Networking

You may already have a network that you are not aware of or have not yet considered to be a professional network.

• Friends and contacts who share a common interest to you: Do you have friends who are also interested in the arts? Perhaps your friend works in a theatre box office and knows of an upcoming production you may be interested in seeing, or even meeting with their production team.
• People you have previously worked with: Do some research and see if anyone is / has worked on an exciting project since you last worked with them. They might know someone who you would like to connect with, or may know of some upcoming opportunities that you are unaware of.

Take a look at the artists you admire, work that is going on in your local area, and what you feel is lacking from your knowledge. These are all good starting points for expanding your network.

• Artists you admire: Do some research into the artists who made shows you like. Where have they performed before? Who has produced their work? Investigating the work of others can introduce you to new venues, companies or people that you have not heard of before. Keep a note of these and reach out to the people you would like to connect with. Perhaps you would like to meet with their producer to find out more about their journey with the artist? Or maybe you want to speak to a venue that you weren’t aware of and find out about their performance spaces?
• Work in your local area: Stay engaged with the work going on around you. Fellow artists and industry professionals may also be attending the events which would provide you with the perfect conversation starter and a reason to reach out to them. It will also be useful for you to see what kind of audiences the work attracts and how you can potentially pull in a similar audience.
• What is lacking from your knowledge? Is there a part of working in the arts that you are unsure of? Maybe you want to learn more about touring or perhaps who a production team is made up of? Consider what you want to learn and reach out to people who may be able to help you.

It is important to keep engaged with your network, here are some useful tips in how to do this:

• Keep your social media active: Following one another on social media is an easy way to keep up to date and engaged with someone else’s work. Be sure to post about your work but also be sure to follow others. This is a simple way to stay connected.
• Email updates: If you started conversing with an industry professional over email, then be sure to update them via email. If you have an upcoming project, simply contact them with the details of the event and an invitation to come along. They may not be able to attend, but they will appreciate the invite and it will keep you on their radar.
• Follow up: If you arrange a meeting with an artist or industry member then make sure to follow up afterwards. A simple message to say 'Thank you for taking the time to see me' will be greatly appreciated and will make your next interaction with them more natural. The same goes for contacting teams / venues / event organisers after working with them. Sending a thank you for their work or an invitation can be really useful in building connections.

An agent represents an individual or, in some cases, a company (eg a performing or writing duo) and manages their client’s job bookings. They liaise with promoters and producers to ensure their client gets the best deal and is being treated fairly.

Usually focused on work with musicians, comedians and any other type of performance whereby the concept, writing, staging and performance are created by one or a small handful of people. For example, a stand-up performer who is working with a director but has written their own material, knows how they want their show to play out, and is the creative lead on the production. Promoters are the link between venues and performers, also taking responsibility for the marketing and promotion of the show.

Promoters occasionally represent the performers as well as the work, acting as an agent and liaising with venues for all the performer’s events. In other cases, they may negotiate and receive a fee from the agent / performer.

Programmers are usually tied to a venue, or sometimes multiple venues, and will go out looking for shows they think are suitable for their audience. They will then liaise with the agent / performer and begin the process of putting on a show in their venue. They can also be known as booking agents.

A producer leads on a production and is usually involved in shows in which different people are responsible for different creative aspects of the production. For example, a musical that has been created through a collaboration between a writer and a composer – the producer would find and contract the performers (who may or may not be the writer and composer themselves), the set, lighting, sound and costume designers as well as anyone else involved in the production. They are responsible for financing the show and liaising with the venue(s) in regards all aspects of the show.

A producer is similar to a promoter as both liaise with agents and venues. However, a producer usually leads a wider team on a production and has the final word in most decisions (as they manage the finances), whereas a promoter works alongside the performer(s) to get them a slot in a venue and helps sell the show to audiences.

‘Producer’ is a difficult position to define as it can take any form, for example:

• a project assistant – who may just take care of the administration of your show
• a tour booker – who liaises with venues on your behalf
• an artistic producer / director – who commissions a show and sees every decision through from start to finish.

Make sure when you’re looking for a producer you have a clear idea of what responsibilities you want them to oversee.

