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[Q25]Questions To Ask People

by Donald Mitchell, Don

--Southwest Airlines announcement

When I started the 400 Year Project (a program to identify ways that everyone can improve performance 20 times faster), I had no idea of how that fine purpose would be accomplished. I also knew that I needed a lot of help.

What to do? I decided to be candid in speaking about what I didn't know how to achieve this task . . . but that I was looking for help. Since many people demand lots of guidance before they want to get involved, this approach ran the risk of turning my audience off.

What was the response? It was most encouraging.

Outstanding leaders, such as those who attended that gathering, were accustomed to the idea of stepping out to make a major commitment without knowing exactly how to proceed. Someone mentioned that it was like when John F. Kennedy first became president and proposed sending an astronaut to the moon and back before 1970. A number of people quickly came forward to wish me good luck and to offer their assistance. Before the afternoon was over, we had a steering committee of terrifically talented people. I promised to keep them informed of our progress and reminded them to save the date for the vernal equinox in 1996.

Buoyed by that reaction, I wanted to find out what my Mitchell and Company colleagues had to say. They expressed more reserved support. They asked good questions:

How would I be able to pursue such a large project and still lead our consulting firm?

What would their roles be?

I had no easy or reassuring answers for them. I acknowledged their concerns and promised to keep those concerns in mind as I organized the project.

Interestingly, the people who expressed the greatest reservations were the ones who did the most to help the project. Those who asked no questions were, by comparison, not nearly as helpful or forthcoming.

My advice to you in pursuing something new is to encourage lots of questions and challenges. The commitments that follow will be ones that be very helpful.

You will get better questions to answer if you allow people to experience what it might be like to accomplish your task. A good way to begin is to share a story that connects to your theme and its results. Then, give examples that suggest the possibilities. But don't be too explicit. Allow people to dream with you.

Good luck in reaching out to the next frontiers!

In general, it's very important not to sell yourself too short OR price yourself too high. What determines this is not just the "market rate" for the services you're delivering. When you're setting your fee for a job, take the following into consideration - every time:

RATE "CALCULATOR"

1) What the market rate range is for the gig;

2) What experience you'll gain;

3) What contacts you bring;

4) What contacts you'll gain;

5) What relationship(s) you'll form with whom;

6) What credit you'll receive;

7) Who is issuing that credit (it matters!);

8) What experience you bring to the table;

9) When you will be paid.

Seems like a lot! Believe it or not, ALL of these are monetized in the entertainment industry. So do that 9-point checklist on every offer and adjust accordingly. Let me quickly break down how to use the list:

1) Market Rate. This is your opening number. You can always start with Guild tables; for screenwriting and teleplays, for example, the Writers Guild posts a Schedule of Minimums for payments on their Web site. If you AND your potential employers are novices, this quote will probably be too high for you, for the reasons on the rest of the list. So beyond the various guilds and unions for your industry, a great way to research the market rate is to ask someone who recently was promoted past the position you're considering. They'll be happier to quote their former rate than reveal their current one! How to find them? Get online on the industry forums and boards! Join a Yahoo! Group in your field and post away.

2) Potential Experience ("-"). If you'll get important professional experience from the gig, this is worth lowering a quote in negotiations with someone who cannot pay much. The new work experience will help you get better jobs (and pay) as you rise. If the employer is a complete newcomer, however, be realistic about what kind of training you'll actually receive. The key question to ask is, "What are the credits and background of the most experienced person I'll actually be working with?" That will let you know how much you'll learn in the process of doing the job.

3) Your Contacts ("+"). If you are bringing key industry names to the project, and that is part of what you are expected to contribute, that's a bump for your fee.

4) Potential Contacts ("-"). There's nothing worth more money in this business than personal contacts. If you'll walk away with a great database of vendors, staff, crew and other industry contacts you connected with, take that into consideration as you set your price.

5) Potential Relationships ("-"). Beyond contacts, if the gig has you working closely with major players in your field, it's worth flexibility on your fee. This isn't just who will be on set with you. Which legitimate agents, managers, designers, network execs, bookers, casting agents, etc. will be part of the project and seeing you shine? Relationships are worth MORE than money in Hollywood.

6) Your Credit ("-"). If you have to choose between money and a better credit, in the beginning, go for the credit - as long as it is an accurate one! In other words, don't trade a writing credit for a "co-producer" (meaningless) or "producer" credit if you only wrote the script. Your producer credit will be vetted and tossed out in any credit dispute if the project goes anywhere. But if you're working on a TV pilot, and they can't pay well, but you can get an Associate Producer rather than a Production Assistant title, that is worth money in the bank on your next job. So work with them on your fee.

