IT’S ALL ABOUT THE MONEY Except When It’s Not

If money is the ONLY measure of your success, don’t read any further, please!

In my latest article for Fine Art Views, I shared how taking a risk (what seemed to me a very small risk), brought me many benefits (tangible and intangible) for years.

My intention was to share how even small steps outside our comfort zone can have big results. I wanted to share that what most people see is “luck” ignores what underlies “luck”: Preparation, persistence, and recognizing opportunity. If you don’t recognize the opportunity when it appears, you won’t reap the potential rewards.

What started out as a very small thing (submitting an image of my work for the gallery section of a craft book) resulted in an opportunity to write and publish a book.

Most people applauded that concept. But to my surprise, some people focused only on the money.

Exactly how much work did I do for “free”, and how much did I get paid? (In today’s dollars, it would seem modest, but not ridiculously so.)

Am I telling people to work for free for the “exposure”?? (NO.) I did not “donate” to the gallery sections of the book I was in, like charity auctions so many artists are asked to do. I just submitted a photograph for each.

Exactly what did I gain from that decsion? It’s alllll in the article.

Paid projects. Paid to write a book. Foundation for teaching classes. New product lines down the road, even fifteen years later. A reputation for unique work, and for being a reliable writer.

After my work appeared in several books, people started calling me “famous”. (I’m not, of course, but many, many more people were made aware of my work. And many more people recognized my name.)

During open studios, I always have the two dozen or so books I’m in available to new visitors. It always impresses them. (“Hey, working with half a dozen editors across two dozen books? She must be doing something right!”)

I got paid for each project I created. And as I said in the article, they all turned into new lines of work for me. They also became the basis of classes I offer (and I charge for the classes I offer.) So the project books, and my books, offer validation of my skills.

I received a good advance on the book, enough to make it worth my while.

Did I get rich? No. (Although my advance from that book was more than 10x than I’ve made selling my ebooks.)
Did my reputation benefit? Yes, both as an artist and a writer.
Did I get more opportunities to write for pay? Yes.
Did I enjoy it? Very much!
Did other opportunities follow? Yes! My resume was awesome!

Again, if it’s all about the money, and money is THE ONLY CRITERION for whether this risk was “successful” or not….

I have no idea.

My income has gone up and down over the years, as I constantly sorted out what was working and what wasn’t. So any additional income that was still within my skills and interests range was very welcome. One year, making products for a mail order catalog account kept me afloat during a recession.

If I would do it again? In a heartbeat! I listed the benefits in the article. I believe the most important one is how these “risks” broadened my horizons, and widened my world.

Should everybody do this? Of course not! The stamp carver who produced the little booklet on stamp carving would have loved the money. They just didn’t want to commit to a year-long schedule, the amount of writing, etc. They’d written their booklet, and they were done. She gave me her blessing. (Thank you, Julie Hagan Bloch!) My schedule was more flexible, and I love to write!

Do I work for free all the time? Nope. A couple years ago someone reached out to me to write an article for their online publication. They refused to pay me, though they sort of promised I would get paid when their site went viral. (Uh huh…) They used the usual “but you’ll get such great exposure!” But they also kept increasing their demands on what was expected, so I knew it wouldn’t end well. (I started the article but soon walked away. There are warning signs for projects that won’t work to our advantage.)

Do I get paid for everything I do? Nope. There are times where I do stuff for free. I have my own criteria for assessing that. But I never do it when someone demands I do it for the “exposure”, when I sense those warning signs, or when there is absolutely nothing in for me at all, AND I don’t want to do it, period. Give a presentation or talk to art students? Sure! Donate to a charity auction? Only if I get my wholesale price from the sale. And so on.

We all have our unique boundaries, our individual take on where we draw the line between work-for-hire, work-for-free, and the gray areas in-between.

If we insist on being paid for everything, every time, and that is our ONLY criterion for success, we may overlook opportunities that will work in our favor. That is YOUR choice.

But it’s not mine.

This has been one of the most controversial posts I’ve ever written, which surprises me. I have been asked to defend the premise of this story over and over. I have had my integrity, my life experience, and my veracity challenged. (Usually people complained vigorously about how long my articles are.) (So I’m gonna wrap this up!)

Now….Did you know I don’t get paid to blog? :^D

Yes, I do get paid to write for Fine Art Views weekly. (I have permission to replublish those articles here.) But it’s not nearly what I used to get for ONE article when I wrote for magazines.

So, if I ONLY did things I love when I’m paid for them, you wouldn’t be reading this today. :^)

IF my writing has meant something to you…

If you ever felt like what I wrote has inspired you, enlightened you, educated you, shored you up when you felt the world does not want the work of your heart…

If you love the fact that I’ve openly shared for almost 16 years, what I’ve learned by being an artist, writer, martial artist, dog owner, wall climber, hospice volunteer, teacher, mother, etc….and shared it with you, not only because I have to write…

Because I hope someone, anyone, will find joy, learn, heal, be brave, be heard….at no cost to you….