A PR or publicist is someone who represents an act or a company and is responsible for promoting them and their work to the media.

Their job is to drum up publicity for their clients by getting the media to cover their shows, either with preview coverage (interviews, round-up articles) or reviews.

Some PRs work alone as sole traders, but others work as part of a company. In some cases, they will also manage other aspects of their client’s campaign, such as their client’s social media accounts. 

We can supply you with a list of PRs if you'd like assistance marketing your show; however, we're unable to recommend any single PR over any others, or even whether you should hire a PR at all. If you do want to hire one, you might want to look for someone whose current or previous clients have made work similar to your own, where possible. Email artistadvice@edfringe.com to request access to the PR list.

Rowan Rutter: I am Executive Producer (maternity) at HighTide Theatre. I've spent 10 years as a producer, executive producer and consultant working on shows, in organisations and with strategic scope to shape business and funding approaches.

Tom Bevan: I am Assistant Producer at Theatr Clwyd, Wales' foremost producing theatre. I also help programme the visiting work here. My route into the job was through a Masters in Arts Management at the Royal Welsh College of Music and Drama. Before that, I produced several shows at the Edinburgh Fringe Festival as a student, including the original production of SIX which is now a West End musical.

Josie Dale-Jones: I am a theatre-maker, performer and producer. I always wanted to make my own work as well as perform it. I self-produce because it gives me the control and freedom to shape my company the way I want it. Mostly though, I enjoy doing it all – otherwise I would stop!

Becca Thomason: I’m the Programme Coordinator and Associate Producer at Hackney Empire. I studied Theatre and Performance at Leeds University, which is where I first started producing plays for the different drama societies. After university, I worked as a volunteer for an immersive theatre company on Charing Cross Road whilst working in a sports shop at the weekends and a cheese-and-wine bar in the evening for a bit of cash. I then got a (paid!) administrative job for a casting agency where I learnt how to master Excel formulas and manage people’s diaries. This helped me get the role as the New Work Assistant at the National Theatre Studio, where I was thrown into this incredible factory of theatre. Through these roles, I met all sorts of people within different positions. It reassured me that I wanted to work in producing and programming as I enjoyed working with all the different teams within a theatre.

Michael Norton: I have a few jobs. I’m an Artists’ Advisor at Artsadmin, producer for Louise Orwin, and an Associate Producer covering research and documentation with the Total Theatre Awards. I also project manage for the Wellcome Trust, Central School of Speech and Drama, Making Room and other events. I got all of these jobs through connections I made while I was working on a master’s dissertation on modes of programming. I continually requested coffees and teas with people whose careers I admired and wanted to work near. I approached those meet-ups as dates and a way to build a community. I kept an eye on job call-outs and only applied for work that I was excited by.

Rowan Rutter: My day-to-day tasks include global budgets, signing off contract templates, checking in on marketing, budget and administrative management of producing projects. I work directly on shows less and less, managing line producers in delivery. However, I am still very active in relationship management and setting up projects. I will also continue to manage large-scale or international projects from a producing point of view.

Tom Bevan: My daily tasks include contracting creatives and actors, working within a show budget, organising research and development periods for our own shows and emerging artists in residence, booking venues for our touring work, attending showcases and acting as a point of liaison between in-house and freelance creatives and our production, marketing, development and creative engagement departments. As a producer based in a producing house which takes visiting work, my job also involves programming work (from theatre to music, comedy and spoken word) into the four performance spaces here. It's a very busy, varied job!

Josie Dale-Jones: Daily, I work on fundraising (endless grant applications...), creating relationships with venues, tour booking, a lot of emailing, developing marketing plans and general coordination of a project. This includes booking rooms, travel and accommodation, as well as project planning... the list goes on.

Becca Thomason: From start to finish these are the steps I’d usually take in setting up a show:

• Finance – research costs and budgets to determine if the show will work financially.
• Contracting – once the show looks like it’s going to work financially, it’s time to confirm the deal and get it down in writing.
• Planning – once the contracts have been signed, it’s time to loop in all of the teams and get the show on sale. I’d be in conversation with tech about how we can get the show up on its feet, as well as talking to marketing to see how we can make as many sales as possible.
• Show day – once the show gets in, I’d be there to make sure everyone is happy and knows where to go and what the plan of action is for the day.

