Interview with Mark Adams, Award-Winning Illustrator

With: Anna Faktorovich, PhD

 

Mark Wayne Adams is an award-winning illustrator, author, publisher, and owner of Mark Wayne Adams, Inc, an independent book publishing company. He has a Bachelors of Fine Arts, illustrated fifty books, and published 15 books, working with more than 18 authors. Adams has 19 years’ experience in graphic design and has worked for companies including Walt Disney World Company, SeaWorld Orlando, and Sprint Print, Commercial Printing. He is also a board member and past-president of Florida Authors and Publishers Association, a nonprofit organization that provides information, resources, and professional development to its members and others interested in the writing and publishing profession. Mark serves as the international Readers’ Favorite Illustration Awards judge.

 

Outback: Bothers & Sinisters: Family Tree Novel: There are no chapters in life—only moments. The Family Tree Novel Series is written and illustrated for adventurous readers. Not only can readers explore the content by researching facts and fiction, but also learn a new Australian vocabulary within the story. For generations, the family tree records words and sing-song that wind deep in its core. Children playing in or around the tree may accidentally sever or uproot disturbing moments hidden in their Outback. Adopting new words and terms helps better describe your Outback and how you lived it. Family Tree Novel readers are introduced to a variety of Australian, American, and Qweepie vernacular throughout the novel series. Choose to adopt or to adapt these terms in your Outback language using the “Language of the Outback” glossary included.

 

Faktorovich: What kind of work did you do at Disney? You mentioned during our chat at ALA that you started in illustration when a friend told you that because you are such a quick animator, you could make a lot of money in illustration. Can you give an example of the timeline for one of the projects you did for Disney or another company you animated for, with details on how long each image, or set of images took? What are the daily tasks you had to complete as a professional animator? How are they different for an illustrator?

Adams: I participated in the WDW College Program Internship, MGM Studios Food Service, Professional Lifeguard for both waterparks and resorts, which ranged from lifeguard, health club, to caricature artist. In every WDW position, I continued to submit portfolios to the Disney Animation Studios in Lake Buena Vista, Florida until the studio closed. At that point, I gave up my animation dream for the reality of a house and family in Florida. I drew ridiculously fast and was referred by a coworker, Ronnie Mesa, to a publisher in Tavares, Florida. I illustrated two children’s books within 45 days. The publisher said, “You’ll make a lot of money in this business, if you keep illustrating at this speed.” A second of animation is composed of 12-24 drawings. Most animators create hundreds of drawings a day. The standard children’s book has 32 full page illustrations, which is less than a day’s work for an animator. The $500 the publisher paid me in 1997 wasn’t going to help me quit my day job.

Faktorovich: Most illustrated books today look very similar to each other in style and technique. Why do you think this is the case? Is there pressure to mimic popular books in any genre because failure to conform to genre norms is seen as a mistake by reviewers, award organizers and others in the publishing industry? In other words, the styles of classical painters such as Leonardo da Vinci and Michelangelo are sharply different, but if an art historian attempted to tell two popular illustrated children’s illustrators’ work apart, they would be stomped as to how to tell them apart. For example, paint types, brushstroke style, and various other elements differ in the best canonical painters, but modern digital illustrations lack most of these characteristics, and frequently top illustrators mimic techniques others utilize to conform their art to the industry standard. If an illustrator attempts radically different art, the work is typically either ignored by reviewers or negatively criticized as a mistake. Have you made any attempts to break with these formulaic requirements, and if so, what was the result of this experiment?

Adams: Fine artists and illustrators are educated using not only paint mediums, brushstrokes, and art history, but also computers. My college drawing professor, Dale Leys, refused to let me draw cartoons during my four year degree program. He believed a fine artist could become a great cartoonist, but not the reverse. Talented illustrators rely on art techniques that apply in a variety of medium using any tool.

Many of my clients are independent authors or publishers who take liberty in pushing the bounds of traditional publishing. Reviewers, award organizers, and publishing purists stubbornly hold to publishing tradition and labels.

