Representation is one of the topics that causes the most confusion among emerging artists. The usual question is “do I need an agent?”. The honest answer is: it depends on what you want to do, and where you are right now.

First you need to understand who does what — because an agent, a booker and a manager don’t do the same thing — and then work out when it makes sense to look for each one.

Who’s who: the three figures

The booker or booking agent handles contracting: they’re the one who talks to programmers, negotiates fees and organises dates. They charge a percentage of the fees (typically between 10 and 20%). They don’t work for you: they work for a roster of artists and put your name forward when you fit what they’ve been asked for.

The manager handles the artist’s career in a global sense: strategy, relationships with labels or production companies, image, long-term decisions. They charge a percentage of all the artist’s income (10–25% depending on the level). A good manager is a strategic partner. A bad manager is a deduction from your pay packet.

The actor or dancer’s agent is specific to the audiovisual and performing arts industry: they handle casting calls, company enquiries and contracts. They charge a percentage of each contract (typically 10–15%). You need an agent to access closed castings that aren’t published through the usual channels.

When representation is worth having

You have work that a representative can amplify

A booker can get you playing more venues if you're already performing and have a solid project. They can't create work from nothing. If you have no gigs right now, a booker won't generate them for you — they need a product that already works to sell.

You want access to circuits you can't reach on your own

An actor's agent has direct relationships with casting directors who don't accept unsolicited applications. A circuit booker has access to festivals and programmers who don't respond to cold emails. This is where representation provides genuine access.

Managing representation is taking time away from your creative work

If you're spending more hours managing contracts, negotiating fees and chasing emails than rehearsing or creating, representation could free you up. But you need to work out whether what the agent brings in is worth what they charge you.

You're at the beginning of your career with no established project

No serious booker or manager takes on an artist without a track record. If you're just starting out, your energy should go into building the product: gigs, shows, material. Representation comes naturally once the product is compelling.

How to get representation: the real process

01

Prepare your presentation materials. A representative needs: a professional bio (100–200 words), press or production photos, audiovisual material (performance video, showreel, link to work), a history of relevant dates or shows, and a press note or project dossier if relevant. Without these, no presentation is possible.

02

Identify the agencies and representatives in your circuit. Not all agencies represent all styles. A jazz booker won’t take on a flamenco group. An agent for TV series actors doesn’t handle experimental theatre performers. Research who represents artists similar to you and which circuit you want to be part of.

03

The first contact: brief, specific, materials ready. The introductory email to an agency should contain: who you are in two sentences, what material you have available (link), and why you think you fit their roster. Not a one-page cover letter — an email that can be read in 30 seconds with everything needed to make a decision of “interested / not interested”.

04

The alternative: come through someone. Most representatives take on artists through recommendations from other artists or professionals they already know. If you know someone on an agency’s roster who can introduce you, the success rate increases enormously. Build your network at festivals, training spaces and events in your discipline.

05

Read the representation contract before signing. A contract with an agent must specify: duration (avoid open-ended contracts), the applicable percentage and on which income, exclusivity (does it prevent you from working directly with programmers?) and termination conditions. A contract without an end date can tie you to a representative who does nothing for you for years.

Representation is not the solution to every problem

A booker won’t do your marketing. A manager won’t replace your own network. An actor’s agent doesn’t guarantee work. Representation multiplies what already works; it doesn’t create anything from nothing.

Before looking for representation, make sure your digital identity is in order: website, press kit, press photos, up-to-date profiles. Any potential representative will search your name on Google. What they find is the first impression they’ll have of your professionalism.

At Ressona we help artists build exactly this foundation: the digital presence that opens doors to programmers, agencies and media. If you’d like to talk about your specific situation, contact us.