SPROUT ACCESS / PARENT HANDBOOK
Everything you need once you're active.
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First, welcome. We are so happy you're here.
If this is your first time navigating the modeling industry with your child, I know this can feel like a lot. You're going to hear terms you've never heard before, get casting requests that feel like they need an answer five minutes ago, and probably have a few moments where you're thinking, "Wait... what does that even mean?"
That's normal.
We don't expect you to come into this knowing how the industry works. That's why we've put so much time into creating these resources for you.
This handbook is really meant to be your crash course. It will help you understand what happens after onboarding, what we need from you, what you can expect from us, and all of those little industry things that nobody really explains until you're already in it.
Read it. Save it. Come back to it.
Look through the rest of the resources on this site too. We have guides, blogs, examples, and information here because we genuinely want you to feel confident doing this. The more you understand how everything works, the easier this becomes for everyone.
You're going to learn as you go. We all did.
The biggest thing I want you to remember from the beginning is that this should be fun for your child.
Yes, this is a real industry. Yes, when your child books a job, it's a real job and we treat it professionally. But they're still kids, and I never want us to lose sight of that.
We're going to help you figure out the rest.
One of the biggest things I want parents to understand from the beginning is that you don't work for us, and we don't work for you. This is a co-working relationship, and we have the same goal: making things happen for your child.
On our end, we're submitting your child, advocating for them, communicating with casting and clients, negotiating bookings, and helping you navigate an industry that can honestly be confusing when you're new to it.
On your end, we need you to participate too.
That means responding when something comes in, getting the auditions done, keeping your child's photos, sizes, and information current, being honest about availability, reading the instructions we send you, and using the resources we've created for you.
And while we don't have "favorite kids," we absolutely have parents we love working with.
They're the parents who are eager without being demanding. They confirm before we have to check in. They audition. They make availability work when they reasonably can. They follow instructions. They're good on set. And when something doesn't work for their family, they just tell us.
You don't need to know everything. If you don't have a background in this industry, that's okay. Do the best you can with the resources we're giving you. Look at the blogs. Use this site. Look at our Instagram. Ask us when you genuinely don't understand something. We give you these resources because we want you to get better at this.
Communication makes such a huge difference. If you can't make an audition, decline it. If you're not available, tell us. If something changes, let us know. We can work with almost anything when we actually know what's going on.
We want this to feel like a team because that's exactly what it is.
When you guys are team players, we're genuinely so happy to work with you.
Once onboarding is complete and your child's profiles are ready, we start submitting them immediately. There isn't a waiting period. They're active and we're putting them in front of clients when they fit what casting is looking for.
Now, I know everyone secretly hopes they're going to sign with an agency and immediately start booking jobs and become the next superstar. Sometimes things do happen really fast, but most of the time, it takes a little bit of time to build.
One thing that is really important to understand is that this industry has seasons, and those seasons are different depending on the market.
Florida really starts picking up in the fall and winter. That's when we tend to see a lot more activity because of the weather, tourism, resort work, lifestyle campaigns, and productions coming into the state. New York has a different rhythm and you'll typically see that market start picking up more in the spring.
So if one market feels quiet while another one seems really busy, that doesn't mean anything is wrong. It may literally just be the time of year.
There are also waves within those seasons. Sometimes everyone seems to be looking for toddlers. Then suddenly we need ten-year-olds. Sometimes clients want big personalities and tons of energy, and then everything shifts and we're getting requests for a completely different type of child.
That's just how casting works.
You may have a month where you're getting auditions constantly and then go through a stretch where you don't hear much. Please don't immediately assume that means we stopped submitting your child. We haven't.
And remember that your child is also developing while all of this is happening. They get more comfortable auditioning. They build their portfolio. Casting starts recognizing their face. They get better at being on set. One job gives them something new for their book, and that can help lead to the next one.
It builds over time.
So don't judge your child's career by one quiet week or even one quiet month. Give it some room to grow.
And when things do start coming in, sometimes they come in all at once. Welcome to modeling.
This is where things start moving fast.
When you receive a casting request, the first thing I need you to do is actually read the entire thing. Look at the audition deadline, the fitting dates, the shoot dates, the location, the rate, and any other dates or requirements listed before you confirm.
Then give us a clear answer: confirm or decline.
Yes or no.
You do not need to send us your entire vacation itinerary or five different scenarios about how you might be able to make the dates work. If your child is available and you can complete the audition, confirm it. If you cannot, decline it.
And please decline when you need to. I would much rather see a quick decline than have a casting request sit unanswered while we're trying to figure out whether you saw it.
If there is a legitimate conflict that could potentially work around the project, that's different. Tell us. Any conflicts with the dates should be clearly stated either on your tape or in the notes section when you submit the audition.
Casting can sometimes work around a conflict when they know about it from the beginning.
What we don't want is for your child to audition, get selected, and then suddenly find out you're not available for dates that were listed from the start. That puts us in a really difficult position with the client, and it doesn't look good for your child either.
Also, pay attention to the deadline, but don't automatically treat the deadline as the time you should submit.
Casting directors often start watching auditions as they come in. If they find exactly what they're looking for early, there is no guarantee they're going to sit there and watch every tape that comes in at the last possible minute.
So when you can, get it done early.
You don't have to rearrange your entire life every time an audition comes in, and I don't want this to become stressful for your family. I just want you to be responsive, honest about your availability, and realistic about what you can actually commit to.
If it's a yes, great. Let's do it.
If it's a no, decline it and we'll catch the next one.
01
Availability Check
Casting or client is asking whether the child is available.
02
Placed on Avail
The child has moved into serious consideration. Keep those dates open.
03
Hold
The client is seriously considering the child and wants the dates protected.
04
Booked
The job is officially confirmed.
You are going to hear these words constantly, and I promise they will eventually become second nature. In the beginning, though, they can be confusing, especially because an avail or a hold can feel like you're almost booked.
So let's make this really simple.
Avail
An avail, or availability check, comes from the client after submissions. This means the client is seriously considering your child and needs to confirm their availability for the potential work dates.
An avail is a good thing. Be excited about it.
But it is not a booking.
Hold
A hold means the client has narrowed things down further and wants your child to keep those dates available while they make their final decision.
Again, this is a good thing.
And again, it is not a booking.
This is where I need parents to find a happy medium. Don't get a hold and immediately assume the job is yours, but don't treat it so casually that you make other plans for those dates and don't tell us.
And please do not turn down another audition just because your child is already on hold for some or all of those dates.
Do the audition. In your tape or in the audition notes, simply let casting know that your child is currently on hold for the conflicting date or dates.
If the second client becomes interested and wants to place your child on hold before we have received a booking or release from the first client, they can take second option on those dates. Basically, the original client has first option because they placed the hold first, and the second client is next in line.
This is normal. You do not need to choose between two potential jobs before either one is actually a job.
Let us manage it.
If the second client wants to book your child, we can go back to the client holding first option and ask them to either confirm the booking or release your child. This is one of those situations where having an agent matters. You keep auditioning and let us handle the holds, options, and communication between clients.
