# Payment schedule? Up front pay?



## Bropecia (Sep 12, 2018)

So yesterday I was given a Per episode breakdown of payment for composing music for 10 episodes on a cable comedy series. It’s very low but doable IF they can start me with a down payment. My question: How common (or not) is it to negotiate for say, 30% of the entire amount upfront? And then break it into benchmark payments for the rest of the post sked? I ask because if they insist on paying me these small per episode figures only upon each episode’s completion, it means I will have to be working my ass off at essentially no pay for like the first 3 to 4 weeks until I make a delivery on the first one — something I just don’t think I can swing because I won’t be able to have time to do any other kind of work to bring in cash during that first phase. I don’t have a enough of a financial cushion to rationalize that. I’m hoping that invoicing for a good faith start fee is fairly common practice because I basically have to take this gig as it’s for friends AND my entrée into the business which we all know can be the hardest nut to crack. if anyone’s wondering, sure I can ask my friends directly to help me out here (and it might come to that) but I’m trying to be polite and insulate them from the negotiations by working directly with the production company... first. I’m sure the production company rep will ask them at some point but I like this degree of separation, if that makes sense. I’ll be able to save that friendship card for a later date when it becomes necessary.

Thanks in advance for reading and any insight offered.


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## AlexanderSchiborr (Sep 12, 2018)

Bropecia said:


> So yesterday I was given a Per episode breakdown of payment for composing music for 10 episodes on a cable comedy series. It’s very low but doable IF they can start me with a down payment. My question: How common (or not) is it to negotiate for say, 30% of the entire amount upfront? And then break it into benchmark payments for the rest of the post sked? I ask because if they insist on paying me these small per episode figures only upon each episode’s completion, it means I will have to be working my ass off at essentially no pay for like the first 3 to 4 weeks until I make a delivery on the first one — something I just don’t think I can swing because I won’t be able to have time to do any other kind of work to bring in cash during that first phase. I don’t have a enough of a financial cushion to rationalize that. I’m hoping that invoicing for a good faith start fee is fairly common practice because I basically have to take this gig as it’s for friends AND my entrée into the business which we all know can be the hardest nut to crack. if anyone’s wondering, sure I can ask my friends directly to help me out here (and it might come to that) but I’m trying to be polite and insulate them from the negotiations by working directly with the production company... first. I’m sure the production company rep will ask them at some point but I like this degree of separation, if that makes sense. I’ll be able to save that friendship card for a later date when it becomes necessary.
> 
> Thanks in advance for reading and any insight offered.



Do you know them good? Did you work for them already in the past? If not..No, no. Upfront payment at least 30 Percent. Otherwise I would say that they go "f" themselves. Don´t trust them, don´t trust anybody when it comes to money. People are the nicest ones when they want something from you. Get an upfront payment before you turn on your computer. Before delivery you get the rest, dont deliver before full payment. And I hope they pay you good!


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## Bropecia (Sep 12, 2018)

AlexanderSchiborr said:


> Do you know them good? Did you work for them already in the past? If not..No, no. Upfront payment at least 30 Percent. Otherwise I would say that they go "f" themselves. Don´t trust them, don´t trust anybody when it comes to money. People are the nicest ones when they want something from you. Get an upfront payment before you turn on your computer. Before delivery you get the rest, dont deliver before full payment. And I hope they pay you good!



Agreed... I know the creator’s well just not the prod co.. and cool I will insist on an upfront payment to start. I just wanted to make sure this was common practice before I engage them in negotiations.


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## AlexanderSchiborr (Sep 12, 2018)

Bropecia said:


> Agreed... I know the creator’s well just not the prod co.. and cool I will insist on an upfront payment to start. I just wanted to make sure this was common practice before I engage them in negotiations.



I mean..you can ask always, thats not something what is not allowed, you will see how they react and behave.


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## Jeremy Spencer (Sep 12, 2018)

Is there an actual contract in place? If not, you should never, ever proceed with such a production until all this stuff has been documented and finalized (regardless if they're your friends or not). And...get a lawyer to review it before committing. If these guys take some sort of offence to a contract, I agree with @AlexanderSchiborr in that they can go and "f" themselves.


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## chrisr (Sep 12, 2018)

I don't think I've ever been paid for anything prior to delivery, for what it's worth. I don't think I'd ever* (see below...) ask for money up front either, as the client would suspect (rightly in your case?) that there's a risk that you'll struggle to manage due to your financial circumstances because you'll have to prioritise other (quick paying) work?

