What is the role of a voiceover agent?

When many higher-profile ad buyers, producers and casting directors are looking to cast actors for their new animated series, commercial or video game, they’ll go to a handful of agencies with audition breakdowns. The agents will then send the auditions out to the talent on their roster, from which they may choose a curated selection of submissions to send back.

Prominent buyers often prefer working with agencies because it implies that they will get access to a higher caliber of auditions. The bar to be accepted into an agency – especially a major one – is often high enough that booking actors through an agency can help ensure you are working with trained and experienced professionals.

Some agents are more hands-on and invested in helping manage the careers of the actors they work with, whereas others are more hands-off and simply pass along the opportunities they get from their buyers. But either way, the agent will function as the middleman between the actor and the clients.

Some examples of tasks agents may handle:

• Receive audition breakdowns from various studios and casting directors and ensure they are passed along to fitting talent on their roster
• Handle incoming inquiries about auditions/booking/callbacks requested for specific actors
• Assist in keeping track of and passing along the actor’s schedule and availability for bookings
• Assist in reviewing contracts and negotiating rates and terms for jobs
• Review and pass along necessary paperwork and documents between actors and studios
• “Pitch” actors on their roster for specific opportunities
• Follow up on late or missing payments to ensure talent gets paid for their work
• Provide feedback to actors on general career steps and marketing materials (classes, demos, headshots, etc.)

Do you NEED a voiceover agent?

It is not imperative to sign with an agency when you are still early in your career. Many actors can and do book plenty of work on their own—there are even actors who manage to work full-time despite never having had an agent! Direct marketing and cold submissions can net you plenty of opportunities if you are a solid actor with a good recording setup who is also a savvy businessperson. Certain genres of work, such as e-Learning, apps and audiobooks, are also more likely to book via independent rosters than through agencies.

That being said, there will be a point in your career where you may feel you have exhausted the avenues of work that are available to you, and need to take things to the next level. For example, if your long-term goal is to be a series regular on a Cartoon Network show, it is highly unlikely that you’ll be able to access those auditions on your own (short of having a direct connection to a show creator). But if you’re with an agency who regularly gets those breakdowns, there’s a good chance you’ll at least get to read if a character comes up that you might be right for.

An agency is only one branch off the main road

Many people feel that if they can just get an agent, that will be the secret to having a flourishing voiceover career. They’ll suddenly be able to act full-time, book the lead in a major series, or otherwise “get discovered.”

Now, while having an agent can certainly open doors for you in the frequency and caliber of projects you get to audition for, keep in mind that having an agent isn’t a magic key to making work fall in your lap. There’s a saying that goes “An agent gets 10% of your pay because they do 10% of the work.” What that means is that having an agent won’t exempt you from continuing to work hard—your agent will still be expecting you to be turn in high-quality submissions on time and according to instructions, and be constantly working towards leveling up your career (such as periodically taking classes or casting director workshops, staying on top of industry trends, having a solid home studio, and updating your reels when necessary.) You’ll only get out of the relationship what you put into it!

Unless you’re an in-demand celebrity and can rely solely on your agent for job opportunities, your agency is only going to be one particular source of auditions for you. You will likely become miserable if you sit around waiting for them to send you out on auditions without having anything else in the pipeline from connections you’ve made elsewhere.

Why are agencies so difficult to get into?

Keep in mind that agencies are EXTREMELY competitive.

The Internet has made information on voice acting far more accessible over the years, with more and more new talent popping up hoping to make this a viable career path. While some people may “get lucky” and get signed early in their careers, for many actors, the agent hunt can be long, arduous, and even discouraging. Not getting any bites from agencies doesn’t mean you’re a bad actor; it may simply mean that they don’t have a particular need for your voice/archetype on their roster at the moment (likely because they have too many actors in your “category” already.) But if you happen to fill a niche that the agency needs at the moment (for example: you’re bilingual, you have a certain read style that’s requested a lot in casting breakdowns, you have a unique voice print, or a specific ethnic background that they’re seeing more of a need for in character specs), this can work in your favor.

Put simply, supply often exceeds demand—and many agencies want to make sure not to overwhelm their roster so they can provide proper attention and opportunities to the actors they already represent.

Does this mean I’m out of luck?

No, not at all—assuming you’re ready to submit to agencies and have competitive marketing materials, it just means you should be aware of what the landscape realistically looks like, and understand that it may take a long time to get a meeting or even a reply back from agencies you are interested. Try not to be discouraged, and continue “leveling up” as best as you can by constantly working to improve as an actor and doing everything you can without an agency in the meantime.

How important is location?

Like it or not, your location can be a major factor when it comes to whether an agency agrees to offer you representation (or even a meeting). If you apply to an agency in a major market, such as Los Angeles, Dallas, or London, they may expect you to be willing to work as a “local hire”, as that is what many of the jobs demand.

During the early pandemic years when record-from-home temporarily became the default, many agencies became more willing to take on remote talent. However, now that the majority of that work has gone back to in-person recording, agencies may be hesitant to take on remote talent.

