Readers Asked Us: How Much Direction Should I Give an Illustrator?

Let’s answer the question writers actually mean when they ask this: How much direction can I give an illustrator without being “that author”? Short answer: more than you think — and less than you’re probably tempted to.

Readers Asked Us: How Much Direction Should I Give an Illustrator?

Let’s answer the question writers actually mean when they ask this: How much direction can I give an illustrator without being “that author”?

Short answer: more than you think — and less than you’re probably tempted to.

This article is about finding that line, holding it confidently, and understanding where your responsibility ends and the illustrator’s expertise begins.

Direction Isn’t Control — It’s Context

Most illustration problems don’t come from too much direction. They come from unclear direction.

Illustrators don’t need you to art-direct every page. They do need to understand:

  • who the book is for
  • what the story is doing emotionally
  • what must be accurate
  • what absolutely cannot change

That’s not micromanagement. That’s a professional brief. If you don’t provide context, the illustrator has to guess. Guessing is where misalignment starts.

What You Should Always Specify

There are a few things you should always be clear about, regardless of genre.

1. Audience:Age range, reading level, sensitivities, and expectations matter. An illustrator will make very different choices for:

  • a preschool picture book
  • a middle-grade novel
  • an adult memoir

If you don’t name the audience, you’re leaving the most important decision to chance.

2. Tone and Mood:You don’t need to describe the art style in technical terms, but you do need to describe the feel. Is the book:

  • gentle
  • playful
  • dark
  • humorous
  • realistic
  • whimsical

You can do this with references, comparisons, or plain language. “Quiet and warm” is often more useful than “watercolour with soft edges”.

3. Non-Negotiables:If something must be right, say so early. Don’t apologise for it later. These are the hills you’re allowed to die on. Non-negotiables include areas such as:

  • cultural accuracy
  • historical detail
  • disability representation
  • factual correctness
  • brand or series consistency

Where Writers Go Too Far

Things tend to unravel and problems usually appear when writers:

  • describe every facial expression
  • dictate camera angles or composition
  • correct style instead of alignment
  • revise illustrations to match the text instead of the story

At that point, you’re not briefing — you’re redesigning.

And here’s the hard truth: If you don’t trust the illustrator’s visual judgement, you’ve hired the wrong illustrator.

Feedback That Helps vs Feedback That Hurts

When reviewing sketches, frame feedback around intent, not taste. Remember that the goal is alignment, not replication.

Helpful feedback sounds like:

  • “This feels more playful than I expected — the scene is meant to feel tense.”
  • “The character appears younger here than the text suggests.”
  • “This moment needs more space to breathe.”

Unhelpful feedback sounds like:

  • “Can you move the arm a bit?”
  • “I just don’t like this style.”
  • “That’s not how I pictured it.”

This Is Not a Favour

Illustrators are not adding pictures for fun. They are providing intellectual property and skilled labour.

That means:

  • direction should be clear and documented
  • revisions should be limited and agreed
  • scope creep should be avoided
  • credit and rights must be respected

In Australia, illustration is protected creative work. The Australian Copyright Council is explicit that illustrators retain copyright in their artwork unless rights are formally licensed or assigned.

Clear direction upfront protects both sides.

A Simple Rule That Saves a Lot of Trouble

Here’s the rule I give writers: Direct the “what” and the “why”. Let the illustrator solve the “how”.

If you hold that line, collaboration stays respectful, efficient, and creative.

Still unsure? Ask yourself this before you send feedback:

  • Am I protecting the story?
  • Or am I trying to protect my imagination of it?

Only the first one is your job.

Australian References & Further Reading

  • Australian Copyright Council – Copyright and illustration rights
  • Australian Society of Authors – Author–illustrator collaboration guidance
  • Arts Queensland – Professional practice resources for writers and illustrators

Scroll to Top