25
The Talent Agent

In This Chapter

Finding and Working with an Agent

A common question is “Do I need an agent to do voiceover work?” The short answer is, “No, you don’t need an agent” but this isn’t really the right question to be asking. A better question is, “Will a talent agent help me in my voiceover career.” For most voiceover talent, the answer is, “Yes.” If you work without an agent, you are limiting yourself to only those voiceover jobs you can find for yourself, and you will be responsible for negotiating your fees and collecting payments. One major advantage of having representation is that you will gain access to auditions and clients that you might never have met if you were not represented. Your agent will also handle fee negotiations and collect payments. Having a talent agent working for you is definitely to your advantage; however, this does not mean that you must have an agent to be successful.

There is a belief among beginning voice actors that landing an agent means they can just sit back and watch the work roll in. Sorry, but it doesn’t work that way! The truth is that your agent is only one part of your larger marketing plan. According to Gabrielle Nistico of voicehunter.com although an agent will create and distribute marketing materials designed to reach industry professionals, those materials are generally intended to promote the agency, and not an individual talent. It is the voice actor’s individual marketing efforts that ultimately promote their unique skills and abilities.

The business of voiceover is a numbers game. Granted, you must have certain skill sets in place to be considered professional, but when it comes to getting work, the more you put yourself “out there,” the more likely you are to land the work. There are many mediocre voice actors who make a fine living simply because they are prolific marketers.

It used to be that a talent agent would book only on a local or possibly regional basis. In today’s world of voiceover, nearly every talent agent—even in small markets—has an online presence and is connected to resources for nationwide bookings. In many cases, auditions for high-paying projects are made available to talent agents nationwide. What this means is that if you are represented by an agent, you had better be exceptionally good at what you do because your audition will likely be competing with some of the best in the business.

Getting the Gigs

You will probably get your first few voiceover jobs through friends, networking, a coach’s referral, a pay-to-play site or some other contact you make yourself. As you begin working, your skills will improve, producers will begin to know about you, and your talents will become more valuable. When you reach the point where you are confident with your abilities, have developed a repeat client base, and are ready for more work, it’s time to find an agent. Most professionals have representation, and sooner or later, you should too. So, how do you go about finding yourself an agent?

The first thing to understand is that an agent works for you! Some beginners think it’s the other way around. It is the agent’s job to get you work by finding viable audition opportunities and connecting you with producers who will potentially hire you. For that service, you pay your agent a commission based on the talent fee they negotiate for you.

When you audition, either in person or with a submitted MP3 file, it is your job to perform to the best of your ability. Once a job is booked, the agent negotiates your fee. The day of the agent taking an actor “under their wing” and nurturing them to stardom is long past gone. Your voiceover work is your business and your agent is only there to represent you as your career develops.

Searching for an Agent

As you begin your search, you will find that no two agents are alike. Some handle the paperwork for union work, while others want the performer to handle this task. Talent agents in large markets, like Los Angeles or New York, run their businesses completely different from agents in smaller markets in the Midwest. And working long-distance with an Internet agent is different from working with an agent locally. As with much of the voiceover business, there are no hard-and-fast rules. The important thing is for you to be comfortable with your agent, and that your agent is comfortable with you.

There are a few things you need to know about talent agents before you start seeking representation:

• A talent agent is not in the business of nurturing you or grooming you to be a professional voice actor. It is expected that you have your performing and business skills in place and ready to go.
• A major-market talent agent may not be interested in you unless you have a track record and an existing client list. Agents are in business to get you booked as often as possible, and at the highest fee possible. They only get paid when you work.
• You may have a great track record, and an incredible demo, but you may be rejected simply because the agency already has other voice talent with the same or similar delivery style as yours. Being rejected for representation is not a personal attack on you or your abilities.

You can start looking for an agent with a simple Internet search for “voiceover talent agent your city.” Many agents work exclusively with union talent, although some work with both union and non-union talent. Unless there is a specific notification that they are union-only, you won’t know until you inquire about possible representation.