The same goes for anything else that changes while your child is on hold. If your availability changes, something comes up, or another opportunity becomes a real possibility, tell us.
And I know the waiting part can drive you crazy.
I wish I could wave my fairy wand and turn every hold into a booking. I can't. I also can't make a client give me an update every day until we're all satisfied.
What I can promise you is that we send you the information we receive. We have absolutely no reason to withhold an update from you. Most of the time, when we get an update, you're getting it within minutes.
So if you haven't heard from us, chances are we haven't heard anything either.
Booked
Booked is when we tell you your child has officially been selected for the job.
Now we celebrate.
And now those dates become a real professional commitment.
Until you hear the word booked, nothing is guaranteed. An avail is exciting. A hold is exciting. Let yourself be excited about both.
Just don't buy the celebration cake quite yet.
Okay, now we celebrate.
Your child officially booked the job. This is the point where an avail or a hold turns into an actual commitment, and those dates need to be treated as locked in.
Once we receive the booking information from production, we send it to you. Depending on the job, that may include a fitting, wardrobe instructions, call time, location, parking information, paperwork, or anything else production needs from you.
Sometimes you are going to get all of that information days ahead of time.
Sometimes you are going to be texting us the night before wondering where your call sheet is.
Welcome to production.
Call sheets can come late. Call times can change. Locations can change. A shoot that was supposed to wrap at 3:00 might run longer. There are a lot of moving pieces happening behind the scenes that neither you nor we have control over.
As soon as we get the information, we send it to you.
Please actually read everything we send. I know some of these emails are long, but there is usually a reason for every piece of information in them. Check the address. Check the call time. Check wardrobe. Check whether you need to bring anything. Check parking instructions. Do it the night before, not while you're already driving to set.
And give yourself extra time.
Being on time in this industry does not mean pulling into the parking lot at your child's call time. You still may need to park, walk to set, go through security, find production, and check in.
Once your child is booked, production is counting on them being there.
If Something Happens
Kids get sick. Cars break down. Family emergencies happen. Your GPS takes you to the wrong entrance. Life does not suddenly become perfectly predictable because your child booked a job.
If something happens that could affect the booking, call us immediately.
Call us.
Do not email and wait for us to see it. Do not wait until five minutes before call time because you're hoping you can fix it first. The more notice you give us, the more opportunity we have to communicate with production and figure out what needs to happen.
If your child wakes up sick the night before, call us.
If you're going to be late, call us.
If your child gets injured, call us.
If you're at the location and genuinely cannot find where you're supposed to be, call us.
And if you are at a fitting, casting, or on set and someone asks your child to do something that makes you uncomfortable, something feels strange, or production tells you something that directly contradicts what we told you, call us.
You are never bothering us in an actual emergency.
That's when we want you to call.
Things happen. We understand that. What makes a huge difference is how quickly you communicate when they do.
Once you get to set, remember that both you and your child are representing yourselves and Sprout.
You do not need to walk in nervous or feeling like you have to know exactly what you're doing. If this is your child's first job, it's okay that it's your first job too. Production will tell you where to go, where to wait, what your child needs to wear, and when they need them.
Your biggest job is to be prepared, be flexible, and let them do theirs.
And this is a big one for me: please don't interfere with set.
My approach has always been to stay somewhere you can see your child, but ideally, they can't see you.
Kids will look for you. It doesn't matter what age they are.
If they're a baby, they see Mom and suddenly they want to be on you. Now nobody else exists and we're trying to get a shot of a baby who only wants their mom.
If they're a teenager, they see you watching them and it's, "Oh my God, Mom. Stop. This is so cringe."
There is really no winning here. So be there. Watch them. Of course. Just give them enough space to work.
And please let the photographer, director, and production team direct your child.
I know you know your kid. You know how to get their best smile. You know what to say when they're distracted. You can see when they need to stand up straighter. And sometimes you're going to be sitting there thinking, "If I could just go over there for two seconds..."
Don't.
Unless production asks you to step in, let them handle it.
Trying to wrangle your child from the sidelines when nobody asked you to is distracting to your child and distracting to production. Too many adults giving directions at once gets confusing really fast.
Don't be that mom.
Be there. Pay attention. Advocate when your child actually needs you. But otherwise, trust the people who were hired to do their jobs.
Production knows what they're doing, and there is usually an entire team of people working to make sure your child is comfortable, having as much fun as possible, and still getting the shot just right.
Also, be kind to everyone.
Not just the photographer. Not just the client.
The production assistant checking you in, wardrobe, hair and makeup, the person getting lunch, the other parents, the other kids. Everyone.
People remember families they enjoy having on set. This industry is actually much smaller than it feels, and a child who is great to work with and a parent who is easy to have around can absolutely be remembered for another job.
Sets also involve a lot of waiting.
There may be a lot of excitement followed by two hours of sitting around. Your child may get dressed and then have to wait. They may shoot for ten minutes and then wait again. They may be asked to do the exact same thing over and over and over.
That's normal.
Bring whatever your child needs to comfortably get through the day, within whatever production has allowed. A charger is always a good idea. Something quiet to do is always a good idea. Snacks can be great when permitted, especially with little kids, but always follow production's instructions because food rules can vary by set.
And please remember that the schedule production gives you is an estimate.
A shoot scheduled to wrap at 4:00 does not always wrap at exactly 4:00. Things run behind. Weather happens. A shot takes longer than expected. Another child needs a break. Production changes something.
Try not to schedule something immediately after a shoot that absolutely cannot move.
If you genuinely have a hard out that production was told about ahead of time, that's different. But otherwise, give the day some breathing room.
Most importantly, pay attention to your child.
We want them to be professional, but they are still children. If they need the bathroom, tell someone. If something hurts, speak up. If they're overwhelmed, communicate. If something does not feel right, call us.
You are their parent first.
Be professional. Be flexible. Be pleasant to work with. Give production room to do what they do.
And let your kid have fun.
That's really it.
Good communication is one of the most important parts of this industry. There are a lot of projects, clients, children, and conversations moving at the same time, so knowing who to contact and where to send your response makes a huge difference.
The biggest thing to remember is simple: keep the conversation with the person who is actually handling it.
Respond to the Agent Who Contacted You
Emily and Shaina are both working on different projects, castings, and clients throughout the day.
If Emily checks your child's avail, puts them on hold, sends you a booking confirmation, or contacts you about a specific project, respond directly to Emily.
If Shaina sends you that information, respond directly to Shaina.
Basically, respond to the agent who contacted you.
Please don't receive a text from one of us and then start a separate conversation with the other about the same project. The agent contacting you is usually the one actively communicating with that client and has the most current information.
Keeping everything in the same conversation helps us move faster and makes it much less likely that something important gets missed.
General Agency Communication
For normal, non-urgent agency matters, email is always best.
And whenever you contact us, please include your child's first and last name.
We know you. We promise. But we are communicating with a lot of families throughout the day, and including your child's name lets us immediately know exactly who we're talking about.
