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Is Commercial Print Work Right For You?

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Is Commercial Print Work Right For You?

Is Commercial print worth doing? Maybe you have friends who have had some nice paychecks from their print jobs? Perhaps you’ve thought about it? But where do you start? Is it, or isn’t it a good idea?Generally, when making a decision I find it is best to get out of your  head. Don’t waste time debating and analyzing. Trust your gut. Or simply take action as that will inform you much faster.  Here is some info to help you choose if Commercial Print is right for you.

Yep…this is me in a stock photo as seen on SNL, The NY Post and a magazine in FRANCE!!

Are you the right type for commercial print?

Do you see yourself reflected in commercials or in advertising campaigns?  If so, then YES! Nicknamed “real people” modeling it’s pretty inclusive. Commercial print has no height, age or size requirement.  In fact, I think the pool gets less competitive the older I get! 

Need to practice those commercial skills?

A few years ago, print casting used to be 1 or 2 quick photos and you were done.  However now more and more, they lean toward commercial castings (on camera!). Producers and clients really want to get a sense of your personality.  Even if the job is only print, they might shoot a video at the audition and ask questions like, What are your hobbies? 

Print auditions can be a good place to practice those on brand “tell me about yourself stories.”  Thanks to a great tip from commercial veteran Bill Coelius, (Run, don’t walk to his class) I always have fun, short, on brand stories related to being a mom, my fav food, travel, holidays, and movies ready to go so I’m never caught like a deer in headlights! 

I often audition for “mom” roles so this is one of my go-to stories: 

Do you ever have random Dance Parties?  My 6yr old son, D, and I like to dance to Cheesy Top 40 at full blast.  It can be a little tight in a small NYC apartment, I almost knocked him out once with a flying arm move but thankfully my dance moves are not lethal! 

NOTE: This answer could safely answer many questions – what are you doing this weekend? What do you like to do for fun? What is your favorite music? Tell us about yourself?

What do I wear for commercial print castings?

It is very similar to commercials.  Do your research and use your common sense. Look at advertisements, what do the moms wear in those ads? What does the Best Buy employee wear?  Usually your agent will give you a brief character description, eg: mom shopping with a child. If you don’t know the brand/product do a quick google search to look up past ads so you get a sense of tone/color choices.

Do I need new photos?

If you have some good commercial headshots, most agents will start off with those. They might want some more lifestyle or body shots down the road, but you don’t need them to start.

How do I get an agent?

Statistically it is easier to get a commercial agent than a legit agent. I would argue it is easier to get a print agent than a commercial agent. Just based on numbers of clients those agencies are working with.

Commercial Print is also an easy entry point to an agency roster.  I had a client start working with the print department of a large agency and she was a total pro! (always on time, quick response to email, booking-out etc.)  Though she hadn’t actually booked anything yet, 6 months in she asked to be referred to the legit department, it was an easy next step for both sides.If you’d like to learn 3 juicy, insider strategies to get the right agent for you, check out this free master class.  

Do I have special skills?

Don’t forget those special skills. Do you play tennis well?  Are you a great ice skater? Those can be great assets for commercial print.

Is print work Union or non-Union work?

Print is non-jurisdictional work so open to Union and Non-Union members and the rate can vary considerably depending on the scope of the project.  Sometimes producers unfortunately want to shoot non-jurisdictional photos and also shoot non-union video, which would exclude SAG-AFTRA members as that violates Global Rule One.

To stock or not to stock?

One way to get some great images of yourself is to do a stock agency shoot. However, I do not recommend it.  Typically it is very low pay $250-$400 for the day and you sell all your rights away so anyone can buy your image to use as they see fit.   

If you want to pursue commercial print you could accidentally create a conflict for yourself.  I did one stock shoot many years ago, it was a super fun day but I have seen those photos on everything from SNL, The NY Post and a magazine in FRANCE!!  

My image and work is worth more. And so is yours.  I would also hate my image to be used as part of a product/campaign that I strongly disagree with. The shoot  was very silly, involving clowns, fake fights and an adorable dog, it does seem unlikely…but still.

My favorite reason to do print work…

Momentum! If you are going through a slow legit-audition period, adding commercial print can help you stay inspired.  Yes it’s not auditioning for your favorite TV show, but staying busy and “in the mix” can be useful. And those big juicy checks don’t hurt either….

What do you think? Is commercial print something you will pursue? Have you already had success with print? Let me know in the comments below.

— Coach Sarah

Pilot Season: A Shift In Perspective

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Pilot Season: A Shift In Perspective

Yayyy! It’s pilot season…kind of…I mean technically yes but let’s be real. Pilot season can sometimes feel non-existent. I used to call pilot season “unicorn land” because for too long it was this mythical place that, despite my years in LA and whatever reps I had, I never found the secret magic key to. 

Looking back, there were a few things I wish I knew that would have made a huge difference in my expectations and experience of pilot season… whether I auditioned for a single pilot or not. 

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PREPARATION

MINDSETThe more we can measure our success by growth and not by results the more we can enjoy the journey. Measure your success during pilot season by how much you’re growing and learning and you’ll be on track to having a great time instead of becoming a ball of stress. 

BRANDINGGet super clear and specific on what you sell and create a marketing package that supports that niche branding message. Ideally, this process should be completed before pilot season. If you’re not there yet, consider enrolling in our Branding and Marketing Course to really hone in on the characters and qualities that make you irresistible to casting. Either way, keep reading…major revelations ahead. 

TRADESJust because pilot auditions aren’t rolling in doesn’t mean you’re off the hook.  As a professional, you need to know what’s happening in your industry. Read them! Deadline, Variety and Hollywood Reporter. I find Deadline to be the best at delivering information quickly and efficiently. Use the trades to track pilot orders and pick-ups.