An extremely valuable resource for locating talent agents in Los Angeles and New York is The Voiceover Resource Guide, (VORG) (voiceoverresourceguide.com). This handy resource is available online and is also released as a printed booklet twice a year in LA and New York. The guide includes agents, demo producers, recording studios, casting services, union rates, voice acting coaches, and lots of other information for voiceover talent. There is a fee to subscribe to the print version, but the online VORG is free.

Before contacting any talent agent, you would be wise to visit the agency’s website to research the agency and learn about their submission policy. Nearly all agents today prefer to receive demos only as electronic MP3 files, but you might still find a few that request a CD. Every agent will have a procedure for submitting your demo and other information and will often ask that you do not call by phone. You would be wise to follow their submission procedure and wait for them to contact you—which may take several months. Your failure to follow the agent’s instructions may be cause for them to ignore you.

In some cases, you might have better luck with a phone call, especially for those agencies that do invite you to call, or that don’t ask that you do not call. It may take a little research on your part, but the time you spend talking preparing for your communication with agents and producers will pay off later on. Don’t expect to get results on the first contact. Marketing your talent is an ongoing process and results often come weeks or even years later. Be prepared for rejection.

When sending an email to a prospective agent, be sure to personalize it by including their name in the salutation. Make the subject line something that will get their attention and identifies the purpose of your email. Keep the body of your email short and to the point, and don’t forget to include a link to your website either in the body of your email, your signature line, or both. Unless you are asked to submit multiple demos, you should only submit one demo at this time. Your email attachment should be in MP3 format at a minimum of 128Kbps. Do not attach a .wav, .aiff, or any other format unless you are specifically asked to. These raw data formats are simply too large to comfortably send in an email.

Not all agents represent voice actors. You can check the agency’s website or call their office to find out if they represent voiceover talent and if they are accepting new performers. Keep this initial call brief and to the point, but be sure to get the name of someone to send your demo to if the agency expresses any interest.

Proper phone etiquette is important when calling a talent agency. Agents are busy people and will appreciate your call more if you are prepared and know what you want. To be perceived as a professional, you must present yourself in a professional manner. To do anything less will only serve to damage your credibility as a business person and a professional voice actor. Here’s a very simplified example of an ineffective call to an agent.

This kind of call not only takes a long time to get anywhere, but the so-called actor is not at all clear about what he wants to discuss. Even if this performer had a decent demo, the chances of getting representation are poor simply because of a non-businesslike and very unprofessional presentation. When you talk to a talent agent, or any business prospect for that matter, you will have much better success if you keep your conversation at a friendly tone of voice and with a purpose of offering something to the agent that will benefit them. If you are perceived as someone “looking for work,” your conversation may be very short, indeed.

Here’s a much better way to approach a call. Again, this is a very simplified example, but you’ll get the idea.

This performer gets to the point of his call quickly and effectively. He is polite, businesslike, and keeps an upbeat, professional attitude throughout the call. Even though he may not have connected with an agent, he did get a name and has a clear process for submitting his demo.

Narrow down the prospective agents in your area. You can immediately eliminate those who represent only models, print, or on-camera talent. The Los Angeles area has more than 250 franchised agents, and only a handful represent voiceover talent, so in a larger market, you must be very specific in targeting potential agents before making any phone calls or sending out your demo. Smaller markets can have zero to several talent agents, depending on market size. Representation by a small market talent agency can be an excellent way to break into the business of voiceover, and you may still get national auditions. At some point, you may outgrow a small agency, so be prepared to move to a larger agency when the time comes.

Before contacting any agent, prepare a brief and to-the-point cover letter to accompany your demo. This cover letter could be the body of your email or it could be a PDF attachment along with your MP3 demo. This is not a résumé. This is a business letter intended to introduce you to the agency and should be no more than a short paragraph or two. Simply state that you are a voice actor and that you are interested in discussing the possibilities of representation. Be sure to include your contact information and website... and be prepared to wait.

