A Course  ·  Next Gen Talent

Next Gen Talent

A Playbook for Parents of Aspiring Child Actors & Models, and Young Adults

By Ellen Goldfarb

Table of Contents

Chapter 1

Welcome to the Course

Minors’ Newborn – 17 Adults 18 - 25

In the entertainment industry, it’s easy for professionals to spot who’s prepared and who isn’t. By investing in your education, you not only boost your chances or your child’s chances of success but also gain the tools to support those goals effectively.

With decades of experience as a talent manager in New York and Los Angeles, I’m excited to share my insider knowledge. Whether you’re looking to explore opportunities for yourself or your child, or you simply want to better understand how this fascinating business works, this course is your ultimate guide.

Working in mainstream entertainment, representing young aspiring actors as well as adults of all ages, has been a fulfilling and unique experience. One observation became especially clear when working with children: no matter where I went, someone always seemed to know a child who "should be a star." Often, it was a niece or nephew, a coworker’s child, a neighbor’s child, or their own child.

Parents often hear comments from strangers in malls, grocery stores, or at local talent shows about how “adorable, friendly, and talented” their children are. People encourage them to pursue acting opportunities for them, often saying things such as, “You should do something with that kid” or “Your child should be in commercials, movies, or on television.” Yet navigating this industry requires an understanding of how it operates.

This course is designed to gain a behind-the-scenes education of what it really takes for a child or young adult to become a professional actor. My goal is to provide the following tools:

A Parent’s Role

A child’s talent and enthusiasm are important, but equally crucial is the parent’s understanding of how it all happens. Agents, managers, and casting directors value parents who are prepared, informed, and realistic.

This course will provide answers to essential questions, cover vital topics, provide a list of reputable agents and managers for submission, and introduce industry-specific language and terms every parent should know.

Some information may appear more than once throughout this course because each section builds on the next, and repeating key points helps connect important legal and industry concepts.

The Reality of Showbiz

Acting and modeling opportunities exist for all looks, ethnicities, body types, sizes, ages, and gender identities.

The entertainment industry operates in ways that go far beyond what you see on television, in movies, or on stage. From the moment a casting call is placed to the day you're on set, there are countless moving parts. Understanding these processes and having a roadmap makes all the difference.

I’ve had parents arrive at interviews saying things like, “I want my daughter to be on the television show, Pretty Little Liars, I think she’d be great,” or “My baby looks just like a GAP baby; everyone says so.” While their enthusiasm is understandable, it often stems from a lack of knowledge about how the casting process works.

This course offers a comprehensive breakdown of the casting process. I’ll cover the roles of casting directors, film and television directors, agents, and managers—and clarify the key differences between them. I’ll also explain how casting decisions are made, what auditions, go-sees and bookings entail, and point out the many factors that extend beyond your control that influence who gets the role.

To help you navigate the industry, the course also includes a comprehensive glossary of essential terminology.

Even when everything falls into place, success is never guaranteed. That's simply the nature of the business. Later in the course, I'll discuss how actors can achieve meaningful success without reaching celebrity status.

Chapter 2

Ellen Goldfarb Biography

Ellen Goldfarb

Talent Manager | Acting Coach | Writer | Author

Ellen Goldfarb is a seasoned entertainment industry professional whose career has spanned talent management, talent development, acting coaching, writing, and content creation. With extensive experience working behind the scenes in talent representation and career development, she has guided aspiring and emerging actors through the complexities of the entertainment business while helping them build the skills, confidence, and the knowledge necessary for long-term success.

Throughout her career, Ellen has managed talent at every stage of their professional journey, building strong relationships with agents, casting directors, producers, and other key industry professionals. Her expertise extends beyond performance training to include career strategy, audition preparation, industry positioning, and professional guidance. She has helped place talent on Broadway, in major feature films, television series, TV commercials, voiceovers, and select music projects for both Disney and Nickelodeon record labels. She was also part of a management company with a print division, securing opportunities in print modeling. Ellen has earned a reputation for recognizing potential, nurturing talent, and helping performers transition from local opportunities to mainstream projects.

In addition to her work as a talent manager and coach, Ellen has written screenplays, stage plays, television treatments, and educational materials designed to prepare aspiring actors for real-world opportunities in show business. Her multifaceted background provides a unique perspective that combines creative development with practical industry insight.

Ellen's expertise has been recognized through television appearances, media interviews, and industry features, where she has shared her knowledge of talent development and the business of entertainment. Her years of experience working with actors, industry professionals, and creative projects have provided her with a comprehensive understanding of what it takes to build a successful career in the performing arts.

Drawing from these experiences, Ellen created The Next Gen Talent: A Playbook for Parents of Aspiring Child Actors & Models, and Young Adults to provide aspiring actors and their families with the guidance, tools, and insider knowledge needed to pursue opportunities in mainstream entertainment with confidence, professionalism, and purpose.

Chapter 3

Code of Conduct

The code of conduct across entertainment industry professionals—including agents, managers, casting directors, directors, producers, crew members, in studios and networks—are committed to maintaining a professional, respectful, and inclusive environment free from discrimination, harassment, bullying, or abuse of power.

Opportunities are available to individuals of all backgrounds regardless of race, color, ethnicity, national origin, religion, age, disability, sexual orientation, gender identity, gender expression, preferred pronouns, or any other characteristic protected by law. Industry professionals are expected to conduct themselves ethically, treat others with dignity, safeguard the wellbeing of minors, and comply with applicable laws and professional standards.

The entertainment industry continues to encourage diversity, equity, inclusion, and authentic representation, recognizing that talent, creativity, and professionalism come from people of all backgrounds and identities.

These ideas reflect the moral and professional responsibility we all share.

“Actor” For All [PLEASE READ]

Throughout this course, all aspiring actors will be referred to as “actors.” While casting breakdowns may include specific character descriptions, opportunities in the entertainment industry are increasingly open to actors of all identities, and talent is often considered beyond traditional gender distinctions when appropriate for a role.

For this reason, the industry has largely adopted the term “actor” (for all) as a professional title, replacing the former distinction between “actor” and “actress.” This shift reflects the industry's evolving commitment to inclusion, flexibility, and equal opportunity for all aspiring and established actors.

The industry has not fully moved away from the term “actress,” and many professionals continue to use it when referring to female actors. Although “actor” is the preferred term, both titles remain part of today's entertainment vocabulary while the transition is still ongoing.

Chapter 4

Watch Out for Scams

Introduction

The entertainment industry can offer exciting opportunities for children and young adults, but it is also filled with individuals and companies that take advantage of families who are unfamiliar with how the business truly works. Scams often appear professional and convincing, using advertisements, social media, and promises of fame to create excitement and urgency.

It is important to understand that legitimate agents and managers do not make money upfront from aspiring actors. Reputable representatives (agents and managers) earn their income through commission after talent books professional work. Licensed and franchised agents working within mainstream entertainment focus on securing real opportunities through established industry channels, not through high-pressure sales tactics.

In this section, you will learn how to recognize common scams, identify warning signs, understand how legitimate representation works, and protect your child’s future while navigating the entertainment industry safely and wisely.

Understanding How Scams Work

Scammers are experts at packaging dreams. They often use TV commercials, radio ads, social media promotions, and online advertisements that sound exciting and legitimate. You may see references to major companies such as Disney, Nickelodeon, or Netflix, along with phrases like:

These messages are designed to create urgency and excitement. Families attend what appears to be a professional audition or “screen test,” where children are often praised and encouraged. Soon afterward comes the sales pitch.

Parents may then be told their child has strong potential but needs expensive training, photos, classes, or placement services before moving forward. Costs can quickly rise into the thousands of dollars. In many cases, their real business is not booking jobs for talent — it is selling misleading hope to families.

You might meet with a reputable agent or manager who suggests working with an acting coach. This advice is intended to help elevate a young actor’s skills so they can compete with others who are already booking work.

Keep in mind that your representative is not receiving any type of payment from acting instructors. In fact, licensed agents are bound by rules and guidelines that prohibit them from accepting commissions, kickbacks, or any form of compensation from acting coaches, photographers, or other professionals who help develop the skills of children and young adults pursuing acting careers.

The Reality Behind “Open Auditions”

Legitimate casting for television shows, commercials, and films rarely happens through mass public cattle-call events advertised on television, the radio or TikTok for beginners.

Professional casting directors:

If you are attending a large “open audition” that includes hundreds of people and a sales presentation, it is a marketing event rather than a true casting opportunity.

Pay-to-Play Schemes

One of the biggest warning signs is being asked to pay upfront fees after an audition or evaluation. These charges may be presented as:

While professional training and materials are valuable, they should never be forced upon you as a condition for representation or advancement.

A reputable agent or manager works with a trusted network of acting coaches, photographers, and other industry professionals who understand exactly what agents, managers, and casting directors expect from aspiring talent. These professionals help actors develop the skills, materials, and presentation standards that are valued in the mainstream entertainment industry. Guidance should come from experienced representatives and the professionals they trust—not from expensive packages sold to families at large cattle-call events designed to market dreams rather than build careers.

Headshots and Getting Started

Many scams pressure parents into purchasing expensive photo packages immediately. In reality, legitimate agents and managers do not require costly professional photos in the beginning.

A child can start with simple, natural home snapshots. Representatives suggest:

A good representative looks for authenticity and personality, not perfection.

Professional headshots typically become important later, once a young actor begins receiving serious attention or booking work. At that point, your agent or manager will recommend a trusted photographer familiar with industry standards.

Social Media and Advertising Traps

Today’s scams often appear online through:

These promotions frequently mirror the same language used in television and radio advertisements and often lead to expensive sales presentations.

How to Spot the Red Flags

Be cautious if you encounter:

Legitimate professionals do not need to pressure families into making immediate decisions.

Verifying Representation

Before committing to any agent, manager, or program:

Transparency and professionalism are strong signs of legitimacy. I have taken care of the verification process for my aspiring actors in this course. Many agents and managers on the submission list in this course I’ve had the pleasure of working with over the years. The others were carefully examined for you or your child to send your submissions. My list consists of the top, reputable agents and managers in today’s market.

Trusting Your Instincts as a Parent

If you’re submitting to agents and managers that are not on my list here are some things to remember.

As a parent or guardian, your role is to protect both your child’s dreams and your family’s resources.

If something feels more like a sales presentation than a professional opportunity, trust your instincts.

You are always allowed to say:

A legitimate opportunity will still exist tomorrow. Legitimate ones don’t ask for money.

Building a Safe and Smart Path Forward

A healthy and professional path into the entertainment industry usually includes:

There are no shortcuts to success, but there are safe and informed ways to move forward.

Final Assessment

Awareness, patience, and informed decision-making are some of the greatest protections a family can have while pursuing opportunities in the entertainment industry.

Chapter 5

Agents and Managers

Introduction

This section explores the critical roles of agents and managers in an actor’s career. By understanding the distinctions and collaborative dynamics surrounding these professionals, actors and their families can navigate the entertainment industry with confidence and clarity.

Key Professionals in an Actor’s Career

Agents and managers, (often collectively referred to as representatives) are pivotal in shaping an actor's career. Selecting the right representative ensures having one or both skilled advocates and strategic advisors to guide an actor through this competitive business.

Agents

What They Do

Reputable agents work within licensed talent agencies, most of which are franchised by industry unions such as SAG-AFTRA (Screen Actors Guild - American Federation of Television and Radio Artists), and their sister union AEA (Actors Equity Association) commonly referred to as “Equity” for stage.

Agent’s primary responsibilities include:

Union Affiliations and Regulations

Agents may specialize in fields such as theater, film, television, and specific niches like voiceover, commercials, music and more. Their union affiliations provide reliable representation while protecting their clients’ interests and rights.

Representation Structures

In today’s multi-faceted entertainment business agents often represent talent across various genres:

An agent may delay offering an exclusive contract until their new talent gains traction while working on a freelance basis. Once the actor begins receiving callbacks or books their first job, the agent will likely present an exclusive contract.

Managers

What They Do

Managers serve as career strategists, offering personalized development plans where the focus is on long-term goals.

Managers that are interested in representing new talent often offer a contract after the first interview. This provides a binding commitment before the manager introduces agent-ready talent to an agent at an agency. However, an unsigned talent may interview with agents without a manager’s guidance, bypassing the manager entirely. Talent may first meet with an agent and begin auditioning without the involvement of a manager, yet it is often the case where it is a manager that gets the talent in front of a reputable agent.

Efficient communication between managers and agents that share a client is critical for arranging auditions and bookings. These two professionals are highly skilled in this arrangement.

Parents and adults must respond promptly to their manager when offered an audition to avoid missed opportunities.

Managers’ responsibilities include:

Both agents and managers arrange agent meetings for agent-ready clients, pitch talent to casting directors, and set up studio and network general meetings to help experienced talent reach breakout status.

Key Differences from Agents

In the entertainment industry, it is common practice for an actor to have an exclusive contract with a manager while simultaneously (through their exclusive manager) work with multiple agents on a freelance basis. In this arrangement, the manager serves as the actor’s primary representative, communicating with the agents on the actor’s behalf, overseeing career development and continuously pitching and submitting their talent for auditions while agents in turn add more opportunities for getting the talent in front of additional casting directors.

If an agent extends an exclusive contract and the actor, or their parent (in the case of a minor), chooses to sign it, the representation structure changes. The actor is now exclusively signed with that agent while remaining signed with their manager. The manager remains the actor’s exclusive representative and sole point of contact, effectively ending any freelance relationships with other agents. From that point forward, all audition submissions must go through the newly established manager-agent partnership.

It is important to note that actors who attempt to seek out auditions independently, (outside of their legally agreed-upon representation), would be in violation of their contract. Such actions are considered a serious breach of industry protocol and could lead to legal repercussions, reputational damage, and even blacklisting from future opportunities.

Challenges and Expectations

Booking work takes time and may not happen immediately. Industry competition is constant, and talent must remain focused and prepared. Unprepared actors or those with divided commitments may face limited success despite representation.

Review

Agent’s Role

Manager’s Role

Final Assessment

Success in the entertainment industry is a collaborative effort between informed talent and informed parents of young talent. Agents and managers bring complimentary skills, making them essential players in an actor’s journey. By understanding their roles and fostering strong, professional relationships, actors can build sustainable and rewarding careers.

Chapter 6

Parental Commitment

Introduction

This section is the most sobering part of the course. Once your child is offered representation after meeting with an agent or manager, the parent’s work begins. In the Young Talent Division (or Youth Department), most agencies offer work to newborns and up to age seventeen (or older than seventeen if they look younger). Depending upon your child’s age and talent level, parents might be taking their child on auditions and go-sees occasionally, or several times a week.

Success in the entertainment industry is not only dependent on talent, but also on the commitment, professionalism, organization, and emotional support provided by parents or guardians.

Transportation and Preparation

A parent’s dedication here is enormous. Parents are not only responsible for transporting their children to and from auditions, callbacks, fittings, rehearsals, and bookings, but they also help prepare their child for each opportunity.

This preparation may include:

A young actor’s success often depends upon how prepared both the child and parent are when opportunities arise.

Communication Responsibilities

Parents must keep communication open and respond promptly to their representative’s office after receiving audition or go-see (an audition for print) information.

Likewise, the child’s representative must respond quickly to casting directors regarding confirms and scheduling.

Prompt communication is considered part of professional conduct within the entertainment industry.

Professional Accountability

Parents who repeatedly fail to respond in a timely manner — or fail to respond at all — will likely jeopardize their child’s standing with their agent or manager.

If a representative repeatedly offers auditions and the family consistently declines because of outside commitments, the representative will eventually stop submitting or calling the talent for opportunities.

Agents and managers are looking for families that are reliable, responsive, organized, and prepared to participate professionally in the business.

Understanding the Opportunity

The Value of an Audition

One single audition may mean that many young actors’ headshots and resumes were submitted and reviewed for the role. Receiving an audition opportunity is a privilege, and both the young actor and the parent should appreciate the opportunity being presented.

An audition is not simply a chance to book a role — it is also an opportunity to leave positive impressions with casting directors.

Flexible Scheduling

Castings come in daily and often with little notice. No one knows exactly when opportunities will arrive.

Maintaining an open and flexible schedule allows a child performer to:

Flexibility is one of the strongest advantages a young performer can have.

Audition Preparation

Sides and Memorization

Parents must be able to print and organize the child’s sides, which are excerpts from the script used for the specific role for the audition.

Young actors are expected to:

Auditions may be scheduled:

Sometimes representatives will state that an actor may be “loosely rehearsed,” meaning they do not need to be fully off-book (memorized) and may hold the sides during the audition while still understanding the scene and their character.

Readiness

Not only does the child need to prepare to perform well, but the parent also needs to be ready to move quickly and stay organized.

This includes:

Preparation may become part of everyday life for entertainment families.

Self-Tape Auditions

The Self-Taping Process

Many auditions today — especially television and film auditions — require self-taping.

The young actor records the audition electronically and sends it to their representative by a specified deadline. The representative then forwards the audition to the casting director.

Broadway and live stage auditions are more commonly held in person, although self-tapes are now used there as well in some situations.

The Parent’s Involvement

Parents play a major role in the self-tape process.

Parents may need to:

Some agencies and management companies allow talent to visit the office for self-tapes, where a staff member may act as the reader (the actors scene partner within the sides).