It’s important to be up front with any potential agency about where you are actually based, and when/if you are willing to travel. While it may be tempting to claim you’re local to better your chances, what happens if you’re suddenly requested for a last minute in-studio booking the next morning and there are no flights available, or you get stuck overnight due to flight delays and are unable to make your session?

The good news?

• Many studios and agencies are open to non-local talent who are willing to fly out at their own expense for jobs. There are a good number of actors who fly back and forth between two major markets (such as LA and Dallas) or live elsewhere but commute to LA for jobs that require it. One of the reasons it’s important to be up front with your agency about where you live and what you’re willing to do is so that they can advocate for you as needed—for example, by helping arrange for you to book sessions closer together to minimize the number of hotel nights you have to book, push for more advance notice to help minimize flight costs, or even try to negotiate letting you record a quick pickup session from home.
• Some studios are still open to remote recording. Because the pandemic years proved that remote recording can be feasible, some studios stayed open to featuring hybrid casts where local actors come in to record but actors not in the area are still considered to record remotely, pending a home studio test. You will still need to have a broadcast-quality home setup if you wish to be considered for remote recording.
• Certain genres of work, such as commercials, have always been more remote-friendly. Animation and game projects usually require or prefer in-studio because it makes the work of the mix team much easier when everyone is recording on the same equipment in the same acoustic environment. But for something like a commercial or narration project where it may just be your voice and no one else’s, recording in a specific studio becomes less important.

Do you need to have a home studio to be considered?

Whether or not a home studio is a requirement depends on the agency. If you’re applying to an agency based in your local market that sends out a lot of jobs asking for in-person recording, having a home studio may not be necessary. However, if you’re based outside of a major market, it becomes much more important.

You will, however, be expected to record most of your auditions from home. In the past, it was common for actors to physically go into their agencies to record their auditions—and some agencies may still offer this as an option. But seeing as many auditions these days involve quick turnarounds, scheduling in-person auditions can be too much of a hassle. It’s most likely that your agent will email you auditions which you will be expected to record on your own setup and submit online (either by email or to some sort of portal/dropbox link for your agency.)

You don’t need to have perfect recording quality just for auditions, especially if the final job would record in-studio anyway, but you will be expected to be able to record your auditions in a relatively quiet environment on a decent-quality microphone. Recording on a phone or laptop mic is generally not considered acceptable except for last-minute emergency auditions.

If you don’t have a proper home studio and don’t live where the work is, you may be able to rent a studio in your area for jobs which require it, but do note this will be at your own expense unless the client is willing to sponsor a studio rental regardless of actor location.

What are the generally accepted minimum “home studio requirements” for live recording sessions?

• High quality XLR microphone (large-diaphragm condenser or other similarly accepted studio microphone)
• Quality audio interface
• Quiet, acoustically treated space (such as a pre-built vocal booth, PVC booth, treated closet or studio room)
• Computer and software capable of running audio conferencing programs (such as Zoom) while simultaneously recording an audio track on your end
• Ability to monitor client feedback during live sessions using headphones
• Ability to view script and/or video references in your booth during a live session
• Ability to control gain in real-time in your booth during a live session
• Knowledge of how to export and deliver files in the format requested by the client

What about Source Connect?

If you are primarily working as a remote actor, some agencies may require Source Connect (Standard/Talent Edition), particularly if most of the auditions they send out are for commercials. Because Source Connect primarily operates on a subscription basis, it’s generally recommended to hold off on paying for it until you are told you are required to have it. You can always purchase a 2-day license if you need it for a job, but it’s best to handle the initial setup ahead of any jobs as the port forwarding process can be complicated and tedious. Source Elements does offer paid consultation options where a support technician can walk you through the setup process remotely if you want to ensure you’re good to go.

How do you know if you’re ready for an agent?

A good indicator of someone who is ready for an agent is an already working, self-driven, professional actor who has solid up-to-date materials (including professional-quality demo reels), prior acting experience, and is looking to take their career to the next level. Ideally, you should also have a good idea of what YOU bring to the table as an actor and what niche you might be able to fill on the agency’s roster.

A VO coach you work with or an industry mentor may be able to give you feedback as to whether or not they think you are ready to start submitting. Additionally, you may wish to ask yourself honestly whether you believe you are competitive acting-wise with the current talent your goal agency represents.

(For actors in the US) Do you need to join the union first?

Generally speaking, no—a few very high-profile national agencies may expect you to be at least SAG-eligible before being considered for representation, but because most union work goes through agencies in the first place, it’s simply not practical or even possible sometimes to become a union member before you even have representation.

It’s certainly possible that an agency, especially one in LA, may expect you to become a union member once you reach “must-join” status, but you can cross that bridge when you come closer to it. Note that for voiceover specifically, being fi-core is usually not a dealbreaker for agents and doesn’t carry quite the same stigma as it does for on-camera, so you can still feel free to submit to agencies even if you are fi-core.

You’re probably NOT ready for an agent if…

You are still more of an amateur/hobbyist voice actor rather than a serious professional.

