The Seven Deadly Website Sins for Freelance Illustrators

This is a list of the things that illustrators sometimes do that they really shouldn’t – or in some cases that they don’t do. Generally, it’s the really simple stuff that tends to be overlooked and for the life of me I have no idea how it happens half of the time. What freelancers sometimes forget is that they’re running a business and they need to present themselves as such. Uploading your artwork to the internet for your own satisfaction is a far cry from landing the client you’ve always wanted or being hired for a private commission. For a viewer to become a client, they need to get from A to Z with as few obstacles as possible. Shall we begin…

  1. Not having a personal website with a custom domain name. Building a custom website is fun and can enable you to really show off your work and talent, but if that’s not for you, it’s OK to use a platform that uses templates where you just insert your own content. All of those systems allow you to have a custom domain name, whether you buy it through them or a 3rd party, so there’s no excuse not to have one. In the digital world, it’s the difference between having a business card or scribbling your contact details on a napkin . Show you’re a professional by having a custom domain name for your portfolio. It can take as little as 5 minutes to set one up and cost less than a couple caffè macchiatos each year.
  2. Not having your name on your website or using too many different names. Or using a business name, but not telling the client the name of the person to address their email to. This one is a pet hate! It’s less common these days, but there was a trend for a while for illustrators’ websites not to display the artist’s name, full stop. I don’t know if this was an oversight or not in some cases, but if you ever had to get in contact with any of these illustrators and their name wasn’t in their URL or email address, you could feel the annoyance in their reply when you’ve addressed them with just ‘Hey’. Tell people what your name is! Don’t make the client feel uncomfortable before they’ve even got in contact with you.
  3. Not showing your email address or any alternative contact method. You’ve created a beautiful website to showcase your amazing artwork and then you reveal no way for a client to contact you. Why?!
  4. Keeping your social networks more up-to-date than your own website. Social networks may be easier to update, but this just looks lazy and like you don’t actually care about your personal brand. You’re only as strong as your weakest link.
  5. Having broken links to your social pages on your website where the URLs have changed when you’ve faffed around with your usernames. It’s like moving home; make sure a redirection is in place and everyone knows about your new address including your website. If you don’t, users are going to get lost and become irritated. It’s the little things like that which can put clients off when they’re on the fence as to whether to approach you for a quote or not.
  6. Showing work of varying quality: either be crap or amazing, not both! You need to make sure you’re showing your best work and the quality of your portfolio isn’t being dragged down by including work that isn’t your best. Sometimes it’s better to show too little work than bulking it out with older work or pieces that should have been archived in a private corner of your hard drive and become a distant memory. Be proud of everything you produce, but also be aware of what works and what doesn’t. Quality over quantity and don’t listen to your mum.
  7. Not having a consistent style or not showing a degree of separation between your different styles. This one has some similarities to number six. If you’re a jack of all trades and you’re approached by a client, there will always be a concern in the back of their head as to what to expect from you when you deliver an illustration. If you have more than one style, you want the client to be able to say before they commission you that they like your children’s illustration, or your pointillism artwork, or your horror pieces. But you need to have shown these in their own sections on your website and the styles need to have not cross-pollinated between the sections. Don’t make it difficult for the client to tell you want they want based on what you do. Keep it simple! Get them from A to Z as quickly and effortlessly as possible.

There are many more things an illustrator should do to optimise their operations and workflow than the list above, but we just wanted to highlight the most common mistakes we’ve seen in the wild over the years in relation to illustrators’ websites. Please feel free to leave your pet hates and advice in the comments below. We’ll add the best ones to the article.

Archangel illustration image credit: Brian Allen

More advice…
Professional conduct for freelance illustrators
To agent, or not to agent: that is the question

Hello World 2.0: How to contact an illustrator

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Most illustrators, if not all, display enough of their work online for a client to make an informed decision as to whether they’d like to work with them or not. I’m not talking about how much an illustrator will quote on a job or whether they’re affordable, but whether an illustrator’s style matches what the client is looking for. When those elements line up, it’s time for the client to get in contact and this is where things can sometimes go wrong or trip up a commission before it’s even got started.

The way the messaging system at Hire an Illustrator works is that you hit the “Message Illustrator” button on an illustrator’s portfolio page and this will email them the message you want to send. Simple, right? Most of the time, yes, but not all of the time.

When composing your message to an illustrator you should include the following information:

  • A short summary of what you’re actually after.
  • How and for what you intend to use the illustration.
  • Your deadline for completion, especially if it’s soon.
  • And, if you’ve worked with an illustrator before, your budget.

