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Viewing: Blog Posts Tagged with: Freelance Business, Most Recent at Top [Help]
Results 1 - 17 of 17
1. The Dreaded Kill Fee
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By: Nina Mata, on 3/2/2012
Blog: Beautifique (Login to Add to MyJacketFlap)
JacketFlap tags:  dealing with rejection, freelancer, illustration business, freelance business, creative business, coping with rejection, kill fee, Business & Stuff, cancellation fee, freelance rejection, the business of freelance, artist, Illustrations, freelancing, rejection, Add a tag

It’s definitely more appropriate to share your accomplishments, but what about rejection? This topic hasn’t really been as openly discussed as much as it should be. I’m going to wear my heart on my sleeve here and hope by sharing this experience it eases the pain a little for other creatives who’s gone through similar situations.

As a freelancer, trying to establish yourself can be quite draining.There are a few words and situations that can be traumatizing enough to threaten the livelihood of ones career. “Send me your KILL FEE” has been by far my worst and biggest fear come true.

A couple of years ago I was approached by a widely known establishment to illustrate something to go with a copy they were planning on releasing. I really wasnt clear on why I was chosen to do this commission since they wanted me to illustrate something loose and abstract. I wasn’t sure I would be able to meet their vision but I had to try. After all, this client was on top of the list of companies I’d always wanted to work with.

I spent a few days trying to create something engaging and abstract. When I sent in my inital sketches for the said artwork I got feedback to REWORK, EXPLORE, REVISE. So i did as I was suggested, days later I sent in my revisions and got the most devestating reply I had ever read:

“This isn’t working. Send me your kill fee” 

(For those of you who aren’t familiar with the term, a “kill fee” is otherwise known as a cancellation fee. It’s a percentage of the originally agreed upon payment that the client is required to pay should the project be terminated.)

My heart sank to my stomach. I read the message over and over again trying to wrap my brain around this horrifc sentence. I wanted to reply, no, call them to give me another chance. But I knew that pleading wouldn’t be the most professional thing to do. So I took a deep breath, ignored my quivering fingers and replied with an invoice graciously.

The days that followed were pretty bad. It felt like a really bad break up. I went through the first four stages of grief within the following weeks. At
first I denied the whole thing ever happened by deleting any evidence of correspondence. I even deleted the invoice and contract out of my records.

Afterwards I completely broke down. I cried. I cried for days (my eyes hadn’t been this puffy since they cancelled Punky Brewster) and I drowned myself in massive amounts of self pitty. After a couple of weeks, I learned to accept the loss but I wasn’t completely over the whole scenario. I took a one month break from everything. I closed the door to my studio and replaced productivity with a full days worth of sitcoms and reality shows. Fun.

If it weren’t for my family and friends, getting out of this funk would’ve been ten times harder. Having a support system helps. It

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2. Freelance Business Content Subcontracting Questions
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By: Karen Cioffi, on 6/21/2010
Blog: Writing for Children with Karen Cioffi (Login to Add to MyJacketFlap)
JacketFlap tags:  writing, freelance writing, freelance business, content subcontracting, hiring out writing work, Add a tag

Here is Part 3, and the final part, on this Freelance Business series:

You’re freelance business is moving along and you’ve been wondering if you need to hire subcontractors to help with the big jobs. You may not be making much money yet, and aren’t sure of the pros and cons of taking this step. Is it financially worth it to hire subcontractors?

To answer this question, you have to ask yourself these questions first:

1. How much do you want to make per piece, per hour, per job?

Without the answer to this question, you shouldn’t commit to anything.

2. Will you earn what you want on this job if you subcontract some of the work out?
Keep in mind that you will need to proof (and possibly edit) the outsourced content. In addition, if the job involves a lot of posts or articles, you will need to create multiple spreadsheets for each subcontractor.

3. Will the organizing and managing of the project with subcontractors on board still allow for you to earn what you want?

Aside from the actual content writing, the organizing and managing of the project will be time consuming. Each spreadsheets mentioned above will contain: what specific job they are doing; the specifics of that job; when it’s due; when the content is received, keeping track of all the titles or other information; when it’s submitted to the client; when you’re paid from the client, when you pay each subcontractor.

And, don’t forget about the all the communications between you and the subcontractors.

There is also the bookkeeping aspect of the job. You need to keep track of income and expenses—this is a must.

You may begin to realize that all the time spent on organizing and managing the project could be spent writing your own content.

4. Is it possible to do the work yourself? Or, do you feel you won’t get done on time without the help of subcontractors?
In regard to these two questions, it might be that you think you have less time than you actually do. Maybe the client wasn’t very specific; this is where you need to request a specific and definite amount of content per week, or time period. Another possibility is to negotiate with your client for an extended time period so you can complete the project on your own without being overwhelmed.