With Nicholas, That’s Ridiculous! I learned even “mistakes” add value. I had flooded an illustration with water and dropped magenta paint onto the page of a story about being a boy. Rather than discard the illustration, I submitted it for author approval. Author Christa Carpenter loved the liberty I took. Many clients request my bold color choices for their books.

When I was younger, my librarian mother never allowed me to fold pages, write in margins, or cut my books. I experimented doing this in my Best Sketchbooks. In the illustrated edition of OUTBACK: Bothers & Sinisters, readers are allowed to cut or fold the over 100 illustrations. Each illustration is an experiment from the first sketch to the final cut illustration.

Faktorovich: Last year I did a Kentucky Historical Society short fellowship for my Radical Agrarian Economics: Wendell Berry and Beyond book, spending some time at the society, and at neighboring archives, as well as talking to the region’s farmers. You mention in the version of your bio in the Outback book that the magic there was based on your childhood experiences with the “creeks, caves and bluffs of western Kentucky.” Can you elaborate on what about Kentucky, as opposed to other states, makes it a place that so many American writers from Wendell Berry to Abe Lincoln were inspired by or wrote about? Is the nature in Kentucky somehow more magical; is it more accessible; are people living there trained to love it more than in other places? And if you love Kentucky so much, why did you move to Florida? Do you want to go back? In the Acknowledgements you thank your parents, Larry Wayne Adams and Mary Francis Adams, “for sharing their Kentucky childhood memories” with you, so are the reminiscences in this novel theirs more so than your own? It seems that Australia’s Outback is as different in climate to the bluegrass Kentucky as a place can be, so why the parallel?

Adams: The Outback magic is based on my Kentucky childhood experiences. My grandfather, Eliose Trotter, worked for the Kentucky State Parks’ Department of Forestry. Eliose harvested nuts, nurtured saplings, and planted acres of trees. My father, Larry Adams, worked 40 hours a week in a plastic factory. Every afternoon and weekend he farmed until late at night. If dad took a day off, he was fishing or hunting. My two male role models respected the earth and everything that came from it.

Why did I leave? I was told if you love something, set it free. If it comes back, it’s meant to be. I moved to Florida to chase my animation dream. When I left, family and friends said, “You can always come home.” As a public speaker in elementary schools, I return “home” to Kentucky often. I’m greeted with, “Welcome home!” I don’t get this greeting in the suburbs of Central Florida.

I spent eight years shipping books from the Florida across the United States. I realized shipping from the central United States reduces shipping cost drastically. In 2015 I moved my book warehouse/distribution center to Dawson Springs, Kentucky. Kentucky is better location if you’re in the distribution business. I now understand why factories locate in the Central United States.

My parents’ childhood stories encouraged me to explore the simple pleasures of being a kid. I ran barefoot and rode horses bareback, because luxuries like shoes and saddles weren’t required for adventure. Books were required. My librarian mother made sure the Adams kids were registered for the Dawson Springs Branch Library’s annual Summer Reading Program. We read for points and for fun!

Reading is a powerful tool in the hands of children. Words change the world. Peter Pan flew to Neverland, an imaginary place without problems. I traveled to the Never Never land, a vastly remote area of Australia’s Outback that I read about. Kentucky “out back” where I played and Australia’s Outback parallel not in “température” climate, but in being Never Never lands where a lost boy like me played.

Climate, like many words, has alternate meanings depending on who, what, when, where, and how it is used. Anna, you see Kentucky and Australia as vastly different. I see them as two sides of the same coin. I folded a rectangular world map in half and half again. The United States and Australia are similar in size; located in the same position in opposite hemispheres; and both had natives displaced by western civilization. Digging a hole from Dawson Springs, Kentucky to the other side of the world, would place me near Dawson City, Australia. Dawson Springs, Kentucky once thrived, and Dawson City, Australia did too. Coincidence or a great story of parallels?