WARNING!Pilots are all works in progress and therefore kept tightly under wraps.  If someone trusts you enough to share their access to a pilot with you, it is your job to protect that pilot. Never share a pilot that is given to you by a friend or contact and NEVER publicly post a pilot or a self-tape for a pilot online. Pilots are often watermarked with the original source’s name and can be traced back to them if the pilot gets out.

Now that we are prepped for pilot season let’s talk numbers 🙂

WHY YOU’RE NOT GOING OUT

THERE ARE NO ROLES FOR YOURead the pilots. Do everything you can to get a hold of pilot scripts and read them. How do I get a hold of scripts? Ask your actor friends who are going out on pilots to send you their scripts. Ask your writer friends if they can dig any up for you. Ask any friends that are assistants at agencies if they are open to sending you scripts available to the agency. Often actors are not going out for pilots because none of the pilots have a role they are right for. Availing yourself of this information can save you 3-months of anxiety about all the imaginary pilots that you aren’t going out on. 

EPISODIC SEASONPilot season is a reflection of your episodic season. These days casting directors have less and less time to cast a pilot. So they truly rely on relationships they have built with actors whose work they’ve seen time and time again. Even if you didn’t book during episodic season, if you went into the same casting offices multiple times and laid down solid work you can expect them to call you in. If you haven’t established a relationship with the casting office casting the role you are perfect for preceding pilot season it might be challenging to get an appointment. 

OFFERSThe timeline for pilot season has truly evolved with the increase in scripted series from streaming services and cable. Traditionally, pilot season doesn’t start until after Sundance. Mid February casting typically begins the process of putting out offers. As the process of the industry vying for the same celebrity actors gets underway and offers are accepted or passed. Casting begins a trickle-down process. The roles hit seasoned working actors with series under the belt already, solid guest star and recurring credits. Lastly, newer actors with mostly co-star and small guest credits are usually put in the mix, around early March. However, these days pilots begin casting as early as late October and offers can begin going out in December to get ahead of the busy season. Pilots typically shoot the third week of March. If the role or roles you are perfect for this season are cast before they hit your level credits you might not get an opportunity to read for them. However, more and more networks are breaking away from the traditional pilot season timeline and casting year-round. This is particularly true for streaming and cable networks.

Caveat:Oftentimes, casting will hold sessions even when an offer is out, so as to give themselves back-up options. It’s important actors go into every casting with their eyes open about the business so the focus is placed on the work. An actor’s career is bigger than any one job or booking. Emotional sustainability is key to staying in the game. Each opportunity is about creating a long-term relationship with the casting office and the actor can only do that if they are not setting themselves up for an emotional let down when the phone doesn’t ring. 

REPSIn-person sessions offer casting a limited number of slots so casting prioritizes seeing actors in-person from well-known top tier agencies and management companies. Actors repped at newer or lower-tiered agencies are typically given self-tapes. Self-tape actors may only be called into casting if they’re not finding the right fit for the role with in-person sessions.

Caveat:People are called in and booked from self-tapes all the time. So it’s important to treat them like a real opportunity and do your best work. Often casting will watch them just to get to know a new actors’ work.

OFF-SEASON PILOTSWith the onset of increased original programming from streaming and cable, pilots are casting more and more outside of the typical January-to-March pilot season. Cable pilots can begin casting as early as October and streaming pilots cast year-round. In my personal experience I’ve found that streaming pilots cast particularly in the summer. 

REGIONALISM & INTERNATIONAL PRODUCTIONIf you haven’t noticed, a lot of television production has moved out of the state of California. Georgia, Louisiana and New Mexico are few of the largest markets. On top of the long-time established alternate markets of Canada and New York. Plus, with the expansion of investment into scripted television by titans like Netflix and Amazon, television production often has the resources to create epic and expansive worlds and shoot on location overseas, so often American television is shot in the UK and Europe. It used to be that production would cast series regulars and major guest stars out of LA or New York and use local actors only for small guest stars and co-stars. Over the last 5 years, these markets have developed and production is often casting series regulars directly out of local markets. 

If you find a role that you are right for that is scheduled to shoot in a market outside of LA, depending on your credits, it may be more challenging to be seen for that role because production will have to pay to travel or move you. Production can typically find a right fit locally and save themselves the travel costs. 

GREAT NEWS!

Now that we’ve cleared up all the reasons that might limit an actor’s opportunities, we can approach pilot season informed, empowered and without unreasonable pressure or FOMO. AND if you do find a role that you are perfect for GO FOR IT with completely open eyes and the joy of the journey. 

Happy Pilot Season!

— Coach Alysia

Stuck in Your Career? Here Are 3 Things to Stop Doing

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Stuck in Your Career? Here Are 3 Things to Stop Doing

I don’t need to tell you that we just started a new year and a new decade. 

If you’re like most actors, you probably took some time over the holidays to reflect on your goals and design a plan of action to make 2020 your big year. 

But, One thing many actors don’t recognize is that, often, what you don’t do can play just as big a role when it comes to achieving your career goals. 

Here are a few traps I’ve seen actors fall into that could block you from accomplishing your goals. This industry is challenging by nature, and so much is out of our control. The last thing we need to do is fall into habits that cause us to stay stuck.. If any of these resonate with you, consider switching things up in the new year.

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You’ve thought about it, meditated on it, talked to trusted friends and advisors and even prayed. It’s clear. It’s time to part ways. The question is how? Here are a few simple tips to help make the breaking-up process professional and as painless as possible. 

​Stuck in an acting class cycle

What you’re doing: You’ve been taking classes at the same studio for a really long time.  Sure, you’re honing your craft, but you don’t actually get out and audition. I see this all the time. Hard-working, smart, talented actors who’ve been in the same acting class with the same teacher forever  but who haven’t added any new credits to their resume in just as long. . 

Why this is a problem:

  1. This is a business. You could be the most talented actor in the world. But if you’re not being seen by industry decision-makers, no one will know about your talent except for the peers in your class. And they likely won’t be the ones hiring you for your next network TV credit. 

