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Navigating Representation in Voiceover
62 Plays1 year ago
In this engaging episode of the VO Bar, hosts Will Vincent, Victoria Prather, and Al Moulliet dive into the nuanced world of voiceover representation, sharing personal anecdotes and offering invaluable advice for both seasoned and aspiring voice talents. The trio discusses the importance of understanding the different types of representation available, from agents to managers, and the unique position voice actors have in being able to work with multiple agents. They explore the realities of the industry, including the challenges of finding representation, the concept of being "signed and shelved," and the strategic considerations voice actors must make when navigating offers and opportunities.
Listeners will gain insights into the significance of building relationships within the industry, the impact of workshops and networking on securing representation, and the critical role of research in vetting potential agents and understanding industry dynamics. The hosts also touch upon the financial aspects of voiceover work, including commission structures and the implications of freelance versus signed agreements.
This episode is a must-listen for anyone in the voiceover industry, offering a blend of humor, honesty, and expert advice that will empower voice talents at any stage of their career to make informed decisions about their representation and career path. Whether you're navigating the complexities of finding an agent, considering multiple representation, or simply looking to deepen your understanding of the voiceover industry, this episode of the VO Bar has you covered.
Chapters:
(00:00:00) Introduction and Podcast Banter
(00:00:59) Navigating Representation in Voiceover
(00:03:40) Signing & Shelving in Voiceover
(00:05:31) Freelancing and Agent Relationships
(00:07:40) Understanding Agent Fees and Casting Dynamics
(00:09:59) Networking, Referrals, and Industry Changes
(00:27:08) Workshops and Relationship Building
(00:29:59) Mardi Gras and Planning Ahead
(00:30:58) Research
(00:31:57) Working with Agents
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Transcript
Introduction & Humor
00:00:00
Speaker
And we're back. Oh, welcome. Welcome back. Welcome back. Welcome back. Welcome back. You want to get sued? Oh, that's right. That was less than three seconds. These podcasts are so fun. Item. Yeah, probably. They're good. Who cares? It's not like we've got money for them to take anyway. This is true. We're taking your podcast. Oh no.
What is Representation in Entertainment?
00:00:30
Speaker
Hey, I'm not getting any younger. Come on, come on. I thought we were talking about representation. Oh, right, yes. Let's talk about representation. Love it. What about representation? Good, bad, indifferent, hard to get, easy to get. How to find them. Well, that's all perfectly vague. Ah.
Paths to Representation
00:00:52
Speaker
Let's talk about how we got our representation, because I think it's different for everybody, right? So, sure, there's certainly, you know, kind of some main guidelines, I suppose, that people can follow, but I don't think it's the same, just like voiceover. It's not the same path for everybody. Right. Right. Are we naming names? We could, or we can keep it, you know, so it's more applicable to everybody.
00:01:17
Speaker
Yeah, OK. I'd say different, different representation, like Will was saying, do different things. If they're an animation representation, I mean, does it hurt to throw that out in case someone's looking for that?
00:01:31
Speaker
I don't know if I have anything that specific, at least not for me, not where I am right now. I know what you're saying. Like for me, I really, really love dubbing and I would like to be on more dubbing rosters, right? So that may not be having a rep in so much as it might be looking for rosters to get on.
00:01:50
Speaker
So that might be a little different. But I think it's a good blanket statement.
Voiceover vs. On-Camera Representation
00:01:56
Speaker
When it comes to voiceover, it's a little bit different than being an on-camera actor. When you're an on-camera actor, you might have an agent and a manager.
00:02:05
Speaker
You may only have a manager, you may only have an agent, but for voiceover, we can have multiple. And that's something that is definitely unique for us because again, on-camera actors, usually like you got one or the other. Once I learn like, oh wait, I can have more than one agent, is that?
00:02:24
Speaker
Is that okay? And how does that all work? Because it is very different. If you come from the on-camera world or if you were a singer or something like that, you really only worked with one agency for the bookings. Sure, it's different. Well, it depends on who you talk to too a
Signed vs. Freelance Representation
00:02:40
Speaker
little bit. Some people tell you, you don't need more than a couple agents. Those are probably usually agents that are saying that. Right.
