Agent fees.

[Amanda Dalton]

A friendly submission froom the dark side.

I am probably taking my life into my hands by posting here, but here goes... [img]smile.gif[/img]

I posted in this forum once before on this very topic. Two years ago, infact, when I had just inherited the family biz...an agency.

Mom and Dad started the whole thing renting poppcorn carts and booking acts for parties. It grew into an all out event biz in the Mid-Atlantic region. Now both parents are gone and the clown/daughter is the main agent.

My first lesson in the evil world of the agent: UNLESS YOU HAVE EXCLUSIVE RIGHTS TO BOOK THAT ENTERTAINER YOU NEED TO MAKE SOMEWHERE BETWEEN 20% to 25% TO MAKE YOUR MARGIN. For every gig you do get, there were at least 3 on which you spent several hours, and then they fell through. If it's a higher volume agency, that margin on calls is higher, the margin on the gig is higher. I have two employees and must meet payroll.

If you have exclusive rights to representation of the entertainer (mostly NY and LA agencies do this,) then there is a contract with the agent that usually sets the commission at 15% to 20%. Union performers should only work with union franchised agents. Most of the time the rate is 15%.

How do I feel about agents who take more than this? It depends on the gig. It depends on what type of entertainer is being hired. It depends on whether the role of the agent has morphed into event planner or producer. We all have horror stories of the agent who books at 150% amount of money the entertainer quotes and pockets the difference, but those are usually agents who do not get many gigs in the first place. For every gig that I now do that has a budget over $5000, I usually place between 5-11 phone calls to the client, make three calls to the accountant, 15-30 calls to entertainer(s) (e-mail has made this a little better) and spend 7 to 10 hours of preparation BEFORE CONTRACTS. Now figure that there are just those times that the gigs fall through, and you get the picture.

How many people wouldn't shoot for the $1250 margin on $5000? Approximately 12 hours+ of personal effort yields on that gig $100/hour diminished further by all of the gigs that fall through (because that's the nature of the beast.)

So how do you get the $1250 (25% margin) Here in the DC area? Your client starts out wanting four face painters, a tight 30 minute act from a comic juggler (before the big presentation), two stiltwalkers, and two balloon twisters for four hours at a product launch at a festival. The loonists want $100/hour minimum and your face painters want $40/hour and the client wants them the whole four hours. Stilts get $135/hour each for each of the four hours. Your CJ gets $500 for the 30 minute stage show. That's $3020 leaving you $1980. Over 25%. Piece of cake right? Then...

You find out from the client that he expects 10,000 people in attendence and You realize that the twisters and painters are going to get slammed so you try to talk him into two more of each but the client won't budge meanwile your comic juggler who used to go out for $500 for 30 minutes for a stage show now wants $900 because he just got off the phone with his buddy who just finished doing a cruise ship and he said "don't ask for less than $800" besides the client made a call around to other agencies before coming to you and he heard that Classic Comedy Caterers were going to give $700 on the show but the client couldn't find them the other stuff they wanted yet the client just called and said that they needed a discount on the hours and why not? because they're having so much entertainment at one time what do you mean we need two more twisters can't they just pace themselves our comittee has changed their minds about the face painting unless you can come down in the cost I might be running late can the client budge the time no I definitely need all four hours covered and maybe we could save money by having the loonists do balloons for just two hours each what do you mean I need to dress as a clown you know I don't do that and I like the final proposal but I'm still looking for something really different no we're going with a cirque du soleil theme instead I want another act within budget in our theme what happens if it rains...

Can you feel the money evaporating? Believe me, it's even worse for the agent if she is working with a PR person or an event planner. [img]wink.gif[/img]

So why do it? When it works well, and it does, it's a rush to know that you're getting work for people who are doing what they love. Am I getting rich off of this? No. But I'm finding work for people that I love and I getting a little something for my effort.

I know there are plenty of agents out there giving the ethical ones a bad name. Being a performer myself, I'm doing my best on my end to change things a litttle. I guess I'm asking for a little sympathy for the devil. (hoo hoo)

Mandy <img src="graemlins/jester.gif" border="0" alt="[jester]" /> <img src="graemlins/jester.gif" border="0" alt="[jester]" />

[Mr.Taxi Trix]

How about rain dates, moronic themes, and venue and date changes after contract? I do not begrudge agents their fees. I teke 'em, when I can.
As a performer who is not above sullying my hands with the mirky waters of accepting commissions, (sometimes, gasp! up to a hundred bucks) I am met with mixed reviews. Some performers are far too pure to consider this process, and look down on me from up high, secure on their moral high ground, knowing that in my place, they would do a better job, and charge performers less. Think I'm making too much on ya? Great, get me a gig, and make yourself some easy bucks.
My viewpoint is this. I do not enjoy phone time, contracting, communicating logistics, or office work. I am not good at it either. There is no way I am going to do it for free. Do I ever just give away leads? Yes, especially when the act reciprocates. This elevates us to a peer relationship. I do not charge commissions in this realm, and my best business relationships are with people I trade gigs with often. If someone gives me a lead that comes through, I send them a check. I want it in their best interests to refer me. My name does not sell tickets, and on that level, one act is as good as another for 89% of the jobs.
When an act flinches at the commission or acts like its a privilege for me to book them, I don't mind. The rolodex is full to bursting.

*

[ 05-19-2002: Message edited by: Mr.Taxi Trix ]</p>

[Pyromancer]

Let me add some thoughts... I work in the Netherlands, so there may be differences in the market, but I think the basics will still be the same.

First, in favour of the agents, I like it if everything gets arranged for me. With the one I work with, everything will be arranged by them, I even get a route description to the gig. So all I have to do, is go there, do my thing and send them the bill afterwards, which is paid within reasonable time most of the times, since the agent takes the risk for clients that won't pay. For me, it's worth the commission , not only because the agent does a lot of work, but also because I get access to a market, that otherwise I would not reach - at least not with so little effort.

With the agents I work with, I spoke about the commissions they will charge. It's about 20%. There is some room for negotiation, but generally, that means less commission for the agent. The deal is, that I won't be a concurrent of my own agents, allthough I do have the right to negotiate with the clients in my own network of clients. But I will never bypass my agents, if one of their clients contacts me personally, I will direct them to the agent and and when I hand out business cards when working for an agent, it's with his number on it - but I make sure the client asks for me later on!

Ofcourse, if you get paid what you want to get paid, you should be satisfied. And even in the construction I work in now, I can't be sure what the client ultimately pay for me, sometimes there's a chain of agents involved in the booking. But an artist should be worth the money, he is being sold for. If an agent success in selling me for a multiple amount of coins that I ask myself, it's damaging for both my reputation and the agents'. My act is not worth that incredible amount of coins, so they will label me an 'overexpensive artist' and the agent a one that didn't gave value for their money as well. And unsatisfied as they are, they will tell all their friends about it...