1. If I book someone at a club and charge them 10% and they get a rebooking by themselves that night, do they not pay me for that next booking? Do I only charge them when I arrange the booking myself?

The normal practice is: If you seek the venue and secure the venue for any act you are gig-shopping for - then yes, subsequent gigs that may come of that work in that venue still garner you the 10 - 15% booking fee each time they play there - But usually only for a specified period of time - say a year. It's unrealistic to expect that a band will be playing in any venue longer than that. IF you do the work at keeping up with the venue's calendar bookings and secure the bands gigs there then you deserve the pay..no matter how long. But a typical contract is for a year and no longer. If you need an example of what a venue booking contract looks like..I'll be happy to send you one of mine. But in any town, if you just get the band in a venue once..and they do the rest of the work, well..I for one do not think it's fair to continue to take a percentage. In that case...you could charge a venue finding fee that you all agree on..and let the band continue to work there and book the gigs on their own. Up and coming bands just don't make any money and as an agent or talent buyer, the money potential for you is the established and well known acts anyway and as you grow in reputation...eventually they will start coming to you. If you are dealing with developing acts, look at yourself as being on the same level as them...you are gaining experience, communication and business skills in the industry and developing contacts. Keep fee's at a fair minimum and use the experience to build yourself a solid and honest reputation as a fair, trustworthy and genuine person in the industry. You'll stand out, believe me.

In theory, the "meat and potatoes" for an agent is the return visits - and if that is the way you want to build your business, then it must be made clear, to the venue and the band in a written booking agreement, that all gigs must be secured through you. Venues will try, stealth-like, to book bands out from underneath you to keep from paying fees - or the band and the venue work together to snuff you out of the deal. And if a venue does something sneaky and under-handed...unless you are in the big-time - just move on and don't make waves. Remove the band from your roster, wish them well. For a paltry $15 - 30.00 it makes no sense to burn a bridge that may be managed by someone else that turns the place into the venue of the century in a few years that agents are clamoring to get in. Pick your fights. Wisely. I've had bands screw me over...and come back 2 years later wanting help. The pleasure was mine..in the end. Remember as they are growing in their world, so are you. :)

And as far as bands are concerned....write agreements only when you are certain you want to work with that band and put all your heart into helping them achieve performances, and also make sure that band can help your, what I like to call - "Eareputation". Watch them a while. Does you no good to be a good agent if you are booking half-assed, unreliable bands. Remember you are building your reputation on your ear, basically. At least initially..and as an agent, you have the right to maintain certain levels of expectations from those you work with. And do not be afraid to cut it off if it's not working and stressing you out. When it becomes unpleasant work - then it's time to cut the cord.

I'm one of those talent buyers that refuses to book anyone that brings me bad vibes and energy for whatever reason, I don't care how many people they bring in the door or how many CD's they sell. Now while that might not make me rich as an agent...I stay grounded and remember that I never set out to do anything but love music and be involved with helping the ones I love get heard. So, for me, helping thoughtless and mean people disrupts my life too much. I find it hard to focus when something is not fitting my soul. Quite honestly, I don't like the way I react sometimes when I'm hurt. So that may be something you want to think about; Are you willing to deal with rotten and sometimes misplaced egos, arrogant know-it-alls, self-proclaimed Guru's, and those who think you are only as good as the last gig you got them? If you are dealing with them...can you take care of yourself above all and not let it run you down? If so - then give it all you have..and I'm here for you when it gets disturbing :) And it will.

Another spin is if you are hired by the venue to book bands. Then you will have a budget to book bands on and say each act gets 300.00 - your fee to the venue will be 10 - 15% above that and the band clears their agreed upon money. (This is dependant on whatever agreement you have for the venue - they can differ and PLEASE place a value on being able to book in or work for the venue itself, many times...just having that kind of "in" somewhere is worth more than money in the long run - ALWAYS think ahead and don't be afraid to barter) You can do this and work for more than one venue and you would then consider yourself a "Talent Buyer" for several.

2. How do you know which is going to be better pay for the performer, cover charge or a flat rate? Isn't it just a game of chance? Or do you think the club owner will be able to accurately estimate what the door proceeds will be?

