If you're the parent of a child or teen actor, you probably have a long list of questions...
We've gathered the ones parents ask us most, from finding a legitimate agent to school on set, money, safety and sensitive scenes. Each answer is a short summary of a video in the Secret Actor Society library, and every question links straight to the full answer.
These answers are general information from working professionals, not legal advice. Rules on hours, schooling and earnings vary by state and country, so check the current rules where your child works.
99 questions in 10 sections
Karen Workman says the most important tools are qualities most children already have: curiosity, the ability to learn lines, a willingness to take direction and flexibility when plans change. The biggest one is a great support system at home, which is you. Headshots and classes can come later as your child develops.
Watch the video with Karen Workman
Some training always helps, whether that is a workshop, a local acting class or community theatre. Karen says the most important skills for young children are being comfortable on camera and learning to listen. Many successful child actors had no formal training at all, so training helps, but it is not the prerequisite parents often assume.
Watch the video with Karen Workman
Encourage the enthusiasm. Karen is also a piano teacher, and she has seen hard workers become indistinguishable from naturally gifted students by 16 or 17; she believes the same is true of acting. Even if bookings don't come, acting builds confidence and teaches collaboration, which carries into everything else.
Watch the video with Karen Workman
No. Karen says it is never too late to start, and a teen who comes to it later may bring fresh life experience that works in their favour. No prior experience is needed, so the best time to start is now.
Watch the video with Karen Workman
More than anything, grit, determination and persistence. Training matters too, because classes and workshops give your teen the tools to compete. Karen also says supportive parents who understand the industry and manage expectations make an enormous difference.
Watch the video with Karen Workman
Karen's view is encouraging: your teen will probably make it as an actor as long as they stay in the game, even if making it specifically as a teen is harder to predict. Most people who 'don't make it' simply quit. Talent, a willingness to keep learning and the resilience to handle the nos put the odds in their favour over time.
Watch the video with Karen Workman
No. Film and TV need every type of person, and that is what makes stories feel real. Karen explains that 'attractive' in Hollywood often means interesting or compelling, so your teen's unique look is an asset, and every look has a market.
Watch the video with Karen Workman
It depends on what success means to your family. Karen explains that getting paid for a small film, or appearing in a short or a commercial, can happen fairly quickly through non-union work and student films, while a series regular role is a much longer road. Define success first, then build toward it step by step.
Watch the video with Karen Workman
Karen's answer is all of them, eventually, because you never know which discipline will click. If she had to choose, improv comes first for confidence and quick thinking, followed by scene study for breaking down scripted material.
Watch the video with Karen Workman
Karen's answer is an emphatic yes. Even professional actors work with acting coaches, because different roles and auditions ask different things. As she puts it, going without one is like swimming in the Pacific Ocean with no swimming lessons.
Watch the video with Karen Workman
Almost any, Karen says, because every extra skill makes your teen the answer to more casting breakdowns. Martial arts, dance, sports and stunt work open up action roles, while singing, playing an instrument and comedy widen the options further. Encourage the skills your teen genuinely enjoys.
Watch the video with Karen Workman
Have them practise with someone other than you, Karen advises, because parents can't help directing how a line is said. A sibling or an acting teacher works better. Voice memo apps help too: record the other character's lines and let your child practise their responses against the playback.
Watch the video with Karen Workman
Bonnie J Wallace, author of The Hollywood Parents Guide, is clear: unless you are a professional director, casting director or acting coach, don't give your child performance notes. Well-meant notes at home can undermine a child's natural instincts and turn something joyful into pressure. Your role is to be supportive and keep the experience positive.
Watch the video with Bonnie J Wallace
In this storytime, Karen shares what she has seen from families just starting out. The families who do well focus on training and experience rather than chasing fame, support their children emotionally and keep expectations realistic. The ones who struggle want instant results and treat every audition as make or break.
Watch the video with Karen Workman
Eventually, both. Karen Workman recommends starting with a manager if you are brand new, because a good manager helps you understand the business, shapes your child's brand and connects you with agents they trust. The agent is the one who submits your child for auditions.
Watch the video with Karen Workman
They do different jobs: the agent gets your teen auditions, and the manager guides career strategy and can introduce you to agents. Having both gives more coverage as the career grows. Karen notes the cost: agents take 10% and managers 10 to 15%, so make sure both are earning their commission.
