Herman Surkis wrote:
I still cannot work my way around the backup bit. I do not want to book 2 for the same time since I find it difficult to work with more than one at a time, and it would make me uncomfortable to have one sitting around while I work with the other.

Speaking personally, the "backup bit" worked differently.  I'm lucky to live in an area with lots of lovely & wonderful models, and I like to work with my "favorites" multiple times.  Some live close by. 

For a backup model, I just like to see if I can call them at a moment's notice, and if they are available, see if they can stop by a.s.a.p.  Here's an example:  I have a favorite window in my home -- on the long summer days, sunlight streams in and puddles right under the window, like in this 18+ image.  Interestingly enough, in the short winter days, the light from that same window stretched out all the way across the room on sunny days.  The problem -- sunny days are exceedingly rare here in the Pacific Northwest.  But one rare, winter day was bright & sunny.  I called my "backup" model who lived just 15 minutes away to see if she was available.  She was.  Got here in record time, threw off her clothes, and we made this 18+ image.

So, for me, a "backup model" is just one with whom I have a previous relationship, and one who may be able to stop by with little or no notice.  You don't have to book multiple models if that makes you uncomfortable.

Justin wrote:
I'm about there myself. The ROI for time in inquiring, responding, setting up, following up is getting thinner and thinner for me - and that's all before even heading out for the shoot that you hope will happen.

Y'know, I consider the "acquisition" of an appropriate model to be an early & crucial step in my creative process.  By "acquisition", I mean...
...  Finding model candidates who are suitable for the project,
...  Efficiently determining whether they have the requisite skills & reliability,
...  Approaching the model with a request to work together,
...  Negotiating compensation, date, time, location,
...  Documenting our agreements.

A key step in this process is finding ways to efficiently determine the model's reliability.  There are many ways to do this, but for me, it's a step I won't skip.

Looknsee Photography wrote:
Y'know -- in the end, we can only do that which makes us comfortable, and "solutions" that work for some might not be viable for others.  We can only share what's worked for us so that others can consider it.

Like I said, I'm lucky to live in an area with lots of wonderful models, and it is my style to work with models multiple time.  I am also lucky to live in an area with lots of photographers willing to associate with each other, sharing ideas, shows, announcements, recommendations, references, etc.

I don't mean to imply that's what everyone should do -- I'm simply sharing what has worked for me.

So, go figure it out.  Lots of ideas here, some will work for you; others, not so much.  The only thing I think I know is that if you make no changes to your model selection process, your flake ratio is not likely to change.

I am probably going to faint, but I agree with everything you said

Looknsee Photography wrote:
Y'know, I consider the "acquisition" of an appropriate model to be an early & crucial step in my creative process.  By "acquisition", I mean...
...  Finding model candidates who are suitable for the project,
...  Efficiently determining whether they have the requisite skills & reliability,
...  Approaching the model with a request to work together,
...  Negotiating compensation, date, time, location,
...  Documenting our agreements.

A key step in this process is finding ways to efficiently determine the model's reliability.  There are many ways to do this, but for me, it's a step I won't skip.

I do much the same, but like a given model, I have my own restrictions, and sometimes it's a bit of a dance to make sure our mutual goals and restrictions line up. And more often than not, the dance doesn't go through.

Lose, win, draw, it's been fun over the years, but now I'm wearied of the dance. It could be a situational thing. I had a dream model who responded to a query where I laid out what I was looking for quite specifically, it seemed to be going fine, and I was quite heartened, but with a little concern about some lack of specificity. I pressed. Well, it turned out she was quite willing to work with me but not for about half the things that I had outlined.

It's just one instance, but situations accumulate to a tipping point. I'm looking at the time and emotional effort (yeah, yeah, First World problem) that I spent getting to the point of nothing happening, and I'm just wondering if it's worth it. Since I'm not a professional, the "worth it" side of the equation is looking weak.

Looknsee Photography wrote:
Y'know, I consider the "acquisition" of an appropriate model to be an early & crucial step in my creative process.  By "acquisition", I mean...
...  Finding model candidates who are suitable for the project,
...  Efficiently determining whether they have the requisite skills & reliability,
...  Approaching the model with a request to work together,
...  Negotiating compensation, date, time, location,
...  Documenting our agreements.

A key step in this process is finding ways to efficiently determine the model's reliability.  There are many ways to do this, but for me, it's a step I won't skip.

Justin wrote:
I do much the same, but like a given model, I have my own restrictions, and sometimes it's a bit of a dance to make sure our mutual goals and restrictions line up. And more often than not, the dance doesn't go through.

In my book, there's nothing wrong with that.  Some times the best deal you can make is to walk away from the deal.  Like I said, selecting models is a crucial first step in the creative process.  Some here don't like it when I mention that I've experienced about a flake every decade (and some think I'm lying), but the truth of the matter is a) that I am lucky & spoiled by a large selection of talented local models, and b) I am very careful to select only models who I think are reliable.  And you get bonus points if your selection process if fun (and not so adversarial).

I also think, in my case at least, that the dialog is essential to avoid misunderstandings in the future.  Sure, I get the feeling that "flake threads" are the most prevalent on these forums, but there's a whole class of "model misunderstanding threads" that are nearly as popular -- you know, the "model wants all the images, in RAW form" or the "model wants to be paid AND have the images, too" threads, or the "it's been 48 hours, where are my pictures" threads.  This selection process is the best time to set (and document) expectations -- do it well, and you'll never be a part of the "misunderstanding threads".

Herman Surkis wrote:
When I work with an agency model, I figure I have 3 goals.
1- images that I want.
2- images that the model want
3- images that the agency can use.

If I am lucky 1-2 images out of hundreds will satisfy all 3 needs.

Is the goal to produce images that satisfy all three requirements?  Or can you have separate images that meet each separate need?

Looknsee Photography wrote:

Is the goal to produce images that satisfy all three requirements?  Or can you have separate images that meet each separate need?

Yes and Yes.
With luck, many of the same will satisfy all three requirements.
But usually I am shooting 3 sets.
The agency has little use for heavily processed weird, or noir, or one eyball.