It took me five years, but, as of this month, I can finally say I’m a traditionally published author-illustrator!

A lot of people have asked me how I got my agent, and I’ve been reluctant to share it because the way I got my agent wasn’t exactly the way I was told to do it. It wasn’t how most people I know got their agent, either. Honestly, I felt like I cheated a little. 

But I figured I’d finally answer the question and share my journey—how I was told to get an agent, the best advice I received, and how I actually ended up with one. 

Hopefully, it’ll help you too!

By the way, if you'd prefer this in video form, I've got you covered too ❤️

 

Do You Need an Agent?

First things first: you need to decide why you need an agent. Not all illustrators need one to be successful. I had a six-figure career as a freelance illustrator without ever having an agent. I was working with brands and companies, and all I needed was a strong portfolio and networking to land jobs. But I didn’t need an agent for that.

It wasn’t until I decided I wanted to write and illustrate my own books in the traditionally published market that I felt I needed an agent. 

Up until then, I had illustrated about 10-15 books, but none of them were traditionally published. Some were for brands where I wasn’t even credited, and others were self-published and sold maybe five copies. 

But I knew I wanted something more—specifically, to write and illustrate my own stories. To get that, I realized I needed an agent, because most publishers won’t even look at your manuscript unless you have one.

So, before you start looking for an agent, think about what you need help with. 

Are you terrible at negotiating contracts? Do you need more exposure? Do you have a specific project in mind? 

Knowing why you need an agent will help guide your search.

For me, I was confident in my art but didn’t want to deal with the stress of contract negotiations. I wanted an agent who was really good at that, someone who would give me the freedom to create but also protect my interests. 

I was already stable in my freelance career, so I didn’t need just any agent. I was picky about both the work I’d take on and the agent I’d partner with. This is rare—most people starting out are more open to taking whatever work they can get. But for me, I knew what I wanted.

In a way, picking an agent is like getting married. Maybe that’s a dramatic comparison, but think of your agent as a business partner. Would you feel comfortable having them control your future? Would you trust them with your career?

If so: you know you’ve found a good one!

What Are Agents and What Do They Do?

There are two main types of agents for illustrators. 

The first is an illustration agent. They represent you for all kinds of art-related work—not just children's books, but also things like art licensing (for products at stores like Target or the dollar store) and greeting cards. Illustration agents take a higher percentage of your earnings, but they can help you secure a wider range of work.

The second type is a literary agent. This is the route I went because I wanted to focus on traditionally published books. Literary agents represent you only for books (though some may also handle other types of work). They typically take a smaller percentage of your earnings compared to illustration agents. They’re also more specialized in working with publishers, helping to negotiate deals, and getting you in the door with traditional publishing houses.

For me, this made the most sense. I wanted someone who could negotiate contracts and get me the best possible deal, without taking a percentage of all the freelance work I was already doing.

Building a Strong Portfolio

Before you get an agent, you need a solid portfolio. This is absolutely crucial. 

I highly recommend having your own website—not just relying on Instagram or DeviantArt. There are plenty of platforms that let you create free websites. I personally use Wix but there are literally hundreds of easy and user-friendly options out there.

Your portfolio should demonstrate your ability to tell stories through your art.

Include at least two characters interacting, show a variety of emotions (not everyone is happy all the time), and showcase your skills in different types of illustrations. Show that you can do full-page spreads, single-page illustrations, and spot art (like a character with no background). Include characters in multiple poses and expressions to show you’re versatile.

If you want to be an author-illustrator (like me), you’ll also need a book dummy. This is a rough draft of your book that includes sketches of all the pages, plus a few fully colored illustrations. You can use your portfolio and book dummy to approach a literary agent. If you only want to be an illustrator, your portfolio alone will do.

You can check out my public portfolio here! 

Networking and Social Media

One great way to find agents is to attend illustration events like those hosted by the Society of Children’s Book Writers and Illustrators (SCBWI). These events are a great way to network, get critiques, and meet agents face-to-face. I attended some SCBWI events in my area early on, and they helped me connect with other illustrators and agents.

If you can’t make it to events, social media is another powerful tool. This is actually how I got my agent—through Instagram! My agent reached out to me via DM, and even though I was in the middle of a cross-country move, we ended up connecting months later. She’d already seen my work on Instagram and liked my style. So don’t underestimate the power of posting regularly and using hashtags like #kidlit or #illustration.

Here are some examples of what I was posting when I got scouted.

The Waiting Game

If you go the traditional route and submit your work to agents, it can take a while to hear back. Don’t get discouraged! 

If you haven’t heard from an agency in 3 months, you can follow up, but don’t keep resubmitting the same portfolio. 

Instead, send them new work to show your progress. It’s also a good idea to update your portfolio every year to keep it fresh.

Join a Critique Group & Take Courses

While you’re waiting or applying, I highly recommend finding a critique group. These groups can offer valuable feedback, motivation, and a sense of community. It’s so helpful to have others who are in the same stage of their careers to exchange tips and support one another.

Resources to Help You

Here are a few resources I used that were invaluable:

• Society of Children’s Book Writers and Illustrators (SCBWI): They offer conferences, online resources, and a fantastic community.
• School for Visual Storytelling: They have a great podcast and courses on children’s books, including how to get published. They also have a course on self-publishing if that’s the route you want to take.
• …and me! I have a full course on how to find your style & refine it to publishing level. It’s called Level Up Your Style and our founder’s sale is still going on for a few more weeks, so be sure to check it out ❤️

Final Thoughts

Getting a literary agent isn’t easy, but it’s worth it if you’re serious about pursuing a career in traditionally published books. I know I couldn’t have done it without my agent—she’s amazing, and I’m so grateful for everything she’s helped me accomplish.

If you’re on this journey, I wish you all the best of luck! Keep working on your craft, promote yourself, and stay persistent. You’ve got this!

P.S. I’m offering 50 signed copies of my new book Even Yetis Get Colds, along with a special exclusive print for those who order. There are only 50 left, so grab yours before they’re gone!