In all honesty - unless you have a track record for the band or a good idea what kind of steady crowd the venue has - it is a gamble. Many times - it's not your choice what to do. More often than not, venues force a band to work for door unless they are well known - or for a very low guarantee. Many times a club owner will know...especially if they have worked with the band before...but don't depend on them to be honest with you. Many club owners shy away from working with "agents", especially for local acts. And again..I encourage you to build your chops and education on local acts, and at the same time work on your reputation among venues as being a nice person to deal with. When it comes time as you grow in reputation, for them to come through for you....it's much easier to barter and get what you want. And please, do not work with acts, or support acts that play for beer. A free gig should be a charity function or an exposure function. Whether free alcohol is involved or not...never make it a part of your contract to support "play for beer" and make it clear in writing that any of those agreements are for the band and venue to decide only. It makes a joke out of you and them and places no value on what you are doing. I don't even barter how many free drinks they get and all my contract states is that they minimally must receive free non-alcoholic beverages. If the band barters their salary away for booze..that's up to them...but the venue better have your fee. And always, if applicable, ask for at least your fee, as the deposit.

As far as a fee for door jobs, you are entitled to the same percentage as if it was a guarantee - but of course...you need to get the peeps in there to make any money. And always make sure you have someone scheduled to be at the door with the venue rep, with a head counter. If you are working fro 100% door...the venue doesn't even need to touch your money, but they may require someone checking ID's. Don't give them the opportunity to dip into the door fee. Another article I wrote explains this in a bit more detail and you can read it here http://www.awarnerentertainment.com/VenueOperatorsArticle.htm.
I watched a local musician, on a two night gig deal, go from 250.00 on Friday night, to 675.00 on Saturday night. The difference? I watched the door on Saturday and about the same amount of people were there. Needless to say..I never worked that venue again. And boy were they mad Saturday night as they tried to tell me they had to work the door. No they didn't. They needed to check ID's and stamp hands...they didn't need to handle our money. Because at the end of the night..it was all ours. No percentage went back to them. That particular venue has since been knocked to the ground - one has to wonder why it changed so many hands only to end up brick stubble. :)

**NEVER discuss your fee with a band. It's none of their business how much you make and all they should be concerned about is whether or not they agree to the fee you have offered. You meet with the venue, you set the fee with them...offer the band the money outside of your fee. That does not, in my opinion give you license to intentionally rip someone off by obtaining 1000.00 for a band and just because they agree to 500.00 - taking 500.00 for yourself. What goes around comes around - and in my opinion, that's not morally right unless you are a huge agency with lots of overhead to account for it.

3. Is it not a good idea to try and get bookings from two clubs directly across the street from each other?

VERY bad idea. Not only will you alienate one or both of the clubs from your networking roster - you won't be doing the band any good either. But the bottom line is...if they are good venues, you want one or the other. Not both. If your band ropes in the crowd...then you have every right to approach the venues privately and professionally (you don't want it to appear like a bidding war) and say "Look, guys...this band, as you well know, brings in the money. I am in the position to have make a decision based on what's best for the band.....(blah blah)" Most venues do not want a band appearing with them that have played anywhere close to the area in the last 3 months. It's professional to ask the venue what their desires are and stick to them. If you cannot see the band making much money in the area, then you are not required to make any kind of exclusive appearance deal with anyone. Remember...the band's best interest. But don't step on a venue's toes by agreeing to something and then screwing them over down the street 2 nights later.

If you don't already have one..I suggest building a local website, to feature and support your local area community in your own special way. Review shows, review venues and their staff on a night you attended the show you are reviewing. It doesn't matter how many there may already be. It's natural to see support breeding support. And at this point you are selling yourself as a music community support representative. That's the best way to do it. And as an "agent" it would also be your responsibility to help promote the gigs you book. A media list will be handy for that, as well as website. I'm able to help with that if you need it.

Do not hesitate to require bands actively promote themselves that you are working with and touch base with someone that believes in what you are doing and enlist help with poster runners, make friends with your area's free entertainment calendar publishers, which are usually your local rag mags, and be creative with your promoting skills. In the bigger world of this industry, promoters and bookers are two different people. On a local level...you are one in the same unless you can afford someone to do that part of it for some of your fee. But on a moral level...you will always be accountable - so make sure everything begins and ends on the up and up regardless of what the rumors end up being :)