Faktorovich: You have done a lot of illustration, but the Outback seems to be your first self-written children’s book. Why didn’t you attempt to publish one of your authored books with your own publishing company or with other previously? Did you try to sell this book to other publishers before releasing it with your own press? I am writing a book on author-publishers (Dickens, Twain, Woolf, Scott, Poe, etc.) and as part of this research I am curious why authors, artists and others are frequently driven to found their own publishing companies when they encounter problems with other publishers as they attempt to create traditional careers. It seems that you have had great success finding well-paying employment as an illustrator, animator, and the like, so I am curious where you faced challenges that made you realize that the independence that comes with running your own company was necessary. I believe you also wrote some of your picture books, including: King for a Day, the Story of Stories, Best Sketchbook, and Good Night Mare.

Adams: Well-paying employment is called a JOB. “Don’t work hard—work smart,” my dad once said. I’d been working hard since I was about thirteen. This phrase inspired me to graduate college and work for several major companies, where I managed or lead others. I never felt fulfilled. So, I began illustrating books again in 2007, while working as an Art Director.

Steve Riley, fellow illustrator of the Little Ty Cooney National Wonder Series and college friend, gave me great advice! “Two incomes are better than one. Don’t quit your day job until your employer asks you to leave.” I paid attention while building my illustration business 2 hours a night, 5 days a week. Every four weeks I finished another children’s book in only 40 hours. When I finally left my day job, I was an award-winning illustrator of children’s books and a national public speaker.

I sold thousands of books annually for my publishers making about a 10–20% royalty. Authors who were illustrators made double royalties. I had a college degree, so I decided, I’ll write a children’s book and illustrate it too! My publishers said my books would never sell; there was no audience for my writing. I visited 45 plus schools a year, selling thousands of books to my audience.

People say, “No!” for control. I had illustrated and created layouts for numerous published books. I had been an Art Director and Printing Manager in control of large production budgets. Taking control of my publishing journey wasn’t a difficult decision. Adams Illustration & Design, my illustration and graphic design business, became Mark Wayne Adams, Inc., mine and my wife Angela’s publishing company. MWA, Inc. purchased a block of 1,000 ISBNs and published award-winning books like: King for a Day, the Story of Stories; Nicholas, That’s Ridiculous!; Jilli, That’s Silly!; and Teddy Tales. These four books combined won 14 children’s book awards.

If you’re passionate about writing and drawing make them a second JOB until they become the bread winner. Once the second job makes a small income, the day JOB becomes more bearable. Treat writing and illustration like a business and you’ll be in business.

Faktorovich: In the Outback, one of your characters, Marq, seems to reflect some of your thoughts when he tells Driew, “‘I think I-4’s been under construction since they started. It’s like a house or this studio – a perpetual work in progress. Seventeen years of seeking a studio when what I wanted was out back all along.’” Then Driew proposes visiting a Kentucky state park, and Marq agrees, and then he says he admires Marq’s drawings, and asks if they are for a new book, but Marq explains: “‘Actually, they’re not for new books. They’re from thoughts – past and present. I figured getting them on paper would free me to focus on the money makers…’” (148). Have you had any difficulties building an art studio in terms of constructing it, gathering funds for it and the like? Do you currently have a great studio? Is it open to the public? Do you think a modern artist needs a studio, and if so why?

Adams: I-4 (Interstate 4) is the highway that extends from the East Coast to West Coast of Central Florida. Informational text is included throughout Outback and the series to educate both U.S. and international readers who may visit the places in the books. The continuous construction of I-4 and of a home is to show how environment shapes family life. The Family Tree Novel Series will have two editions: a novel and an illustrated novel version.

As an illustrator no one asks me, “Which character are you?” As an author, that’s the first question readers ask. My answer: I’m every character, action, and moment. In Outback, Marq, Driew Qweepie’s father, is a freelance illustrator who never became a professional. I won’t cause a spoiler, but Marq’s back story is reveled throughout the series. His character is a compilation of numerous illustrator friends and the challenges we all face. Marq voices his concerns, like a parent, to help Driew and readers understand an illustrator’s career. Rarely do illustrators have a studio bigger than a table in a remote corner of their house. And when we get a studio, it’s years in the making.

