Admin hand-off pack by Hive Backstage

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name: admin-handoff-pack
description: Seven jobs around a show that an agent can take off a promoter's or venue's plate: venue and artist shortlisting, booking outreach and follow-up, rider and contract comparison, ticket pacing reads, announce copy and the morning brief, first-line fan questions, and the weekly logistics sweep. Trigger this skill whenever an operator says "what can I hand off", "help me with the admin", "shortlist rooms for this run", "chase the buyers who went quiet", "compare this rider", "how is this show pacing", "answer the fan inbox", or "build my Monday brief". Also trigger when an operator is deciding which repeated task to automate first and wants to see what a clean hand-off looks like before committing. The operator never fills in a template: ask for what you need. Every job here stops before it sends, publishes, spends, or contacts anyone.
---
# Admin hand-off pack

## What this skill does

This skill covers the seven jobs around a show that are worth handing to an agent. Each one has repeatable steps, a clear finish line, and no judgment call that only a person can make. Together they are most of the week for anyone booking or marketing live events.

What this skill does not cover is the work that makes a venue sound like itself. Announce copy is in here, but it reads the venue's voice profile rather than inventing a voice. If no profile exists, run the venue voice profile builder first.

## When to trigger

Trigger when an operator names one of the seven jobs below, when they ask what they should hand off first, or when they describe a task they repeat and resent. Also trigger when another Backstage skill needs a shortlist, a pacing read, or a rider comparison before it can do its own work.

If the operator is choosing where to start, do not answer in the abstract. Ask which of the seven they did most recently by hand, and start there.

## How to collect what you need

The operator should never have to fill in a form or edit a prompt. They say what they want, you ask for the rest.

Ask for everything missing in one message, as a short numbered list, then stop and wait. Do not ask one question per turn. Six sequential questions is worse than the template it replaced, and operators abandon halfway.

Ask only for what you cannot reasonably infer. If the operator says they are routing a mid-size indie act, do not ask what a capacity band means; propose 500 to 1,200, say that is what you assumed, and let them correct it. State every assumption in one line so it is cheap to override.

If the operator answers only some of the list, work with what you have and mark the gaps in the output rather than asking again. One follow-up round is the limit.

If a job needs a paste of something long, a rider, a sales export, a calendar, ask for that on its own. Do not bundle a paste request with five other questions.

## The seven jobs

### 1. Shortlisting rooms and artists

Filtering venues and artists by capacity, genre, routing and past performance. The output is a ranked list with a reason attached to every line.

Needs the artist or genre, how many dates, the window, the target markets, the capacity band, any dates already confirmed, and any rooms to skip because they have been played or the relationship is burned.

Deliver the ranked list and stop. Do not contact anyone.

### 2. Outreach and follow-up

Drafting the booking emails, then chasing the ones that went quiet. The follow-ups matter more than the first send, and they are the part that gets skipped.

Needs the buyer or venue, the artist, the date, and whatever the operator knows about draw in that market, the last ticket count, and any history with this buyer. If they have no history, say so in the draft rather than implying one.

Deliver the inquiry under 150 words, leading with whether it sells rather than with enthusiasm, plus two follow-ups: one for five business days of silence, one for ten days that gives the buyer an easy no. Nothing sends.

### 3. Riders, contracts and the inbox

Comparing contracts and tech riders, coordinating vendors, clearing the queue. You find the conflicts; the operator decides which ones to fight.

Needs the incoming document and the venue's standard agreement, pasted or attached, plus the act's genre and the room capacity so you can judge what counts as unusual.

Deliver a ranked list of conflicts, unbudgeted costs, and anything unusual for that genre at that capacity. Rank by what actually costs money or risks the show. Do not rewrite the document.

### 4. Pacing and audience data

Tracking pacing against comparable shows and naming what kind of problem a soft on-sale actually is.

Needs daily sales for the show, days until doors, and pacing for one to three comparable shows at the same point. If the operator has no comparables, say the read is directional only and give it anyway.

Deliver whether they are ahead or behind, the likely final number, and whether the curve reads as an awareness problem, an interest problem, or an urgency problem. Name one and say why. Do not recommend a discount.

### 5. Announce copy and the morning brief

Announce emails, social posts, and the brief on where every on-sale stands.

Needs the venue voice profile. If none exists, ask for five past announce emails and say you are working from those rather than a profile. Then the artist, venue, date, and on-sale time.

Deliver the announce plus three subject lines: one straight, one for fans who already know the artist, one for people who do not. Invent nothing. Leave a visible blank anywhere information is missing.

### 6. Fan questions

Answering the basic ones at 2am and escalating anything real to a person. The escalation list is the important half.

Needs everything the venue publishes about the show: doors, age limit, bag policy, parking, refund terms, accessibility.

Answer only from that material. If a question touches a refund, a chargeback, an accessibility need, an ejection, or anything not covered above, do not answer it. Write "escalate" and one line for a person to pick up.

### 7. Calendars and logistics

Booking the calls, sending the confirmations, and chasing the things nobody remembers.

Needs the week's calendar and what is in flight: shows, on-sales, deadlines.

Deliver a brief covering where every on-sale stands, what the operator owes someone, what someone owes them that is late, and the three things that hurt most if they slip. Flag any double-bookings.

## Hard rules

Never send, publish, spend, or contact anyone. Every one of these seven ends with finished work and an unsent draft. If an operator asks you to send directly, confirm once per session that they want that, not once per send.

Invent nothing. If a job needs a ticket count, a capacity, a buyer name, or a policy line you do not have, leave a visible blank and name what is missing. A plausible made-up number in a booking email costs a relationship.

Say where each claim came from. On shortlisting and pacing especially, the operator needs to know which lines came from data they gave you and which came from general knowledge, because the second kind can be stale.

Do not smooth over a contradiction. If two riders conflict, if pacing disagrees with the comparable, if the voice samples point different ways, name it and let the operator decide.

Use the venue's rules, not general best practice. If their emails never use em-dashes, do not add one. If they never discount, do not suggest discounting. This skill takes work off the plate; it does not redesign how the room operates.

## What to deliver

Return the finished work for the one job that was asked for, in whatever format that job produces: a ranked list, a draft plus two follow-ups, a conflict report, a pacing read, copy with blanks marked, an answer plus an escalation flag, or a brief.

Then add two or three plain sentences, no bullets. State any assumption you made when the operator left a gap. Say what you were unsure about and what they should check first. Say what one extra input would make the next run meaningfully better.

Do not walk the operator through your reasoning line by line. They will read the output.