  2. Acting and auditioning are completely different skill sets. Most actors starting out will spend more time interviewing for their next job (i.e. auditioning), than working acting jobs. Knowing this, shouldn’t it be important to hone those interview skills? 

  3. Acting classes cost time and money! Often, actors will pour so much into acting classes that they have no time and money left to make connections with people in the industry who can directly hire them. Marketing and networking are essential to create relationships that can take your career to the next level. Ignoring these two vital elements is a common cause of career stagnation.

  4. Remember the old adage, “if a tree falls in the forest but no one is around to hear it, does it make a sound?”  If the only acting you do is in your class, can you really call yourself an actor?

Try this instead:

  1. There are acting studios in LA that emphasize both the craft of acting and the technique of auditioning. Again, acting and auditioning are very different skill sets. If on-camera acting is new to you, research and audit classes that focus on how to audition and book. Scene study and cold reading classes are great, but they often don’t provide the skills an actor needs to win the job in the room against a bunch of other experienced actors in their category. If you’re stuck in an acting class that hasn’t helped you reach the next level of your career, try out a class that teaches techniques which will make your audition stand out in a sea of auditions and ace your next job interview. 

  2. Work marketing and networking into your time and budget by prioritizing only the classes you need to stay on top of your acting game. If you’ve been in class for a while and have confidence in your on-camera and auditioning skills, consider switching things up by just getting coached for auditions instead of paying for an ongoing class.

  3. Lastly, no matter how great your acting class is, it’s always good to mix things up. So think about trying a brand new class that propels you outside of your comfort zone this year.

Stuck in a survival job with little flexibility

What you’re doing: Paying the bills! Of course this is important. But, as we all know, auditions come last second and can be tough to schedule. 

Why this is a problem:

  1. You’re passing up opportunities for career advancement by prioritizing a survival job you don’t ultimately want to be doing.

  2. Agents may be more reluctant to pitch you if you’re frequently unavailable. 

  3. Auditions, either on tape or in person, may be of lower quality because you have less time to prepare.

Try this instead: While at your survival job, find and slowly move into a job that provides greater flexibility. Figure out what you’re good at and what works with your ideal schedule, and, in the era of gig economies, start building up a client base for your side hustle before quitting your survival job. Wean off unnecessary expenses. Ask actor friends for job recommendations. From catering, to acting jobs at theme parks, to dog-walking, online tutoring, and daytrading, there are plenty of options that can be very flexible and pay the bills for actors who may have to leave for an audition in the middle of the day. Some may just require a little training and a strong referral.

Stuck in the mindset of a struggling actor

What you’re doing: You keep telling yourself that art is struggle and you wouldn’t be an actor without grinding it out for years. You compare yourself to people who are more successful, tell yourself you’re not good enough, and question why you ever thought you could make this a career.

Why this is a problem: You’re the CEO of this company, the lead marketer, and head of the sales team. You are also the product. How can you convincingly sell a product to your buyers if you don’t believe in its inherent worth and value? How can a business succeed when the CEO makes decisions by assuming likely failure?

Try this instead: Instead of wasting your time with fruitless comparisons, learn from people who are more successful than you are. Often we see the same people at auditions. If there are a few actors in your category who frequently book the roles you audition for, where do they train? What skills or qualities do they have that make them uniquely appealing to casting and producers? 

Work harder, not smarter. Invest in your education and learn business strategies that can help you connect with industry decision-makers. Not sure how?  Check out our free Book TV/Film On Your Own class to help you leverage relationships to book the work you really want. 

And most importantly, remember that you are more than your acting pursuits. Prioritize the things that make you happy in life, whether you feel they have a direct impact on your career or not. As actors, our personal and career lives are frequently intertwined. This is the most evident in our mindset. The stories we tell ourselves are derived from our everyday experiences, acting-related or not. Build in a community that is supportive, positive, and loving, and don’t be afraid to cut out relationships that trigger self-doubt. It’s not selfish to take care of your mental health and prioritize your own need for a positive atmosphere!

What other things do you resolve to stop doing in the new year? Share your ideas and resolutions in the comments below! I know you can do it. Here’s to a fresh new decade of career adventures, challenges, and wins!!

–Coach Melody 

What’s A Realistic Booking Ratio? Veteran Actor Publishes His 2019 Audition Stats

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What’s A Realistic Booking Ratio? Veteran Actor Publishes His 2019 Audition Stats

It’s time to check in on 2019’s audition statistics. You may be asking yourself: Did I have a good callback ratio? What about my booking ratio?If you’re not keeping track, you may never know. We recommend tracking your auditions, callbacks, avails, bookings, etc. because “what gets measured gets improved.”Actor Edward Hong (60+ TV/Film credits) openly shared all his stats (auditions, callbacks, bookings, etc.) and some great takeaways from his 2019 year in our Career ACTivate Elite Coaching & Mastermind Program FB group and he’s been generous enough to allow us to share it here on this blog.

The first section highlights his stats. In the second part, he doles out his major takeaways as well as highlights/lowlights for 2019.

Edward’s 2019 Audition Report

THEATRICAL (multiple reps, theatrical, management, voice-over, and stage)

— My Reps sending me out —Auditions received through DDO (started on 8/3/19): 7Auditions received through Sovereign (ended on 8/2/19): 4Auditions received through Authentic Talent: 16Auditions received through Atlas Talent Agency: 175Direct Requests: 2

TOTAL Theatrical Auditions via Reps: 204

Callbacks: 0Avails: 0Bookings: 2

** Agency/Manager Theatrical Success: 1.14% **

— Self Submissions —Direct Requests: 2

TOTAL Theatrical auditions via self-submission/pitching: 46

Callbacks: 4Avails: 2Bookings: 10

** Self-Submission Theatrical Success: 21.7% **

COMMERCIAL

Auditions through AKA Talent Agency: 31 (turned down 3)

