Finding the right illustrator can make all the difference when you’re self-publishing a children’s picture book. You want to find someone who will add to the story rather than reiterate visually what is seen in the text, someone who is dependable and can work with your own deadlines, but also someone whose style and completed output matches what you had in mind for this particular story. But where can you find this professional, and what questions should you ask to ensure the process is as smooth as possible?
Many authors turn to platforms such as Fiverr or Upwork, and this can be the ideal location for finding what you’re looking for at a price point that matches your budget. However, this is not the only option. (Though if you do go this route, carefully review the feedback each provider has received and the fine print included in any contract or the terms and conditions listed on the platform’s site to avoid any unnecessary surprises later.)
Another option is to look through illustrations you’ve particularly enjoyed in other published works. Perhaps this artist uses color in a way that draws you in, or their images feel dynamic and bring the action and characters to life in a way that feels undeniable. Though some of these artists work with agents and may not be available when asked about self-published work, a great many of them do offer their services to those seeking to publish their own work. In short, if there’s an artist whose work speaks to you and feels like the perfect fit for your story, it never hurts to ask about their availability. For a fuller listing of professional artists who may be available, rather than messaging artists one by one, please check SCWBI’s website and look through the many talented providers listed in their directory.
For those with a tighter budget, don’t discount finding an art student who is looking for opportunities to build their portfolio. Some authors have had success with contacting students directly after seeing their work at a local showcase or by leaving a flyer at a college or another institution they may frequent. This may require additional questions before committing to working together, such as ensuring they will have the time for your project between classes, work, and other responsibilities, and perhaps some help on your end if they aren’t yet familiar with necessary elements like trim size and what types of files are supported by the company you’ve chosen to complete your printing.
Now that you’ve determined where to look, it is time to narrow down what you will be asking each candidate what material to send to them. An excellent starting point is compiling a list of published works that have the style you’re looking for. With this in hand, you will not need to know the appropriate art-related terms and jargon that may be common among those in the artist crowd. The artist should be able to tell you if they believe their style is an appropriate fit based on this, both in terms of how they use color, what they’re comfortable drawing, and so on, and all without you needing to take a crash course in the art of illustrating.
You may be tempted to send your entire manuscript, but a summary should be sufficient. Also be sure to include the basics, such as the word count, how many illustrations you’d like to include and if you’d like single spreads, double spreads, or a mix, and the intended audience, as well as a deadline for when you’d like the project to be completed.
The illustrator should respond knowledgeably to each of your questions and may have a few of their own. Expect that they will provide you with a contract, which will serve to protect both of you, and a detailed description of their work process. (It is highly recommended to ask for a contract if one is not provided.) Some may offer to complete a sample illustration, especially if you’ve made it known that you are considering a few providers before making a decision, and it is completely acceptable to pay for this sample since it does take a considerable amount of time and effort to create this.
Once you’ve narrowed it down or feel ready to choose an illustrator from your final list of options, look over the contract and finalize any details. For instance, how often are you allowed to make changes, and if you exceed that number, can additional changes be made for a fee? Will they also help with the layout and formatting, and is this included in the quoted rate? When should you expect to receive the first sketches, and are you welcome to message them throughout the process or would they prefer to keep communication more limited? When formulating this last list of questions, ask yourself about your preferences, such as if you’re someone who enjoys having frequent updates or conversations similar to collaborative brainstorming and if this provider will be able to deliver. For some, this may be just as important as the art itself, though what may be a nonnegotiable for you when thinking about some of these criteria may be unimportant to another.
Enjoy the search and begin early to avoid feeling rushed into making a decision. You may have an instant feeling of knowing when you’ve found the right illustrator for you, but still exercise caution and do your due diligence before jumping into signing a contract or making some other form of agreement. Professionals will understand that you’re doing so because you want to see your story come to life as you’ve envisioned it and that your thoughtfully created story deserves this level of care and consideration before entrusting its final steps toward publication with someone else. And once you do choose your creative partner and see the results of your combined efforts, you’ll have an enriching experience like no other.
Jennia D’Lima
The Creative Nonfiction Expert
Jennia Herold D’Lima is a full-blown logophile. She joined her high school’s newspaper in ninth grade, winning statewide awards for her writing, and expanded her journalism skills by continuing to write and edit throughout her high school years and as a college freshman. While earning her BA in psychology (and minoring in cultural anthropology with a focus on precolonial Mesoamerica) and her MA in applied developmental psychology, her writing and editing naturally skewed toward all things academic. Writing for and publishing in peer-reviewed journals, editing papers for classmates, and writing parenting resource guides honed her research skills. Jennia joined multiple professor-led research groups and completed four internships throughout her academic career. After graduating with a master’s, she worked at a national nonprofit in Washington, DC, and as an assistant researcher at the University of Washington in Seattle. Jennia gradually transitioned to full-time editing. As the host of the Writing & Editing podcast, she loves connecting with others in the community. Jennia enjoys traveling, volunteering, and taking creative photos of books and book-related items in those rare moments when she is not reading or editing.
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