Watch the video with Karen Workman
Pretty much at any point, Karen says, because if your teen were already the best in the world, they would already have an agent. When your teen wants to start getting paid for work, start looking. Research the agents who represent teens in your market and look for a good fit.
Watch the video with Karen Workman
Yes. Karen explains that agents who focus on young talent understand child labour laws, set schooling and Coogan account rules, and have strong relationships with the casting directors who regularly cast children. Research the agencies in your market that focus on young performers.
Watch the video with Karen Workman
Both can work. Youth agencies specialise in young performers and know who casts them, while adult agencies with youth divisions may have broader connections but give less individual attention. Karen's advice is to prioritise whoever will give your child the most attention and the most appropriate submissions.
Watch the video with Karen Workman
It starts with you, Karen says: the parent finds the right people and builds the team. The core team is usually an agent, a manager and acting teachers. As a career grows, a publicist, an entertainment lawyer and a business manager may join.
Watch the video with Karen Workman
Agents are assessing you as much as your child. Karen says they want parents who are organised, reliable, professional and low drama: parents who answer calls and emails promptly, are flexible with last-minute auditions and handle rejection gracefully. Pushy stage parents and unrealistic expectations turn them off fastest.
Watch the video with Karen Workman
Yes, especially early on. Karen explains that agents and managers are evaluating you as a parent as much as your child, so they want to see that you are professional, organised and easy to work with. As trust builds you may not need to attend every meeting, but stay engaged.
Watch the video with Karen Workman
Not for the big opportunities. Karen explains that major network and studio auditions need a licensed agent, and that in California talent agents must be licensed by the Labor Commissioner and bonded. You can manage smaller opportunities yourself, such as local work, student films and self-submissions on casting sites, while you work toward proper representation.
Watch the video with Karen Workman
Karen points out that as a parent you are already managing in many ways: driving to auditions, keeping schedules and reading scripts. A professional manager adds industry relationships, strategy and an objectivity that is hard to keep as a parent. Be the best parent-manager you can, and know when your child's career needs a professional.
Watch the video with Karen Workman
No. On-set care is mainly the parent's job, Karen says. A manager may visit set on bigger productions, but they are not there for daily supervision, so plan to be your teen's advocate on the day.
Watch the video with Karen Workman
It depends on the manager and the size of the opportunity. Karen explains that a manager may travel for a premiere or a press junket, while parents usually handle smaller events. Agree on expectations with the manager upfront.
Watch the video with Karen Workman
The best source is a reputable agent, who receives breakdowns directly from casting directors. Without an agent, Karen Workman points to self-submission sites such as Backstage, Actors Access and Casting Networks, plus community theatre, student films and local production companies. Start local to build experience, then look for an agent for bigger opportunities.
Watch the video with Karen Workman
Start with your agent: tell them you want more submissions and ask what would help, such as updated headshots or a reel. Self-submit on Backstage, Actors Access and Casting Networks, and go to events and workshops where casting directors are present. Karen also suggests widening the search to commercials, voiceover and new media.
Watch the video with Karen Workman
For children under 12, Karen says yes. Casting assistants often watch parents to see whether a family is easy to work with, so being calm and professional in the lobby helps your child. Being fussy or overbearing in the casting office hurts their chances.
Watch the video with Karen Workman
Wait in the lobby. Karen explains that going into the room is not what casting expects and is distracting for everyone, especially your child. Stay quiet, stay occupied and let your child do their job.
Watch the video with Karen Workman
You can drive them and sit in the waiting room, but stay out of the audition itself. As Karen's own children got older, she dropped them off, circled the block and let them handle everything, from signing in to bringing headshots. Giving teens ownership of their auditions builds professional responsibility.
Watch the video with Karen Workman
Dress to suggest the character, never in full costume. Karen's examples: a polo shirt and glasses for the nerdy kid, darker clothes for the goth kid and, for commercials, something that fits the world of the product. Don't overthink it or spend a fortune.
Watch the video with Karen Workman
General information, not legal or financial advice. Have a qualified entertainment attorney read any contract before you sign, and check what your state requires for a child's earnings.
Very little or nothing, Karen Workman says. If you are invited to interview at an agency, it costs nothing, and showcases where your child performs for agents may carry a modest class or rehearsal fee. Anyone charging large upfront fees for representation is a major red flag.
