Storybird is a site where you can set out a short story using the library of images they have uploaded, and then see your very own picture book on screen. They will eventually be offering a (paid-for) print option, and are also looking for illustrators to contribute, so it’s a site worth keeping an eye on.

Even if writing children’s picture books isn’t your usual cup of tea, it’s fun to create something for children you know. You would be in good company – think of Tolkien’s Father Christmas letters, or even Beatrix Potter who wrote her stories for her nieces and nephews.

Enjoy!

Cressida
(editorial consultant)

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I’ve had quite a few books published, but it’s always been tricky. It helps if you (occasionally) think you’re a genius of course, and are slightly rhino-skinned to let those rejection emails/letters bounce off you.

My first book was published in 1986. I love magic tricks, but am quite inept at performing them. Anyway I wrote and illustrated a book about them, some of which I’d invented and tried out on my long-suffering daughter, and went off to see a small publisher called Patrick Hardy (later taken over by Lutterworth).

The pictures and text weren’t enough; he wanted a demo. I ended up doing something far too complicated with string and legs (don’t ask). Tricky Tricks got published, and amazingly is still in print. Probably what I’m saying is, enjoy your subject, whatever it is.

Believing in your work and taking delight in it is essential, though it’s important and often inspirational to look at what other people have done.

Of course, check no one’s already used your title. And consider whether your work is more entertaining, perceptive or funnier than other work in a similar category? Listen to criticism and suggestions if they’re constructive.

Your proposal has to appeal to an overworked editor whose attention span may be gnat-like, so a synopsis should be short and clear, and pictures (a double-page spread and cover idea, if it’s going to be a picture book for young readers) should delight both you and the viewer.

Btw I’ve had loads of rejection letters over the years… any ideas on how to use them creatively, apart from shredding/lining a hamster cage?

Sally Kindberg

How did Sally get her first commission – and what makes her wipe the tears off her glasses? Find out more in the full interview with Sally Kindberg

Sally Kindberg is an illustrator and writer. She has one daughter, Emerald, and lives in London with 67 robots. She is the illustrator for The Comic Strip History of the World and The Comic Strip History of Space.

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I call him ‘Edward Monkton’, as you’ll probably know him by that name, but he is in fact Giles Andreae, the artist, writer and poet behind everything from Purple Ronnie to the Hamster of Madness.

Giles Andreae’s advice for starting out:

• Create your work from your heart rather than for the market. If it’s not from the heart people can feel that. You still have to be aware of why people might want your work, and how they will engage with it.

• It’s quite obvious, but people still get it wrong: only present your very best work. Even if you only have three pieces out of 50 that you think are brilliant, show those. You only ever have one shot with your submission.

• It’s important to realise that publishers are desperate to find good material, it’s in their interests. If you’re rejected five times, there’s probably a reason for it so listen to what they have to say.

• Some people create something and never submit it, but I think that’s unforgiveable. Don’t be frightened to submit your work. Even if no one takes it up, it’s better to know that’s the case.

The above is an extract from our interview with Giles Andreae. Read it to find out how he dealt with rejection, whether he has an agent and what he would change about his chosen career.

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I often get asked about how to present your illustrations. What publishers generally want to see is how you would tackle a book layout (this can be in pencil), how a cover would look in colour, and also one double-page spread from your book in colour. Just one would do, there’s no need illustrate the whole book in case of inevitable changes or unsuitability with the text.

What to submit:

• a book layout (in pencil is fine)
• a colour book cover
• double-page spread in colour

Ideally publishers would love you to write and illustrate, but we’re not all blessed that way, so don’t worry if you haven’t got a story. Find a story you do like, rework it to your way of thinking and style, then make an appointment with a portfolio of your illustrations and ideas − the publisher will probably be able to see very quickly whether you’d fit in with their lists.

Another easy thing you can do is to go into a bookshop and check out all the books that your style of work would sit comfortably with. List those publishers and make your appointments.

Here in the UK, the Children’s Writers’ & Artists’ Yearbook (sister publication of the Writers’ & Artists’ Yearbook) has all the publishers’ contact details and masses of good advice.

Best wishes, Clare

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This one’s up to you – it’s not imperative to have an agent, but if you’re not business-minded or would rather not deal with that side at all, then it’s well worth it.

Illustrators’ agents take about 30% to 40%, and for this they usually have their own website, they field calls, organise fees, will present your portfolio to clients, invoice clients, advertise (though you’re likely to pay a percentage of this too), and promote your work, give advice and feedback, and basically look after the business side for you.

When you’re finding an agent make sure your portfolio is up to date and scratch, of course, but never underestimate the human side of it all. See whether you actually like who you are meeting, as the illustrator-agent relationship is just like any other – you have to get on, trust and respect each other.

