If you’re feeling unsure about how much direction to give an illustrator — or what you’re even allowed to ask — you’re not alone. And no, this isn’t something “everyone else just knows”. It’s a skill. One most writers are never taught. So let’s talk about it properly.
One of the quietest anxieties I see in writers — especially first-time authors — is this one: “I don’t want to micromanage… but I also don’t want to end up with illustrations that don’t fit my book.” It’s usually followed by a nervous laugh. Sometimes by silence. Occasionally by a very expensive lesson learned too late.
If you’re feeling unsure about how much direction to give an illustrator — or what you’re even allowed to ask — you’re not alone. And no, this isn’t something “everyone else just knows”. It’s a skill. One most writers are never taught. So let’s talk about it properly.
Illustration is collaboration, not guesswork
A good illustrator isn’t a mind reader.
They’re a creative professional bringing their expertise to your story — but they can only work with the information they’re given. And many writers give very little, because they’re worried about overstepping.
Here’s the reframe I want you to sit with:
Giving context is not micromanaging.
Asking questions is not being difficult.
Direction is not the enemy of creativity.
Clear conversations at the start nearly always lead to better artwork, fewer revisions, and a far more enjoyable working relationship.
Start with the role of the illustrations
Before colour palettes. Before style references. Before you disappear down a Pinterest rabbit hole. Ask this first: What job are the illustrations doing in your book?
- Are they decorative, narrative, instructional, emotional anchors and/or pacing tools?
- Are they speaking to the reader, the buyer and/or a gatekeeper (publisher, teacher, parent)?
Misalignment here causes more problems than artistic skill ever does.
5 essential questions to ask an illustrator
You don’t need a rigid checklist — but you do need clarity. These questions are reasonable, professional, and expected:
1. How do you usually work with authors?This tells you whether they prefer creative freedom, detailed briefs, or something in between.
2. What level of direction do you expect from me?A powerful question that sets healthy boundaries early.
3. How many revision rounds are included?Not because you plan to nitpick — but because assumptions here cause tension later.
4. How do you prefer feedback delivered?Written notes, visuals, phone calls — this matters more than people realise.
5. What do you need from me to do your best work?This question builds trust immediately.
How much direction is too much?
A simple rule of thumb:
- Context is helpful
- Control is limiting
Helpful direction sounds like:
- “The tone needs to feel gentle and reassuring.”
- “This character is meant to feel older and a little worn.”
- “The images need to work in black and white as well as colour.”
Too much direction sounds like:
- “Move the character slightly left.”
- “Use this exact shade because I like it.”
- “I pictured it differently in my head.”
If you’re explaining how to draw instead of what matters, pause. That’s usually your cue.
Children’s books: where clarity matters even more
Children’s books deserve their own conversation — because illustration isn’t optional here. It is the storytelling.
If you’re working on a picture book or illustrated children’s title, you should feel confident discussing the following:
Age range (properly):A 3–5 year old reader needs very different visual cues to a 7–9 year old. This affects:
- detail level
- colour complexity
- facial expressions
- visual pacing
Emotional tone:Children read emotion before words. Is the book:
- calming?
- silly?
- reassuring?
- mischievous?
- gently instructional?
Character consistency:That’s not micromanaging. That’s good children’s publishing. You’re allowed — encouraged — to care deeply about:
- recognisable characters across spreads
- visual continuity
- expressions matching the text
Space for text:Illustrators who work regularly in children’s books understand this — but never assume. Discuss:
- where text will sit
- how busy a page should be
- whether illustrations should carry meaning without the words
And one important reminder: You are not “less creative” because you write the words instead of drawing the pictures.
Your role is different — not smaller.
This is really about confidence (not control)
Many writers — particularly women, later-life creatives, and first-time authors — worry about being labelled “difficult”.
Let me be very clear: Caring about how your book is represented does not make you difficult.
You are the steward of the story. The illustrator brings interpretation and skill. Both roles matter.
A professional illustrator expects questions. They expect discussion. They expect collaboration.
If reasonable clarity feels unwelcome, that’s not about you — that’s about fit.
Trust is built through conversation, not silence
The strongest author–illustrator partnerships aren’t hands-off. They’re respectful, open, and clear.
If you’re unsure how to begin, start by saying: “This story matters to me, and I want to get the collaboration right. Can we talk through how we’ll work together?”
That sentence alone can save months of discomfort.
You don’t need perfect language. You don’t need to know everything. You just need permission to ask.
And you have it.
References & further reading
Australian Children’s Book Council (CBCA)
Creating Books for Children & Young People
CBCA regularly outlines the collaborative roles of authors, illustrators, designers and publishers in children’s publishing, including age-appropriate visual storytelling and the importance of illustration clarity.
https://cbca.org.au
Australian Society of Authors (ASA)
Working with Illustrators & Visual Artists
The ASA provides professional guidance on author–illustrator relationships, expectations, contracts, revisions, and creative control — widely regarded as the Australian gold standard for publishing advice.
https://asauthors.org
The Society of Children’s Book Writers and Illustrators (SCBWI)
The Author–Illustrator Relationship
SCBWI offers internationally respected guidance on collaboration, creative boundaries, feedback, and illustration process in children’s books.
https://www.scbwi.org
Illustrators Australia
Professional Practice & Collaboration
Illustrators Australia outlines professional expectations, briefing processes, and respectful collaboration between writers and visual artists.
https://illustratorsaustralia.com
Creative Victoria / Australia Council for the Arts
Creative Collaboration and Professional Practice
These resources discuss best practice in creative collaboration, including respectful communication, clarity of roles, and managing creative partnerships.
https://www.australiacouncil.gov.au
IngramSpark
Children’s Book Illustration & Design Considerations
Industry-facing guidance on illustration, layout, colour, and production considerations for illustrated and children’s titles.
https://www.ingramspark.com
Penguin Random House Australia – Author Resources
Children’s Publishing Insights
PRH Australia regularly publishes insights into how illustrated books are developed, including author–illustrator dynamics and editorial expectations.
https://www.penguin.com.au