Let’s face it, we are not all Bob Ross. Even if we can visualize the scene our words suggest, it doesn’t mean we can take that scene from our minds and put it onto paper in the form of an illustration unless we are some of those multi-talented creatives. Odds are, we won’t do so well with both writing and images.
That being said, don’t forget there are different art forms. “The Hungry, Hungry Caterpillar” is an excellent example of a book whose images were not pencil, paint, or pastel. There are also photography, and clay. I have not a clue how popular either method is, but these are ideas which show that there are other options. Explore possibilities. Learn what works for you and your audience.
I, for one, am not very artistically talented. I knew that if I was to produce a children’s book, either someone else must tend to the illustrations or I might never finish since I tried to learn how to illustrate and didn’t do so well, at least, not well enough to satisfy my own standards. I’m sure the ending of my tale will come as a huge shock, but I opted for someone else to prepare the illustrations. I know, total surprise.
I happened to know someone who could do the illustrations and we just had to work out the business side of the matter. If you know someone who has skill, you can approach them and see if you can work something out.
Is this the best route? Probably not for everyone. I heard from another children’s book author about an attempt to have an acquaintance produce the illustrations. She explained how it was a far from desirable experience what with not being able to get the acquaintance to actually produce illustrations. It was, however, the best option for me at that time.
Now, this is if you self-publish. I have no personal experience with traditional publishing because I decided early on that I didn’t want that experience for reasons that might be best saved for another post.
If you are in a position to communicate with your illustrator, do so. Make sure you understand what level of direction your illustrator is willing to accept. Do not step on each other’s toes. You want to build and preserve a good artistic relationship as you make sure your illustrator knows what you are looking for. Don’t dictate every aspect of the illustrations because the question would then arise, “If you don’t like my art, why don’t you make your own?” This is their creative process as much as the writing was yours. Respect that. Don’t expect your illustrator to read your book through to make sure they match the illustrations to the words in the book. If you want an illustration to show the characters in a run down hut, make sure you state that so the illustrator doesn’t think a modest, but well kept house would do the job.
My point is, communication is important. Do it well. If the illustrator is willing to read over your text to understand how to create the artwork, go ahead and give them a copy of the text, after you have mailed yourself a copy of the text and have the sealed, postmarked envelope in hand, of course. This last is a good measure to take in general the moment you have your text finished, maybe before, if you have the need to show it to people before the editing process is finished.
If you want to do the illustrations yourself, hold yourself to high standards. The illustrations are the visual presentation of the book. Some books can get by looking like a five-year-old illustrated them, but don’t count on it for yours. You want to give your book the best odds of success. Make sure you make the illustrations show the best quality you can manage. Just remember not to drive yourself crazy over it. Your other goal beside quality is to make sure the book becomes a reality.
If one medium gives you trouble, try another. Just don’t give up too soon. Every skill takes practice. Even raw talent is of little use without great amounts of practice and work. Learning how to create quality illustrations is the same as learning how to create quality writing. It takes blood, sweat, and tears. Also, will illustrations as with writing, remember to enjoy the wonder.
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Very good post!
I am an illustrator myself, so I see it from that perspective.
One of the first questions I ask, if not clear already, is what season it is supposed to be.
That clears up a lot about the type of clothing the characters might be wearing and the background colours.
I think a lot of authors are scared of investing a lot of money into a project that might not go as smooth. So I always offer to do the initial character sketches for free. To see if the author likes it, as well as to see if I am capable of drawing it.
Thank you for the illustrator’s point of view. I believe it helps when each side of the coin can see what the other side looks like.
A sample sounds like a good concept. I think many an author would feel better if they could see that the illustrator shares their vision.