We don’t specify exactly what you should be emailing our illustrators, as everyone works in different ways and we’re all grown ups. But you wouldn’t call up a plumber if you didn’t know what you wanted them to fix or have enough money to pay them. Just telling a plumber to come to your house isn’t enough information. It’s the same for an illustrator; just telling them that you like their work or that you want to work with them isn’t enough. They need to know what you want them to work on and you need to be specific.

The initial message doesn’t really need to be more than two or three sentences. Once you’ve sent it off to the illustrator, they’ll probably get back to you with several standard questions that they send to all potential new clients. Each illustrator has their own set of questions, but they’ll all be in a similar vein and it’ll allow them to work up a preliminary quote. If the illustrator doesn’t reply to a client, it’ll either be because the client’s message made no sense (which happens more than you think) or the client didn’t even bother looking at the illustrator’s portfolio (which also happens a lot). Illustrators tend to work in the same specific style as seen in their previous pieces, so although you’ll be hiring them for a new custom piece, it will reflect their established style and that’s the reason an illustrator is normally hired. You shouldn’t be asking an illustrator to work up free samples of the image you’re after just to see if they’re the right person, because if you can’t see whether they’re right for a job from their current portfolio, you need to hire an art director to work with them on your behalf. Plus, no one should be working for free in a profit driven industry.

The length of time it takes for an illustrator to reply to an email can vary; some may reply within 10 minutes, others can take a week. A digital artist, for example, might see your message pop up as soon as you send it. One of our more traditional illustrators, who works in a studio with oils, might only check their emails once a week. You just need to be patient and take a guess at a reasonable length of time to give them before following up. Email is also a fickle thing, so if you feel you’ve given it a reasonable length of time for a reply and (as far as you’re aware) your message made sense and wasn’t confusing, send us an email and we can check in on the illustrator on your behalf. You never know, their email might be down or their spam filter might be being overzealous. Patience is a virtue, persistence gets things done!

Fees vary drastically from illustrator to illustrator depending on their style and their experience. Some might have a very labour-intensive style, or something that’s more niche. The thing is, until you’ve worked out what you want and a number of details have been pinned down, the illustrator can’t actually give you a quote. So if you’ve not even got the initial contact points mentioned above, you’re not ready to contact an illustrator. If you can’t fathom or work out those details yourself, as mentioned before, hire an art director or an illustrator who also has experience doing their own art direction, which many have. You just need to be prepared to be very hands-off when it comes to the direction and choices they make with regards to the illustrations. You’re paying them to do what they do best, so trust them and let them do it.

Now, once you’ve said your hellos and both parties know what the situation is and are on the same page, it’s time to talk about money and contracts. This ground work should be established before the creativity starts:

  • How much is the illustrator being paid?
  • What are the terms of the license?
  • Is there a kill fee and upfront deposit?
  • When is the deadline and when will the invoice be paid?
  • Have the contracts been signed?
  • Are revisions included in the fee, if so how many?

After that, you’re good to go! Follow the project, hit your targets and let the magic happen.


The accompanying illustration (2013) was created by Tom Holme for Creative England. We’re pretty sure Tom would love to hear from you if you’d like something similar.

To agent, or not to agent: that is the question

Star Monster by Jason Heglund

Image credit: Jason Heglund

Following a conversation about illustration agencies with one of our lovely members, we’ve decided to publish and share the advice we offered. This is a subject that gets brought up a lot with illustrators, new and old, and we thought it was about time we did a post on the subject.

I’m curious to talk to someone about getting portfolio advice and what to look for when seeking out an agency to represent my illustrations.

If you’re looking for an agent, first of all you need to look around and make a list of agents who represent illustrators with a similar style to yours, but not too similar. You also need to search online for forum posts and comments where illustrators are talking about their agents and their experiences with them; it’ll be very telling as to whether an agent is worth signing up with or not. There’s such a mixed bag of agents about these days that you really only want to sign up with one who has a good reputation, rather than having an agent for the sake of it. Signing with just “anyone” who’ll take you is a sure way to be taken advantage of. Agents who represent illustrators are as varied as the illustrators themselves in terms of business prowess and that’s not even taking into account potential personality clashes.

Here is a link to get you going… http://www.thelittlechimpsociety.com/agents/

Note to HAI members: Every so often we’ll send a list of illustrators who’re looking for representation to a selection of agents who we trust. So, make sure you’ve marked that you’re looking for an agent in your profile if you want to be included in those lists.