Once the show begins and if all goes to plan, you can (usually) sit back and enjoy the show!

Michael Norton: Louise and I check in nearly every day to make sure we’re both doing okay, that things aren’t too overwhelming, and to make sure we are on track. I don’t really produce ‘shows’ with Louise in my mind, I produce an artist, and am always thinking about the long-term life of her career more than about next week’s presentation. We focus on wellbeing a lot, and we are often thinking strategically about funding 6–18 months in advance. And yes, I book travel, email venues all the time, build new networks of programmers, fill out reports and occasionally usher for a show.

Producer / Creative Producer

Rowan Rutter: I believe they are the same, every producer is creative!. The producer is essentially responsible for the entire project. Imagine there's a big fishing net and everything about the show is on the inside of the net. The producer is the one holding tightly onto the net making sure nothing escapes; everything survives and the catch is of high yield!

Tom Bevan: A producer, who may work with a subsidised company, has some role in the creative decisions that are made in the rehearsal room. I'm not always sure how the 'creative' element of this, though, is any different from a 'producer' in a similar position.

Josie Dale-Jones: A producer and a creative producer are very similar. I'd say that a creative producer is more often involved in the artistic vision for the show in some capacity.

Becca Thomason: A producer looks after the admin and logistics of the show, a creative producer also has some input on the creative vision.

Michael Norton: A creative producer is someone who operates as a creative, curiously developing a career alongside an artist and thinking of new ways to develop a creative practice as a producer.

Promoter

Rowan Rutter: A promoter is more known in commercial comedy or music circuits – usually they have a collection of clients which they promote to tour bookers, venue programmers or large festivals for bookings.

Tom Bevan: Someone who approaches venues on behalf of an artist to try to book a date at the venue. Often a promoter is associated with musicians, comedians, spoken word acts, tribute acts, musicians.

Josie Dale-Jones: A promoter is someone who scouts for shows.

Becca Thomason: This is the person that brings a show to the venue. They work on the administrative and logistic side of things, confirming the deal with the venue and making sure the show gets confirmed in the diary. To me, they are essentially a producer, I’ve not been able to spot many differences between the role titles.

Michael Norton: This is someone who works officially or unofficially to spread word of mouth and positive messaging about an artist.

Tour Booker

Rowan Rutter: A tour booker is someone who is directly responsible for booking a show or act onto a tour.

Tom Bevan: Someone who approaches venues on behalf of a company or artist to try to book a date at the venue. I often see this title associated with theatre companies / shows.

Josie Dale-Jones: Someone who will liaise with venues on your behalf to book your tour. They will negotiate the deals.

Becca Thomason: A tour booker will be looking after a particular show and will be finding suitable venues to take the show to.

Michael Norton: Someone who takes care of a specific event that is in a closed term. It’s about project delivery and generally you have a good team that you bring with you from venue to venue. They are also a hustler who knows how to get a good deal from a venue and knows the circuits well (usually in comedy and music more than anything else).

Project Manager

Rowan Rutter: Someone who manages the logistical or administrative tasks of a project and oversees various deliverables. I see this as different from producing as producing is also about creativity, dramaturgy, relationship management etc.

Tom Bevan: I see this as a more general term for a producer – I often use it to explain what I do when chatting to people outside of the industry.

Josie Dale-Jones: Someone who oversees the project from start to finish. They are likely to be in charge of the project timeline.

Becca Thomason: This is quite a broad title and can completely vary! Usually they’d be more involved in the technical production side of things and liaising more heavily with the crew and cast.

Michael Norton: Someone who takes care of a specific event that is in a closed term. It’s about project delivery and generally you have a good team that you bring with you from venue to venue.

Programmer

Rowan Rutter: Someone who programmes work into a festival or venue – or someone who programmes sound and lighting into a desk!

Tom Bevan: Someone who books touring work into a venue.

