Negotiating: Breaking Your Word

“So I am on a 3 month contact w [Studio Y] as a storyboard artist. It ends right before my [Studio X] contract starts. But the thing is, for X I’ve agreed to work as a revisionist, so do you think I should stick with X or try and stay at Y? Which do you think would have a better opportunity? I also haven’t signed anything yet. X is waiting for my work permit.”
I’ve received similar questions for a number of years during my full time at a famous college. I’m reformed but not dead, so I thought to examine the problem and write my thoughts. It’s negotiation and a problem of reputation management.
Dear [New Artist,]
This is on X as they didn’t commit to you when the revisionist opportunity was offered, but we need to understand the shifting COVID rules, opening of studios, and the exploding job opportunities especially for board artists. Most employers understand these are busy times and have to adjust from previous hiring practices, but they will ask: you good for your word?
Remember your professional-as in, you want this to be your profession- reputation. If you agree to a contract, will you fulfill it? The positive here is that you didn’t sign yet.
There are limited [but more every day] studios where you can find employment. If you break your promise, you MAY not work for X again or at least until those you promised and those who recommended you no longer remember you. It is tempting to break your word and go with Y for “better” work. This makes it a decision to negotiate.
I’ve only backed out of a similar promise -not contract- once. I was overcommitted on another project-revision will kill you-and just couldn’t start and balance life and work. I told them a month out. The producer and my friend, the director “understood” but I never had another offer from that studio.
Then, there’s the “quality” of the work. Revisionist versus board artist. For a new graduate, it is tempting and gratifying to be given a title, but one studio’s board artist position is different from another’s revisionist. Every show is different and requires different skillsets. Is the show “adult” or preschool? Does it align with your abilities or sensibilities? (And, a “BIG STUDIO/NAME PROJECT” gig is really a SUBCONTRACTOR-or “Vendor” gig, but you social media it as a BIG STUDIO/NAME PROJECT gig. That’s for another post.)
Early in a career, it is really about where you can learn the most as they pay you. You can learn how big or small studios handle process, clients, HR, negotiating etc. Learn how the bureaucracy works. Beware of those “family” studio promises.
Prior to your decision (burning X,) get a sense of your position at Y. Will the gig go south soon (maybe literally, to California?) Do they like your work? Is the contract a long one or are you on Episode 83 of 84 episodes? Do you like their process or are they “revision” happy? Is the client demanding (crazy?) Is the director reasonable? (This is always my main deciding factor. Sometimes this is hard to access until you’re in the fray. Ask other folks.)
And, how long is the X contract for? Starting a new series or season 2? Or late and back filling (other board revisionists have moved on?) The contract will tell this.
My advice is always to be honest and negotiate as soon as possible. Research both sides as best you can. Approach X and talk to them. Tell them as soon as possible if you’re out. Don’t ghost them. Be aware the hazard your decision creates for your future employment at X and know that going into discussion. They’ll be miffed, but how miffed can be negotiated and you could live to work there again. If you had references speak up for you at the studio, it’s worth emailing them to briefly explain why you backed out of the opportunity. Your change of direction will reflect (a bit) on their opinions.
These are weird times with COVID protocols, remote studios, and animation’s ascendency. Work is exploding and will be for a while. Studios are in a war for your talent. So, you need to be clear on the side of career you come down on.
I have more to say on storyboard negotiating points.
Please “like” if you’d want to hear more,
JC