The only time you can legitimately ask for payment upfront (and I would) is if you have reasonable doubt about the production company's ability to pay. When I worked in post-production the boss would run an Experian credit check on any new clients and some would come back showing moderate/severe risk. He'd politely explain to them that they would have to pay by credit card (on the day at the end of the session) before we'd give them the recorded material and they'd almost always agree to those terms. It's a very easy and civil conversation to have.... but in that scenario they need him more than he needs them, frankly.

Anyway, if you end up begging/borrowing/stealing money from elsewhere in order to allow you to take this gig, also consider that you may not get paid for _quite a_ _looong_ time (weeks/months) after submitting your first invoice - it's not like being an employee! Also, if you're going to spend 30-40 weeks of your year on this gig, is it paying enough for that amount of work?

Where you will find flexibility here is with your _personal time_. Can you keep your current paid employment running and moonlight whilst you start this job? Evenings/nights/weekends for a few weeks/months? Can you produce an ep in less time? etc etc...

Ultimately, far better than going back to them and accepting the low figure whilst also simultaneously asking for a down payment (looks bad!), would be going back to them and simply asking them for more per ep (looks good!).

Good luck with it all!


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## X-Bassist (Sep 12, 2018)

I think you can ask but be nice about it and explain your need. When working with new production companies sometimes people will ask for a third up front, a third halfway through, and a third when the last show is delivered. TV Production companies many times get their bidgets that way from networks, so they are use to this kind of schedule. But some may want to put off a major payment until they see something, especially if your an unknown element (ie- got the gig through a friend and have never done this before), so be understanding if they are apprehensive about signing over a check. Be re-assuring that you want to make the best show possible and are excited to be a part of it- this is what producers waht to hear. Thank them if they agree to your upfront fee.

Signing a contract is always good but it doesn’t have to be formal. I personally like to come up with my own contract so I can choose clear, simple language. Just google for other contracts and start cutting and pasting. Most start with definitions of those involved and I would definitely follow the outline of other contracts, but keep it simple. The simplier it is the easier it will be for them to sign. Add a clause about “delivers may vary based on delivery of locked picture to the composer, but every effort will be made to ensure an ontime delvery of materials to the mix stage” - this gives you leeway if they start delivering picture to you late but unually sounds reasonable to a producer. Don’t bother to include exact dates because if everything gets behind it all goes out the window, yet if you set dates in contracts producers may still hold you to them, so they can only work against you. Saying “for work from Sept 2018 to December 2018” or “for the length of the season, not exceeding...” is better for when things change. But having and end date keeps the producer from thinking he can get enless revisions (like for dVD or online release) years later for no additional cost.

If they give you a contract go over the whole thing (take a few days if you need it) and ask a lawyer about anything you don’t understand. But the first payment could be made when contracts are signed and delivered. Just make it clear in the contract, then send them an invoice once it’s signed. Easy.

Alex, say “f” you to anyone is way over the top, even if they don’t have money (I realize you may have been screwed in the past by a producer, maybe more than one, but unless your dealing with that person again (why would you?) using that tone is not just setting a bridge on fire, but destroying it’s ashes and any possibility of ever working with that person again, plus their assistants, crew, cast, and anyone else that might be influencial. Don’t shoot yourself that way. Handle it gracefully and people notice, handle it badly, and people notice (It’s never turned out well when I’ve had a bad attitude, but I’ve seen people with good attitudes turn it around into something profitable).

But if they are offering to pay you and pay you somewhat decently, you should kindly take the job (especially with little experience). They are also taking a risk by hiring you (you know how impossible it is to replace a composer with just days before the episode airs?) so be thankful and like you said, if all goes well (personality wise as much as the end product) then there may be more, with a raise.

So let them know you need a third upfront to cover your bills, no one has ever had a problem with me saying that, even when I’m asking for tens of thousands of dollars, so don’t worry. But any posturing or “I won’t do anything unless I get...” will get you quickly kicked off the team, or at the very least be scrutinized for every cue because they want an excuse to kick you to the curb (all because of one comment). I’ve been in these post meetings, people who come across as friendly, helpful, and eager to get things done right always last the longest. It all starts with theat first contact (and first negotiations), so ask for what you need, be open and honest, but be as kind and understanding as you can (low budget productions are also mostly concerned about their money problems too). I’ve found with the right approach almost anything can be worked out- but you got to get them on your side first, and that comes through a good attitude and work ethic.