I do think some artists need a studio, not a hideout. Every book I illustrate is created remotely: kitchen table, poolside, gymnastics practice, airport, or a Costa Rican rooftop deck. I’m an illustrator dad. While my children finish homework at the kitchen table, I work. During gymnastics practice, I work. Even while the family sleeps in on vacation, I work. Author/Illustrator is a family friendly career. Managing and committing to a work schedule is the greatest challenge.

I have three main “studios”: an outdoor patio table by my screened pool, the Kentucky book warehouse, and a Panera Bread. My best work is created in public. While illustrating Parts of Speech Parade: New York City, written by Irina Dolinskiy, I painted in various Orlando, Florida Panera Bread locations. Patrons compelled to comment would say, “I’ve been to New York City before!” Instant feedback and a new fan eager to purchase a prerelease copy of the book!

Honestly my art studio is a rolling bag, stocked with several pads of watercolor paper, Prismacolor pens, five favorite brush sizes, and a Grumbacher watercolor set (24 colors). One $40.00 watercolor set creates illustrations for approximately fifteen children’s books. The paper investment in each 32 page book is about 3 pads of 12 sheets (roughly $30.00). Gathering funds to start an illustration business is easy. For under $100, anyone can start an illustration business!

My business model is unique in that I license the digital illustrations to the publisher. All physical artwork remains property of MWA, Inc. The words “digital illustrations” in my contracts helped my business make choices. MWA, Inc. owns illustrations from over 40 children’s books (approximately 1,200 original illustrations). My CPA says the art is valued at the cost of the paper, $1,200.00. When sold as art, the value ranges from $500–$1,000 each. Most fine artists don’t consider illustration as art, but I beg to differ. This children’s book illustration collection could cover a football field; fill multiple art galleries at once; and continues to generate an annual income through reproductions. The reproductions generate more money than the original is worth. I’ve only sold a few originals to serious collectors.

Faktorovich: You were drawing for visitors to your booth at the ALA. I believe you also do these types of drawings during your art presentations at schools. Do you do these public art projects because of your desire to perform your art before a live audience? Do you ever make money on these appearances? Do you use them for research or to market your illustrations to kids? At ALA, were you giving any of the resulting drawings away? You had tossed a few of them onto the carpet in front of you at ALA, and you toss them on the floor of auditoriums etc. in your school presentations. Do you toss them down for symbolic reasons or to illicit sympathy, or because you want to display them and you don’t have board to clip them onto? Were you drawing what visitors asked for, or whatever came to mind? Do you doodle and free-draw to come up with ideas for your illustrations? If not, what do you do to research ideas or to come up with initial character sketches?

Adams: Drawing Is My Super Power! That would be my t-shirt slogan. I find an audience, whether drawing on a pad, a napkin, or in a Best Sketchbook. I drew for free when I was younger. Some people appreciated the gesture, other discarded my effort. In the 3rd grade, I began to charge for my time and the appreciation level increase. This remains true today.

My first professional illustration contracts came from tossing drawings on the floor at Book Expo America in Los Angeles, California. I did this both for symbolic and sympathetic purposes, depending on the audience.

Publishing (writing, illustration, and marketing) is about inspiring an emotion. I can’t keep every drawing, so I give them to conference audiences who feel sympathy when they step on a “pretty picture.” I also joke, “This drawing is worthless until I sign it!” Publishing audiences find my personality a plus in the working relationship.

I’ve meet over 1 million students through paid elementary school visits. I walk on “pretty pictures” to show students and teachers sheets of paper have less value than the pages within a book. This reinforces the need to journal in hardbound books.

Do I give away drawings for free? Yes, I’ve given away over 45,000 drawings in eight years like the ones you mentioned at ALA. My gift makes others happy and in return makes me happy. I do have two rules. Children are the recipients of most drawings unless it’s for a teacher’s classroom or at a conference. Also, I only draw one picture per person, per day. This rule stemmed from my own children asking me to draw instead of doing it themselves. My children get one picture, just like anyone else’s child.

