I did it. I tabled at my first market.

A friend asked me how I'd measure success at the market. I had a number in my head—$1,000 would feel like success, though I had no idea if that was realistic. “In this economy?”

So I started thinking about how I wanted to feel instead. I wanted to feel good about selling things. To be motivated to keep going. Feels more important than any metric.

The day before, I was at the Potters Guild helping set up. We lifted pottery wheels onto rolling platforms and wheeled them into the clay alley. Mopped the floors. Drank wine, and snacked on cheddar and chocolate babka. Robin brought challah bread from Motzi. Freshly made, soft and just a little sweet.

Setting up.

Vianney Paul’s multi-tiered display.

I set up my table. Laid out the linen tablecloth, wrapped it in bunting, arranged my pieces. I watched other people set up and I examined their displays. I definitely needed risers. My bowls needed height or no one would be able to see the detail on the sides.

Looking a little samey.

At home I pulled an old wine crate and vintage wooden cheese boxes out of the basement. Dusty and unused since our move from San Francisco, but I couldn’t part with them. I dusted them off, then grabbed a few tins to use as platforms. I went on a shopping spree through my house, picking up little things that felt like me. Mise en scène. Goose feathers I brought home from Buenos Aires. Tiny plastic woodland animals because I like them. An old brass dog I call Chester. First ever market support animals.

Ready for orders.

I still needed signage. The morning of the market I somehow managed to whip up a semi-professional sign for the table, an email signup sheet, and small place cards for pricing. Putting those old graphic design skills to the test. Luckily I had all the paper I needed and my printer just worked.

I was going to make sandwiches but forgot to take the bread out of the freezer. Just have to figure something else out. Maybe I’ll be too busy to be hungry.

I got to the space at 10am. Doors at 11. Got the signs and risers sorted. Not enough time to put out the flowers I'd bought, but everything else was in order. There was a line of people waiting outside!

A little more lifted.

Need to invest in a necklace stand, but this mirror I swiped off my dresser works for now.

They opened the door and it stayed open. So cold! I made a couple of sales right away—very new to the Square system, to making transactions and packaging things up, but it worked. After I think the third sale, Van—who I was sharing a table with—told me I was supposed to take the price tags off before boxing my ceramics. “Because they’re gifts.”

After half an hour I had to put on my parka. I wanted to wear my mittens too, but I needed my hands.

Jesse sold refreshments at her table. She hooked me up with a cup of hot chai and it was exactly what I needed. Warm, sweet, cozy. Then Barb closed the door and we warmed up again.

Jen of Yummy & Company. The best teacher and mentor! I wrote about her here.

The next few hours were slower. There were always customers milling about but nothing like that 11am rush. My neighbor stopped by. My father-in-law. My husband. Van's husband offered to pick up lunch for us at Ekiben. I got the tofu bao. My favorite. They make the best tofu, crispy on the outside, soft on the inside. As it should be. I didn't love eating while people were shopping, but I just had to say it was Ekiben and they understood.

Phillip Klassen (right) and his partner, Abe (center).

I made my biggest sale toward the end of the day. A $190 vase. Most of what sold was smaller—porcelain watercolor palettes at $18, trinket dishes at $68. But that one $190 sale felt pretty good. I probably could have undercut myself and sold more pieces. But I knew that if someone connected with my work, they'd want to pay what it cost. Hand made, hand illustrated. Functional, sure, but also art.

I didn't hit $1,000, but I didn't lose money either. I sold some stuff and learned a ton. And I came out of it feeling pretty good. So I guess I hit one goal.

Time to research markets for 2026.

I've been sitting at the dining table with a sheet of price stickers, trying to figure out how to price the ceramics I'm taking to the market this weekend.

It's harder than I thought it would be. I keep starting with time. How long did it take me? Three hours? Five? When I was consulting as a creative director in San Francisco, I got paid $150 an hour. Is that what my time is worth? If so that's $750 on labor alone. But I can't sell a small dish for $750. At the other end, minimum wage would put it at $75—still a lot, and that's without materials. That feels depressing. I don't want to make minimum wage. I have way more specialized knowledge now than I did then.

When someone commissions an illustration, I still think in hourly rates. It's how I know what's fair. But I'm learning that making products is different.

Because I'm two people now. I'm the labor, and I'm the business owner. Worker Jennifer can make $15 an hour. But Entrepreneur Jennifer takes the whole piece—materials and labor—and marks it up to cover overhead and profit. Overhead isn't just clay and glaze. It's market fees, hosting fees, transaction fees, broken pieces, kiln fails, experiments that don't work out, shipping materials, photography, the time spent writing numbers on pricing stickers. If the dish costs $75 in parts and labor, that's just production. Running a business costs more.