Ideally, representation sounds best for me as I’m not 100% sure of how to bring in projects. A rep will have contacts and be able to find good matches for me. Also, my assumption is that being represented would make the work more steady.

I hate to scupper your plans, but you’ll probably find that until you have steady work coming in, you’re not going to find an agent willing to take you on. It’s a bit of a catch 22 situation. I’m not saying an agent won’t take you on, but they’re more likely to when you’re more established (unless they’re generally unestablished themselves). Don’t get me wrong, there are exceptions, but this is normally what I see happen in the industry if you’re looking for a top notch agent. There are some agencies that take on large numbers of illustrators for the sake of quantity rather than focusing on quality. If going with an agent is the path you really want to take, then this may be a compromise you’re willing to make. However, you may find there is a small group within the agency who get all the jobs and the rest will get the odd scrap.

As there are so many illustrators who represent themselves these days, it’s not necessarily a case of an agent opening doors anymore, it’s all down to marketing and time management. Normally an agent takes people on when they’re pretty sure the illustrator is going to bring in lots of work and when the illustrator is happy to hand over their 15-40%, as it means they’ve got someone handling the contracts and billing for them and they can focus on the creative side. Some agents are good at marketing their illustrators, others aren’t. It never does any harm to ask illustrators what they think of their agents before you agree to join the agency.

Things to note: Agents tend not to take people on who produce stock illustrations as it devalues the illustrator’s style. Agents tend to take people on who already have lots of work coming in or if they think someone is going to be the next big thing. The other reason an agent might take an illustrator on is that they already have an illustrator on their books that gets requested more than they can handle and you have a similar style to them. If an agent can recommend another illustrator on their books so they don’t miss out on a job, they will do. If you do sign up with an agent, make sure you’re happy with the contract you sign with them, as some of them can put you in a very tricky situation if things don’t work out as planned. Cover your bases and ask questions before you put pen to paper and sign away your first born. In the same way you can negotiate terms with a client, you can negotiate a contract with an agent.

My long term goal is to primarily illustrate and write my own picture books while still illustrating books for other people. I’d also like to manage and grow my own brand. Do agencies help artists develop with these goals in mind?

Agents will only tend to help you develop the aspects of your brand they can control and take a cut of. Generally, helping you to become independent isn’t in their interest as they want people to see the agency as the one fulfilling the client’s brief, not the illustrator. Some agents are really good and will support the illustrator and their growth as much as they can, but the agency still needs to make money and build their own reputation. As far as they’re concerned, illustrators will come and go and it’s the agency that’s important, not the illustrator’s growth. Agents are supposed to work for their illustrators, but in reality a good number of agents will treat their illustrators as if they are employees. A nice balance is when it becomes a partnership between the two. Just remember that in the same way there’s a huge variety of illustrators, agents are just as varied.

Final thought…

Make sure you’re only contacting agents who you think will take you on based on who they already represent, and only contact agents you actually want to be represented by. There’s no need to waste anyone’s time if you’re not a good fit! If you put no thought into your initial contact, they’ll put no thought into their reply (if they even send one).

The best way to get an agent’s attention is to start by making sure your website and portfolio is up to date. Don’t forget about your social pages, either – if an agent is savvy and serious about taking you on, they’ll check everything. Once your side of things is ready, visit the agent’s site, search for their submission criteria and make contact with them. Normally you’ll need to reach out to them; things won’t magically happen and don’t forget they’re probably receiving anything from ten to several hundred submissions from illustrators per day. Most of these submissions will have been done without any research and the illustrators are just getting in contact with every agent they can find. Be patient for a reply and make sure your email is crafted to the recipient and isn’t just a one-size-fits-all message… The less spammy, the better. Lastly, do try to look objectively at what you’re offering from the agent’s point of view. The opinions of family and friends don’t really count when it comes to business, so unless your mum works in the industry and is willing to tell you if your work isn’t a good fit with an agency or that you’re not established enough yet, ignore them and trust your gut.


If you’re an agent and would like to become a member of HAI like these guys, send us an email to get the ball rolling. Likewise if you’re an illustrator and would like to join our ranks, fill in an application. ❤️✏️ #loveillustration

Professional conduct for freelance illustrators

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If you create artwork or illustrations based on instructions or a client’s brief and you get paid for it, you’re a professional illustrator. So with this in mind (regardless of whether you personally consider it just a hobby or yourself an amateur), you need to treat all of your clients and potential future clients with respect. I’m not saying that you won’t continue to get paying work if you don’t show respect for your clients, but when you don’t you’re damaging the general image people have of professional illustrators as a whole and this does have a knock on effect.