I have over 100 journals (23,000 pages of drawing and writing). These journals are 20 years of research and inspiration. Illustration clients are asked to provide me a list of 5 of their favorite children’s books, 5 new books they discovered at the library or bookstore, and 5 things they’d do for free. Their favorite children’s books tell me who they were. The new books tell me what they expect based on paper types, finishes, and dimensions. Lastly, incorporating something they love in the illustrations will boost discussion topics with readers.

Faktorovich: Which software do you use to illustrate children’s books, to design books and for other components of illustration and design? Do you prefer some over others, and if so why? Which guide to illustration has helped you the most to illustrate professionally and to make your covers appealing to the mainstream market?

Adams: I use Adobe’s Creative Suite: Illustrator, Photoshop, and InDesign. Every traditional watercolor illustration is scanned and manipulated using Adobe Photoshop. Sometimes illustrations are created with Adobe Photoshop or Illustrator, upon the publisher’s request. Vector logos are created using Adobe Illustrator to eliminate the need of recreation for vector routers. All programs have unique benefits. I recommend learning the basics. Go to the program’s help menu or YouTube to learn something in a pinch.

The Graphic Artist’s Guild Handbook of Pricing and Ethical Guidelines is for any professional or aspiring artist. Illustration is a broad term covering line art to oil paintings. I’ve used this book for over eight years as a business resource. Pricing projects and creating contracts has been profitable using industry standards found within the handbook.

Every graphic artist is unique. No two illustration projects are the same. Use the Graphic Artist’s Guild Handbook of Pricing and Ethical Guidelines to set pricing guidelines for your business. Authors, Art Directors, and Publishers can use this book to budget projects. If you need a used copy, email me. I’ll sell you mine and get the latest.

Faktorovich: If you were teaching a class on beginner digital illustration for children, can you summarize what you would tell your students on the first day of class (after you cover the syllabus etc.)? They are eager to get going with making a great illustration and hope for some practical advice, having some basic drawing skills under their belt.

Adams: Anna, you should invite me to speak at a local school to see firsthand. I have 3 rules for students of any age: raise your hand if you have a question; pay attention; and ask good questions. Raise your hand and use your voice, the best time to learn is now. Pay attention because the knowledge you want is in front of you. And ask good questions because you’ll get good answers. Average question: “Mr. Adams do you like being an illustrator?” Answer: “Yes.” Good Question: “Everything you’ve asked in this interview!”

Also I use the visual example that at three years old, I scribbled and my mom said “Wow!” One day I drew an obscure heart-shaped image. My mom didn’t say anything but loved on me. I kept drawing the heart and received the same response from my dad. When I arrived in Kindergarten, I showed my teacher I could write my ABC’s. She said, “One day you’ll be a writer.” From age 3 to 5, I wasn’t born an artist or a writer, but through practice and positive feedback I became one. Every person is a product of the type of effort and encouragement we give and receive.

I think this is why I’ve visited so many elementary schools. I’m not there to sell a book; I’m there to inspire at least one person to achieve their dream.

Faktorovich: How did you come to be president and board member of the Florida Authors and Publishers Association? For how many years were you a member before you were elected/ nominated to the presidency? Were you actively volunteering your time and energy for the association to make your candidacy? What would you recommend to somebody new to an association that wants to attain these positions?

Adams: For over five years I’ve served as a Board Member for the Florida Authors and Publishers Association (FAPA). From day one, I brought the same drive and vision used in my publishing business. My main concern was, how much time would volunteering take?

During my terms as VP of Communications to the President, I illustrated over 30 picture books. 15 of those were published for other authors. My marketing efforts included more than 90 school visits each year, encouraging over 100,000 students annually to write and illustrate books. Creating and marketing books while serving as a board member had challenging but manageable moments.

Rewards to volunteering began with the creation of annual conference sessions, and grew into implementation of new programs like the BookExpo Display Opportunity and the national FAPA President’s Book Awards growth. Writers’ conferences and book festivals invited me to share publishing knowledge that I gained through the FAPA organization. My personal network of publishing professionals also grew through educational events, social media, and annual board retreats.

