Spec or not spec
Nora Thompson
block once or twice.
A couple weeks ago I sent a link to the "No Spec" site to a woman
asking for illustrators to do a sketch for a spread in a children's
book. The illustrator would then be chosen from the sketches sent in.
These people were paying out of their own pockets to get this picture
book printed, which made me leery of getting paid. I proudly and
professionally (I thought) held my ground and said, "Thanks, but no
thanks" (as my calendar remained noticeably lacking in entries, and my
stomach growled).
Later, I got an email basically asking for the same thing but from a
legitimate publishing company. After having scanned their site again,
I saw that a couple of the illustrators who had done work for them
were names I recognized and perceived as established. I'm wondering if
these illustrators were asked to do the same procedure as I was or,
because they had already finished picture book projects, were they
just flat-out asked to do the job. I'm stuck between principles and
starvation, and my question would be, are there exceptions to the no
spec rule? What if this is the only way to get my foot in the door
with this company, and then ultimately a career? Also, is just doing
rough sketches (not finished art) still considered spec work?
I've pasted part of the publishing company's original email below:
"We have several projects that we feel match your talent and are
interested in knowing if you are still available to illustrate picture
books.
"We ask that you create a rough cover and one inside spread from the
text we provide. From your work we will select an illustrator based
on who we feel has the best conveyance of text through art and
understanding of appeal in the children's genre."
I would appreciate any insight.
Nora Thompson
John Manders
I've had ADs ask me to do sketches specific to their project---even
though they'd
seen my portfolio, they weren't ready to hire me---but someone asking
you to
take a day or so out of your life to work up sketches should be
prepared to pay
you a few hundred bucks at least.
Refusing spec work isn't simply an abstract principle: when it comes
time to
negotiate your fee for that project you'll have already let them know
how valuable
your time is. If, at the outset, you've given up your time & talent
for free,
you'll have lost your negotiating advantage.
Besides, reputable publishers don't ask artists to work on spec. Stay
away!
John
George Schill
Even though I don't do children's books, spec work is the same across
the board.
If they won't pay, stay away
George Schill
Anyway, think of spec work as "'don't 'spec nothing in return".
It only makes sense if it's self generated to attack/create new
markets that will benefit you.
george
On Apr 12, 9:14?am, "George Schill" <llih...@aol.com> wrote:
> Nora--I agree with John, here.
> Even though I don't do children's books, spec work is the same across
> the board.
> If they won't pay, stay away
>
> On Apr 11, 6:32?pm, "John Manders" <jmand...@aol.com> wrote:
>
>
>
> > I've had ADs ask me to do sketches specific to their project---even
> > though they'd
> > seen my portfolio, they weren't ready to hire me---but someone asking
> > you to
> > take a day or so out of your life to work up sketches should be
> > prepared to pay
> > you a few hundred bucks at least.
>
> > Refusing spec work isn't simply an abstract principle: when it comes
> > time to
> > negotiate your fee for that project you'll have already let them know
> > how valuable
> > your time is. ?If, at the outset, you've given up your time & talent
> > for free,
> > you'll have lost your negotiating advantage.
>
> > Besides, reputable publishers don't ask artists to work on spec. ?Stay
> > away!
>
> > John- Hide quoted text -
>
> - Show quoted text -
Nora Thompson
this:
Complete the sketches, and in the correspondence that accompanies
them, clearly state that these works are copyrighted by the artist,
who will retain ownership no matter the outcome of the publisher's
selection process. (The images would also be clearly marked as such.)
The images could then be used for self-promotional purposes in the
event they are not chosen for this particular project.
I understand this doesn't address the negotiating point that John
made, but would this otherwise be lacking in principles?
PSI President
the previous one.
Keep in mind, that you can create anything on your own for your
promotional purposes - you don't need a weasly spec client to initiate
that for you. What you want to get is published work that you can
promote, and be paid for. If there's no guarantee of money up front,
then there's no reason to capitulate to that. Self promotional
materials does not negate the excellent points that John and George
argued.
This is a personal decision, of course, but also keep in mind that
when you lower your economic standards, you lower the economic
standards of the industry too. Think about the larger picture, and
you'll be happy to only do work that you are paid to do.
Rick
George Schill
As I read this thread, two things come to mind, the first being I
don't know what the hell capitulate means.
The second is that come to think of it, I've done spec work a few
times early on in my career. Sometimes without even knowing it, but
that's another post.
I wouldn't now, but like Rick says, it's a personal decision.
Basically, if it takes something like a contest (the way I see these
things) to get a sample together that you would do anyway,why not.
You kill two birds with one stone---a portfolio piece streamlined for
publishing and a shot at that particular publisher.
( As long as you said, they claim no rights to it---I don't know how
that would play out since you're illustrating their text).
george
> > made, but would this otherwise be lacking in principles?- Hide quoted text -
Phil Wilson
I tend to agree for the most part with everything John and George and
Rick have said.....but, having said that, I think you should wiegh
your options and consider what may come about as a result of this. I
don't recommend spec work for anybody who is firmly established in the
business and has a long track record of work behind them,...but if
someone doesn't have a lot or maybe any published work behind them,
maybe trying something one spec will pay off if it sounds very
promising. Using my own experience as an examole, many years ago when
I was just starting my freelance career, I was offered a job to do a
record album cover illustration for a studio on spec. I decided that a
printed cover would be great for my portfolio at the time , so i did
the cover. That one cover led to 24 more for which I DID get paid ,and
ultimately led to an animated TV special for the same client which led
to still another animated TV special, an animated hit music video,
feature film work and much more,....none of which would have happened
if I hadn't taken that first cover 'on spec'!!!!!! So you've got to
stop to consider, is it maybe worth a little of your time? The worst
that will probably happen is you'll end up with another great
portfolio sample!
Phil
George Schill
I mean, it's not like we're lifting heavy objects here.
I think we all tend to get caught up with what's "right for the
industry"----no spec, no WFH, no stock, and on and on...
I'm sort of more concerned with doing what's right for my bank
account.
We all have to do what's best for our own situation, damn the
torpedoes.
Hell , if I didn't do WFH greeting cards, I wouldn't get to do booger
jokes, and really, isn't that what success is all about?
george
> > > - Show quoted text -- Hide quoted text -
Wayno
weekly (not here in Pittsburgh) who knows my work, has hired me
before, and just asked me to produce sketches for two spot illos, on
spec, in one business day "before [she] can get the OK from the editor
to commission the work."
In my last email, I explained that I don't accept spec work, and am
waiting to see if they change their minds. The pay for this "possible
project" is pretty dismal anyway!
I'd rather spend the time on a series of paintings I'm working on.
I can work for myself for free just as easily as having a client not
pay me!
Wayno
Not only did they want sketches on spec, but the illustrations were to
be re-used every week (for an unspecified period) as the headers for
two regular columnists. The budget (IF my sketches were approved) was
$75 per illustration.
I respectfully declined.