Let’s be clear in saying that there is absolutely no shame in being a hobbyist. Some people do hobbyist work for years and eventually go pro, whereas others are simply content doing VO for fun as a side gig. But if you’re not seriously devoted to pursuing VO as your career, an agent won’t want to waste time putting someone on their roster who isn’t bookable yet or doesn’t have the “drive” to take their career to the next level.



You don’t have a professional-sounding demo reel.

A voice actor expecting to get an agent meeting without a demo reel would be like a film actor expecting to get an agent meeting without a headshot! Most agencies will want to review your demos before even considering bringing you in for a meeting. Not having a demo gives off the impression that you’re not serious enough about your craft to have what’s considered one of the most basic tools in your arsenal.

Ideally, you should have both a character reel and a commercial reel. They should be professionally produced if possible, especially if you’re submitting to a national agency. There are some people who have managed to get agent meetings or even get signed with self-made reels, but if you are submitting a self-made reel, it better be good enough to be virtually indistinguishable from a professionally produced reel. (For example, a homemade demo consisting of cartoon character impressions would not be considered appropriate.)



You don’t have any experience yet.

The old movie trope of a Hollywood agent discovering a random person and saying “I’m going to make you a star!” isn’t really accurate to the real world—agents are concerned about their bottom line, and it may sound harsh, but they’re not here to “help people achieve their dreams”—they’re here to make money, and if they don’t think someone has a good potential to make them money, they probably won’t take them on as a client. Therefore, even agents willing to take on “developmental talent” still tend to be looking for trained actors who already have a good idea of what they’re doing and are at the level where they are good enough to be submitted to casting.



You’re only interested in doing anime, and/or have no interest in auditioning for commercials.

While some agencies these days are willing to handle anime bookings (especially considering the shift to many dubbing productions being on a union contract, at least in the LA market), dubbing rates – even union ones – are still considered some of the lowest of any types of voiceover work. Some agents will not even handle this work as the tiny commission they receive is simply not worth the hassle of scheduling.

As anime becomes more and more mainstream, some agents do understand and appreciate what it can do for an actor’s career and visibility. But unless they’re also handling convention bookings (rare), it’s still going to be such a small slice of the pie.

Commercials are a priority at many agencies. Some will still take on actors who primarily do character work if those actors already have a track record of booking a lot in video games or animation. But, especially outside of LA, commercial work tends to be an agency’s bread and butter—particularly in the spots that pay usage fees, which makes the work financially much more worth it for both you and the agency. Most agencies will expect you to have a commercial demo at the time of submission, and – even if you don’t have any experience – you should at least take a commercial class or a few sessions with a commercial coach.

You aren’t able to work on short deadlines, or have very limited schedule availability.

Agencies often expect next-day turnaround on auditions (though some will have a longer deadline). It’s not uncommon, for example, for an agent to send out an audition at 5:00 pm that’s due at 9:00 am the next morning. Sometimes auditions will even be same-day turnaround, though agents are generally understanding if you have to pass on those because you’re not at home or you’re in another session at the time. Additionally, while plenty of actors still manage to have an agent while working a day job, if you have a full-time 9-5 office job that you can’t easily take time off from—or if you frequently go out of town for long periods of time with no way to record remotely—this can cause an issue when your agents need to schedule you for bookings.

Be up front in agent meetings if you have any major limitations when it comes to availability for jobs and auditions. Most availability issues can be worked around within reason (for example, many actors who are big in the anime scene often travel for conventions and may be unavailable on certain Thursdays and Fridays as a result), but it’s better to have no surprises.

You don’t have a reliable way to record and edit auditions from home.

See above – while there may be a bit of flexibility if you live somewhere like L.A. and are always able to come in studio, you’ll at least be expected to be able to record auditions from home, especially considering the usual quick turnaround times. Your setup doesn’t need to be something expensive or top-of-the-line if it’s just for auditions, but you’ll at least need a quiet space to record and preferably on something better quality than a phone.

You should also know the bare basics of how to edit your auditions—while you won’t have to add any “processing”, you’ll at least need to be able to cut selected takes together, remove long pauses/mistakes/distracting noises, and export + label your audition mp3 in the format requested by casting. All of this can be done in a free program such as Audacity, and there are free tutorials available on YouTube and the Audacity website itself for how to do very basic editing.

You expect an agent to do all the work for you.

As explained above, having an agent isn’t a magical solution to getting you where you want to be in your career. Instead, think of the relationship more as a partnership or team working together to achieve common goals. Your agents want you to succeed just like you do, but you have be willing to put in the work as well to continually improve as an actor.

What are the main ways to get seen by an agent?

Referrals

Having a referral from one of their current clients, a voice director or casting director, a VO coach or teacher, or another prominent person in the industry is worth its weight in gold and probably your best chance of getting seen. It’s okay to let your friends and colleagues know you’re looking, but don’t ask someone directly to walk you in—it puts them on the spot and can also create an awkward situation if they don’t think you’re quite ready yet or that you’d be a good fit (plus, they may not even be in a position themselves where they’re able to go out on a limb for someone else at the moment.)