At home, the parent or guardian chooses who will read the other lines in the scene.

Understanding the Reader’s Role

Only the child should appear on camera during a self-tape. The reader should stand beside the camera and speak clearly, but not loudly. If the reader's voice is too prominent, the microphone may pick it up over the actor's performance, distracting from the audition.

The reader should:

The audition should remain focused on the child actor. The reader should never out-perform the actor.

Commitment & Time Management

Parents must make difficult scheduling choices.

If a child is heavily involved in:

…it may affect their availability for auditions and bookings.

Entertainment opportunities often appear with little warning and require flexibility.

Commitment to the Business

When agents and managers observe commitment from both the child and the parent, they are more likely to continue investing time and energy into promoting that talent.

Families who understand that entertainment is both an art and a business generally have a stronger chance of long-term success.

Training and Development

If a representative believes a child has strong potential and recommends:

…it is often wise to seriously consider the recommendation.

Professional training helps young performers compete at higher levels within the industry.

Understanding Industry Competition

The entertainment industry moves quickly and is highly competitive.

Young actors are competing with performers that already:

Watching successful child performers in television, film, or theater demonstrates the professional level expected within mainstream entertainment.

This raises the standard far beyond local theater or school productions.

Availability and Booking Out

Parents are responsible for informing their representative whenever the child is unavailable due to:

This process is commonly called “booking out.”

Parents provide the representative with specific unavailable dates and notify them when the child becomes available again.

Opportunities During Book-Outs

Even during booked-out periods, representatives may still contact a family if an especially important opportunity becomes available.

This may include:

Families always have the option to decline during a booked-out period. However, if the opportunity is significant and the family is local enough to participate, it is worth considering.

Support & Emotional Awareness

It is important that the child enjoys the process.

If a child expresses that they no longer wish to continue participating, parents should listen carefully and make decisions based upon the child’s emotional and personal needs.

Although entertainment is a business, the experience should remain enjoyable and fulfilling for the child.

Creating Positive Experiences

Parents can create positive memories throughout the process by making travel time and waiting periods feel special and encouraging.

Parents may:

Children should understand that:

Young performers should learn to never take “not getting the role” personally, but to approach the experience professionally.

Safety and Parents’ Rights

Protecting Personal Information

Parents must teach children and teenagers never to give out:

…to staff or crew members at auditions or on set.

All communication should go through the parent and the child’s representative. This is the best practice in keeping your child safe.

Parental Presence

Parents have the right to remain within eyesight and earshot of their child while still respecting the professional environment.

A parent can remain present without interfering with production, essentially becoming a quiet observer while ensuring the child’s safety and comfort. It is wise to stand somewhere on set where your child cannot easily see you, as making eye contact can distract them and affect their performance.

Lasting Impressions

Casting directors often remember talent that leave a strong and positive impression.

A casting director may later:

A strong example of a producer-director callback session can be seen in Miley Cyrus’s audition process for Disney’s Hannah Montana pilot. Although she did not land a role initially, she made a lasting impression. In a later audition scene, set a year afterward, the directors brought her back to read again. In the second audition scene in this YouTube video, you can hear the executives in the room, highlighting the level of interest she had generated from her first audition.

https://youtu.be/E4X6HssFmpE?si=5LndiFSZ6-gYGOIP

Every audition has the potential to open future opportunities, even if the role is not booked.

Industry Story

I once represented a talented young actor who auditioned for the role of “Cindy Lou Who,” in the Universal Pictures film How the Grinch Stole Christmas. She received several callbacks and came very close to booking the role. In the end, the role went to Taylor Momsen, which became her breakout role — although it was not her first professional project.

I did not view the experience as a loss. My young talent had successfully competed at a very high professional level against someone who already had more mainstream experience and credits on her resume.

The casting directors explained that Taylor Momsen had already spent more time working professionally on sets with directors and production teams. Sometimes casting decisions come down to experience. Other times, casting directors take chances on newer talent with fewer credits.

Either way, being called back repeatedly for a major studio film was an accomplishment worth celebrating.

Final Assessment

Industry professionals carefully observe how parents and guardians handle the responsibilities involved in managing a young performer’s career.

They pay attention to:

Parents who approach the entertainment industry with professionalism, patience, flexibility, and emotional awareness help create the strongest possible foundation for their child’s success.

In the entertainment business, talent may open the door — but commitment, preparation, and professionalism help keep it open

Chapter 7

Hobby or Career?

Hobby or Career

Introduction

This section prompts parents and young actors to distinguish between pursuing acting as a hobby versus a serious career, and to understand further the level of dedication required for success.

Recognizing the Difference

It may seem unusual to think of a child deciding whether acting is a hobby or a career. However, this decision often happens indirectly through actions and consistency.

With over twenty-five years of experience offering audition opportunities to families, a clear pattern emerges:

Commitment is revealed not by what is said, but by what is done repeatedly. Agents and managers will likely discontinue offering auditions to those treating it as a hobby.

What Serious Young Actors have in Common

Children, teens, and young adults who succeed in mainstream entertainment share a defining trait: they truly want it.

Serious young actors typically:

They also actively engage with the industry by:

Equally important, their parents support and share in this vision. Growth in this field requires both technical training and emotional development to compete on industry platforms.

Self-Assessment for Parents

Parents play a critical role in shaping their child’s path. Consider the following questions:

Clarity in these areas helps guide decisions and expectations.

Professionalism Starts Early

Experienced professionals often note that many young actors demonstrate exceptional discipline.

For example, actor George Clooney once remarked on how impressed he was by the professionalism and preparation of child actors, sometimes exceeding that of adults on set.

Understanding Success: It Looks Different for Everyone

Success in the entertainment industry is not one-size-fits-all.

Example 1: A Dedicated Young Performer on my Roster
A young actor began training at age eight with strong enthusiasm. With proper guidance, including vocal training with Robert Marks, (NYC) he quickly developed his skills.

Within six months, he booked the role of “Gavroche” in Les Misérables, launching his first Broadway booking that launched his successful career. He went on to perform in multiple productions, films, and television projects, while continuing to train consistently.

Today, he earns a living doing what he loves—performing on Broadway, and in between shows, touring globally with his tribute rock band.

Example 2: Defining Success Beyond Fame
Not all successful actors are widely recognized. Some build sustainable careers through:

A working actor who consistently books roles and earns income through acting is, by definition, successful.

Example 3: Early Breakthrough Success
A young child actor I had represented quickly gained momentum after I introduced him to an agent and together, we began dual representation. Within weeks, he booked national network commercials for major brands like Oreo Cookies and Wendy's, followed by roles in films such as Jersey Girl and Speed Racer.

His career expanded into television, including a principal role on ABC Hope & Faith and a recurring role on Disney’s Wizards of Waverly Place.

The Reality of Booking Work

Not every child will book roles, even with training and effort. However:

These outcomes are valid forms of success.

Long-Term Planning and Stability

It is strongly recommended that young actors:

Even highly accomplished actors like Al Pacino continue to work with acting coaches throughout their careers, often for each new role they land.

Representation and Industry Access

Having a reputable agent or manager significantly increases access to opportunities. Industry professionals often rely on trusted representatives to source talent.

There are also platforms where actors can submit themselves for roles, such as:

However, casting directors often prioritize submissions due to time constraints and their established relationships with agents and managers that have vetted talent on their rosters.

Review

Final Assessment

Pursuing acting at a serious level requires commitment from both the child and the parent. Understanding the difference between hobby and career early on helps families make informed decisions and set realistic expectations for their family and the journey ahead.

As young actors approach college age, many choose to attend schools in New York or Los Angeles to maintain access to in-person auditions. After graduation from high school or college, it is common for them to continue living and working in these cities, balancing their professional careers while actively auditioning and continuing to develop their craft.

Chapter 8

Industry Photos

Introduction

This section explores industry photos for actors and models and how they are used to help you present yourself professionally to agents, managers, and casting directors.

Starting with Simple Home Snapshots

Parents should understand that at the beginning, a child can submit a strong, natural home snapshot. The goal is a clean, honest image of the child in their everyday look.

Keep it simple:

A strong home photo should immediately capture the attention of a potential agent or manager and clearly show the child’s natural presence.

Once Representation is Established

After representation is in place, your agent or manager may request updated home snapshots and provide specific direction. These updates help keep submissions current and aligned with industry needs.

When to Get Professional Headshots

If the child begins receiving callbacks or booking work, it is time to invest in professional headshots.

Do not attempt this alone. Reputable agents and managers understand the types of images currently needed in the industry and will guide you accordingly.

Types of Headshots:

Commercial Headshots

Commercial headshots typically feature a bright, approachable look, often with a smile. These are used for attracting TV commercial bookings, print ads, and lifestyle campaigns. Interchangeably these shots are often submitted for comedic roles for film and television.

Theatrical & Legit Headshots

Theatrical and legit headshots are used to attract theater, film, and television roles. These tend to be more grounded and natural, showing depth and character. Theatrical “dramatic” TV shows, films, streaming. Legit, “legitimate stage” (theatre).

“Legit” signifies an agent that submits talent for professional plays, musicals, and Broadway.

“Theatrical” handles your on-camera career, submitting talent for auditions in feature films, TV shows, and streaming projects.

“Commercial” reps are dedicated to securing auditions for on camera tv commercial advertisement’s, print, and sometimes voiceovers. At larger agencies there is an agent for on camera commercials and an agent for voiceovers.

These reps operate basically the same coast to coast.

Within theatrical photos, you may also include

Wardrobe and Styling Guidelines

Clothing plays an important role in headshots because it helps define character type and casting potential.

General guidelines:

Many top photographers in New York and Los Angeles provide makeup artists and hairstylists to help guide the process.

Bring a variety of wardrobe options, such as:

Most sessions involve only one or two outfit changes, depending on whether the photos are for headshots, comp cards for models, or commercial print work, which often requires lifestyle-focused imagery.

Models

Young aspiring models may use home snapshots to submit to agents and managers in the print industry.

A “Zed card” or “comp card,” (composite card), is a model’s compact, sharable summary of their portfolio. These are handed out to casting directors, photographers, and clients at “go-sees,” and networking events.

A standard Zed card includes the following:

They are typically printed on thick, high-quality matte or glossy paper at standard industry size of 5.5” x 8.5” (US) or A5 (Europe) and are also distributed digitally as PDF portfolios for online submissions.

Photo Selection Process

After the shoot, your agent or manager will review the images and help select the strongest photos for use. Their input is essential in ensuring that the final choices align with industry expectations and current market needs.

Final Assessment

Understanding industry photos is a key step in presenting talent professionally and effectively. Heed the advice of your agent or manager. While on set for your headshot or portfolio shoot, it is wise for age-appropriate actors to enlist the photo studio’s makeup artist and hairstylist.

As I’ve already mentioned, a plain black tank top or Danskin-style black top works over, and over again for female actors’ headshots (children, teens, and adults). Agents, managers and casting directors are often drawn to these types of shots. That does not mean it is mandatory—obviously, industry professionals look for much more, such as personality.

Chapter 9

Resumes and Biographies

Resumes & Biographies

Introduction

In this section you’ll learn how to structure a beginner and professionals’ child and adult resume and bio. A professional adult or child actors’ résumé is different from a traditional business résumé. In the entertainment industry, a résumé is a one-page casting tool attached to the back of an 8x10 headshot. It must be clean, easy to scan quickly, and include only the information casting directors need.

A Child Actor’s Résumé Typically Contains:

Youth and adult actors should never overload a résumé with excessive information. The formatting should be clean, balanced, modern, and professional. Unless you’re a beginner do not include Extra or Background work on your resume.

For adults, age is not listed on a resume. Castings sent to agents and managers always include the required “age range” for a role. For example, a 30-year-old actor may be submitted for roles in the 25–35 age range. While the actor may only plausibly read as 25–30, in general it is easier in the industry to make someone appear older than younger. Most adults give themselves a ten-year-age allowance.

With children, age range still matters—in fact, exact age must be included due to child labor laws, which carries its own set of rules for minors in the industry.

In some cases, especially with very young roles, casting may prioritize appearance over exact age. For example, a company like Fisher-Price might need a “2-year-old” for a print shoot, but because toddlers can be difficult to direct, casting may instead select a smaller, more cooperative 4 or 5-year-old who can believably portray a younger child.

The same is true in film and television. Often an actor age 18 or early 20s portrays a 15-year-old and up in a tv series. In these cases, production does not have to deal with child labor laws.

Today's agents and managers want to know exactly where you are based and whether you can realistically work in the market they represent. If you live in New Jersey or Connecticut, make it clear that you are available and willing to travel to New York City for auditions, callbacks, fittings, and bookings. Likewise, if you are pursuing representation in Los Angeles, let them know that you can travel for auditions and are committed to being available when opportunities arise. The norm for distance is no more than a 2-hour car ride to the market you’re working. Demonstrating flexibility, reliability, and a willingness to invest in your career helps reassure agents and managers that distance will not be an obstacle to your success.

Talent is not exclusive to New York or Los Angeles. Talented children and teens come from every corner of the country. If you live in a state anywhere outside the major entertainment markets, be upfront about your location and let agents and managers know that you are available for self-tape auditions. Make it clear that you are willing to travel for important callbacks, auditions, and booked television or film opportunities — only say this if you genuinely mean it.

For adults, it is often wise to consider relocating closer to New York or Los Angeles if you are serious about pursuing mainstream entertainment opportunities. While technology has made self-taping more common than ever, many auditions, callbacks, studio meetings, and bookings still require performers to be available in person. In that sense, it is similar to singer-songwriters who relocate to Nashville in pursuit of a career in country music. Being closer to the industry's major hubs can increase your visibility, accessibility, and opportunities for success.

Models must be local for print go-sees, there’s no alternative for models.

Under the "Introduction" section, where the subheading reads "A Child Actor's Résumé Typically Contains," you may notice that the Commercials category is often listed as Commercials (“List Available Upon Request”). This is commonly done to avoid potential commercial conflicts.

For example, if a child or adult actor books a TV commercial for Pepperidge Farm Cookies, made by The Campbell’s Company, they may be prohibited from appearing in a competing cookie brand's commercial, such as a Nabisco, Chips Ahoy TV commercial, for a specified period of time. This restriction is known as a conflict clause. While contract terms vary, a commercial conflict period usually lasts 24 months.

If the Pepperidge Farm commercial is listed directly on the résumé, an agent, manager, casting director, or client may assume the actor is still under a conflict restriction. As a result, they may hesitate to consider that actor for a competing commercial project. In a fast-paced casting environment, decision-makers may not take the time to investigate whether the conflict period has expired.

For example, if an actor attends a live audition for a Chips Ahoy commercial and the casting team sees a Pepperidge Farm commercial listed on the résumé, they may immediately assume there is a conflict and move on to another candidate rather than spend time verifying contract details.

By listing "Commercials (List Available Upon Request)," actors can provide their commercial credits when needed while allowing their agent or manager to review the details of previous bookings and determine whether any active conflicts still exist. This helps avoid unnecessary confusion and prevents potentially outdated information from affecting future opportunities.

Additionally, an actor who has appeared in a Pepperidge Farm television commercial is prohibited from auditioning for or appearing in any other on-camera television commercials or advertisements for competing brands during the conflict period. This restriction can extend beyond cookies and almost always applies to an entire product line or brand family, depending on the terms of the contract.

For example, during a 24-month conflict period, the actor may not be permitted to audition for or work on on-camera commercials promoting Nabisco products, whether the advertisement is for cookies, crackers, cereal, soup, or another product category. Similar restrictions almost always apply to other competing brands, such as Keebler or other companies within the same market segment. The specific scope of the conflict depends on the language contained in the original commercial contract, which is why agents and managers carefully review prior bookings before submitting talent for new commercial opportunities.

Resume format examples appropriate for both children and adults.

NOTE:in the first sample below, Ryan Kiera is a professional child actor with industry credits

EXAMPLE RESUME #1

RYAN KIERA ARMSTRONG

SAG-AFTRA Eligible

Height: 4’11”
Weight: 82 lbs.
Hair: Blonde
Eyes: Blue Age DOB Clothing size Shoe size
Location: Los Angeles / Vancouver

REPRESENTATION

Theatrical Agent – Los Angeles

CESD Talent Agency LA
Phone: (310) 475-2111
Email: youthla@cesdtalent.com

Theatrical Agent – New York

CESD Talent Agency NY
Phone: (212) 477-1666
Email: youthny@cesdtalent.com

Manager

Industry Entertainment Partners
Phone: (323) 555-2188
Email: management@iepmanagement.com

TELEVISION

Production

Role

Network/Platform

American Horror Story: Red Tide

Alma Gardner

FX

Anne with an E

Minnie May Barry

CBC / Netflix

Firestarter

Charlie McGee

Universal

Star Wars: Skeleton Crew

Fern

Disney+

Black Widow

Young Antonia

Marvel Studios

The Tomorrow War

Young Muri

Amazon

IT: Chapter Two

Victoria Fuller

Warner Bros.