On those rare occasions when you send your demo through the post office, each cover letter should be an original, and should be addressed to the person whose name you were given during your research. The envelope address may be printed by a computer or by hand. Computer printing gives your envelope a professional appearance, while hand-writing the address can add a more personal touch to your correspondence. Either way, your introductory letter should be printed in the format of a business letter. Include any relevant, and recent, performing experience. If you have no experience, you will have better results if you keep your letter to the point of representation and do not mention your lack of experience.

For voiceover representation, you generally do not need to prepare a résumé. Agents and talent buyers are more interested in your performing skills and how you work with a script than your training, unrelated job experience, or your home studio equipment. Of course, if you have an existing list of voiceover clients, that information can be of value. And, of course, your professionally produced demo will go far when it comes to obtaining representation.

Here’s an example of a good cover letter that is short, to the point, gives a professional appearance, provides some important information, and suggests the performer’s potential value to the agency. Notice that this example requests action from the agency to arrange an interview.

Once you’ve been asked to send your introductory letter and demo, do not call to see if your demo was received. It will often do you no good, and may even irritate some agencies. And, if you send a CD, don’t expect to get your demo back! Talent agents know you send out demos to other agents in the area. If they hear something they like, they will call you. If you are good, and they’re interested, they will call quickly, simply because they won’t want to miss out on representing an excellent performer.

Don’t be surprised if you don’t get a call. There may be many reasons for an agent not accepting you or not getting back to you quickly. Many talent agencies only review submitted demos once a month or every six months. Don’t expect or ask for a critique of your demo. If an agent is kind enough to offer any comments, use that information to learn how to improve your skills and create a better demo. You may need to produce two, three, or more demos before landing your first agent.

Sooner or later you will find an agent who is interested in talking to you. But be aware, the agent’s interest does not mean you have representation. It only means that he or she is interested in learning more about you and your talent, and to determine if you will be a good fit with their agency. When you are selected for representation, expect your agent to request changes in your demo. Your agent knows their clients and the best way to market you to them.

Interviewing an Agent

It may take some time, but when you do get a positive response, you may be asked to set up an appointment to meet with the agent. This can be quite exciting. What will you wear? How should you act? What will you say? If you are handling your correspondence via email, you may be asked to call the agent, or the entire process may be done as a video conference over the Internet.

Remember that although it may appear as though the agent is interviewing you, the reality is that you are interviewing the agent. Handle this interview just as you would an interview for a new job. Dress nicely, and present yourself in a professional, businesslike manner. Be careful to wear clothes that do not make noise. Enter the office with confidence. Play the part of the successful performer. Create your character for the interview just as you would for a script, and act as if you are a seasoned pro and already represented. Your chances of signing with an agent will be much better if your first impression is one of a skilled and professional performer. A good agent will probably ask you to read a script as part of the interview.

Interview all your prospective agents as thoroughly as possible. Listen carefully, and don’t be afraid to ask questions. What types of work do they book? What is the average pay scale they get for their performers? What is their commission? For non-union bookings, is their commission added to the performer’s fee, or taken off the top? How many voiceover performers do they represent? How long have they been in business? You can even ask whom they represent and for a list of some performers you can contact.

During your meetings or phone calls, you may find your conversation is about everything except your voiceover work. They will want you to be comfortable so that they can get a sense of you as a person, and you will want to get to know them a bit. You need to decide if you like them and have confidence that the agency will be able to get you work. They need to determine if your skills meet their agency standards and that you can work with them as a team.

