Meeting Deadlines – Remember to Breathe!

It’s Easter today – Happy Easter everyone! ūüėÄ

As I sit trying to recover from a very scary asthma attack I had at 4am, when I woke up suddenly unable to breathe, it’s forced me to be reflective on the last few weeks.

It was a manic March and so far April has been equally busy. Having kept up with my daily art challenge – The Artmaniac Challenge, for the whole of Jan and Feb, I fell off the art wagon in March, although ironically Sophie E Tallis Illustrations¬†went from strength to strength – most notably being taken on by HarperCollins in February as one of their illustrators! ūüėÄ

This manicness started with a last minute¬†dash to get a dark fantasy short story (Cern) finished¬†for its anthology (Underskinn)¬†deadline of Feb 28th and continued when I had the daft last minute idea of painting a self-portrait to enter the Sky Arts Portrait Artist of the Year 2018 (deadline March 3rd)! I blame the inspiration of a few close friends (and cake nutters) for this and their unbridled passion and enthusiasm¬†for just ‘going for it’, taking chances, pushing boundaries, going outside of your comfort zone – “hell why not?”.

I made the deadlines on both with literally 1 minute to spare, yes 1 minute! My short story¬†has been accepted (as far as I know) but in the end my portrait wasn’t shortlisted. But I must say I have absolutely¬†NO regrets, other than starting the painting the day before so it wasn’t finished properly! ūüėÄ

That manic flourish seemed to encapsulate March as I started my next commission, a painting for a New York client and his literary group – for it to adorn the front cover of their literary journal/magazine and website. Seemed like a great opportunity to once again do something different and widen my skill set and reputation for quality original art.

He was a slightly unusual client in that he clearly had never commissioned any artwork before and needed everything to be explained several times. But I’m very patient¬†and being¬†a perfectionist by nature¬†I always want all my clients to be 110% happy and so far they all have been. Some of that perfectionism isn’t just in the standard of the art I produce but in making sure that each client is involved in the whole creative process every step of the way. By doing that, not only are you including the client in the work and all decision making but it becomes a great creative partnership and ensures that you deliver EXACTLY what they want. ūüėÄ

Unfortunately¬†despite going through ‘the process’ with him several times to ensure he understood exactly how¬†each stage¬†works and what to expect, there were often occasions where he seemed to get confused – an example being when I sent him the first inked up artwork and he asked where the colours were even though I had explained that I couldn’t move onto the final painting stage¬†until he was 100% happy with the inked up work!

I chalked it up to a difference in culture and language causing a few blips in communication. Mmmm, I should have listened to my spidey senses.

I had purposely set aside the whole of March for his artwork commission, having at his behest moved other projects to the side (including my own picture book that I have two agents waiting to see. So I won’t be doing that again!). Throughout the entire month he kept asking me when he could see the full colour version, even at the beginning when I was only at the graphite drawing stage.

The day of the deadline came, 31st March, as always I delivered the artwork on the deadline as agreed. That’s when it quickly appeared that there was something rotten in Denmark.

I sent the finished artwork to him with a watermark, as agreed, yet he didn’t even acknowledge it and instead kept asking for the finished work without watermark. A flurry of increasingly weird and then aggressive emails came, demanding the artwork without watermark as I kept explaining that he would get it as agreed the moment payment had been made. I’d spent a whole month working my ass off on this, doing exhaustive research, sending copious sketches, colour samples, drawings, asking 101 questions, etc., just to be screwed at the end by either an incompetent idiot or a crook. I couldn’t believe it. ūüė¶

Friday rolled into Saturday when he then switched tack and suddenly said he didn’t like the artwork. I was bereft, utterly exhausted, stressed and upset that I’d worked so hard, which he knew, had kept giving him the artwork at every stage and given him every opportunity for the work to be amended/changed etc. as required¬†yet he had said nothing until after the deadline. It seemed yet another ploy to get the artwork without watermark so he could use it without paying and shaft me in the process – commission my services, time and artwork for free.

Finally I sent an email threatening¬†legal action. To be honest¬†I’d given up hope of ever being paid by this idiot. What made¬†the situation¬†worse was wasting a whole month of my precious time when I could have been doing other projects. In fact half way through March I had received another email from Terence the Head of Fiction Art at HarperCollins asking if I could do another fantasy map commission (for the lovely Anna Stephens and her highly anticipated grimdark debut, Godblind,¬†published with HC in June 2017). The problem was that this one had a tight deadline.