If someone you know is with an agent you’d really like to be with as well, you can say “Hey, I noticed you’re signed with X. How do you like it there so far? Do you have any tips on how I could go about getting a meeting?” In some cases they might even offer to walk you in, but otherwise, it won’t put them in an awkward spot.

 Remember that when someone recommends you to an agency, anything you do also reflects back on them, so always behave with courtesy and professionalism.

Agent showcase nights

In major markets such as LA, they may have “Meet the Agent Nights” (though these are often done over Zoom now!) With these, you pay a fee to attend sort of a “showcase” where you read a couple pieces of copy for the agent being featured that night. They’ll give you a bit of feedback on your reads and if they like you or have a need for you on their roster, they may end up connecting with you later (or it’ll help them put a face/voice to your name if you cold-submit to them later.) It IS a bit of a gamble as you might never hear from them after, and it’s true that you’re essentially paying to be seen by them, but at the same time it’s a guaranteed chance to read for them and people can and do get signed sometimes after making connections at these events.



Cold submissions

This means you send an email to the agency with a short “pitch” introducing yourself, briefly discussing your experience and why you’d like to be considered for representation, along with a link to your materials. Some agencies don’t take unsolicited submissions, but many do. It can be harder to get seen this way as they receive many submissions a day, but it’s always worth a shot. It’s important to check the agency’s website and follow any listed instructions for actor submissions.

How to find an agency that’s fitting for you

When actors look for their first agent, they often fall into one of two mindsets. Either they want an agent so badly they’ll take the first agent to say yes to their submissions, or they’ll be dead set on one of the very top agencies in the market and might pass up other opportunities in hopes of getting their dream agent. A good way to start is to make a list of three to five agencies you think would be a good fit for you and start there with your submissions, then cast a wider net if nothing comes out of those.

How to find which agencies are in your target market?

One option, of course, is to do a simple online search (ex: “Atlanta voiceover agency”). A number of websites will come up for you to review and decide whether you might like to submit.

Another fantastic source of information is the Voice Over Resource Guide, which provides comprehensive agency listings by market.

And of course, you can always ask around to your friends and peers working in that region to see whether they are currently with an agency they’re happy with!

Remember to be realistic.

Everyone wants to be with one of the top agencies in the country, but the flip side is that even if you get signed to one of these prestigious agencies, you might end up getting lost on their roster or “put on the back burner” in comparison to their heavy hitters. Starting with a smaller boutique agency might actually allow you more opportunities to get your name out there, and you can always attempt to apply to a bigger agency later once your contract period is up and you’ve got some experience.

If you’re not sure if you’re aiming too high by submitting to a very prestigious agency, you can always look up who they have on your current roster and evaluate whether or not you believe you’re as competitive as a lot of the others they already have signed. (Also keep in mind that agencies often don’t want to sign too many people in the same category, so if they’ve got several people on their roster who already sound a LOT like you, they might pass you up because they don’t want their clients competing against each other too much.)

Don’t discount the idea of regional agencies, especially if you’re still relatively new.

It’s easy to look exclusively at Los Angeles agencies as they often have access to the best auditions. But if your goal is to take your career to the next level and get more opportunities, remember that agencies exist all over the country and even the world. While you may not get as many auditions for cartoons or games with say, a Chicago or Atlanta agent as you would with an LA agent, you’d at least be seeing commercial and industrial opportunities that you probably wouldn’t get elsewhere.

Don’t put all your eggs in one basket, either.

It doesn’t hurt to submit to multiple agencies at once and see if you get any bites, because things are extremely competitive right now and it’s best to spread a wide net. If multiple agencies in the same market happen to get back to you, take meetings with both of them, let them know that you’re deciding between a couple of options for representation right now, and go with the offer you feel will serve you best (but don’t wait too long, or they may lose interest.)

What about convention booking agencies?

A convention agency is separate from a VO agency. The role of a convention booking agency is to handle public appearances for talent on their roster, such as comic conventions and autograph signings—not acting work itself.

You can still be repped by a booking agency for conventions even if you already have an acting agency, unless your acting agency has a conventions department that requires exclusivity. However, you generally won’t need (and probably won’t have much luck with) a booking agency until you have fan-favorite characters in popular projects and/or you are already getting a number of inquiries to appear at conventions.

Can you have multiple agents?

Yes—but it all depends on the regional exclusivity each agent has.

Generally speaking, you can’t be represented by multiple agencies in the same geographical market. So, for instance, you might be able to have both an LA agent and a New York agent, but you couldn’t be repped by multiple LA agencies or multiple New York agencies at the same time.

It’s important to be aware of what exclusivity each agency has upon signing with them. For example, some LA agencies might rep for LA only, to where you could also have a San Francisco agent, but others might require exclusivity to the entire state of California. Or, some “national agencies” might have both an LA and a New York branch and want to be your exclusive representation in both regions, but you could still have a Chicago agent.

It’s best to be upfront while taking a meeting with any agency by letting them know any other agencies you are currently represented by, so that there are no conflicts.

What happens if multiple agencies send you the same auditions?