00:02:49
Speaker
You know, there are definitely some that want you to be exclusive to them across the board, which if you can guarantee that I'm going to make X amount of dollars by being exclusive with you across the board, then I will entertain that. Otherwise, I'm going to probably talk to you about a freelance arrangement or not at all.
00:03:08
Speaker
So maybe we start there. What's the difference between actually being signed or being hip-pocketed slash freelance? What is the difference? You're not officially on the roster if you're freelancing with them. They may not send you as much in terms of audition opportunities, or they might. It's going to vary depending on the agent, I suppose, right?
00:03:28
Speaker
So one of the things that I remember, and I kind of want to share this because I think it's important for all actors, voiceover, on camera, the same, there is a term called sign and shelve. So in particular, when you're thinking about your voice, and I know for me, I've been told, we love your stuff, we just have a couple of people that already sound like you. So, you know, I get in the mix with that, but now I'm competing with folks that are already signed on the roster.
00:03:56
Speaker
So why would I want to be signed and then shelved? Because they're going to give it to the folks they've been with longer so they know like and trust versus giving the new talent they signed some other opportunities. So you're saying, I shouldn't feel bad about getting the rejection letter that says we've already got five guys. Not at all. Be happy. Be like, thank you very much for listening. Move along. I'm just glad they listened. So no, that's fine.
00:04:26
Speaker
because I think that's a very precarious place to be is if you do sound like that because there are going to be other people that are going to sound similar to you. Everybody has their own voice print.
Agent Roster Compatibility
00:04:37
Speaker
There's some things that we do. It's finding what makes you unique to that agent that can help you
00:04:46
Speaker
book different things or if you specialize in promo or radio imaging and, well, they've got another guy like you, but he's not doing radio imaging. He only does one thing. He's not a promo guy. He maybe does just e-learning really well. Who knows? But the idea that you want that feedback. You want to know if there's other people that sound
00:05:12
Speaker
like you, which is a great segue into, check out their roster. If they have it online where you can listen to them. And most of them do. Yeah, most of them, they should. Not all of them do. Some will have it behind a wall, like a client wall where... Yeah, but most of them have something. Yeah. Whether it's up to date or not is another question.
00:05:34
Speaker
It seems like most of them have something and some sort of voice sample. Even if there's not a sample, even if you can just get a list of the names, you could still go do the legwork and find samples on their
Benefits of Freelancing with Multiple Agents
00:05:47
Speaker
own websites. And I think freelancing is great. It's wonderful. I think so, yeah.
00:05:51
Speaker
It also gives you that flexibility. So I'm freelancing with a few different voice agencies, and then I've got one that I signed with that I know that in Chicago, anything in that Midwest zone, they get the priority.
00:06:07
Speaker
I think that happened just last week. I had like four of my reps send me the exact same breakdown. So I knew I had a pick and choose. Who's it going to be? Is it the person that came in first? But oh, wait, it's the one I signed the exclusive contract with that I have to give it to them. Which is a great topic. Yeah, I first only actually signed with one. I've got a couple others I freelance with.
00:06:36
Speaker
But that means that if I get it from multiple, they get it because I'm signed
Exclusivity Agreements & Regional Representation
00:06:41
Speaker
with them. Right. Now, other people argue that's not necessarily the case because I'm still able to have representation elsewhere. And technically, my exclusivity agreement is in a certain region. So if it doesn't originate from there, which is very difficult to tell with voiceover because it could be anywhere.
00:07:02
Speaker
Then, you know, there's an argument that they don't have a claim to that if it came from somewhere outside of there. Right. How you know, I don't know how you would know. You know, but there have been a few times where I've gotten something from someone else a day or two early and have submit.
00:07:17
Speaker
and then I get it and say, well, I already submit and they get angry with me. We both have that where they're like, how dare you? But I got it. I can't read your mind. I didn't know you were going to send this to me in 30 hours or whatever. Well, here's another topic and maybe another podcast. When you freelance, are those 1099? I think it probably depends. I think most of them are.
00:07:45
Speaker
I know that at the end of the day, so I funnel everything through my LLC as much as I can. Sure. Instead of having them pay direct talent, I'll have it go through my LLC. So that kind of changes the dynamic of how they pay me. I'm forgetting the term for it. Third party something. I can't remember a loan out. It's just a different way for taxes and everything else.