Because of my professionalism I said I was already committed to another client so couldn’t start the HarperCollins one until after the NY commission, April 1st earliest. Boy, April 1st really ended up being¬†a joke on me! ūüė¶

I was so stressed out by it and upset that of course it made me ill. I didn’t sleep for two nights and was vomiting profusely with all my usual vertigo and migraine symptoms. But I had no time to be ill, I had the HC commission to do so I plunged into it, using it as a great distraction from being screwed over. It was also lovely working with Anna Stephens and Terence from HC, two thoroughly lovely and decent people, the complete opposite to the client I had just had.

The week passed with me stressed out of my gourd until the NY git, under the threat of legal action and realising that he wasn’t going to get any artwork from me for free, finally paid up! OMG!!! :O

To be honest, I was totally shocked, I still am, because of the awful way he was behaving I had completely written off ever being paid by him.

But because of his actions, it also meant that I was having to work 12/13 hour days to try and get the HarperCollins commission finished by the deadline of 14th April.

I managed it, just, and I’m really proud of the final artwork. As always I gave it my all and it does look great. Most importantly Anna and Terence love it. Phew! ūüôā

But of course, all of this has taken a toll – hence my asthma attack last night. ūüė¶

So what have I learned from all this madness?

Sadly, that I now won’t take on any¬†new commissions from¬†individuals I don’t know, it’s just too risky.¬†From now on¬†I’ll stick to HarperCollins commissions only¬†and indie authors I know…at the end of the day life is tough enough without dealing with unscrupulous people and we all need to make a living and protect ourselves especially in the highly changeable creative arts (writing, artwork, acting, singing etc.).

So folks, whatever field you work in/make a living from, PLEASE make sure you protect yourself, your work, your skills, your time and your health!

Hopefully once my lungs start working again properly, I shall return to my picture book project which I have to get ready for the (hopefully still interested) agents who are awaiting it at the end of this month – in only 2 weeks time!

Wish me luck folks! ūüėÄ xxxx

Advertisements

The Realities of Writing…

soa_member_rgb1As a member of The Society of Authors (SoA), the longest running society helping authors (actually celebrating its centenary this year)¬†and certainly the nearest we have to an ‘Author Union’, I received my quarterly SoA magazine ‘The Author’ a few weeks ago.

‘The Author’ is¬†always a fascinating read, a thermometer of what’s going on in the literary¬†world, in publishing, what’s¬†trending¬†and in writer’s lives themselves. It’s full of really interesting articles, all written by writers for writers on issues as diverse as copyright, publishing & publishers, literary festivals, contracts, public lending rights (PLR), author events, public liability insurance, awards and grants, writing tips,¬†sales, bookshops, Amazon, research, booktrade news¬†in addition to its own¬†‘Quarterly News’. Lol, to be honest, the first thing I always do is look to see the names of new members and if I recognise anyone. ūüėÄ

Anyway, in amongst the magazine was a ballot paper for this year’s Election to the Management Committee. Now I won’t say who I voted for, I don’t want to invalidate my ballot, but reading their candidate statements was really interesting and, considering most of these people are big names, quite surprising. I don’t know why, but I suppose we all have stereotypes that we fall into from time to time and certainly I imagine that these writers, the ‘big names’, all¬†live a dream life of never having to worry about money or bills or mundane things again, that their writing has brought riches and fame and therefore they are a world away from the harsh realities that myself and my fellow writers live in day in day out. But, to my surprise, I couldn’t have been more wrong. It is precisely because these writers have made it big, that makes them so sympathetic and empathetic to the struggles and plights of others because they remember what life was life before that bestseller.

One writer in particular who grabbed my attention was Alice Jolly, talking about writing as a career and how hard it is for most writers just to keep their head above the rising tides.

In her own words:

“The position of the writer is a paradox. On the one hand, authors appear to be powerful. The UK general public love authors. They spend approximately ¬£2.2 billion on books a year and 60% cite ‘author’ as their dream job. The UK has approximately 250 literary festivals some of which attract audiences of 200,000.

But despite all that, the reality of an average author’s life is grim. The median annual income of authors is ¬£11,000 (substantially below the minimum wage based on a forty hour week). The hours are unsocial and authors are continually asked to run workshops or make visits to schools for free.

So how can we writers capitalise on the power we have in order to ensure that writing is a career, not a hobby? How do we make sure that the current seismic changes in the publishing industry take us into a world where writers have more control over their careers?

There is no simple answer but that change certainly will not happen unless we all work together.”