Watch the video with Karen Workman
Karen says the standard agent commission is 10% of your child's earnings from booked work, the same for new and established actors. A manager typically takes another 10 to 15%. Commission only ever comes out of money your child has earned, never upfront.
Watch the video with Karen Workman
There is no one-size-fits-all budget. Karen lists the core costs as headshots, ongoing classes and casting platform subscriptions, with travel, self-tape equipment and workshops on top. Set a budget you are comfortable with and never spend money you can't afford to lose.
Watch the video with Karen Workman
Karen puts the range at about $150 for a one-hour session with two or three looks, up to $400 to $500 for a full day with ten looks. Children's looks change fast, so expect to update headshots every six to twelve months rather than every few years.
Watch the video with Karen Workman
Technically yes, but Karen strongly advises against it. Contract negotiation is what your agent is for: they know what is industry standard and what protections your child needs. Without that knowledge, you may miss important clauses or agree to unfavourable terms.
Watch the video with Karen Workman
Karen says yes, and explains how it works. In California, 15 percent of your teen's gross earnings goes into a Coogan account they can access at 18, and agent and manager commissions also come out of the earnings. After that, a parent can take a commission for their time, driving and expenses, and Karen recommends talking openly with your teen about what is fair.
Watch the video with Karen Workman
In California, 15 percent of a teen's gross earnings must go into a Coogan account, protected until they turn 18. New York, Illinois, Louisiana and New Mexico have similar trust account rules. Parents typically manage the rest, covering costs such as headshots, classes and transport. Show your teen where the money goes, which teaches them the business side of their career.
Watch the video with Karen Workman
Timing matters. Karen explains that membership opens up union productions with better pay and protections, but generally means your child can no longer do non-union work. Her advice is not to rush: build experience in non-union work, become eligible by booking a union job, then decide when your child is ready to compete at that level.
Watch the video with Karen Workman
The biggest is 'pay to play': anyone charging upfront for representation, audition access or guaranteed work. Karen also flags being told you must use a specific expensive photographer, or take expensive workshops as a condition of representation. Legitimate agents earn a commission, typically 10%, only when your child books and is paid.
Watch the video with Karen Workman
Almost certainly, Karen says. The pattern is common: a child 'wins' or is 'selected', then the family is told to pay to join an agency or attend a mandatory workshop. Legitimate agencies never charge upfront fees to represent your child, so walk away.
Watch the video with Karen Workman
No, Karen calls it a red flag. It is normal for an agency to recommend photographers they like; it is not normal to require one as a condition of representation. You should always be free to choose your own photographer.
Watch the video with Karen Workman
Hours, schooling and work permit rules are set by each state and country, and by union agreements where they apply. Check the current rules with your state's labor department or the production before your child works.
In this video Karen Workman goes through how long a child can be on set at each age, from three years old up to seventeen.
Watch the video with Karen Workman
Karen explains that child labour laws require a minimum amount of schooling on working days when school is in session, and the production provides a set teacher, also called a studio teacher, to make sure it happens. The set teacher works with your child's regular school to keep them on track. On longer productions, many families use homeschool or online programs that can travel with them.
Watch the video with Karen Workman
Production provides a set teacher, but not the schoolwork itself. Karen explains that the assignments need to come from your teen's own school, so arrange them with their teachers before the shoot starts. The set teacher then supervises the work and makes sure the required hours are met.
Watch the video with Karen Workman
Karen's surprising answer: most teen actors have really good grades, because set life teaches time management. On set, education rules still apply; in California, she explains, that means at least three hours of schooling on school days, overseen by a studio teacher. Extra coursework such as AP classes takes self-management, but those habits tend to make teens better students.
Watch the video with Karen Workman
No. Karen explains that a parent on set is fed by craft services and has a place to sit, and that this is standard across the industry. Think of it as an investment of your time in your child's career.
Watch the video with Karen Workman
Karen explains that SAG-AFTRA has specific rules here: at a minimum, parents must have access to a comfortable area to wait while their child works, and when the production feeds cast and crew, parents are typically included. Your agent can negotiate more, such as transport, per diem and hotels on longer shoots.
Watch the video with Karen Workman
Because children cannot travel or work alone, Karen explains, productions accommodate at least one parent, usually with flights, a hotel and a per diem for meals. Your agent negotiates the details, and the level of comfort depends on the production's budget.
