Leeza Promo

A lot has already been said that I too would advise on self-promotion. Here's a couple of other ways to get yourself in 'through the back door'. I guess you could describe a lot of what is listed below as networking but in my book it's still self-promotion and that's the point. Whenever you are out there in the world you just don't know who you might bump into or what their connections are and I am definitely a beleiver in "it's not what you know, but who you know". Sad, sometimes, but oh-so-true. Work it to your advantage in the bestest, nicest possible way you can. And always be sincere.

Don't be shy
If anyone is like me, I always feel intimidated when I go to conferences and attend workshops. Not just by editors and art directors, but also by my peers. Especially if I don't yet know anyone yet. But I want people to meet me and remember me, especially the ADs. So how do I try to make an impression? I face my fears and think of a nice way to make that impression.
• Candy!!!! Courtney, remember this? When I attended Tomie DePaola's class at last years' NY conference, I bought a big bag of sweeties and went round the room and gave everybody a handful for their table — as well as (of course) giving a few to the 'teacher.' As I did I may have smiled and introduced myself, or made a joke or just said 'enjoy.' Did it again in LA and it went down a treat. When you follow up with your thank you letters always mention you were the one handing out sweeties — no-one ever forgets that!
• Look for name tags. Find names you recognize, or people who you have seen blogging and go and introduce yourself. Either by screaming their name and jump up and down the psycho way or politely shaking their hand and telling them who you are and how much you love their work.

Thank Yous
As I mentioned before ALWAYS send Thank Yous. To other illustrators who have helped you; Art Directors who gave workshops; Editors who gave critiques; Publishers — because you really enjoyed a book that you just bought. Thank them for inspiring you or for pushing you to want to work for that publisher one day; events organizers for throwing such a fantastic conference. And don't forget to ALWAYS include a postcard/biz card with a PS: "I have enclosed a sample of my work so you might rememebr me!" Handwrite all your messages and try to individualise them. It takes time but as I have discovered, people really appreciate thank yous.

Be Selective
Sending postcards is effectiive for most illustrators, especially if you are organized well enough to maintain your lists and send frequently. (Something I am BAD at!). However, what I do do is, cut my list down to just a handful of publishers that I really want to work with. And I stay as best I can on top of those — usually twice a year. Some people recommend three or four, but I'm just not at a point where that can work for me. I don't always send postcards, sometimes I send a manuscript or a dummy but I find a way to do something on the envelope out front that is consistent so they know it's me.

Critiques: One-on-One
Whether you plan a day to NYC and make appointments with ADs or attend a conference. Try as much as you can to sign up and/or sit down with an editor or AD for a one-on-one. you'll have their time devoted to you and your work. You can ask questions, get feedback and above all ask if you can stay in touch in the future. If they ask you to send them some more of your work, make sure you write "REQUESTED MATERIAL" on the front of your envelope. You will avoid the slush pile.

Follow-ups
• Good to know if you write AND illustrate: If you have had a one-on-one with an editor or AD whose company doesn't accept unsolicited manuscripts, you are no longer considered unsolicited. The term does not entirely mean "not represented by an agent."
• Always mark your outside envelope you are a SCBWI member. That too, in most cases, sits work on a seperate pile to the slush.

Target editors
Whether you write or not, if you have a dummy, send it to editors as well as ADs. Double your chances of being rememebered and getting your work out there. Also send postcards to editors, you never know! Some of the smaller imprints have editors scout for artwork too.

Volunteer
Okay, for me this has been the best way to make myself known and remembered in more ways than I could have imagned. I volunteer with my local state chapter. I design the newsletter and co-ordinate articles etc, but I also help at conferences and workshops. Whether it is by selling books, making signs, selling raffle tickets or offering to give a workshop — I do anything they want. I arrive early and help set up, I stay late and help pack up. I have even driven editors and ADs to the train station or picked them up. Several in my car at one time! BINGO! I'm not in their face about my work, but politely making my contacts and asking for their business cards. I stay in touch by sending them my work and reminding them where we met.
• Sometimes in return as a thank you for volunteering you might get to attend a workshop for free, be given a free years' membership to SCBWI or the RA may personally introduce you to a publisher or someone who has good contacts.
• Sell prints of your artwork at the conferences. Usually people can buy authors's books, but there are few artists. It's a good way to stand out and I always have postcards for everyone to take. Sold a few prints, too!

Libraries, bookstores and coffee shops
Last one for now. Get in touch with some local businesses and public places and ask if they wouldn't mind displaying a stand with your postcards to give away for free to anyone who wants one. Every couple of months, go in and top up the stack or give new designs. Better to have those left-over postcrads out on the streets in plain view than on a shelf in your house!