We’ve seen an increasing trend in recent months where freelance illustrators are just letting off a bit of steam by the way of posting rants or comments on their social profiles. This is fine if their privacy settings have to been set up to only allow their actual friends see their posts, but with a good number of illustrators this isn’t the case. Their profiles are public for all the world to see. As a company that promotes illustration and helps connect illustrators with clients, it’s quite disconcerting to see people moaning about clients in such a public way.

The bit that normally riles people up on both sides, when it comes to commissioning an illustrator, is budget and what a client can afford. This is where an illustrator’s professional conduct needs to come into play. It’s quite simple really…

Scenario A –
Client: I need this and have £600.
Illustrator: I’m afraid I can only do what you’re after for £1400.
Client: I’m sorry I can’t stretch to that, maybe next time.
Illustrator: Thank you for your interest.

Scenario B –
Client: I need this, how much would it be?
Illustrator: I can only do what you’re after for £1400.
Client: How about £600.
Illustrator: I’m sorry £1400 is the minimum I charge for this sort of job, maybe next time or let me know if you can find any more for your budget. Thank you for your interest.

Scenario C –
Client: I need this and have £600.
Illustrator: I’m afraid I can only do what you’re after for £1400.
Client: How about £900?
Illustrator: If you can stretch to £1200 you have a deal.
Client: Yes, I can do that.

Scenario D –
Client: I need this, how much would it be?
Illustrator: I can only do what you’re after for £1400.
Client: How about £200?
Illustrator: Thank you for your time, if you have a more accommodating budget in the future please keep me in mind.

Clients either have a set budget for the job or they’re looking to get what they’re after at the lowest possible price. There’s no reason to be offended if they can’t afford you. That’s just the way things are.

How to burn bridges and put people off hiring an illustrator in the first place…

Following any of the scenarios above, the illustrator then hops on Facebook, Twitter or any of the other social networks and shares something like… “Client wanted me to illustrate 4 covers for £200! LOL.” … This status update is public and then gets 200+ retweets or likes, as people enjoy gossip and coffee shop chatter. It also gets 30+ comments from other illustrators saying how disgusting and insulting an offer like that is.

Now, all that’s been accomplished is that the illustrator’s ego has had a jolly good stroking. The illustrator could have made sure their privacy setting were set to allow only close friends to see the comment if they only wanted to let off steam, but many don’t even touch their privacy settings and they post comments like that for anyone and everyone to see. If potential and future clients see the comment it’s not going to put them in their place and make sure they offer proper remuneration when they approach an illustrator, all it’s going to do is leave them with a sour taste and doubts. I wouldn’t say it would be an extreme case either that someone thinking about hiring an illustrator might see that and then decide to hire a professional photographer instead or (heaven forbid) go with stock for their project.

Professional illustrators who make sniping comments like that have a lot more influence on the industry as a whole than they realise. The price range that illustrators charge is so much wider than in other professions due to the uniqueness of the work they produce. It’s not easy for a client to compare one illustrator to another, but they often still do. This means illustrators need to keep themselves in check at all times and not just when dealing directly with clients. By all means let off steam, have a rant and chat with your mates, just make sure it’s in a private forum rather than a public circus.

Positivity breeds positivity; don’t get stuck in a social network echo box for the sake of a like! Showing people what a joy illustrators are to work with shouldn’t just be the task of a few, it should be the default setting for anyone who loves illustration and working in this wonderful industry. Don’t get pulled into the gutter, reach for a higher standard. Be a professional.

Image Credit: Andy Potts (2011) for the Design Week Supplement

Have you found what you’re looking for?

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Following on from the recent redesign and rejuvenation of our website, we’ve continued to make modifications as the dust has settled and we’ve seen what worked and what needed to be changed. Our first stop was a small modification to our search criteria that should have a big impact on usability. When the redesign was launched we suddenly allowed all of our members to select a job title from a predetermined list and this was then searchable on our search pages. This didn’t work as the majority decided they want to just be called an illustrator, so now the job title is no longer searchable, but is displayed in their portfolios next to their name. What has been added to replace the search aspect are two searchable job descriptions. This should allow members to add the terms that help people find them without feeling they need to keep their options open by not committing to a specific title. This change in the options available to our members and within search system inspired a blog post I wrote about job titles for the LCS a few days ago. Read: Finding your niche as an illustrator!