I remain active in the organization as Past President—mentoring future board members and members. My goal has always been to make a positive impact on FAPA through guidance and encouragement. Unexpectedly, FAPA positively impacted my publishing success. Volunteering was the greatest reward!

Faktorovich: You also served as a Readers’ Favorite Illustration Awards judge. How did you win this job? Did somebody else nominate you or did you nominate yourself? You won several awards from this group, so did they automatically nominate you to judge when you hit a certain number of award wins? Beyond what appears on the official rules for contests, what practically makes a difference between illustrations that win an award and those that don’t? Is there an obvious difference between the winners and losers? And if so, what are the most common mistakes made by the losers?

Adams: I met the Readers’ Favorite founder, Debra Gaynor, several times in Miami, Atlanta, Nashville and Frankfort. She solicited me like every author who had a quality book that would grow the now international Reader’s Favorite Awards and Review program. Jilli, That’s Silly! written by Christa Carpenter, received a gold medal and I planned to attend the ceremony in Miami. Debra also invited me to present on the Value of Illustration during the Readers’ Favorite two night annual awards ceremony. While at breakfast, I sketched in my current Best Sketchbook. James Ventrillo, current CEO of Readers’ Favorite, introduced himself and began an impromptu interview for the Reader’s Favorite Illustration Awards judge position.

The awards won through their organization did not automatically make me judge. Professional experience earned the position. Several hundred books in various genres are submitted each year. Judging occurs throughout the year based on: character development, storytelling, cover design, layout, etc. Once a book is scored, the score is final. Until the scoring is complete, who the winner is remains a surprise for them and me.

We’ve all seen books that are obvious winners and losers. I judge on the criteria specifically. Common mistakes made are strong illustrations and a weak graphic design. Cover design is 10 points. If the cover design scores low, great illustrations may not win. Another common mistake is inexperience. The art must relay the story to a non-reader.

My biggest reward in participating as the Readers’ Favorite Illustration Awards Judge is hearing a winner say, “I didn’t think I was that good,” or “There are more talented artists than me.” Receiving feedback from your peers is important!

Faktorovich: You boast on your website that over 5 years the authors you’ve published with MWA, Inc. have won over 50 major awards. To how many awards do you submit each of your releases to? How expensive is it to do a mass submission to so many awards for several books? Do you or your authors fund these submissions? Do you see a positive return in terms of sales after a book ends up winning awards? Do you think awards, reviews, or some other components are key to the sales of a new release in the illustrated children’s book category?

Adams: Awards—we all want them, but why? Most authors rely on publishers to submit for book awards. The publisher works within a fixed budget and may only enter a few awards competitions. What authors and illustrators may not realize is they can submit for book awards. Some awards offer monetary compensation, while all offer either local, regional, or national exposure. What value is an award? Awards offer something different for each person. Authors may use awards to validate their profession to consumers, peers, or family. Readers may see awards as a quality review from book professionals. Publishers may see the award as a reason to contract for future books. No matter what the reason, be confident that your book is of professional quality before submitting. Be open to the fact that not all submissions win. Being a finalist is as important as receiving a medal. For my fifty published books, only eleven have won awards. I use critiques from judges to enhance the next book or second edition printing of the current book. Not every book is a winner, so why not learn from each.

Faktorovich: How did you convince the first person that hired you as an animator/ illustrator that you deserved the job? Would you/ have you showed your portfolio from those days to the general public? Why or why not? (Can you share any of your early illustrations/ drawings as part of this interview?) What was the highest amount you’ve made for one of your illustrations? Was it from a flat payment for freelance work, or a percentage in royalties based on sales of the book? How did you get that project? Did you work with an agent? While in theory people told you that you can grow rich from illustration, has this really been the case in your experience. This is probably of top interest to new illustrators who are considering if this path is worth the sacrifice of more artsy pursuits.

Adams: The first person who hired me as an illustrator chose me because I had a sketchbook full of drawings with me. I had the person describe in words a character: appearance, emotion, and action. As they spoke, I drew. When they asked for my card, I told them I didn’t have one, but wrote their name inside my journal. They left hoping I’d call or email, because I had the drawing of their character in my sketchbook.