There are conflicting opinions as to what the proper etiquette is if you receive the same audition from multiple agencies. The general consensus seems to be that it’s best to submit via your “home” or “primary” agency, unless it’s a project based in a specific market (for example, if your primary agent is in LA but you also have a Dallas agent and receive an audition for a project that is to record in Dallas, you may wish to submit through your Texas agent.)

If you don’t have a home/primary agency or none of the above applies, then you may submit to the agency who sent you the audition first. Note that it’s generally not considered appropriate to submit the same audition through multiple agencies as this can cause confusion for casting and create a conflict as to which agency is supposed to receive the commission if you are booked.

Tips for submitting

So you did your research and found an agency in your target market that you’d like to submit to. How do you put your best foot forward?

Always follow their submission protocol.

Unless you have a direct referral from a contact that tells you to reach out in a specific way (ex: by emailing one of the agents directly), you’ll want to check the agency’s website to find out how they prefer to receive talent submissions. Some agencies will have a submission form you can fill out, while others may tell you to send your demos and information to a specific email address. If none of this info is available, then you may email whatever general “contact” address is listed on their website. Always do your best to follow the correct procedure or else you may not be considered!

NEVER MAKE UNSOLICITED PHONE CALLS OR WALK INTO AN AGENCY IN HOPES OF GETTING REPRESENTATION! This is considered highly unprofessional and will most likely result in immediate dismissal from any consideration for a meeting. You may hear stories from actors who say that decades ago they simply walked into an agency to drop off their demo, but nowadays this is not considered acceptable – you should only call or physically go to an agency if you are actually invited to do so.

Make sure you qualify to submit.

If the agency website says they’re only looking for people who live local to that area or are only accepting child actors at the moment or looking specifically for people who speak certain languages – and you don’t have a referral walking you in – then unfortunately you’ll be wasting your time to submit (and it’ll look like you can’t follow instructions). You can always bookmark the agency’s website in case things change in the future.

Make sure your IMDb and website are accurate and up to date.

A good number of agents will look at a actor’s IMDb when evaluating them as a potential client. Having a resume helps too of course, but IMDb tends to serve as a more “official” source of an actor’s credits. Check over your page to ensure your credits are accurate and your bio (if applicable) is up to date.

If you don’t have an IMDb yet, that’s okay, but be sure that your website and resume are current.

Write a personalized cover letter.

If you are asked to submit an email rather than simply filling out fields on a web form, the initial email is your chance to make a good first impression. Keep it brief (they don’t want to read a novel) but introduce yourself, talk a little bit about your experience as an actor and what you tend to book, and a few of your career goals. Link to any applicable materials such as demo reels, website, IMDb and/or resume. Explain why you hope to work with this particular agency, and sign off by thanking them for their time.

Even if you’re submitting to a lot of agencies at once, try to personalize each letter in some way – copying and pasting a generic “form letter” comes across to them as “I’m just mass-submitting to a bunch of agencies, hoping anyone will take me.”

Finally, while communication in general tends to be more casual these days, it’s better to err more on the side of proper business etiquette when initially emailing an agency. You don’t need to be overly formal or stuffy, but treat it as a professional – yet friendly – communication.

Focus on what YOU can offer THEM.

Agencies receive submissions from actors all the time who are hoping to get more work. But you want to show them why representing you would be a great business decision for them—not just the other way around. You can briefly mention your strengths with certain media or character types, examples of major clients you’ve worked with, or any existing work that you’d be willing to bring to them if they signed you on.

What if I don’t hear back after applying?

Because agencies receive so many submissions on a constant basis, they normally do not send a response unless they are interested in setting up a meeting. In most cases, a “no response” is a “no” response.

Of course, sometimes submissions do get lost in the sea of emails or there may be an occasion where someone meant to respond but it slipped their mind. So in that case, what can you do?

Protocol for following up

On some agency websites, they may specifically state that they will only contact you if they are interested in meeting with you and ask that you not contact them otherwise. However, if there is no specification on this, then it’s generally okay to send ONE follow up anywhere from 3-6 months after your initial email. Avoid being overly persistent as this is usually a turn-off.

Do rest assured, however, that a “no” sometimes means “not right now”. They might not have a need for you on their roster at this particular time, but things can change in a year or two so you can always try again then once you have some more substantial credits or updated demos.

Followups should only be done via email – never call the office to follow up on your application unless they specifically asked you to do so.

Agency red flags

Unfortunately, not every company calling themselves an “agency” is legitimate. There are some that are happy to take advantage of people by making them pay money out of pocket with the promise of “getting discovered”, or even agencies that are otherwise legitimate but have certain poor business practices. Exercise caution if you observe any of the following red flags.

Charging a fee to be listed with them

There are some scam agencies out there that will immediately write back to any cold submission saying that they’d love to sign the actor (without even asking for a meeting!) But when something sounds too good to be true, it often is—these “agencies” will explain that in order to be on their roster, you have to pay a fee of some sort (they will usually try to find a legal loophole by claiming that the fee is to host your materials on their site, or to pay a “casting service” that they themselves happen to own).

Unless they’re asking you to subscribe to a legitimate casting site such as Backstage or Actor’s Access (and even then, many agents are fine with the free accounts on those sites as it still allows them to submit you on jobs), be very careful about signing with any agency who asks for this.