"Hi Emily, this is for Ava Martinez. I have a question about her Casting Networks profile."
Perfect.
"Hey, I have a question."
Not quite as helpful.
It's a little thing that makes a very big difference on our end.
For normal things like updating sizes, sending new digitals, asking a profile question, or anything else that isn't time-sensitive, email us and give us a chance to respond.
Active Castings, Holds and Bookings
Booking communication is different from normal day-to-day agency operations.
If one of us is communicating with you about an active casting, avail, hold, or booking, keep your responses with that agent.
Things can move very quickly at this stage. We may be communicating back and forth with casting or production while we're texting you, so a quick, clear response really matters.
This is also why we ask you to respond to casting and availability requests as quickly as possible. Sometimes we genuinely have a client waiting on the other side for your answer.
Normal Office Hours vs. Booking Hours
Our normal day-to-day agency operations have normal business hours.
Bookings don't always work that way.
There is a lot happening behind the scenes that you don't see. Emily and Shaina regularly work outside normal hours when an active project requires it.
Clients may be in another time zone. Production may be finalizing something for the next morning. A booking confirmation or release may come through late at night.
So while you should not expect an answer to a normal profile question at 11:00 PM, an active booking situation is different.
We're still working behind the scenes when the project requires it.
Waiting on a Late-Night Decision? Tell Us Early.
This is really important, especially if you are working as a local hire outside your home market.
If you need an answer by a certain time because you would need to travel, book a hotel, start driving, arrange childcare, or make another time-sensitive decision, tell us ahead of time.
For example, if you're out of state and need to know by 11:00 PM whether your child is booked or released because you would need to leave that night, please don't wait until 11:00 PM to tell us.
Whenever possible, give us at least three hours' notice.
"I need to make a decision by 11:00 PM because we would need to leave tonight."
Perfect.
Now we know there is a real deadline on your end. That gives us the opportunity to go back to the client, explain the situation, and push for an answer.
We can work with a deadline when we know about it.
We can't work around a deadline we find out about after it has already passed.
If You Can't Reach the Agent Handling the Project
If you are in the middle of an active, time-sensitive booking situation and you genuinely cannot reach the agent who has been handling the project, call the other agent.
You can also put Emily and Shaina together in a group text so everyone has the same information.
This is specifically for active booking situations where timing matters.
It is not necessary for normal agency questions, profile updates, digitals, or anything else that can reasonably wait until normal business hours.
When to Call Immediately
Most things can be handled through email.
Some things absolutely cannot.
Call the agent handling your project immediately if:
- —Your child becomes sick the night before or morning of a confirmed booking.
- —You are running late to set.
- —You cannot find the location, parking, or check-in and may miss your call time.
- —Your child has an accident or injury that could affect the booking.
- —Something goes wrong at a casting, fitting, or on set.
- —Someone from production asks your child to do something that makes you uncomfortable.
- —You receive instructions on set that directly contradict what Sprout provided.
In an actual emergency, you are not bothering us.
Call.
If you cannot reach the agent handling the project and it is genuinely urgent, call the other agent.
Accounting and Payments
This one is important:
Emily and Shaina do not handle payments.
All payment, invoice, and accounting questions should go directly to Kathy and our accounting team. They have access to the payment information and are the ones who can give you an accurate update.
When contacting accounting, always include your child's first and last name and the project name.
"Hi Kathy, this is Ava Martinez's mom. I'm checking on payment for the Target booking from March."
Payments in this industry typically take 60 to 90 days. We explain exactly how payment timelines, agency fees, commissions, and payroll work in the Payments section of Sprout Access.
If your payment has passed the 90-day mark, please contact accounting. We can do our best to escalate it, and we have team members whose specific job is following up on outstanding payments and making sure clients pay us so we can pay you.
We want you paid too.
The fastest way to get an accurate answer is to go directly to the people who can actually see the payment.
Following Up
One kind follow-up is always okay.
What we ask you not to do is send an email, immediately follow it with a text, and then call about the same non-urgent question.
More messages do not make a client, casting director, production company, or payroll department respond faster.
Sometimes you're waiting for an answer from us because we're waiting for the answer too.
If we receive an update about your child's avail, hold, booking, or release, we're going to send it to you. There is no benefit to us withholding information from you.
So remember:
For normal agency matters, give us time to respond.
For active bookings, communicate your needs and deadlines early.
For emergencies, call.
For payments, contact accounting.
Once you understand the difference between those four things, communication becomes a whole lot easier.
Let's talk about the part everyone eventually asks about: when am I getting paid, and what do all of these percentages mean?
If this is your first time in the industry, the way modeling payments work can feel a little strange. Your child works the job and then you're thinking, "Okay... where's the check?"
There are a few things you need to understand from the beginning.
How Long Does Payment Take?
Most payments take approximately 60 to 90 days.
That is normal in this industry.
It does not mean we forgot about your child, and it does not mean you need to start worrying on day 61.
Different clients have different payment terms. Some pay quickly. Others take the full payment window, and occasionally payments take longer.
This is why we ask you to be patient during the normal 60 to 90 day payment window.
Once a payment has passed 90 days, you are absolutely welcome to check in with accounting.
We have team members whose job is specifically to track outstanding payments, follow up with clients, and escalate payments when necessary.
We want you paid too.
Who Do I Contact About a Payment?
Kathy and our accounting team.
Emily and Shaina do not handle payments and do not have the same access to accounting records.
When emailing accounting, always include:
Your child's first and last name and the project.
For example:
"Hi Kathy, this is Ava Martinez's mom. I'm checking on payment for the Target job from March."
That gives accounting exactly what they need to locate the payment and give you an accurate answer.
What Does "+20% AF" Actually Mean?
This is probably one of the most misunderstood things when you're new, so let's make it really simple.
You receive a breakdown that says:
Rate: $500 + 20% AF
The $500 is your child's talent rate.
The +20% AF is the client's agency fee.
That means the client is paying:
That additional $100 is paid by the client to the agency.
It is not an additional $100 being paid to your child.
And it is not your child's talent commission.
Agency Fee and Commission Are Two Different Things
This is where people get confused because both can be 20%.
Think of them as two completely separate things.
The client pays an agency fee to the agency.
The talent pays commission to the agency from their earnings.
So when you see "+20% AF" on a casting breakdown, that is telling you what the client is paying the agency on top of the talent rate.
Separately, Sprout collects the talent commission outlined in your representation agreement from your child's earnings.
They are not the same 20%.
Let's Use a Simple Example
Let's say your child books a job with:
$1,000 session fee + 20% AF
The client's side looks like this:
The $200 agency fee belongs to the agency.
Then, separately, the talent commission stated in your Sprout agreement is calculated from your child's applicable earnings.
That is why you may see both an agency fee and a commission associated with the same booking.
Session Fee vs. Usage
Now let's talk about another thing you're going to see constantly.
A session fee, sometimes called a shoot fee or day rate, is what your child is being paid for actually working the job.
Usage is different.
Usage is compensation connected to the client's right to use the final photos or footage.
