Ten things to Do and absolutely NOT Do when approaching an illustration rep to take you on.

So how do you approach a rep to take a look at your work and potentially take you on?  I’m sure I’ve addressed this question before and wrote about it many years ago but I got the feeling that this question needed to be addressed again.

Having worked in this industry, for over 21 years, I think I’m in the position to give some important and constructive advice to those interested.

Let me just start off by reminding everyone that illustration is first and foremost a business.  

When you contact a rep to take you on, you need to do so in a very professional manner. 

Here are a few of the NOT to Do’s when approaching a rep:

  1.  When you send an email,never address it to,  To whom it may concern.  This is a total insult. If you don’t know the name of the rep, find it before you approach him/her. If you contact a rep, it’s because you are interested in being part of their agency and should know who they are.
  2. Never write start your email with, Dear Sir or Madame.  Same thing.  It’s a total insult and I make it a point to never reply to any who address me in either of these ways.
  3. I am not your friend ( yet, maybe if we work together we will become friends but in the first email, you don’t know me and I sure don’t know you, so please don’t address a rep saying Dear Friend or Hi Friend or Hey how are you, like we go way back or something.  It’s completely unprofessional.
  4. Never ever, under any circumstance, should you email a rep and cc several other reps at the same time.  If you don’t have the time or you don’t take the time to sit down and send out a few emails separately, then you don’t deserve to be represented.
  5. Don’t send a long email, no one will read it.
  6. Make sure you spell the name of the rep correctly.
  7. I personally never open zip files, so best not to send them.  A rep doesn’t need to see lots of images to be interested or not.
  8. I’m not a fan of  Facebook, Instagram or Pinterest links to your work.   Get a website!
  9. Don’t take rejection personally.  Art is art and every rep is different.
  10. Accept that its not going to be easy

Here are a few of the To Do’s when approaching a rep:

  1. Do your research about the agency.  Know why you would like to be part of this agency.
  2. Send a very polite email addressed to a person in particular.  In my case it’s a no brainer, the agency is called Anna Goodson Illustration Agency.  Even if you are filling out a form, chances are that if you write to me, Anna I will eventually see your email.  ( just a hint)
  3. Keep your email short and sweet.  I personally spend between 10 and 20 seconds on emails that I received about representation.  I get a lot and I know right away if I am interested in perusing the conversation.  This is probably the same for most reps.  I’m very visual so I don’t spend time reading long emails and I don’t look at cv’s, that’s not important to me.  The work is.
  4. I love to open emails and see a few images right away.  Easy, low rez, 5 or 6 images is all I need at first glance.  If I’m not sure or want to see more then I love to go to a simple, efficient well designed website.  ( so many are free these days or very inexpensive, that I would strongly suggest you all have one)
  5. Make up your mind!!! If you work in several styles, sit back, have a drink and look over your work and make a decision as to what style you would like to perfect and be know for.  I like to take on illustrators that have a real signature style that is their own.  Even though you might be able to work in a few different styles, try to focus on one and make it great.
  6. I kind of like to see who you’ve worked for.  I don’t base my decision on that but I would be a liar if I didn’t say it could have an influence.  Now, I’m know for taking on complete unknowns but if you’ve been a professional illustrator for some time, I always like to see who you’ve worked for.
  7. Flatter me.  What I mean by that is,  I have a preference to want to represent illustrators who really want to be represented by me.  Show me that you’ve done your research, that you know my agency that you see that your work would fit right in.
  8. Don’t be afraid to follow up on emails that you’ve sent.  Don’t be intimidated by anyone, including me or any rep for that matter.  We’re all human with our strengths and weaknesses.  Most of us reps are very nice people.  I have the utmost admiration for my fellow reps.
  9. Take constructive criticism if you’re lucky enough to get some.  Reps normally only reply when they are interested in taking you on but if you do get feedback that seems critical, accept it and learn from it.  It will only make you better and stronger
  10. Follow your hear and don’t give up.  Nothing in life is easy but if you follow some of these simple points, it might just help.

Good luck!

Anna Goodson


Anna Goodson Illustration Agency






We’ve just turned 21

It’s really hard to believe that 21 years ago this week, I launched Anna Goodson Management Inc.

Time really does fly by quickly, when you’re having fun.

When I launched the agency back in 1996,  I  really had no idea what I was getting myself into.

My business plan was simple, I wanted to launch an agency that represented the best illustrators and photographers I could find. I didn’t know what an entrepreneur was at the time but I guess I was always one.

