A union-franchised talent agency earns exactly one thing from a client's paycheck: a commission capped at 10%, under both the Writers Guild of America's franchise rules and SAG-AFTRA's agency rules. For decades, the largest agencies also collected a second stream directly from studios called a packaging fee. The Writers Guild spent three years forcing that second stream out of scripted film and television, and the ban on new packaging deals took full effect on July 1, 2022, per Deadline.
What does a talent agency actually charge a client?
The baseline is simple and, on paper, has stayed simple for decades. "No franchised agent may charge a rate of commission higher than 10%," per SAG-AFTRA's rules for actors, and the Writers Guild's franchise agreements cap agency commission at the same 10% of a writer's compensation, per the WGA.
The commission is also conditional. An agent "may only receive a commission when and if you receive compensation for your employment," and cannot charge up-front fees of any kind, per SAG-AFTRA. Once a client is paid, the agency's cut moves on its own schedule: a three-day turnaround on television and theatrical checks, five days on commercials, seven days on out-of-state work, per SAG-AFTRA.
That 10% ceiling is the entire, publicly stated commission model for representing a client's own work. It is not, however, the only way the largest agencies have made money off the same television and film deals — for the biggest firms, that commission was often the smaller of two payments running through a single project.
What was a packaging fee, and why did agencies want it?
A packaging fee was a payment an agency collected directly from a studio or network for assembling the pieces of a project — writer, showrunner, sometimes director or cast — rather than from commissioning any one client's paycheck. The Writers Guild's franchise rules describe it as a model "under which agents are paid directly by studios in the form of packaging fees" for elements on a project, separate from any individual client's compensation, per the WGA.
The arrangement was lucrative and widespread well before the fight over it became public. Prior industry data cited by Deadline found that 87% of the more than 300 scripted series produced in the 2016-17 season were packaged, and that WME and CAA together handled 79% of all packaged series. The payment covered, per the WGA's own description, "all elements" an agency packaged into a project — writer, showrunner, and any other talent the agency assembled — as a single fee running to the agency itself, not to any one client.
Why did the Writers Guild go to war over packaging?
The Guild's objection was structural: an agency paid by the studio to assemble a package has a financial stake in keeping the studio's costs down, which the Guild argued put the agency's interest in tension with its duty to negotiate the best possible pay for its own writer-clients. The Guild's public campaign framed the fix as a return to a single, aligned incentive — a commission that rises only when the client's pay rises.
The agencies' trade group initially proposed a phased compromise rather than an immediate ban: a one-year sunset period in which packaging could continue before a shift to "a 10% commission model — a business model that hasn't existed in decades," per Deadline's 2019 reporting on the two sides' competing offers.
How did the fight actually end?
Agencies signed on to new WGA franchise agreements one at a time rather than all at once. The Verve was the first to sign, in May 2019; WME, the last of the major holdouts, signed in February 2021, per Deadline. Some agreements included conditional language — UTA agreed to end packaging fees within two years, but only if the Guild could also bring one of UTA's larger rivals, WME or CAA, to the table in that window, per Variety's reporting on the UTA deal.
By the time the ban reached its sunset date, agencies representing writers under WGA jurisdiction were barred from negotiating new packaging fee agreements on any WGA-covered project, a prohibition that took full effect on July 1, 2022, per Deadline. Existing packaged deals signed before that date were allowed to run their course; the ban applied only to new agreements going forward. The Guild's own franchise rules also give it teeth to enforce the change: violations can trigger arbitration and remedies including disgorgement of packaging fees already collected, plus suspension or revocation of an agency's franchise status, per the WGA.
| Model | Who pays the agency | Cap or rule |
|---|---|---|
| Standard commission | The client, from their own compensation | 10% cap, WGA and SAG-AFTRA |
| Packaging fee (pre-2022, new deals) | The studio or network directly | Banned on new WGA-covered projects starting July 1, 2022 |
Does the same rule apply to actors?
Only partly, and the distinction matters. SAG-AFTRA's own franchise rules cap actor-representation commissions at 10% and have for years, per SAG-AFTRA — that baseline never depended on the writers' fight. What the Writers Guild's packaging ban actually reached was narrower: any project with a WGA-covered writer attached, regardless of which other talent — including actors — the agency packaged into that same deal, per Deadline. An agency's straightforward commission on an actor's own acting paycheck was never the target of the campaign and was not restructured by it.
Did agencies give up owning production companies too?
A second piece of the same fight involved agencies owning stakes in the studios and production companies that bought the projects they packaged. New franchise agreements capped an agency's ownership in an affiliated production entity at 20%, per Deadline. CAA sold its majority stake in wiip to JTBC Studios and WME sold 80% of Endeavor Content to CJ ENM to come into compliance; UTA, which retained a minority stake in its Civic Center Media joint venture with MRC, was already under the new ceiling, per Deadline and Variety.
What this means for a client sizing up an agency
For a writer or actor comparing representation today, the commission math is public and fixed: 10% of compensation, paid only after the client is paid. What no longer exists, on new deals with a WGA-covered writer, is a studio-side payment that could once run alongside — or instead of — that commission, a second revenue line that for years sat entirely outside any client's own contract and any client's own leverage to negotiate it. The fee a studio once paid an agency to assemble the cast, writer, and package now has to show up somewhere else in the deal, which is exactly the kind of number this site tracks project by project rather than assumes.
Frequently asked questions
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