Worker Jennifer might get minimum wage right now. But Entrepreneur Jennifer needs to take home a profit on top of that, because maybe someday I'll want to hire help—hopefully for more than minimum wage—and still be able to do things like go out to eat on occasion and buy Christmas presents.

Hiring help! I haven’t done a single market yet and already I’m getting ahead of myself.

I'm a complete noob at this. My business has always been commission-focused, so I've never managed sales and inventory. Many illustrators deal with products and overhead—prints, notebooks, cards, pins. You spend ten hours on an illustration and make infinite prints from it. But you spend ten hours on a pot and you've got…one pot.

But I'm getting more comfortable with it. With the idea that pricing isn't about what I used to make or what feels fair compared to my old life. It's about what it costs to make this thing and run this business and still have something left over.

The market is Saturday. I'll let you know how it goes.

Over the summer I applied and was accepted as a member of the Potters Guild, the ceramics studio I've been taking classes at for the past few years. Their winter market is in a few weeks and as a member, I get to join in, so I'll be selling my pottery for the first time. I’ve been decorating pieces for it—last weekend I sat down with no plan for a bowl and left with a goose wearing wellies. Maybe six hours work from wheel to final glaze.

Before that I made a vase that took at least sixteen hours. As an illustrator I'm used to spending hours on a piece, so that doesn't sound like so much. But just to make minimum wage I'd have to price the vase at $240 and that doesn't even cover supplies and studio fees.

I’m trying to see these time-intensive pieces as prototypes. Hand painting everything in three solid layers of underglaze is neither efficient nor cost effective. But I follow the inspiration and pay attention to what is and isn't worth the time. Some things can be streamlined with faster techniques, but some things will just need to be hand painted with all three layers to get the effect I'm after. It’s R&D.

Both the goose bowl and the fox vase are heading into the glaze kiln soon. I probably should have bisqued them again, just to set the underglaze before applying the clear gaze, but I didn’t. I was trying to save energy—but now I’m second-guessing it. Hopefully they won't bleed.

I’ve been going through my early pieces to add more things to sell. A lot of them are wonky—slightly warped, not as smooth as I’d make them now, a little too heavy. But they’re decorated with care, and that means something. Most of them are blue illustrations on white, little scenes and motifs I painted with the same attention I give my illustration work. I worry that they're not perfect, but my teacher said if you want perfect, go to Pottery Barn and that stuck with me.

All of these pieces will have to be priced. I want something that values my time but stays within reach. At the same time, I'm not confident I can price these at what they’re worth. But I’ll learn to work faster, and that will bring the prices down. Or not.

I went to the Potters Guild winter market years ago, back when I first moved to Baltimore. During the pandemic, before I was even taking classes. Outdoors, very cold, but joyful anyway. It's hard to believe I'll be participating from the other side this year. I'm nervous, but excited. I’ll be sharing a table with my friend Van. And I’ll know the other vendors, so it's sure to be a good time, and I'll probably learn a lot.

I'll probably make a lot of mistakes, too. My prices will either be too high or too low. I don't have any signage or fancy displays so it might just be dishes on a table. But that's okay. It’s just a beginning—I’ll get better.

I guess I’m treating the market as a prototype too.

I woke up at 3am thinking about royalties.

Royalties and advances and advances on royalties. They're one of those mysterious illustrator things, though I first encountered them back in my band days. You could sign up with a publishing company and somehow you'd get money a few times a year if a song got played on a college radio station.

Free money. With a side of ego-boost. Who doesn’t want that? Me apparently, because I never signed up. I could’ve done something with that $1.31. Le sigh.

For illustrators, royalties come from sales—greeting cards, fabric, books. Do enough things that sell well and you can build long-term income. But most things don't earn out. Getting a good advance is always better. With royalties, you're paid precisely based on how well the item sold. Advances are about hope and good faith—how well the distributor hopes it will sell. You and the publisher both take risks: you accept royalties in lieu of more money upfront, the publisher offers an advance on something that doesn't exist yet. As long as you complete the project, you don’t have to pay it back. So if it doesn't sell well, that’s still real money in your pocket. So get the best advance you can. If royalties come, that's icing on the cake.

My cake recently got a few more frosting flowers. After five years, Claude earned out. I thought it might—it's in its 5th or 6th printing now and has a board book edition—so I was feeling confident.

A few weeks ago Julia, the accountant at my old agency, emailed with the good news and sent my royalty statement. That's what woke me up at 3am: the idea that I could show you how to read the damn thing, for when you get one of your own.