Watch the video with Karen Workman
Yes. Karen is clear that a parent or guardian goes with a minor on an out-of-town shoot, and production typically covers travel and accommodation for the minor and one guardian. Check your contract for what is covered, and plan to be available for the whole shoot.
Watch the video with Karen Workman
In this storytime about a parent who did exactly that, Karen is clear: a child must have a parent or guardian with them at all times on a production set, and it is not a job you can hand to a crew member. Your number one job as the parent of a child actor is to be there.
Watch the video with Karen Workman
Usually the assistant director, Karen says, who runs the schedule and can point you to the right person. The set teacher handles anything to do with school, and the production coordinator or second AD handles call times. Work out your contacts on day one.
Watch the video with Karen Workman
Most productions send a dietary requirements email before shooting, so fill it in thoroughly. If you are already on set and the food doesn't work, Karen says to talk to the catering team and let them know for the following days. Raise it early, before your teen is hungry.
Watch the video with Karen Workman
Karen Workman keeps it simple: make sure your child is prepared, on time and knows their lines; keep an eye on their food, rest, mood and safety; and work with the set teacher on schoolwork. Stay professional, because your behaviour reflects directly on your child.
Watch the video with Karen Workman
Supportive and present, but not overbearing. Karen says to let the director and AD guide the performance while you handle logistics and your child's wellbeing. The best stage parents are the ones the crew barely notices.
Watch the video with Karen Workman
Yes. Karen says parents of minors are typically allowed on set during their child's scenes, though you may be kept to a designated area away from the camera. Be there for your child's safety and comfort, and stay out of the way of the production.
Watch the video with Karen Workman
Karen's list: don't direct your child, don't wander or interfere with production, don't network aggressively with cast and crew, and don't take photos or videos without explicit permission. Don't be demanding about food or schedules either. You are there to support your child.
Watch the video with Karen Workman
No. Directing is the director's job, Karen says, and stepping in undermines both the director and your child. If you have a genuine concern about wellbeing or working conditions, raise it privately with the assistant director or your child's agent, never on the set floor.
Watch the video with Karen Workman
Karen's basics: be respectful to everyone from the director to the production assistant, know your lines and be ready when called, stay in your designated area between takes, and be grateful. Productions remember well-behaved young actors and bring them back.
Watch the video with Karen Workman
Take it seriously: Karen has seen children and parents fired from sets over behaviour. Address it immediately, remove your teen from the situation if you need to, and have a direct conversation about the fact that a set is a professional workplace.
Watch the video with Karen Workman
If there is a real issue, such as fit, discomfort or safety, speak to the wardrobe department. If your teen simply doesn't like it, Karen says that is not a valid complaint: actors wear what the character needs, and going over the costume designer's head marks you as a difficult parent.
Watch the video with Karen Workman
If the concern is legitimate, such as something inappropriate or unsafe, raise it through your child's agent or manager rather than going to the writers, director or producers yourself. Karen explains that if your teen simply doesn't like the dialogue, that is not a reason to complain.
Watch the video with Karen Workman
You can't, Karen says, and trying will backfire. Casting decisions belong to casting directors, directors and producers, and a parent lobbying on set quickly earns a difficult reputation. Bigger roles come from your teen doing excellent work in the role they have.
Watch the video with Karen Workman
Be a great, professional, pleasant parent; Karen says that is the best promotion there is. Follow the people you have worked with on social media and let relationships grow naturally. Resist handing out headshots or talking up credits.
Watch the video with Karen Workman
No. Everyone on set is focused on the current job, and the director and crew already have access to your child's headshot. Karen suggests keeping a few in your bag in case someone asks, but never handing them out unsolicited.
Watch the video with Karen Workman
Karen Workman says the industry is putting more focus on child safety, but your real protection is your relationship with your child. They need to feel they can tell you straight away when something happens, and feel empowered to say no, even if it means losing a job. A child who can say no is a safer child.
Watch the video with Karen Workman
Karen's honest answer is that you can't guarantee anyone is completely safe, and acting class asks children to explore emotions, which takes trust. Meet the teacher yourself, ask other parents for referrals and, above all, make sure your child knows they can tell you about anything that makes them uncomfortable. In California, a coach paid to work with minors must hold a Child Performer Services Permit, so ask to see it.
Watch the video with Karen Workman
Karen explains that a blue card, used in Queensland, Australia, confirms someone has been background checked and cleared to work with children. In California, studio teachers must be certified by the Labor Commissioner and hold California teaching credentials, which include a fingerprint background check. Managers, acting coaches and others paid to work with child performers in California also need a Child Performer Services Permit, which includes Live Scan fingerprinting.
