How do you know when you're ready for an agent?

[Bob Bergen]

Now, this is just my opinion.

If you are confident to send your demo to buyers for work, then you should be confident to send it to agents. If you are brilliant, you are brilliant! The buyers will want you, the agents will want you.

I find consistently, if an actor submits their demo to a slew of agents, and they get a call from one to take a meeting, they'll get a call from several. When you are good everyone wants you. In fact, in my 20 plus years of teaching, I've never seen this not be the case. When I hear a demo that is brilliant (which is rare), every time the actor gets multiple offers for representation. I've never seen it fail. And it isn't a coincidence. Be it an agent, ad exec, or casting director, if you are good they want you!!!!!

This said, I've seen mediocre demos get an offer for representation, too. But never multiple offers.

Just keep in mind that the getting of the agent is the hardest part of the journey. When I was starting out, there was no way to secure several agents from a variety of markets. But this is the norm today. In LA most agents won't consider you unless you live here. But that's OK! There's plenty of work throughout the country. You don't have to live/work here to make a living in VO. That said, if what you want out of your career is network promos, animated films, etc., then you'd have to live here or NYC. Today. As technology advances, this too will probably change. Just like Voicebank has opened up commercial auditions to folks all over the US and Canada.

But back to my original comment. You should be as confident with your demo to agents as you are with buyers. And trust me, you DO want representation! It's the best way to get best opportunities!

[Jodi Krangle]

Thanks for the added perspective, Bob. :) I'll be doing some research about potential agents in the very near future. Still working on redoing the narration demo so that I'm happy with it. Once that's done though, I think I'll be ready. We'll see what my research uncovers.

[jsgilbert]

Given that there is considerably varying sophistication among those who hire talent and that this "universe" is tremedous and has many factors at play with regards to the hiring of talent, I can more than understand an advanced student who hasn't even made a demo reaching out to find work.

COnsider that in your market there may 2 or 3 talent agents and with so much at risk, one could be hesitant for some time to seek representation. I know of 2 individuals who have been turned down repeatedly by Northern California agents. I won't comment as to whether their demos are "brilliant" or not. I suppose it has much to do with the day of the week, the talent roster and who is looking for what. I can say that both of these actors probably make more money than 80% of the represnted talent in the Bay Area by representing and marketing themselves. Why an agent wouldn't want to represent either of them is a mystery to me.

I assume you are not attempting to use your demo to work your way into reading for union nationals and have been more selective by seeking out talent hirers who are less "sophisticated". It would more than make sense that you could be proud of ytour demos and still question both them and your ability. COntinue to work on your craft, no matter what stage of life you are in and always strive to be better and do more. And while this business is all about taking risks, you may be wise to proceed as cautiously as you have been.

[Jodi Krangle]

Originally Posted by jsgilbert

Given that there is considerably varying sophistication among those who hire talent and that this "universe" is tremendous and has many factors at play with regards to the hiring of talent, I can more than understand an advanced student who hasn't even made a demo reaching out to find work.

Ahh. That just defined it there - the reason why I'm ok with getting work from clients but a little hesitant about going after an agent. Thanks for explaining it succinctly, JS.

Consider that in your market there may 2 or 3 talent agents and with so much at risk, one could be hesitant for some time to seek representation.

That's exactly it. Here in the Toronto area, I'm pretty sure there *are* only about 2 or 3 that deal exclusively with voice overs. I've heard about a few of them - and have actually been warned away from one already. :-/ So ... not much to choose from. That said, I'm actually more interested in getting representation in markets I am not actually physically at. But are agents open to this more these days? Maybe more than they *were* ... but as much as they could be? Hard to say ...

And of course, if you ask for representation before you're ready, they may never look at your stuff again if you try later. I know they're busy people. So ... I'm hesitant.

I assume you are not attempting to use your demo to work your way into reading for union nationals

Being non-union, I'm not going after union work. I'd be surprised if they'd even consider me.

and have been more selective by seeking out talent hirers who are less "sophisticated".

