How do I get rid of my nightmare agent? Lee White, Will Terry, and guest host Anthony Wheeler discuss boundaries in professional relationships, traditional art for publication, and success mindset in this episode.

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SHOW LINKS

Anthony Wheeler: website, Twitch, Instagram, sketchbook

KEY TAKEAWAYS

Not everyone will like your work, but not everyone needs to.
Confidence is your most important style choice.
Whether a publisher is asking for more than you’ve agreed to, or you’re in a sticky situation with an agent, clear and diplomatic communication is your best asset. The better you can establish healthy boundaries and expectations, the easier it will be to navigate any professional (or non-professional!) situation.

QUESTIONS

Julia asks, “Have you ever struggled with mindset issues, and how did you deal with them?”

Every successful artist or entrepreneur has to face their mindset. Creatives must overestimate their contribution and ability in order to dare to pursue their dreams. Not everyone will like your work, but not everyone needs to. Focus on creating what resonates with you and getting it into the hands of people who share your taste.

Within your long-term vision, set milestones to work towards and celebrate to help yourself stay motivated and measure your progress.

Brian asks, “Does anyone still make traditional art for publication?”

Digital art is common because it allows you to make edits and implement feedback quickly, but those who create traditional media illustrations have physical pieces they can sell when the job is done. For this reason, some comic artists will sketch digitally, then print those sketches and ink them traditionally. Other people create entire images digitally, then create a single print of each piece to sell as originals. It all comes down to how much time you have and how much final editing you can do in the sketching phase to avoid making changes later in the process.

Melissa asks, “When are sketchy lines a charming stylistic choice and when are they unprofessional?”

Some artists love the sketchy line, while others prefer a sleek, commercial look. It boils down to confidence. If you know the result you’re after and you don’t overwork the same line, you can get away with the most wobbly mark or the cleanest streak. Just be intentional and then leave it alone!

Lily asks, “A couple of years ago I got an agent, but our first book together went terribly. She didn't negotiate any protection for the number of revisions the publisher could have, and the publisher requested endless changes which my agent pressured me to do for free. Once the project was done, I dropped the agent. However, the book has a sequel. I'm contractually obliged to cut her in on projects with this publisher for another 15 months, but I never signed anything saying I would illustrate the second book. I think I could work with the publisher again on my terms, but the agent is controlling the communication. I have plenty of negotiation power in this situation, but I'm tempted to drop the entire project rather than deal with her. I'm worried this will make me look bad to the publisher. What should I do?”

You could ask the publisher to buy out the agent, ensuring she still gets paid but doesn’t interfere with any upcoming projects. Don’t stress about what the publisher will think of you; since you’ve already separated from this agent, they’ll understand the situation. Communicate to the publisher with as much clarity and diplomacy as possible. These kinds of sticky situations are a part of any business, and if, despite your best efforts, a bridge gets burned, there are many other publishers you could work with moving forward.

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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