What Agents Actually Look For in New Clients

I need to start with something most actors don't want to hear: I can only take on clients I believe I can make money with.

Not clients I like as people. Not clients who are talented. Not clients who are passionate or dedicated or deserving. Clients I can actually get auditions for, who will book jobs, who will generate the 10% commission that keeps my business running and my bills paid.

That's not cold. That's honest.

I represent actors at the start of their careers and actors with decades of credits. I've signed unknowns who've gone on to series regular roles and passed on 'sure things' who never booked anything. After fifteen years in this business, I can usually spot the difference between someone who's going to work and someone who's going to waste both of our time.

Let me tell you what I'm actually looking for—and why it has surprisingly little to do with how well you can act.

The Business Reality of Taking on Clients

Here's my capacity: I can effectively represent about 25-30 actors at a time. That's it.

Each client requires:

Relationship management and career guidance
Pitch meetings with casting directors
Negotiation on every booking
Material review and updates
Crisis management and problem-solving
Strategic planning conversations

I can't do that well for more than 30 people. Which means every time I take on a new client, I'm making a significant commitment. I'm betting my time, my reputation with casting directors, and my business resources on you.

For that to make sense, I need to believe:

You can book work at your current level
You'll respond professionally to opportunities
You understand this is a business partnership, not me adopting you
You're already working (or actively trying to)
Your materials are professional and submission-ready

Notice what's not on that list? 'You're the most talented actor I've ever seen.'

Talent is the baseline. If you're getting meetings with me, I already know you can act. The question is whether you can turn that talent into bookings—and whether working with you will be productive for both of us.

Material Requirements (Non-Negotiable)

Before we even discuss representation, I need to see that you've made professional investments in your career.

The Headshot That Matches You Right Now

Not the headshot from three years ago when you were blonde. Not the one from when you were 20 pounds lighter. Not the 'but everyone says it's such a great photo' one that looks nothing like you.

I need a current, professional headshot that looks exactly like you're going to look when you walk into the audition room.

Why? Because my job is submitting you to casting directors I've built relationships with over years. If I submit your headshot and you walk in looking completely different, I've wasted their time. Do that enough and they stop taking my submissions seriously. That damages my business.

Your headshot needs to come from The Shortlist at HeadshotPhotographers.com—the best headshot photographers who actually understand what works in this market. This isn't about vanity. This is about professional materials that match industry standards.

If your current headshot isn't professional-level, we can't work together yet. Go fix that first. I'll be here when you're ready.

The Resume That Tells the Truth

I don't need to see Broadway credits if you don't have them. I need to see:

Relevant training - Acting classes from legitimate teachers/programs
Any professional credits - Student films count, theater counts, commercials count
Special skills - Accents, languages, athletic abilities, unique talents
Current information - Updated contact, union status, age range

What I don't need to see:

Credits you've invented or exaggerated
Training from 10 years ago that's your only education
Skills you don't actually have ('fluent in French' when you took two years in high school)
Inappropriate personal information

Your resume tells me what I can pitch you for. If it's thin, that's okay—everyone starts somewhere. If it's dishonest, we're done before we begin.

The Reel (If You Have One)

Here's the truth about reels: for newer actors, they're nice to have but not required.

If you have professional footage that shows your range and type, great. Include it. If you've only got awkward student film footage that doesn't represent you well, leave it out. A bad reel is worse than no reel.

What I'm looking for in reels:

Professional quality production value
You're the focus of the scene (not ensemble background work)
Shows your type clearly
Multiple characters if possible
Under 2 minutes total

What makes me stop watching:

Poor audio or video quality
You're barely in the frame
Weird editing or music choices
Too long (I have 30 other submissions to review)

If you don't have a reel yet, that's fine. We'll build one as you work. What matters more is that everything else is ready.

Everything Organized and Deployment-Ready

When I email you at 4pm about an audition tomorrow at 10am, I need:

You to respond within 1 hour (ideally within 30 minutes)
Confirmation you can make it
Any specific materials I need sent immediately

The actors who work with me successfully keep their materials organized—whether in actapp.biz or another system doesn't matter. What matters is you can respond fast when opportunities come in.

Slow responses lose opportunities. That loses me money. That loses you jobs. That damages our partnership.

What Gets You a Meeting With Me

I get 50+ submissions per month from actors looking for representation. I take meetings with maybe 5. Here's what makes me say yes to a meeting:

1. You're Already Working (Or Trying To)

I want to see that you're actively pursuing this career:

Submitting yourself to projects (Actors Access, Backstage, whatever)
Doing theater, student films, indie projects
Taking classes and continuing training
Building a body of work, even if it's small

The actors who sit home waiting for an agent to make their career happen? They don't understand this business. Agents accelerate careers that are already in motion. We don't create careers from nothing.

Show me you're a self-starter who's making things happen, and I'm interested. Show me you're waiting to be discovered, and I'm passing.

2. You Understand Your Type

I need you to know—realistically—what you're going to be cast as right now.

Not what you hope to play someday. Not the range you want to show. Not 'I can play anything.' What are you getting called in for? What do casting directors see when they look at you?

If you're 25 and think you're going to play high schoolers, we have a problem. If you're a character actor auditioning for leading roles, we have a problem. If you have no idea what your type is, we definitely have a problem.