Some people justify these fees by saying it’s necessary for the agency to help pay for their web hosting costs, but this is a bit ridiculous. Web hosting is part of the cost of virtually any business, just as you as an actor have to pay for your own website. If anything, an agency having demos listed of all the actors they represent helps THEM to, as potential clients can go in and listen to everyone on their roster! An agent makes money when you make money (commission fees)—you should never pay someone upfront for the privilege of representing you.



Insisting on commission from work they don’t handle

If an agent handles a job for you in any way—whether scheduling, negotiating, or having your check sent to their office—then they are entitled to a commission from that work (usually 10%, though sometimes agencies that primarily do nonunion work will take 15% or even 20% from those jobs).

Realistically speaking, however, not every job is going to go through your agency. There are all sorts of circumstances where a client might prefer or need to work directly or work you already book on your own that an agent wouldn’t want to handle anyway. Now if you have, say, a high profile ad campaign or any type of union work, your agent will probably want you to run it through them, but most of the time they won’t want to deal with the really low-budget stuff that you book independently. When you sign, you can always ask them what threshold of work they’d prefer to handle for you as it will vary based on the agency and market.



Note that if the agency bills themselves as a “management company”, they may insist that managers take a commission from ANY AND ALL work the talent books, even work not procured or negotiated by them. Having a manager is much more common for on-camera rather than voiceover, and while it’s true that managers do take a commission across the board, be very sure this is worth it for you before deciding to sign with a management company—and find out what they would be doing for your career in return.

“Double dipping” in commission fees

The rates for some jobs will include a “+10” or a “+20” (more on that below), which essentially means the buyer is paying your agency fees on top of the standard job rate so that the commission doesn’t have to come out of your own pocket.

However, certain boutique agencies are known to “double dip” in fees and take much more from an actor’s paycheck than some argue they should.

Consider the following example:
A nonunion job is paying a session fee of $600 + 20%, meaning they are paying you the $600 session fee as well as the extra $120 on top which is explicitly meant to go towards your agent’s commission, bringing the grand total to $720. They send a paycheck to your agency on your behalf for $720. Your agency takes 20% from nonunion jobs (which is high, but sometimes happens), but instead of just taking the $120 fee that is specifically meant for their commission, they ALSO take a 20% cut of your $600 session fee… meaning you’re only seeing $480. That completely negates the point of the buyer paying the commission fee on top!

Some may counter with the idea that double dipping is ethical because it’s the only way it becomes “worth it” for smaller agencies to take on lower paying nonunion jobs. Double dipping doesn’t mean an agency is considered a scam, but it’s something important to be aware of and carefully consider before signing with them.

Asking for worldwide (rather than regional or even national) exclusivity

Exclusivity is typically only restricted to a certain region or geographical market, so an actor might have a Los Angeles agent, an Atlanta agent, and a London agent, for example. In some cases, if the agency has branches in more than one region (such as an LA branch and a New York branch), they’ll want exclusive representation in both those regions. Some of the very top agencies in the US that are considered “national agencies” may also discourage regional representation. But if a relatively small agency is insisting they be your ONLY agent in the entire world… well, they better be one of the best agents out there! You don’t want to be stuck not being allowed to have agents in other regions if this one ends up not sending many opportunities your way.



Insisting you’re not allowed to work on any project not sent by them

While this is incredibly rare, there have been reports of one or two “agencies” that insist on complete and total exclusivity, with their voice talent not allowed to work on any projects unless it’s something procured by the agency. This is absolutely ludicrous. Again, your agency is only ONE source of auditions. While it’s understandable for your agent to request that you take certain jobs to them (for example, union jobs, national commercial jobs, or jobs over a certain dollar amount), locking you out of working with your own independent clients is not doing you a favor, but rather hurting you from making a living. An agent may advise you not to take a certain job if they don’t feel it would be within your best interest, but they shouldn’t tell you that you can’t.

Insisting you work with certain coaches, demo producers, photographers, etc.

Certain agencies, particularly those billing themselves as “model & talent agencies”, are sometimes known to take advantage of hopeful actors by insisting they take specific (often expensive) classes hosted by the agency, attend “showcases” or conferences at their own expense, get headshots taken by a specific photographer, reels produced by a certain demo producer, etc. No matter how recent your materials are, they may claim they’re “no good” and they can’t represent you unless you work with their specific people.

While it’s perfectly fine for an agency to recommend you go to certain people they trust and have already vetted, it should not be a condition of signing. Again, they can recommend that you update your materials to make them more competitive, but if they are very insistent that you go to specific people they work with, it comes into question whether they’re getting some type of kickback for referrals.

High-pressure sales tactics

A good agent will understand that choosing who will represent you is a major career decision that shouldn’t be taken lightly. While you don’t want to keep them waiting too long, any agent who acts in an overly pushy manner or tries to make you feel bad for not immediately signing the contract before taking time to review it is a red flag.