Agency Prioritization of Submissions
00:08:15
Speaker
Everything's so much harder than it needs to be and much more expensive You know especially when they know exactly how much we owe them to begin with but they're making us do math Doing like a national car brand for 50 grand shouldn't cost me 20 But I think when you when you get those conflicting
00:08:39
Speaker
who sent it to you first. I mean, there have been times where I got something where I was like, I wonder if this agency is going to send it to me because I know when, and it's kind of like you will, when you know that DDO has sent you something, they've curated that, they know that there's a reason why they sent it to you. I have the same relationship with KMR. They'll send me something and I know
00:09:04
Speaker
there's a reason why they sent it to me. So there's times where I'll wait, but time is of the essence most of the time. But usually when it comes in, sometimes it doesn't matter. But we also share a rep who let's do it now because they like to have stuff in early and be at the forefront because I will get it from everybody else and it'll be not till Monday, that particular rep once it's Sunday.
Agent Loyalty & Advocacy
00:09:29
Speaker
afternoon. And you're like, okay. So you really, it's almost like you have to be a little bit business savvy, knowing who's going to fight for you to get it. And I think that's probably, for me, that's where the loyalty lies too. Like somebody who I've worked with for a really long time,
00:09:49
Speaker
And then someone who I know is going to go to battle for me to give me that role. Or get the pay for that role higher, which I think is why sometimes it's slower. You may get it hours earlier from one source, but are they doing any work to try and... If the pay seems low, are they doing any effort to try and get it to where it really ought to be? Or is it just, here's an opportunity, do it, do it, do it, do it.
00:10:15
Speaker
Right. In which case it's like that's a good point to play, you know. Yeah. And I know that in some cases that's why it's delayed because they're active working on like trying to improve the budget if it was low or whatever. Not a bad thing. Whatever.
00:10:30
Speaker
Not a bad thing, but sometimes... But we don't know it sometimes, right? We don't know they're doing it. And sometimes, you know, casting has already had that battle and it's set and it is as far as it's going to be. And, you know, so if they're going and trying to get it higher again and they're whatever, then maybe they're pissing off
Casting Practices & Celebrity Backups
00:10:45
Speaker
casting. So then casting when they get stuff from them as well.
00:10:48
Speaker
I don't want to look at these or who knows. Well, one of the things I have learned about casting and it's not the pretty side of it, but it's relevant to this conversation is I know that there's times that they're still sending it out to the reps and managers to get some options on the table, but they've got an offer out to celebrity talent like a direct offer. Sure. We're just the backup in case the celebrity says no.
00:11:14
Speaker
Right. Or they're going to bring us in to do the scratch track for the celebrity to copy here. Right. And then you're like, really? Yeah. My person that I'm signed with in L.A., I get for a week that are all fast turnaround. Got to have it in an hour and a half. You know, and that's hard.
Challenges of Quick Audition Turnarounds
00:11:30
Speaker
Yeah, sometimes it's possible. A lot of times it is, but not always. But you never know why. Why is everything such a fast turnaround? What are we doing? I know. I'm dizzy. Well, and it's tough if you have a day job, especially one that takes you away from the house. Yeah. Sure.
00:11:49
Speaker
Which I do. And there's nothing you can do about it. Right. Which is nice about the fact that the majority of stuff that is sent to me is usually due morning the next day. I'm here anyway. I could do it right now. Most days I could just hop in the booth and get it done. Sure. But I tend to batch them out at night. I do too. Just because I like being in the booth at night. The whole house is quiet. Right. The atmosphere is right. I've always been a night owl anyway. So I feel like I'm just more in tune with everything.
00:12:19
Speaker
at night. Maybe I'm diluting myself. I don't know. I'd have to go back and look. No, there's less distractions. I totally go with that. Did I book them when I audition during the day? I should look at that. Maybe it'll change my outlook on things. That's math. Don't do it. I'm not anti-math. I'm a software engineer. He likes math. I'm the one who's going. I don't like math.