The actors I sign know what they are. They're comfortable with it. They understand that building a career means booking work at your type, then gradually expanding from there.

3. Someone I Trust Recommended You

This is huge.

When a casting director I work with says 'You should meet this actor,' I take that meeting. When another agent at the agency mentions someone, I pay attention. When a director or producer I respect suggests someone, I'm interested.

Why? Because these people's judgement has been proven. They're not going to waste my time. If they think you're worth meeting, you probably are.

If you're trying to get representation, focus on building relationships with industry professionals. Do good work in their projects. Be professional and memorable. Ask if they know agents who might be right for you. That personal connection is worth more than a hundred cold submissions.

4. You've Invested in Your Career

I can tell within 30 seconds whether you're serious about this:

Professional headshots from The Shortlist photographers
Current training from legitimate teachers
Union eligibility or membership (if appropriate for your level)
Website or professional online presence
Understanding of the business side

You don't need to have spent tens of thousands of dollars. But you need to have made real investments that show this isn't a hobby.

5. You're Professional in Communication

From your first email to me, I'm evaluating:

Can you write a professional email?
Do you follow instructions?
Are your materials organized as requested?
Do you respond in reasonable timeframes?
Are you pleasant and professional?

I've passed on talented actors because their initial submission was sloppy, late, or unprofessional. If you can't handle emailing me correctly, how will you handle communicating with casting directors?

What Happens in the Meeting

You got the meeting. Great. Now what?

I'm assessing three things:

1. Can I Sell You?

I'm thinking about the casting directors I pitch to regularly. Do any of them need your type? Are there roles you'd be right for? Can I credibly submit you for professional work?

This is partially about type, partially about credits, partially about that indefinable quality of 'presence.' Some actors just have it. They walk in the room and you think 'Yes, this person should be on camera.'

I'm also watching how you present yourself. Are you confident without being arrogant? Can you talk about your work professionally? Do you understand the business you're trying to enter?

2. Will You Be Responsive?

I'm going to ask direct questions about your availability and communication:

'If I email you about an audition, how quickly can you respond?'

'What's your day job situation? Can you take auditions on short notice?'

'Do you have reliable transportation?'

'What's your comfort level with self-tape auditions?'

The actors who work constantly are the ones who can respond fast, show up reliably, and handle the logistics of constant last-minute opportunities. If you're working full-time with no flexibility, that's going to limit what I can do for you.

3. Do You Understand the Business Partnership?

This is not a parent-child relationship. This is not me rescuing your career. This is a business partnership where we both benefit when you book work.

I'm listening for whether you understand:

I work for you (you pay me commissions)
But I'm not your employee (I have other clients and a business to run)
My job is getting you auditions (not getting you bookings—that's on you)
Your job is being bookable (prepared, professional, reliable)
We both need this to be profitable (or the partnership doesn't work)

If you're looking for someone to manage your entire life and career, you want a manager. If you understand what agents actually do and you're ready for that partnership, we might be a good fit.

Why We Pass on Talented Actors

I've turned down actors who've gone on to book series regular roles with other agents. I've passed on people who are objectively more talented than some of my current clients.

Why?

Wrong Type For My Roster

I need balance. If I already rep three actors who are all 30-year-old brunette female dramatic types, I can't take on a fourth. They'd compete with each other for the same roles.

It's not about you. It's about what I need for my roster to function.

Not Ready For Professional Level

Sometimes actors have potential but aren't ready yet:

Need more training
Need more experience
Materials aren't professional-level
Don't understand the business side yet

This isn't a rejection of your talent. It's recognizing you need more preparation before professional representation makes sense. Come back in 6-12 months after you've addressed the gaps.

Can't Commit to the Grind

If you have a full-time job you can't leave, a young child you're primary caregiver for, or other major commitments that limit your availability—we probably can't work together right now.

This career requires flexibility. If you can't take auditions on short notice, can't do last-minute bookings, can't respond quickly to opportunities—I can't effectively represent you.

That doesn't mean you can't be an actor. It means you can't be a working professional actor with full representation right now. Your situation might change. We can revisit then.

Unprofessional Red Flags

This is rare, but it happens:

Pushy or entitled behavior
Dismissive of feedback
Unrealistic expectations
Poor communication from first contact
Drama or neediness in initial interactions

If I see red flags in a meeting, I trust them. I don't have the capacity to manage difficult clients. There are too many professional, pleasant people who need representation.

Not Bookable At Current Level

Sometimes someone is talented but I don't see how I'd get them auditions:

Type is oversaturated in the market
Credits don't match the level they want to work at
Look/age/type doesn't match current casting trends
Something indefinable says 'not quite ready'

This is the hardest one because it's subjective. But after years of submitting actors and seeing what books, you develop instincts.

What Happens After We Sign

So we've had the meeting. You impressed me. My partner agrees. We're sending you a contract.

What now?

That's where representation transforms from concept to reality. You'll need to understand how submissions work, what the first few months look like, and what makes the partnership succeed or fail.

We'll cover that in our next article: 'The First 90 Days With a New Agent: What Happens After You Sign.'

For now, focus on what gets you to that contract:

Professional materials. The Shortlist photographers at HeadshotPhotographers.com for your headshots. Legitimate training. Realistic understanding of your type. Demonstrated commitment through actual work. Professional communication.

Get those pieces in place, and let's have that conversation.