FILM

Production

Role

Director

Firestarter

Lead

Keith Thomas

The Glorias

Young Gloria

Julie Taymor

Wish Upon a Unicorn

Mia

Kirk Harris

The Art of Racing in the Rain

Zoe

Simon Curtis

STAGE

Production

Role

Theater

Annie

Molly

Regional Theater

The Sound of Music

Gretl

Community Arts Center

TRAINING

SPECIAL SKILLS

AWARDS / HONORS

EXAMPLE RESUME #2

Note:Clara is a professional child actor with industry credits.

CLARA STACK

SAG-AFTRA

Height: 4’8”
Weight: 72 lbs.
Hair: Brown
Eyes: Hazel Age DOB Clothing size Shoe size
Location: New York

REPRESENTATION

Theatrical Agent – New York

CESD Talent Agency NY
Phone: (212) 477-1666
Email: youthny@cesdtalent.com

Commercial Agent – Los Angeles

CESD Talent Agency LA
Phone: (310) 475-2111
Email: commercialsla@cesdtalent.com

Manager

Brilliant Artists Management
Phone: (646) 555-9012
Email: me@brilliantartists.com

TELEVISION

Production

Role

Network

Law & Order: SVU

Young Katie

NBC

The Marvelous Mrs. Maisel

Sarah

Amazon

Blue Bloods

Emily Parker

CBS

FBI

Grace

CBS

FILM

Production

Role

Director

A Brooklyn Story

Lead Daughter

Indie Feature

Winter Lights

Ellie

Independent Film

THEATER

Production

Role

Theater

Matilda

Lavender

Regional Production

A Christmas Carol

Tiny Tim

Youth Theater

TRAINING

SPECIAL SKILLS

AWARDS / HONORS

Important Notes

Casting directors look at many submissions daily. Child résumés should remain concise.

2. Do Not Fake Credits

Industry professionals verify credits quickly.

3. Include Real Contact Information

Agents and managers should always appear at the top of the résumé.

4. Special Skills Matter

Casting directors frequently search for:

5. Update Regularly

Professional child actors update their résumés every few months as new credits are booked.

6. Modern Formatting

Today’s entertainment résumés should:

EXAMPLE RESUME #3

Note:Emma Grace Parker is a beginner with no industry credits

EMMA GRACE PARKER

Non-Union Height: 4’6”
Weight: 64 lbs.
Hair: Brown
Eyes: Hazel
Age: 9
DOB: March 14, 2017
Clothing Size: Youth 10
Shoe Size: 3 Youth

Location: New Jersey

CONTACT

Parent Contact: Lisa Parker
Phone: (555) 212-8844
Email: [email address]

TRAINING

SCHOOL / COMMUNITY THEATER

Production

Role

Theater/School

The Wizard of Oz

Munchkin

Lincoln Elementary

Frozen Jr.

Young Anna

Community Youth Theater

Holiday Showcase

Featured Singer

Broadway Kids Camp

STUDENT FILMS

Production

Role

Lost Puppy

Lily

The Big Science Fair

Emma

SPECIAL SKILLS

AWARDS / HONORS

ADDITIONAL INFORMATION

Why a Parent’s Name Appears on a Beginners Resume

When a child is first entering the entertainment industry and does not yet have representation, the parent or legal guardian’s contact information appears on the résumé. This is because the parent is submitting the child to agents and managers in hopes of obtaining professional representation.

Once the child signs or begins freelancing with an agent, manager, or both, the résumé should immediately be updated. The parent’s contact information should be removed and replaced with the representative’s information only.

Parents should never give out their personal contact information — or their child’s — directly to casting directors, producers, or other industry professionals. In the entertainment business, casting directors work through agents and managers, not through parents. This is standard industry practice and part of maintaining a professional working relationship.

Sample Submission Bio / Cover Non-Union Adult

Subject: Adult Theatrical Submission – Jane Doe

Hello [Agent Name],

My name is Jane Doe. I am a non-union actor based in New Jersey with local hire status in New York and anywhere bookings will take me. I am seeking theatrical representation.

Attached are my headshot and résumé. My demo reel can be viewed here: [link].

Thank you for your consideration. I would be grateful for the opportunity to be considered for representation.

Best regards,

Jane Doe
Phone
Email
Actors Access [link]
IMDb [link]

IMDb Page

An IMDb page (Internet Movie Database) is an online industry listing that tracks an actor’s professional film, television, streaming, theater, and production credits. IMDb stands for Internet Movie Database and is widely used by casting directors, agents, managers, producers, and entertainment professionals.

Only professional actors with legitimate industry credits have IMDb pages because their work appears in released productions that are documented in the entertainment industry database. An IMDb page serves as a public record of an actor’s career and may include:

In the entertainment business, IMDb functions like a professional résumé database. Casting offices often review an actor’s IMDb page to quickly verify credits and see the scope of their experience.

The Child Actor Industry Bio

A child actor’s industry biography or cover letter is a short introduction included with the child’s résumé and headshots when submitting to agents or managers. The bio gives potential representation a quick sense of the child’s personality, interests, work ethic, and family support system.

The bio should also briefly mention that the parent or guardian is flexible and available for auditions, self-tapes, callbacks, classes, and any industry-related travel. Agents and managers want to know that the family understands the time commitment involved in professional acting.

Keep the bio short, positive, and professional. This is not a life story.

Sample Beginner Child Actor’s Bio

Biography: Emma Grace Parker

Dear [Agent or agency name]

Emma is a confident and engaging young performer with a warm personality and a natural ability to connect with both adults and children. Since she was very little, she has been the “star” of our family—constantly performing, entertaining, and mimicking actors and performers she sees on television and in films. This is something she genuinely wants to pursue, which is why we are committed to giving her every opportunity to learn and grow in the industry. Emma is focused, upbeat, takes direction well, and enjoys the creative process both on set and in rehearsal environments.

As parents, we are supportive, professional, and flexible when it comes to auditions, self-tapes, callbacks, and production schedules. We understand the importance of being present and supportive while allowing industry professionals the space to do their work. We reside in New Jersey, are available for New York auditions, and are willing to travel as needed. We look forward to hearing from you.

My contact information [phone number - email]

Best,

Lisa Parker

Professional Child Actor Bio

Biography: Ryan Kiera Armstrong

Ryan was born in New York City on March 10, 2010. The youngest of 5, Ryan began her professional acting career in 2017 as Minnie May on Netflix’s Anne With An E. Over the years audiences have watched Ryan on the big screen in movies including The Art of Racing In the Rain, IT: Chapter II, The Gloria’s: Life on the Road, The Tomorrow Road and The Old Way. In 2021, Ryan joined the cast of American Horror Story: Double Feature as Alma Gardner—making history as the series’ first lead young actor. In 2022, Ryan reprised the role of Charlie McGee, made famous by Drew Barrymore in the original 1984 adaptation of Stephen King’s classic novel Firestarter. Ryan stared in the Lucas Films Star Wars Installment Skeleton Crew. Daughter to Dr. Berta Bacic and actor Dean Armstrong. They currently reside in Los Angelos.

Professional Adult Bio

Biography Gerard Canonico

Gerard is an NYC-based Actor/Musician. Broadway credits include Les Misérables, Be More Chill, Spring Awakening, American Idiot, Groundhog Day. Off-Broadway credits include Bare, Dear Evan Hansen, Brooklynite, The Talls. Feature Films: Stuck, Not Fade Away, Boy Wonder. Notable Recordings: Be More Chill, Spring Awakening, American Idiot, Groundhog Day, 21 Chump Street, Dear Evan Hansen, Bubble Boy. Gerard also plays in a variety of projects. Most notably, he fronts and plays guitar in a national touring tribute band to Blink 182 known as The Dude Ranch (@TheDudeRanchNYC) and is the Drummer for the original band Parader (@ParaderNYC).

Model Submissions

Beginning models do not need a professional portfolio to seek representation. Many reputable agencies will review clear, natural home snapshots. Typical snapshots include:

More experienced models may submit a portfolio link, composite card (comp card), or Zed card. A comp card or Zed card is a marketing tool featuring several professional images from the model's portfolio. The back of the card typically contains the model's statistics, including:

If the model does not yet have representation, the contact information on the card should belong to the parent or guardian (for minors) or the adult model. Once representation is secured, the agent's or manager's contact information should replace the model's personal contact information.

You must tell them where you reside.

Sample Child Model Cover Letter

Dear [Agent or agency name]

My name is Jennifer Parker, and I am submitting my daughter, Emma Parker, for consideration for print modeling representation.

Emma is an energetic, photogenic, and outgoing eight-year-old who enjoys being in front of the camera. While she is new to the modeling industry, she is comfortable taking direction, enjoys meeting new people, and has shown a natural ability to pose and express a variety of emotions in photographs.

Attached are Emma's recent snapshots for your review. We are committed to supporting her interests and are available for go-sees, photo shoots, and bookings. Although we reside in Charlotte, North Carolina, we are willing to relocate to Miami for opportunities and understand the commitment required to pursue professional modeling work.

Thank you for taking the time to review Emma's submission. We would be grateful for the opportunity to be considered for representation.

Sincerely,

Jennifer Parker
Parent/Guardian

Phone: (555) 555-1234
Email: [email address]

Model Information:

Emma Parker
Age: 8
Height: 4'3"
Weight: 58 lbs.
Clothing Size: Youth 8
Shoe Size: Youth 2
Hair Color: Brown
Eye Color: Hazel

Portfolio: [link here]

Sample Adult Model Cover Letter

Dear [Agent name]

My name is Michael Reynolds, and I am seeking print modeling representation.

I am a dedicated and professional aspiring model with a strong work ethic and a genuine commitment to building a career in the industry. I live just outside of Los Angeles, CA.

Enclosed are my recent photographs and portfolio materials for your review.

Thank you for your time and consideration. I would welcome the opportunity to discuss representation further.

Sincerely,

Michael Reynolds

Phone: (555) 555-6789
Email: [email address]

Height: 6'0"
Weight: 175 lbs.
Jacket: 40R
Waist: 32
Inseam: 32
Shoe Size: 10.5
Hair Color: Dark Brown
Eye Color: Blue

Portfolio: [link here]
Instagram: @MichaelReynoldsModel

These examples follow the format many agencies prefer: a brief, professional introduction; a statement of availability and commitment; current photos or portfolio materials; and complete contact information. The cover letter should be concise—usually no more than one page—and the photographs or comp card should do most of the selling.

Final Assessment

The resume format examples work for both children and adults.

For beginners, the sample resume, bio and cover letter provided is appropriate and on point for seeking representation, offering a clear and professional introduction without being overly detailed. The resume should list a parent or guardian as the primary contact while the child is actively seeking an agent or manager. For adults your contact information should be included. However, once the child or adult secures professional representation, the resume must be immediately updated to replace all parent or adult actors contact information with the agent or manager’s (or both) details, ensuring industry-standard communication through proper professional channels.

The resume, bio and cover letter examples provided reflect a standard, professional approach used for both children and adults in the industry. Both formats are appropriate for submissions to agents and managers when seeking representation.

The two bio styles shown are both commonly used in the industry. Some actors keep bios very brief and performance-focused, while others include more personal detail such as family background, place of birth, and early life context. Both approaches are acceptable and widely seen in professional submissions and on IMDb pages.

The key principle is clarity and restraint—bios and cover letters should remain short, focused, and easy to read quickly. Overly long or detailed bios are generally discouraged, as professionals will not read them.

Chapter 10

Casting Directors and the Audition Process

Introduction

Casting directors are one of the most important parts of the entertainment industry. They help productions find the right actors, singers, dancers, and voice talent for television shows, films, Broadway productions, commercials, streaming projects, and voiceover work.

Many actors focus only on the audition itself but understanding how casting directors actually work — who hires them, how auditions are organized, and how selections are made — helps actors approach auditions more professionally and confidently.

This section explains:

Who Are Casting Directors?

Casting directors are professionals hired by productions to identify, organize, and recommend talent for specific roles.

They are responsible for helping producers and directors find actors who fit:

Casting directors work across many areas of entertainment, including:

In major entertainment markets such as New York and Los Angeles, casting directors often specialize in specific areas like theatrical film, television, legit Broadway, or commercial casting.

How Casting Directors Work with Clients

Casting directors work directly for the client — not for the actors.

Their clients may include:

The production hires the casting office to help assemble the cast efficiently and professionally.

The Client Meeting

At the beginning of a project, the casting director usually meets with:

Together they discuss:

The casting director then creates official casting breakdowns describing the available roles.

How Casting Directors Reach Out to Agents and Managers

Once the breakdowns are finalized, casting directors distribute them to:

Agents and managers then submit actors they believe fit the role.

Submissions usually include:

Casting offices review many, many submissions for a single role.

Selecting Auditions

Casting associates and assistants help narrow submissions into audition selects.

They look for:

The casting office then contacts agents or managers with audition appointments or self-tape instructions.

How Casting Directors Organize Audition Days

Casting offices carefully structure audition days to stay on schedule while seeing as many actors as possible.

Audition schedules are often arranged in:

The setup depends on the type of project.

In-Person Auditions

In traditional casting sessions, actors arrive at:

Actors usually:

Inside the room may be:

While waiting for your turn to audition, try to find a quiet corner where you can rehearse your lines aloud. It’s an excellent way to warm up and get into character.

Sometimes a casting room will only consist of the casting director and a reader (the person reading the opposite role in your sides). The casting director might be operating the camera while observing you simultaneously.

Television and Film Auditions

Television Auditions

Television auditions are usually highly structured and fast-paced.

Actors are expected to:

Television casting often focuses on:

For television, auditions are recorded on camera for playback review.

Film Auditions

Film auditions may allow for slightly more emotional depth and exploration.

Casting directors often look for:

Film directors may review multiple takes before making callback decisions.

Commercial Auditions

Commercial casting is very different from theatrical casting.

Commercial auditions may focus heavily on:

Commercial copy is not sent in advance; it is received upon arrival at the casting office on the day of your audition. You’ll have a short period of time to get familiar with the copy without trying to memorize it. Find a corner to softly read aloud. (Things sound way better in your head).

Advertising agencies are usually heavily involved in commercial casting because the actor represents a product or brand image.

On-Camera Commercial Auditions

Actors may be asked to:

Commercial auditions are always recorded for client playback.

You’re being filmed in a frame that focuses on the neck up. The camera operator may get a full or ¾ length shot of you before or during your slate. After that, it is strictly about your facial expressions. (Keep it real – no overacting or sudden movements. Stillness is a craft in this case – not stiffness)

Broadway and Theater Auditions

Broadway and theater auditions are typically more performance-focused and may include:

Casting directors look for:

Broadway casting may involve several rounds of callbacks over weeks or months.

How Casting Directors Review Playback

For on-camera auditions, playback review is a major part of the casting process.

After auditions are completed, casting directors organize audition footage and present selected performances to:

Playback review allows the creative team to compare actors side-by-side.

They often evaluate:

Sometimes an actor who seemed excellent in the room may not translate as strongly on camera, while another actor may appear even stronger during playback.

This is one reason casting decisions can be unpredictable.

Voiceover Casting

Voiceover casting operates somewhat differently from on-camera casting.

Many voiceover auditions are handled remotely.

How Voiceover Auditions Work

Casting directors or production companies typically send:

These materials are usually sent first to the actors:

The representative forwards the audition information to the voice actor.

Recording the Audition

Voice actors commonly:

The representative then forwards the files to casting.

What Voice Casting Directors Listen For

Voiceover casting directors focus on:

Voiceover casting is playback-based as producers often listen to and compare numerous audio samples repeatedly before making their final selections. Age doesn’t always matter because you’re not appearing on camera. What matters more is the age range and type of character (if a character is involved) your voice convincingly and effortlessly portrays.

What Actors Need to Understand About Auditions

Actors should understand that auditions are not only about talent.

Casting directors also observe:

Actors are expected to:

A successful audition is not always about booking the role immediately. Casting directors often remember professional actors and may bring them back for future projects.

Final Assessment

Understanding how casting works behind the scenes helps actors approach auditions with greater confidence and awareness of industry expectations.

Chapter 11

Casting

Introduction

This section provides a more in-depth look at the casting process, highlighting essential steps such as communication between agents, managers, casting directors, internet casting services, and industry best practices for youth and young adult performers.

Casting Fundamentals

Preparing for Auditions

Learn how to prepare for auditions, from bringing essential materials to understanding sign-in procedures and privacy considerations.

Audition Preparation

The Casting Process

Explore the casting journey, from receiving scripts to booking roles.

Steps in the Casting Process

Callbacks and Compensation

Callback Process: After initial auditions, callbacks involve further review by casting directors, producers and directors. Multiple callbacks may occur, and selection often depends on the actor’s performance and their fit or chemistry with other cast members. Casting directors, producers, and directors are narrowing down their choices during callback sessions before they decide on who finally gets the part. The magic happens when an actor auditions for a role and gives birth to the character at the first audition also known as pre-read. Callbacks are no longer necessary when this occurs. The best example of this can be seen in two YouTube videos of Henry Thomas auditioning for the role of Elliot in the Spielberg film, E.T. The Extra-Terrestrial.

Sign on YouTube and search the following:

Compensation: Typically, there isn't compensation for an audition. Occasionally, actors may be eligible for pay if detained over an hour or asked to learn additional lines outside the studio. Likewise, if an actor receives multiple callback sessions for the same project, talent may receive per diem allowance covering their expenses. Your representative will contact the local SAG-AFTRA office for details. 