For example, a project might say:
Your child earns the session fee for working according to the terms of the booking.
The usage payment may only become payable if your child actually appears in the final campaign, depending on the terms of that project.
This is really important because parents will sometimes see a casting with "$2,500" attached to it and assume that is what their child is automatically being paid.
Not necessarily.
If $500 is the session and $2,000 is usage if used, your child may work the job, receive the session fee, and then not receive the $2,000 usage if they do not appear in the final campaign.
Every project is different, so read the breakdown.
What Is a Buyout?
You'll also see the word buyout.
A buyout is compensation for specific usage rights being granted to the client.
But please don't see the word "buyout" and automatically assume it means the client owns your child's image forever.
The actual terms matter.
A buyout may cover a specific period of time, certain types of media, a specific territory, or a combination of those things.
For example:
For example
1 Year
United States
Digital + Social
Paid Advertising
That is different from
Worldwide
All Media
In Perpetuity
Those details matter, especially when exclusivity is involved.
You do not need to become a contract attorney. That's part of why you have us.
But you should understand enough to know what you're agreeing to when you confirm a project.
Fittings and Other Fees
Some jobs also include additional compensation such as a fitting fee, rehearsal fee, travel day, overtime, or other project-specific payments.
If something is included in the breakdown, we'll send it to you.
Do not assume every fitting is paid, every travel day is paid, or every project follows the same rules.
Every booking is different.
This is another reason why reading the actual breakdown matters.
The Biggest Thing to Remember
Do not look at the biggest number on a casting and assume that is automatically what your child is taking home.
Look at what each amount actually represents.
These are the things that actually tell you what the job is worth and what you're agreeing to.
You don't need to memorize all of this today. After a few bookings, I promise it starts making a lot more sense.
Until then, read the breakdowns we send you, use this guide, and if you genuinely don't understand what you're agreeing to, ask us before you confirm.
It is always easier to explain the terms before a booking than after one.
I want to talk about something that I think is just as important as understanding castings, holds, and bookings: your expectations.
This industry can be incredible. Your child can have experiences they never would have had otherwise, meet amazing people, travel, build confidence, and get to be part of some really cool things.
But they are not going to book every job.
And that's okay.
Not Booking Is Part of Booking
There are so many reasons a child may not book something, and most of them have absolutely nothing to do with whether your child did a good job.
Maybe the client needed a child who looked more like the parents they already cast. Maybe wardrobe only had a certain size. Maybe they changed the creative. Maybe they wanted a different personality. Maybe they ended up casting real siblings. Maybe someone at the client level just liked another kid for the campaign.
Sometimes we don't even know why.
That's casting.
You have to develop a little bit of tough skin in this industry, but I really want the parents to develop the tough skin, not the kids.
Your child does not need to experience every audition they don't book as a rejection.
Honestly, they don't even need to know every time they don't book.
They did the audition. Hopefully they had fun doing it. Now let it go.
If they book it, amazing. What a cool surprise.
If they don't, we move on to the next one.
Please Don't Compare Your Child
At some point, you're probably going to notice another child who seems like they're booking constantly.
Please don't go down that rabbit hole.
There are absolutely going to be times when one child seems like a bigger booker than another. They might just be exactly what the industry is looking for right now.
That's it.
Casting changes constantly and it comes in waves. The child who seems to be booking everything right now may have a quiet season later, while another child suddenly becomes incredibly busy.
It is not a ranking system.
Please don't compare how many auditions another child gets, how many jobs they book, what clients they've worked for, or how quickly their career seems to be moving compared to your child's.
It's so unhealthy.
It's not fair to you. It's not fair to your child. And honestly, it's not fair to the other child or their parents either.
Your child's career needs to be allowed to be their own.
Share the Wins, Just Don't Make It a Competition
We want you to celebrate.
Please share the campaign. Post the pictures when you're allowed to. Be excited. Tell Grandma. Frame it. We love seeing our kids do cool things and we're excited right along with you.
Just don't turn the wins into a competition.
Nobody loves a bragger.
I want Sprout families to be able to celebrate each other's kids without feeling like someone else's success somehow means their own child is falling behind.
There is enough room for everybody to have their moment.
Your Kids Feed Off Your Energy
This is probably the biggest thing I want you to take from this section.
Your kids know.
They know when you're nervous about an audition. They know when you're frustrated that they aren't cooperating. They know when you thought they were going to book something. And they absolutely know when you're disappointed that they didn't.
The more pressure you put on yourself, the more likely that pressure is eventually going to land on them.
And once a child starts associating auditions with disappointing Mom or Dad, this stops being fun really quickly.
So please don't make every audition feel like the audition.
Don't tell them, "You have to get this one."
Don't make them practice an answer twenty times until it doesn't even sound like them anymore.
Don't make a big deal about another child booking something they auditioned for.
Let them tape. Let them be themselves. Submit it. Then go get ice cream or go to soccer practice or go home and watch a movie.
Move on with your day.
They Are Kids First
I am actually grateful that we don't really see the massive child superstars the way we did in the '70s, '80s, '90s, and even the early 2000s.
And I don't mean that in a bad way.
I want kids to be kids.
Of course I want your child to be successful. I want them to book. I want to see their face in a store, on a billboard, in a commercial, or wherever this takes them.
But I never want that success to come at the expense of their childhood.
When they book a job, yes, it is a job. We show up. We're prepared. We're professional. We respect the people who hired us.
And then they go home and they're a kid again.
They have school. They have friends. They have sports and hobbies and birthday parties and all of the completely normal things that should still matter more than whether they booked the last casting.
The Goal Is Longevity
I don't want your child to love this for six months and then never want to audition again because it became too much.
I would much rather watch them grow into it.
Let them become more confident. Let them learn how a set works. Let their portfolio grow. Let them have great experiences. Let them take breaks when they need them.
And if they continue to love this, we want to be there for the long run.
One day, some of these kids are going to become adult talent. If that's what they want, I would love for them to get there still loving what they do instead of feeling like they've already been doing it their entire lives.
So yes, take this seriously.
But please don't take it too seriously.
Have fun with it. Celebrate the wins. Let the losses go.
And most importantly, let your kid be a kid.
If you are new to this industry, sometimes it feels like everyone is speaking another language.
Avail. Hold. First option. Usage. Buyout. Session. Local hire. Exclusivity. OCP. BG.
Nobody is born knowing what any of this means.
This glossary is here so when we send you a casting breakdown and you think, "Okay... what does THAT mean?" you have somewhere to look.
You do not need to memorize any of this.
And remember: terms can be used slightly differently depending on the client, casting office, production, market, or contract. The actual terms of your child's specific project always matter.
When you're unsure, ask us.
Casting and Auditions
Audition
An opportunity to be considered for a role or project. An audition is not a booking. Your child may audition from home through a self tape, attend an in-person casting, or occasionally meet with casting virtually. Not every submission results in an audition, and not every audition receives feedback. That's normal.