Communication is essential.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Other Articles You May Find of Interest:

Do You Have a Freelance Business?

Creating and Beefing Up Conflict
~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Great Writing Tools and Programs:

Writing, Publishing, and Marketing - You Can Do It

Writing for Children One Step at a Time

The Self-Publishing Guide, 2nd Edition

The Children's Writers' Coaching Club

Write More, Sell More, Make More Money Than EVER in 2010 Coaching Program


~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
If you haven’t yet, be sure to sign up for our FREE monthly newsletter and get a FREE eBook!
 
And, scroll down on the right sidebar--there are two free e-books just for stopping by!
Until next time,
 
Karen Cioffi
Author, Ghostwriter-for-hire, Freelance wri

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3. Freelance Business Content Subcontracting: Is it Worth it?
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By: Karen Cioffi, on 6/16/2010
Blog: Writing for Children with Karen Cioffi (Login to Add to MyJacketFlap)
JacketFlap tags:  freelance writing, writing success, freelance business, subcontracting content, Add a tag

You have a relatively new freelance business going and you’ve gotten a really big project, at least the biggest you’ve ever done. You’re excited, but also a bit apprehensive: can you get it done on time?

You decide to subcontract some of the work to take the pressure off of you, or maybe because it’s just not feasible for you to do alone. Well, before you make commitments with subcontractors, think it through.

New Freelance Business Food for Thought

Analyze and answer this question before you start outsourcing work:

Does the job pay well enough to warrant hiring subcontractors?

For example: you get a big article writing gig. It would be difficult for you to handle it alone within the specified time. Also, there are specific keywords that will need to be used for each article and it’s a concern that you will end up having articles that sound alike. These are valid concerns, but if you’re not making enough money on the deal, is it worth it to hire out, or even accept the job?

Get out a calculator if you need to, and determine how much you will make per article taking into account the time you will have to spend researching for your own articles,  proofing each outsourced article, and possibly even editing them. The last scenario is very, very, very likely if you don’t already have a team of subcontractors who you are familiar with, and who you know can produce quality content.

And, there is always the possibility that the client will ask you to edit a few articles after you’ve submitted them to him. This is more of your time and energy being used. If the editing is required because you didn’t do a good job on that particular piece, or your information was inaccurate, then it’s your responsibility to edit it with no charge. If on the other hand, the site your client submitted the piece to is just being picky, you should charge an editing fee.

The key to being successful is to know your value.

Be sure to stop back on Monday, June 21st, for Part 3 of the Freelance Series.
~~~~~~~~~~~~~~~~~~~~~

You might find these articles of interest also:

Top 7 Mistakes e-Book Authors Make

Writing Books: Is There Money in It?
~~~~~~~~~~~~~~~~~~~~~~~

Great Writing Tools and Programs:

Writing, Publishing, and Marketing - You Can Do It

Writing for Children One Step at a Time

The Self-Publishing Guide, 2nd Edition

The Children's Writers' Coaching Club

Write More, Sell More, Make More Money Than EVER in 2010 Coaching Program

If you haven’t yet, be sure to sign up for our FREE monthly newsletter and get a FREE eBook!
And, scroll down on the right sidebar--there are two free e-books just for stopping by!

Until next time,
Karen Cioffi
Author, Ghostwriter-for-hire, Freelance writer, Reviewer

http://karencioffi.com
http://dkvwriting4u.com
http://nothingventurednothinggained.org

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4. Tips for Content Subcontracting in Your New Freelance Businesses
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By: Karen Cioffi, on 6/14/2010
Blog: Writing for Children with Karen Cioffi (Login to Add to MyJacketFlap)
JacketFlap tags:  writing, freelance writing, freelancer, freelance business, subcontracting content, Add a tag

This is Part 1 of a 3 Part series on Subcontracting and Your Freelance Business.

If you’re just starting a freelance business, you need to step back and learn some of the basics. Whether you use other writers for resources or to actually write content, you need to be aware of a few things:

1. Make sure you have a reliable team (2-5 writers, depending on your needs)

This is crucial. As a freelance business owner, you don’t want to learn the hard way the consequences of hiring a writer who just doesn’t get it, or isn’t capable of doing the type of work required. You will end up spending a great deal of time editing and even rewriting content so it is acceptable to your client.

And, unless you’re a tough business person, you’ll do the work and end up paying the subcontractor.

A solution to this, before you have a reliable team, is to ask for a writing sample, but this isn’t always a true indicator of a writer’s qualifications. If you do hire a writer, after an article or two you can determine if this writer is right for the job or not.