How would you feel if I’d never started a blog?

Er…You can send me a check in any amount anytime. It will most be appreciated!

What’s Luck Got To Do With It? The True Meaning of Luck

What’s Luck Got To Do With It? The True Meaning of Luck

Luck = Preparation plus persistence plus opportunity.

This is one of my favorite personal stories….

Years ago, I belonged to a discussion forum (remember them?!) of stamp carvers. We used soft vinyl materials used in erasers (sort of a really soft linoleum, not as slippery) to make our work. Our skills ranged from newbies to people who actually worked as book illustrators.

It was a lively, talented group, supportive of each other, full of suggestions, materials testing, and inspiration.

One day, an editor from a craft book publishing company* joined our group. They announced they were looking for “gallery images” of our work, to feature in their latest craft book. (Aka, “a call to artists”, defined by AmericansfortheArts.org as “A Call for Artists is an opportunity notice that gives artists the information they need to know in order to apply to be considered for the project. Issuing a Call for Artists is a standard practice of the public art field.”

At first, people were thrilled. But then reality set in: We would have our work published, with credits. But we would not be paid.

People ranted about this, even though I later found out it is a common practice in the art-and-craft book industry. In the end, only a handful of us submitted work.

There were guidelines and deadlines, which we all met. The results? Our work was published! It felt pretty good to own such a book, it was wonderful to be able to say, “Look, my work was featured in this book!” The validation was powerful.

A few months later, the editor submitted another call for entries. The same little group responded, and the rest of the group continued to gripe. “It’s not fair that we aren’t paid for our work!” I figured I’d never made a cent from my prints—they were always for myself or a gift for someone. So nothing + nothing didn’t seem too awful.

And now our work was featured in two books!

This continued for about a year. Even the little group dwindled a bit, but I loved the “exposure”. I know the saying, “Artists die from too much exposure!” In this case, I still owned my stamp and held copyrights to my images, so what the heck?

I developed a relationship with this editor, a talented artist in their own right. We became friends. It helped that they loved my work! But they also appreciated the fact that I made their job easier. I met deadlines, my work was different from other people’s work, and whenever they called, I dropped what I was doing to talk with them.

Eventually, they asked if I would like to submit project for other books. (Multi-media work gave me an edge! I could do stamps, fiber, collage, jewelry, etc.) Over the next few years, my work appeared in around a dozen books published by Lark Books.

At one point, I got a call to submit a painted glass project. I said, “Oh, gosh, no, that’s too far afield for me!” They said that was fine, they had other people in line, including one person who was shipping a lot of painted glass pieces.

About six weeks later, they called in a panic. That person’s shipment had arrived totally smashed, the final deadline was looming, and that artist couldn’t possibly create enough new pieces in time. Could I, would I pleeeeeeeeeeze pretty please make a piece?

Of course, I said yes.

I found some stacking clear glass plates, in three different sizes at a thrift shop, traced images of my Lascaux series stamp carvings on the bottoms, and painted them with acrylic paints. Soon I had a ring of red stags and running horses on them. It looked pretty cool, if I do say so myself! (Sadly, one broke years later, and I gave the rest to a friend before we moved to California.)

You can imagine how grateful my editor was!

Sure enough, in a few months, they reached out to me again. They wanted to publish the first mass-market craft book on rubberstamp carving.

And they wanted ME to write it!

Let’s make this big enough so you can see my name!  :^)

Now, there were other stamp carvers who were more skilled than I was. There was a well-known stamp carver who had already self-published a beautiful little booklet on the same. I actually recommended that person for the job, and reached out to them, too. I didn’t want to step on any toes or disrespect their efforts, or this opportunity.

But they were not interested! “I am just not up to that!” they replied. “I can’t commit to all the deadlines, the amount of work….  Thank you for reaching out, but you do it, with my blessings!”

And so I did.

It was an amazing experience. I was assigned another editor, and they were amazing, too. It was a long process, with me writing the intro, all the lessons, carving stamps illustrating all the “stages” of stamp carving production, and compiling the resources section.

Lark Books flew me to their headquarters in Asheville, North Caroline, so I could be photographed “carving” stamps. (That is, my hands were photographed! Yes, I am now a hand model!) (Er….not anymore, actually.) I got to meet both editors, I got to explore Asheville (the first time I’d ever seen outdoor seating at restaurants!), and….

I am now a published author.

Thanks to this opportunity, I was the first person to write a mass-market book on rubberstamp carving. There have been more (and some of my work appeared in one of them), and they are even better, more on-trend.

But here’s the lesson:

When it came time for the gallery section, I reached out again to that same discussion group, inviting them to submit their work for inclusion.

The response?

“You’re writing a book on stamp carving?? You’re SO LUCKY!!”

*Thanks and a hat tip to Katherine Aimone and Joanne O’Sullivan of Lark Books. I am forever grateful for the opportunities you provided to make this all happen!