Josie Dale-Jones: Someone who works for a venue and oversees booking and curating their artistic programme.

Becca Thomason: Programmers work in venues; they manage the calendars and make up the season. They are either sent production ideas or they go out and look for shows that they think might be a suitable fit for the venue and its audiences. After the shows have been chosen and they’ve contracted the show, the programmer is then in charge of the logistics of the shows. Programmers tie together all the departments (eg tech, box office, front of house, marketing) to make sure they know exactly what is happening. You’re one of the main points of contacts for the show – that’s what it’s like for us at Hackney Empire anyhow!

Michael Norton: Someone who builds a programme for a venue or festival. Could be scouting themselves or could be collecting information and making that decision.

Agent

Rowan Rutter: Anyone working on behalf of anyone else but, more specifically, someone representing an artist or actor and looking after their financial and reputational interests.

Tom Bevan: Someone who represents an actor or creative.

Josie Dale-Jones: Someone who works on behalf of you or your company. They will have lots of other people or companies they are also looking after.

Becca Thomason: An agent looks after the client or artists and helps find them work.

Michael Norton: Someone who develops an artist’s career and gets a cut from each booking. They are incentivised to push an artist to make more money.

Executive Producer

Rowan Rutter: Executive producer and executive director are interchangeable. They look after a company or organisation – a business head – and their core activity is the production of work.

Tom Bevan: Often the most senior figure on the producing / admin / business side of an organisation.

Josie Dale-Jones: I think this is more in the commercial sector. I think they invest and have stakes in the show.

Becca Thomason: This is usually the head producer on a show and will make the final contractual and financial decisions.

Michael Norton: Someone who thinks long-term about strategy and sustainability of an artist or organisation. They are working on a plan of two-to-five years depending on the financial structure but are generally focused on structuring a team to support the vision made in collaboration with the artistic director.

General Manager

Rowan Rutter: Someone who manages the general and legal business tasks of a business.

Tom Bevan: This is a term I come across mostly with commercial companies. This person may oversee all aspects of mounting a production and the day-to-day running of the show once a producer has secured rights / found investors.

Josie Dale-Jones: Someone who oversees the running of a company and show.

Becca Thomason: They’re responsible for looking after the upkeep of the building and making sure the experience for the audience is as smooth and enjoyable as possible. They tend to look after the bar, box office and front-of-house staff.

Michael Norton: Someone who oversees the general day-to-day operations of an organisation. This includes HR, space hire, work software, subscriptions, company outings etc.

Rowan Rutter: Remember – it is a human skill, not a spreadsheet-based one. So: humanity, kindness, endurance (everything else you can learn).

Tom Bevan: An ability to spin numerous plates at once, an ability to communicate clearly with different types of people and being able to focus on the small details and the bigger picture at the same time.

Josie Dale-Jones: Organisation, approachable, drive to get whatever needs doing done! Also, being a good listener – I think a producer’s job is to help an artist to take the show where they want it to go, and find the people it’s for.

Becca Thomason: Organised, calm, friendly.

Michael Norton: I think that my qualities as an empathetic, steady and playful person set me apart as a producer.

Rowan Rutter: No less than you're paying yourself. If you're not paying yourself, no less than 5% of the overall budget.

Tom Bevan: Depending on your budget, I would say roughly 8–10% of your weekly running costs is a good benchmark to start from. It is usually down to a negotiation with the producer in question and what they are willing to work for.

Josie Dale-Jones: It is entirely dependent on what jobs they are taking on, the period of time this will take and their own level of experience (and often the contacts they bring with them).

Becca Thomason: It completely varies depending on how much involvement they have in the show, and from what stage. How long is a piece of string! I think it’s useful for the work I do in London to look at London Living Wage as a guideline and try to think about how many hours you’re expecting to put into a project, and come up with the fee from that. I think it’s so important that people are paid fairly in the arts.

Michael Norton: Check ITC and have a conversation about it with them. A producer should know what their rates are and if they don’t then they are most likely at an emerging stage in their career, so go with the ITC standard based on your region.

Rowan Rutter: Yes, but usually that is a show / project decision and all parties buy in.