I'm not sure it's kosher to share my actual statement. I think we should all talk about money more, but this isn't just my money—it's the publisher's too, and my agent's. So instead, here's a fictional one.

This is Mirabel's statement. She's a squirrel (not that it matters). She wrote and illustrated a book called Acorns & Elegance: A Guide to Seasonal Entertaining. Tiny Tail Press paid her an advance of 1000 leaves. The book was a hit—fourteen moons on the New Oak Times Bestseller list—and she just earned out.

The first page shows the reporting period and how often statements come. This period, Mirabel earned 22.2 leaves.

Here's where it breaks down by sale type. Mirabel gets 6% of hardcover books over 1000 units sold. She got 5% for books 1-1000, but that’s not listed here—a small bump in royalties is a fairly common bonus when a book sells well. She also gets 4% for paperbacks.

Each type is split between regular and discount sales. Different formats and retailers can have different rates. The list price for Acorns & Elegance is 10 leaves, so when a book sells at full price, Mirabel gets around half a leaf per book. For heavily discounted sales (which are common with wholesale pricing), she still gets 4-6%, but of net instead of the list price. Net can be, uh—squirrelly—so be sure to ask how the publisher or manufacturer calculates it before signing anything.

The summary shows what she earned this period, minus money the publisher is holding to cover books that might be returned, plus any money they released from last period’s reserves, and minus what remains on her advance. In other words, the publisher keeps some funds to protect against potential returns while returning any money they no longer need to hold.

If Mirabel still had a lot of her advance remaining, you’d see that under Advances and Expenses. But all that remains is 4.7 leaves. Since that’s less than what she earned this period, she’s finally earning out. Tiny Tail Press will pay her the balance of 22.2 leaves. Maybe that’s 22 big leaves and one really small one. I don’t know rodent economics.

Finally, we see how many total units Mirabel has sold. Not bad! Hopefully it will stay in print for many years to come!

Once you earn out, every statement after that is just money coming in. More icing on your cake, or in Mirabel's case, more maple on her pecans.

Mirabel's hard at work on her follow up, Chestnuts & Charm: A Guide to Gracious Living. Preorder at Tiny Tail Press.

Saturday started with pastries at Motzi. I got an heirloom tomato and pesto danish. Can tomato season please last forever? Paul got pain au chocolat. We'd gone for their new softserve (melon and creamy basil swirl) but it wasn't ready yet. We'll have to go back.

Then we grabbed Frisket and headed to the Remington Shop Small Crawl. Hotdogs at Glizzy's first, then into Greedy Reads to browse, then a cocktail at Pink Flamingo. Rum and apple cider with a dash of this and that. Perfect for early afternoon when it's still a little cool out.

After that we drove over to Bolton Hill for the Festival on the Hill. What a pretty neighborhood! Old row homes, tree-lined streets, architectural details I want to explore more. We got oysters at a stand, then I found my friend Jen's booth (Yummy & Company) where she was selling pottery.

Her pieces are beautiful—delicate jewelry, mostly. Small sculptural forms that sit in your palm. I didn't get photos of her work, which I'm kicking myself about now, but there will certainly be other opportunities. I'll just have to share a blue and white snake I have of hers. It looks like Delft, which is totally my jam.

It's so nice to see a friend's work displayed like that, price tags and all. It makes you see it differently. More seriously, maybe. And perhaps you can take your own work more seriously, too.

A few stands down we saw my friend and neighbor, Alison of White Hill Pottery. She makes really cozy ceramic dishes—the kind that makes you want to take all the doors off your cabinets so you can display them. Big fan. I didn't take photos there either, but here's the charming little stand she has on our street.

I've been painting pottery myself this week. Nothing as refined as what they're making—they've been at this for years—but I'm learning. Friday afternoon at the Potters Guild, then again on Sunday. It's a different kind of making than drawing on paper and screens. More deliberate. More patient. You paint it, it gets fired, and only then do you see if the three layers of white you applied successfully covered the smudge of blue you couldn't wash out.

I've been so busy writing for the community site this week that I haven't drawn much. The pottery was freeing—just getting to make something without anyone to answer to except myself.

We came home and our friends Van and Alex came over. We grilled more hotdogs (hotdog day, apparently—no complaints), had eggplant and potato salad, then Taharka ice cream, which is seriously the best. Then we played Isle of Cats, a board game I'd never played before. I won despite having no idea what I was doing and playing what I can only describe as a very lazy game.

Sometimes that's how it goes. You see your friends selling work they've refined over years, you work on your own pieces between other projects, and then you win a game you weren't even trying at. There's probably a metaphor in there about creative practice, but I'm too full of ice cream to figure it out.

