The Art of Negotiation: Getting Comfortable with Selling Your Work

I still remember the first time I had to talk money about my art. I was standing there, heart racing, trying to act like I knew what I was doing, while someone asked, “So...how much for this piece?” And let me tell you...I completely froze. I mumbled something awkward, way undersold myself, and went home kicking myself for not just owning the value of my work. If you’ve ever been there, you are definitely not alone.

Selling your work can feel weird at first. Especially because, for a lot of us, art is so personal. It feels strange to put a price on something you made from your own hands, your own head, your own heart. But here’s the truth I had to learn the hard way: if you want to build a sustainable art practice, you have to get comfortable talking about the value of what you do. You have to get comfortable asking for what your work is worth.

And negotiation? It is not about being pushy or weird or uncomfortable. It is just a conversation. It is just two people figuring out how they can meet in the middle. It took me a long time to really believe that. But once I did, everything about selling my work got easier.

Today I want to walk you through some things that helped me (and still help me) get more comfortable with the selling side of being an artist. These are real-world things. Not the “just be confident” advice you usually hear. Actual ways you can practice, get better, and feel like you are standing on solid ground when the money talk comes up.

First up, you need to know your prices ahead of time. Not in a vague “around $500” kind of way. I mean actually sitting down, thinking it through, and setting prices that you are ready to stand behind. If someone comes up to you at a show or sends you a message online, you should be able to answer confidently without stuttering or second-guessing yourself. Pricing on the spot almost always leads to selling yourself short. I’ve been there. You are excited someone likes your work, so you blurt out a number you think they might want to hear instead of the number that actually reflects your time, materials, and creative effort. So even if you only have five pieces ready to sell, take the time to price them out beforehand. Write it down if you need to. Keep it saved in your phone. Whatever helps you stay consistent and not second-guess yourself.

The second thing that really helped me was learning to talk about my work without apology. You know that nervous tendency we sometimes have where we say, “Oh, it’s just something small I made” or “I don’t know if it’s any good”? You have to cut that out. I had to literally practice not saying anything that undercut my own work. If you have to, practice a little blurb ahead of time about what your piece is, what it means, or how you made it. Nothing fancy. Just something real that gives the buyer a window into your process. When people understand the work, they are more willing to invest in it.

Another big shift for me was realizing that negotiation is not about winning or losing. It is not about tricking someone into paying more. It is about being flexible but still honoring the work you’ve done. If someone loves a piece but truly cannot afford it, you can always offer options without lowering the price itself. Maybe a smaller work. Maybe a payment plan. Maybe a print if you make them. But your original price? That stays what it is. The art is worth what it is worth. And honestly, when you stand by that, people respect you more.

One little technique I picked up over time is to leave room in my pricing if I know negotiation might be part of the setting. For example, if you are selling at an art fair where haggling is common, you can price slightly higher than your minimum so you have a little space to meet people partway. But in galleries or more formal settings, I don’t do that. I price what it’s worth and leave it there. Knowing the context really matters. Different venues have different expectations, and it helps to think that through before you show up.

Another thing: you have to stop taking negotiation personally. This is so hard at first, because when someone tries to talk you down on price, it can feel like they are saying your work isn’t worth it. They are not. They are just doing what people naturally do when they are trying to buy something. Some people love the dance of negotiation. Some people just want to feel like they got a deal. It is not about you. It is not a comment on your art. Once I realized that, it got way easier to stay calm, professional, and not get defensive. You can say no without being rude. You can say yes if it makes sense. It is all part of the process.

I also learned that silence is your friend. When you state a price or make a counteroffer, say it clearly...and then stop talking. Let the other person think. Let them process it. When you rush in to explain or apologize or justify the price, you undercut your own position. Trust me. That awkward silence that feels like a million years? It usually only lasts a few seconds, and it is totally normal. Practice holding your ground and letting the other person respond first.

One thing that has really helped my mindset around this is remembering that you are not forcing anyone to buy. You are offering something. They can choose to accept or decline. It is not your job to convince them. It is your job to offer the work, tell them the price, and let them decide. That way, the pressure comes off both sides. It becomes a conversation, not a battle.

I also think it is really important to know what your non-negotiables are before you walk into any selling situation. For me, that means having a bottom line. A number I will not go below. A way I want to be paid. A timeframe for pickup or shipping. That way, if someone tries to push beyond what I am comfortable with, I can politely but firmly say no. It keeps me from making decisions out of pressure or panic in the moment.

If you are just starting to sell your work, it can help to role-play negotiation scenarios with a friend. Seriously. Have them pretend to be a buyer asking for a discount, or questioning your prices, or wanting a bundle deal. Practice responding calmly. Practice counteroffers. Practice holding the line. It sounds cheesy, but it really works. It gets your brain and your mouth used to having those conversations so when they happen in real life, you are not caught off guard.

Another tip: always think about the relationship, not just the sale. If someone genuinely cannot afford your work right now, that does not mean they will not come back later. Maybe they will save up. Maybe they will tell a friend about you. Maybe they will follow your work online and become a collector down the road. Staying kind and professional, even when a sale does not happen, is a long-term investment in your art career. I have had people circle back years later because they remembered how good the experience felt, even if they did not buy something the first time.

Selling Online vs Selling In-Person

Negotiating online is a little different than negotiating in-person. When you sell online, you have less immediate feedback. You cannot read someone’s body language. You cannot adjust your tone on the fly. So you have to be extra clear in your communication. When someone messages you about a piece, respond politely but directly. State the price. Include any important details like shipping costs. And if they ask for a discount, do not feel pressured to say yes immediately. You can say something like, “Thank you so much for your interest. Right now, my prices are firm, but I would be happy to offer a print option if you are interested.”

Online, it also helps to have clear policies posted on your site or shop. Things like pricing, shipping timelines, return policies. That way, you set the expectations upfront, and there is less room for confusion or negotiation on things you do not want to budge on.

In-person, you have more tools to work with. You can build rapport. You can talk about your process. You can gauge how serious a buyer is by their questions and their body language. Sometimes in-person negotiation feels less intimidating because you can connect as humans first, and that makes the money talk feel more natural. But it can also feel more intense because it is happening in real time. That is why practicing ahead of time helps so much.

Handling Lowball Offers

Every artist I know has had this happen at least once. Someone makes a ridiculously low offer. Like insultingly low. Here is the thing: you do not have to get mad about it. Some people are just wired to bargain. Some people genuinely do not understand what goes into making art. Either way, you can politely decline without burning a bridge. You can say, “Thank you for your interest, but I am not able to accept that offer.” No need to justify. No need to explain all your material costs unless you want to. A simple, polite no is powerful.

Closing the Sale

When you do reach an agreement, make it official. If it is a bigger sale, write up a quick invoice or receipt. If it is a casual transaction at a fair or market, have a simple payment system ready to go. I use a mobile card reader because it makes everything smoother. Whatever system you use, make it easy for the buyer to say yes and complete the sale.

And one last piece of advice: celebrate your wins. Every time you successfully negotiate a sale, even a tiny one, you are building your skills. You are strengthening your confidence. You are doing the work of valuing your art and yourself. That deserves some serious recognition.

Learning to negotiate is part of learning to be a professional artist. It is not separate from your creative life. It is part of it. It is how you build a practice that respects both your art and your ability to make a living from it.

And trust me...you can absolutely do this.