by Certified Speaking Professional, Michael Scott Karpovich
The first question every speaker seems to have about bureaus is: "How can I get a bureau to represent me?" All seasoned speakers will give you the same pat answer... "When you need them, they don't want you and when you don't need them, then they want you!" Typically, this is true but you as a speaker can get a bureau to notice you sooner if you are very good at what you do, are a team player and respect a bureau for the work they do. I will always love working with bureaus. Let’s face it...they do a lot of the work that we would usually have to do and they lead us to new clients.
Still, it is foolish for any speaker to rely solely on a bureau to keep them busy. A bureau works with many speakers and cannot be expected to focus on your calendar. Of course, as always, your calendar will reflect your quality as a professional speaker.
If you get an engagement from a bureau, remember that you are working for that bureau. That is, the bureau is your client and the actual client is that of the bureau’s. When you realize this, you recognize that your work reflects on the quality of the bureau, not just you! Thank the client for choosing to work with such a high-quality bureau. I also often send a gift to my bureau to say thanks. Bill Sanders taught me that bureaus are looking for speakers who are ready to be part of a team.
When you prepare your promotional materials, remember that the bureau will not use it if you have your address and phone number all over it. Often bureaus recommend that you put your address and phone in one place where they can put their businesscard-size sticker over your numbers with their own. I recently printed several promotional pieces with a blank for their numbers -- this is going the extra mile and is appreciated.
Another aspect of being part of the "team" is giving the bureau leads. Sometimes clients contact me for a date that I cannot speak on or a subject that I do not speak on. If I know of no other NSA members who speak on that topic, I will offer the client the bureau’s number. This impresses both the bureau and the client.
There are four ways that my bureaus found me. First, I called them. I found a bureau that I wanted to work with and I simply called and asked if they would look at my promotional material. This bureau asked for any and all tapes that I had and became my first bureau contact. Secondly, one bureau saw my ad in our state directory when we sent her a copy to promote PSAM membership. She liked the ad and asked for my material. Another saw my national ad and similarly asked for my material. Thirdly, another speaker friend that I met at the national convention (Eric Chester of Colorado), recommended me to a bureau and they called me. Finally, and probably the best way, was when one bureau happened to be in the audience where I spoke and enjoyed the presentation enough to ask for my materials.
There are several types of bureaus. Some charge a fee to list you, some add their fee on top of yours and some take a percentage of your fee as theirs. I only work with the latter who take a percentage of my fee. This percentage is usually 25% of my fee. When you realize just how much work the bureaus do for your engagement, it is more than worth it.
Working with bureaus has helped me to remain consistent with my fees. Occasionally, clients will call a bureau, get a name, and then call the speaker. Since a good bureau will never negotiate your fee, it is important that you remain consistent with your fees when a potential client calls personally to negotiate. Once I almost discounted my fee for a client when a bureau called me with the same client. When I realized what was happening, I recognized that I almost put a valued bureau relationship in jeopardy. So, if you choose to work with bureaus, you need to be consistent with your fees.
Some speakers seem to be uncomfortable with bureaus. Certainly, there are good and bad bureaus just like there are good and bad speakers. But for me, bureaus are an advantage that I appreciate.
Copyright © 2000 Michael Scott Karpovich
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