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## Jeremy Spencer (Sep 12, 2018)

X-Bassist said:


> Signing a contract is always good but it doesn’t have to be formal



IMO it should be as formal as possible, and very precise and detailed, especially for something like a series that will be airing. I would strongly advise against creating one yourself, just pay a lawyer who is versed in this area. I had a lawyer draft a few general contract templates that I use for simpler projects. Based on my experience, the production company will provide ME with a contract (usually work-for-hire), not the other way around.

If there is no formal contract I place (and is just a hand-shake verbal agreement), you are surely setting yourself up for disappointment. If the project folds after you've written a ton of music, you'll have nothing to prove they owed you anything. been there, done that


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## jhughes (Sep 12, 2018)

I don’t make my living from composing but I’m a pro musician. I basically require contracts and deposits for almost all of my work. This was necessary due to experiences dealing with people.
Otherwise, you put things on the calendar, they call and cancel at the last minute, you’ve turned down other work, etc. You are left with nothing.
I think it’s fair if someone wants you to invest your time, then they should be required to invest something in return. People will take advantage of the situation if they can just walk away from it, losing nothing.
Like the previous poster said, be detailed in your contracts.
Also, this will be a positive for some clients, they will realize you take your profession serious and respect you for it. Sure, it ill run some off...but potentially for the best.


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## Bropecia (Sep 12, 2018)

Okay great thanks guys. A few different views here which I suppose is not unusual since personal job experience will vary. I definitely don't want to seem desperate - the truth is I want to knock it out of the park and feel like I can focus 100% if they're amenable to something like this. I just don't want to open the convo with a request that's highly unusual. If 'start pay' happens at all in this aspect of the industry, I'm comfortable asking. I found a short Don Passman passage on-line that indicated an up front payment to commence was somewhat customary, but I wanted an updated opinion. I'm also in LA, probably different from region to region. Also yes, I'll have any contract reviewed or present my own if need be. Thanks everyone! Anything additional very much appreciated.


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## Beluga (Sep 12, 2018)

Don’t overthink, just ask for 30% upfront. It’s fine and common. I do this systematically for certain amounts especially if I don’t know the client.


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## JohnG (Sep 12, 2018)

I'm surprised at all this certainty about up front payment, actually. For series work I've never gotten paid upfront -- CBS, Disney, Universal etc. They don't do that. 

I also don't think it's a good strategy to beg or to cry poor. "Hey I'm a super great, in-demand composer but I'm so short of money I can't start without a downpayment."

Possible Approach

Nobody on this thread knows enough to advise you on this, so you have to make the final call about whether you have any leverage at all. You could simply say, "_hey, I'm super excited to work on this and I have a lot of creative ideas for it. That said, business is business, and we don't know each other that well. I'm going to be putting a lot of time in this from day 1 and I would like to get 25% of the payment up front as a 'good faith' downpayment._" Then shut up. Don't apologise for your request or negotiate against yourself. 

If they are not willing to give any money up front you are risking the possibility (obviously) of doing a lot of work with no payoff. On the other hand, if you are brand new at this, possibly it's reasonable for them to want to hear a bit before plonking down cash. And if they don't pay, at least you own the music, unless you sign something to the contrary.

Contract?

As far as contracts, since none of us knows what's going on (how much money, who the producer is, and so on) I think it's somewhat bold to make recommendations.

Personally, if the money is terrible, I would try to use as your agreement something called a synchronization license, or "sync license" as it's known. That allows the producers to use the music in this one show in exchange for paying you a fee. Composer retains the copyright to the music and also the copyright to the recording (the "master" or "master recording").

There is an example of a sync license in my copy of This Business of Music and I'd use that if it were me. A sync license is short and comparatively simple.

If they want to own the copyright to the music you can at least ask why. Are they planning to release a CD? Do they have a deal with iTunes? If they are never going to do anything with it, that sort of stinks for you; they own it and can just sit on it. At least, if it's good, you can try selling it on to a music library.


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## Jeremy Spencer (Sep 12, 2018)

JohnG said:


> I'm surprised at all this certainty about up front payment, actually. For series work I've never gotten paid upfront



I've only done one full series (single season) and never received a dime upfront (which was stated as such in the contract). Actually, aside from live theater, I've never received anything upfront. I always felt it was a little bold to ask for money when I hadn't delivered anything yet. For a cable series, I wouldn't expect to see anything substantial anyways.