Tom Bevan: Yes, I know a few producers who work on a profit-share basis.

Josie Dale-Jones: Yes, sometimes producers work on a profit-share basis.

Becca Thomason: See previous answer: it depends!

Michael Norton: I don’t know as I have never encountered this situation.

Rowan Rutter: I look for relevance and resonance to either contemporary life, and also the venue / festival I might be thinking of working with. However, I usually pick something up because of the artists themselves.

Tom Bevan: I look out for shows / artists that approach us with a personalised email or call that explains why they have reached out to us in particular. I also look for clear details about the performance(s) and who the show is aimed at. The whole industry is about building and nurturing relationships, so a clear awareness of that from a company / artist is also important.

Josie Dale-Jones: I want to see a show that is relevant to the world now and how original the idea is. I look for whether the company has a track record and if it is in line with the style of work I like.

Becca Thomason: I love getting good recommendations. I think it’s always kind to invite venues to your shows, even if you can’t afford to offer any comp tickets. In terms of actually programming the show, it all depends on the show’s target audience. Working at Hackney Empire we’ve got around 1,300 seats to fill so I’d be looking at shows that can get bums on seats. For example, we recently staged Birmingham Rep and Northern Stage's adaptation of A Thousand Splendid Suns. I knew that this was an incredibly popular book and with the same poster artwork as the book, I knew this would be an eye-catcher.

Michael Norton: I like artists who feel like they’re doing more than one thing and who are thinking beyond the show – they are offering an aesthetic, a brand of sorts. That’s what excites me. I pay close attention to marketing aesthetics and, of course, word of mouth to decide what to see.

Rowan Rutter: Be patient. Be realistic. Be bold (and don't get drunk in Edinburgh and shout your mouth off – you never know who is listening...).

Tom Bevan: Don't take on too much – burnout is real, and it's better to do a few things well than to spread yourself too thin. Look outside London – there is exciting work being made across the UK. Be yourself and be honest if you don't know something – we're all always learning!

Josie Dale-Jones: Just keep going – it takes time to make connections and for people to trust you. Perspective – don't take anything too seriously or personally. And do the work you want to be doing... unless it's paying you A LOT.

Becca Thomason:

1. Watch as many shows as you can and make sure you acknowledge who the writer and directors are.
2. Try out as many roles around the theatre as possible. In programming you have to work with so many different teams, so it is useful if you have some knowledge and understanding of what information people need from you.
3. Be hands on. We’re lucky at Hackney Empire that everyone here is more than happy to cover different roles when needed. It’s often you’ll see our executive team helping with ticket queues because they know that putting on shows is a huge team effort, and if something needs doing you just need to get on with it.

Michael Norton: Take it slow, be patient, build with what you’ve already got.

Rowan Rutter: It's a bun fight like no other. It's not really producing (sorry!), it's a massive marketing job and you can have something beautiful, precious and artistically brilliant that doesn't fly because Edinburgh is so saturated. Producing in Edinburgh is about balancing the books before you go, and then selling hard.

Tom Bevan: Producing in Edinburgh feels more intense in terms of there being a huge volume of shows to 'compete' with and a huge number of people to meet and network with. However, I think the essentials are all still there – you need to think strategically as well as practically, be a good communicator and be willing to muck in. You also need to make sure you look after yourself in the rush of it all – self-care is vital.

Josie Dale-Jones: It's not very different really. If anything, it's got a clearer set of deadlines in the run-up. The main difference is that it can be a bit more of a showcase / marketplace. The people you meet and connections you make are really important.

Becca Thomason: Not applicable to me.

Michael Norton: It’s by design unsustainable and more of a marketplace than anything else. That makes the producer more of an agent, building a network of programmers coming to see the work. A big part of my role here is artist wellbeing and care, which is tough because sometimes I’m not doing very well either and that means we’re both messed up. We don’t take weekends, we don’t rest, and that’s a tough place to put an artist in.

Rowan Rutter: Do not mass email. Tell them why seeing your show is important to you and important to them. Show you've done your research. And tell them why you being there is helpful (do you want programming, do you want advice or do you just want a great shout-out on Twitter – be honest!).