00:12:42
Speaker
I don't like math, but I understand it's important. And sometimes that math takes a point. Are you getting it from someone who's going to take a higher commission? Because man, I can do the math on commission like that, no problem. Well, speaking of that, that's a topic that came up on social media a couple times this week, interestingly. Multiple people were asking about
00:13:06
Speaker
Um, you know, when you, you, you've both used voices, right?
Understanding Job Quote Percentages
00:13:10
Speaker
Yeah. So when you answer a job and you give your quote, they've got two fields you can fill out. You can fill out, you know, your quote, or you can fill out what's delivered to that. I don't know what they're called, but there's a left and a right. And the value on the left, you say, I want to be paid, you know, a thousand dollars. Then the value on the, on the right populates to 1250.
00:13:31
Speaker
25% more. But if you put 1250 or 1000 or whatever in that box, then the value on the left populates 20% less. Well, that's because percentages don't work the same way as just straight numbers, right? So I've explained this multiple times. I might as well do it again here.
00:13:51
Speaker
So if you take 20% from 1,000, you're left with 800. To get back to 1,000, you have to add 25% of the 800 or a quarter of it to get back to 1,000. It doesn't mean that they're charging 25% or they're taking 25%. They're taking 20%. But if you say, I want $1,000 on this,
00:14:14
Speaker
And they're going to take 20% of the overall job. They have to add the 25% to what you're saying you want so that they get their 20% and you get what you want. So they're not charging a higher percentage. I understand how people can get to that point, but that's not how percentages work.
00:14:32
Speaker
Also, that's actually good because a lot of times you'll see the things where an agency plus 10 percent or plus 20 or whatever it is. It's really important because I've had this explained to me and I don't know if I'm going to do a good job at explaining this out, but it's not from what that number is already.
00:14:52
Speaker
So the agreements that you have with your representation, if it's 10% or if it's 20%, doesn't matter. They are entitled to that off what you're making for the spot. So going back to another $1,000, they're going to get their $100 if it's a 10% commission. If they're getting another 10%, they're not double dipping.
00:15:12
Speaker
It would be helpful, I think, if those plus 10 or 20% things weren't on the specs that we see. Exactly. Because none of that is for us anyway. Correct. That plus 10% or plus 20% is the agent fee. It's a little like thing to entice them. It's a finder's fee. Yeah, it's a thing to entice them to, hey, find me somebody for this job.
00:15:32
Speaker
Right. So yes, they're getting double, but they're not taking double from you. They're still going to just take the $100, but they're getting extra. Right. So that plus 10% or that plus 20%, that was never yours. Ever. Right. Ever. So I really wish they would keep that off there. Ignore it. It doesn't need to be there. When it says $1,500 plus 20%, you're not getting 750 or whatever. I'm not doing math.
00:15:56
Speaker
See, I'm not doing that. Wow. Okay. Way to go. But it is really interesting because I think a lot of folks, including myself, was like, wait, they're double dipping. Then when I looked at it, I was like, well, the 10 percent didn't mean I was getting paid $1,100 or $1,100, that would have been easier to say. It just really makes everything very convoluted. I think if they would just keep that off of there, that's a great idea. I wish they would just not do that.
00:16:25
Speaker
at all. I mean, I totally get it because the first time that I saw that the first couple times maybe that I saw that I was like, Oh, cool. It's it's a little bit more like like that. That thousand is kind of the baseline. Yeah. So we're going to pay you a little bit more. Right. Like it's it's like like sag scale. Right. Yeah. Well, I thought I was going to get the whole thousand dollars. They're going to pay me a little bit more than scale or yeah. Yeah. We're adding this 20 percent to cover your agent's fee so that you get this thousand. That's not it.
00:16:54
Speaker
That's not it. They're still going to take their 10% or 20%, whatever your agreement is with your agent, with your reps. And it took me, it took a while to do that. I was like, I don't like that. That may not be the case for some agents. I suppose some agents might just say, well, okay, that's our fee. We'll take that. And then you get the amount. But since they're entitled to take it, if they want, I don't know. They're definitely entitled to do so. But I mean, I just.
Networking & Agent Reputation
00:17:19
Speaker
That's an important thing. Whatever agreement you have. Thing to know. It's not an icky thing. And if they are doing that, yeah, that's icky. But that's an incentive coming from the casting side or the production side. Now, I have heard somebody say recently, I don't know who they were talking about, but they said there was somebody that took, say it was $1,000 plus 20%. They take the 20%, obviously, but then they would calculate their cut.