Another option is to let the subcontractors write on spec. If the submitted content is suitable, you accept it, if not, you return it. The drawback with this option is wasted time. If the content isn’t suitable, you still have a deadline and may have to rush to do it yourself.

2. Create a letter of agreement

You may want to create a letter of agreement between you and the subcontractors; while this is optional, professionals advice it.

Be sure to make the agreement very detailed. Be specific as to the word count, what can and can’t be used (such as particular sites, services, or products mentioned). Include how much they will make per post or article; when the article is due, particular keywords if any, font type required, and so on. You might not think that font type is important, but if you’re dealing with 100-200 posts, and you have to proof each one, and make them all uniform, you’ll be sorry you weren’t more specific.

It might be a good idea to provide a sample article so they can see what you’re looking for.

Note: Before you quote a fee per article, take into account the administrative and organizational aspects of the job. Also take into account the costs of mailing checks to the subcontractors—all this adds up in time and money. If your client is giving you $15 per article, and you subcontract the piece for $15, you’re losing money.

This goes for hiring out for research also . . . be specific in what you want, expect, and are willing to pay.

3. Let your client know you are subcontracting some of the work

This is just the right thing to do. If a client is hiring you for your expertise and the quality of your work, he doesn’t want less than what he thinks he’s paying for. Always be upfront.

He may ask that you proof each subcontracted piece before submitting them, but that should be expected. And, the same holds true for research you hire out, you are responsible for its accuracy. This is another reason I mentioned above to take into account all the work involved in a project before you give the subcontractors a quoted fee.


Come back on Wednesday, June 15th, for Part 2.
~~~~~~~~~~~~~~~~~~~~~~~~

Articles You May Find of Interest:

Inbound Marketing and Twitter

Aim for Writing Success



Create and e-Book Today
~~~~~~~~~~~~~~~~~~~~~~


 Great Writing Tools and Programs:

Writing, Publishing, and Marketing

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5. Case Study of a Positive Art Rep Relationship
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By: Thomas James, on 1/14/2010
Blog: Escape From Illustration Island (Login to Add to MyJacketFlap)
JacketFlap tags:  illustration, Business, Freelance Business, art rep, Add a tag


(Illustration by Frank Hansen)

In response to requests from the EFII Community, I’ve been discussing the topic of artist representatives all week.  So far I’ve talked about things to consider when thinking about working with an art rep, how to find one, and how to be attractive to him or her.

Today I’d like to share a real-life example of what a positive Art Rep relationship looks like.

I think it’s always beneficial to speak with our fellow artists to learn more about the industry and the many ways to operate within it, so today I’ll be using a real-life “case study” in order to explore the current topic a little further.

You may remember Penny Dullaghan of Illustration Friday speaking fondly of her agent on Episode 6 of the EFII podcast.  I’ve asked her to elaborate and talk about why her arrangement with her art rep works.

Here’s Penny’s Story:

I started collaborating with my rep, Scott Hull, in 2005, and it has been a great relationship thus far. I think a lot of that can be attributed to mutual respect, honesty and growth. I really admire Scott’s ability to talk to people on a familiar level (he always seems to know someone and he makes friends easily) and his straight forward methods as far as pricing, timelines and contracts. I offer my input, of course, but mostly I don’t have to worry about any of that stuff because he’s so good at it. And that frees me up to just focus on the art. Scott also comes to me for my ideas and thoughts on projects, promos and developments, which is really nice. I feel like I am part of the process.

Honesty is a big part of it too. He is up front with me on what’s going on business-wise and in the industry, good and bad. And what pies he’s got his thumbs into. And I am honest about what I am comfortable with as far as projects (timeline, type of client, etc), and also when I am working on projects that he’s not involved in. It helps that there are no places you can’t go in conversation.

And lastly, growth. We’ve grown and changed as a team over the last few years. He asks me where my interests lie and what I want to pursue and also shares his thoughts on other possibilities. He’s stuck with me as my style has changed and developed. And even encouraged me to keep evolving and playing. It really works.

Thanks to Penny Dullaghan for sharing her story of what seems like the ideal type of relationship to have with an art rep.  I’ll be posting more case studies like this one in the future, and applying this format to other topics as well.

Do you have a story about a positive art rep relationship?  Please share it in the comments section of this p

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6. How to Be Attractive to an Art Rep
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By: Thomas James, on 1/13/2010
Blog: Escape From Illustration Island (Login to Add to MyJacketFlap)
JacketFlap tags:  Escapee Speaks Business, Freelance Business, art rep, illustration, Add a tag


Do you have what Art Reps are looking for?

In your search for an Art Rep, it is important to remember that Art Reps are searching for the same things that Art Directors seek out when hiring an Illustrator for their next project.  This is because agents are in the business of connecting connect their artists with the right clients, which requires a solid understanding of the industry and a history of building lasting relationships with Art Directors and Editors in their area of focus.

