How I work
One person, brief to signature.
The person who reads your brief is the person who negotiates the deal. No account team, no handoff, no re-explaining the campaign to someone new in week three.
That is a real constraint as much as a selling point. I take a limited number of campaigns at once, and if a brief needs more capacity than I can honestly give it, I will say so rather than take the retainer and staff it out.
The engagement
- 01
Brief
What you are building, who it is for, and the budget band.
Day 0
- 02
Shortlist
Talent matched to the brief, inside my roster and outside it.
3–5 days
- 03
Negotiation
Rate, deliverables, exclusivity, and usage — settled before anything is signed.
1–2 weeks
- 04
Contracting & disclosure
Agreements, FTC disclosure, and — where minors are involved — trust and permit compliance.
1 week
- 05
Production & approvals
Shoot, review cycles, and brand sign-off without the chase.
2–4 weeks
- 06
Reporting
What ran, what it did, and what to do differently next time.
Post-flight
Timelines assume a clear brief and a reachable decision-maker. Talent with agency representation adds a week to negotiation; minors add a week to contracting.
Capability
Talent casting & brokerage
You have a brief. I find the right creators, negotiate the rate, and close the paperwork.
Who it’s for
Brands and agencies with a campaign defined and no shortlist.
What’s included
- Talent sourced against the brief — inside my roster and well outside it
- Rate negotiation, including performance-linked structures where they fit
- Deliverables, exclusivity and usage windows agreed before signature
- Contracting and FTC disclosure
What I need to start
The brief, a budget band, and one decision-maker.
Capability
Campaign execution
Deliverables, timelines, usage rights, approvals, and the follow-through so the content actually ships.
Who it’s for
Brands with talent already identified who need the campaign to actually ship.
What’s included
- Production scheduling and talent wrangling
- Review cycles and brand approvals without the chase
- Usage-rights tracking across the flight
- Post-flight reporting, whether the numbers are good or not
What I need to start
Creative direction, the approval chain, and a launch date.
Specialist
Family & minor-creator campaigns, cleared
Trust accounts, state law, disclosure, and the documentation your legal team is going to ask for.
Who it’s for
Brands running campaigns that feature minors, and family channels.
What’s included
- State trust-account obligations, mapped to where you film and where the family lives
- Guardian consent, work permits and permitted working hours
- FTC disclosure written for an audience that includes children
- A documentation pack your legal team can approve in one pass
What I need to start
The concept, the territory, and your legal contact.
Boundaries
What I won’t do.
- Take a campaign I don’t believe the talent should be in. I have turned down money over this and will again.
- Place a minor in a category I wouldn’t put my own family in.
- Let talent sign something they haven’t read and understood in plain language.
- Promise you a name I haven’t personally spoken to.
- Take a brief I don’t have the capacity to run properly.
- Quote you a number before I understand the scope.
Questions
The ones I actually get asked.
You’re one person. What happens when the campaign gets big?
The negotiation and the relationships stay with me — that is the part you are hiring. Production scale comes from the crew and partners I bring in around a specific campaign, and you are told who they are before they start. What you do not get is an account team you never met making decisions on your brand in week three.
Do you only work with talent on your roster?
No. Most briefs get filled from outside it. The roster is the talent I represent directly; the useful asset is nine years of relationships across sport, music, and creator families. I source against the brief first and worry about who has a contract with me second.
How do you price?
Campaigns are priced as a project against the scope — talent tier, deliverable count, usage window, and territory. I quote after the brief, not before, because a number without a scope is a guess. Where I represent the talent directly, that relationship is commission-based and disclosed to you up front.
Can you work with our existing agency?
Yes, and often that is the cleanest structure. I handle talent identification, negotiation and contracting; your agency keeps creative and media. Roles get written down before anyone starts so nothing falls between us.
What do you need from us to start?
The brief, a budget band, a timeline, and one decision-maker. The budget band is not a quote — it sets which tier of talent is realistic, and it saves both of us a fortnight of shortlisting people you were never going to book.
Our legal team is nervous about creator campaigns. Especially with minors.
Good. They should be. Sixteen states now have or are proposing trust-account obligations for minor creators, and Illinois, Minnesota and California are already live. I have run child-creator deals through brand, book and television, and the documentation pack I hand your counsel is built for that review rather than retrofitted after it.
How fast can you move?
A shortlist against a clear brief is three to five days. Negotiation is one to two weeks depending on the talent’s representation. Contracting and disclosure is about a week. If a date is immovable, say so in the brief and I will tell you honestly whether it is achievable rather than discovering it in week four.
What if the campaign underperforms?
Reporting happens whether the numbers are good or not, and you get the read on why. More than half of brand deals now carry performance-linked terms — where that structure fits, I will build it into the negotiation so the incentive sits with the talent as well as with you.
Something not covered? Put it in the brief.