Industry Story

I once represented a young talent who was what the industry calls a “triple threat”—an accomplished actor, singer, and dancer. The production was the Broadway musical Nine, starring Antonio Banderas in his Broadway debut as the character Guido Contini.

My young client booked the role of “Young Guido,” portraying Guido as a child, primarily in the adult Guido’s memories, imagination, and flashbacks. Before landing the role, he attended an initial audition, a second audition, and then was called back two more times as the creative team continued narrowing the field before ultimately selecting him for the part.

Before we received the exciting news that he had been cast, his father became frustrated with the repeated callbacks and the constant trips back and forth to New York. He even asked me if they really had to go to the fourth callback—adding, “What more do they need to see?” I explained that this was actually a positive and exciting stage of the process, even if his son did not ultimately get the role. Receiving that much attention from the casting team meant that he was making a strong impression, which could lead to consideration for future projects if he was not selected for this one.

Parents should trust the process and remain positive throughout the audition phase. Multiple callbacks are a sign that a performer is being seriously considered, and every opportunity to be seen by casting professionals can help build future career opportunities.

Booking the Role

Final Assessment

Every audition is an opportunity to showcase your talent, professionalism, and commitment to your craft. Whether a role is booked or not, each experience contributes to a performer's growth and development within the industry. Casting decisions are influenced by many factors, and success often comes from remaining prepared, positive, and persistent throughout the process.

The performers who build lasting careers are those who continue to learn, improve their skills, respect the process, and maintain a professional attitude at every stage of their journey.

Chapter 12

The Modeling Industry

Introduction

The modeling industry is much larger and more diverse than most beginners realize. Modeling is not limited to fashion runways or magazine covers. There are many categories of modeling for babies, children, teens, young adults, adults, and seniors. Agencies and clients look for different appearances, personalities, body types, and skill sets depending on the type of modeling job being cast.

For parents of young beginners entering the industry, it is important to understand the different categories of modeling, the types of photographs models need, how auditions work, and what is expected professionally at go-sees.

A successful model is not always the tallest, most glamorous, or most experienced person in the room. Clients are often looking for relatable faces, personality, confidence, professionalism, and someone who photographs naturally.

Modeling opportunities exist for all looks, ethnicities, body types, sizes, ages, and gender identities.

Modeling Categories

High Fashion / Editorial Modeling

This is the world most people associate with runway fashion, luxury brands, designer campaigns, and fashion magazines.

Typical requirements:

Common work:

Photos needed:

Beginner Models Children

Height requirement is not as important in the youth division. The same natural selection standards apply to children and teens for photos as they do for adults in the guidelines above. Photos taken outdoors for beginners. Clothing should remain simple, with solid colors preferred. Avoid costumes, themed outfits, or anything overly styled or elaborate.

Photos should not include filters, heavy editing, or enhancements such as FaceTune. Makeup, sunglasses, bows, and similar accessories should also be avoided to keep the look clean, natural, and age appropriate.

Commercial / Lifestyle Modeling

Commercial modeling is one of the largest areas of the industry and often the most accessible for beginners.

Clients look for:

Common work:

Lifestyle modeling includes:

Most reputable agencies offer print work modeling opportunities as part of their commercial division. Some agencies, however, do not handle commercial print or any print modeling at all, while others specialize almost entirely in commercial print and lifestyle work.

Print work often features family-oriented advertising campaigns. If your family is interested in participating in these types of projects, it can make an agent's or manager's job much easier when submitting talent for consideration. Otherwise, casting directors must often assemble individual models and actors who appear as though they could be a real family.

When seeking representation, consider including one family photograph of the family all together in the photo, along with your child's photos and submission materials. Doing so may provide additional opportunities for print advertisements and family-focused commercial print projects.

Photos needed:

Child Modeling

Child models are used heavily in:

Agencies look for:

Parents must understand:

Photos needed:

Teen Modeling

Teen models often work in:

Agencies seek:

Photos needed:

Plus-Size Modeling

This category has grown tremendously and includes:

Clients seek:

Fitness Modeling

Fitness models are used for:

Requirements:

Photos needed:

Senior / Mature Modeling

One of the fastest-growing areas in the industry.

Clients need:

Common work:

Modeling and Acting Crossover

Some models successfully cross over into acting, on camera tv commercials, film, streaming, and lifestyle advertising. Clients often seek models who are comfortable speaking on camera, taking direction, and performing naturally in commercials and branded content.

However, most professional actors do not crossover into modeling. Mainstream actors typically reserve their schedules and availability for television, film, theater, streaming, and tv commercial acting opportunities. While actors may occasionally participate in print or lifestyle campaigns, their primary focus is usually acting work and auditions within the entertainment industry.

What are “Digitals” or “Polaroids”?

Every model needs simple, natural photographs often called:

These are not glamorous photographs.

They should show:

Typical digitals include:

Agencies and clients want to see what the model truly looks like.

What is a go-see?

A go-see is an in-person modeling audition or meeting where a casting director, photographer, or creative team evaluates the model before hiring them.

Unlike acting auditions, most go-sees are very short.

A model may:

Go-sees are extremely common in:

What they look for

The client evaluates:

For children:
The client often watches:

For adults:
Clients observe:

Parents should understand:
At professional go-sees, parents should not dominate conversations or attempt to “sell” the child.

How to Prepare for a Go-see

Before the Appointment

Children should:

Personal Grooming

Models should:

Children should look age appropriate.

What to Wear

Children

Girls:

Boys:

Avoid:

Teens

Girls:

Boys:

Young Adult Fashion Models

Women:

Men:

Agencies want to clearly see body shape and proportions.

Older Adults / Seniors

Clients usually prefer approachable, relatable styling.

Comp Cards | Zed Cards

A comp card (composite card) or zed card is a model’s calling card.

It usually includes:

Comp cards are handed out at go-sees.

Professional Expectations

The modeling industry values:

Parents should remember:
Agencies and clients often evaluate the parent as much as the child.

A difficult parent can prevent future bookings.

Red Flags and Safety

Parents and beginners should be cautious of:

Legitimate agencies make money when models book jobs.

Final Assessment

Modeling is a professional business that requires preparation, patience, flexibility, and professionalism from both the model and the family. Success in the industry often comes from consistency, attitude, reliability, and understanding how the business operates—not simply appearance alone.

A model's true talent is not simply physical appearance—it's the ability to perform to the camera. While attractive features may help open doors, what separates a professional model from everyone else is their ability to communicate without saying a word. Through expression, posture, movement, and eye contact, skilled models know how to connect with the camera and convey emotion, personality, and a message.

No matter how visually beautiful someone may be, beauty alone is not the talent. The talent lies in knowing how to engage the camera.

Whether pursuing commercial print, lifestyle, fashion, or child modeling, beginners should focus on obtaining strong natural photos, understanding industry expectations, attending go-sees professionally, and presenting themselves in a clean, confident, and approachable way. Parents should remember that agencies and clients are looking not only for photogenic talent, but also for professionalism, cooperation, an individual that can take direction, and a positive working relationship.

Chapter 13

Television Directors

A Playbook for Parents of Aspiring Actors & Models, and Young Adults

Television Director

Introduction

Television directors play a vital role in bringing episodic stories to life for broadcast networks, cable television, and streaming platforms. Like film directors, television directors guide performances, oversee technical departments, and shape the visual storytelling of a production. However, television directing operates within a faster-paced environment that requires efficiency, flexibility, and the ability to work within an already established series structure.

Television directors must balance creativity with continuity. Unlike many film directors who may control the entire artistic vision of a feature film, television directors often work within an ongoing series that already has established characters, visual styles, production methods, and audience expectations.

This section explores the responsibilities, creative process, technical demands, and leadership skills required to succeed as a television director. For actors, understanding what a director’s job entails provides valuable perspective on the collaborative nature of television production. When actors recognize the many creative and logistical responsibilities directors balance, they are more likely to appreciate the importance of arriving prepared and on time.

Understanding the Role of a Television Director

A television director is responsible for overseeing the creative and technical execution of individual episodes or segments of a television production.

The television director’s responsibilities include:

Television directors must work efficiently because television schedules move extremely fast compared to feature films.

Creative Leadership in Television

Television directors guide the creative process while working closely with producers, writers, showrunners, and network executives.

Their leadership responsibilities include:

Television directors must adapt quickly while keeping production moving efficiently under tight deadlines.

Assistant Directors in Television Production

A weekly television series typically operates with a smaller assistant director department than a major feature film, usually consisting of a Director's Assistant, a 1st Assistant Director (1st AD), and a 2nd Assistant Director (2nd AD). The Director's Assistant serves as the director's right hand, helping coordinate creative and production matters while maintaining close communication with the director. The 1st AD manages the shooting schedule, oversees the set, and ensures production stays on time, while the 2nd AD handles call sheets, cast scheduling, and daily logistics. Larger television productions may also employ a 2nd, 2ndAD or additional assistant directors when working with large casts, multiple locations, or complex action sequences.

The Role of a Showrunner

In television, the showrunner often holds the primary creative authority over the series.

The showrunner:

Television directors must understand and support the vision established by the showrunner while bringing creativity and energy to each episode.

Major Responsibilities of a Television Director

Directing Actors

Television directors guide actors through scenes while maintaining consistency with the established personalities and behaviors of recurring characters.

Directors help actors with:

Actors must be prepared to quickly adapt to adjustments and direction on set.

Maintaining Continuity

One of the most important responsibilities in television directing is maintaining continuity from episode to episode.

This includes consistency in:

Audiences expect television series to feel visually and emotionally consistent throughout a season.

Camera and Visual Direction

Television directors work closely with cinematographers and camera operators to create effective visual storytelling while remaining within the visual style of the series.

Responsibilities include:

Television productions often use multiple cameras and tighter schedules than feature films, requiring directors to make decisions quickly.

Collaboration with Writers and Producers

Television directors regularly collaborate with:

Directors must understand the script’s emotional and narrative goals while balancing production limitations and scheduling demands.

Pre-Production

Before filming begins, television directors prepare for production by:

Preparation is critical because television schedules often allow very little time for delays.

Production

During filming, television directors:

Television productions often film several pages of script material per day. Some productions, such as sitcoms, typically film on Fridays. Monday through Thursday is spent rehearsing. Wednesday's rehearsal, known as the network run-through, allows network executives to watch electronically and get a sense of what will be filmed on Friday. Some sitcoms are filmed in front of a live audience on Friday evenings.

Post-Production

After filming, television directors collaborate with editors to finalize the episode.

Responsibilities may include:

In television, post-production timelines are much shorter than in feature filmmaking.

Skills for Television Directing

Leadership

Television directors manage large teams while maintaining a positive and efficient work environment.

Communication Skills

Clear communication is essential when working with actors, producers, writers, and technical departments under time pressure.

Adaptability

Television productions frequently encounter:

Directors must adapt quickly without slowing production. Actors must also adjust to line changes or the removal of dialogue as revised scripts are distributed each morning before rehearsals begin. Actors must honor every word on the page. Writers, producers and directors are strict about being off-book on a television set and being prepared.

Technical Knowledge

Television directors should understand:

Time Management

Television schedules are extremely demanding. Directors must complete scenes quickly while maintaining production quality.

Collaboration

Television directing requires constant collaboration with:

Strong teamwork is essential.

Challenges

Directors often face:

Television directors must consistently deliver high-quality work while working under intense scheduling pressure.

The ability to stay calm, organized, and creative under pressure is essential.

Multi-Camera VS. Single-Camera

Television directors may work in either multi-camera or single-camera productions.

Multi-Camera Television

Common in:

Characteristics:

Single-Camera Television

Common in:

Characteristics:

Many modern streaming shows use single-camera production styles similar to feature films.

Difference Between a Film Director & a Television Director

While both film and television directors guide storytelling and performances, the structure of the industries differs significantly.

Film directors often have greater creative control over an entire project from beginning to end. A feature film is usually a self-contained story, allowing the director to shape the overall artistic vision of the production.

Television directors, however, usually work within an already established series created by showrunners and producers. They must maintain continuity in visual style, storytelling, and character tone from episode to episode while still bringing creativity to the material.

Feature films also typically allow for longer production schedules, while television directors work under much faster timelines and tighter deadlines.

In many ways:

Both roles require creativity, leadership, technical knowledge, collaboration, and strong communication skills.

Successful Television Directors

Television directors’ study:

Observing successful television directors can provide valuable insight into balancing creativity with the fast pace of episodic production.

Final Assessment

Television directors oversee the creative and technical execution of episodic storytelling, guiding performances, managing production demands, and ensuring consistency throughout a series. Whether working on network television, streaming platforms, sitcoms, or dramas, they play a central role in shaping the final product and the audience’s viewing experience.

Chapter 14

Film Directors

Film Director

Introduction

The film director is one of the most important creative forces in filmmaking. A director is responsible for transforming a written script into a visual and emotional experience for the audience. Every major creative decision—from performances and camera movement to tone, pacing, and visual style—is shaped by the director’s vision.

A director leads large teams of actors, writers, cinematographers, editors, designers, and technical crew members while balancing creativity with the practical realities of production schedules and budgets. Great directors must be storytellers, leaders, collaborators, problem-solvers, and decision-makers all at once.

This section provides a comprehensive understanding of the responsibilities, skills and challenges involved in directing film productions. For actors, understanding the role of a film director offers valuable insight into the collaborative nature of filmmaking and reinforces the importance of approaching their own role with preparation, professionalism, and respect for the production process.

Understanding the Film Director’s Role

A film director serves as the creative leader of a production. While producers manage financing, scheduling, and business operations, the director oversees the artistic and dramatic direction of the film.

The director’s job is to:

Directors bridge the gap between creativity and execution. They maintain control of the overall project.

Creative Leadership

Their leadership includes:

Strong directors know how to inspire confidence in cast and crew while keeping productions organized and efficient.

Major Responsibilities

Script Interpretation

The director studies the script carefully and develops a creative vision for how the story should appear onscreen.

This includes:

Many directors create shot lists, storyboards, visual references, and production notes before filming begins.

Casting

Directors work closely with casting directors to select actors who best fit the roles.

The director evaluates the casting director’s choices by observing:

Casting is one of the most important decisions in filmmaking because performances largely determine whether audiences emotionally connect to the story.

Working with Actors

One of the director’s most important responsibilities is guiding actors to deliver believable and emotionally truthful performances.

Directors provide actors with:

Actors must often adjust quickly to new ideas, script changes, camera setups, and emotional shifts. Directors help actors remain connected to the story while ensuring performances align with the overall vision of the film.

Strong directors understand that every actor works differently. Some actors respond to technical instruction, while others respond better to emotional discussion or improvisation.

Many directors have a unique and magical ability to work with children on set, helping them understand why their character behaves a certain way and explaining scenes that may involve actions or choices that would not be acceptable in real life.

Industry Story

I booked a young boy in the Focus Films movie Eternal Sunshine of the Spotless Mind. The director, Michel Gondry, carefully guided my young client through a scene in which he is pressured by a group of bully kids to bludgeon an injured bird to death with a hammer. Gondry gently explained that this moment represented the character, adult Joel's childhood shame and regret for giving in to peer pressure. He made it clear that harming an animal would be terrible in real life and reassured him that the bird was simply a realistic prop.

To help my client connect emotionally to the scene, Gondry asked him to imagine being pressured by his siblings or friends to play the beach, boardwalk high-striker game—lifting the large hammer and striking it over and over with force in hopes of ringing the bell and winning a plush toy. By redirecting the action into something familiar and harmless, he helped him understand the emotional stakes without focusing on the disturbing act itself.

Using his imagination and emotions, my young client was able to fully commit to the scene. It was a powerful example of how skilled directors can help actors navigate difficult material with sensitivity, clarity, and creativity.

Visual Storytelling

Directors work closely with the cinematographer (Director of Photography) to create the visual language of the film.

This includes:

Visual storytelling helps audiences emotionally experience the film without relying entirely on dialogue.

Collaboration with Writers

Directors often collaborate closely with writers to ensure the original intent of the screenplay is preserved while adapting it into a visual medium.

This collaboration may involve:

A successful director must deeply understand the writer’s vision while also balancing the practical realities of production.

Collaboration with Producers

While directors focus on creativity, producers focus on financing, scheduling, logistics, and business operations.

Directors must still remain aware of:

Successful directors learn how to maintain creative quality while working within practical production constraints.

The Assistant Director Team

On a major motion picture, the director relies heavily on a team of assistant directors and support personnel to keep the production organized, efficient, and moving according to schedule. While the audience rarely sees their work, these professionals are often the driving force behind the daily operation of a film set.

Most large productions employ a core assistant director department consisting of several key individuals, supported by production assistants and other coordinating staff. Each position carries specific responsibilities designed to ensure that cast, crew, equipment, and locations are all ready when needed.

At the top of the support structure is the Director's Assistant. Unlike the assistant directors who primarily focus on scheduling and logistics, the Director's Assistant works closely with the director throughout the production process. This individual is often considered the director's right hand, remaining involved in both the creative and practical aspects of filmmaking. The Director's Assistant helps manage communications, coordinates meetings, handles important paperwork and notes, and serves as a trusted extension of the director's vision. Because of the close working relationship, this position requires exceptional organizational skills, discretion, and a deep understanding of the director's creative goals.

