Representation, negotiation, contracts, invoices and the awkward follow-up email — done properly, and run on tooling most agencies do not have. For creators, streamers, models, artists and brand ambassadors.
A streamer and a runway model do not have the same week. They have the same problem: the brand money is out there, and nobody is chasing it on their behalf.
Short-form, long-form, newsletters. You make the thing; we find who should be paying for it and make the paperwork survive a legal review.
Live is a different sell — hours, exclusivity, category conflicts. We price it properly instead of taking the first number a brand says out loud.
Editorial, commercial, campaign. Usage terms are where the money is won or lost, and they are the part nobody reads. We read them.
Sync, sponsorship, tour partners and merch. Built for musicians who want a brand business that does not compromise the catalogue.
Long-term partnerships rather than one-off posts. Fewer deals, bigger deals, and terms that survive a change of marketing director.
Your audience is the asset.
Everything else is administration.
None of this is novel. It is the work an agency is supposed to do, and the reason most talent ends up doing it themselves at midnight.
Outreach, pitching, and finding the person who actually signs the cheque rather than the inbox that never replies. We build the target list from what a brand has already published about who it works with — category, audience, deal shape, and the things it will not touch.
Campaign and editorial representation.
Rate, usage, exclusivity, term, approvals, kill fee. The deal goes to signature as a real document with real terms — not a DM thread and a vibe. Every version is kept, so when a brand remembers the agreement differently, there is a record.
Contracts and e-signature in one place.
Invoice raised on delivery, payment tracked, and the follow-up sent on day thirty-one so you never have to write it. Overdue is worked out from the due date, not from whether anybody remembered to change a status.
Music, sync and sponsorship.
A page on our domain, at your name, built out of the dossier we already keep on you — and laid out for what you actually do. A DJ and a defensive end do not need the same page, so they do not get one.
Leads with the catalogue. A ticker of the record, every platform button in one row, the release history, and a booking button that reaches a person.
See a music page ↗
Leads with the season. Career highlights by year, the fixture list, the numbers that matter in your sport, and the sponsors who already back you.
See an athlete page ↗
Leads with the clip. Your reel in a full-width frame, the schedule you actually keep, membership tiers, and the brands you have worked with.
See a streamer page ↗
Leads with the offer. Tiers, what each one includes, and the links that pay — presented like a business, because that is what it is.
See a creator page ↗
Leads with the book. Portfolio first, measurements as clean figures, the agencies and the campaigns, and one way to enquire.
See a model page ↗
Picking a layout moves the section order and the colours. It does not touch a word you have written. Try the athlete layout, then the model layout, then go back — everything you typed is still there.
Underneath, a page is an ordered list of sections, and there are twelve to choose from: the ticker, the numbers, the story, the catalogue, the platform links, the gallery, brand partners, career highlights, the schedule, membership tiers, video, and booking. Keep the ones that say something. Drop the rest.
A partners row carries the companies you have actually worked with — greyscale until someone hovers, then full colour. It is the first thing a brand looks for and the last thing a link-in-bio can show.
We check what a machine can check: the logo has to be hosted by us, and the link has to go where it says. Whether the relationship is real is a human's job, and a human does it before the page goes live.
Nothing goes live because somebody clicked the wrong button.
Choose the template built for what you do. Five to start from, and every one of them is a page you can look at first.
Your name, the story, the numbers, up to six photos behind the headline, up to twelve videos, the links that matter, the partners.
A private link that renders exactly what publishing would produce. Not an approximation of the page. The page.
We read it against a checklist: is it true, do you have the rights to the images, do the links go where they say, does it read like a professional page.
Or we send it back with a note saying exactly what to change. Your draft sits safely underneath the live page the whole time.
One address on our domain, ready to paste into a bio, an email signature or a pitch — and it does not expire when a platform does.
Not automation for its own sake. Three specific places where better tooling produces a different outcome than a spreadsheet and a good memory.
Every brand in the corpus carries a derived read — who its audience is, what kinds of creator it signs, what a deal with it usually looks like, and what it will not go near. Your dossier is scored against all of it on category fit, audience overlap, creator type, values alignment and deal shape.
The number is deterministic. The written angle — the reason this particular partnership makes sense — is the part a person still writes.
If a brand conflicts with something you have said you will not do, it does not come back ranked fifteenth. It is blocked outright, with the reason attached. That is the difference between a filter and a ranking, and it is the reason you can hand this list to a brand without wincing.
Creators and live streamers.
Concepts, campaign assets, cutdowns and the deliverables a partnership actually requires — produced in-house on the same platform the deal lives on. When a brand asks for three more edits in a different aspect ratio on Friday, that is an afternoon, not a renegotiation.
Production without a studio day.
The form below. Handles, audience, category, and what you actually want from an agency — because "more deals" and "better deals" are different jobs.
Not a follower count. What you make, who watches it, what you have already turned down, and whether there is a brand market for it right now.
A real conversation about what you want the next two years to look like. If we are not the right agency for that, we will say so on the call.
A representation agreement with the term, the scope and the split written down. You get it to read before you get asked to sign it.
Your dossier is scored against the corpus. You see the matches, the reasoning and the blocks before anyone is approached in your name.
Outreach, negotiation, contract, delivery, invoice, payment. You approve every deal before it is signed. Always.
You have almost certainly been pitched by someone who avoided these. Here are our answers in advance.
Everything except name and email is optional, but the more you give us the faster we can tell you whether there is a brand market for what you do. We read every application.