Take your time. Don’t rush to sign up with the first agent who offers to represent you. Also, if any agent gives you the impression that you are working for him or her, you might want to consider eliminating that person from your list. If an agent requires a fee of any amount before they will represent you, they may be operating unethically and you should end the conversation and leave. By law a talent agent is only entitled to a commission based on the work they obtain for you. When an agent directly charges you a fee to be posted on their website, or for headshots, or for anything else, they may be double-dipping, or receiving multiple income streams for a single service, and that’s illegal, or at the very least ethically dubious.

Most talent agents work on a one-year contract, but many online agents do not require any formal agreement. Some agencies request a multiyear agreement, but this can cause problems if your agent doesn’t promote you, and you don’t get work. If you don’t have a good working relationship with your agent, they can literally put your career on hold by simply not sending you auditions. If you are uncertain about the relationship, you may ask for a six-month trial, but if you sense a lack of confidence with the agent, it might be best to simply seek representation elsewhere. Even with a good relationship, it is generally a good idea to renegotiate every year.

A large agency may have many people in the office and represent a large talent pool. A small agency may have only one or two people handling the entire business. It is easy to become a small fish in a big pond if you sign with a large agency. On the other hand, most large talent agencies sign only voiceover performers with years of experience and a solid track record. Your first agent will most likely will be a small agency that can give you more attention and help guide your career.

Working with Your Agent

Once signed—and depending on the relationship you have with your agent—it might be a good idea to keep your agent up to date on your work. Calling your talent agent monthly, or even once a week should be adequate, unless he or she requests you call more or less frequently. Or, an occasional email might suffice. The key to working with an agent is to stay in touch and ask for advice when appropriate. They generally know the business far better than you.

One good question to ask your agent is how you should handle work you obtain on your own. Some agents will allow you to handle your own personal bookings without paying a commission while other agents will ask for a commission on everything you do. This is definitely something to have worked out before you sign with any agent. If you have no formal agreement, it may be advisable when someone directly approaches you for work, that you refer the company or person to your agent, especially if you are a union member. As a professional performer, your job is to perform. Your agent’s job is to represent you and negotiate for the highest fee. Although it is generally wise to let your agent handle the negotiations, there may be some situations where it might be best for you to handle the money talk yourself. This is something only you and your agent can work out, but if you have a good relationship with your agent, and the situation warrants, you may have a better chance of landing the job.

I know one voice actor who auditioned for a video game and noticed that the other voice actors who said they had an agent were being passed over for callbacks. With this in mind, he called his agent to discuss the situation. Their mutual decision was that the voice actor would avoid any mention of representation until after he was booked. He handled the negotiations himself and actually managed to get a higher fee than most of the other voice actors booked for the project. After he was booked, he handed the booking over to his agent. Even if you are an accomplished negotiator, your agent is your representative.

As a career grows, it is common for performers to change agents several times. When this time comes, it is important to remember the reasons why you are changing agents. You may have reached a level of skill that is beyond your agent’s ability to market effectively, you may be moving to a new part of the country, or you may be moving into an area of voiceover that your agent doesn’t handle. On the other hand, you might be changing agents because your current agent is simply not getting you the kinds of jobs you need or the focus of their agency is changing and they feel that your particular skill sets are no longer a fit. Whether you leave them, or your agent releases you, the move to new representation will almost always be a step up for your career.

The Changing Role of the Talent Agent

The past few years have seen some major changes in the way talent agents do business. Some of those changes have already been discussed, and while many of those changes do not radically affect the voice actor’s role in the casting process, other changes are evolving on an almost daily basis. Many of these changes affect the way talent agents work with each other, their clients, handle negotiations, deal with unethical business practices, and more... all of which can have an effect on compensation and the relationship between talent and agent.

At one time talent agents worked independently. Today, in order to combat the onslaught of industry changes, many agents are combining forces to create affiliations like the VoiceOver Agent Alliance (voagentalliance.com) and voicecastinghub.com, among others. One thing is certain... change is the only constant, and changes in the way we work with our agents, and the way our agents work with our clients will continue to evolve and change for quite some time to come.