Breakdown
The information released for a project or role. A breakdown may include the type of talent casting is looking for, project dates, location, rates, usage, exclusivity, audition instructions, wardrobe information, and other requirements. Read the entire breakdown before confirming. The biggest number on the page is not necessarily what your child will earn.
Casting / Casting Call
The process of finding talent for a project. People also casually use "casting" to refer to the audition itself: "We have a casting for Target." That usually means there is an opportunity your child may be submitted to or audition for.
Casting Director / CD
The person or team responsible for helping find and select talent for a project. Casting directors work with the client, production, director, agency, or other decision-makers to find people who fit the creative. They may review hundreds or thousands of submissions and auditions for one project.
Callback
A second audition or additional round after the initial audition. A callback means casting wants to see more. That's great. It still does not mean your child is booked. A callback may be in person, virtual, or another self tape.
Chemistry Read
An audition where casting wants to see how two or more performers interact together. This is common when casting families, siblings, friends, couples, or roles where the relationship between talent matters.
Direct Booking / Direct Book
A booking made without a traditional audition. The client may select your child from their portfolio, previous work, digitals, reel, prior relationship, or submission materials.
Open Call
A casting opportunity that is open to a broader pool of talent rather than being limited to specific agency submissions. Being able to submit directly does not mean you should automatically submit your child if Sprout is already representing them for that type of work. Ask us first.
Reader
The person reading the other character's lines during an acting audition. For TV and film self tapes, the performer will generally direct their eyeline slightly off camera toward the reader unless instructed otherwise.
Role
The specific character, person, or type casting is looking for. A project may have many different roles.
Self Tape
An audition recorded by the talent and submitted electronically rather than performed live in a casting room. Your phone is completely fine. Follow the instructions, make sure we can see and hear your child, and please don't rehearse the personality out of them. Show them real.
Sides
The portion of a script provided for an audition. Sides contain the scene or dialogue the performer is expected to prepare.
Slate
A short introduction requested as part of an audition. Casting may ask for name, age, height, location, agency, availability, and special skills. Always follow the slate instructions for that particular audition.
Submission
When an agency sends a talent's materials to casting for consideration. A submission is not the same thing as an audition. We may submit your child for many projects that you never hear about because casting did not request an audition. That is a normal part of representation.
Availability, Holds and Bookings
Avail / Availability Check
An avail is an availability check coming from the client or casting. This is different from you confirming that your child is available when you initially receive an audition request. An avail means the client is seriously considering your child and needs to confirm their availability for the potential work dates. It's exciting. It is not a booking.
Available / Availability
Whether your child can actually work the dates required by the project. When confirming an audition, availability should be accurate. If there is a conflict, disclose it when requested or include it in the audition notes.
Booked / Booking
Your child has officially been selected for the job and we have received confirmation from the client or casting. Booked means booked. Do not assume your child is booked because someone on set, casting, a photographer, or another parent says, "They love them!" Wait for your agent to send the official booking confirmation.
Booking Confirmation
The information sent once your child is officially booked. It may include the confirmed work date, call time or anticipated timing, location, wardrobe instructions, rates, fitting information, paperwork, and other details. Some information may come in stages as production finalizes the day.
First Option / First Hold
The client currently has priority over the talent for the specified dates. If another client becomes interested in booking your child for the same dates, we need to know.
Hold
A hold means the client is asking your child to keep specific dates available while they make their final decision. A hold is stronger than an availability check. It is still not a booking. Please don't make nonrefundable plans on held dates without speaking with us. At the same time, do not automatically turn down another audition because your child is on hold. If another casting overlaps those dates, disclose the existing hold in the audition or audition notes. Let us manage it.
Option
A client's priority position on a talent's availability for certain dates. You may hear first option, second option, etc. The option order becomes important when multiple clients want the same talent for overlapping dates.
Release / Released from Hold
The client no longer needs your child to hold the dates. A release is not a rejection of your child as a person or talent. It simply means the client is moving in another direction or no longer needs the hold.
Second Option / Second Hold
Another client is interested in your child for dates already being held by a first client. The original client generally has first priority. This is why we need to know about overlapping auditions, holds, and potential bookings instead of families trying to manage them independently.
Penciled / Pencil
A term sometimes used similarly to a tentative hold. It means there is interest and dates may need to remain available, but the job is not confirmed. Ask us if you're unsure how strongly the particular production is using the term.
Rates and Money
+20% AF / Agency Fee
When you see something like $500 + 20% AF, the $500 is the talent rate. The additional 20% is the client's agency fee paid to the agency. In this example: Talent Rate $500, Client Agency Fee $100, Total Billed to Client $600. That additional $100 is not additional talent compensation. It is also not the talent's commission.
Agency Commission / Talent Commission
The percentage of the talent's applicable earnings paid to the agency according to the representation agreement. This is separate from the client agency fee. The client pays an agency fee. The talent pays commission. They are two different things.
Buyout
Compensation associated with the rights being granted to use the talent's image, likeness, voice, or performance. A buyout does not automatically mean "forever." You need to look at the actual terms: How long? Where? Which media? What exclusivity? Whether there are additional options? The word "buyout" by itself does not tell you enough.
Day Rate
Compensation for a specified workday. The number of hours included in a day rate depends on the project and applicable agreement. Do not assume every "day" means eight hours.
Fitting Fee
Compensation for attending a wardrobe fitting when the project provides a separate fitting payment. Not every project pays a fitting fee. If it does, it should be included in the project's terms.
Flat Rate
A single stated amount covering the work or services described in the agreement. Always look at what the flat rate actually includes.
Guarantee
A minimum amount of compensation guaranteed under the booking terms, even if the talent works less than the anticipated amount in certain circumstances. The exact meaning depends on the project or union agreement.
Hourly Rate
A rate paid based on hours worked. Projects may also specify minimum guaranteed hours.
Overtime / OT
Additional compensation that may become payable after certain working-hour thresholds. Overtime rules depend on factors including the project, location, age of the performer, employment classification, and whether a union agreement applies. Do not assume overtime works the same way on every job.
Per Diem
A daily allowance intended to cover certain expenses while traveling for work, commonly meals and incidentals. The amount and what it covers depend on the project.
Rehearsal Fee
Compensation for required rehearsal time when the project provides separate rehearsal pay.
Session Fee / Session Rate
Compensation for the actual work or shoot session. This is different from usage. For example: Session $500, Usage $2,000 if used. Your child may earn the session for working but only become eligible for the usage payment if the conditions for usage are met.
Travel Day
A day primarily spent traveling to or from a job. Some projects compensate travel days separately. Others do not. Always check the project terms.
Usage Fee
Compensation connected to the client's right to actually use the talent's image, likeness, voice, or performance. Usage terms may specify media, territory, length of time, exclusivity, and whether payment is guaranteed or only payable if used. Usage is not always guaranteed just because your child worked the shoot.
Usage, Rights and Contract Language
All Media
A broad usage term generally indicating multiple or all forms of media covered by the agreement. Do not assume the exact scope from the phrase alone. Read the full usage language.
Digital
Online usage. Depending on the contract, this may include websites, digital advertising, apps, streaming environments, online retailers, or other internet-based placements.
