age range, and tone of your collection. Out of the people who respond (whom you like), share the deadline by which you’ll need artwork. To those who can meet the deadline, send your manuscript and see who is still interested. You’ll probably whittle down to three to five people at this point. From those, choose your favorite and get the show on the road!
As the art director for your project, make sure your illustrator has plenty of creative freedom. Your job is to communicate the tone and any details essential to the story (e.g., Little Red Riding Hood must have a red hood). How the illustrator conveys those things is up to them. If you dictate too much, they will lose the ability to create expressively and your project will become one more job for them to merely grind out. If you want to get the best out of your illustrator, give them the reigns and allow yourself to enjoy their vision of your story.
It isn’t standard for an author to have the copyright for the illustrator’s artwork. Most contracts would permit you to use the artwork in the book until that book is out of print, at which point all rights return to the artist. If you would like to own the copyright, you’ll need to negotiate and pay for that separately.
We recommend brainstorming anything you’d want to ask a potential illustrator, jotting your questions down in a document, and asking your all of your candidates the same set of questions.
Anon asks, “I have an aquaintance from high school who is now a big-time streamer. I want to pitch him a picture book idea. As my contact is not a 'traditional' film/TV celebrity, I'm hoping he'd be open to co-writing, self-publishing, and selling through his established platforms.
I think it could be written together (ghost written by me, but credited as the illustrator). The idea of the book is exactly in his wheelhouse and on-brand. I can present him a plan for printing and distribution and I genuinely think I have a shot!
Where I don't know how to proceed is the legal, contractual side of things. He has an agent; do I need one? What should I consider when pitching this on the business-side of things?”
If you know this person, ask them casually what they think of the idea. If the reception is warm, pursue it. Share more details about what you envision and how you plan to make it happen. You don’t need an agent, although your contact might run this idea through theirs.
When you make your pitch, clearly communicate what’s in it for them. Their platform would be a big leg up for your marketing and distribution efforts, but they probably won’t want to offer that to you if you can’t give them something in return. Know ahead of time what you can offer in terms of profit-sharing.
.jpg)
Get the guidance you need on the path to becoming a better illustrator.