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## lux (Sep 12, 2018)

JohnG said:


> I'm surprised at all this certainty about up front payment, actually. For series work I've never gotten paid upfront -- CBS, Disney, Universal etc. They don't do that.
> 
> I also don't think it's a good strategy to beg or to cry poor. "Hey I'm a super great, in-demand composer but I'm so short of money I can't start without a downpayment."



This is correct, but imho depicts a scenario where your client is high enough in the food chain, like the names above. There, one just follows what's the deal-of-the-house (which is basically what all composers do). When I happen to deal with, let's say, a major network here in my country I'm just ok with what's in the schedule, as I'm 100% sure that all my payments will be honored without problems and in a reasonable amount of time. Also, on average, you hardly agree savage ultra-low-budget amounts. So you just work and all is (hopefully) fine.

Different story is when you have to do with a small production which may run out of budget quickly, perhaps in hope to sell the finished product to a bigger firm. There, the risk of not getting paid becomes a reality and an advance may represent at least a small insurance for the aleatory fate of the production itself.

So I say it depends on who your client is.


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## jhughes (Sep 12, 2018)

Hmm, so if you ask for money up front, you are crying and begging poor? Really...

Let's take another career, a lawyer for instance. They often have a retainer fee before any work is done; some charge just to look at something.

Likewise, when you go to say rent a venue to host a performance, many of them require a deposit to hold the date. There have been numerous things in my life that I've had to put down a deposit for....Percentages have varied.

I'm pretty sure when some rich guy rents the venue up from my house, they don't think to themselves, "the owner must be about to go under asking me for a deposit like that."

I suppose I don't get why if a musician practices this it somehow makes them look bad? That since it's a different career, everyone is going to read, "he must be broke" into it?


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## NoamL (Sep 12, 2018)

*No up front* is not unusual. What is unusual is them asking you to begin writing with *no contract* yet in place, which reading between the lines, might be the situation here? If that's the case, it's possibly because they want the option to replace you easily if the music doesn't work for them or for any other reason under the sun. Convenient for them - not convenient for you.


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## Desire Inspires (Sep 12, 2018)

jhughes said:


> Hmm, so if you ask for money up front, you are crying and begging poor? Really...
> 
> Let's take another career, a lawyer for instance. They often have a retainer fee before any work is done; some charge just to look at something.
> 
> ...



Musicians are terrible at business.


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## JohnG (Sep 12, 2018)

Some of the comments here allude to a different world, it appears, than Los Angeles (or, for that matter, the UK, Japan, and elsewhere in the USA). I have, many times, started working with no contract and no money and only a vague understanding of what the terms are -- plenty of times, just a dollar figure and a general idea of the deadline.

I'm not saying you can't ask for money up front -- you can and I even scripted an approach a writer could take. I'm not saying you shouldn't wait for a contract -- maybe you should, maybe you shouldn't. If I want the job I usually start working as soon as possible so that I can (a) finish on time and (b) make sure I snag the gig. 

No contract I've ever seen is going to guarantee that they will use the music. In fact, typically, the contract, if drafted by the production company, explicitly states that they don't have to use your music at all. Moreover, if as you go along in the process, they don't like what you're doing and replace you, it is questionable whether they will continue to pay more money. 

Do whatever you want but it's a disorderly business, with lots of disorderly people. Sometimes there are happy endings, sometimes tears. That's how it goes. If you're new at this and waiting for everyone to line up politely and have a contract with a bow on it, that might come true, or you might be waiting a long time.


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## Desire Inspires (Sep 12, 2018)

JohnG said:


> No contract I've ever seen is going to guarantee that they will use the music. In fact, typically, the contract, if drafted by the production company, explicitly states that they don't have to use your music at all.



That is why you should get paid upfront or reclaim the rights to your music if it isn’t used.


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## tmhuud (Sep 12, 2018)

DISCLAIMER: THIS IS NOT LEGAL ADVICE. Consult a lawyer.

Get AS MUCH upfront as they are willing to give you. Make absolutely sure you have a contract. If you can't afford a lawyer or you can't make a contract AT THE VERY LEAST have an INVOICE. Make sure the Invoice has as much info on production and who is paying as possible. (Name, phone, street address, etc) Make the Invoice complete with any info that would normally appear on a contract. (delivery dates etc) Make sure you MAKE those dates if it states them.