The next position in the chain of command is the First Assistant Director (1st AD). The 1st AD serves as the director's primary organizational partner on set. The 1st AD oversees the shooting schedule, coordinates communication between departments, manages the pace of production, and ensures that filming remains on schedule and within budget. While the director focuses on the creative aspects of the film, the 1st AD concentrates on the practical execution of the day's work. The 1st AD is often responsible for maintaining order on set and making sure every department is prepared for each scene before filming begins.

Supporting this effort is the Second Assistant Director (2nd AD), who manages many of the logistical details that occur away from the camera. The 2nd AD prepares daily call sheets, coordinates cast movement between makeup, wardrobe, and the set, and helps ensure that actors and crew members are where they need to be throughout the day.

Larger productions frequently add a Second, Second Assistant Director (2nd, 2nd AD). This position assists with background performers, coordinates production assistants, manages vehicle movements, and helps maintain communication between various parts of the production. On films involving large crowd scenes, the 2nd, 2nd AD becomes an essential link in keeping operations running smoothly.

Blockbuster productions, complex action sequences, and films using multiple shooting units may require additional assistant directors and key production assistants. These team members help supervise specific areas of production, coordinate large groups of background / extras, and handle the increased logistical demands that accompany large-scale filmmaking.

The size of the assistant director department varies according to the needs of the project. A drama filmed primarily in a few locations may operate efficiently with a small AD team, while a large action film featuring hundreds of extras, extensive stunts, or multiple units filming simultaneously may require five, six, or even more assistant directors. Regardless of the production's size, the assistant director department serves as the organizational backbone of the set, helping transform a complex shooting schedule into a coordinated and productive filmmaking operation.

Pre-Production

Pre-production is where directors prepare the foundation for the film.

Responsibilities include:

The more prepared a director is before filming begins, the smoother production usually becomes.

Production

Production is the filming stage.

During production, directors:

Directors constantly monitor:

Directors must remain calm, focused, and decisive under pressure.

Post-Production

After filming wraps, directors continue shaping the project in post-production.

Directors collaborate with:

Responsibilities include:

Many films are truly “discovered” during editing, where pacing and storytelling are refined.

Final Assessment

A film director is far more than a person calling “action” and “cut.” Directors are storytellers, leaders, collaborators, and decision-makers responsible for guiding every creative aspect of a production from script development through final edit.

Successful directors combine artistic vision with strong communication, technical knowledge, leadership, and problem-solving abilities. They must inspire actors, coordinate large teams, adapt under pressure, and maintain a clear vision throughout the filmmaking process.

Chapter 15

Child Work Permits and Trust Accounts

Introduction

Navigating child performer work permits can feel overwhelming for new entertainment families, especially when a booking comes in with little notice. Understanding the permit process ahead of time helps parents avoid delays and ensures their child can legally work on productions in states like New York and California. In this section parents will understand the basic steps needed to secure legal work authorization for their child performer.

This section explains:

Understanding Child Performer Permits

Child performers are legally required to have work authorization before participating in television, film, commercials, theater, or other entertainment productions.

Because minors are protected under state labor laws, parents or legal guardians are responsible for obtaining and maintaining these permits.

Although agents and managers help coordinate employment opportunities, they typically do not apply for permits on behalf of families. Instead, they provide:

Parents must complete and submit all required paperwork because the process includes sensitive personal, educational, and medical documentation.

New York Child Performer Permit Process

Permit Requirement

In New York, child performers must obtain a Child Performer Permit issued by the New York State Department of Labor.

Application Process

Parents or legal guardians must apply directly through the New York State Department of Labor website.

First-Time Applicants

If the child has never previously received a permit, parents may apply online for a free one-time temporary 15-day permit. This temporary permit is issued immediately after approval and allows the child to begin working while completing the full application process.

Required Documents

Parents must submit:

The trust account is designed to protect a portion of the child’s earnings.

In both New York and California, child performers are legally required to have a protected trust account established before or shortly after beginning paid work. These accounts are commonly referred to as “Coogan Accounts,” although New York officially recognizes UTMA (Uniform Transfer to Minors Act), UGMA (Uniform Gifts to Minors Act), or blocked trust accounts that function similarly to California Coogan accounts. At least 15% of the child performer’s gross earnings must be deposited into the account and preserved for the child until adulthood. 

New York Requirements

New York requires parents or guardians to establish a Child Performer Trust Account before the child’s first paid job, although families using the temporary 15-day permit are given additional time to complete the process. The account may be:

Parents must provide the employer with the account information so productions can transfer the required 15% of gross earnings directly into the trust account. 

California Requirements

California requires a blocked trust account officially known as a Coogan Account for all child performers working under an Entertainment Work Permit. Parents or legal guardians must open the account at an approved financial institution before the child can legally work. Productions are legally required to deposit at least 15% of the child’s gross earnings into the account. The funds remain protected and inaccessible until the child turns 18 years old. 

Many entertainment families open Coogan accounts through banks or credit unions experienced with child performer accounts, including institutions commonly used by entertainment professionals in Los Angeles.

Important Note

Applications cannot be submitted by agents or managers because state law requires parental signatures and consent.

California Entertainment Work Permit Process

Permit Requirement

California requires child performers to obtain an Entertainment Work Permit (EWP) issued by the Division of Labor Standards Enforcement (DLSE).

Application Process

Parents or legal guardians must apply directly through the California Department of Industrial Relations.

First-Time Applicants

New applicants may receive a one-time temporary 10-day permit online. This temporary permit allows the child to begin working immediately while the permanent six-month permit is processed.

Required Documents

Parents must provide:

Expedited Processing

If a production start date is approaching, California may expedite processing when parents provide:

The Role of Agents and Managers

Agents and managers play an important supporting role in the permit process, but they are not responsible for completing applications.

Their responsibilities usually include providing:

Parents remain responsible for:

This system protects the child’s personal and educational information while ensuring compliance with labor laws.

Final Assessment

Child performer permits and trust accounts are an essential part of working legally in the entertainment industry. While agents and managers help facilitate bookings and provide employment details, parents are ultimately responsible for obtaining and maintaining valid permits for their child performers.

Chapter 16

Industry Unions

Introduction

This section of the course is designed to guide you through the ins and outs of SAG-AFTRA union rules, show you how to maximize the benefits of membership once you’re eligible to join, and explain how being part of the union can support you in building a long-lasting and successful career in the entertainment industry. Your manager or agent will likely walk you through this process once you become eligible.

What is SAG-AFTRA? SAG-AFTRA was established in 2012 through the merger of the Screen Actors Guild (SAG) and the American Federation of Television and Radio Artists (AFTRA). As a proud member of the AFL-CIO, the largest federation of unions in the U.S., SAG-AFTRA also holds membership in the International Federation of Actors and the International Federation of Journalists, reflecting its global reach. The organization is currently led by Fran Drescher, who serves as its President.

SAG-AFTRA represents a diverse group of over 160,000 media professionals, including: actors, announcers, broadcasters, journalists, dancers, DJs, news writers, editors, program hosts, puppeteers, recording artists, singers, musicians, stunt performers, tv commercial and voiceover artists.

With national offices in Los Angeles and New York, and local offices nationwide, SAG-AFTRA is dedicated to advocating for the rights and protections of media artists. Their mission includes:

Eligibility: How to Get Your SAG-AFTRA Card

Joining SAG-AFTRA is a significant milestone for any performer. Here's how you can become eligible:

Collective Bargaining Agreement (CBA) A SAG-AFTRA Collective Bargaining Agreement is a written contract between the union and employers that establishes the terms and conditions of employment for members. Through collective bargaining, unions and employers work together to negotiate these terms, ensuring fair working conditions and compensation. For SAG-AFTRA members, the CBA sets standards for residuals, working conditions, overtime, and other essential benefits, including contributions from producers to pension plans for eligible members. These agreements are key to maintaining fair labor practices and supporting members throughout their careers.

Important Note for Young Performers
Actors under the age of 4 can work under SAG-AFTRA contracts without joining the union.

Contracts and Requirements for Minors Every SAG-AFTRA contract includes a dedicated section addressing the employment of minors, covering important aspects such as engagement terms, education requirements, and supervision standards. These provisions also outline the age considered as "minor" and establish permissible working hours, which can differ depending on the specific contract. It’s essential for parents to thoroughly review and understand this section of the agreement applicable to their child’s work to ensure compliance and a positive experience. Since no one knows a child better than their parents, it is important for them to realistically assess whether their child can handle the demands of the project, including the production hours, (which fall under child labor laws) focus, and commitment required. Once a parent accepts an audition for their child, they must honor the booking if a child is offered the part.

However, there are legal avenues for getting your child released from a job contract after you’ve signed on to a project. This process is best handled with the guidance of an experienced entertainment lawyer, who can help navigate the terms. It is important for parents to be realistic from the outset about the demands and commitments that come with participating in the industry.

Considering Membership?
Joining SAG-AFTRA is an important commitment. Once you’re a member, you must adhere to union rules.

Understanding the Taft-Hartley Act

The Taft-Hartley Act allows non-union performers to work on a SAG-AFTRA contract for a limited time without immediately joining the union:

What is Global Rule One?
Global Rule One requires that SAG-AFTRA members only work under union contracts. (No longer permitted to work non-union projects). No member may perform services or agree to work for any employer that hasn’t signed a basic minimum agreement with SAG-AFTRA. This rule applies worldwide.

Why It Matters
Violating Global Rule One can render disciplinary actions such as reprimands, fines, or even expulsion from the union. As a member, it’s your responsibility to:

After an actor (adult or child over 4) has used two SAG-AFTRA union job waivers, they attain "must-join" status. At this point, they cannot work on another SAG-AFTRA project without becoming a member of the union. However, they can still audition for and accept non-union work until they officially join. Once they become a member of SAG-AFTRA, they are prohibited from auditioning and taking on non-union roles.

Review

SAG-AFTRA Union Dues

SAG-AFTRA union dues are calculated each year and split into two payments, due in May and November.

In addition to dues, there’s a one-time initiation fee of $3,000, (subject to change) though this amount may vary depending on your state.

Dues are non-refundable and based on your earnings from the prior calendar year. Bills are mailed to the address you have on file, but if you don’t receive one, it’s up to you to request a duplicate.

Choosing your Industry or Stage Name
When joining SAG-AFTRA, you’ll need to sign up using your legal name. However, you have the option to choose a unique stage name for your membership and career—SAG-AFTRA will make sure your chosen stage name isn’t already in use by another SAG-AFTRA member. This ensures your professional identity stands out in the industry.

SAG-AFTRA Community As a member, you’re now part of a community of actors, broadcasters, recording artists, and media professionals who stand united to support one another. SAG-AFTRA works to secure fair wages, safe working conditions, residuals, and health and pension benefits, whether negotiating with powerful multinational corporations, or small production companies that have assigned signatories and projects that are registered with SAG-AFTRA.

Performers can face unique challenges in the entertainment industry. Your agent or manager is your first guide through the process. The union, along with its conservatories, the SAG-AFTRA Foundation, and the Entertainment Community Fund, offer programs to enhance your skills and professional training. (May require fees and may offer discounts).

Your union is also a resource to help you stay informed and connected. It’s a valuable tool that includes features like residuals tracking, production listings, contract information, union news, and a digital membership card.

Whether SAG is negotiating fair contracts, enforcing industry protections, or advocating for policy changes, unity is what gives its members strength. As a union member, you represent the next generation of talent that will keep the organization thriving for years to come.

Chapter 17

Child Labor Laws

Introduction

Child actors are protected under special labor laws designed to safeguard their education, earnings, health, and emotional well-being. These laws are strict in both New York and California (Los Angeles/Hollywood), and parents are responsible for understanding them.

The entertainment industry is one of the few industries where minors may legally work, but productions must follow detailed rules regarding permits, school time, work hours, supervision, and trust accounts. Parents who fail to comply can risk fines, revoked permits, or loss of earnings protections for their child.

This section provides a practical overview of the most important child labor laws for young performers in New York and California.

Who Is Considered a Child Performer?

A child performer is anyone under 18 working in:

In New York, even unpaid performances may require a permit.

New York Child Actor Laws

Permits

In New York, minors must obtain a Child Performer Permit before working. Parents or guardians apply through the New York State Department of Labor.

Parents must provide:

Permits are generally valid for one year.

Trust Accounts

New York law requires at least 15% of a child performer’s gross earnings be placed into a protected trust account.

Parents must:

These funds legally belong to the child.

Schooling Requirements

Child actors cannot fall behind academically due to work.

Employers must provide:

A child cannot go more than 10 consecutive school days without educational instruction while school is in session.

Work Hours in New York for Minors

New York child labor laws strictly regulate how long minors may work in film, television, theater, commercials, and other entertainment productions. The rules vary depending on the child’s age and whether school is in session.

Total Hours at the Workplace

This includes all time spent on set or at the production location, including work, school, meals, rest, wardrobe, makeup, and waiting time.

Infants Under 6 Months

Ages 6 Months to Under 2 Years

Ages 2 to Under 6 Years (identical twins are typically hired in this age range)

Ages 6 to Under 9 Years

Ages 9 to Under 16 Years

Ages 16–17

Actual Work Hours

This refers to the time the child is actively performing, rehearsing, or working on camera or stage.

Ages 2 to Under 6 Years

Ages 6 to Under 9 Years

Ages 9 to Under 16 Years

Ages 16–17

Infants and toddlers are allowed only very limited performance time and require close supervision.

School Hours

When school is in session, productions must provide educational instruction to child performers.

New York generally requires:

Children may not miss excessive school time due to production schedules.

Rest Breaks

Minor performers must receive adequate rest periods during the workday.

Requirements include:

Productions must ensure children are not overworked or placed under unsafe levels of fatigue.

Meal Breaks

Meal breaks are required during production days.

Typically:

Failure to provide required meal breaks can result in violations of New York child labor laws.

California Child Actor Laws

California has some of the strictest entertainment labor laws in the world.

Entertainment Work Permit

All minors working in entertainment must have:

Coogan Law (Coogan Account)

California’s famous “Coogan Law” protects child actors’ income.

Parents must open a blocked Coogan Trust Account, and employers must deposit at least 15% of the earnings directly into it.

The money cannot legally be used by parents.

This law was created after child actor Jackie Coogan lost most of his childhood earnings due to family misuse. Jackie Coogan played the role of an orphan in Charlie Chaplin’s silent film The Kid. He is best known for his role as Uncle Fester in the 1960s sitcom The Addams Family.

Coogan’s mother and stepfather squandered millions while Coogan was reportedly only given a weekly allowance of $6.50 during his career. Eventually, his earnings were completely gone. The state of California was so outraged, they passed state legislation called the California Child Actor’s Bill (the Coogan Act).

On-Set Teachers & Welfare Worker

California requires studio teachers/welfare workers to:

Parents should understand that studio teachers are legal authorities on set regarding child welfare.

Work Hours in California for Minor Actors

California has strict laws regulating how long minors can work in the entertainment industry. The allowed hours depend on the child’s age.

Infants (15 Days to 6 Months)

Babies (6 Months to 2 Years)

Ages 2 to 5

Ages 6 to 8

When School is in Session:

When School is Not in Session:

Ages 9 to 15

When School is in Session:

When School is Not in Session:

Ages 16 to 17

When School is in Session:

When School is Not in Session:

Infants and toddlers may only work for very short periods.

This is why productions often use twins for young roles.

What Parents Must Know Before Entering the Industry

Parents Must Stay Involved

A parent or guardian is often required to:

Communicate with your agent or manager about legal responsibilities.

Protect Your Child’s Earnings

Keep:

Many former child actors faced financial abuse because parents controlled their earnings improperly.

Education Comes First

A child actor should:

Parents should watch for burnout, anxiety, or pressure from the industry.

Final Assessment

Parents of child actors must understand that both New York and California have strict labor laws designed to protect minors working in entertainment. These laws cover work permits, education requirements, work-hour restrictions, trust accounts, and on-set safety protections.

A parent’s responsibility includes:

Understanding these laws helps parents make informed decisions while ensuring their child’s career remains safe, legal, and balanced with a healthy childhood.

Chapter 18

Potential Earnings

Introduction

One of the biggest questions families ask when entering the entertainment industry is: “How much can a child actor or model really earn?”

The truth is that earnings vary dramatically depending on:

Some performers earn a few hundred dollars a year, while others earn thousands or millions. Most actors and models build careers slowly over time through consistent work, networking, training, and professional representation.

This section explains the realistic earning potential in:

The information below includes industry-standard ranges and union information connected to SAG-AFTRA and professional entertainment contracts.

Film Earnings

Major Studio Films

Lead actors in major studio films may earn:

Most young performers begin with:

SAG-AFTRA Film Minimums

Union film work generally pays minimum daily or weekly rates.

Approximate union minimums may include:

These are minimums only. Established actors have reps that negotiate much higher rates.

Non-Union Film Pay

Non-union film work can vary greatly depending on the project budget.

Typical non-union rates may include:

Residuals

Film actors may receive residual payments when projects are:

Residuals can range from:

Non-union productions do not provide residuals.