Self-Portrait

As a side note: Since the redesign had been a longtime coming, I decided early on I would try to remove as much of the 9 years worth of bloat as possible. I may have gone a bit too far. Information about our postcard printing and mailers has now been re-added to the members’ administration along with a viewable archive of all the previous member-only updates. A new addition though is a series of downloadable and useful content that should be in every freelance illustrators’ digital toolbox. If you’re a member, login and have a look. I think you’ll be pleasantly surprised.

Image Credits…
1. ISO&AGENT Magazine cover (cropped) by Mario Wagner.
2. 2010 Self Portrait by Marcus Cutler.

Hiring a children’s book illustrator FAQ

Illustrators tend to be bombarded with the same questions over and over again from clients looking to hire them to bring their children’s book manuscript to life, and from publishers looking to have them work on a future project or their next release. With our illustrators being the pros they are, they tend to send a personal reply to every query that comes in regardless of whether they’ve answered the same question half a dozen times that week already.

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So, here are a list of questions you need to ask yourself before you hire an illustrator, and some answers to questions that clients commonly ask illustrators during the course of hiring one.

These questions were devised and answered by Ginger Nielson (illustrator of almost 40 children’s books), and edited and updated by Darren Di Lieto & Jane Di Lieto-Danes.

Should you hire an illustrator?

If you have a finished, edited, and great manuscript, by all means submit it to a publisher. If they decide it’s right for their line up and marketable, they will normally pay you an advance followed by royalties in exchange for the right to print and sell your book. They will also hire an illustrator, pay the production costs and help you market it. You do NOT need any illustrations to submit your manuscript to a publisher unless you are an author/illustrator yourself.

How do you find a publisher?

To find out who might be the best publisher for your book, get a copy of the Children’s Writer’s and Illustrator’s Market or the Children’s Writers’ and Artists’ Yearbook. They list publishers, their contacts, their terms, and what they are looking for. It also includes international markets, magazines, contests, agents and wonderful articles from artists and authors as well as publishers and editors.

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What to do if you’re self publishing?

You need to be very sure of your own work and you need to be ready to invest your own time and money in making your book a success. You will be choosing your own illustrator and paying for the artwork and license or rights to use it; for the book printing; to have it proofread; for distribution; for all your own advertising… and you’ll be doing your own sales. Your local indie bookstore may be happy to host a signing. You might be able to market your books at a local craft fair or market, or at any event with the right setting and clientele. Some schools have book nights where you can sell your books too. Self publishing is often sold as the easy (and cheap) way to get your book published, but don’t let all the hype fool you. The more work and money you can invest in your book, regardless of how good it might be, the more chance it has of being a success.

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How much does a children’s illustrator cost?

When you hire an illustrator remember that you are hiring a professional. You need to be prepared to pay a fair market price. Depending upon the length of time it will take to illustrate your book, the amount of research needed, and any unusual requests, the cost could be a few thousand pounds/dollars or many thousands of pounds/dollars.

OK, so how much will it cost?

Most illustrator’s rates are only shared with a potential client after they have seen a finished manuscript or at least a detailed outline of the work. The illustrator also needs to decide if their skill and style is right for the story and that they’re a good fit for the client. Some illustrators also do the design and layout for children’s publications, so will provide a print ready PDF on completion. If this is not the case, the client will also need to hire a designer who’ll turn the artwork and manuscript into a ready to print product. The illustrator may be able to recommend someone for the design/layout part if they’ve worked with self publishers in the past and do not do the design themselves. Working with a separate designer will increase the overall costs, but you will benefit from the skills a well trained graphic designer brings to the table and you’ll probably find you’ll have a quicker turn-around time too.

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Really, how much does it cost?

The GAG (2013) says a colour 32 page children’s book will cost you between $3000-$60,000 USD + 3-5% royalties while the AOI (2008) says it’ll cost between £3000-£5000 GBP for the advance plus royalties. It really does depend on who you want to work with, the type of style you’re after and the experience of the illustrator. You may find a really talented young illustrator fresh out of university, but as with fine wines that get better with age, all illustrators get better as they hone their skills and gain experience.

How long does it take?

A contract is issued with payment dates, artwork dates, and copyright restrictions for both the author and the illustrator. Work will normally take from 3 to 6 months to complete, give or take a month depending on the illustrator. Payments will normally be made at different stages throughout the project as work is completed and approved. There will normally always be an upfront percentage to pay before work is started too. This upfront fee will normally not be refundable as it’ll also be the kill fee if the client decides to scrap the project or work with an alternative illustrator after work has begun.