Watch the video with Karen Workman
Karen says the minimum needed: typically the casting director, possibly a reader and a camera operator. You can and should ask who will be in the room, and your child should never be alone with a single unfamiliar adult. Legitimate casting offices are used to these questions.
Watch the video with Karen Workman
You can ask, Karen says, but auditions move fast, often 30 seconds to five minutes, and you usually won't know whether the casting director is a man or a woman until you arrive. If it is a concern, you can ask whether the casting assistant could be present. If a setup ever feels uncomfortable, trust your instincts and don't send your child in.
Watch the video with Karen Workman
Bonnie J Wallace, author of The Hollywood Parents Guide, explains who is in charge of child welfare on set and who to talk to if your child or teen is being bullied.
Watch the video with Bonnie J Wallace
Bullying happens in acting classes just as it does anywhere else. Karen suggests handling it the way you would at school: address it directly and support your child. She also shares her own family's experience of a false accusation, and how the truth came out over time.
Watch the video with Karen Workman
Leave the situation, Karen says. An acting teacher cannot get your child a job, so there is nothing to lose by walking away, and acting communities are small. Protect yourself and your child, and find a new class.
Watch the video with Karen Workman
Karen's approach is to let them go once, with guardrails, to see who is there and whether real networking happens. Agree on safe practices and expectations beforehand. Her standing rule with her own kids: if they need an out, she is the out, and she will come and get them, no questions asked.
Watch the video with Karen Workman
Karen says yes, because a wrap party celebrates your teen's work, and in her experience the cast and crew look after the young people. The drinking question is a family decision to discuss beforehand. Parents can often attend too and sit quietly nearby.
Watch the video with Karen Workman
General information, not legal advice. Laws on minors, sensitive scenes and emancipation vary by state and country. For your own situation, speak to a qualified entertainment attorney.
Karen Workman explains that strict legal protections exist to prevent the exploitation of minors in film and television. What is allowed varies by state law and by whether a production is union or non-union, and SAG-AFTRA has particularly strong protections and guidelines around intimate scenes involving minors. Before your teen is involved in any project, read the full script, ask exactly how scenes will be shot, and remember that you always have the right to say no.
Watch the video with Karen Workman
Emancipation means a teen is treated as an adult for many legal purposes, such as signing their own contracts and managing their own money. Karen explains that productions and studios can still have their own policies on intimate content with young performers, whatever a teen's legal status. Even an emancipated teen needs a trusted agent, manager or mentor to talk sensitive decisions through with.
Watch the video with Karen Workman
Both let a teen work more like an adult, in different ways. Emancipation is a court order that makes a teen an adult in the eyes of the law for things like contracts and money, and in California it also lets them access their own Coogan account early. Legal 18 is about work hours: in California, a 16 or 17 year old who has graduated high school early or earned California's proficiency certificate (which replaced the CHSPE) can generally be hired without the hours and set schooling rules for minors, which is why casting breakdowns ask for it. Rules differ by state, so talk to an entertainment attorney before choosing either route.
Watch the video with Karen Workman
Karen's advice is to choose projects carefully before committing: look up the director, watch their previous work and decide whether it fits your family's values. Once on set, you don't control wardrobe, hair, make-up or camera angles, so your protection comes upfront. Trust your instincts and be willing to say no.
Watch the video with Karen Workman
There is no magic age, Karen says; it is a gradual handover. Start by including your child in conversations with agents and managers, then let them lead some interactions. Many teens start handling some direct communication around 15 or 16, so that by 18 they are comfortable managing their own representation.
Watch the video with Karen Workman
Karen says leaving education entirely is almost never the right call, because school is your teen's safety net. The better question is when to switch to a flexible arrangement such as homeschooling, online school or independent study. That makes sense when your teen is booking consistently enough that regular school becomes a genuine obstacle.
Watch the video with Karen Workman
There is no magic age; it depends on your child's maturity and the support around them. Karen says some teenagers relocate at 16 or 17 and manage well, but only with safeguards in place: a trusted person on the ground, a clear financial plan and an understanding of the city and the industry.