Overtime, Turnaround, and “Golden Time” (Film/TV Set Rules)

Union productions follow strict labor rules that directly affect pay:

Overtime (OT)

Double Time

Golden Time (GT) Film & Television

Golden Time is a special overtime provision in some film / TV union contracts where after 16 hours, you are paid the full day rate for each hour overtime worked. It is basically a punitive charge to discourage producers from running over 16 hours per day.

But it can still be cheaper to pay GT hours than bring back a major star for a day of pickups or delay a company move to another location, or when a show cannot stay to the next day because the location or stage has another commitment immediately following.

Turnaround Time

These protections are especially important for minors under entertainment labor laws.

Television Earnings

Co-Star and Guest Star Roles

Television earnings vary by role size.

Typical union ranges:

Non-Union Television Pay

Non-union television projects may include:

Typical non-union pay:

Day Players

A day player is a small speaking role that works one or several days.

Typical union earnings:

Extras (Background Actors)

Extras are performers who appear in the background with no speaking lines.

Union Extras Pay

Under SAG-AFTRA:

Non-Union Extras Pay

Extras do not receive residuals.

Under-Five Line Roles (U5 Roles)

An under-five role includes fewer than five lines of dialogue.

Union Pay

Non-Union Pay

Television Commercial Earnings

National Commercials

A national union commercial may include:

Earnings can include:

Residuals increase when commercials air repeatedly on national networks, cable, and streaming platforms. Some commercials generate long-term income over time. Approximately $550 daily rate plus residuals – residual earnings can land anywhere from $5,000 or $50,000+ depending on the media plans.

Non-Union Regional Commercial Pay

Voice-Over Earnings

Includes:

Typical rates:

Non-Union Voice-Over Pay

Theater Earnings

Broadway

National Theater Tours

Union Tours

Non-Union Tours

Regional and Community Theater

Broadway Theater Overtime Rules

Theater work also includes:

Print Modeling Earnings

Typical Print Modeling

Non-Union Print Modeling

Print Modeling Overtime

Lifestyle Modeling Earnings

Commercial Print Modeling Earnings

High Fashion Modeling Earnings

About Entertainment Income

Income is Inconsistent

Work is unpredictable.

Representation Fees

Taxes and Trust Accounts

Includes Coogan-style protections, tax withholding, and financial tracking for minors.

Training Costs

Includes acting classes, headshots, composite cards, travel, and marketing materials. (save receipts for tax purposes).

Client Story

I booked a young client on an ABC television sitcom. At the time, ABC sitcoms operated under the Touchstone banner. His negotiated salary began at $16,000 per episode for Season 1. In Season 2, his negotiated rate increased to $18,000 per episode, and by Season 3, it rose to $20,000 per episode. Unfortunately, the series was not renewed for a fourth season.

On the same sitcom, the star of the show was represented by an agent at William Morris Endeavor (WME) who negotiated a deal worth $200,000 per episode.

Disney was also part of the ABC family at the time, yet the pay structure for Disney Channel programming was very different. I booked a young client on a Disney Channel comedy series, where my client earned $2,500 per episode in a recurring role. Even performers in principal roles on the series were capped at $10,000 per episode, illustrating the significant gap in compensation between network primetime sitcoms and Disney Channel productions.

Final Assessment

The entertainment industry offers a wide range of earning opportunities, but income varies significantly based on union status, role size, usage rights, media plans and celebrity status.

Extras and entry-level experience offer low pay, while commercials, television, and national network campaigns offer the strongest earning potential.

Union productions under SAG-AFTRA provide structured pay systems including overtime, double time, turnaround protections, and “golden time” penalties that significantly increase earnings when labor rules are exceeded. Non-union work typically offers simpler flat rate pay structures with no long-term financial income.

Theater tours can provide steady weekly income with travel support, while modeling varies widely depending on usage rights and market level.

Parents of young actors and young adult actors should understand that entertainment income is highly variable, and long-term success depends on training, consistency, professional representation, timing and sometimes luck.

Top of Form

Bottom of Form

Chapter 19

Pilot Season

East Coast to West Coast

Introduction

A pilot is a television program produced as a prototype for a TV series. Pilot season is a recurring period held each year from January through April, presenting seasoned actors with an abundance of auditions for television pilots that may already be greenlit or are currently being pitched to networks.

This busy season primarily takes place in Los Angeles, California, although many agents and managers now submit pilot auditions electronically on behalf of their talent.

For many actors and families living on the east coast, pilot season often involves traveling west to Los Angeles. This section specifically focuses on how east coast talent transitions into the west coast market during pilot season and how representation facilitates opportunities.

The Reality of Pilot Season

Some adult actors believe pilot season is a magical time of year when the gates swing wide open, giving unsigned actors with little experience or few quality credits the opportunity to audition for the most important roles in television. In reality, this is not the case for adults.

For children and young teens, however, the industry tends to be more forgiving. Industry professionals understand that young actors require time to develop their craft and build their resumes. Even so, a child actor attending pilot season in Los Angeles still needs to be a skilled performer, have professional credits on their resume, which also demonstrates previous experience working on sets with directors, and have both east coast and west coast representation.

East Coast Representation and West Coast Opportunities

During pilot season, an east coast representative may work closely with affiliates—agents, managers, and industry connections on the west coast to help secure auditions and studio meetings for their talent.

Before a parent and child travel to Los Angeles, the east coast representative has already introduced and promoted the child actor to a prospective west coast representative.

Because of this introduction process, the west coast representative often already has a strong understanding of the child’s personality, experience, and potential before the first meeting takes place. This creates a smoother transition into the Los Angeles market and allows the child to begin auditioning.

For many east coast actors, pilot season becomes an opportunity not only to audition, but also to establish long-term professional relationships within the west coast television industry.

Marketing Children for Roles

Casting directors and producers understand that children have unique developmental needs. Because of this, they are often more willing to consider young actors who demonstrate adaptability, professionalism, and a willingness to learn, even when their resumes are still developing.

Representatives carefully select audition opportunities that match each child, teen or adult to the character description received by a casting director for a specific role.

This thoughtful approach helps create positive experiences while allowing the child to grow naturally within the industry.

Children’s roles are also influenced by a network’s marketing goals and scheduling needs. Lead roles may sometimes be filled by recognizable names in order to attract sponsors and promote a series. Supporting roles and recurring characters, however, are often cast based on suitability, personality, and cast chemistry.

Child actors can gradually build confidence, credits, and professional relationships to compete against established young talent.

Pilot Opportunities Throughout the Year

Although pilot season remains the traditional time when the majority of network television shows are cast, pilots continue to appear on breakdowns throughout the entire year.

For both adults and children, it is important to remember that an acting career is not defined solely by the number of auditions received during pilot season. Success in the entertainment industry is the culmination of opportunities gained throughout the year, combined with continued growth through:

Consistent training and perseverance are essential parts of becoming a successful actor.

Television Casting and Name Actors

If you watch a variety of television series, you will notice that many series regular roles are not always filled by major name actors. However, lead roles are often awarded to recognizable stars because networks and sponsors use familiar faces to help promote new shows.

Advertisers and network executives play an important role in television programming decisions. Networks rely heavily on audience interest and promotional appeal when developing and marketing a new series.

For this reason, many supporting and recurring roles become valuable entry points for young actors and adults seeking professional experience in television.

A Pilot Story

Selena Gomez’s agent arranged multiple Disney Channel (DC) pilot auditions for her in one season knowing that she would book several with the hope that at least one of them would get greenlit. The first pilot she booked was What’s Stevie Thinking? Selina booked the role of “Stevie Sanchez,” in this DC spinoff of Lizzie McGuire. The series did not get picked up.

The second DC pilot was, Arwin a spinoff of The Suite Life of Zack & Cody in the role of “Alexa.” This series was not picked up.

Before Selena booked the lead role of “Alex Russo” in DC Wizards of Waverly Place, she booked the recurring role of “Mikayla,” a popstar in the DC Hannah Montana series.

Her first official DC role was a small guest appearance that later turned into the recurring role of “Gwen” in The Suite Life of Zack & Cody.

However, in her very first visible acting role she played “Gianna” on the children’s television show Barney & Friends, a role she played alongside her friend Demi Lovato.

Selena’s journey is a strong example of how experienced agents and managers understand the industry, recognize long-term potential, and strategically position their talent for success. Even when pilots are not picked up, the right representation continues creating opportunities that can lead to a breakout role.

Final Assessment

Pilot season can be an exciting and rewarding time for actors of all ages within the entertainment industry. However, it also requires careful planning, realistic expectations, patience, and professional guidance.

For many east coast families, traveling to Los Angeles during pilot season represents an important step toward expanding opportunities in television. The best way for parents to support their child’s long-term success is to focus on healthy growth, proper training, and allowing experienced representatives to guide the professional aspects of the child’s career.

A strong foundation built on preparation and professionalism gives young actors the best opportunity to succeed in television and beyond.

Chapter 20

Submissions

A Playbook for Parents of Aspiring Actors & Models, and Young Adults

Submissions

Introduction

Submitting to agents and managers is one of the most important steps in pursuing opportunities in the entertainment industry. Learning how to professionally submit your child’s—or your own—materials to them is crucial. A proper submission package gives industry professionals their first impression of a potential actor or model and their parent or guardian.

In this section, you will learn how to organize and send headshots, zed or composite cards for models, resumes, and short biographies or cover letters to agents and managers listed in the following section, “Agent & Manager Submission List.” You will also learn why timing and organization are important parts of the submission process.

Understanding Submission Materials

Before beginning the submission process, make sure you have the following materials prepared and updated:

Your materials should represent you or your child professionally and accurately. Make sure all photographs and resumes are current and reflect the actor or model’s present age, appearance, and experience level.

If you arrive at your first meeting looking significantly different from your photos because the images are outdated or heavily photo-shopped, you will not be offered representation of any kind, freelance or contractual. 

Selecting Appropriate Agents and Managers

Carefully review the list of agents and managers provided in the next section. Focus only on those who represent your child’s or your own specific age range and category.

Not every agent or manager represents models, and some only represent models. Selecting representatives that fit your category increases the chances of your submission being considered.

Following Submission Instructions

Each agent and manager may have different submission requirements. It is extremely important that you follow instructions carefully.

Some representatives request:

Before sending any materials, carefully review the instructions listed for each representative and submit exactly as requested.

Failure to follow directions may result in your submission being overlooked.

DO NOT CALL OR EMAIL AGENTS AND MANAGERS ASKING IF THEY RECEIVED YOUR SUBMISSION OR YOU CHILD’S. THEY DO NOT WELCOME CALLS, EMAILS, AND ABSOLUTLEY NO WALK-INS.

Organizing Your Submission Day

When preparing to send submissions, make sure you set aside enough uninterrupted time to complete the process professionally and carefully.

One of the most important parts of this instruction is sending all submissions on the same day. Organizing your submissions this way helps create a more consistent response timeframe from potential agents and managers.

If representatives are interested, you will likely hear back from them within a similar period of time, perhaps a week or two later. This makes it easier to schedule and compare interviews if your child, teen, young adult, or you begin receiving responses.

Staying organized during this process helps reduce confusion and allows you to make clearer decisions when selecting representation.

Understanding Why You May Not Hear Back

If you do not hear back from any agent or manager, do not immediately assume that your submission was poor or that you lack talent.

At any given time, an agent or manager may already have several actors or models within the same:

Representatives want to keep their talent actively auditioning. If they already represent too many individuals with a similar appearance or category, they may be unable to take on additional clients at that time.

Although this may feel discouraging, it is a normal part of how the entertainment industry operates.

If you do not receive responses, wait approximately six months before preparing and sending a second round of submissions to the same list of agents and managers.

Timing

There are no guarantees in the entertainment industry. However, one thing remains true: agents and managers are always searching for new talent.

Success often comes down to preparation, professionalism and timing. The right opportunity may simply require the right representative seeing your materials at the right moment.

Final Assessment

Submitting professionally to agents and managers is one of the first major business steps in building an acting or modeling career. Learning how to organize materials, follow instructions carefully, and remain patient throughout the process helps develop the professionalism expected within the entertainment industry.

Remember that representation decisions are often based on timing, roster needs, market demand, and long-term potential—not simply talent alone.

Approach the process with realistic expectations. Continue training, updating your materials, and improving your skills while remaining open to future opportunities.

Chapter 21

Agent and Manager Submission List

Important Submission Guidelines

Actors Submit:

Print Models, High-Fashion Models, Commercial Print Models Submit:

Agent & Manager List Below:

AEFH Talent LA

Film – TV – Commercials

Actors - LA

Youth: 5 – 17

Young Adults: 18 – late 20s

Adults: Late 20s and up

Youth and Young Adults Submit - Theatrical and Commercial: Nicole Jolley nicole@aefhtalent.com

Adults late 20s and up Submit – Theatrical and Commercial: Gloria Hino Josa gloria@aefhtalent.com

Avalon Artists Group

Actors – Models – Children – Teens – Adults


Full-service agency New York, Los Angeles.

Submissions:

Write on the envelope - ATTN: (and the department you’re submitting to)

NOTE:Select a department. Models should choose Print. Actors should choose Commercials, Voiceovers, or TV/Film/Theatre (also known as Legit or Theatrical).

This may confuse actors or their parent’s. To be clear, you should include in your bio or cover letter that you or your child is pursuing: commercials, film, television, theatre etc. name all that apply to each actor. If they are interested, they will set you up to meet with the appropriate agents within the agency. Mail or email.

Mail To:

Avalon Artists Group East Coast
225 W. 35th Street Suite 1701
NY, NY 10001

Avalon Artists Group West Coast
3435 Wilshire Blvd. Suite 1160
Los Angeles, CA 90010

OR: Email your submission on their website: https://avalonartists.com select submissions and follow the directions.

Baron Entertainment

Actors: 4-17

LA – Atlanta

Theatrical and Commercial (list Theatrical, Commercial or both in bio or cover letter)

From Baron Entertainment:

Baron Entertainment is opening our books to a new generation of talent.

We’re looking for expressive, confident kids — whether seasoned performers or complete beginners.


Who We’re Looking For

Ages 4 to 17


Fun personalities and big imaginations


Ability to follow direction and enjoy being on camera


All looks, backgrounds, and experience levels welcome


What to Submit

Parents/Guardians, please send:


Child’s Name, Age, & City/State


Your Contact Info (phone & email)


Two Recent Photos (natural light, no filters/hats/sunglasses)


Short Video (20–30 seconds: name, age, favorite thing, and a big smile)


Availability Notes (school, sports, travel)


Tip: Keep it simple — we want to see personality, not perfection.


Why Baron?

25 years booking talent nationwide


Industry connections with top casting directors & brands


Transparent, parent-friendly process


No upfront fees — we earn when your child books


Submit by Email: assistant@baronentertainment.com

IMPORTANT:

Submissions from Atlanta please put ATLANTA in the subject line. Confirm you are interested in both commercial and theatrical representation. If applicable, include your current union status, headshots and links to demo reels.

Bella Agency

Models: NY – LA

LA: Children age 8 and up

NY: Adults 18 and up

Submit on their website: www.bellaagency.com

Buchwald

Actors and Models: Print

Full-service agency

Babies, children, teens, and adults New York, Los Angeles.

LA does not represent children under age 5 or handle on-camera commercial representation in that age group. Their Youth division is 5 and up to adults - full-service theatrical.

New York represents babies, children, teens and adults. The NY location is a full-service, theatrical agency, newborn and up.

To Submit:

Website: https://www.buchwald.com

For child actors or new adult talent, select Emerging Talent (talent that does not have mainstream industry credits). Let them know in the email if you are NY or LA. If you’re on the east coast, you’re obviously closer to the New York market.

Send your submission in the body of the email. Apart from headshots or snapshots, include resume, and short bio / cover. If you have a demo reel or short video of your child performing: singing, dancing and so on, you may include it. Make sure it is a short clip. It must be clear visually and audibly.

Print models can include a link to their portfolio or zed / comp card.

Carson-Adler – New York

Actors – children (starting at age 4) – teens – adults

Submit by Mail Only:

Mail To:

Carson-Adler Agency, Inc.
250 West 57th Street
Suite 2128
NY, NY 10107

Attention: Nancy Carson

If interested, the agency will contact you for a Zoom call. The talent will be given a scene to prepare in advance, and talent will have the opportunity to sing. This means singers should prepare with a song that showcases their best vocal.

This agency is well-known for Broadway bookings as well as representing great pop vocalists.

Nancy Carson guided the early careers of Lea Michele, Ariana Grande, Cynthia Nixon, Ben Afleck and Matt Damon.

Carson Kolker Organization (CKO) NY

NY - All ages

Theatre – Film - Television

Adults: Specializes in Soap Operas

Adults and Children: Specializes in Broadway

Fill out submission form on website: www.carsonkolker.com

THEN: email headshot, snapshots, resume and other material if you have it to info@carsonkolker.com

CESD Talent – New York, Los Angeles

Actors and Models
Ages newborn and up – full theatrical

To Submit Your Demos/Pictures etc. Follow These 6 Easy Steps:

Beginners submit as Emerging Talent. Send photos, resume, short bio, a short video clip of singing, dancing, or another short performance if applicable. Accepts snapshots.

Clear Talent Group

Actors NY: 18 and up only submit to nysubmissions@cleartalentgroup.com

Actors LA: Young People’s Department Age 4 – 18

Models LA: Commercial Print

Young People’s Department LA: TV, Film, Commercials and Voice-overs.