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What about changes and artwork revision?

Any artwork that has been finished and approved by the author/client is final. However, if changes are requested after the final approval a fee per hour for any changes may apply. Revisions after approval will also be subject to an illustrator’s availability.


If you’d like more advice on hiring an illustrator for your children’s book, check out Dani Jones’ blog or Randy Gallegos’ PDF Guide For Publishers via the links below. And obviously if you’re ready to hire an illustrator have a look though our children’s illustrators or submit a job request and we’ll help you find one.

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Dani Jones’ blog…
Part One: How to find an illustrator for your picture book
Part Two: How to find an illustrator for self-publishing

Randy Gallegos’ Guide For Publishers…
PDF Guide For Publishers: Learning How to Commission Illustration

Image Credits…
1. The Waif by Peter George
2. Caterpillar for Target by Lee Cosgrove
3. Tiger Character by Marcus Cutler
4. Dogolate by Michael Slack
5. The Butterflies and Millie by Corey R. Tabor
6. Happy-go-lucky Unicorn by Sophie Burrows

Royalties Vs. Advances for Illustrators & Writers

We would like to welcome Tim Paul as a guest blogger on the hai staff blog. In this post New York illustrator Tim Paul has written down his thoughts and opinions for us with regards to illustrators and writers being paid an advance verses not being paid an advance on their royalties. Tim has worked as a colourist for Marvel Entertainment and been in the creative industry for almost 20 years, dare we say he could be considered a veteran… – Darren Di Lieto


So Where Do We Start?

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Getting even a simple book out can take a year or more. It’s a long, slow road from concept to paycheck especially if there isn’t an advance at the beginning.

PART ONE: Necessity

These days you hear that publishing needs to evolve to survive. One way large publishers are trying to evolve is to copy smaller publishers in how they pay the artist/author. A smaller publisher, who doesn’t have the finances for an advance, will sometimes offer a higher cut of royalties. This can be up to a 50/50 split after costs. Larger publishers are beginning to follow suit, with inexperienced and untried creators seeming to be the main focus of this shift.

If a writer’s goal is simply to be published, self-publishing is an option they should consider. They’ll be published, and it will even bring in some extra earnings if their book sells well. But for artists and authors whose goal is to make a living at publishing their work, the no-advance option puts more of the risk on their plate. Publishers are looking to manage the financial risks they are taking. If a book fails to make the necessary sales to cover the advance, the author isn’t obliged to pay back the advance. That money is their’s regardless of the how well the book sells.

For the artist or author, the potential for a larger paycheck in the form of higher royalties can be very tempting. However, an advance isn’t a case of the publisher being nice to the author. It’s a way for them to work on the project, without the pressure of having to take on additional work to pay the bills. This way, the artist or author can work towards giving the publisher the best possible product, distraction free.


PART TWO: Business

Getting even a simple book out can take a year or more. It’s a long, slow road from concept to paycheck especially if there isn’t an advance at the beginning. A long wait for payday isn’t the only thing creators have to consider under the no-advance approach. What happens if the work is completed but, through no fault of the creator, it gets canceled by the publisher? Naturally you can try and cover these and other possibilities in a contract, but this does mean more time-consuming negotiations with both sides trying to protect themselves.

Publishers aren’t looking to screw or trick their artists and authors. They’re trying to do what is best for their company financially, as any business would. This doesn’t mean it’s the best course of action for the author or the publisher’s long term goals, but it minimizes the financial risks for the publisher. Plus with no advance, the onus is on the author to produce the work, because if they don’t there will be no royalties.

With an advance, the risk is moved back to the publisher, which means it’s easy for an author to work out what happens if a project gets cancelled by the publishing house… they get to keep the advance. But how is that going to play out with payment based solely on sales? There’s no way for an author to say if a book is going to flop or be a 50 week bestseller. It’s the publisher who will have the experience and expertise to make that sort of judgement, rather than the author.

Smaller publishers don’t normally have much in the way of a budget for marketing. They rely on word of mouth, reviews, and the creator promoting their books along with social networking. If this method of getting a book to market is picked up by the larger publishers, how much self-promotion will their artists and authors be expected to do? After all, isn’t the point of signing with a large publisher that a creator can use the publisher’s resources, connections, experience and knowledge to properly market their publication?