Callbacks: 6Straight To Callbacks: 2Avails: 1Bookings: 1

** Commercial Success: 3.22% **

2019 Takeaways & Highlights/Lowlights 

  1. I left my talent agency Sovereign Talent Group after my 6+ years with them as the last two years yielded barely any auditions (4 this year, 8 in 2018). Via my manager at Authentic who I now have been with for over a year, I switched out to be signed with Anthony Boyer at DDO who turned out to be a wonderful match since he is passionate about theatre in addition to the standard TV + film fare.
  2. That being said, despite these new changes, this year was not exactly a SPECTACULAR year in terms of numbers for theatrical auditions (23, 27 if I count the 4 auditions Sovereign got me before I dropped them in August) but certainly MUCH better than last year where I barely cracked double digits from both my previous manager and agent combined. I’m truthfully not terribly bothered as detailed in my next point below:
  3. Most of my bookings this year came from self submissions which tells me I will never, ever give up submitting on ActorsAccess and other realms (Facebook actually has been a good source for a few of them). Many of these projects, especially the SAG-AFTRA Radio Plays and the Allegiance North Korean short film, were some of the most fun and challenging I ever had in my career.
  4. I was fortunate to audition for more theatre companies than I ever had in my previous years combined, which included the Fountain Theatre, Berkeley Repertory Theatre, American Stage, Antaeus Theatre Company, South Coast Repertory, La Mirada Theatre for the Performing Arts, East West Players, Sacred Fools Theater Company, Boston Court Pasadena, and finally Echo Theater Company (for the new year). I got quite close to a few of them but in the end, it was a privilege auditioning for these companies.
  5. This was the first year I ever had to turn down a good-paying acting gig and that was doing the play Vietgone for the second time at the American Stage Repertory. It would have been a fantastic opportunity to revisit the play I did in Arkansas last year for a different character, but with the play being in Florida and rehearsals & performances smack in the middle of episodic season, I made the hard choice of declining the offer. However, I don’t regret it to this day as during this time, I was able to book an HBO co-star and thus ending my 2-year drought of booking TV shows.
  6. The co-star role did not have a breakdown released so it was through my relations with that casting office over the years that I got the audition. It was a tiny role but it felt good to be working on a TV show again.
  7. This was a year of delving hardcore into musical theatre and Shakespeare, both of which yielded results in the form of being hired for a South Coast Repertory musical workshop and being on avail for an Antaeus Shakespeare production. Although I was not fully hired for either of the productions (recast for the full-on SCR musical and released from the Antaeus production), it was nevertheless an honor ESPECIALLY since this is the first time I ever been hired to sing and get close to spewing Shakespearean dialogue.
  8. It really is fantastic being hired by your friends and this year had four, with the EDGE OF INTERNMENT short film, the Waves and UCLA Law School industrial & an IAMA THEATRE COMPANY staged reading, all made possible by producer Ally Iseman, producer Leslie Wong, director Faye Viviana, and director Alana Dietze respectively.
  9. I’ve been with Atlas Talent for over a year now and VO auditions were bountiful. While I certainly received a ton of them this year (175 to be exact) from my agent, I booked only one job.
  10. But considering that job was to dub a few characters for my childhood anime Neon Genesis Evangelion, I really can’t complain. I’ll definitely say that VO auditions are hard and for a newbie like me, I still have a lot to learn but the opportunities were extraordinarily fun.
  11. Through my own self submissions, I booked 3 other VO jobs, one for a Netflix documentary, one for a local radio spot, and the other for an incredibly silly USC short film.
  12. In the commercial realm, I had the lucky privilege of having my leftover 2018 UPS Store commercial have another full-on run this year and pretty much paid for a hefty chunk of my life in that time period. If I didn’t book another commercial, I would have been fine as I qualified for my actor health insurance for 2020.
  13. Buuuuuuut right before this year ended, I was fortunate to book a rather awesome one to cap off 2019 that will start off 2020 with a glorious job as it shoots in the new year.

And there you have it. 2019 in a nutshell. Here’s hoping that 2020 is just as kickass!—For more info on Edward, check out his blog and website.PS. Looking to generate more TV/film auditions for yourself?  Then make sure to join us at Jona’s free workshop: Book TV/Film On Your OWN.  

How to Break-Up… Gracefully

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How to Break-Up… Gracefully

We all know that feeling. It’s the feeling that it’s probably time to break-up with your agent or manager. The circumstances and reasons can vary. 

They haven’t returned your emails or calls. The number of casting appointments has dropped. There’s been a change at their office and the new team just isn’t clicking for you. It’s become clear your current team cannot generate the level of opportunities you are now seeking or get you in the rooms you would most excel in. 

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You’ve thought about it, meditated on it, talked to trusted friends and advisors and even prayed. It’s clear. It’s time to part ways. The question is how? Here are a few simple tips to help make the breaking-up process professional and as painless as possible. 

STEP 1: Write a list of all the reasons why it’s time to part ways

Once the list is complete identify the strongest reason for the break-up. Only put forth this singular reason for the break-up when you tell the rep your decision. The rep may attempt to dig further and get more information. Don’t go for it. This can make a pleasant professional break-up turn nasty.

It’s natural for a person to present counter-arguments to any reasons for the break. It’s a sensitive conversation and it’s easy for people to become defensive. No matter how many times they ask for other reasons, keep going back to the singular strongest reason for the break-up and you’ll curb unnecessary tension. 

STEP 2: Call the Rep

I know it’s so tempting to just send an email. Remember our goal here is to break-up gracefully. Although a call may feel much harder it’s the respectful way to end your relationship with a rep. Most actor, -rep relationships start with a meeting. Reps then work for free to curate opportunities for clients.

A phone call after that level of investment on the rep’s part is reasonable. Be sure to maintain a calm and non-judgmental tone on the phone. As an actor you know how it feels to take a no personal, even if it’s a business decision. 

