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How to Publish Your Own Children's Book
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Make
a small sample book containing copies of the type of work you like. You may
not be able to locate or afford the particular illustrators, but you can use
your sample book to show prospective illustrators what you are looking for. | |
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Get
referrals and samples from book preparation specialists, graphic shops, and
printers. | |
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Network.
Ask around. |
Once
you find an artist, you'll be able to give your artist a clear set of your
expectations. That's because you've done your footwork, come up with a
storyboard, and have a good set of specifications.
However,
you'll still need to negotiate a deal.
There
are three ways to go. Which way you go depends on how involved your artist wants
to be in the project--and how involved you want him or her to be.
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for Hire:
You
can pay the artist for drawings that you will then own. This is a "work
for hire" arrangement. This is the best way to go if the illustrator
wants to make some quick money, isn't worried about owning the illustrations
or participating in the ownership of the book. You then own the art and have
the right to re-use it. Generally, this is the simplest way to go. | |
| Licensing:
You
can pay the artist for the drawings and let them retain ownership of the
art. This is less advantageous to you, but it may be the only way to go if
the artist is already well known or if you want to use art that is already
in publication. | |
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Co-authorship:
You
can make the author a co-author. In this case, you and the author agree to
share the project's expenses and profits. You don't need to do this
equally--you can agree to any split you want. This is a good way to go if
the illustrator identifies so much with the project that she wants to be
involved in the business end. (Note: don't confuse this legal arrangement
with putting the name of the illustrator on the cover. That's a separate
decision, and you can do that even if you have made a "work for
hire" arrangement with your illustrator.) This is a trickier
arrangement, just because partnerships can get complicated, but it has
considerable advantages. You eliminate your upfront costs, share your
expenses, and potentially add to your sales energy. It's worth considering
if you have a strong positive relationship with your illustrator. |
Whatever
you do, do it in writing, not with a handshake.
I can't give you one rule of thumb. There are too many variables. But here are some things to consider:
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What
kind of illustrations do you want?
Line drawings can be done quickly.
Oil paintings take a long time. Keep this in mind when you select the type
of art you want. | |
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How
fast does the illustrator work?
Illustrators base their prices both on
the time they have to spend on a drawing and on what the market will bear.
Some illustrators, like caricaturists, can work very quickly. You'll get
better value from the fast ones. | |
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How
experienced or well known is your illustrator?
If your author is famous,
of course you are going to pay more. However, a veteran illustrator may be
able to work more quickly than an amateur. A talented but unknown teenager
may give you a good price. | |
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How
do you plan to work with the illustrator? If you are inexperienced, you
may try to interact with the illustrator in ways that are quite costly, for
example by asking for repeated revisions. Veteran illustrators may know this
is a hazard in working with inexperienced authors and build it into their
asking price. Or they may set some parameters to try to control the
revisions. |
© 2003 Kenneth Guentert. All Rights Reserved.
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Last updated: 03/18/07