The good news is that this means that you are able to apply the same marketing techniques with art reps as you would with potential clients, because you can understand their needs.

Marketability

Ultimately, representatives need to collaborate with artists whose work is marketable to the pool of contacts within their area of specialty.  Whether or not they appreciate your art on a personal level, they need to be able to secure projects for their Illustrators in order to make a living, and one way that they accomplish this task is to be selective about the artists they work with.

In order to be marketable, you need to not only have a healthy dose of talent and skill, but also a style and approach that is relevant to your target market.  If you possess these qualities, then you’re off to a good start, both with Art Reps and Art Directors.  Ideally, you’ve already been heading in this type of direction in your efforts to seek out and acquire more work on your own.

Consistency

It always makes you more attractive as an artist if you can show a consistent, clearly-defined voice.  Just like clients, art reps need to know what to expect from you if you are assigned to a project.  Otherwise, they’ll have nothing to promote.  Consistency also means making your overall style compatible to your target market.  You won’t want to include an image of a ghoulish zombie in a portfolio geared towards Children’s Education Illustration, for example.

History

In addition to marketability and consistency, art reps want to see that you know how to work with clients, how to meet deadlines, how to deliver finished artwork, and all other tasks that are involved with a typical Illustration project.

You can show your experience through your About page, client history, testimonials, tearsheets, and other forms of proof.  Again, these should all be elements of your portfolio anyway.

Compatibility

Even if all the above requirements are met, it is still vitally important that you and your art rep are a good fit for each other, both personally and professionally.  You don’t have to be best friends forever, but you need to be able to share trust, respect, and a certain level of camaraderie in order to work together effectively.  After all, you are both seeking a mutually beneficial relationship, and the ability to understand each other and work together well will help to make that happen.

…

What’s your experience?  Please share your thoughts in the comments.

Illustration by Frank Hansen.  Find out more about Frank here

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7. 23 More Reasons to Own Pricing and Ethical Guidelines
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By: Thomas James, on 1/11/2010
Blog: Escape From Illustration Island (Login to Add to MyJacketFlap)
JacketFlap tags:  illustration, Reviews, Updates, Features, contracts, Freelance Business, pricing and ethical guidelines, Add a tag


Regular EFII readers have probably heard me sing the praises of Pricing and Ethical Guidelines from the Graphic Artists Guild. I’ve mentioned it in a Resource Review as well as 7 Illustration Books You Need to Read.

The reason I keep mentioning this resource is simple.

It’s one of the most useful books to be found on the industries of Illustration, Cartooning, and Graphic Design. Whether you’re just starting out, thinking about breaking into a new niche, or looking to make your business grow or become more efficient, there is a ton of great information to be found in this book.

Today I’d like to highlight 23 more reasons to consider adding it to your arsenal:

Contracts and Forms

The Appendix of the book offers 23 standard contracts and forms for use in your freelance business. To give you an idea, here’s a list of the forms to be found there:

  • Copyright Registration Form VA
  • Cease & Desist Letter
  • Artist-Agent Agreement
  • Artwork Inventory Form
  • All-Purpose Purchase Order
  • Nondisclosure Agreement for Submitting Ideas
  • Licensing Agreement (Short Form)
  • Licensing Agreement (Long Form)
  • Graphic Designer’s Estimate & Confirmation Form
  • Graphic Designer’s Invoice
  • Computer-Generated Art Job Order Form
  • Computer-Generated Art Invoice
  • Digital Media Invoice
  • Web Site Design and Maintenance Order Form
  • Magazine Purchase Order for Commissioned Illustration
  • Illustrator’s Estimate and Confirmation Form
  • All-Purpose Illustrator’s Letter of Agreement
  • Illustrator’s Release Form for Models
  • Illustrator’s Invoice
  • Surface/Textile Designer-Agent Agreement
  • Surface/Textile Designer’s Estimate and Confirmation Form
  • Surface/Textile Designer’s Holding Form
  • Surface/Textile Designer’s Invoice

These sample forms are useful for creating customized versions for your business. In fact, I used the Illustrator’s Letter of Agreement as a general model for my own contract. It’s nice to have a reliable source to look to for guidance when creating legal documents, and Pricing and Ethical Guidelines offers that in spades. If you’d like to get your hands on this resource while supporting Escape From Illustration Island, you can find it alongside other valuable books in the EFII Bookstore.

No matter where you buy it, you won’t be disappointed.

What’s your experience? Please share your thoughts in the comments.