CAVEAT: If you happen to be breaking-up with your agent and you have a manager. You can ask the manager to call on your behalf. But, when you can do it, the personal touch might be best. 

STEP 3: Send an Email

The last thing every  actor should say on the call to their rep is to expect an email formalizing your departure. It’s important to put everything in writing. The provides a reference point in the future should there be any dispute about commission. 

If you’re concerned at all, consider tracking your email using readnotify.com or other tracking source you you know your email was received and opened. 

BONUS: Expressions of gratitude during the call before you deliver the news you are leaving or in the follow-up email is a nice touch. 

Here are a few examples

·     “I just want to say how much I appreciate you believing in me and working so hard on my behalf” 

·     “I’d like to start by thanking you so much for the opportunity” 

·     “I will be forever grateful for what we have built together”

CAVEAT: They might respond to the compliment saying, “Well, if I’m so great. Why are you leaving. It doesn’t make sense.” At this point, I don’t recommend falling into a back-and-forth email chain trying to prove your point.  You’ve said your piece and it’s time to move on. 

 That’s it! These steps don’t guarantee a smooth breaking-up process but they certainly make it more likely. 

Be brave and be gracefully;)

–Coach Alysia 

How to Handle a Booking Slump Part 2: Re-inspiring Your Reps

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How to Handle a Booking Slump Part 2: Re-inspiring Your Reps

Every actor goes through a period in their career where, no matter what you do, no matter how right the role, the booking seems to go the other way. It happens to all of us! Once that audition’s done, it’s completely out of our hands as actors. 

So, rather than stress about it, focus on what you can control because It’s how we handle the things we can control that determine the longevity and success of our careers. It can be hard to keep going in the midst of a booking slump- you relive the glory days of bookings past, you question what needs to change about your career, and wonder what your reps think of you now. Are you at risk of getting dropped from their roster?Another example of something you can’t totally control. But you can re-inspire your reps. Here’s how: Talented actors who are also smart business people are few and far between. Establishing yourself as both and demonstrating your resilience in times of adversity will help you stand out on their roster as a future success story that’s worth putting in the work for now.

Express Gratitude

Being an agent or manager can be a thankless job (unless their clients are booking like crazy and they’re finally reaping the commission dollars for their hard work). Sending a heartfelt thank you for the time and effort they put in for your career on a daily basis even when you don’t book will make you stand out as a client they want to keep working with.

Even if you haven’t gotten an audition in a while, that doesn’t mean your reps aren’t pushing hard to get you that appointment. Smart business people make sure their team feels seen and recognized for their hard work, especially if it’s been an uphill battle.

Improve Your Product

Yes, it’s been a little while since your last booking. But think of this as time to level-up so you come back bigger and better than ever before. What new, exciting improvements has your product developed during this off-period? What have you done to make sure your craft, art, and business stay sharp and relevant in the marketplace?

Did you get great new headshots that capture your essence in a different-but-still-on-brand way? Did you get into a new acting class? Write or produce a project of your own? Start working with a new coach? Share these updates with your reps so they know you’re constantly improving, regardless of recent audition outcomes.

Give Your Team New Sales Tactics

Your reps are your sales team. When one tactic isn’t working, it’s important to supply them with new selling points. Think of your career from their standpoint- what could you do or give your team to make it easier for them to sell you to casting directors? Reaching out and posing this question to your reps demonstrates initiative, drive, and leadership – all qualities of a strong business partner.

In terms of sales materials, besides updated headshots and acting clips on my casting profiles, I have all my past self-tapes in a hidden tab on my website that only my reps have the link to. There is a brief description under each video about the show, role, and any other distinctive, pitch-worthy notes, like if I’m speaking another language or with an accent, or if this tape got me a callback or booking. This gives my team easy access to past materials that may not be available on my casting profiles, but can be useful when pitching for a similar role. (**It’s important to upload these as unlisted or private links, especially if it’s new material that hasn’t aired.)

My reps were excited about these materials because they’d never even seen some of the older tapes, but now have access to a wider scope of my acting ability and can easily use these tapes when a pitch calls for it. 

Networking is another huge way to boost your career. Have you made a new industry connection with someone who could potentially give you job opportunities? Make sure to let your reps know – it’s incredibly useful as a pitch point when an appropriate role for you on their show pops up! Not sure how to engage industry players? 

In Career ACTivate’s networking class, we talk about creative, out of the box ideas to make strong industry connections. 

It can be hard to stay enthusiastic when you haven’t booked in a while. But as CEO of your business, it’s your job to keep your team motivated and excited about all the bookings yet to come! Take the time to give thanks to the hard workers who keep pushing for opportunities for you, then communicate all the exciting updates you’re making to the product they’re pushing.

Demonstrate resilience and adaptability to business challenges and inspire your team to keep believing in you. They wouldn’t be working with you if they didn’t!

–Melody 

Getting Over a Booking Slump

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Getting Over a Booking Slump

It’s Been a While Since You’ve Booked…Now What? 

This industry we love so much is an inevitable mix of high highs and low lows. All it takes is one booking to change your whole week, month, maybe even year. But what do you do if you haven’t booked in a while, have lost some traction in your career, and can’t seem to get yourself out of that booking rut?Here are a few things to keep yourself going when that elusive next booking seems perpetually just out of reach.

Mindset

Every successful person has had to ride both ends of the wave – success and glory, gained from accomplishing whatever task they set out to accomplish, followed by withdrawal or failure as they seek to follow that achievement with another. The truth is that booking slumps happen to every actor.

The successful ones understand that slumps are a part of the game.  They don’t fall into a dramatic story. Instead, they take this time to reevaluate their goals and methods, and inevitably decide to keep putting in the work.

Think about what you want for your career and your life. .What’s changed over time? Does this career path still make you happy? Is it still worth the work and occasional emotional anguish? If so, congrats. You’ve reconfirmed your dedication to the work. Keep going.

Actions

For those of us still in it, here are steps we can take to move us through this often-frustrating period.