00:17:48
Speaker
they're 10 or 15% or whatever, based on the 1,200, not based on the 1,000. In that case, that is kind of a double dip because they're taking a bigger cut, right? That plus whatever percentage should not be part of that calculation at all. That's yours. That's your tip, right? Yeah, exactly.
00:18:08
Speaker
It's a tip. I like it though. God, I hate tip culture. Anyway, back to reps. You can have multiple. You should take a good look at their roster to see if you would fit on there.
00:18:24
Speaker
Also check around, see who's rep by them and be like, do you have a relationship with that voice actor? Reach out and ask them, hey, do you enjoy that working relationship? It helped me with one particular agency that I wasn't sure about. I was getting mixed messages. Someone was like, oh, watch out, working with them. They was like, oh my gosh, they're great. They're going to communicate with you, they'll talk with you. So I was like, I didn't know what to do. They don't give information openly like that.
00:18:53
Speaker
No, you got to ask. You have to ask. Nobody shares any inside information ever. No way. But sometimes when you get that, it is one of those, I think it helps you with trying to identify red flags and getting the mixed messages.
00:19:11
Speaker
And I've, you know, it does kind of help guide your decision just because an agent says, yes, we'd like to have you on the roster. You still want to know if that's the right thing for you. Especially if it's your first agent and you've been trying to get one for a while. And so it's like, oh my God, I got somebody said yes. Yeah. Is it the right one?
00:19:30
Speaker
Or is it just the right person say yes, or are you so eager that you get shelved and you don't even know it? Sure. Exactly. That's that's important to know. And, you know, asking for a referral isn't easy, but I think it's helpful and not just from voice actors, but, you know, from your coaches.
00:19:53
Speaker
Yeah, referrals from coaches and producers and casting and stuff have way more weight than something from fellow talent. You know, if the talent has a good relationship with the agent and they've been with them for a while and they say, hey, you should check out my friend. They're really good. That's one thing that's got a little weight. Well, and also when you send something, like, for example,
00:20:16
Speaker
you know, well, when you, there was something that came through and there was a male part and a female part on there, I should say role. But there was, you know, an opportunity for you to do that because again, you could do it in your sleep that started that relationship.
00:20:33
Speaker
because I said, hey, are you open to a referral on this? This is a really great opportunity. I'm just, you know, I don't know what they're going to say. And, you know, but that can work. Right. But it's not it's not a guarantee, obviously. And I refer people to my agent all the time when they're looking for something specific they don't have. Right. That I know of someone or can quickly find someone who matches that spec.
00:20:59
Speaker
And that's a great opportunity, you know. Yeah. And it doesn't mean you're going to get signed, but you get to generally you get to get sent the audition and give them your best shot and maybe you book it. Right. Right. And, you know, if you book it, maybe they hip pocket you. Maybe they don't. But I mentioned on a podcast just a week or two ago that, you know, I had referred Troy Holden on a who's a medical spot, I think, that they wanted a Southern gentleman. And he booked it. It was a SAG gig. It was his first SAG gig.
00:21:27
Speaker
and they haven't signed him. They haven't had any kind of conversation with him about that, but they have sent him a few other auditions since.
Adapting to Industry Changes
00:21:35
Speaker
So good enough. He's on their radar that they think of him, then he gets it. Yeah. I think having those conversations too, when you're at conferences, you can find out who's with whom, and especially now with everything that went down with A3. Yeah, that was crazy. Very crazy.
00:21:56
Speaker
the importance of research that we've talked about that before and a lot of different things. It's important to research who understand what's going on in the industry even, knowing that there's been some shakeups, knowing that people are moving around, including agents. I actually did a workshop with, he was at Atlas and now he's over doing casting for Disney. Like, wait a second, you're no longer doing the agent thing, you totally went over to casting side and said, so yeah, so pay attention to that.
00:22:26
Speaker
like ask and find out well hey and it's great to have those connections too like if you're connected with somebody on LinkedIn you can congratulate them on their new role and hey that's interesting that you did that. I mean it's very much beneficial you know who you know more so than what you know or can do to a point I mean obviously you still have to have talent just whatever but
00:22:49
Speaker
networking with people throughout the industry in various roles. It opens up opportunities, but it also just keeps you abreast of what's going on because I hadn't heard anything about the A3 stuff, right? Until I read a post from a casting director on LinkedIn.