That’s how you get the job. Don’t carry a cumbersome portfolio of messy charcoal figure drawings. Don’t send them to your weak website, because they won’t bother viewing your portfolio page. Don’t wait!

Drawing in public was my best portfolio. Developing the spiel took some time, but worth every failure. It goes kinda like this:

Contact: “Hey, you’re talented. Are you a professional illustrator?”

Me: “Yes, I’m an award-winning children’s book illustrator.”

Contact: “Wow, I know a friend who has written a children’s book and needs an illustrator.”

Me: “That’s wonderful, I don’t have a card, but I’ll write down your email and you can forward it on to your friend. They can contact me when they’re ready.”

Contact: “Wonderful. Where can I get one of your books?”

Me: “I’ve illustrated over 50. If you go to the Barnes and Noble in the mall and buy a book, I’ll sign it now before I leave.”

Contact: “I’ll be right back!”

See how working on the spiel can land contracts and sell books. It took time though.

The most I’ve ever received for a single painting was $2,500 freelance for Marc Michaels Interior Design in Orlando, Florida. Nancy Short, Principal at Ansana Interior Design, Inc., commissioned my services after seeing art and furniture I had created for my own home.

My children’s book illustrations pay a deposit up front (average $8,000.00) and a royalty for the life of the book including merchandising (average 10-20%). I tend to be my own agent, actively interviewing prospective clients. The more hands in the cookie jar, the fewer cookies for everyone.

Getting “rich” as an illustrator is one of those words with double meaning. Is rich money? Is rich knowledge? Is rich cultivating strong relationships? As an illustrator, I invested $100 in supplies and generated $8,000 and a 10% royalty for life. That’s rich when you finish 6-8 books a year. As a publisher, holiday book sales make you rich! Until January, when you reorder 20,000 books to replenish inventory.

The knowledge and relationships cultivated through this journey are priceless. My animation dream was the stepping stone to my full potential. Authors and Illustrators create new realities for themselves and others.

Faktorovich: If the young you, fresh out of a BFA program, strolled into your office today and asked you for advice on managing his coming illustration, animation, and writing career, what advice would you give him? What has been the biggest problem on your path you wish you could have avoided? Has there been an opportunity you now wish you had taken?

Adams: I’d give him the best advice I’ve ever received form a stranger. I met her on a flight back from Los Angeles. She recommended I read these three books: The Worlds Greatest Salesman, because we all want to give up. Love is Letting Go of Fear, we all have a personal obstacles to overcome. How to Win Friends and Influence People, because you’re not a people person until you learn to listen.

When the student returns after reading these, I’d recommend, The Graphic Artist’s Guild Handbook of Pricing and Ethical Guidelines. And I’d recommend he select two fields of illustration. The first being his focus; the second an alternate income stream. Next I’d recommend seeking out the ugly books in the world and being a better illustrator than the publisher’s existing illustrator.

My greatest problems were not understanding my value and not having a mentor/support system. My first illustration clients took advantage of my inexperience by underpaying and not sharing profits through royalties. I also invested thousands of dollars displaying my portfolio along with hundreds of other illustrators. I also joined organizations that charged to critique my portfolio.

Through trial and error, I learned good clients want to share their success; hanging with publishers is more profitable than hanging with illustrators; and non-paid critiques from professionals are genuine. The opportunities I would have taken sooner, are joining a publishing organization like IBPA (Independent Book Publishers Association); cultivating a professional mentor relationship with an illustrator—not as a crutch; and starting my business fresh after graduation.

If I started again from college graduation, I would purchase a building with two storefronts in a small town for the price of a house. One unit’s rent would cover the mortgage. The second unit would serve as my business/studio. The upstairs would be converted to my loft/home. My clients would be found at large conferences where publishers and authors congregate. Technology makes small businesses into global business.

Who says being 20-something is a requirement to start a business. I might retire at 50 and start something new!

Faktorovich: Thanks for taking the time to respond to these questions.

Adams: You’re welcome, Anna. I’ll see you on the book circuit!