Reconnect with your team 

This could be your reps, PR team, career coach, or even acting coach. Get their thoughts and feedback on what’s working and what’s not. Do you need to update your materials? Explore a new class? These are all things within your control.

Your team has skin in the game. You booking makes everyone look good. Take this time to get another opinion on your career while reconnecting with the people who work with you and for you.

Surround yourself with people who support you emotionally 

Hopefully, these are relationships you nurture regularly – not just in your career or emotional low points. Don’t skimp on showing your friends and loved ones how much their support means to you and make sure to return that support! It’ll come in handy when you need it.

Hands down, the best way to get the right kind of support is to hire a coach; someone who can provide an expert, objective opinion to point out your blind spots and highlight your goals.  Coaches are the perfect GPS system to help you navigate what to do to get out of your booking slump and back on track. 

If you don’t have a coach and want a great one, click here.

Learn from successful people 

Google actors of the same ‘type’ as you who are working, who have booked the roles you’ve gone out for, maybe even consistently. Where are they training? Who do they coach with? Who do they surround themselves with? What events do they attend? Who took their headshots?

Put some time and energy into researching (via Google, IMDb, social media) what people slightly further along than you in their careers consistently do to see if there is anything worth emulating. You might pick up some useful tips!

Shake things up. 

Try a new class. 

The quickest way out of a slump is to change things up.  Maybe it’s time to try a new class or an improv class. This will get you out of your training comfort zone and bring new energy into your auditions. Tip: Some acting teachers also work in casting.

Volunteer 

Not only is it good for the soul and good karma points, but it’s a great way to meet industry people in a fun environment where you’re there to give to a common cause.

If there’s one thing many successful people  have in common, it’s giving back. Look for upcoming industry charity events and reach out to see how you can help. It’s free labor for them and free admission to a probably otherwise pricey event for you. Google industry events or follow producers/directors/writers/casting professionals on social media to learn about upcoming events.

Reach out to congratulate or thank your contacts 

–       Part of our work as actors is just to remind people that we’re here and we’re available to work! Maintain regular contact with people who have the power to bring you in for roles.   Sometimes breaking your booking slump can be as easy as getting in more rooms.

–  Contacts can be anyone you’ve actually had contact with, or just someone you aspire to connect with.

–       Don’t have their contact info? Try researching on IMDbPro, reaching out through contact forms on their website, or, perhaps easiest of all tag them on social media.

Congratulations

–       No one ever gets sick of being congratulated for an exciting accomplishment. Mark your calendar for when award nominations come out. Congratulate casting/producers/showrunners/other actors for nominations, wins, anniversaries, show renewals, pilot pickups.

–       An easy way is to view Instagram stories, where people tend to announce exciting wins and provide timely updates.

Thank You

–       For class, for an insightful blog/vlog, for this movie/show you created that impacted my life or helped me see issues in a new light, for making me laugh when my life sucks, etc. No one gets tired of being thanked. Just make it genuine. And maybe even make them laugh.

Refrain from negativity and excuses 

Sure, dark thoughts come up in dark times. Acknowledge them, know that they don’t define you, and as soon as you feel ready, release them.

Excuses tend to come up when you feel  stuck and helpless. They free you from a sense of responsibility to take charge of our careers. After all, if you can’t help or change your circumstances, why take any action at all?

That’s a quick way to turn this temporary slump into a permanent one. Excuses, fear, and lack of self-trust are the enemies of career traction. Think, “What are the steps I can take today, even if I may not see immediate returns?” and move forward from there.

You’ve chosen a very unpredictable journey. But the good and bad news is that it’s cyclical. The high points don’t last forever , and neither do the lows. Keep your friends close, keep building your contacts, acknowledge that the wins are absolutely worth the challenges, and use that knowledge to just keep going.

You got this!

–Melody 

When is the right time to join SAG-AFTRA?

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When is the right time to join SAG-AFTRA?

This is a golden question for all actors!

Before I moved to LA I was given all sorts of mixed opinions on when I should join the union.

The nuanced titles were also a bit confusing from being Non-Union vs SAG-Eligible vs SAG-AFTRA member.

This blog will explore each category and explain the pros and cons so you can feel confident about your union status.

Photo of director clap. You'll see a lot more of those if you join Central Casting in Los Angeles

Non-Union

In other words you have no affiliation or association with SAG-AFTRA. You can seamlessly be hired for any projects that are not associated with SAG-AFTRA and technically union projects as well but not as easily.

The PROS

PRO: There are a lot more non-union opportunities, projects casting at any given time.

PRO: Most commercial reps are very pro working with non-union actors as there are a ton of opportunities and they receive a large commission check of 20% as opposed to 10% for union commercials.

The CONS

There is no official vetting or protection in place for actors on most non-union projects such as overtime pay, insurance, and residuals to name a few.

CON: While you might be able to still audition for episodic productions and union commercials the chances of you getting a callback/booking are slimmer due to the fast turnaround most projects have and the extra hoops production must jump through in order to approve you for the job.

CON: Some agents and managers may pressure actors to stay non-union “as long as possible” since their commission on non-union work is 20%. This makes it important to ask yourself if the advice you’re being given is putting your career goals first versus a bigger commission for your reps. If this is resonating with you, and you’re more focused on booking episodic work it might be time to assess if your reps have the interest and incentive to help you reach your goal.

Industry Take One

When speaking to a decision maker for a very well known network procedural I asked them how often they “Taft-Harley” actors. Their answer? “Very rarely because I have to prove you’re the only person outside of all the union actors to do this union job, which can be cumbersome.” I’m not saying that no one Taft-Harleys actors ever but with the super fast landscape of TV it does make sense to help move the decision making process easier by need less paperwork for production.

This gets a little complicated because in order for an episodic production to hire you they have to fill out paperwork, including a form known as Taft-Hartley. In theory it sounds very easy but often times production, especially in TV has a very quick turnaround and if they need you on set tomorrow or next week they might not have time to fill out the paperwork completed and approved by SAG.