Tom Bevan: Via a personalised email or a phonecall.

Josie Dale-Jones: To be yourself, to talk to them like you would a normal person!

Becca Thomason: Keep the email short. Weeknights are usually best for programmers to go and watch shows rather than at the weekend.

Michael Norton: If it’s social media, ask them on the platform for their email and email them. Have a long chat with someone before mentioning you’re selling a show. Less people with more time will build stronger relationships. Walking around handing flyers to strangers doesn’t do a thing in my experience.

Josie Dale-Jones: Producing is as creative as you choose it to be, there are no rules or regulations. Think about how the message(s) in the work can be reflected in the producing process, the tour and final presentation – it's up to you how you want to produce.

Simon Sharkey: Agent, I worked in various parts of the industry before working as an agent. I was a camera man and also worked as a script writer. My father worked as an agent for most of his life, so I then deiced to follow in his footsteps and start my own agency.

Abbie Waters: I am a talent agent who represents actors who do voiceover in animation, video games and commercials. I started off as an actor at the age of three and went to college in NYC where I graduated with a BA in Theatre Arts. When I made the move to LA I decided I wanted to be on the other side of the camera / mic. My first job in LA was as an Executive Assistant to a well-known theatrical agent. I then went on to work at Disney live action feature casting and then Disney TV animation casting where I cast the voices in their animated shows. I was nominated for an Emmy for casting the hit Disney Jr animated series Jake and the Never Land Pirates. From there, my current boss poached me as I had worked with her and all of her clients on my shows. I now run the animation / games division at The Osbrink Agency.

Charlotte Boden: The Queer House is an artists’ agency and production house for LGBTQIA+ actors and makers. Having produced LGBTQIA+ work, I realised that many of the artists I was working with didn't have agents, putting them at a professional disadvantage, and so it made sense to set up an agency to represent these individuals.

Simon Sharkey: Day-to-day we are either managing clients who are currently working on productions and looking for work for those who are not. This involves looking at breakdowns casting directors release and submitting clients accordingly, booking auditions, looking over contracts, speaking to production about logistics and finding out about new things going on in the industry so we can get clients on board.

Abbie Waters: After a project is released, I cast it with the appropriate actors on my roster. Depending on the type of role, my clients will either send in an mp3 audition or, if it’s a bigger role (ie: recurring, series regular or lead in a feature), the clients will come into our recording booth and get direction from me. After all auditions are taped, I will listen and submit to casting. Besides working on specific projects, I am constantly pitching clients to certain studios and obtaining general auditions for them with casting directors around town. Another big part of my job is scouting up and coming talent. I will go to comedy shows / showcases and stand-up at least twice a month around LA.

Charlotte Boden: There are a multitude of daily tasks, but they include checking Spotlight, working on contracts and managing the payroll – there is a lot of admin! I also advise people on working with non-binary individuals and how to make it a smoother process. For example, advising on how to ask individuals what pronouns they use, how to make audition spaces safer etc. As a production house, we work on a project-by-project basis so the workload can change a lot, and we also organise a quarterly platform night, Get in the House. This is an opportunity for six LGBTQIA+ artist to try out new ideas and test out performances.

Simon Sharkey: We will go see shows that have been reviewed well or people who have some great experience. We won’t go see people who have a similar look or casting to one of our other clients.

Abbie Waters: When scouting, I’m always looking for a unique voice, someone who understands comedy and someone we could throw in the booth and trust that they will be able to plus the material they’re given, make it their own and make choices others may not.

Charlotte Boden: Having set the agency up as a response to the lack of work being offered to non-binary and LGBTQIA+ people, we promote this community without compromise. We look for people who have something to say, are making their own work and are working hard to create a career in the arts.

Simon Sharkey: When having meetings with agents it's always best to know something about the agency and to know what you want from them. After all, the actor employs the agent. It's also good to talk about things other than acting, we want to know about you as a person as well, all information will have some relevance.