Related Posts:

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8. 10 Tips on Contracts and Clients
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By: Thomas James, on 1/8/2010
Blog: Escape From Illustration Island (Login to Add to MyJacketFlap)
JacketFlap tags:  Updates, EFII Community, Escapee Speaks Business, Freelance Business, client relations, illustration, Add a tag


  • How to Educate Your Clients
  • How to Spot a Problem Cient
  • What to Do About a Problem Client
  • How to Work with a Client’s Tight Budget
  • Is Your Client Clean or Dirty?
  • How to Protect Yourself with a Solid Contract
  • How to Scare Off a Client with Your Contract
  • Sample Contract for Illustrators and Graphic Designers
  • Things to Consider When Pricing Your Work
  • Cold Calls

    • I hope you enjoy these 10 recent articles about working well with your clients to meet their needs and build the foundation for a continuing relationship.  Stay tuned, because you can count on Escape From Illustration Island to continue covering this topics, as well others such as Promotion, Niche Marketing, Social Networking, Portfolios, and more!

    In the meantime, you can find more valuable posts on all aspects of Illustration here.

    Related Posts:

    Stay up to date with updates from EFII via email or RSS.

    Bookmark and Share

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    9. How To Work With A Client’s Tight Budget
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    By: Escapee, on 1/8/2010
    Blog: Escape From Illustration Island (Login to Add to MyJacketFlap)
    JacketFlap tags:  budget, client, Escapee Speaks Business, Freelance Business, illustration, Add a tag


    Escapee Speaks:

    As I mentioned in a recent article, Is Your Client Clean or Dirty?, I believe that some clients who are perceived to be difficult do in fact have innocent intentions.  Unfortunately, bad experiences sometimes make some Illustrators unnecessarily fearful or defensive when they encounter new clients who send up possible red flags.

    One example of this is a client who has a ridiculously tight budget when compared to the grand expectations they may have.

    Indeed, some of these types of clients are interested in taking advantage of inexperienced or desperate Illustrators.  However, sometimes the client is simply unaware of how much time, work, and skill is required to execute their projects, and especially of how much it will cost.

    It can be tempting to turn down a project at the first sign of an unrealistic budget, but in doing so, you may be walking away from an opportunity for new business or even a lasting relationship.  There are ways to work within a client’s tight budget without compromising your value as an Illustrator.

    Here are some simple steps to try and make the most of a client’s tight budget:

    Educate

    It can be helpful to educate your client about industry standards and about the amount of time and effort it will take to complete the work that they’re asking for.  This won’t always persuade them to pay what you’re quoting for the artwork, but it has the potential to start a productive dialogue with the client about coming to an agreement that is fair to both parties.

    Offer Alternative Solutions

    An under-appreciated form of education is the art of offering alternative ways to meet their communication needs.  Believe it or not, many clients have not considered other, less expensive ways to get their message across in a visual way.  For example, try suggesting ideas such as a Black and White or 4 color version of their original full color concept.  If you begin this conversation, you just might find an idea that works just as well as, or even better than, the more expensive approach they were proposing at the start.

    Segment the Project

    Sometimes the client is simply not confident enough in your skill or in the creative process to agree to the fair price that you’re quoting.  This is understandable given the fact that they are paying for something that doesn’t yet exist, and they may have been burned by a less capable artist in the past.

    One possible solution is to offer to complete smaller portions of the larger project for a smaller fee.  For instance, you may offer to create comps or initial sketches for a fraction of the total cost.  This allows the client to get a feel for what you might bring to the project without asking for free work, and it allows you to receive payment for the amount of work that you complete.  The added bonus is that if you impress the client, they just might agree to work with you on a larger scale.

    Discuss Usage Rights

    Many people who are seeking out Illustrators for the first time assume that they will acquire

    2 Comments on How To Work With A Client’s Tight Budget, last added: 1/10/2010
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    10. How to Protect Yourself with a Solid Contract
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    By: Thomas James, on 1/6/2010
    Blog: Escape From Illustration Island (Login to Add to MyJacketFlap)
    JacketFlap tags:  Freelance Business, illustration, contract, Escapee Speaks Business, Add a tag


    Before the holiday break, I published two articles examining the warning signs of a problem client and what to do about it.  Today I’d like to go into a little more detail about your best chance at protecting yourself, your Illustration work, and your freelance business: your contract.

    If you’re not already, you should start taking your contract very seriously, because it’s your first line of defense if things go sour.  A bad situation is made immeasurably worse when there is no contract to turn to when it comes to settling differences with a troublesome client.  Tomorrow I’ll be posting some sample contracts for those who are interested, but I thought I’d outline some essential features of a solid contract.

    Here are some things that you should consider including in your contract:

    Project Details

    Don’t skimp on the details when getting things in writing, because everything that happens from start to finish should be based on what is stated in the contract.

