I recently signed with an agent and I haven't heard from him in weeks. What should I do? How should I proceed?
Many actors wonder what happens after they've signed with an agent. How long does it usually take before things start to cook? When should they begin to worry? What should they do if they don't hear from their agent for three weeks? Is it appropriate to check in? What is the preferred method for doing so?
Many factors influence the time it takes for a newly formed alliance with an agent to bear fruit. A few are time of year, where a particular actor is positioned within the industry, and the types of projects that are holding auditions. Actors can expect a startup time of at least a couple of weeks before their headshots and resumes included in the agent's submissions begin to elicit auditions. It takes a little while for casting directors to notice that a particular actor has been added to the client list, although agents are usually quick to seize any opportunity to bring this to the casting director's attention—letter, email, or phone conversation—while making a push.
In general, casting is cyclical in nature due to the types of projects that are cast at particular times of the year and the audition process itself. June and July are customarily slow months on the East Coast, as the entire industry goes on vacation. August and September heat up with the casting of fall and winter projects and the return of the episodic television shows after the summer hiatus. January through March is pilot season; March through May is for summer stock. For actors, the audition process itself has a cycle: preparation, first read, callback, and offer. Actors don't always get through all four stages. For instance, an actor can sometimes get three auditions in one week, go through the process of auditions and callbacks, and then have three weeks when he doesn't hear from his agent at all. It has nothing to do with the actor's talent or how he did at his auditions, and it doesn't mean that his agent has stopped submitting him. It's just how the cycle of auditions goes.
In the event that you haven't heard from your agent in a couple of weeks after signing, you might put in a call or drop a line by mail or email to touch base. Try to avoid generalizations and sweeping complaints, and try to find a balance between being neurotic and self-effacing. There must be trust between the actor and agent. Certainly, when actors sign with an agent, they are making a leap of faith. They must trust their instincts, however, that they made the right choice, and believe that the agent will do his or her utmost to fulfill the commitment agreed upon when signing an exclusive management contract. Sometimes all an actor needs to hear is that it's only a matter of time before the agent's efforts generate activity. After all, it's in everybody's best interests to do so. When checking in with your agents, choose to be in support of their efforts rather than question their commitment. Ask specific questions and always try to see what you can be doing on your own behalf to stir up activity, whether it be taking a class, getting involved in a theatre group, or networking contacts from directors and friends.
Agents don't have crystal balls. When they sign actors, they really have no idea what will happen. This business is such a gamble. It's as much hunch and luck as anything else. Therefore, we must trust our judgment that our "investment" of time and energy in a particular actor will pay off, even if we're in the midst of a year of auditions and callbacks without any bookings (i.e., money coming in).
There are certain things an actor can do to help himself out, especially when starting to work with an agent. Be diligent and professional, stay positive, and use every possible connection to network, network, network. We have a client who impresses us constantly with the auditions he is able to obtain for himself. He is always mentioning the people he's met and from whom we should expect a call with an audition appointment for him. I think the secret of his success is that he unabashedly goes for what he wants. He will email directors, use friends as recommendations, and seize every opportunity to make a connection with the purpose of being seen for a project. To be assertive and persuasive at the same time is a gift, to be sure. Between his efforts and ours, he generally has a full plate of audition activity.
Many actors research what projects are being cast. Then they call their agents to ask for submissions. This is fine. However, if you ask repeatedly about a specific project and your agent doesn't come up with an audition, be prepared to face the response of "They looked at your photo and resume and passed." Agents want so much to get the audition. We write persuasive letters to casting directors, follow up with faxes, phone calls—do everything short of being total pests—to try to get that audition. When it's obvious that the casting director is passing on the client after having looked at the materials that we submitted and pushed, we then have the terrible responsibility of relaying the verdict to the client. Rejection is always difficult to accept, especially when it comes without a specific reason. However, since no amount of teeth gnashing will change the reality, it's best to stop torturing yourself and your agent and move on.
Beginnings are wonderful. They are filled with hope and there's always lots of work to be done. Whether it's the actor getting new photos or reformatting the resume, or the agent sending out oodles of photos and "talking up" the actor in every phone call, it's an exciting time full of possibilities.
One final note: If your newly acquired agent strongly suggests at the time of signing that you need a new headshot, take her at her word and make it a priority. Agents know the cost of getting new headshots. They would not make this suggestion if they didn't think it was absolutely crucial to opening doors and getting auditions for you. You've got to trust that they know what they're talking about and follow through. It could mean the difference between a busy three months and a slow three months.