SAG-AFTRA Eligible

If you get hired for a SAG-AFTRA job as a non-union talent you don’t have to join unless you’ve worked 3 union jobs or been hired to be on set for over 30 days as of August 2019.

The PROS

SAG-AFTRA Eligible is a sweet spot according to many (especially reps) because if you want, you can still do non-union work and at the same time be hired seamlessly (sans the initial paperwork) for union jobs.

PRO: If you don’t have a ton of credits and footage many reps prefer that you be SAG-E so that you can get some more experience on set via non union productions but still go out episodically with a fair chance of booking.

The CONS

THE CON: Some offices won’t bring in actors who are SAG-AFTRA eligible

Industry Take Two

I recently auditioned for a major cable drama. I’d sent the casting office a postcard that mentioned I’d just joined SAG. At the audition, I had a chance to chat with the associate. I said I loved the show and I knew my reps had been submitting me for their show so I was happy to finally be seen. The associate mentioned to me that she had wanted to bring me in previously but my union status was “SAG-E” and they only saw actors that are SAG. This was very enlightening to me- that something as nuanced as being SAG-E vs SAG can affect your chances of getting into certain offices.

SAG-AFTRA member

The PROS

You can be hired for any union production without casting/production having to worry about paperwork

PRO: You gain access to a ton of amazing opportunities via SAG-AFTRA such as free industry workshops, networking events to name a fewPRO: You can still AUDITION for non-union productions, and you can encourage that production to complete the union paperwork if they want to hire you.  

The CONS

Some reps might be discouraged to work with actors that are SAG and don’t have a lot of footage.

CON: You can’t do non-union commercials, film and episodic work

Food for thought

To join SAG-AFTRA is a rite of passage for any actor and there is the common argument that if you join SAG-AFTRA you are limited to union work. As someone who hasn’t been acting for very long I knew I needed more footage- so did it make sense to join SAG-AFTRA after just a year into being in LA? It did. I received great advice from one of my pro-union reps (I promise they exist!) who pointed out that non-union productions often don’t cover insurance, overtime or have any guidelines to follow. With the plethora of SAG projects today from New Media to even Student Films there has never been a shortage of SAG productions.

–Alexander​

P.S. Looking to find representation that will support you whether you’re union or non-union? Check out our upcoming FREE class, GET SIGNED: 3 Insider Strategies To Get An Agent Who Fights For You!

What Thomas Jefferson, Emily Cook, and Michael Phelps Can Teach Us About Audition Mindset

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What Thomas Jefferson, Emily Cook, and Michael Phelps Can Teach Us About Audition Mindset

How is your pre-audition mindset?

You get an email from your agent with a “big” audition. What is the first thing you feel? 

BE HONEST!

Recently I got an audition for a recurring role on my favorite show!  Truthfully, the first thing I felt was fear and a massive lurch in my stomach.

I’ve blogged about How to Avoid Waiting Room Mind Games, but what about your mindset before you even get to the waiting room?

How do you feel? What thoughts run through your head.

As Thomas Jefferson said, “Nothing can stop a man with the right mental attitude from achieving his goal; nothing on earth can help the man with the wrong mental attitude.”

Here are three tools to help you increase your confidence and improve your audition mindset!

Back to that massive stomach lurch…

As I wrote in How to Avoid Waiting Room Mind Games, that rush of fear is just energy and I’m quick to re-label it as excitement.  I’m pretty much gonna have a “nervous stomach” on and off until the audition is over.  I’ve learned to love and accept, that’s just what my body does! 

Note: I realize that labeling an audition as “big” isn’t necessarily helpful to your mindset. However,  I feel auditions are mostly all “big” for me, just for very different reasons; sometimes it’s a new casting office I’m meeting, or the 5th time I’ve auditioned for a specific show so the odds seems in my favor or perhaps I feel “perfect” for the role. So, in this case, the modifier “Big” doesn’t really mean anything.

On this particular day I went into a tailspin immediately about scheduling: when was I going to work on the sides, should I cancel my dinner plans with friends, could I juggle my busy schedule. 

From my vantage point today, I had plenty of time and of course, I should NOT cancel dinner with friends I hadn’t seen in 6 months. I’m clear that somehow as-if-by-magic my schedule always works out BUT in the moment it manifested in my body as a swirling, energetic… not quite panic… but HIGH alert.  

So, what could I do – right there in the moment to shift out my tailspin and get grounded again?  

Here goes…

First step…

EMOTIONAL FREEDOM TECHNIQUE (EFT)  

EFT is done by lightly tapping on your body’s meridian points with your fingertips while speaking out loud about the issue/fear you are experiencing.  Similar to acupuncture, as you stimulate these meridians you trigger the amygdala (fight or flight) and signal it to calm down.

You start by acknowledging the size of the sensation/fear.  (In this case, it was about a 10/10.) 

Then you tap on your hand and acknowledge that even though you have this fear, you “completely love and accept yourself.” 

Then you cycle through the 7 meridian points (Top of head, eyebrow, side of the eye, under eye, under your nose, chin, collar bone and underarm) until the feeling/fear inevitably shifts. 

I won’t annotate the whole process but an abbreviated version might sound something like this – 

I feel really stressed…I feel nervous…I feel a lot of energy in my stomach…I want to do a great job…I want to be perfect…I’m scared I don’t have enough time

…but after some time it starts to shift to things like…. 

My schedule always works out for me…I have plenty of support…This is going to be fun…I celebrate this audition…This is a great role for me…I release my need to be perfect…My only job is to have fun…

When I finished my panic was at a 0/10 and I felt so much lighter.  I was grateful and excited to prep my audition. 

Generally, I tap for 3-7 minutes until I feel the energy shift.  For a deeper understanding of EFT, Gabby Bernstein has some great videos illustrating tapping and I also recommend checking out Nick Ortner and TheTappingSolution.com

When I first started tapping it felt a bit awkward, now it is a wonderful tool to have in my tool belt.  

