Art by Johanna Kim

Why is my book getting rejected? Why can’t I get work? And what makes a great joke? Jake Parker, Lee White, and Will Terry share their perspectives on all this and more in this episode.

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SHOW LINKS

Lee White’s Drifting Moon Tarot Deck
Dan dos Santos
Brandon Dorman
SVSLearn Foundations track
Drawing Comics with Jake Parker class

KEY TAKEAWAYS

• The world will give your work the respect it deserves. If you’re not getting the response you want, consider where you need to improve. 

• If your work feels stale, practice creating from your imagination. Learning not to rely solely on reference photos will breathe new life into your pieces. 

• Foundational art skills are priceless, but don’t let your beginner status keep you from trying your hand at the projects you’re dreaming of.

QUESTIONS

Eric asks, “I have a BFA and recently received my MFA in illustration. I’m a skilled and confident painter with a realistic style geared towards book covers and advertising. I’m sending out emails and postcards to art directors but haven’t received any work. I’m 100% committed and in a good place financially, so I’m not going to quit. What can I do to get work, and is my portfolio good enough?”

Check out Eric’s portfolio at ericseaburgart.com.

Your skill level is great and you can get work; you just need to make a few changes:

1. Rely less on photo references. Make a few pieces straight from your imagination, just to see what you can do. If you find you prefer to use references, don’t copy them exactly. Push the fantastical elements in your images. Finding ways to improvise and create from your head will give your work more life. 

2. Study lighting. Take photography or cinematography classes to learn the best ways to use light in your work. Understanding the principles of light will help you create “glow” in your pieces and work from your head more easily. 

3. Learn from the masters. Check out artists who work in similar fields and styles as you, such as Dan dos Santos and Brandon Dorman. Learn who represents them and where they get work, and pursue those people. Also, investigate the differences between their art and yours. Could you incorporate any of their practices into your style for greater success?

Alex asks, “I created a book and sent PDF versions of the finished project to about 60 top agents and publishing houses. Only one vanity publisher responded positively. Am I better off submitting a rough dummy and two finished images, or is it okay to send the completed version of my book? Which would get a better response?”

It is not standard practice to send completed work to agents or publishers. Because publishers invest so much in their projects and their reputation, they need to be able to give feedback and make changes to the books they support. It’s better to send them a rough dummy, knowing that your finished book will likely be quite different from what you originally imagined. 

If your book is receiving that much rejection, a more pertinent question would be, “What about the art or the story could I improve?” If your work is great, publishers will recognize that, even in dummy form. If it’s not great, your most polished project won’t sell. Consider hiring a freelance editor and an illustrator to critique your work before you resubmit it to publishers. (LinkedIn is a great place to begin your search for professional help in these areas!)

Brian asks, “Any tips for someone learning to draw later in life? I’m 34 and would like to eventually make a comic or graphic novel. Should I be focusing on skills that help me achieve that goal or should I be learning skills in a more traditional order? Am I trying to run before I’ve learned to crawl?”

It’s important to balance practicing foundational skills with making the art you’re excited to create. On one hand, you’ll make better work if you master the basics, but on the other hand, you can get so caught up in the learning phase that you never move ahead. 

Jake recommends taking the Foundations track on SVSLearn. It will teach you everything from basic drawing to color to visual storytelling. By spending 6 to 12 months deeply engaged in these courses, you’ll quickly develop the groundwork you need to reach your specific goals. 

Click here to start a free 14-day trial of SVSLearn.

After you’ve completed the Foundations courses, give yourself small, stretching personal projects to work on. Jake recommends creating a 10- to 20-page short story every year. This will allow you to experience what it takes to make a complete comic or graphic novel, but in a more approachable way. By seeing the project from start to end, you’ll gain experience and have a finished creation to show for it. Good luck!

LINKS

Svslearn.com

Jake Parker: mrjakeparker.com. Instagram: @jakeparker, Youtube: JakeParker44

Will Terry: willterry.com. Instagram: @willterryart, Youtube: WillTerryArt

Lee White: leewhiteillustration.com. Instagram: @leewhiteillo 

Daniel Tu: danieltu.co.

Lily Camille Howell: lilycamille.com

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