Lori McElrath-Eslick

Back when Lori McElrath-Eslick was an illustrator at Hallmark Cards, she had a conversation with a fellow artist who longed to become a children's book illustrator. McElrath-Eslick suggested her friend begin reaching for her goals by approaching kids' magazines. "It seemed to be a good place to start," she reasoned. "Not only could you learn the type of illustration that’s required, but you would gain a printed portfolio of tearsheets." McElrath-Eslick ended up following her own advice. Years later when she began her own freelance career, she entered the children's market via magazine illustration.

Ironically it was her work in magazines that led to the Michigan artist's biggest break in book publishing. Her magazine illustrations were accepted into the Bologna Book Fair competition for emerging illustrators, part of the prestigious children's publishing event held annually Italy (www.bolognafiere.it). Her illustrations caught the eye of a publisher and McElrath-Eslick landed a book contract soon after.

What seems like a lucky break was the result of hard work and dedication. Not only is McElrath-Eslick an artist, she's also her own rep. And she's a stay-at-home mom who balances assignments with chasing after a lively three-year-old (appropriately named Chase), and spending time with her husband and teenage daughter. How does she do it? McElrath-Eslick admits she doesn't have all the answers, but she's learned a few strategies that help her enjoy the freelance life. (Article continued below...)

Lori McElrath-Eslick
SCBWI member since 1993
www.eslickart.com

Every year the Bologna Book Fair in Italy (or, as the Italians say, Bologna Fiere), features a competition for illustrators from around the world. I entered illustrations I did for Ladybug. I was amazed when I received the letter of acceptance! I decided to go to the fair—my first trip to Italy—with my husband and daughter. Not only did we have a great time, but since the editors of many U.S. publishing houses were there, I got to meet many of them. At trade shows the editors are there to do business, not interview. But I learned if I wait patiently, many have time for me. I met Jody Taylor at the Boyds Mills Press booth. The Fair publishes an annual of the winners and she took it back to Boyds Mills. Soon after I got a call from one of their editors about a manuscript, Read for Me, Mama, by Vashanti Rahaman.

You worked in-house at Hallmark for more than six years. How did that affect your work?

My Hallmark coworkers (among them Floyd Cooper and G. Brian Karas) and I were always very aware of the work being done in children's publishing. We held illustrators like Trina Schart Hyman, Chris Van Alsburg, and Ed Young in high esteem. Hallmark invited many of those artists to talk to us about their work. Visiting artists such as Mark English, Tom Allen, Tomie de Paola and David McCally inspired us with slides of their commercial and personal work. It really influenced me to see the broad range of styles of artists who did the majority of their work for children.

How much time do you spend marketing your work?

As my own rep, I remain diligent, constantly sending out samples and following up. I'd say I spend at least 50 percent of my time marketing. I find that very frustrating, as the thing I am best at is the actual painting or illustrating. There are some parts of marketing that I like. One of the aspects I enjoy is packaging my samples and tearsheets. Within the past two years I've made a commitment to send out quarterly postcard samples of my work to a list of the "dream" folks I want to work for. I try to streamline marketing activities as much as possible. I send postcard mailers of illustrations from my children's books and sometimes of my personal paintings. I choose work I think is my strongest. I always enclose a SASE so I can turn around and send the same samples again.

The college I attended, Kendall College, stressed always doing a pristine presentation—and it stuck. You will be known by how you present yourself, good or bad.

You have a great website. Was it difficult to launch? Does it help you with marketing?

When I decided to launch a site, I looked at some fellow illustrators' sites and made a list of the categories and icons I liked. Then I approached a gentleman who launched a site for our church. After we settled on a sum he went to work on it. He is a gem with the technical stuff. All I do is scan and send him the updates. In return, I include his small ad on my site. And, yes, I do get many assignments through the site.

I look at the site as a portfolio. I always include my website address on my samples, so I get a lot of hits after sending mailings. Art directors don't have to wait to see more samples of my work; they can simply log on to my site.

Do you do school visits?

I became involved in school visits after I received requests from schools. I learned even more when Boyds Mills Press invited a small group of illustrators and authors to attend a workshop on how to do a school visit. After giving us speaking tips from their guru, Peter Jacobi, they videotaped us at a local school. It really helped! It's embarrassing to see yourself on tape, however necessary, and it was really telling. I do as many visits as I can. It's something I have to work in around the illustrating—but it's worth it because I always learn so much from the children's insights and reactions.

What have you learned about art directors?

I have real respect for art directors who look at my track record and trust me to come up with the best solution for the manuscript. In the beginning of any career, you work out the trust. Later, once you have some printed assignments under your belt, art directors begin to trust you. It feels good to finally not have to prove yourself. I also appreciate editors and art directors who allow me freedom, yet make good calls, letting me know when something isn't right. A good art director can pinpoint what's not working, and a very good art director can offer advice on how to make changes. We work as a team. To fight it doesn't help the work. Two heads are better than one.

Tell me about your affiliation with The Mazza Collection.

I am sometimes approached by individuals and organizations interested in buying original oil paintings I've done for publication. One of these organizations is The Mazza Collection, located in Findlay, Ohio—a museum of hundreds of children's book illustrations. (Visit to www.mazzacollection.org to see examples.)

The director, Jerry Mallett, purchased an illustration from Read for Me, Mama for the museum. It portrayed a little boy sitting and reading in front of a dryer at the laundromat while clothes spin behind his head. Jerry pointed out that the colors swirling around the boy's head makes it look like while reading, ideas are forming, taking shape, and his mind is active. It meant so much to me that my idea was evident. That Jerry "got it" made me hopeful that children would also get it.

What are you working on now?

I have just been sent a manuscript for a cover and interior illustrations for a novel. I am also trying my hand at writing and have sent out a nonfiction story of a potter. So far my manuscript has received one rejection. Since it is a multiple submission, I remain hopeful. I just received the Ezra Jack Keats award and an artist-in-residence award for a week at a National Park in Michigan. I get to paint!

Article by Mary Cox first appeared in 2003 Children's Writer's & Illustrator's Market.
Copyright 2002, reprinted with permission of Writer's Digest Books.