Abbie Waters: I expect them to be at the top of their game. If they are looking for a voiceover agent, they should have a reel showcasing their animation and commercial work. They should constantly be honing their craft at workshops, classes and coachings. They should be well versed in accents, dialects and it’s always helpful when they can carry a tune as a lot of the current animated projects require singing.

Charlotte Boden: Know your value and what you have to offer and do your research about us. When getting in touch, understand that we aren't always able to come and see your show, or meet with you. If you're able to offer a call, let us know; it can be a really good way of speaking with us when we're up against it timewise.

Simon Sharkey: At our agency, we prefer to work more like a partnership. So, keep us in the loop with your availability and what you’re doing at all times. Let us know about things you’re interested in and we can decide together whether those projects would be good for you.

Abbie Waters: The number one thing that I find most important is an open line of communication. My clients know that if they have questions or concerns, they can always call or email me and can expect a swift response. Trust is also very important in an actor-agent relationship. An actor has to trust that we are looking out for them all of the time and an agent has to trust that an actor is always bettering themselves and their craft.

Charlotte Boden: As a small agency, we are very close to our artists, something that isn't always the case with other agencies. Because of the nature in which we were created, we want to fully support our artists in their careers as actors and theatre-makers, particularly because our artists don't always have a huge amount of experience. We don't just book auditions and jobs for our clients, we also socialise with them and hold different networking events such as the Get in the House event. As producers, we also produce our artists' work when possible.

Simon Sharkey: You can have agents specific to various parts of the industry, such as musical theatre, voiceover, commercial. Find the agent that best suits your skill set.

Abbie Waters: At our agency we have the following agents:

• theatrical (live action tv and film)
• voiceover (animation, video games and commercials)
• on-camera commercial.

Charlotte Boden: There are various types of agents out there – voiceover, theatrical, comedy etc. Do your research and find out what different agencies do and which one it the best fit for you.

Simon Sharkey: Always include a headshot on your email and link to your Spotlight. Early warning as to when the show is, so that availability is not an issue. Include a poster of show and a short synopsis.

Abbie Waters: I’d appreciate a quick email with a blurb.

Charlotte Boden: Either an invitation to your show or, if this isn't possible for whatever reason, providing a sample of your writing or just a basic introduction over email about you, your work and why you're interested in the Queer House. There's no need to tell me all your interests, what you like about the Queer House – just let us know what you're looking for and how / why you want to connect with us. Make yourself available as well; let us know in your email that, if it's easier, you can do a phone call. Or, give us a ring and let us know you'll be emailing shortly – it can make you stand out.

Simon Sharkey: 12.5% for theatre and television, 15% for commercials and feature films.

Abbie Waters: Generally, it’s 10% of what the client makes, an agent is never paid before an actor books a job.

Charlotte Boden: We take 10% for theatre and 15% for anything else (television, film, radio etc) but some agencies take 15% for all types of work. If someone is making their own work, or finding their own work, we won't take any commission unless we are managing contracts etc.

Simon Sharkey: Stay proactive – mix with other actors, write your own stuff etc. Be patient, it's a marathon not a sprint. Headshots are everything, make sure you have very varied emotions and looks, it’s not about looking your best.

Abbie Waters:

1. Secure a day job that allows you to have a flexible schedule.
2. DO YOUR RESEARCH. It’s so important to know what you’re getting into when taking classes, finding an agent, getting headshots, having your demo reel made etc. Ask a lot of questions of the friends and colleagues that you trust most. It’s easy to get steered in the wrong direction.
3. Go see every movie and watch as much TV as you can – even the shows that don’t interest you. Know about the talent out there. Figure out what shows you’d like to see yourself on. Research who casts what shows as well as who the directors and producers are.
4. Never stop training.

Charlotte Boden:

1. Do your research about different agencies – why are you approaching each one and why do you want to be with them?
2. Know your value and the value of what you do – it's a relationship and it needs to be the right fit.
3. Make your own work. If it's good, people will come knocking and you'll learn a huge amount in the process.

Charlotte Boden: Non-binary and trans roles are, unfortunately, not as common to come across. We are working to support these artists and ensure that work is created for them. Go into things with your eyes open – it is slowly getting better but it's important to be aware of this fact.