Should large publishers decide that all untried creators have to prove themselves before getting an advance, it could easily become, “accept this deal, or remain unpublished” for all. The no-advance model reduces or takes away the ability of the creator to remain independent of the business side and solely focus on the creation of their writing or imagery. If no advance was to become the norm, there would be no reason for it to go back to the old ways. In the struggle to make a living as an artist or author, getting fair compensation has always been a fight. It’s better to know what you are going to be paid, than the promise of a potentially higher paycheck in my opinion.


PART THREE: Final Thought

Part of being a freelance illustrator or writer is making a plan on how you are going to support yourself while creating. Advances allow artist and authors to plan their finances with solid numbers and a real income. For publishers to receive the best products takes time and dedication. Insist on an advance when the big companies come knocking. Don’t do yourself a disservice, believe in your work and worth, and the big publishing houses will believe in you too.


Artwork & Words: Tim Paul http://illo.cc/15270

How our Art Buyer enquiry process works

Part of our job here at hai is to recommend members to clients who contact us directly looking for an illustrator. We get lots of enquiries each week from clients via our Art Buyer form on the site, by email and through social networks. Usually (if they haven’t already) we’ll ask the client to complete the Art Buyer form to give us the information we need to help them find the most suitable artist(s) for the job.

Enquiries come from a wide variety of individuals and businesses, including publishing houses, magazine art buyers, advertising agencies, self-publishing authors and corporate clients. The jobs can range from a private commission for a portrait to a global advertising campaign, but we’re always pleased to help out whatever the size of job.

We ask for as much information as possible about the commission and style of work the client wants, then once we have those details we go about recommending hai members who fit the bill. Most of the time the client will decide to directly contact the artist(s) they are interested in to discuss the job. Sometimes clients will ask us to get in touch with the illustrators they like first, to see if they would be available and interested in working with them. Either way, hopefully the end result is that one of our members gets the job!

It sounds pretty straightforward and it usually is! Sometimes there can be a lot of going back and forth with the client to work out the details, or when offering advice around the issue of cost. Likewise, if someone is new to working with illustrators they can have a lot of questions, and we’re always happy to help people understand how the wonderful world of illustration works.

And on that note, if you are a someone who is thinking of working with an illustrator and aren’t sure what is involved, there is the fantastic resource Learning How to Commission Illustration by Randy Gallegos, available to download free at http://www.hireanillustrator.com/how-to-commission-an-illustrator.pdf It’s a great place to start!

If you would like us to help you find an illustrator, don’t forget about our Art Buyer form!

A review of the Comixology Submit process

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*Guest post written by Heather L Sheppard*

Recently, I completed work on the first issue of my own comic/storybook ‘Sunrise’, a small, wordless story about a silent little monster on his search for the sun.
I wanted to publish it myself – to learn the whole process of creating, printing and selling my book myself, as I still think it’s one of the best ways to learn – to experience it for yourself. To pay for this, I decided to print each of my 4 planned issues as limited edition paperback copies, and sell them myself both online and at comic conventions – the problem being, it turns out people really like it, and 75 limited edition copies weren’t going to last long!

So I had to come up with another plan – lots of people wanted to read it, but I needed a platform to publish it on which would allow others to easily read it, yet not devalue the limited edition copies that so many people had bought in good faith. I completely intend to sell the final ‘full’ version of all 4 issues in a nice, solid hardback, but that is still a year away, at least! So I thought ‘Why not sell a digital copy?’ And so I began to look into alternatives.

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There were many methods, most involved selling a PDF version on my own digital stores, which I wasn’t entirely happy with. Not only is a PDF a bit of a bother to read, you can’t sit with your child and read through the book together – and that’s still something that I find important. I even thought about making a book app myself to sell on the iOS and Android stores. However, with my experience with making games for tablet and phone devices, I knew how much of a pain in the behind this would be – I can create the art and menu systems easily enough, but then I’d have to hire a programmer (which, despite knowing many, I couldn’t ask them to work for free!), a testing team and most likely the tablet and phone devices needed to test the app – which is far easier with the limited amount of Apple products than it is with the plethora of Android-using phones! And then I would have to hire a PR team to get the word around – all of which is a little impossible with my teeny tiny budget! So I had to give up on that idea almost as soon as I had it.

Earlier this year though, popular digital comic outlet ‘Comixology’ opened the doors to small-press comic creators with ‘Comixology Submit’. Brilliant! A way to get a digital version of Sunrise on so many phone and tablet devices, as well as computer screens, in an easy to read way – and best of all, I didn’t have to invest any of my own money in it! So, as soon as I could, I prepared a tablet and phone-friendly version and submitted it.