Another bad sign is if the agent starts insulting you or treating you in a condescending manner. The relationship between an actor and an agent should be a partnership built on trust and mutual respect. If you get bad vibes immediately from the interview, it’s probably not going to be a good fit.

Contacting you suddenly out of the blue

Most agencies do not need to advertise or go out of their way to solicit actors—they’ve got actors constantly knocking at their door for representation. Another reason it’s often not done is because it’s a bad look to attempt to “poach” an actor who is already represented by another agency. Generally, the only time an agency is going to email you first is if you were recommended by someone else they work with who knows you are looking for representation.

If an agency emails you out of the blue saying they want to represent you, with no information as to how they found you or something generic such as “we were impressed by your website”, tread very cautiously. Some scammers have been known to impersonate legitimate VO agents in hopes of conning people. Read our article on VO scams for more on this subject. And remember, an agent should email you from their official company email address (ex: agent@voagency.com), not a random Gmail or Yahoo address.

What happens if you get a meeting?

IF an agency is potentially interested in proceeding further, they may schedule a meeting/interview to get to know you better and assess whether the partnership would be a good fit. If you made it this far, congratulations! A meeting may or may not mean you actually get an offer to sign – some actors either never hear back after a meeting or get a rejection email – but getting that meeting in the first place still meant that an agent was interested enough in possibly representing you to take the time to explore the idea further.

An agency meeting may be either in-person, over Zoom, on a phone call, or even just asking some written questions over email.

You MAY be asked some questions such as the following…

• Can you tell us a little more about your acting background?
• What are some examples of clients you currently work with or have worked with in the past?
• What made you interested in our agency?
• What types of jobs do you normally book?
• What is your union status? If you are non-union, would you be willing to join if a job required it?
• Do you have a home studio? Do you have or would you be able to get Source Connect if a job required it?
• (If you are not based in the area) Would you be willing to travel at your own expense if a job required you to work locally?
• What is your schedule/availability generally like?
• Do you speak any other languages or can portray any accents/dialects? (If applicable) Are there any specific considerations for if/how we submit you to projects where authentic representation is desired for ethnicity, gender identity, etc? (You don’t HAVE to disclose these things if you’re not comfortable doing so or worry that it would get you negatively pigeonholed, but it can help your agent pitch you for opportunities where identity is a consideration)
• Are you currently represented by any other agencies?
• (If applicable) Why did you leave your last agency?
• What do you hope to achieve by signing with us?

Don’t over-rehearse your answers—it’s still important to be genuine. However, being prepared in case any of these questions come up can help you avoid freezing on the spot. Remember, your answers don’t need to be “perfect” or exactly what you think they want to hear – being honest and realistic up front can help avoid any issues later.

Examples of questions you may want to ask them

• What genres of work would you say your agency receives the most auditions for?
• Are audition opportunities typically curated, or is everyone given the chance to read on everything?
• What is your preferred protocol for how to submit auditions?
• What’s an idea of the usual turnaround time expected for auditions?
• Are there certain types of work you’d prefer to handle / not handle?
• Do you prefer we let you know each time we are NOT submitting (“passing”) on an audition, or would you prefer we simply submit for the projects we feel are a fit and not submit for the ones that we don’t?
• What does your commission structure look like?
• How would you prefer we communicate our schedule/availability?
• What are some key qualities you look for in talent you represent?

Do I need to take all the jobs I get through my agency?

A common question many actors have when first signing with an agency is what they’re supposed to do with all their existing clients and jobs they book on their own. Whether or not you end up passing these jobs to your agency depends on a number of factors, and ultimately depends on what works best for you, your agent and the client.

Pros to taking a job through your agency

• Passing along existing bookings shows your agent that you’re willing to trust them with important jobs, which can strengthen the relationship.
• It shows your agency there is a demand for you and can help keep you at the top of their mind.
• An agent can help ensure you are not getting taken advantage of when it comes to rates and contract terms, and may be able to assist in negotiating for you if you are unhappy with any of these aspects of the job.
• An agent will act as a middleman between you and the client if you’d rather not deal with them directly.
• The payment process will be handled between the client and your agency, eliminating the need for you to create invoices, provide personal financial details (in some cases), or follow up on payment yourself.
• Having agency representation can help you be taken more seriously as an actor.
• Taking a job through your agent, particularly one which will require a lot of hours of recording, can help your agent manage your scheduling along with the other jobs they’re handling for you.
• A guaranteed commission helps keep your agent happy and of course is always a plus for them!

Cons to taking a job through your agency

• Some companies do not like or want to work with an agency and will only book directly with actors or simply find it much easier to book directly with actors.
• If the job does not include a +10 (more on that below), you’ll be giving up 10% of your paycheck (some agencies even take 20% for nonunion jobs!)
• Some agents end up trying to play hardball with a client, causing them to run the other way. Your agent can advise you on what to do, but ultimately you should be on the same page in terms of what you’re comfortable accepting.
• This introduces an extra middleman into the equation when it comes to scheduling, payment, and other communication.
• Not all agents are willing to handle lower-budget jobs.

If you do wish to loop your agency in on existing projects, be aware of whether it’s something they’re willing to work on.