00:23:06
Speaker
Right. And it was saying, what's going on? And I went and looked it up and then I found out. Then I found the variety article or whatever, but I don't live in LA, so I don't religiously read the trades.
00:23:21
Speaker
But I mean, it does go back to kind of like having that connection on LinkedIn helped because you found out what's going on. There was something else I wanted to piggyback on that and now I can't remember. And just like all the advice that's been going around that we've given and other people have given on social media lately of vetting coaches and demo producers and what the same thing for agents.
00:23:50
Speaker
It can be a double-edged sword to a point, though. There are certainly circumstances where people have just decided that somebody's no good. And, you know, if anybody asks, that's all that gets thrown around is, you know, whatever conjecture about, oh, they're no good, they're a scam or they're whatever. Well, have you ever worked with them? Do you know that? Or are you just assuming that for whatever reason? That's speculation. Right. Right. So you got to take the good with the bad and...
00:24:17
Speaker
do your best to sort it out. I mean, you can't, you know. You take them both from there, you have the facts of life. Check things out in my head, too. Don't repeat everything you hear. That's true. There really was something I wanted to add to that, and now I can't remember. Save my life. Obviously, it wasn't something of true meaning, I'm sure. Well, I think it was, you know, it was checking in with folks to see about the changes, because that is, it's so fluid.
00:24:48
Speaker
in this industry, like somebody who was an agent has now decided, oh, I want to be a manager now.
00:24:53
Speaker
or a manager has become a talent agent, I've seen that, or they go into casting or maybe they just get out of the industry.
Role of Assistants in Agencies
00:25:01
Speaker
Oh, I know what it is. With people moving around, a lot of folks don't give assistants or associates enough credit. These people are the next big agent. They're the ones who are starting to get a feel for, well, what do I have to do to book a client? They're learning all the ropes.
00:25:22
Speaker
they're the next agent you'll want to get in front of. So the way you treat, in fact, I happen to know that my very first agent that I got in New York, I was first vetted by the assistant who got the email. She's the one that they pointed out. They said she made sure not only did she forward your email after listening to your demos, she walked into my office and made sure that I listened to it. Right?
00:25:49
Speaker
So I still keep in contact with her. She's actually outside of the industry now, but the idea that she was so helpful for my stuff getting to where it needs to be. So a lot of times when you're reaching out to that agent, it's still getting that first pass through an assistant. So just be aware of that. We're all learning this together and sometimes those associate agents or junior agents, I think they call them.
00:26:17
Speaker
right get a chance to know them because they are moving around they might end up in casting someplace too you know they may become an agent at another agency which
00:26:27
Speaker
the one you've been targeting for the last five years or whatever. That just happened with one of the assistants from DDO just last year, I think he left and went to a agency and he's managing like comedy talent and stuff now. Right. You know, before that he was an assistant. So I could reach out. We didn't have a lot of a relationship, but I definitely had interacted with him before. So if I were
00:26:51
Speaker
you know, pursuing something that was relevant to that. I feel like I could reach out to him because there's the pre-existing sort of relationship. Like he at least have an idea who I am, you know, so that's cool. But talk about like the way you got your agent was you did a workshop, right?
00:27:06
Speaker
Yeah, I did a workshop, right. So I mean, I've gone through the normal channels of, you know, submitting to various agencies and so forth and never really got much response or the response was, you know, we're not interested at this time, try back in six months or a year or whatever, or no response at all. But I did a workshop that was led by my current agent. And yeah, I guess I just impressed her live.
00:27:31
Speaker
on Zoom. And sometimes that's all it takes, like just listen to me, I can do this. And so then, you know, I shot her an email the next morning and thanked her for the time and so forth. And she was, you know, very interested in sharing my performance from the night before with the rest of the team.
Building Relationships for Success
00:27:46
Speaker
Which is awesome. So that's how that happened. It's not going to happen that way for everybody. So workshops, research. No, absolutely no. Can you imagine everybody that you workshop with now signs you? Oh my God. Yeah.