Exclusivity
A restriction preventing talent from working for specified competing brands or categories for a particular period of time. The important questions are: Which category? Which brands? How long? Where? Broad exclusivity can affect your child's ability to accept future work, which is why we pay attention to it.
In Perpetuity
Forever. If a contract grants certain rights in perpetuity, those rights do not expire after a normal fixed usage period. This deserves attention, especially when the rights involve a child's image, likeness, voice, or AI/digital-replica language.
Internal / Industrial Use
Content intended primarily for use inside a company or organization rather than traditional public advertising. Examples can include internal presentations, training materials, corporate meetings, or sales materials. Always look at the actual language because the permitted use can vary.
Media
Where and how the client's content may appear. Examples include broadcast television, streaming, digital, social media, print, OOH, cinema, and retail/POS.
OOH / Out of Home
Advertising people encounter outside their homes. Examples include billboards, transit ads, bus shelters, airport advertising, and digital outdoor displays.
Paid Social
Advertising placed on social platforms using paid media spend rather than only appearing organically on a brand's account.
Still-image usage in printed materials. Depending on the agreement, this could include magazines, catalogs, brochures, packaging, in-store materials, or other physical advertising.
Renewal
An extension of existing usage rights beyond the original term. A renewal may involve additional compensation.
Social Media Usage
Use of the content on social media platforms. The agreement may distinguish between organic social and paid social advertising.
Term
The length of time the client is permitted to exercise particular rights. For example: 3 months, 6 months, 1 year, 2 years, or in perpetuity.
Territory
The geographic area where the usage rights apply. Examples: Local, Regional, United States, North America, Worldwide.
TV / Broadcast
Usage on traditional television or other broadcast outlets covered by the agreement.
Usage
The rights governing where, how, and for how long the client's final content may use the talent's image, likeness, voice, or performance. Whenever you see usage, look for: Media + Territory + Term + Exclusivity. Those four pieces tell you much more than the word "usage" alone.
AI, Digital Likeness and Synthetic Media
Artificial Intelligence / AI
Technology that can generate, alter, analyze, reproduce, or manipulate content. We're seeing more talent contracts include AI-related language. Not every AI clause means the same thing. Some may involve limited production tools. Others may request much broader rights involving a talent's likeness, voice, movements, or performance. If we flag an AI clause for you, read it.
Digital Alteration
Technology used to modify an existing image, video, voice, or performance. Some level of traditional editing and retouching has existed for years. The important question is what the contract allows the client to change and what they may do with the altered material.
Digital Double / Digital Replica
A digitally created or reproduced version of a real person or aspects of their appearance, voice, movement, or performance. The exact legal and contractual definition can vary. These rights deserve careful attention when they involve children.
Digital Likeness
A digital representation of someone's appearance or identity. Contract language involving digital likeness can range from ordinary image usage to much broader technology-enabled rights. Read the actual clause.
Generative AI
AI technology capable of creating new material such as images, video, audio, text, or other content based on data or inputs. In talent agreements, pay attention to whether a client's rights include creating new material from the talent's original performance or likeness.
Synthetic Media
Media created or substantially altered using digital technology, including certain AI-generated or manipulated content.
Training / AI Training
Using data to develop, train, improve, or refine an AI system or model. If a talent agreement contains language allowing a child's image, voice, performance, or likeness to be used for AI training, that deserves careful review. Sprout will do our best to identify, question, negotiate, and explain AI and likeness language when we encounter it. There may ultimately be situations where the parent needs to make the final informed decision.
On Set and Production
Background / BG / Extra
A performer appearing in the background of a scene rather than as a featured principal performer. Background work and principal work may have different rates and usage terms.
Call Sheet
A production document containing important information for the shoot day. It may include call times, locations, schedules, contacts, talent information, crew information, and other production details. Do not post call sheets on social media. They can contain private or sensitive production information.
Call Time
The time your child is required to arrive and be ready for the production process. Call time does not mean "pull into the parking lot at this time." Plan to arrive early enough to park, find the correct location, check in, and be ready.
Camera Ready
Arriving prepared to be photographed or filmed, generally with any requested grooming or wardrobe preparation completed according to production instructions. Follow the specific booking instructions.
Craft Services / Crafty
Snacks, drinks, and light refreshments provided on set. This is different from a scheduled meal.
Fitting
An appointment where wardrobe is selected, fitted, altered, photographed, or approved before the shoot. A fitting may be paid or unpaid depending on the project terms.
Hair and Makeup / HMU
The department responsible for preparing talent's hair and makeup for camera. Please let them work. Your child should be able to sit appropriately and follow simple directions while they're in the chair.
Holding
The area where talent waits when they are not actively needed on set. There can be a lot of waiting. That's normal.
Meal Break
A scheduled break for a meal during the workday. Meal requirements can depend on the age of the child, production type, jurisdiction, and applicable union agreement.
Principal
A featured performer whose role is treated as principal under the applicable project or agreement. Principal rates and usage are generally different from background work.
Production
The team and process responsible for actually creating the project. Depending on the project, this can include producers, directors, photographers, assistant directors, production assistants, wardrobe, HMU, camera, lighting, sound, and many other departments.
Production Assistant / PA
A crew member who assists production with a wide variety of logistical tasks. Listen to them. If a PA tells you where to wait, where to check in, or that production is ready for your child, please follow their direction.
Set
The location or controlled area where filming or photography is taking place. Parents of minors may need to remain nearby, but remember: you are there as the parent, not as an additional director. Let production work with your child unless they ask for your help.
Standby
Be ready and available because production may need the talent shortly.
Wardrobe
The clothing and styling selected for the project. Production may provide wardrobe, ask you to bring options, or use a combination of both. Follow the booking instructions carefully.
Wrap
Your child's work for that shoot day is finished. Do not assume you're free to leave until production has officially released or wrapped your child.
Modeling and Photography
Beauty Shot
A close-up image focused primarily on the face, skin, hair, or beauty-related details.
Comp Card / Composite Card
A marketing piece containing a model's photos and basic information. Traditionally printed, although digital versions are also commonly used.
Commercial Modeling
Modeling focused on relatable, consumer-facing advertising. Commercial clients generally want talent who can naturally represent real people, families, customers, or lifestyles.
Digitals
Simple, current photographs showing what a model looks like right now. Digitals should generally be natural and minimally styled. They are different from professional portfolio images.
E-Commerce / E-Comm
Photography or video created primarily to sell products online. For models, this often means photographing clothing or products for a retailer's website.
Editorial
Creative or story-driven fashion or lifestyle work, often associated with magazines, publications, or concept-driven photography. Editorial work may have different compensation structures from commercial advertising.
Fit Model
A model hired primarily so designers or brands can evaluate the fit, construction, sizing, and movement of garments. This is different from modeling the clothing for advertising photographs.
Lifestyle
Photography or video intended to look natural and show people interacting with a product, location, family, activity, or environment.
Lookbook
A collection of images created to showcase a brand's collection, clothing line, or seasonal offering.
