Representation is leverage — not validation.

Agents & Managers (How It Really Works)

The job of representation is to get you access to better rooms and protect your business interests — but reps usually sign evidence, not potential. This page shows what agents/managers do, when you’re ready, how to approach, and how to avoid contract traps.

Agent vs Manager Are you ready? How to approach Contracts & fees Red flags

Note: This is general education, not legal advice. Entertainment contracts vary by region and situation.

1) Agent vs Manager (simple, practical definitions)

People confuse these roles. Here’s the reality-first distinction:

Agent (access + submissions)

Think: distribution. Agents focus on getting you auditions and negotiating deals.

Submits you to castings and gets you into better rooms.
Negotiates compensation/terms when you book.
Works best when you already have a bookable “package.”

Manager (strategy + packaging)

Think: career architecture. Managers focus on positioning, materials, and long-term moves.

Helps shape brand/type, chooses training, builds plan.
Can introduce you to writers/producers and help “package” you.
Works best when you need direction + accountability.
Translation into real life
• Agent = “Here are the auditions.”
• Manager = “Here is the plan that makes auditions more likely — and bigger.”

2) Are you ready for representation?

Reps prefer momentum. You don’t need fame — you need proof that you’re already moving. Use this checklist.

Materials: current headshots + a reel that starts strong in the first 5 seconds.
Self-tape competence: you can deliver a clean tape with good sound/light quickly.
Evidence: callbacks, bookings, festivals, credits, strong clips, or strong training footage.
Consistency: you are training and submitting every week (not “when inspired”).
Professional behavior: reliable scheduling, fast communication, no drama.
If you’re not ready, do this instead

Spend 30 days upgrading your package: one strong scene, improved headshot alignment, and 8–20 serious submissions/week. Then re-approach with proof.

3) How to approach reps (without sounding desperate)

The pitch is not “I want to be a star.” The pitch is “Here’s proof I’m already bookable, and here’s what I’m building next.”

  1. Step 1 — Target correctly

    Match your current level. Don’t pitch top-tier reps with a starter package.

    Fit
    Find reps who already represent actors similar to your type and level.
    Make a short list of 20–40 and cycle through them over time.

  2. Step 2 — Lead with proof

    One link. One sentence. One reason you’re worth attention.

    Evidence
    Keep outreach short: who you are, what you book, and one strong link (reel/site).
    Mention 1–2 real signals (callback, credit, festival, strong clip, training footage).

  3. Step 3 — Make it easy to say “yes”

    Offer a short meeting, not a life story.

    Low friction
    Ask for 10 minutes. Be specific. “I’d love your feedback on fit.”
    If they pass, thank them and keep the door open.

  4. Step 4 — Follow up professionally

    Most deals happen after the second or third data point.

    Persistence
    Follow up only when you have new proof: new clip, booking, callback, festival, referral.
    Don’t spam. Upgrade your package, then re-contact.

4) Commissions, contracts, and common traps

Terms vary, but the danger patterns are surprisingly consistent. Focus on structure more than promises.

Money basics (conceptual)

This is general info. Real terms depend on jurisdiction and deal type.

Commission: a percentage of what you earn from acting work they help you get.
Scope: film/TV? commercials? voice? theater? worldwide?
Term: how long you’re committed (and how you can exit).

Traps to watch for

Long lock-in with no performance standards.
Broad exclusivity that blocks you from working with anyone else.
Fees up front for representation (major warning sign).
Rights grabs (name/likeness, content ownership) unrelated to acting representation.
The only sentence that matters
If a rep makes money only when you make money, incentives align. If they make money before you make money, be cautious.

5) Red flags (walk away)

They guarantee fame or promise specific bookings.
They demand money first for “being represented.”
They pressure you to sign fast without time to read terms.
They won’t explain the plan (what they will do weekly/monthly).
They talk badly about everyone (constant drama is a preview of your future).
Hard truth

If your package is weak, no rep can “save” you. Build proof first. Then reps amplify what already exists.