Most of my work thus far has been through Voices.com - so I'd say that qualifies. You get a pretty wide range there ... Though more than a few of the folks I've worked with have been the ad agency putting together the project for the client - so the people listening to my stuff and hiring me, have been experienced in the business. It's *their* clients that may not have - and may have made their final choices based on a whole bunch of different factors - none of which I was privy to. Sometimes it worked out in my favor. Sometimes, I'm sure it didn't. That's ok. That's how it goes.

Continue to work on your craft, no matter what stage of life you are in and always strive to be better and do more. And while this business is all about taking risks, you may be wise to proceed as cautiously as you have been.

Good advice, as per usual, JS. Thanks.

[CarynClark]

Obviously, JS and Bob are spot on.

The only thing I would add is this: I suggest starting with smaller agents - regional agents. Work with them for a while and see how that goes - add some great gigs to your resume. If folks you know in the industry who've listened to your demos feel your demos will compete with the big boys at the major agencies, then approach them. But I wouldn't approach them until you're certain your demos are top notch.

As time goes by, we keep getting better and better. The thought the demos I made two years ago were good... I hear them now and I cringe. I'm sure I'll cringe two years from now when I listen to my current demos.

Keep in mind, I've not heard your demos. They could be stellar!!!!

[Jodi Krangle]

Thanks, Caryn. Yup. That was my intention - the smaller markets first. Good advice. :)

[Brice Lewis]

From years of bumping into walls and making mistakes, let me share what I've learned. I probably tried to find an agent before I was really ready. I knew what types to stay away from, but I also didn't know what other questions to ask. I also jumped for the first agent willing to take me; as a result, I was the only voice talent in an agency that specialize in runway and fashion. The agent had no clue what to do with me. It was also an exclusive contract (two years), and of course two weeks after I signed, a much bigger fish was interested (Ford Agency, no less). I lost the better agent because I rushed and was just happy someone wanted me. That was almost a decade ago. After the two years was up, I sent the agent the required notice ending the agreement; then and only then did she even find me an audition.

I tried off and on to find another agent, and this year I found one. My agent has a one year area-only exclusive agreement, and has sent me two auditions in the first two months. Didn't get the gigs, but at least they're doing their part. The exclusive agreement with my new agent is regional only (200 miles from their offices), allowing me to find representation in the larger markets. They also have a decent web site, and a good support network. I'm still looking for that really big break, but at least I'm with someone who "gets it" and is sending me leads I can use. It doesn't mean I don't have to track anything down on my own, but now I have help.

[Jodi Krangle]

Oh ouch, Brice. Sorry to hear about your first agent experience. That would NOT have been a good time. I'll definitely be careful about that. Thanks for relating your own experience.

As for where you are now, I'm glad to hear that things are moving! Is that agent local to you, incidentally? I think I would probably be looking for agents that were *not* local to me but covered a specific area of the States or Canada, for instance. If they sent me audition requests, I'd have no trouble either doing them from home, or going into the studio I have a relationship with pretty much around the corner from me.

How do you feel about seeking long distance work this way? I'm curious.

Thanks for taking the time to answer, Brice! It's much appreciated.

[Brice Lewis]

I'm in Canton, OH, about two hours north of Columbus (actually closer to Cleveland). I would say the distance from you and your agent is irrelevant. While my agent will send me info on on-site auditions, I only travel when I feel the need is there. Most agencies also have the "agency reel" ( a CD now) and a web presence, and mine places demos on the web site.

I am going to make an assumption here that an agent that will accept you in a major city will recognize from your location, that on-site auditions are out, and will either submit your demo or have you cut a custom demo. I don't know that as a certainty, but I would think my agent would know that, living in Ohio, I'm not going to hop on a plane to audition in Chicago, New York or Atlanta. Frankly, agents only care that their clients find work, so they can get paid. If they think you're talented enough to get work, they'll hire you.

Of course timing sometimes helps. It's like everything else; you send out demos and nothing. Then your demo hits the desk just when the agent needs a voice like yours. Persistence, skill and luck are needed in the business, and sometimes it feels like they're needed in equal amounts.

[Jodi Krangle]

Thanks, Brice. I really appreciate your perspective.