Hope this advice is useful and I wish you fun as well as success in your career.

Best wishes, Clare

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Once you’re set, perhaps with a website and definitely with a portfolio, you’ll need to have your work seen.

I am a little out of the loop, but on asking an agent they did recommend making appointments (as I did when starting out) with art directors, dropping off your folio with them or hopefully seeing them face-to-face.

If it’s the latter, do ask advice on whom they’d recommend you see next, and perhaps what they think of your work and suitability for jobs. You’ll soon get a handle on where your place is in the market and can pitch more effectively from there.

Another idea is to use a company that has up-to-date records of addresses and contacts across the board in the industry. One company I know of is Bikini Lists but there are others, so do check which one feels right for you, and also whether this approach feels right for you. It doesn’t work for everyone and I haven’t tried it yet, so can’t comment fully.

Sending ‘postcards’ (samples of your work with your contact details) directly to art directors is another idea you might want to try. It’s a nice informal approach and can work well.

Other than that, best of luck!

Best wishes, Clare

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By all means do try to get yourself a website so that art directors can look you up online.

I’ve found this invaluable – more important to me now than a portfolio, but I’m not sure it’s a substitute when you’re starting out.

Try to also have a traditional portfolio, and make it as beautiful and enticing as you possibly can.

Your portfolio is your showcase – you will be judged by it – so prepare it in a way that reflects your talents and abilities at their best. Art directors are by nature highly visual and will appreciate a well-presented folio to show to their colleagues and clients too.

If you aren’t sure how to go about this, here in London the Association of Illustrators have what’s called a ‘portfolio consultation’ whereby you can make an appointment to discuss your folio and how to present it, what to put in it, and so forth.

It’s important to create a portfolio that suits your strengths. If you’re not able to come to the capital, do see if you can find an art director near you who’ll give you advice. Their time is precious, but you never know…

Best wishes, Clare

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Quick update: this is a picture of me working at home on an illustration for Country Life, whose commissions I love. They employ different writers for their ‘My Week’ column, and it’s my job to realise a scene or a quirky image that springs to mind from their copy. It’s always engaging as there’s a mix of writing styles, subject matter, and seasons, but as I enjoy painting animals best (and they’re mostly what’s required!), it’s a very happy collaboration indeed.

I’m often asked what paper and materials I use. My studio is well stocked with acid-free watercolour paper and good quality watercolours (so important, as the student ones don’t seem to be so clear and beautiful to paint with). As I occasionally use dip pen and ink there are bottles of ink in the drawer and a small metal box of nibs.

As for the technicalities, I scan the finished artwork at 300dpi and tweak it a bit if necessary in Photoshop. I’ll also give it a code and save it into a folder on my Mac desktop. I now always send illustrations to clients digitally with one exception as they prefer it that way and always do a beautiful job… therefore well forgiven.

Best wishes, Clare

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I often get asked about how to start out – or about how I started out – so I’m dedicating my first post to that topic. Illustration is a good career, but it can be a battle to get your foot in the door. This is a brief story of how I started out and I hope it’ll be of use to you.

After art school in Edinburgh I booked lots of portfolio interviews with art directors from design and advertising agencies. Unfortunately, a lot of them didn’t turn up to the meetings, and it was all very disheartening until one art director (who did turn up) suggested I move to London, Germany or New York, as my style of work wasn’t going to earn me much of a living in Scotland, though there is certainly work there too.

I made a month-long preparatory trip to London, booking in loads of meetings – none of which was cancelled. All those meetings resulted in only two magazine commissions, but as someone kindly said: ‘See every meeting as sowing a seed – you never know which or when they’re going to grow.’ After plucking up courage I moved down to London in 1990, and have been here ever since.

Slowly the odd illustration job trickled in, between which I carried on making portfolio interviews. Whenever I met an art director, I’d ask if they’d recommend another to me, so I always had new people to see. I was often given advice – some very disheartening and damning – and I listened and tried so hard to learn. Publishers would say my work was too sophisticated for children and to go to magazines or design studios, and those art directors would say my work was too child-like and to go to children’s publishers.

It was a very tedious Catch 22 until I eventually had some printed work in both camps to show art directors. That gave them the confidence to commission me further. Being shy at that time didn’t help, but I persevered as truly I hadn’t a clue what else to do if I couldn’t illustrate.

It took a couple of years but commissions started to arrive and, before I knew it, the sown seeds began to grow and didn’t stop! Fear kept me working extremely hard, but it was interesting and, thankfully, no two illustration jobs are alike, so it keeps your mind active and stretches you. You can’t say that about every career.

Best wishes, Clare

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