 

P.S. I got a few grumpy comments on this article, from people complaining I was giving my work away. I wasn’t. I got free publicity by submitting work to the book galleries, I was paid very well for the projects, and I received a decent advance for the book I wrote.  Did I get rich? Nope. Not much of the work I do pays very well, and that’s even more true today. But it was enough, it was enjoyable, I met amazing people, and it broadened my horizons in uncountable ways. I’m grateful, and I’m glad I did it!

WRITING A BOOK

The rewards of writing a book go way, way past the money stuff.

A fellow craftsperson wrote me recently. She’s been asked by a publisher to write a book! Excited and a wee bit overwhelmed, she asked if I had any suggestions or comments.

You know me. I got a million of ’em.

But for your sake, and for the sake of the customer who is waiting patiently for me to ship their order to them this week, I will be succinct.

Yes, I wrote a book on carving stamps. It was the first of its kind, and I’m still proud of it. I’d love to write more books someday. (Anybody out there in the book publishing world listening? Helloooooo….?)

If you are considering writing a book–especially if a publisher has approached YOU about writing a book–

DO IT!!

Why especially if a publisher asks you? Because half the work is done. You don’t have to send out dozens of book proposals and then wait for all the rejections. You don’t have to second-guess what kind of book they’re looking for. You don’t have to prove yourself–they’re already into you!

Don’t expect to get rich from it, or even make very much. It’s possible, of course, but not likely.

However, the publicity, the credentialing, the excitement, the entire experience, will be worth it.

So how much money are we talking about?

You will be given an advance to start writing the book. An advance is money paid out by the publisher before actual publication, in anticipation of what the book will bring in dollar-wise.

As the book sells, your advance is deducted from the royalties due you. If the book outsells their expectations, you get a royalty check. If the book doesn’t sell well, you keep your advance but you don’t get any more money.

I was paid an advance of a couple thousand dollars for my book. Now, this was before publishing took a major hit and before we bailed out a lotta banks for a few billion dollars. I don’t know if that is industry standard anymore or not.

Despite good sales, I’ve not received a penny more in royalties. I am not the Harry Potter of craft book authors.

The advance was good money for me, and I’d do it again in a heartbeat.

But more than just the money, I’ve gained a lot in exposure, in web presence, in credibility as an author for writing that book. I got more writing gigs because of it.

And this was for a book that wasn’t even about my main art form. It was about my art hobby. If you are asked to do a book on your own art medium, you would benefit even more. I would have gotten a lot more mileage from my book if stamp carving had been my major art form, or if I’d written a book about my wall hangings or polymer work.

When you’re finally asked, is it scary? Oh, yeah. Exciting, wonderful, and yes, also daunting. Kinda like having a baby.

Things to keep in mind:

An editor will work along with you, so you don’t have to “construct” the entire project yourself.

Publishers also usually do their own photography, so no need to worry about that.

They may have a specific “recipe” or format in mind for the book–is it part of a series of other crafts? This will help you select projects, etc.

Most importantly, there’s another reason writing a book is like having a baby:

You really can’t change your mind halfway through.

A lot of people START books.

A publisher’s biggest fear is that you will not FINISH the book.

They lose a ton of money if they invest an editor, time, money and space in their publishing schedule…. then the author freaks out and refuses to complete the project.

So….Do everything you can to meet deadlines and work with their schedule. If you renege on the deal, you will find it difficult–if not impossible–to ever work with that publisher again. Probably any publisher. Word does get around….

Cooperate with their proposed format. The publisher asked me to write a book for their Weekend Crafter series. I got carried away. I was determined to write the compleat work on stamp carving (and no, didn’t spell that wrong, look it up. I think I scared my editor with all my grand ideas for additions and “improvements”, til she gently reined me in with the response, “You need to save that for your next book.”

Good communication is key.

One last tip:

Don’t be afraid to let the real “you” shine through. Whatever is distinctive about your personality–your quirky sense of humor, your way of turning a phrase–it is an asset. (Unless you’re mean.) Don’t get so caught up in the “professional artist” thing that you sacrifice your blithe spirit in the process.

And one last thought:

It may seem like a big, daunting project. But you will be working on it one section, one project, one chapter, one deadline at a time. Just like eating an elephant, you will take it one bite at a time.

In the end, it will be worth it in so many ways, things that will last long after the book is out.

I still get a kick out of people who show up at my shows, or my open studios, with a copy of my book in hand, and ask me to sign it.

I still love looking up the reviews of my book, and reading the wonderful things people said about it, and about me.

I still feel a frisson of pride when I come across my book on a store shelf, or when I display it in my studio.

I love mentioning oh-so-casually that I’m an author. I love remarking that both my husband and I are published writers, and our kids have had their work published in before they were out of elementary school. (Doug and Robin’s carved stamps appeared in another Lark book.)

I admit it, I am a small person at heart when it comes to being proud of my book.

Caveat: This was my book writing experience. Your mileage may vary. Your experience may be even nicer, or maybe not so nice.

But I still think it’s worth doing.

Any questions?