What makes Alice Jolly’s words particularly pertinent is that she has experience in a range of fields,¬†from teaching creative writing at Oxford University, having two novels published through Simon & Schuster, to four plays produced in the theatre to crowdfunding her latest work. It’s¬†somehow reassuring¬†to know that people like Alice, or Joanne Harris who are widely known and respected, are able to relate to the problems and struggles that we small press and indie authors face every day – that struggle not only to write in itself, to get published (in whatever way that means to you), but also to make ends meet, pay the bills, survive.

The romantic notion of the starving artist in their garret or isolated writer in their shed, is all well and good, but starving in reality does not help creativity – it stifles it. If your mind is continually pre-occupied by how you are going to keep the roof over your head and food on your plate, if you are literally starving, you are not going to be concerned by writing the next great tome. Your energies and efforts will be spent on trying to survive so you have a future where you can write.

I find these issues particularly relevant to me and my own situation. Not only have I found writing my second novel particularly hard (due to major writer’s block¬†caused by¬†health issues), though I have been able to write several short stories/novellas, my own personal circumstances are more than a little precarious in both financial and personal terms. All of which, the stress, the worry, health issues and the counting of pennies, really does not help the creative process.

So, what is the answer?

Alice Jolly is right, there are no simple solutions. As with everything in life, the randomness of luck always plays a part, simply being in the right place at the right time, and yes, sadly, the old adage of ‘who you know’ plays a major part. Would Christopher Paolini really have been published and pushed into the limelight if his mother hadn’t been in the industry and placed his novel in front of an agent rather than it doing the rounds of the slushpile? I think not. But we are also masters of our own destinies. I see the flamboyant and endless energy of self-published authors Ben Galley and Debbie Young who both simply do not settle for resting on their laurels. They are so determined, so inventive and so driven they have made it happen for them. Ben Galley recently revealed that he’s selling 400 books a month in the US and tours around the country and can be seen at most conventions, Debbie Young set up her own Literary Festival from scratch (the Hawkesbury Upton Literary Festival) with Katie FForde herself opening the inaugural event. She’s now planning the 3rd year of the festival next year and is also the main collaborator for ALLi – The Alliance of Independent Authors and tours the country doing talks and events.

So, is this the future and answer¬†to making writing a career that can actually pay the bills? The honest answer is…I don’t know. I’m thrilled for both Ben Galley and Debbie Young, both of whom are not only thoroughly lovely people but also¬†terrific writers. My problem is this, as much as I would dearly love to be a full-time writer (it’s been my dream since I was a kid) and be able to make an actual living from it as with any other career (yes, writing paying bills), I simply do not have the stamina¬†or funds to do half the things that they do, I dearly wish I could. This year for instance, as I’ve been concentrating on writing so much, my marketing and publicity has, in all fairness, been crap. I’ve just found it far too hard to be able to do both things effectively.

So, the question remains, what is the answer? If you’re unable to travel much, are not techy at all¬†(I’m an IT idiot tbh and still don’t understand what the hell, Thunderclap is!), and health and circumstances curtail what you can do, then how do you turn your imagination into something that can actually pay those bills?

Well, in truth I’m still working on that one. What I will say is in a strange parallel to other industries such as farming for instance, I think a big part of success or at least survival and self-sufficiency, is by diversifying. Look at what you can do, what you’re good at (apart from writing) and try using those skills to aid¬†not only your writing but to also¬†pay the bills.

For me, that has meant illustration work: – ¬†Sophie E Tallis Illustrations. Being a trained traditional artist, with a BA (Hons) in Fine Art and an MA place, I illustrate books and do fantasy maps (having just completed a commission for the¬†wonderful Juliet McKenna and her fantastic ‘Shadow Histories of the River Kingdom’ and am currently working on a map commission for grimdark author, Anna Smith-Spark and her upcoming Harper Voyager book, ‘The Court of Broken Knives’). In fact as I can adapt to any illustration style wanted, I can pretty much do whatever the client wants (lol, though not digital art, my computer skills are crap!). Now, although¬†I’m not raking¬†in huge amounts, as far as paying for those damn bills, it is definitely helping!

watermarked-300dpi-finished-map-amended-bw-version

So, for we small authors to continue writing as a career not a hobby, we have to use every trick in our arsenal, diversify, think outside of the box, focus on what you can do rather than what you can’t.

Good luck guys, may we all succeed at that elusive goal – full-time writing AND survival! ūüėÄ ‚̧ xxx

soa_member_rgb1