I started my professional career, working with my father in the family printing agency, that he had taken over from his dad.  He was now grooming me to take over  but it was not to be.

After working with my father for 5 years, I left the family business to pursue a career in advertising.  I was drawn to the industry because of a TV show I watched at the time called, Thirty Something.  Everyone in the show looked like they were having so much fun and I was all about having fun and working with creatives.

My career in advertising, started at bottom but quickly  I worked my way up to having a great position with the agency.  After spending several years there,  I was starting to get bored and needed new challenges.

I had worked with an agent that was representing fashion photographers  on several shoots for the agency and when he found out I was leaving,  asked me to join him.

I loved working with photographers and producing photo shoots.  It was the kind of excitement and fun I was looking for.  I spent close to two years there but when the owner of the agency one day said to me, ” If you want a friend in business buy a dog” I knew it was time to move on.

I figured that this was a good  time to start my own business and run it the way I wanted.  I was young, passionate and ambitious.   Money however, was never the motivation. I never really thought about it.  Freedom was and  I was excited to be my own boss.

My father, who was concerned about my wellbeing, told me that if it didn’t work out, I could always go and get a ” real job.”

Determined,  I set out to launch my business. I tried to think of a cool and catchy name but after a friend’s suggestion, I  went with my own name.  I went to the bank for a small business loan but they turned me down and told me to come back with my father, but that never happened.

I ended up financing my business with Visa and living off credit.

I bought  a black and white, 150 meg computer and a Motorola Flip phone that weighed about 5 lbs.  Then printed some business cards and set out to conquer the world. The only thing missing now were illustrators and photographers to represent.

Almost everyone  I went to see turned me down.  It was a real challenge to convince artists to join my agency, but eventually I managed to bring a few on.

I  now had a stable of 5 people that I was representing and  and set out to bring them business.  In the beginning,  I would make so many phone calls to try and set up meetings that I started getting pimples on the side of my face.  Then, I  would run around the city showing potential clients their portfolios.

When I wasn’t on the phone,  I was running around to agencies.  I would show up and try to see anyone that would see me. Sometimes, I would even hang out in the lobby trying to catch the attention of  passing art directors or creatives as they left the building to show them my books. Receptionists became my allies and many times would call creatives and ask them if they would see me.  To this day I still remember all the girls that helped me out in those early years.

Very slowly, I was making a name for myself and the talent I was representing.  I managed to bring on a few more artists and carried around more heavy portfolios.

It was at that time that I met a women who told me that what I needed was a website.  ” A website, I said, what the hell is that ?”  She explained and I didn’t understand anything but she convinced me I needed one for my business, so I got one.  This was 1996. No one was online or at least none of my clients.  Our site was up but no one really saw it or visited it back then.  Funny to think back.

I had now accumulated quite a bit of debt but was not ready to give up.  There were many times that I didn’t see even the twinkle of a light at the end of the tunnel, but I pursued on.

Each time I would go visit my parents for dinner, they would send me off with a doggy bag of Campbell’s tomato soup and several rolls of toilet paper.  I was too proud to ask my father or anyone for money and wanted to prove that I could make it on my own.

I was working none-stop and wouldn’t go to the bathroom without my cell phone for fear I would miss a call from a client.

Friends, assumed that since I was working from home, I would be watching Oprah at 4:00 pm, which was obviously never the case.  I was extremely disciplined  and focused.

My perseverance and hard work started to pay off and business was starting to come in. Clients were actually starting to call me.  I was slowly getting out of the red and into the green.

When I first started making money, I actually felt guilty because it didn’t really feel like I was actually working. It felt more like I was doing a hobby.  Here I was having fun, I was my own boss,  I was doing what I loved, I had freedom and I was making money.  Doesn’t get much better than this.

The first thing I did was start to pay off all the debt. I had accumulated about $25k in total.

As the agency grew, I just couldn’t handle everything anymore and tried to find someone to come and help me out.  I asked several friends but none of them were willing to leave their comfy paying jobs to take a risk and work with me.

Finally in 2000, I met Sylvie Hamel and asked her if she would be interested in coming on board.  Sylvie had a very successful career in PR working with one of the city’s top firms but she was open to giving it a shot.  We then hired a few more people over the next few years and the business grew.  We had more artists and started getting known internationally.

Today, 21 years later, we represent close to 50 international illustrators from around the world, both established and up-and-coming.   We no longer represent photographers and have since changed the name to Anna Goodson Illustration Agency.