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There are a few things to take note of – as far as I could tell, there were no guidelines, so you are working a little blind. I worked with traditional iPad3 screen sizes (2048 x 1536) but this wasn’t big enough. Comixology contacted me to ask if there was a bigger size, so I decided to make it bigger. I can’t remember how I came to this file size, but 2292 x 3056 was accepted. I think the huge file size is to do with their guided view system, which is fair enough – it is essential for those reading on smart phones! Secondly, it takes a long time for your comic to go through the submission process. Sunrise was ‘Tentatively accepted’ nearly a month after I submitted it. After that, it took another 6-8 weeks or so to appear in-store. This is definitely not a quick process and you are not guaranteed to get on the store at all. Thirdly, once your comic is in-store, you can’t see what your sales are. This does annoy me slightly, as I like to know how well my personal work is selling – and Comixology is telling me to trust them with something very important to me, which I find quite difficult when it comes to big companies. Another thing is, that instead of getting your monthly share sent to you each month (like Redbubble, for example) you’re sent a cheque every quarter IF your comic sells over $100, which worries me a bit – what happens if you only made $99 that quarter? Does it roll over into the next quarter? My comic hasn’t been up there an entire quarter yet, so I can’t give an answer. I do worry about them sending a cheque though, rather than wiring it to my bank account. As I have found out in the past, by receiving a cheque in US Dollars my bank will charge me extra to put it into my account – usually about £12 – which is annoying, and what happens if I move house while the cheque is in transit? I know there’s only a small chance of that happening, but it still worries me!

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But, even with those cons, there are a lot of ‘pros’ to submitting your work to Comixology Submit.

Firstly – a new, huge audience from around the world! Suddenly, you’re getting reviews and 5 stars from people who would never have found your work before. I now have access to the American market especially, which I would never have had on my tiny little table at UK comic conventions (I will most definitely still be at UK conventions though). Secondly, some of the people at Comixology found Sunrise in the submit section, and included it as the very first thing mentioned on the Podcast – even stopping their talk about Batman, to talk about Sunrise! My partner and I were sat open-mouthed while we listened to it! It was so nice to hear people I’d never met, talking about my little book in such a positive way. They even bought a physical copy of the book afterwards! Success! Even with the cons I listed, this Pro made up for everything 🙂 Thirdly – setting up your comic for Comixology is completely free for you. Yes, Comixology will take a 50/50 cut from your sales (after credit card fees and fees from tablet and phone companies for having the app on their store, which happens with every app), but the cost of hiring an entire team to get your comic on the app store yourself will cost you even more than Comixology’s fees. Plus you won’t get the same level of PR or open up to an entirely new market, like you will do if you go with Comixology. I have worked on many iOS and Android games and one thing I have noticed is, it is very difficult to get people to notice your game/app if you are not one of the top 10, or even the top 50! Comixology will help you with that. And lastly – submitting with Comixology means you are not bound to an exclusive contract – you can still sell digital copies anywhere else, which is perfect for the small-press creator!

So, in my opinion, if you have your own comic and you’re looking for a digital release, try Comixology. It won’t cost you anything to set up, so you have absolutely nothing to lose – and maybe even something to gain. Just keep in mind that it’s definitely not a quick process, and sometimes you can feel like you’re working blind.

I’ll post another update in a few months, once I know whether I get my first cheque or not!
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Images and text in this post are copyright of Heather L Sheppard.

Learning How to Commission Illustration

A short while ago one of our members, the highly talented and experienced illustrator Randy Gallegos, told us about a booklet he had produced: Learning How to Commission Illustration. It’s a really valuable resource that does exactly what it says: it shows people how to commission illustration!

Randy’s considerable understanding and knowledge of working with clients, especially independent publishers, has been compiled to provide a comprehensive explanation of the entire commissioning process. While this resource is targeted primarily at small and self-publishers, the information would be extremely useful to anyone who hasn’t worked with an illustrator before. Additionally, it would be a fantastic help to less experienced illustrators who may need advice on how to deal with artwork commissioners themselves.

The pamphlet describes the process of commissioning an illustration from start to finish, including how to approach an artist, choosing the right copyright, licensing, fees, time-scales and more. There are lots of examples of different situations in there too.

Randy’s pamphlet is available to download for free HERE, so you can keep your own copy to hand and pass it on to your clients as well.

So, what are you waiting for? Grab yourself a copy now!

Don’t forget to check out Randy’s artwork too: Website | Portfolio | Blog