Portfolio / Book
A curated collection of a model's strongest images used to show clients their look, range, and experience.
Profile
A talent's information and materials on a casting or agency platform. This may include photos, sizes, skills, location, credits, contact information, and other details. Profiles need to stay current.
Tearsheet
A published image from a magazine, catalog, advertisement, or other finished piece that can be used as evidence of a model's work.
Child Talent and Paperwork
Child Performer Permit / Work Permit
Authorization required in certain jurisdictions for minors to work in entertainment. Requirements vary by state and type of production. New York, for example, has specific child-performer requirements. Sprout will tell you when documentation is required, but parents are responsible for completing and maintaining required paperwork.
Coogan Account
A blocked trust account associated with protections for child performers, most famously under California law. A portion of qualifying earnings may be required to be deposited into the account. Other states may have similar requirements or trust structures.
Guardian / Parent on Set
The responsible adult accompanying a minor performer. Your role is to be present, protect your child, and make sure they are okay. It is not to direct the production.
Minor
A person under the age of legal adulthood. Different rules regarding hours, schooling, permits, trust accounts, breaks, and supervision may apply to minors.
Schooling / Studio Teacher
Certain productions and jurisdictions require educational time and/or a qualified studio teacher or welfare worker for school-aged child performers. The requirements depend on the location and production.
Trust Account
An account established to protect a portion of a minor performer's earnings where required by applicable law or agreement. Requirements vary by jurisdiction.
Work Hours for Minors
Children may be subject to limits on how long they can be at the workplace and how much time they may actually work. These limits can vary significantly based on age, jurisdiction, school status, production type, and time of day. Always follow production and applicable child-labor requirements.
Union and Non-Union
Non-Union
A project not being produced under a union collective bargaining agreement applicable to the talent. Non-union projects can still be excellent jobs. Rates, usage, overtime, and other terms are generally negotiated or established by the individual project rather than a union agreement.
SAG-AFTRA
The U.S. labor union representing performers in film, television, commercials, and other areas of entertainment. Union projects operate under applicable SAG-AFTRA agreements.
SAG Scale
The minimum compensation required under the applicable SAG-AFTRA agreement for the role/work being performed. "Scale" does not necessarily tell you the talent's total potential compensation because additional payments may apply depending on the agreement and usage.
Union
A project being produced under an applicable union agreement. The agreement may establish minimum rates, working conditions, overtime, residuals, protections, and other terms.
Union Eligible / SAG-E
A status indicating that a performer may be eligible to join SAG-AFTRA based on qualifying work. Eligibility is not the same thing as membership.
Travel and Location
Local Hire
Local hire means production is generally expecting the talent to work as though they live locally. If your child is submitted as an Atlanta local hire, you should generally expect to cover your own travel and lodging unless the project specifically states otherwise. Before listing a market as local hire, ask yourself: If we called tomorrow and said, "They booked. Fitting is tomorrow afternoon," could you realistically make it happen? If not, it probably should not be listed as one of your local-hire markets.
Location
Where the project is actually being photographed or filmed. Do not assume the client's headquarters or casting office is the shoot location.
Mileage
Reimbursement calculated based on driving distance when provided under the project terms or applicable agreement. Mileage is not automatically included on every job.
Per Diem
A daily allowance for certain travel expenses, commonly meals and incidentals.
Travel Provided / Travel Paid
Production is covering specified travel expenses. Always check exactly what is included. "Travel provided" does not necessarily mean every expense your family incurs will be reimbursed.
People You'll Hear About
Agent
A professional who represents talent and works with clients and casting to pursue and manage professional opportunities. At Sprout, we're also here to help guide, develop, advocate for, and protect the children and families we represent.
Client
The company or organization ultimately hiring talent or commissioning the work. Depending on the project, communication may pass through multiple layers before reaching the agency.
Creative Director
A person responsible for helping guide the overall creative vision of a campaign or project.
Director
The person responsible for directing the performance and creative execution of filmed content.
Photographer
The professional responsible for creating still photography for a project.
Producer
A professional responsible for managing or overseeing various creative, financial, logistical, or production aspects of a project. There may be multiple producers with different responsibilities.
Stylist / Wardrobe Stylist
The professional responsible for selecting, preparing, organizing, and managing clothing and accessories for talent.
A Few Phrases You'll See All the Time
"If Used"
Payment is only triggered if the conditions specified for actual use are met. For example: $500 session + $2,000 usage if used. The $2,000 should not automatically be treated as guaranteed compensation.
"All Media, Worldwide, In Perpetuity"
Very broad usage language. In plain English, it can mean rights covering essentially all media, throughout the world, without a fixed expiration. That doesn't automatically tell you whether a job is good or bad. But it absolutely means you should understand what you're agreeing to.
"No Conflicts"
Casting is asking whether the talent has existing work, agreements, or exclusivity that could conflict with this project. Do not guess. If you're unsure, tell us about the previous work and let us help determine whether it needs to be disclosed.
"Must Work as a Local"
Production is not planning to cover your travel expenses. Only confirm if you can genuinely get your child there and handle the logistics.
"Wardrobe TBD"
Wardrobe is to be determined. Production has not finalized those details yet.
"Rate TBD"
Rate is to be determined. Do not assume what the rate will be based on a previous project.
"Dates TBD"
The dates are to be determined and may not yet be finalized. Pay attention to any date range casting asks you to hold or remain available for.
The One Thing to Remember
You do not need to become an expert in all of this.
That's why you have us.
But I do want you to understand what you're agreeing to.
- —Read the breakdown.
- —Look at the dates.
- —Look at the rate.
- —Look at the usage.
- —Look at the exclusivity.
- —Tell us about conflicts.
- —Pay attention when we flag something.
- —And ask when you don't understand.
There are no bonus points for pretending you know what something means.
I'd rather you ask us a question now than realize after your child books that you misunderstood something important.
We're here to help you navigate it.
We love when you're excited about your child's work. We are excited too.
But just because your child booked something, shot something, or you were allowed to take a photo on set does not automatically mean you are allowed to post it.
This is one of those areas where I would much rather you ask us first than have us calling you afterward asking you to take something down.
If It Hasn't Been Released, Don't Post It
The easiest rule to remember is: if the client hasn't released it, you shouldn't either.
Campaigns are often confidential before they launch. Sometimes your child may shoot something months before you ever see it publicly.
Until then, please do not post or share behind-the-scenes photos, wardrobe, unreleased products, sets, scripts, call sheets, production paperwork, or anything else that could reveal a campaign before the client is ready.
That also includes the little things you may not immediately think about.
If you're sitting in holding and there's a sign behind your child with the project name on it, don't post it.
If your child is wearing wardrobe that clearly shows what they're shooting, don't post it.
If the call sheet is sitting on the table in the background of your photo, definitely don't post it.
And please never post a call sheet or production paperwork. Those documents can contain private information about locations, schedules, crew, clients, and other talent.
When in doubt, wait.
Don't Announce the Booking for the Client
Please don't post: "My child just booked a huge campaign for _____!" before the brand has announced or released the work.
