Tips to self-manage your career until you are agent-worthy

In the occasion of Incite Management 10th birthday I got an opportunity to interview its founder, Rochelle Sharpe. Rochelle shared some amazing tips for all the readers wondering what are the best practices to self-manage one’s career. Enjoy!

1. Hello Rochelle, it’s great to have you for this interview.

Hello, it’s wonderful to connect with you and share some of my insight as an agent for composers in our Film, TV, & visual media circle.  

2. Can you tell me a bit of your story, how you came to establish Incite Management, and how it changed in its first 10 years?

After majoring in Piano Performance at the University of Southern California, I started my journey in the Royalties department at MCA Music Publishing, now Universal Music Publishing. I was quickly introduced to the Music and Film/TV department at Uni Pub and got a job in the music department at PolyGram Filmed Entertainment.  As studio music executive at PFE, I worked in music licensing for PFE films, PFE Television, oversaw music for their trailers, and was Manager of Film Music.  After PFE’s dismantle, I became Director of Music & Marketing under Russell Schwartz at USA Films.   After an amazing run working with these studios, I decided to pursue a career in Music Supervision as Music Coordinator at Segue Music under Frankie Pine and alongside Segue’s leading industry music editors and eventually working as a Whirly Girl Music Supervisor under Frankie Pine at Whirly Girl Music.  I worked on various Films and TV shows including “Traffic”, “Ocean’s 11”, “Ocean’s 12”, “Joe Somebody”, “Bruce Almighty”, “Crossroads”, “Queer Eye For The Straight Girl (TV series)”, “Jimmy Neutron:  Boy Genius”, and “Dr. Dolittle 3”.  In January 2006, an opportunity evolved from a producer whom I was providing music supervisor services.  This producer was partner at world renowned below the line agency, Marsh, Best & Associates, and asked me to run their new music division.  After some thought and having the desire to go back to my orchestral roots from my classical music background, I decided to try management working with composers who write cinematic scores.  I was appointed as Head Of Music to run MBA’s new music department and represent talent for Film, Television & Visual media.  After a handful of years, I received the opportunity to move to Cutting Edge & Air-Edel management team where I ran the Air-Edel US office.  

It wasn’t until October 2011 that I decided to start my own company Incite Management Inc. after some requests from talent in our industry who expressed interest to have representation with a smaller agency.    Incite’s roster has grown the past 10 years, however, our focus is to continue to maintain the boutique model, keeping our roster small and eclectic which enables us to give our clients special attention to help nurture their careers the best we can.  

3. What is the process Incite follows when taking on new composers clients?

My approach is with special thought and consideration when signing a new client.  We sign composers who have exceptional music and who also understand the business side of the process.  Patience & hard work is key to build new relationships.  We consider unsolicited applications, however, most signings are from relationships or referrals.  

4. What should a composer try to do/achieve early on in order to enter the agents’ radars?

I encourage composers to have some experience whether short films, ads, film, or TV before engaging an agent.  This will better help them get noticed and ultimately help the agent find them work.  I also encourage new composers to keep writing when they’re not signed to a project.  This will help build their library in the early stages of a career for agents to have music to pull from for submissions.  And can also help a composer find their voice.

5. What are some of the most-frequent mistakes you have seen composers make at the beginning of their career?

Luckily, I haven’t had any composers make any mistakes at the beginning of their career.  I have observed or heard of some mistakes from fellow colleagues with a composer being difficult when signing onto a project.  It’s very important a composer sign onto a project knowing it’s a collaboration.  The minute there is any resentment towards a deal or political arrangement, the job goes South.  All great works come from teamwork and great collaborations.

6. Could you order the following from most to least important and shortly comment each?  

Scoring short films – This will be great practice and help you discover your voice.

Feature a strong/unique compositional voice – whether with melody, sound design, or chord progressions, this is what will make you stand out from the rest.

Have a showreel – A showreel will help better showcase your talent if you don’t have a recognizable credit.

Attending festivals/awards/conferences – Networking is key to build new relationships or learn from other composer colleagues in the visual media community.

Have a professional website – A website is a good place for point of contact for producers to be able to connect with you and listen to more of your music.

Have a strong presence on socials – This is a nice avenue for fans and/or work colleagues to get quick updates about your new projects & music.

7. Is there a recurring reason why you decline working with composer who would otherwise be perfect candidates?

It’s ideal for a composer to be confident with their skill and music, but not be difficult with the work process.  As I mentioned above, a good collaboration is key and I learned earlier in my career, by observation, that it’s close to impossible to get a composer hired if they have a reputation of being difficult during the work process. 

8. Should composers who have mastered the art of self-management still consider hiring a professional agent?

I believe yes.  An agent helps seek work for a composer which is time consuming.  It’s especially important when a composer is busy working on a project.  The composer should focus on writing for the project while the manager/agent does the research for prospective work.  It is also key to have an agent negotiate the deal to avoid any awkwardness when negotiating with the producer whom you are providing creative writing.

9. Thank you so much and happy birthday to Incite Management!

Thank you for this opportunity to connect with you and discuss Film, TV, & visual media music.