While agencies are normally happy to be looped into existing projects that you were previously handling by yourself, not all agents want to take on every project. Some won’t take on low-budget projects, or certain non-union projects, or even certain types of projects. If you’re not sure, ask your agent first if a particular job is something they’d like to take the reins on.

Additionally, it’s also good to be aware of whether the client you’re working with is even open to working with an agency. Some types of projects or clients only book directly with actors, or – if it’s something like an indie project – the producer may feel intimidated or overwhelmed to work with an agent, especially if the agent immediately starts pushing for raises or grilling them about the contract. Use your best judgment as to what jobs you’d prefer to pass along to your agency versus what you’d rather keep independent.

What is a “+10?”

If a “+10” is listed next to the rate in a casting breakdown, it means that the compensation for the job will include your agent’s 10% commission on top, so that you don’t have to lose any of your normal paycheck just because you’re working with an agent.

For example, if you see a rate listed as “$500 session fee + 10%”, that means that instead of the job paying $500 and your agent taking their usual 10% leaving you with only $450, the job will pay $550 to be inclusive of agent commission so you still get the full $500 session fee.

If you receive an audition independently that lists a +10% as part of the rate, you are welcome to send this job through your agency if you book it as the +10 indicates they are already prepared to work with agencies. The +10 is not applicable if the actor is not working through an agency.

Most union (SAG-AFTRA) jobs automatically include a +10 and can/should be taken through your agency, unless your agents have indicated they do not want to work on low-budget union projects (dubbing, Tiered Budget agreement, etc.)

Parting ways

Sometimes, despite best efforts, things just aren’t working out. Maybe you don’t see eye-to-eye with your agents or don’t feel respected, or it becomes clear that your goals aren’t aligned, or they’ve put you completely on the back burner and don’t send you anything at all. Don’t despair – not every partnership is a good fit. It’s not uncommon for actors to end up switching agencies several times throughout their careers.

Consider very carefully whether you wish to leave before another offer is on the table.

Think of leaving an agency as a similar concept to leaving a day job. You can still accept interviews with other agencies if you’re looking to switch, though you will be expected to leave your current agency upon accepting an offer from a new one in the same market. If you’ve already got another offer lined up from your dream agency, go ahead! But just like with day jobs, it’s normally best to avoid leaving until you’ve got another offer lined up. Unless your agency is truly terrible, having some representation is usually better than having no representation at all.

Make an attempt to fix things – or at least have a meeting – before jumping ship.

If you’re unhappy with the way things are going at your agency, it’s possible this may be improved with simple communication. Ask the agent you work most closely with if they’d be open to scheduling a call with you to discuss how things have been going.

If they agree to this, it’s important to address your concerns in an honest manner while still being respectful and appreciative of the work they do for you. For instance, you might say something like “I’m very grateful for the audition opportunities you’ve been sending me. However, I’m concerned that almost all the submissions I’ve been getting are for characters that are realistically outside of my age range or vocal type. I’d like to make sure I’m putting my best foot forward for you when you submit me – is there anything I can do to ensure I’m considered for characters more in my range?” This way, instead of just bringing up a problem, you’re asking your agent how you can work together towards a mutually beneficial solution!

Remember that no agency is perfect. You don’t need to stay at a place where you’re unhappy, but carefully consider whether the good can outweigh the bad, and whether the “bad” is a dealbreaker for you. If it is, there’s no shame in leaving a partnership that’s not working out for you.

Try to avoid burning bridges.

Regardless of whether or not you were satisfied with the relationship, it’s a relatively small industry and individual agents tend to move around to different agencies over the years. You don’t want an unpleasant or awkward situation if one of your old agents ends up at your new agency in the future! It’s best to keep your resignation letter polite and professional – inform the agents that you have decided to accept an offer elsewhere, but that you appreciate the work they did for you and wish them the best.

Understand any contractual obligations you may still have to your old agency.

When it comes to long-term/ongoing projects you originally booked with your now-former agency, it is possible that they may still be entitled to commission from those sessions. This can be complicated, and not every agency will handle it the same way – though in most cases, future sessions on those projects will be scheduled and booked through your new agency, who will receive the commission instead. When in doubt, you may ask how they would prefer to handle the transferring of these projects. You may wish to tell them what new agency you moved to so that they can let casting know where to direct further inquiries.

What if the agency drops YOU?

Not everything is meant to be. Some agencies like to keep their rosters small, and at the end of a year or contract period they may go through and drop the people who aren’t booking enough or who aren’t deemed to be a good fit. Or if you’re on a trial/freelance period, they may simply decide not to bring you on board.

Getting dropped isn’t a fun feeling, but remember that most of the time it’s not personal, it’s just business. Maybe your reads were solid overall but just not what they were looking for, or maybe they have too many people on their roster who can do what you do but are slightly more bookable. Maybe there just isn’t a lot of demand for your “type” at the moment.

If it’s you who dropped the ball, be honest with yourself and take it as a learning experience for next time. But remember that in the end, one agent’s opinion isn’t going to be everyone’s, and one closed door can be an opening to one that’s a better fit in the future.