MORE IMPORTANTLY, have info on the Invoice that holds THEM liable to the deal, like INCREMENTAL payments. (IF) they don't follow the terms set forth on that Invoice or they miss a payment or don't pay you at all you may put a LIEN ON PRODUCTION. (In Los Angeles that will not cost you an arm and a leg)

You will most likely get paid (IF) your music is used and they then enter into a distribution deal. The guy that BUYS the show will not want to proceed with distribution when there are unpaid vendors attached and leins. Often times if you are not paid there are others (Special Effects (practical) CG people, etc) The distributor will most likely find out that there is bad blood between (you/and others) and production when you are contacted to do cue sheets, hand over publishing info, etc. The distributor will then ask production to pay it's owed vendors or there will potentially be NO DEAL.

Hopefully all goes smooth though and ends up being a great experience for all parties involved.

Good luck!


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## AlexanderSchiborr (Sep 12, 2018)

Just to make that clear: With F themselves, of course I don´t write or say that to a potential customer, that was paraphrasing but I think only. I would say in such cases:
"Dear Sir or Madam,

I appreciate your interest in asking me to work on your project unfortunately that is not gonna happen because of this and that.."

However everybody is different and let me tell you: I work also for people with no upfront payment but 1). I am know them very good and 2nd) I know them for years so I have a strong relation to them and can assure they don´t screw me over about not paying me for my service.

What you do or don´t is up to you guys, of course and I am know speaking of e.g. library music market and placement payment you have to wait for the money to come in. And I am not speaking here of universal, and Sony (they will pay you) but of small indy people who are hiring you guys. And you don´t know anything about of their reputation, even smaller indy devs teams? Sorry, I have seen a couple of times huge crap that people got screwed over and so I am saying: Be a bit careful. What you do of course is of to everyone self. And John G and some others: Asking for and upfront payment has nothing to do with beeing on a financial desperation...it is therefore _to cover at least your own costs and worktime you put into something as a security option_ in case the projects bombs or is cancelled or the client decides something else. For nothing else but that. Having said that: People who I work on a constant base also ask me if I need some of the budget upfront. Yes that are relation which are gold imo. In such cases I often say: Thats fine..lets do the payment after I am done. I know that it is not easy to find reliable people just because people are not (unfortunately) reliable. In a perfect world that would be no question. But it is not.


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## chrisr (Sep 13, 2018)

AlexanderSchiborr said:


> Asking for and upfront payment has nothing to do with beeing on a financial desperation...



I'm pleased for you Alexander but the OP did imply that he would have to ask for exactly that reason.

It is interesting to see the number of composers here who plainly do ask/get/expect something upfront. It's not something I was aware of from my own & friends experience.

To the OP, I guess it would be wise to have a solid answer ready when they come back and ask why they should pay upfront.


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## AlexanderSchiborr (Sep 13, 2018)

chrisr said:


> I'm pleased for you Alexander but the OP did imply that he would have to ask for exactly that reason.
> 
> It is interesting to see the number of composers here who plainly do ask/get/expect something upfront. It's not something I was aware of from my own & friends experience.
> 
> To the OP, I guess it would be wise to have a solid answer ready when they come back and ask why they should pay upfront.



Ah yes, thats right. I see. I just wanted to say that this is not always the case why people asking for that giving my few thoughts why that is. And before someone gets that wrong: I don´t expect anything. I have no expactation from no one to do so. I simply set my own rules, thats it how I work to prevent problems.


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## MatFluor (Sep 13, 2018)

I personally find upfront sums as completely normal.

Sure, if you know the people well, you go without, but with most jobs I did for video games and small media, I either had milestone payments or an upfront "kill fee" negotiated.

Such milestones can absolutely be, if you're contracted for a 10 episode run, one-two episodes up front, the rest after completion - it's totally dependent on negotiation. Ir Milestone on delivery, and on the delivery of the sketch or however you work. E.g. I often made two milestones and a kill fee. The Kill fee being a fixed amount or % of the overall fee, and Milestone A, first delivery (sketches or whatever you want to call it) and Milestone B, delivery of the finished music incl. stems if needed. So essentially, one "midterm" and one on completion.

The reason is not "I need the money", but there because I worked with complete strangers, whom I've never met personally, so that was my insurance, and also the clients' insurance in a way - if either one of us breaches the contract, I fire them or they fire me. The kill fee is paid upfront on the signing of the contract and kept if they breach the contract or similar things. If I fire the client I give it back. And if all goes well, it's deducted from the final bill, simple as that.

