So, You Want to Be a Model: Part III - The Search Phase: Agencies, Submissions & Strategic Rejection
This is the stage where modelling stops feeling abstract and starts feeling personal.
You’ve built some confidence on camera. You understand your look better. You may even have a small but growing portfolio. Naturally, the next question appears: How do I actually get signed? And more importantly — how do I avoid wasting months doing it wrong?
The search phase is where most aspiring models lose momentum. Not because they lack potential, but because they treat the process emotionally instead of strategically.
This part of the journey isn’t about being seen everywhere. It’s about being seen by the right people, at the right time, in the right way.
What Agencies Actually Do (And What They Don’t)
Before you submit anywhere, you need to understand what an agency’s role truly is — because many beginners expect agencies to provide things they simply don’t.
Agencies are not training centres.
They are not confidence coaches.
They are not photographers.
An agency’s job is to represent, position and sell talent to clients. They negotiate contracts, submit models for castings, and manage relationships with brands. They take on models they believe they can place into existing or emerging markets.
This means one thing very clearly: agencies are looking for potential that is already organised, not raw interest.
If you are still uncomfortable on camera, unsure of your look, or lacking basic industry awareness, most agencies will pass — not because you’re “not good enough”, but because you’re not ready yet.
Why Research Matters More Than Submitting
One of the most common mistakes aspiring models make is mass-submitting to every agency they can find. This doesn’t increase your chances — it lowers them.
Agencies can tell when someone hasn’t done their homework.
A legitimate agency will:
have a clear website
display an active board of models
list real clients or booking information
show signs of ongoing industry work
When researching agencies, you should be asking:
Do their models resemble me in height, build or presence?
Are they booking the type of work I want to do?
Are they active in my city or market?
If you don’t fit their board, submitting anyway won’t make you stand out — it will make you forgettable.
Targeted submissions signal professionalism.
Understanding Boards, Markets & Timing
Agencies don’t just look for “good models”. They look for gaps.
A board may already be full of people with your look.
A market may be oversaturated.
A season may be slow.
This is why timing matters more than most people realise.
Being rejected in March doesn’t mean you’ll be rejected in September. Being “not right now” is not the same as being “never”. Agencies constantly reassess their needs based on bookings, trends and client demand.
The mistake is assuming rejection is final — and giving up too early.
Digitals (Polaroids): Why Simplicity Is the Test
Digitals — often called polaroids — are where many submissions fall apart.
Agencies request digitals because they want to see you, not styling, posing, filters or mood. Digitals are meant to reveal structure, proportions and presence honestly.
Strong digitals are intentionally boring.
They should be:
taken in natural daylight
shot against a plain wall
wearing simple, fitted clothing
minimal or no makeup
relaxed, neutral posture
No dramatic poses. No angles. No performance.
If your digitals rely on styling to work, agencies will notice immediately. The goal is clarity, not beauty.
Online Submissions vs Open Calls
Most agencies accept submissions year-round through their websites. This is the most common route and requires patience. Responses can take weeks or never arrive at all.
Silence is normal.
Open calls, on the other hand, are short in-person evaluations. They are not auditions and not photoshoots. They are brief assessments of presence, proportions and attitude.
At an open call:
you are observed, not entertained
confidence matters more than charm
preparation is visible immediately
Showing up calm, clean and grounded will always outperform trying too hard.
How Rejection Actually Works in Modelling
Rejection in modelling is not personal — but it feels personal if you don’t understand the context.
Most rejections mean:
not right for the current board
not right for the market’s needs
not ready at this stage
It rarely means your face, body or presence has no value.
The models who survive long-term don’t internalise rejection. They treat it as data. They continue testing, refining and resubmitting strategically.
What stalls careers isn’t rejection — it’s emotional withdrawal.
The Danger of Chasing Validation
This phase is where desperation can creep in quietly.
Checking emails obsessively.
Comparing yourself to others.
Second-guessing your worth.
Validation-seeking leads to rushed decisions — submitting too early, accepting questionable offers, or trusting people you shouldn’t.
Confidence in modelling must be internally anchored. If your belief depends entirely on external approval, the industry will drain you quickly.
Knowing When You’re Actually Ready
Readiness isn’t about perfection. It’s about stability.
You are closer to being ready when:
you understand your look clearly
you have controlled, clean images
you’re comfortable being directed
you know what kind of work you want
Submitting too early isn’t dangerous — but staying static after rejection is.
Growth should be visible between attempts.
Closing: Strategy Over Urgency
The search phase rewards patience, clarity and consistency. Rushing doesn’t make you visible — it makes you sloppy.
Agencies respond to preparation.
Markets respond to timing.
Careers respond to restraint.
If you’re in this phase, don’t chase everything. Build steadily. Submit intentionally. Improve between attempts.
This is not a race. It’s a process.
Coming Next in This Series:
Part 4 — Staying Safe & Defining Success:
Boundaries, red flags, scams, longevity, and how to build a modelling career without losing yourself in the process.