    You should include such things as the number, size, and medium of the Illustrations, the project’s name, and the intended use of the artwork.  You should also clearly define the milestones/deadlines of each stage of the project and how many revisions are available to the client.

    By outlining these details, you will be able to justify added fees when the client requests something above and beyond the original agreement.

    Payment

    In addition to your overall fee, you should clearly outline the process of payment.  For example, you may require half of the total price up front and a fraction of the remainder upon the delivery of each stage of the project.  It can also be helpful to state that your artwork cannot be used by the client until the balance is paid in full.  If these details aren’t in writing, you won’t be able to enforce them, and you might as well be doing spec work.

    Kill Fee

    A cancellation or “kill” fee should be determined so that you are guaranteed payment for the amount of work that you complete.  If you finish half of the project before the client decides to call it quits, you should be paid at least half of the total price, but you’d better put this in the contract to avoid a fight.

    Rights Transferred

    Are you selling the rights to use your work on a single print run of a T-shirt, or does the client own the artwork outright?  Be sure to make this clear in the contract, especially if you intend to use the Illustration for your own purposes in the future.

    Credits and Copies

    You should also agree upon whether you’ll receive written credit for your work, and if you’ll receive book copies, tear sheets, or other products created with your artwork as part of your payment.

    Contact Info

    This may sound like a no-brainer, but whether you’re working with an individual or a company, be sure to get the contact info and signature of at least one person who will be responsible for payment and any other obligations.

    Protect Yourself

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    11. Is Your Art Rep Doing Anything For You?
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    By: Thomas James, on 12/11/2009
    Blog: Escape From Illustration Island (Login to Add to MyJacketFlap)
    JacketFlap tags:  illustration, spec work, Escapee Speaks Business, Freelance Business, art reps, Add a tag


    Art reps or agencies can be very beneficial to your Illustration career, because they can take care of all the mundane details, allowing you to focus on your creative brilliance.

    But you have to find the right one.

    There are some people out there who market themselves as art reps, but who make their Illustration clients do all of the work while taking a substantial portion of the profits from the artist.

    I recently received an email question from Illustrator Eddy Crosby, in which he voiced concern about his current relationship with an Illustration agency:

    Earlier this year I joined an illustration agency for the first time. I signed a one year contract. I have received two requests for jobs via the agency but not in the manner i expected. In these two occasions i have received an email with attached brief.

    The email would say something to the effect of:

    “If you would like to be considered for this job please do a rough and send it in.  If the client likes your rough you have a good chance of getting the assignment.”

    The email makes it clear that this “job offer” has been sent to the other illustrators as well. The agency has about twenty illustrators on their books.

    Basically i am competing with the other illustrators (who are with the agency) in a sort of open call.  My understanding of an agency is that they find right illustrator for the right job. I didn’t expect every job to be a sort of competition! To me this seems like doing spec work but since this is my first time with an agent i am not sure if this is common or accepted practice?

    Do you know if it is? I would certainly appreciate your views on this.

    Thanks to Eddy Crosby for agreeing to let me share this with the EFII community.  His playful Illustration work can be found at eddycrosby.com.

    An art rep who asks for spec work?

    In my opinion, this is a bad situation all around.

    Eddy’s story screams the words “SPEC WORK”, and the fact that his artist agency would ask their Illustrators to compete for projects without a guarantee of payment is shameful in this industry.

    Your art rep is supposed to work with you to find projects that fit your style, and help you to secure new work.  In an ideal situation, your relationship with your art rep is a mutually beneficial arrangement where both parties work together towards overlapping goals.

    In my opinion, the scenario that Eddy described is unethical and out of sync with good business practices in the Illustration and Graphic Design industries.  Eddy is right to feel like something is wrong.  I would recommend ending that relationship, or at least not participating in future calls for spec work.

    What do you think?

    Please share your thoughts in the comments.

    Illustration courtesy of Eddy Crosby.

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    12. Resource Review – Location Independent Parents
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    By: Thomas James, on 12/3/2009
    Blog: Escape From Illustration Island (Login to Add to MyJacketFlap)
    JacketFlap tags:  Freelance Business, location independent, illustration, Reviews, resources, Add a tag


    I’d like to tell you about a great new resource that just went live for those who dream of working from anywhere they want, but feel constrained by the limits that come with having children.

    It’s called Location Independent Parents, and it’s the new, family friendly extension of the already valuable sites, Location Independent and Location Independent Professionals, which strive to unleash you from the misconception that you don’t have any choice about where you can work and live, through regular articles on how and why you should consider freeing yourself for the sake of your hapiness.

    I first heard about this resource from Jonathan Woodward of the Zero 2 Illo blog, in my conversation with him for Episode 9 of the Escape From Illustration Island Podcast, and as a new parent myself, I’m grateful that someone out there is working to fill a great need for freelancers and creative professionals.