We have a wonderful international reputation and work with some of the most prominent advertising agencies and  design firms in the world. Today, the work of our illustrators can be found in the most prestigious magazines, newspapers and publishers throughout North America and parts of Europe.

A few years ago while pregnant with my second daughter, I became nostalgic and was missing working with photographers and the photo industry.  I knew that I couldn’t represent photographers again because of logistics but I really  wanted to work with them.

The entrepreneur in me came up wth the idea of a new business, MeatMarket Photography.  It’s  a high-end platform that would promote and showcase the work of commercial photographers and crew, without actually representing them.  The site would only take on members who’s portfolios where curated.  MeatMarket Photography would showcase only the very best to clients who know the difference.

The past 21 years have been a blast!

I’ve worked with so many amazing artists over the years and launched so many careers.

I made lots of  friends and worked with so many wonderful  and creative clients all over the world.

I’ve negotiated big budget international contracts and I’ve worked for FREE for many needy non-profit organizations.

To everyone who has crossed my professional path over the years, I want to thank you.

Thank you for giving me that first chance.  Thank you to all the artists who trusted me with their careers and thank you to all the clients who we’ve worked with and continue to work with.

Anna g.


This was our first promo that we sent out to clients.  It was quite innovative for 1996.  Illustrated by Mark Tellok.


This was another promo we sent out the following year.  Illustration/ Jacques Laplante


Illustrators Willing To Work for FREE!


This February, the month of LOVE, we want to share our LOVE of illustration with non-profit organizations and charities that wouldn’t normally have the budget to commission original illustrations.

That’s why this February; the Illustrators of Anna Goodson Illustration Agency are willing to work for FREE.

Founder, Anna Goodson said: “There are so many organizations out there that don’t have the budgets to spend on original illustrations. That’s why we wanted to help out and offer our original illustrations for FREE. This will be the 7th consecutive year that we offer to work for FREE and have had the opportunity to help out and work with so many amazing organizations. It feels really good to make a difference, so again this year; we want to share the LOVE. “

Anna Goodson Illustration Agency has been representing the most prominent illustrators—both established and up-and-coming—from around the world since 1996.
Their knack for selecting some of the finest international illustrators has earned them an outstanding reputation for more than two decades.

Today, the illustrators of the agency work with some of the world’s leading advertising agencies, design firms, magazines, publishers and newspapers.

This exclusive offer is only available to non-profit organizations and charities, from
February 1st, 2017 until March 30th, 2017.

If you’d like to find out more or commission an illustration, please email us at info@agoodson.com

Thank you,

Anna Goodson
Anna Goodson Illustration Agency

Anyone today can call themselves a photographer or can they?

04-09-13_pnp_9489In this day and age, everyone seems to feel that because they own a hand held device with a camera, that makes them a photographer. They post on social media and get lots of likes and therefore believe they are a photographer.

True, there are many applications that allow you to retouch and alter photos from your phone to make them look really great but are they professional quality? Can phones replace the work of professionals?

In my opinion the answer is no.

Most photographers I know and who I’ve worked with have not only studied in photography and have a degree but they’ve also worked in the field for many years, moving up the ranks from studio manager to assistant to eventually becoming a professional photographer themselves.

Anyone who works in this field, knows that. Most professional photographers and crew working in the photography industry usually has years of experience and an eye.

A photo shoot is very complex and usually involves a crew of experts. Depending on the kind of shoot, there can be many people involved such as; Assistants, wardrobe stylists, hair & make up stylists, producers, location scouts, food stylists, casting directors, etc.

If you have ever been on a professional photography shoot, you know how much work is involved and how important each person is to the final shot.

A photographer for example knows how to get what he/she needs from a model. It’s not a fluke or an accident or a matter of using an app to create a feeling, its a talent, it’s years of experience.

Food and still life photographers I’ve worked with, are magicians with an eye for detail and techniques that have been perfected over many years.

Yes, lots of people can take great photos with their phones and use apps to alter and make them look good but in my opinion, no one can replace a professional.

At MeatMarket Photography, we know the difference and only showcase the very best in the professional photography industry.

My father was a really great amateur photographer who use to constantly take photos of us 4 kids and anything and everything he saw around him that inspired him.

One time a friend of his looked at one of his shots and asked him ” What kind of camera he was using” My father replied ” it’s not the make of camera but the photographer behind it, that makes the shot”

photo/Pooya Nabei