I know you're excited. Tell Grandma. Tell your best friend. Celebrate at home.
Just don't announce the campaign publicly before the client does.
Some productions will specifically tell you that posting is allowed. Great. Follow whatever guidelines they give you.
Otherwise, assume the project is confidential until it is publicly released.
On Set Does Not Mean Content Day
Please don't treat a professional set like an opportunity to create behind-the-scenes content.
If production allows photos, wonderful. If someone from production says, "You can take a picture here," that's different.
But don't walk around photographing the set, other talent, wardrobe racks, monitors, products, or production areas.
And if you are taking photos or videos for social media, please pay attention to who is around you and ask before putting someone on camera.
Not everyone working behind the scenes wants their spotlight moment.
There are photographers, stylists, hair and makeup artists, production assistants, crew members, other parents, and other talent working around you. If someone is going to be clearly visible or featured in something you're filming, just ask: "Hey, is it okay if you're in this?"
It takes two seconds.
Some people will absolutely say yes. Some people genuinely do not want to be on social media. Both are completely fine.
And absolutely do not photograph or post another child without their parent's permission.
Even if production has given you permission to create some behind-the-scenes content, that does not automatically give you permission to post every person who happens to be working around you.
Your child is there to work. Everyone around them is there to work too.
Be respectful of the space, the people in it, and whatever confidentiality rules production has given you.
Let production work, and enjoy being there without feeling like you have to document every second of it.
Once the Campaign Is Released
Once the client publicly releases the campaign, please celebrate it.
We want you to.
Share the photo. Share the commercial. Be proud of your kid. Tag Sprout so we can see it and celebrate with you too.
But please do not tag the brand, client, casting director, photographer, stylist, producer, or every creative you happened to meet and befriend on set.
This is a Sprout rule.
I know tagging everyone can feel like the polite thing to do. You had a great experience, you connected with people, and you want to give everyone credit.
But those are professional relationships, and part of our job as your child's agency is managing those relationships.
Please let us do that.
You can absolutely be friendly with everyone you meet on set. We want you to be. Say thank you. Be wonderful to work with. If you genuinely connect with someone, that's great.
You just don't need to turn that connection into twenty tags when the campaign comes out.
And please don't use a campaign release as an opportunity to start directly messaging the client, casting director, photographer, or other creatives looking for future work.
That crosses the line between celebrating your child's work and trying to go around the agency relationship.
Also remember that a campaign being released in one place does not necessarily mean every piece of content from the shoot is yours to post.
Seeing one image on the brand's website does not automatically mean behind-the-scenes photos from set are now cleared.
If you're unsure, ask us.
Social Media Can Help, But It Doesn't Have to Become Their Whole Life
I do think social media can be a great tool when it is used intentionally.
Casting directors, clients, photographers, and other people in the industry do look at social media. Having a little bit of a presence can allow people to see more of your child's personality than they can get from one headshot.
That does not mean your child needs to become a full-time content creator.
Take the cute pictures. Post some of their work. Make a funny reel if that's something they enjoy. Let their personality come through.
Have fun with it.
You do not need to document every moment of their life or turn every family outing into content because you think it will help them book.
There is a difference between building a presence and overexposing your child.
Protect Their Privacy
Please remember that your child's social media presence is still part of their digital footprint.
You do not need to share their school, daily schedule, exact location, where they practice, where they will be tomorrow, or other information that makes it easy for strangers to know where your child is.
Be especially careful about posting your location in real time.
You can share the fun vacation photo without telling the internet exactly where your child is sleeping tonight.
Use common sense and remember that they're going to grow up and inherit whatever digital footprint we create for them now.
If You're Not Sure, Ask
There are going to be projects where the posting rules are extremely clear and others where they aren't.
You are not expected to know every client's confidentiality policy.
If you aren't sure whether something is okay to post, send it to us and ask.
I'd much rather answer: "Yes, that's totally fine." than have to send: "Hey... can you take that down?"
When it comes to client work, the safest rule is still the easiest one: if they haven't released it, don't post it.
What Parents Usually Want to Know
There is no timeline. Some children book within their first few months. Others take longer. Neither is a sign of anything. The families who stay responsive, keep materials current, and show up consistently are the ones who see results over time. Patience is part of this.
Not booking is normal. It is not a reflection of your child's talent, their look, or anything we are doing wrong. Clients are searching for something extremely specific each time, and that target moves constantly. Your child may be exactly right for something next week that did not exist this week.
It varies, and it will never be perfectly consistent. Some weeks are busy. Some weeks are quiet. Quiet weeks do not mean your child is not being submitted. They mean the current castings are not the right fit. We submit every child we represent for every opportunity that matches them.
No. No news is normal. We send updates the moment we have them. If you have not heard from us, there is nothing to report yet. Following up does not speed anything up. It just adds to our inbox.
Yes. If your child is unavailable or the project is not a fit for your family, you can decline. Just respond promptly and be clear. What we ask is that you do not go silent. A quick no is always better than no response at all.
Tell us immediately. Do not wait to see if it resolves itself. Do not send an email and assume we saw it. Call. The earlier we know, the more we can do. The later we find out, the harder it is for everyone, including the client who was counting on your child.
Call your agent immediately. Not email. Not a text. A phone call. Things happen and we understand that. But a confirmed booking is a professional commitment, and the client needs to know as soon as possible. Timing is everything in this situation.
Only when the casting specifically asks for it. Otherwise, each child is submitted individually based on what the client is looking for. We do not submit children as a package unless that is what the job requires.
That is entirely up to you. Some families document the journey. Others keep it private. Both are fine. What matters most is that your child's materials with us are current and accurate. A great Instagram does not substitute for an outdated comp card.
No. All communication goes through the agency. This is not a formality. It protects your child's professional reputation and it protects the relationships we have built with clients over years. Going around the agency, even with good intentions, can close doors permanently.
This industry moves in waves. One child may fit exactly what clients are looking for right now. Another child may be the perfect fit for the next wave. It is not about talent. It is not about favoritism. It is about timing and what the market needs at any given moment.
No. But we do have parents we love working with. The ones who respond quickly, follow instructions, communicate honestly, and keep the experience positive for their child. Those families make our job easier and their children's careers better. It really is that simple.
Stay responsive. Keep their materials updated. Be honest about availability. Follow the instructions in this handbook. And most importantly, make sure your child is enjoying this. The moment it stops being fun for them, it is time to reassess. We are here to support that conversation whenever you need it.
We are mothers first. We understand that life happens.
Kids grow up. Interests change. Schedules fill. Families move. And sometimes we simply aren't the right fit for your family right now. That's okay.
There are never hard feelings. We want the families we represent to be genuinely happy with us. If you ever aren't, all you need to do is send us an email. You're free to go.
A few practical things to know:
Coming back later?
You're always welcome.
Depending on how much time has passed, we may ask for fresh digitals, updated measurements, and a new onboarding meeting.
Kids change fast. Outdated materials don't get submitted.
If the timing is ever right again, just reach out.
Further Reading