Kat Irannejad,
Founder, Totally Reps

totallyreps.com

What role do you play as an agent?

To be a decent Agent, you juggle a pretty wide variety of responsibilities. So for me- also as an Agency owner,  every day (and many weekends and evenings) I'm actively marketing and promoting my roster via multiple platforms- emails, calls, personal meetings, social media, newsletters, promos, merch mailings, podcasts, online classes, panels and forums, awards organizations and events, website curation, sending pitches, looking over contracts, etc, all while managing many active, ongoing jobs.  

I also try to be there for my Artists as a sort of Auntie or Big Sis, because it's important that my Artists feel safe and seen and that they can come to me anytime for a chat or for advice or to just run an idea by me. As an Agent, I find the most consistent, successful Artist relationships happen when we brainstorm together, we troubleshoot together, we strategize together, and we ultimately empower one another. 

it's demanding, for sure, but I'm thankfully well-suited for it and genuinely enjoy my role.

 
What are some common misconceptions illustrators have about agents?

One common misconception some illustrators have is that they'll often think "As soon as I have an agent, jobs will come rolling in." And then worse, they'll take their foot off the proverbial gas pedal and assume the Agent will sort of take over marketing, outreach, etc. On my end, I always try to communicate to artists I'm signing that we'll work best as a collaborative partnership- but that artists should always be their own best advocate at the end of the day. The artists who I've found to have the most long-term, sustainable careers understand this. 

What are the main benefits of representation?

I think first and foremost- we Agents have spent years cultivating relationships with brands, advertising agencies, editorial and publishing clients, to earn our place as a trusted partner - and that is a huge part of getting jobs, getting inquiries and briefs, getting the right eyeballs on work we share- and consequently something every Illustrator we represent benefits from.

Another example- many Illustrators get squeamish over negotiating budgets, or are unsure of how much money to request for their work, and/or for usage rights-  this is where Agents are invaluable. We know what's fair, we can comfortably negotiate multiple usage rate options, we don't balk at asking for money, we oversee each project, making sure rounds of revisions don't get out of hand, and we step in should timelines and budgets be expanded.  It's not really Good Cop/Bad Cop per se, but the goal is to keep our Illustrators happy and focused on being creative, while we handle everything else like problem solving issues, looking over contracts, billing, chasing invoices, etc.

Are there situations when an artist is better off without an agent?

There are some Artists who are genuinely comfortable working directly with clients, who have great communication skills, are proactive about marketing, understand budgets and usage, and have a strong stomach for when jobs go south and need a bit of battling and problem solving. Perhaps they don't see a tangible reason for bringing in an Agent to handle or disrupt a flow that's working for them, let alone give up a portion of their budget to go toward an Agent's commission, which I understand.

Can you give us some insight into typical rates of commission?

For sure! Since I've been an Agent, the industry standard has hovered around 25%-30% commission per job, sometimes less for editorial jobs since the budgets tend to be lower. In full transparency, at Totally we have 20% on Editorial jobs and 25% commission on everything else. I try to be flexible about it as well, depending on how much work is involved, or how low the budget might be. I never want my commission to keep an Artist from taking on a job, so everything is always up for discussion.

One thing I'd ask for Artists to bear in mind about Agents- we don't make money unless our Artists make money. Full stop. Everything else we're doing to get to that point- making calls, marketing, newsletters, client meetings, travel, folio shows, conferences, social media/boosting posts, promos and merch, etc- often after hours and on weekends too, that's all out of pocket, we're not getting paid. So commissions are also how we survive and carry on with a sustainable career too. 

What makes you want to represent someone?

I'm most often drawn to Artists who have a distinct style of their own- who are specialists and not generalists. They do more than create aesthetically nice artwork- their work also visually communicates an idea, a feeling, a story, a sense of humor, something... special. It's the best feeling to come across a new artist and excitedly dive deep into their folio or Instagram with excitement- that's usually the first sign I really want to rep them! And I also need to be able to connect with them, personally.

"Representation" is a two-way street, right? I rep them, but they also rep me. They will represent Totally to all the clients we work on projects with together. So I know if someone has good vibes, is likable, seems trustworthy and professional- it will generally be a positive partnership.

What’s the best way for artists seeking representation to approach an agency?

Always do your homework- see what other kinds of Artists they rep. Would your work fit, be complementary, or stand out on the roster? For example- if you focus on dark humor or sexy imagery, maybe don't reach out to an agency that primarily reps children's book illustrators? Another example re: doing your homework- don't email a Woman-run agency with "Dear Sirs" (this has happened to me so many times, sigh). And never, ever send a mass email to a bunch of agents. Big yikes! 

Email a brief note- we don't need a thesis, we don't need your CV- just say hello, introduce a little bit about yourself, perhaps some notable clients you've worked with, and include your website and Instagram or whatever social media you use (Behance, etc). Keep it short and sweet.  Some artists send PDFs, I don't really mind- I'd rather see how you publicly put yourself and your work out in the world, via your website and socials. 

What should an artist look for in an agent or agency?

First, get to know which territories they'd be repping you in. Is it by country? Worldwide? These are all super important to know up front. I push Artists to have multiple reps in different geographical territories, because I think it's better for the Artist, and everyone benefits in the end. Find out about their commission rates. Are you allowed to have House Clients? What does the exclusivity look like? How often do they pay out artists? Are there any fees/dues? These are all the first things to get clarity on.

I always tell Artists to trust their gut, see if they connect with the Agent(s) they're talking to, because those tend to be the most fruitful, happiest working relationships. You may speak to a really big, hotshit Agency, but if you don't click with the Agents you're talking to, that's often a telling, worrying sign. Again, these Agents will be representing YOU and your artwork, so you should have a good reaction to meeting them, with an overall feeling that they "get" you and get your work and understand the kinds of work you're looking for.
And don't be shy about reaching out to artists who are repped at an Agency you're talking to- get some inside tea, hot takes- it can be very insightful. 

How do artists and agents know when it might be time to breakup?

It's tricky- from an Agent's perspective, one big sign for me is when Artists get a bit hostile or resentful about me taking a commission. Even when it has been established by nature of being repped and our contract, it can still become a point of tension.
If Artists don't see the value in what we bring to the table and the work an Agency puts in, then the writing is on the wall- it's not going to work out. I'll always be open to a straightforward chat to work on any possible issues- talk about what we both could do better, etc- but I'll never beg anyone to stay and wouldn't want to. In general, in life- If you have to explain your worth to anyone, you're in a losing game. Stick with folks who appreciate and respect you.

I've met brilliant artists, signed them, only to find out they were a bit too green, had difficulty communicating, responding to emails, missing deadlines- and as tempting as they may be, talent-wise, I've learned over the years that I can't work with that sort of anxiety and uncertainty from job to job. It ultimately reflects badly on me and the agency I've worked so hard to build, and could cost other artists on the roster jobs if it turns off a client entirely. 

From an Artist's point of view, if you don't feel you're being heard by your Agent, or represented in a way you'd like to be, and you've brought it up a few times and it's still not being addressed, then that's usually a sign. If your Agent isn't responding to your emails (or client emails in a timely manner), or isn't transparent about jobs, payments, etc- that can also be a legit concern.