7) The Credit Source ("-"). A credit only means as much as the person who gives it to you. If a major company offers you a lesser credit, don't dismiss it outright. That company's good reputation and position in the industry might give you more heat when you go to your next gig - and it certainly can open that next door a lot faster.

8) Your Experience ("-"). If you're new in the game, this is where you'll potentially shave quite a bit off of your quote, and that's a wide open range. If you'll be working for an established company, there still are minimum expectations for rates (again, check with outside people at the level above where you're being hired). Established companies are offsetting the lower rate with a list of career and future financial benefits. Newcomers are not. So if you are providing a real product or service to a fellow industry newbie, you must be paid for it. And not on the "back-end" (where unicorns and Bigfoot and other myths live)!

A producer who can't shoot a film without your script...can't shoot a film WITH your script - because they don't have money. It costs money to make a movie, and part of that should go to compensating the writer, especially since, unlike the crew, you are getting no other tangible experience in the process, and your writing credit will be skeptically received on an indie film that never saw the light of day. But if you've never had a script produced or done a modeling shoot or been in a play, and a newcomer wants to hire you, don't even think about holding fast to union minimums. Work with them on a fee or some tradeoffs, per the list above and the tip that follows.

9) The Pay Date ("+"). The later someone is going to pay you for your work, the more you can bump (slightly increase) your fee. Almost everyone reading this has been approached by someone who wants them to do work for free (on "spec"), with promises of payment "on the back end." That's meaningless because you're pretty much never going to see a back-end payment (it's possible; just not likely!). So here's a rule. If you are doing physical work for someone (writing a script, walking a runway, doing a photo shoot), you must arrange to get physical "payment," of some sort, when you do the work.

If the employer is an established company and you are a working professional, do not do spec work for them. Once you do it for free, you will always be expected to do it for free - or at least for too little. Thank them for the offer of employment, let them know you don't work for spec but are excited to work with them, then work out a deal memo through your lawyer, offering them an introductory fee for this first project and establishing a minimum "floor" for any projects that follow. Established companies are never shocked to talk to lawyers (that's how we do things in Hollywood), and they are more than used to paying for people's work.

Newbie employers can offer you "deferred payment" - but also request a guaranteed in-kind benefit you can leave that gig with (and sign that in a deal memo, too). If you're doing a fashion show for someone, ask them if they will at least hire a professional digital photographer (or let you bring one) so you can get shots (free clothes aren't enough - those won't get you your next gig!). Ask the designer to alert the photographer that you'll be bringing a laptop or memory stick to download your images before you leave, and bring a thank you note and truffle for the photographer. If you're writing the script for someone's film, ask them to buy a copy of professional screenwriting software and turn over one of their access codes to you. Work with strapped newbie employers to see what they can offer you in exchange for your labor - since they're not offering you entr'e to the contacts, relationships and respected credits that would otherwise make a lower rate worth it.

ONE LAST WORD. As you work more steadily in this industry, your "rate" transforms into your "quote." Your "quote" is what you were paid on your most recent gig(s), and it's the magic number everyone expects to pay you on your next gig. So once you begin working more steadily, you must be very protective of your quote, regardless of the additional benefits a certain gig would offer. Be particularly wary of being asked to accept a lower rate in exchange for a higher credit because that sets a ridiculously low quote for your new credit level. Sounds pretty sticky and uncomfortable? That's why people have agents.

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Both Donald Mitchell & Dma/donna Michelle Anderson are contributors for EditorialToday. The above articles have been edited for relevancy and timeliness. All write-ups, reviews, tips and guides published by EditorialToday.com and its partners or affiliates are for informational purposes only. They should not be used for any legal or any other type of advice. We do not endorse any author, contributor, writer or article posted by our team.

Donald Mitchell has sinced written about articles on various topics from . Donald Mitchell is an author of seven books including Adventures of an Optimist, The 2,000 Percent Squared Solution, The 2,000 Percent Solution, The 2,000 Percent Solution Workbook, The Irresistible Growth Enterprise, and The Ultimate Competitive Advantag. Donald Mitchell's top article . to your Favourites.

Dma/donna Michelle Anderson has sinced written about articles on various topics from Home Improvement, Web Development and Computers and The Internet. is a former film story analyst, international model and stage performer who is now the executive producer of Tidal Wave TV, a new media and reality TV pro. Dma/donna Michelle Anderson's top article generates over 22200 views. to your Favourites.