    Thomas James

    Did you find this resource inspiring?  Feel free to share your thoughts in the comments below.

    Follow future updates via email or RSS.

    Bookmark and Share

    1 Comments on Resource Review – Location Independent Parents, last added: 12/4/2009
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    13. 7 Illustration Books You Need to Read
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    By: Thomas James, on 12/1/2009
    Blog: Escape From Illustration Island (Login to Add to MyJacketFlap)
    JacketFlap tags:  Freelance Business, books, illustration, Features, resource, Add a tag


    There are a lot of Illustration Books out there.

    The problem is, they’re not all as valuable as the covers might make you think.

    So, Escape From Illustration Island is highlighting this list of 7 Amazing Illustration Books You Need to Read, to save you from having to sift through the pile to get to the good stuff.  Everything on this list, in no particular order, is a great resource for Illustrators looking to expand their knowledge or starting from scratch.  A few of these choices are for specific niche markets, but most of them will be of great value to anyone in the Illustration field.

    See a book you’d like to read?

    You can find them all in the EFII Bookstore, so you can purchase them now and help make EFII one of the best Illustration resources online, or bookmark it and put it on your Holiday Wish List.

    You can also add your favorite books to the comments section of this post to share them with your fellow creators here at EFII.

    Enjoy the selection!

    Breaking Into Freelance Illustration

    If author Holly DeWolf’s appearance on Episode 10 of the Escape From Illustration Island Podcast didn’t convince you to buy this book, then you weren’t paying attention.  This resource leaves no stone unturned when it comes to starting your career as a freelance Illustrator and lets you in on everything you weren’t taught in art school.

    2010 Artist’s and Graphic Designer’s Market

    Build your contact list and learn how to submit to over 1,500 art markets with the latest version of this book, which includes interviews with artists and art buyers as well as tips on promotion and networking.

    Pricing and Ethical Guidelines

    This resource from the Graphic Artists Guild falls into the “must-have” category of Illustration Business books because it gets down-and-dirty with industry standard practices and rates.  I still use this one just about every time I’m quoting a price on a new project.  Read my previous review of this book here.

    Dynamic Figure Drawing

    10 Comments on 7 Illustration Books You Need to Read, last added: 12/3/2009

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    14. Successful Client-Freelancer Working Relationships
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    By: Thomas James, on 11/22/2009
    Blog: Escape From Illustration Island (Login to Add to MyJacketFlap)
    JacketFlap tags:  illustration, Features, Escapee Speaks Business, Freelance Business, client relations, Add a tag


    Following up on EFII’s recent series, How to Educate Your Clients, I thought I’d highlight a recent post by Brian Casel over at Freelance Switch entitled Rules for Successful Client-Freelancer Working Relationships.

    The article speaks to the client who is hiring the freelancer, but I recommend that you read it because it will help you to know what you should expect from your clients and what you deserve as a freelancer.

    Do you have any stories of dream clients?  How about the opposite?

    Feel free to share below.

    Related Posts:

    8 Best Freelance Business Online Resources

    How to Educate Your Clients

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    15. Escapee Speaks: How to Educate Your Clients Part 1 – The Creative Process
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    By: Escapee, on 11/17/2009
    Blog: Escape From Illustration Island (Login to Add to MyJacketFlap)
    JacketFlap tags:  client relations, illustration, creative process, Escapee Speaks Business, Freelance Business, Add a tag


    This is Part 1 of the 4-Part series, How to Educate Your Clients, where we will examine the important role that education plays in your Freelance Illustration business. I’ll be releasing the future articles in the series over the next 4 days. If you’d like to follow along, simply bookmark this page, because I’ll be updating the links in the list below to direct you to those topics as I post them. If you prefer, you can follow updates via email or RSS.

    The Creative Process

    Throughout your Illustration career, it is likely that you will be contracted by clients who have never worked with a creative professional before.  Therefore it is important to be able to shed some light on the creative process.  In fact, even when working with those who know how to work with an Illustrator, it is a valuable practice to educate them about your own personal process.  As stated in the introduction, it always helps when everyone knows what is expected of them, as well as how the project might unfold.

    How Do You Describe Your Creative Process?

    A great way to do this right off the bat is at the point of your initial contact, which is often through your portfolio website.  For more about this, read my article on the importance of including a Process page on your site.

    In addition to this, I find value in outlining my approach when I first speak with them on the phone or via email.  This lays the groundwork for the project and helps to instill confidence in the clients who are less familiar with how to proceed.  Naturally, your personal style will dictate the way you tackle a given project, but in general it helps to explain such things as how you will gather information and produce concept art, as well as how your client might approach the revision process.