A full-service agency in Los Angeles representing talent exclusively for TV, Film, Commercial, Print and Voice-over in the LA market.

Submission Policy:

Currently accepting submissions for young talent ages 4 through young adults – adults who can play18 to look younger.

Please email at lasubmissions@cleartalentgroup.com; send a video of you (adult actor) or your child performing; it can be anything from a scene to a monologue. Make sure it is sent as an attachment and not as a link that may expire.

Include a snapshot or headshot and resume with any credits and acting classes/training.

Tell us how old your child is (or if you are over 18), include your height, and current city of residence.

We will review your materials, and we’ll reach out if we’re interested.

A full-service agency in Los Angeles representing talent exclusively for TV, Film, Commercial, Print and Voice-over in the LA market.

Evolve Artists Agency

LA: Actors – Models

Youth / Young Adults

5 – late 20s Commercial and Print – Theatrical

Submit on website: www.evolveartistsagency.com

Include all categories that you’d like to submit to in your bio / cover letter: see Creators – Divisions – Models.

Firestarter Entertainment | FSE Talent Agency

LA – NY

Actors – Models: Print

Age 5 and up to adults

Submit on website: www.firestarterentertainment.com New Client Submissions

Ford Agency

Models: 18+

Height requirement: Identify as female - male - non-binary

Female: 5’8” / 5’9” – 5’11”
Male: 5’11” – 6’3”
non-binary: 5’8” / 5’9” – 6’3”

United States: NY – LA – Chicago – Miami

Submit online: www.fordmodels.com

Select:

Strict height requirements - must measure height before submission. Accepts clear snapshots.

Henderson/Hogan Agency NY

Actors - Adults only age 18+
Television – Film - Theatre

Email Only:

hendersonhogan@gmail.com

Impact Talent Group LA

Actors – Models: Fashion and Print


Babies - Children – Teens – Adults – Elderly.

Resumes – Headshot or snapshot – bio / cover letter – Social Media URL’s – Demo reel, footage or YouTube channel

Submit through website: www.itgimpact.com

Jordan, Gill & Dornbaum Talent Agency, Inc.

NY - Actors

Children ages 4 years and up.

Models:

Age 20 & up

Headshot and resume, bio or additional material to:

Mail To:

New Faces
JGD Talent Agency, Inc.
1441 Broadway 5th floor
NYC, NY 10018

Submissions via mail only. Do not email your information it will be routed to SPAM.

Snapshots are welcome, no professional shots needed but if you have them, please send.

Include your child’s height, weight, DOB and contact phone number on the back of the photo in case the resume and bio are separated from the photo.

FYI: JGD attends (Manhattan) showcases, performances, workshops, etc. If you are performing, please feel free to mail us details or invitations.

MC Talent Management

LA – NY: Actors

Youth / Young Adults age 6 – late 20s

Submit on website: www.mctalentla.com

NY Model Management

Models: NY – Miami

Children 6 months – 12 years

Must live within a 2-hour drive to NY or a 2-hour drive to Miami.

Please email your submission of 3-4 recent home snapshots (or a recent comp card if applicable) to: kids@newyorkmodels.com

Include:

Clear view of child only – no accessories, pets or makeup. No filters.

NOTE:Include in the subject email if you’re pursuing “New York” or “Miami.”

Adults: For online submissions website: www.newyorkmodels.com

Osbrink Agency

Actors – Models: Print

Full-service: NY – LA - Atlanta

Babies and up to adults

Submit on their website: www.osbrinkagency.com

Stewart Talent

Full-service talent agency
NY, Chicago

Actors:

Newborn and up to age 25

NY Adult Commercial Print Models:

Adults 18 – 25 submit through website only: www.stewarttalent.com

NY Actors:

Youth and young adult actors (up to 25) submit to youthny@stewarttalent.com

NY Youth Commercial Print Models:

Up to age 17 submit to youthny@stewarttalent.com

Chicago Actors:

Age 8 – 100 Film - TV – Theatre - submit to chicagolegit@stewarttalent.com

Chicago Youth Actors & Models:

Under age 18 - submit on their website www.stewarttalent.com

Chicago Commercial Print Models:

18 and up - submit on their website www.stewarttalent.com

Take 3 Talent

NY: Actors – Models: Commercial Print

Television – Film - Theatre – Commercial – Voiceover – Print – Hosting – Branding

Accepting submissions from talent or new talent that live in the tristate area: NY, NJ, CT, Southeastern PA.

Children up to 17

Adults 18+

Submit on their website www.take3talent.com - follow their submission instructions.

Zuri Agency

Models:

NY – LA – Miami [newborn – 18]

Actors:

NY – LA – Miami [age 5 – adults]

Submit to: www.zuriagency.com

From Zuri:

We look forward to reviewing your submission. If you're considering submitting your child or yourself for professional representation with Zuri Agency, here's what you need to know before hitting "send".

Photos First – Keep it Real and Natural

We ask for 3–4 recent photos— these do not need to be professionally taken. In fact, we prefer simple, natural snapshots. Think clear, honest images that show the model just as they are on a regular day.

Location & Time Commitment

Zuri is only accepting submissions from models who live within a 2-hour drive of either Los Angeles, New York City, or Miami, and who are able to commit to being available 2–3 times a week in one of those markets.

Between auditions, callbacks, fittings, and bookings, things can move fast — so flexibility and local availability are key.

Chapter 22

On Set Paperwork

Professionalism | Paperwork | Responsibilities

Introduction

Booking a job is an exciting achievement, but it is also where professionalism becomes even more important. Whether you are working as a model, actor, or child performer, understanding what is expected of you on set will help everything run smoothly. Productions operate on tight schedules and large budgets, and every person involved plays an important role in keeping things on track.

In this section, you'll learn about on-set paperwork, contracts and vouchers, call times, script changes, wardrobe responsibilities, parent and guardian guidelines, and how to manage expectations after auditions and callbacks. These are the professional standards that agents, managers, casting directors, and production teams expect every performer to understand.

Understanding Contracts and Vouchers

Before or during a booking, you may encounter contracts, vouchers, or other production documents that require signatures prior to the work getting started.

In many cases, your agent or manager will have already reviewed and handled the necessary paperwork before the day of the booking. However, not all production companies operate the same way. Occasionally, you may be presented with a contract or voucher to sign while on set.

If this happens, do not rush to sign anything.

Before signing any document, contact your agent or manager to confirm the appropriate next steps. Your representative may ask you to:

Most contracts and vouchers are standard production documents, but it is important to maintain communication with your representative. Their job is to protect your interests and ensure everything is handled correctly.

For minors, a parent or legal guardian will be required to sign documents on behalf of the child.

Models should pay particular attention to vouchers presented on set. A voucher records important details regarding the booking, including hours worked, usage information, and other production-related details. Even if the voucher appears routine, do not assume you should sign it immediately. Contact your agent or manager to confirm the details and receive instructions before signing. Most vouchers are standard industry documents, but it is always best to verify everything with your representative before signing.

Models: Arriving Prepared for Set

Professional performers are expected to arrive prepared and ready to work.

For models, this generally means arriving:

The goal is to provide the hair, makeup, and wardrobe teams with a clean canvas from which to work. Loose clothing ensure no elastic lines being left behind on the body and so on.

If wardrobe has requested that you bring specific items, be sure to have them with you when you arrive. These may include:

Arriving without requested items can delay production and create unnecessary challenges for the wardrobe department.

For child actors and child models, only one parent or legal guardian may accompany the child to the booking.

Adult performers and models should arrive alone.

Guests are not permitted on professional sets. Friends, family members, and additional companions should not attend bookings.

Following these expectations helps maintain a professional working environment and ensures that the production can operate efficiently and on schedule.

Call Time Means Be on Time

One of the quickest ways to build a strong professional reputation is by arriving on time.

Your call time is the exact time production expects you to be present and ready to work. Arriving late affects not only your schedule but also the schedules of the cast, crew, and production team.

Always plan ahead by:

Being consistently punctual demonstrates professionalism and reliability. Production teams remember performers who can be counted on.

Know Your Lines

Learning your lines is part of your job as a performer.

Arrive prepared and ready to work. Directors, producers, and fellow actors expect you to know your material before stepping onto the set. Failing to do so can slow down production, create unnecessary delays, and affect everyone involved in the day's work.

Being unprepared is considered unprofessional. Productions operate on tight schedules and budgets, and every minute counts. In some cases, when a performer is unable to meet the expectations of the role, production may choose to replace them with another actor. This is why productions often have a performer in First Position, sometimes referred to as First Seat, meaning the actor who is next in line for the role should the originally hired performer be unable to fulfill the requirements of the job.

Knowing your lines, being prepared, and remaining ready to perform are among the most important responsibilities of a working actor.

Film Productions

On movie sets, scripts often continue to evolve during production.

It is not uncommon for lines to change moments before a scene is filmed. Directors and writers may adjust dialogue, add new lines, remove lines, or encourage improvisation to make a scene feel more natural.

Successful actors learn to think quickly, adapt, and remain flexible when changes occur.

Television Productions

Television operates differently.

On most television productions, every word on the page matters. Actors are generally expected to deliver dialogue exactly as written unless production provides an official revision.

If changes are made, revised scripts are typically distributed before filming. When you arrive on set, you may find an updated script waiting for you in your dressing room or on the table in your trailer.

It is your responsibility to carefully review the revised script.

You may discover:

An actor must be prepared to adjust quickly and be ready for rehearsal and filming.

Wardrobe Responsibilities

During fittings, wardrobe departments sometimes ask performers to bring specific items from home.

These may include:

If wardrobe instructs you to bring certain items, it is important to arrive with exactly what was requested.

Failing to bring promised wardrobe items can delay production. When production must stop and wait for missing items, it creates unnecessary expenses and scheduling issues.

Everyone on set depends on each department working efficiently. Being prepared helps keep production moving and demonstrates professionalism.

Parent and Guardian Guidelines

For child actors and child models, productions follow strict rules regarding parents and guardians.

When accompanying a child to an:

only one parent or legal guardian may attend.

This rule is standard throughout much of the entertainment and modeling industries.

Parents should not bring:

The expectation is simple: one child performer and one parent or guardian.

Following these guidelines helps maintain a professional environment and allows casting and production teams to work efficiently.

After the Audition—Move On to the Next Opportunity

One of the most important lessons in the entertainment industry is learning to let go after an audition, callback, or go-see.

Once your audition is complete, your job is finished.

Avoid calling your agent or manager repeatedly to ask whether they have heard anything from casting.

In most cases, representatives only receive communication if:

It is rare for casting directors to provide detailed feedback to agents regarding auditions.

The healthiest approach is to audition, do your best work, and then focus on preparing for the next opportunity.

Understanding Holds and Releases

Sometimes casting may place you on hold for specific production dates.

A hold means casting is seriously considering you and wants you to keep certain dates available while final decisions are being made.

Unfortunately, the process does not always end with a formal release.

Occasionally, a project is cast with another performer and production never contacts the agent to officially release everyone else from their hold dates.

While this can feel frustrating, it is a reality of the industry.

Developing a professional mindset and thick skin is important. A performer's career involves hearing "no" far more often than hearing "yes."

The best approach is simple: audition, do your best work, follow instructions, and move on to the next opportunity.

Not hearing back does not mean you performed poorly. More often, it simply means the production chose someone who fit their specific needs for that role.

Final Assessment

Professional performers understand that success involves much more than talent. Every booking comes with responsibilities that directly affect the production, the cast, and the crew.

You should now understand the importance of reviewing contracts and vouchers with your representative before signing, arriving on time for every call time, knowing your lines, adapting to script changes, and fulfilling any wardrobe commitments made during fittings. You should also understand the industry rules regarding parents and guardians accompanying child performers, as well as the importance of managing expectations after auditions, callbacks, and go-sees.

A successful performer develops a reputation for being reliable, prepared, flexible, and professional. Productions remember the actors and models who arrive on time, communicate effectively, adapt to changes, and contribute positively to the working environment. These qualities often lead to repeat bookings and long-term success in the entertainment industry.

The most successful performers learn an important lesson early in their careers: once an audition is complete, let it go. Do your best work, trust the process, and focus your energy on preparing for the next opportunity. Every audition, callback, fitting, and booking is part of a larger professional journey. Your goal is not simply to book one job—it is to build a reputation that makes people want to hire you again and again.

Chapter 23

Glossary

ACTION: What a director or First Assistant Director yells to begin the main action in a scene.

ACTOR: An individual performing a part or role.

A.D.: Assistant director on the set. There is usually more than one on set depending upon the production budget. The A.D. will guide actors throughout the day.

AD LIB: Additional dialogue or action that is done on the spur of the moment without a script or forethought.

ADR: Additional dialogue replacement. This is a rerecording of the dialogue in a scene due to excess noise on the set or other technical issues. This is also known as looping.

AFTRA: The American Federation of Television and Radio Artists is a performers’ union that represents a wide variety of talent, including actors in radio and television, as well as radio and television announcers and newspersons, singers and recording artists (both royalty artists and background singers), promo and voice-over announcers and other performers in commercials, stunt persons and specialty acts. AFTRA negotiates wages and working conditions including dollar figures for standard contracts, residual payments for re-use of performances, unemployment, health, and pension benefits for its members. AFTRA is affiliated with the AFL-CIO (American Federation of Labor-Congress of Industrial Organization) and the International Federation of Journalists. AFTRA shares jurisdiction of radio, television, internet, and other new media with its sister union SAG. Most often known as SAG-AFTRA.

AGENT: A professional who pitches their clients for projects in the entertainment industry, also known as “booker.” Agents negotiate contracts and the distribution of funds.

AGENCY: An organization that houses agents.

ARC: Writers use arcs over episodes or an entire season for lasting storylines rather than simply resetting episodes each week.

AUDITION: A tryout for a part or role.

BACKGROUND: Term used to refer to background or extra performers in a scene. Also, the verbal cue for the extra-background actors to begin walking before the main action takes place.

BACK TO ONE: A verbal cue given to extra-background actors to return to the spot they started at in the scene.

BILLING: The order of performers’ names at the beginning or the end of a show or movie credits.

BLOCKING: The action where the performer should be on set. Planning the movement in the scene so the director and cinematographer know where the actor will be at any given moment.

BLOCKING ON STAGE: The precise staging of the actors, their path of movement in scenes, is known as blocking. The term came into popular use in the 1960s based on the tradition of 19th-century theatre directors who worked out their scenes on a mini model of the stage, using blocks to represent actors.

BLUE BOOK: A publication detailing regulation regarding the employment of a minor in the industry.

BREAK A LEG: “It’s bad luck to say good luck on opening night,” of course, but how did we land on “break a leg?” In Ancient Greece, audiences didn’t clap at performances, they stomped. The more they stomped, the more chance there was of breaking a leg; this tradition reappeared in Elizabethan England when audiences would stomp their chairs and, again, more stomping would break the leg of the chair. Wishing someone to “break a leg” is a wish for thunderous applause.

BREAKDOWN SERVICE: A service that gives a detailed description of castings for various roles, which include but are not limited to theatre, film, television, commercials, and voiceovers distributed online to qualified industry members, such as agents and managers. Currently there is a separate section on Breakdown Service that allows unrepresented talent to submit themselves for projects.

BOOKING: When a casting director has chosen a talent for a job.

BOOKING OUT: You are not available, whether it is due to school obligations, a wedding, or a vacation, give your representative specific dates.

BUMP: When a performer is asked to do something more on set, you’ve been bumped up. This means added pay, and is noted on your pay voucher, and added to your contract.

CALLBACK: A second interview. Casting is narrowing down their choices, also, referred to as a producer’s session or a producer/director callback.

CALL-TIME: The time you are expected to be on set for your booked job.

CAMEO: A brief appearance of a prominent actor, as a single scene typically for a motion picture.

CASTING: A descript or nondescript breakdown that is sent by a casting house or a client looking for talent.

CASTING DIRECTOR: The person responsible for hiring performers.

CATTLE CALL: Also known as “open call” where hundreds may show up and try out for a role. These castings do not typically come from mainstream entertainment casting directors.

CHECKING-IN: First thing you do when you arrive at an audition, go-see, callback or booking. For bookings, check in with the A.D. (Assistant Director) or the P.A. (Production Assistant). The contract or voucher for the project might be presented for the performer to sign if it hasn’t already been signed in advance through your representative.

CHOREOGRAPHY: The work of art created by a choreographer in a sequence of movements for a dance arrangement.

CLAPBOARD: A piece of metal or wood containing information about a scene. Used on camera to mark the start of a scene and synchronize audio with the clapping noise. The clapboard reads take number and the director’s name.

CLOSE-UP: Zooming in. A very close or tight shot.

COLD READ: An unrehearsed piece of script or “sides” given to a performer to interpret and deliver on the spot.

COMPOSITE CARDS: aka comp cards, and currently called zed or sed cards, are used by models working in the fashion or commercial print or print market, showcasing different wardrobes, lifestyles and activities. Composites may also be a model’s actual tear sheet or pulled from a model’s portfolio.

COPY: The lines used in a commercial, also known as script.