I've been wanting to blog for months but it felt like such a production. Then someone said: don't create, just document. So here's a week.

Monday

It’s Monday morning and I'm plugging graphics into the community site I’ve been working on. They look... fine? I drew them last week and was pleased then, but now I'm not sure. Website design is fully in my comfort zone. I did it for ages. But I realized I’ve always worked with someone else’s text. Drawing images before I actually know what I’m saying is maybe putting the cart before the horse. I'm trying not to spiral into perfectionism about it. It's fine. Probably fine.

The weather was lovely, so Paul grilled for dinner. Impossible burgers and fresh corn and eggplant from the CSA. I used to hate eggplant. Now I love it. I don’t think it’s a texture thing, because I still don’t like it when it’s not fully cooked through. It needs to be soft, to almost disappear in your mouth. Paul is happy because he loves cooking with it. He has so many tasty recipes for it. Have my tastes changed so much? Makes me wonder what else I might learn to love. Olives, maybe? Blue cheese?

Tuesday

On Tuesday I made esquites with the leftover corn. We somehow ended up with three unopened bags of tortilla chips after the block party last weekend, so corn salad seemed like the obvious solution. Mayonnaise, lime juice, garlic, chile pepper, cotija cheese. So yummy with the charred sweetness and crunch of fresh corn!

After lunch I did puzzle edits. The job was done months ago—finished, paid, put away—but then the client wanted changes after seeing proofs. Not small ones. There’s always a level of guesswork in estimations, but I sent them a rate that felt fair—a balance between a good rate if it went quickly and a reasonable rate if it dragged.

It's dragging.

I've been timing myself and I’ve already sailed past the "good money" mark, and now dipping below "reasonable." But I like this client. They’re good people, and I want them to feel good about the work they’re getting, so I keep noodling around, even adding a few details they didn't ask for but will probably appreciate.

Wednesday

Wednesday morning, back to the community site. Writing the landing page, trying to explain what I'm creating. It took forever to find the right words. I hope people get it. Thinking about making new illustrations after all.

Lunch was the leftover esquites with a fried egg, fresh avocado, and tomatoes from the garden. More tortilla chips, obviously. We're going to be eating chips until 2025 at this rate.

Still working on the puzzle in the afternoon. Still over my estimate. Still adding little touches because they feel right.

Thursday

It rained all day Thursday.

I did laundry in the morning and then finally sat down to work on blogging. I've been wanting to do this for ages but haven't prioritized it. Or—I'm trying to reframe this—I haven't practiced prioritizing it. Time is finite. If I want to do something, I have to take time from something else. Which means deciding it's worth it.

So I guess I'm practicing deciding it's worth it.

In the evening I sketched new thumbnails for the community landing page. The old ones didn’t have enough visual storytelling. And it needs visual storytelling—it's a site for illustrators, after all.

I think this would be much easier if I wasn’t an illustrator. Then I could use stock photography and call it a day. But I don't want stock anything, so I need to make something custom. Simple. Meaningful. Which is literally my job, so I should probably trust myself to do it okay.

Trying not to overthink.

Friday

Friday was delightfully sunny. I took Frisket to the park to play fetch.

Then she got to see her good friend Chowder (a dog), and her good friend Ray (a human). Ray always has treats at the ready. Pretty sure Frisket thinks he buys them just for her. They're besties like that.

I cleaned the studio for fifteen minutes. Trying to make it a daily thing. Even five minutes makes a difference.

Then I drew. I selected a couple thumbnails from yesterday and got to work on final images. Naturally I didn't like where it was going for the first hour. Just had to keep pecking at it until it got better. Oh the ugly phase. It’s a part of every piece, and yet I still have to remind myself that I just have to keep going and I’ll make it through to the other side.

I made it through.

Weekend

We booked hotels for South America on Saturday. Paul has a conference in Buenos Aires, but we're starting in Montevideo and taking a ferry across. Can’t wait!

In the evening I went to the wedding of an old classmate from the Potters Guild. It was in a beautiful old church that had been converted to a community space. It was a great time. Good food, delicious cocktails, lots of dancing. Were there pottery moves on the dance floor? Possibly.

After the ceremony, I got a text from my stepmom saying my dad was going to the hospital. He’s recovering from severe acute pancreatitis and complications relating to it, so he’s been in and out of the hospital for months. He’s okay. But it’s stressful, and I was happy to be surrounded by friends and an atmosphere of celebration. There are worse things than dancing away your anxiety to Gaga and ABBA.

Sunday was a cookout at Paul's parents' house. His dad's theory: if you're lighting the grill, might as well cook everything. So. Much. Sausage. And more corn. And more eggplant. And zero complaints.