To leave your agent well, first make sure the agent really is the problem, talk to them (and your manager) about it, and line up new representation while you are still signed. Then end it in writing within your contract terms, with thanks: the industry is small. We drew on 27 answers from our library, from SAS founder Kym Jackson, Chris Roe, Shaan Sharma and others.
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Check the real problem first. SAS founder Kym Jackson says an agent's job is to get you auditions; booking them is your job. If you're getting good auditions but not booking, she says that's normal (20 to 40 auditions between bookings is about average), and the fix is usually your craft, not a new agent.
Real warning signs are different: very few auditions over a long stretch, auditions that don't fit your type, or feeling lost on a big roster. Chris Roe, who has managed actors for 24 years, says if you're lost in the shuffle, sit down with your team, and if nothing improves two or three months after that conversation, start looking.
A real conversation. Chris Roe says the issue is sometimes simple to fix once you ask. Kym suggests asking your agent, in a positive way, what more you could be doing, and if you want to see where you're being pitched, you can ask for a list of submissions (she'd do that once every year or two, never as an accusation).
Blair Hickey and Brian Wold told us "push me more" is the wrong frame. Give your agent something to sell: news of casting relationships you're building, a resume that's current on Actors Access and clearly labelled clips. As they put it, agents get 10%, so do the other 90% yourself.
Yes, if you have one. Chris Roe calls your manager your most important business relationship and says every decision like this should be talked through with them. They may know why things are slow, and they'll often help you find the next agent.
Yes. Chris Roe and Shaan Sharma both said you can take meetings while you're signed; Shaan points out your agent is meeting other actors in your category too, and they work for you. Lining up the next agent before you leave also means there's no gap in submissions.
Don't hop around, though. Chris warns that moving can set you back, and that if your agent has worked hard for you, there's often no reason to go. Acting is long term and success rarely comes overnight.
It depends on your contract and your union status. For SAG-AFTRA members, the union's agency FAQ sets out when you can end a franchised agent's contract early for lack of work, as of November 2026. On a TV and theatrical contract, after the first 120 days you can end it if you haven't booked or been paid for at least 10 days of work in the previous 91 days (with an extra wait if you had an offer early on). For commercials, the test is earning less than $4,000 from commercials, including residuals, in the previous 91 days. You can also leave any time your agent agrees to release you.
Leave without the right to, and the agent may keep commissioning covered work until the term ends. Non-union contracts depend on the out clause: Shaan says many let you leave if there's been no genuine job offer in a set period, and an audition isn't an offer. Our acting agent contract guide has more. This is general information, so check your contract with SAG-AFTRA or a lawyer.
Kindly, and in writing. Darren Darnborough's advice, given about international agents but true anywhere, is to treat it like any relationship: call if you can, or write a gracious email, and thank them for their work even if you feel they didn't do much. The industry is small, so be the dignified one.
Then make it formal. SAG-AFTRA says all terminations must be in writing, sent in a way that gives you proof of receipt (certified mail, or an email they confirm), and you should copy the union's Professional Representatives Department and include your new agent's name.
Everywhere your rep is listed. On Actors Access, Gary Marsh told us you go to the Manage Representation section to add or remove a rep, and photos assigned to an old rep move to a holding section, so you don't lose them. SAG-AFTRA members also update the Agency tab in their online union account.
Update your resume and email signature too. And your new agent isn't owed commission on residuals from jobs you booked before you signed with them, Kym says, because they didn't get you that work.
It hurts, and it's common. Kevin E. West told us he has had 46 representatives in his career and compared being dropped to a break-up: often it's about money or changes at the agency, not you. Ajarae Coleman shared how one client spent months pitching with no replies, turned her focus to her own projects and casting relationships, and was then contacted by an agent on her list.
Make their job easy from day one. Kym recommends a short audition summary after in-person auditions, a pitch blurb your reps can use, an audition tracker, and a brief bullet-point update every month or two about the casting directors you've met and what you're creating. Never open with "why am I not getting auditions?"; ask how you can help instead.
Call or send a gracious email thanking them for their work, then give written notice within your contract terms. SAG-AFTRA members should copy the union and name their new agent.
Yes, if your contract or union rules allow it, or if your agent agrees to release you. For SAG-AFTRA members, the union sets lack-of-work tests based on the previous 91 days.
Usually, yes. Chris Roe and Shaan Sharma both said you can meet other agents while you are still signed, which avoids a gap in submissions.
Not if you are getting good auditions. Kym Jackson says getting you in the room is the agent's job and booking is yours, and 20 to 40 auditions per booking is normal.
SAG-AFTRA asks members to copy its Professional Representatives Department on terminations, include the new agent's name, and update the Agency tab in their online account.
No. Kym Jackson says a new agent is not owed commission on jobs you booked before you signed with them.
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