00:27:59
Speaker
more agents that I know what to do with. You know, relationships are ultimately what it's all about in terms of representation, in terms of bookings, you know, direct clients, ongoing business, all of it. It's all relationship based.
00:28:14
Speaker
And, you know, step one is just getting in the room or on the Zoom. Sometimes they're the local room. They're the local. They're the regional. And those are great, too. And maybe it's just an email. Maybe you're not in person. Maybe you're not on Zoom. Maybe it's not a phone call. Maybe it's just email. But you start the conversation.
00:28:31
Speaker
Well, in your instance, well, maybe you couldn't get in. I'm not going to say this is the exact situation, but maybe your demo wasn't what they were listening for. Yeah, maybe. But they saw you live and you had the chops. Yeah. And that's all it took. So if you're going to do that, make sure you've got the chops.
00:28:51
Speaker
And especially, you know, if you're not getting results from a local agent, it might not be that, you know, you're no good or they've got five of you on the roster already or whatever. It might be that you just sound too big market for what they do, right? If you're trying to talk to a small town agent and they're casting cable access commercials or, you know, whatever, it's all like local mom and pop shops and stuff and your demo is all big national brands and
00:29:20
Speaker
You know, car ads and stuff. They're like, we're not going to be able to book this guy for 50 bucks a month. It sounds great, but you don't sound like small town, you know, Louisiana or whatever you do. Oh, I do. Yeah. He's like, wait, oh, that's directed to me. That's me. Big Town, Louisiana. Yeah. Yeah. Love it.
00:29:43
Speaker
Oh, happy Mardi Gras, by the way, tomorrow. Is it tomorrow? Mardi Gras. Maybe it is. Yeah. Oh, shoot. What is it? Fat Tuesday. Oh. Let the good times roll, en français? It's been a long time since I've had to say French. Oh, my God. Yeah, it's a long time since I've had to say that. Boulais, something. I don't know. Let's say Boulais, something, something. Les Bontons. Have a drink. I got the good times. Yeah, yeah. OK.
00:30:12
Speaker
When is Mardi Gras? The day before Ash Wednesday. You can't just give me a date? Yeah, that helps. Nope. No, because it moves every year. Ash Wednesday is this Wednesday. So Mardi Gras is actually tomorrow. So tomorrow is... Well, shit. I thought you were planning ahead for the podcast, because this will play in like three weeks. Yeah, right? Yeah. And I just assumed it was in... Go back in time to Mardi Gras.
00:30:42
Speaker
So hope you had a great Mardi Gras by the time this one airs. There we go. If you had a great Mardi Gras, you're just waking up. Happy St. Patrick's Day if that's coming up. We circle back. Oh, dang. You didn't. You saw what I did there. I did. I circled back. I did. I don't know. Circle back season is over. Officially over. No. All right.
00:31:13
Speaker
I'm going to go back to the same thing we've said multiple times before, do your research, ask around, check out everything online that you possibly can, do some workshops, but research, research, research.
Final Advice & Outro
00:31:26
Speaker
Yep. They're not the end of the business for you. Always continue marketing. Yeah. Even when you have an agent, you got to do your own thing.
00:31:35
Speaker
Yeah, they're not the end-all be-all, but they can certainly help with access to things you might not otherwise get on your own. So when you're ready, take your shot. Get in front of them. Do a workshop. Get in their email. Follow the official submission guidelines.
00:31:50
Speaker
Yes, please. If you happen to be at a conference or something like that, walk up and say hi. Give them 10 or 12 business cards of other people. Not when they're eating and not when they're in the bathroom. No, don't stalk your potential agent that you'd really like to have. That's not good. They're in the hall and you have a moment you can say hi.
00:32:15
Speaker
Have your elevator speech ready. Sure, but maybe better just to introduce yourself and have an actual human conversation. You don't always have to be pitching, because it's about the relationship. That's true. Yeah, but I might talk about my dogs and my cats too much, so... Some agents might be into that. That's true. And then that's one that you probably have a great relationship with that you would love to work with for a long time. Indeed. Good point. All right.
00:32:45
Speaker
All the time. All day long, all the time. Yep. All right. Thanks guys. Bye. Bye.