Watch the video with Karen Workman
Karen reframes the question: what matters is whether your teen is mature enough to live independently, and only a parent can judge that. If they are responsible with money and have safe habits, they can manage in LA too. To research areas, she points to real estate sites such as Zillow and Realtor.com, which show school ratings and crime statistics.
Watch the video with Karen Workman
Karen explains that the move from child actor to adult actor is one of the hardest in the industry: the 'cute kid' advantage disappears and young adults compete with thousands of trained actors. Many former child actors also don't know who they are outside acting. Some step away by choice, for college or a normal life, and that is not always a failure story.
Watch the video with Karen Workman
It isn't required, but it helps. Karen Workman explains that an active Instagram showing your teen on set gives casting directors something positive to see. Talent still books the job, so social media should support the career, not replace the work.
Watch the video with Karen Workman
Start with a frank conversation, then have your teen write their own guidelines rather than imposing rules. Karen says teens who take ownership internalise it, and for actors it matters even more, because you never know which casting directors or producers are looking.
Watch the video with Karen Workman
It depends on your teen. Karen's daughter is so savvy she wouldn't let her mother near her accounts, while her son has no interest, so Karen posts for him. Let a savvy, engaged teen own it, and step in if they aren't interested but need a presence.
Watch the video with Karen Workman
Yes, Karen says: anything inappropriate for their age won't help. She explains that Disney, for example, checks teen actors' social media before hiring and runs accounts through programs that detect bought followers. Keep your teen's feed age-appropriate, professional and authentic, because it works like a public resume.
Watch the video with Karen Workman
It can be a great tool, Karen says, because it shows your child's personality and range, and casting directors like seeing an active presence. Parents need to be involved in making the content and monitoring comments. Use it to support your child's training and auditions, not to replace them. In California, if your child appears in a lot of monetised content, the law now requires part of their earnings to be set aside in a trust for them.
Watch the video with Karen Workman
It can be, but it doesn't have to be. Once a child is visible online, Karen explains, people start to feel they know them, which can bring unwanted attention and inappropriate messages. The answer is active parental oversight of accounts, comments and direct messages.
Watch the video with Karen Workman
Karen Workman calls it the most important thing you do as the parent of an actor, because rejection and competition take a real toll. Keep communication open so your teen can share struggles without fear of disappointing you, and keep life normal outside acting with friends, school, hobbies and downtime. If you notice signs of anxiety, depression or a lost sense of identity, consider professional support, ideally from a therapist who understands the industry.
Watch the video with Karen Workman
Watch for resistance to auditions, anxiety around performing or a loss of the joy they once had. Karen's key test: if the acting career is your dream more than your teen's, it is time to reassess. Check in regularly, and be willing to hear answers you might not want to hear.
Watch the video with Karen Workman
Keep their life normal outside acting, Karen says: friends outside the industry, regular school, family dinners and chores. Don't treat them like a celebrity at home. Acting is something your child does, not who they are.
Watch the video with Karen Workman
Redirect the energy toward the craft, Karen suggests: the joy of performing, becoming a character and telling a story well. Fame is a by-product of consistent good work, not a goal. Channel the enthusiasm into training, and the fame obsession tends to fade.
Watch the video with Karen Workman
Karen suggests a simple, healthy definition: your child is doing good work, learning and enjoying themselves. Big bookings are fleeting, and a child can go 10 or even 50 auditions without one, so if success only means a major job, everyone stays frustrated.
Watch the video with Karen Workman
The child who isn't booking needs more of your attention, not less. Karen has three children in the industry and says the difference usually comes down to look, age and timing, not talent. Treat quiet periods as training season, with classes and workshops, rather than as failure.
Watch the video with Karen Workman
It depends where you live. Karen explains that outside industry cities, peers may not understand auditions and can be cruel, so keeping it quiet can protect your teen. In cities such as Los Angeles, New York or Chicago, people understand the business and openness is fine.
Watch the video with Karen Workman
Karen explains that success brings significant money, which needs a plan in place before it arrives, plus public attention such as strangers asking for selfies, and pressure to grow up faster than their peers. There is no perfect playbook and you will make mistakes, but realistic expectations prevent the worst surprises.
Watch the video with Karen Workman
Secret Actor Society shares general information from working industry professionals. It is not legal, financial or medical advice. Laws and union rules change, so check the current rules where your child works and get advice from a qualified professional for your own situation.
Want the bigger picture? These guides walk you through it step by step:
When you're ready, join Secret Actor Society and watch every answer on this page in full.