    As a further measure, I like to reinforce this knowledge at each stage or milestone to make sure everyone stays on the same page.

    Explaining Concept Art

    In the beginning stages of a project, most Illustrators produce conceptual sketches that far from resemble the finished product, and this can be difficult for some clients to comprehend.  After all, they’re paying you for something that doesn’t yet exist, and the quality of concept art is generally inferior to what they will eventually receive.

    Therefore, it’s important to explain the way that they should look at the first work that you produce.  Try to encourage them to look at the basic ideas that are being represented in the drawings, instead of the level of detail or rendering of form (or lack thereof).  You may find yourself holding their hand much more through this stage, but doing your best to make your intentions clear from the start, and reminding them that the quality of work that they hired you for is still just around the corner, will help them to take the leap of faith necessary to see the bigger picture.

    When you make the effort to educate your clients about the ways to interpret the initial concept art, you will decrease the amount of frustration that comes from an unsatisfactory response, or a request to improve small details in particular parts of the drawing that aren’t ready for that level of attention.

    One way to get this point across might be to show the progressing stages from a previous project.  This can help your client to see how your ideas develop over time, eventually surfacing as a compelling work of art.

    Paving the Road

    I encourage you to consider doing this extra work early on, as it will help your client to understand you and communicate with you about their needs.  Anything you do to smooth the road ahead can be seen as an investment in a successful outcome that exceeds the expectations of your clients and makes your job more rewarding along the way.

    Escapee has spoken.

    Check back tomorrow to find out how to educate your clients about Industry Standards.

    Now it’s your turn to share.

    Do you take the time to explain your creative process?

    How do you approach concept art?

    I invite you to share your thoughts in the comments below.

    Read more of How to Educate Your Clients.

    Read More Escapee Speaks Business.

    Who is this Escapee guy anyway?

    Follow EFII updates via email or RSS.

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    16. Episode 13 – Big Illustration Party Time
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    By: Thomas James, on 11/17/2009
    Blog: Escape From Illustration Island (Login to Add to MyJacketFlap)
    JacketFlap tags:  escape from illustration island, big illustration party time, Freelance Business, joshua kemble, kevin cross, Podcast, Add a tag



    Ctrl-Click to Download - TS-293641.mp3

    Episode 13 of the Escape From Illustration Island Podcast features an audio interview with Kevin Cross and Joshua Kemble of the Big Illustration Party Time Podcast.  Together we discuss the madness behind their methods, their reasons for podcasting, eureka moments, and the concept of Illustration trends.

    Here are links to the some of the things mentioned on the show:

    Big Illustration Party Time
    Kevin Cross
    Joshua Kemble
    Theispot.com
    Carbonmade
    Whiskey Sound

    Audio Editing Provided by

    Whiskey Sound

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    17. 8 Best Freelance Business Online Resources
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    By: Thomas James, on 11/16/2009
    Blog: Escape From Illustration Island (Login to Add to MyJacketFlap)
    JacketFlap tags:  resources, Features, Freelance Business, Add a tag


    Are you looking to feed your brain with all the freelance business information you can handle?

    Look no further.

    Escape From Illustration Island brings you the Top 8 Freelance Business Resources to be found online, in no particular order.  The sites on this list will keep you busy for months with articles, interviews, and advice to help you start or expand your business.  With all of these resources collected in one place, your biggest challenge will be choosing where to begin.

    See you on the other side!

    Business of Design Online (BoDo)

    Business of Design Online

    A Blog containing practical business advice from professionals in the design field.

    Freelance Folder

    Freelance Folder

    Articles, information, and community for freelancers, entrepreneurs, and work-at-home business owners.

    Freelance Switch

    Freelance Switch

    Blog, forums, job directory, and the Freelance Radio Podcast.

    Freelancer Magazine

    Freelancer Magazine

    An online magazine providing advice and resources for the independent workforce.

    SCORE

    SCORE

    National association dedicated to helping small business owners form and grow their businesses.

    Startup Nation

    Startup Nation

    One-stop shop for business success founded by entrepreneurs for entrepreneurs.

    Workflow Freelance

    Workflow Freelance

    Articles, tutorials, tips, tricks, news items, design job openings, and live design discussions for creative professional freelancers.

    Creative Latitude

    Creative Latitude

    A worldwide community that unites various creative disciplines for collective promotion, education and ethical business practice.

    Got a Freelance Business Resource to add to the list?  Share a link in the comments section below.

    Related Articles:

    15 Illustration Blogs You Should Know About

    7 Elements of an Effective Portfolio Website

    Stay up to date with more Illustration goodness from EFII!

    2 Comments on 8 Best Freelance Business Online Resources, last added: 11/16/2009
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