CRASHING AN AUDITION: Showing up for an audition without a scheduled appointment. TABOO

CREDITS: A list of the performers’ names that are involved in a production.

CUE: A verbal or nonverbal sign from the director to give direction to cast members or crew.

DARK THEATRE - DARK DAY - DARK: The majority of professional stage productions offer eight shows over six days of the week. The day off is known as the theatre’s, “dark day.”

DAYPLAYER: The performer that is hired for a role for a short period of time; typically, one day; but not necessarily.

DEMO: Used to seek an agent or manager. A demo is more commonly used by the performer’s representative to secure future jobs; also referred to as “demo reel.”

DEVELOPMENT: In moviemaking, this is the second part of the first step in creating a “Packaged Script.” Part one prior to this step is the “Treatment.”

DIALECT: A certain way of saying words relative to geographic origin.

DIRECTOR: The main person coordinating the filming and direction of a production.

DISTRIBUTION: The distributor gets the final, engineered movie to the public. “Prints,” of the new completed film will be created and the advertising process begins.

DOUBLE SCALE: double scale or double time refers to the performer that has worked eleven through sixteen hours on set. They are entitled to be paid double scale (2x the rate)

DUPE: A copy of a demo reel.

ENSEMBLE OR CHORUS MEMBER: This term is typically reserved for cast members in musicals and not plays. They create the background of the show. They sing harmonies and dance. They don’t have lines or solo songs but appear in group scenes and musical numbers to give a sense of context.

ENSEMBLIST: A performer such as a singer or dancer, who works as part of an ensemble in musical theatre or opera. Rather than playing a specific named lead or solo role, ensemblists sing in unison, execute intricate choreography, and act in background parts to bring the show’s world to life.

EQUITY: The Actors’ Equity Association (AEA) commonly referred to as Actors’ Equity or simply Equity, is an American labor union embracing the world of live theatrical performance, as opposed to film and television performance. Performers appearing on live stage productions without a book or through-story line (vaudeville, cabarets, comedians, and circuses) may be represented by AGVA (American Guild of Variety Artists).

EXECUTIVE PRODUCER: The assigned producer in charge of all financial aspects of a production.

EXTRA: Term used to refer to an extra or background performer in a scene.

FIRST REFUSAL: A courtesy extended by an actor to a potential employer. Neither the actor nor the employer is committed to the job, and the actor remains free to seek alternative employment for the same day. This is the SAG definition of First Refusal. Check with your representative, as “First Refusal” is sometimes used interchangeably with “Hold” by some industry professionals. “Hold” means the employer is not yet committed to booking you, but the actor must keep the date(s) available for the project until the employer either confirms the booking or releases the hold, indicating the actor did not get the part.

FLEXIBLE THEATRE OR BLACK BOX THEATRE: In a flexible theatre, the seating is not predetermined but can change from production to production. Because of this, the rooms are often painted all black so that any side can convert to a backstage area. Hence, a black box.

GENERAL MEETING: General meetings, (General’s), meet and greets or studio meetings is when an agent or manager sends experienced talent to meet with executives at networks and film studios to introduce them for potential roles in current or future projects. The intention may also be for the writers to write an entire show around the talent. EX: The Suite Life of Zack and Cody spawned from a general meeting on the Disney Lot in Burbank, CA.

GLOSSY: A headshot or composite with a shiny finish. This is no longer a commonly used term.

GOLDEN TIME: Refers to the performer that has worked sixteen hours on set. After the sixteenth hour, each additional hour is scale days pay.

GO-SEE: Seeking a potential print job in fashion or commercial print. ‘Go and be seen’. A go-see is an interview, not a job.

HEADSHOTS: An eight-by-ten photograph of an actor that mainly focuses on facial features.

HIATUS: A production is temporarily shut down.

HONEY WAGON: A series of trailers used as dressing rooms.

HOLD: A definite engagement for work on set day/dates, lacking only the time and place. The talent is expected to refuse work for those hold dates from any other employer. The producer is committed to paying the talent for the hold dates. This is SAG’s definition of Hold. Check with your representative as ‘Hold’ sometimes has different meaning amongst industry professionals.

HOT SET: This is the set that has been lit and dressed and ready for filming.

HOUSE: The “house” can refer to a couple things in theatre: the actual auditorium, as well as the Front of House, which includes the lobby and box office and Front of House personnel: house manager, box office attendants, and ushers. If you’re having a problem inside the theatre, you’ll want to speak to the house manager. You may have also heard the phrase house seats; these seats are reserved by producers, the heads of house. Typically, in the orchestra and considered the best in the theatre, house seats do not go on sale to the public unless they are unsold as the performance date approaches.

IATSE: International Alliance of theatrical Stage Employees Union.

IMPROVISATION: Improvising a performance spontaneously.

IMTA: International Modeling and Talent Association.

INDUSTRIAL: A production shot mainly for company in-house training.

IN THE CAN: A production is filmed, edited, and ready for distribution.

JACKIE COOGAN LAW: Protects children’s earnings by setting aside 15% into a trust fund until adulthood. Parents or Legal Guardians are required to establish a "Coogan Trust Account" or a Blocked Trust Account within seven business days after a minor's employment contract is signed, and to provide the minor's employer with a copy of a trustee's statement (evidencing proof of the account) within ten business days after the start of employment). Or a UTMA, Uniform Trust to Minors account can be opened in any bank.

LEAD: The main character in the story and generally a performer with multiple solo moments.

LEGIT: Refers to film, television, and theatre.

MANAGER: A professional who advises your career, develops, grooms, and handles distribution of funds from the agent or production company.

MARK: A piece of tape on the floor of the set that tells the actor when to stop walking.

MONOLOGUE: A short scene or story delivered by a solo actor to showcase talent; typically, under three minutes.

MOVIEMAKING: The three steps of moviemaking: development, production and distribution.

MOVING ON: A verbal cue to the production staff that a scene has been completed and they should get ready for the next one.

M.O.W.: Movie of the Week. These are movies made for television.

OFF-BOOK: The performer has successfully memorized his lines and no longer requires the script.

ON A BELL: A verbal cue given to the production staff that signals filming is about to begin.

ONE BELL: A bell that is rung to designate that filming is about to commence.

OPEN CALL: An audition that is open to the public to attend; a cattle call.

OPENING NIGHT: After live-stage, preview performances conclude, there is an official opening night. This performance is the production as it will be performed from here on out. Most reviews for productions are published after the curtain goes up on opening night, some during previews.

OVERTIME (OT): Paid after standard daily hours, time-and-a-half or higher.

OVERTURE: A medley of tunes from the score of a musical, the overture plays after the lights go down and before the curtain goes up as an introduction to the show. The term comes from the French ouvreture, which means, opening.

P.A.: A Production Assistant.

PER DIEM: Money given to talent to cover daily expenses.

PILOT: A television program produced as a prototype of a series.

PILOT SEASON: A recurrent period held January thru April each year presenting actors with an abundance of opportunities to audition for pilots that may already be picked up or being pitched to networks. Pilot season takes place in Los Angeles CA., but many agents and managers submit their artists auditions electronically.

POSTPRODUCTION: “In the Can.” The film is wrapped. Here is where the final editing and soundtracks are finished and readied to deliver to the distributor.

PREPRODUCTION: In moviemaking the preproduction is the beginning of producing a film. The project is being cast, the director is being hired along with a crew; finding locations; designing sets and costumes. After the preproduction is the production and principal photography, followed by postproduction and finally, distribution.

PRE-READ: A casting director pre-reads an actor either because they don’t know their work as an actor, or they aren’t sure if the actor is right for the role. Most auditions are pre-reads unless it is a producers/director’s callback.

PREVIEWS: The first performances of a professional run-on Broadway and Off-Broadway are considered preview performances. These are full performances presented with all the full elements of the show: billed cast, costumes, lighting, sets, etc. Previews indicate that the show is in flux. The creative team may make changes to the show night to night. During this time, the company performs by night and rehearses by day. For example, on Wednesday night a director might realize a line is not getting the laugh it needs. The musical’s book writer or playwright is made aware. The next day the writer has a new script page with a new line. During Thursday rehearsal the performer practices the scene with the new line and Thursday night the cast performs the show with that change. There is no way to know how many changes will be made between the first preview and when the show is frozen and no more changes can be made, typically four days before opening night.

PRINCIPALS: The main performers in a production.

PRINT: A verbal cue from the director that lets the crew know that the take they just shot is good.

PRINT WORK: A model that pursues the print market for work that is exclusive to photos. Ones tear sheets seen in fashion magazines and advertisements, lifestyle, and commercial print.

PRODUCER: The main coordinator of a production.

PRODUCTION: In moviemaking the “Production,” or “Principal Photography,” stage of a film project is when everything is ready to go, and the actual shooting begins.

PROMPTER: a person hired to follow the lines of an assigned performer on set and gently call out a portion of their line to them should they forget.

PROP: A small or large item used in a scene.

PROSCENIUM STAGE: This is the most common orientation of a theatre. Orchestra. Mezzanine. Balcony. The stage is framed like a picture by the proscenium, with the stage on one side opposite the audience.

PSA: Public Service Announcement.

PUBLICIST: A professional representative in charge of coordinating interviews and appearances to increase an actor’s visibility.

READING: Just that. The actors sit on chairs in a rehearsal room or on stage facing the audience and read the script, sometimes with no rehearsals. A Stage Manager or another performer reads the descriptions from the Character Page and Setting Page, and then essential stage directions during the presentation; giving the playwrights the chance to hear professional performers say the dialogue you’ve put on paper aloud.

REHEARSAL: Prepares performers for a production prior to having a public audience present.

RESIDUALS: A payment made to a performer, writer, or director for each repeat showing of a recorded television show, commercial or voiceover.

RESUME: A list of the actor’s credits including film, television, theatre, voiceover and print, training/coaching, special skills and personal stats.

ROACH WAGON: An RV-type vehicle that caters food items and drinks.

SAG: The Screen Actors Guild is an American labor union representing film and television principal performers worldwide. They negotiate and enforce collective bargaining agreements that establish equitable levels of compensation, benefits, and working conditions for its performers. They collect compensation for exploitation of recorded performances by its members and provide protection against unauthorized use of those performances. SAG preserves and expands work opportunities for its members. SAG is associated with the Associated Actors and Artistes of America (AAAA), which is the primary association of performer’s unions in the U.S. The AAAA is affiliated with the AFL-CIO. SAG claims exclusive jurisdiction over motion picture performances, and shares jurisdiction of radio, television, internet, and other new media with its sister union AFTRA.

SAG-ELIGIBLE: When an actor has met the requirements to join SAG-AFTRA but has not yet become a union member.

SCREENTEST: An on-camera audition with a closer element for consideration.

SCALE: A predetermined minimum pay for a role.

SCREENPLAY: From a treatment, you can develop a script or screenplay. The screenplay is created in an industry standardized format. It becomes the blueprint for characters, scenes, dialogue and code directives for the entire cast and crew.

SCRIPT: Written pages that contain the dialogue, location, and direction of a scene.

SEG: Screen Extras Guild.

SET: The physical area where the performers are placed to film the scene.

SIDES: Lines used during an audition or casting session. An excerpt of a script used to audition an actor for a role.

SIGHT AND SOUND: The maximum distance a parent should be from his or her child while on set.

SITCOM: A situation comedy series made for television.

SLATE: A verbal cue given to identify an individual and to mark the beginning of a scene.

STAGE LEFT: Your left when on set.

STAGED READING: The performers have several rehearsals with a director who establishes entrances, exits, and other movement as well as basic character interpretation. You may have a chance to revise dialogue during the rehearsal process. It’s not unusual for a plain Reading to be called a Staged Reading if the performers have at least one rehearsal and even if they never leave their chairs.

STAGE RIGHT: Your right when on set.

STAND IN: An individual hired that has a similar physical appearance as the principal actor. Often referred to as photo double; this individual stands-in for the principal actor when the crew is making necessary adjustments.

STICKS: A large version of clapboard without the writing on it, used to synchronize sound.

SITZPROBE: A sitzprobe translates to seated rehearsal. This is typically the first stage rehearsal when the orchestra and the cast sing through the show in its entirety while sitting at music stands. A wandelprobe is a similar rehearsal, joining the instrumentalists and onstage performers, as the actors wander through their blocking onstage.

STAGE RIGHT & STAGE LEFT: Refers to the perspective of the performer when standing on the stage and facing the audience.

STANDBY: A standby is a performer who knows all of the material for a lead role and goes on if the principal actor is out—but does not otherwise perform in the show.

STRAIGHT-TO-SERIES: A studio buys an entire series that will air without the creation of a pilot.

STUDIO TEACHER: A teacher who has elementary and secondary credentials and has passed certification to teach on set.

SWEEPS: The period each autumn, winter, and spring when television ratings are accrued and studied, and advertising rates are reset. The national survey of local stations conducted to determine these ratings. During sweeps weeks, networks put their best foot forward; often running episodes featuring celebrity guest stars to entice advertisers to buy airtime and run commercials during the scheduled show that is airing.

SWING: If an understudy goes on in a principal role, that means they will not go on in their usual ensemble track. A swing knows every single ensemble track in a production and goes on when an ensemblist calls out or is moved up to a principal. A “Universal Swing” works for a production and covers an ensemblist nationally.

TABLE-READ/TABLE-SESSION/READ-THROUGH: An organized reading around a table of cast members, studio executives, producers, writers, and directors. Gathered cast members introduce themselves to guest stars and read the script or screenplay aloud for the first time.

TAFT-HARTLEY: Legislation that allows an actor to appear in a union production before he joins the union.

TAKE: A specific version of a scene.

TALENT AGENCY ACT: A piece of legislation that governs agencies and dictates the scope of their business performance.

TALKBACK: A typical talkback session usually takes place after a play or performance and involves the performers and the creative-team members answering questions from curious audience members.

THEATRICAL DISTRIBUTION: The goal is to get a film on the big screen. First, the critics write reviews, the advertising comes out and the box office results are reported. This publicity aids the launch of a film. A theatrical release looks like this: A “General Release,” structured to cover a wide, national audience; a “Platform Release,” targets a smaller demographic with the hopes of it spreading to a wider base. A movie might be “Four-walled,” (showing only in a single theatre). Arthouse or Indie films find there way to a specialized distribution network, “The Art” films.

THRUST STAGE: A stage thrust into the audience, with the audience on three sides. As mentioned in the description of a vom, (vomitorium) Broadway hosts two thrust stages: the Circle in the Square and the Vivian Beaumont. Productions presented on these thrust stages are blocked with the three-sided audience in mind, so that you don’t miss any action. While an actor may have his or her back to one side of the audience at times, directors work to balance face time, action and more.

TIME AND ONE HALF: Time and one half refer to the performer that has reached hours nine and ten on the job. They are entitled to be paid time and one half.

TRAILER: A short film about an upcoming movie or television show shown before the feature presentation.

TREATMENT: In moviemaking and television, a well-developed treatment or synopsis can be an important tool for introducing your idea to networks, film studios, and accomplished writers that may collaborate in shaping the concept and fleshing out where it’s headed. It is a business plan in the sense that financiers can be enlisted to help get the project off the ground. A treatment may additionally be used as the first legal step in copyrighting the earliest expression of the work.

TWO BELLS: An audio cue on set used to let everyone know that a specific take is over.

UNDER FIVE: Refers to the performer on a television show who has five or less lines of dialogue. The production compensates the actor with the pay scale called, under five.

UNDERSTUDY: A performer that substitutes for a principle cast member to perform his role when requested.

UNDERSTUDY ON STAGE: A member of the ensemble who performs in their own role every performance but also knows the material for one or more leading roles. The understudy can be called upon when a lead actor is out of the show.

UNION: An organization that works to improve and maintain working conditions and standards for its members.

UP-FRONTS: A series of events that occurs once a year during the month of May and typically held in New York City where new television shows for the fall season are highlighted by networks big hitters to its advertisers. The networks are ‘Up Front’ during this period about the existing shows that will be either renewed or dropped.

UPGRADE: An increase in visibility and pay scale for the performer to either day-player or to featured; an upgrade can be a bump.

UPSTAGE & DOWNSTAGE: While you probably know that upstage is farther away from the audience and downstage is closer to the edge of the stage, do you know why? Theatre pros coined the term due to the use of raked, or inclined, stages. The sloped architecture creates better sightlines and acoustics for audiences. But this also meant that as performers walked away from the house, they were hiking up the stage.

VOICE TEACHER/COACH: An industry professional that helps an individual to develop their vocal instrument to achieve proper technique, breathing, hearing and posture.

VOICE-OVER: Also known as a V/O: A narration that may be added to film or television. Used in television commercials, radio spots and animated films and programs.

VOMITORIUM (VOM) An architectural term for a tunnel or passageway that runs underneath or behind the audience seating, allowing actors or crowds to enter and exit the stage directly through the house.

VOUCHERS: Proof that you have worked; your timecard. Any job that involves a voucher must be signed before you leave the job.

WORK PERMIT: A permit issued to a young performer (16 and under) allowing the performer to work for a period of six months.

WRANGLER: One who works with the production to keep the minors on the set organized and on task with the production schedule, also known as, backstage sitters.

WRAP: The end of a production after all scenes are shot.

Next Gen Talent  ·  Ellen Goldfarb