Since you said they are friends, I think you wouldn't wave a kill fee in their faces, that could come off very cocky. But asking for a first "upstart fee" could work - you know, like

- Upfront fee, 50% of the first episodes fee
- Rest after completion
and then go on with full fee after completion, or create a mid-work Milestone, whatever helps you and the client best.

My two cents from my limited viewpoint


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## Beluga (Sep 13, 2018)

Lol, asking for an upfront payment is not begging.  come on. We need guarantees, we have invoices to pay. Everything is negotiable. How about no upfront payment and then not getting paid? I take an upfront payment as a sign of good faith. I don’t need it for clients I trust, but any contractor can be in a financial impasse and there is no shame to it, so some time I might still ask for an advance even with trusted clients.


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## Bropecia (Sep 13, 2018)

I feel like I just watched mommy and daddy argue at the dinner table after I told them I got punched at school. It seemed at first like they were talking to me. It took me a long time to realize that they weren’t. In fact I could tell that they had forgotten I was at the table at all, which is great because it meant I didn’t have to eat the Brussel sprouts. Brussel sprouts are so disgusting I thought to myself. Who knew that they would become one of my favorite things as a grown-up! Apparently there are better ways to prepare them than just boiling the crap out of them and removing all the flavor. Like roasting them in the oven for example, and drizzling balsamic vinegar over them when they come out all crispy and delicious. Mmmmm.


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## Alex Fraser (Sep 13, 2018)

Bropecia said:


> I feel like I just watched mommy and daddy argue at the dinner table after I told them I got punched at school. It seemed at first like they were talking to me. It took me a long time to realize that they weren’t. In fact I could tell that they had forgotten I was at the table at all, which is great because it meant I didn’t have to eat the Brussel sprouts. Brussel sprouts are so disgusting I thought to myself. Who knew that they would become one of my favorite things as a grown-up! Apparently there are better ways to prepare them than just boiling the crap out of them and removing all the flavor. Like roasting them in the oven for example, and drizzling balsamic vinegar over them when they come out all crispy and delicious. Mmmmm.


FWIW, I like to fry them with bacon. Everything tastes better with bacon.
And you described any thread over a couple of pages long..


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## JohnG (Sep 13, 2018)

It's -- the internet. You ask for advice on a situation involving money and then you have to decide to whom you want to listen. Or none of it.

Good luck.


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## Jeremy Spencer (Sep 13, 2018)

I didn't read anything negative here, some great relevant info. Nice to hear how others are working in these situations.


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## Bropecia (Sep 13, 2018)

Me either, just thought it was a little funny. Definitely helpful. And I know it’s just because mommy and daddy care so much.


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## tmhuud (Sep 13, 2018)

i wouldn't take any of the advice in this thread (including my own) however I would insist on roasting those Brussel sprouts in the oven AND drizzling balsamic vinegar over them. Mmmmm.


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## Beluga (Sep 13, 2018)

You are lucky it’s on topic at least oh wait you just went off topic yourself.


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## Bropecia (Nov 6, 2018)

To follow up...

I initially reached out to my series producer contact letting him know (via email) that I was okay with the proposed 'per episode' fee, to which I counter proposed a payment schedule based less on benchmarks and more on time frame. That's when I used the 'upon commencement' language for my 30% up front payment. He replied, saying it was fine by him, but that the final decision was up to the studio, and he gave me the studio's accounting contact. I said 'fine, I'll send an invoice preemptively, please cc my attorney when you guys send the contract'. He gave me the thumbs up. I sent the invoice and they paid me the commencement fee within two weeks. Incidentally, I also wrote on the invoice that I had been developing themes and doing presentation pilot cue rewrites for the last month, so that might have helped. 

Figured some who responded might want to know how it went, and again I really appreciate everyone weighing in on the matter. I realize it will be different from network to network but that's what happened here. And this was without engaging my friends who are the EP's. They weren't even privy to this back and forth which I actually prefer. 

Lastly, one thing I was emboldened by was this series of composer contract breakdowns via a new york state bar blog, written by a couple of music attorneys. The contracts within indicate a 'commencement fee' which was language I was happy to see! The analysis was focussed on film, but it was good enough for me. 

http://nysbar.com/blogs/EASL/2015/09/the_11_contracts_every_artist_1.html

Thanks all! Go vote!


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