Give it a try and let me know what you think inside our Career ACTivate Facebook group.

On the day of an Audition, I like to use one of two mindset tools.  The first is…

VISUALIZATION 

The power of visualization is being increasingly recognized.  The subconscious cannot tell the difference between something that is visualized and something that is real. 

Though the details matter, as Emily Cook, a U.S. freestyle aerials Olympian (who used visualization in her training) says “You have to smell it, you have to hear it. You have to feel it, everything.”

Michael Phelps famously spends hours visualizing himself winning. His coach, Bob Bowman, believes “When we set goals in business, sports, or any area of achievement, there’s a gap between where we are and where we want to be. The most strongly held mental picture is where you’ll be… so get really good at mental rehearsal,” and advises, “If you can form a strong mental picture and visualize yourself doing it, your brain will immediately find ways to get you there.”

I’m a fan of Wendy Braun, an actress and visualization expert who is masterful at creating guided visualizations for actors.  You can even download, Success in the Audition Room, for FREE on her website. Using all five senses, Wendy talks you through the whole audition process from signing in to leaving the room, proud of your work.  

OR

If you prefer writing, the other mindset I use is…

WRITING A BHAVANA  

In Sanskrit Bhavana means, developing, cultivating or “calling into being.”  In first-person, using all five senses you write in detail the best-case scenario of your audition from walking from your car to leaving the audition room. 

It might start something like this, “There was no traffic so I arrive in plenty of time, find a dream parking space and cross the street to the casting office.  My heels make a fun clicking noise on the sidewalk. It is a gorgeous day and I notice the brilliant blue sky and feel the sun on my face. I feel relaxed, ready for my audition and grateful for the opportunity. I enter the office and greet the assistant, she gives me a big smile and compliments my dress…..”  

And yes, you are literally making it all up! Have fun with it! Some people call this writing exercise An Ideal Scene.  Even if the audition reality is very different than your ideal scene, it will give you immeasurable confidence.

I hope these tools help. Give them a try and let me know how it goes!

Happy Auditioning!

PS.Want to flex these new mindset muscles, but need more auditions? Check out our FREE class: Get Signed! 3 Insider Strategies To Get An Agent

-Coach  Sarah

How to Build + Maintain a Strong Relationship with Your Reps

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How to Build + Maintain a Strong Relationship with Your Reps

 Strong relationships are the key to getting to the next level 

No matter where you are in your career, strong relationships are the key to getting to the next level.  Yet, many actors don’t invest energy into cultivating a deeper connection with their reps.

Here are a few tips to help you build build and maintain strong relationships with your team so you can feel confident and trust they’re working hard on your behalf. Whether you’re currently signed with agents and a manager or are looking to create new contacts, here are a few ways to foster a positive collaborative experience!

Assistants Are Your Best Friend 

Trying to get through to a rep for a phone call or to set up a meeting? Their assistant, if they have one, is likely your first point of contact who happens to also have the power to move around their schedule and basically be your best friend. If you gain their trust, they have the ability to provide you with some insight and access into the inner workings of the office. Invite them out to lunch or coffee, include them whenever you swing by the office to drop off goodies, and, if they don’t seem too busy, spend a few minutes chatting and catching up so you get to know them on a personal level.

Know Everyone’s Birthdays 

Yes, everyone’s. This includes the assistants. 

I once emailed one of my reps with an ask on their birthday without saying happy birthday because I didn’t know it was their birthday. I am an asshole. Don’t be like me. Look up your reps’ birthdays on Facebook if it’s available. If not, ask their assistants or ask them directly. Don’t worry about spending a bunch of money on expensive gifts. Just send them something thoughtful. DoorDash them a birthday lunch, take them out for a drink sometime during their birthday week, or just send them an email saying HAPPY BIRTHDAY YOU LOOK YOUNGER EVERY YEAR!!

Know Their Hobbies and Interests 

Take this tip from someone who’s sat through a countless number of corporate interviews and rep meetings- the way to be memorable is to talk about anything besides work.

So, take the time to do some social media sleuthing to learn what interests (outside the industry) your reps have. Whenever you’re together,  Make a memorable impression by shifting the mood in the room with your presence- keep the conversation fun and lighthearted and they’ll forget they’re still at work. Ask them about things that make them happy- their hobbies, family, interests. This knowledge will also come in handy when you bring gifts for birthdays, holidays, as a thank you, to say congratulations, or just because.

Do Holiday Drop-Ins Around Thanksgiving 

Once it hits the second week of December, as agent and manager offices get ready to close for the holidays, it can be mass chaos as clients come in to drop off holiday gifts and get in a little face time before network pilot season. With so many clients coming and going within the span of a couple days or weeks, it can be easy to get lost in the mix. Who brought what gifts for whom? Who’s going where for vacation? Conversations are rushed and repetitive.

To prevent this, I suggest dropping in for the holidays in November versus December, if possible. “The holidays” technically start with Thanksgiving. And what more appropriate time to stop in and give thanks than around the holiday specifically set aside to give thanks? It’s less crowded, and reps will likely have more time to chat with you one-on-one without being pulled away with the arrival of another client during holiday open office hours.

Or maybe you can pick another favorite holiday at a totally different time of year to drop in.  Remember what I said earlier about building trust with the assistant? National Assistant’s Day is in April…  just sayin’.

Know Their Preferred Communication Style 

Another thing to discuss during your initial meeting is their preferred mode and frequency of contact with clients. Some reps want to chat on the phone about your life every week, some only reach out to communicate bookings. Some like email, some want to sit down in person, it’s impossible to gauge so make sure to get clarify on their preferences upfront.

Use a Compliment Sandwich 

When asking for something or delivering a piece of feedback that could be taken negatively, a compliment sandwich is as useful tool. Sandwich that piece of feedback or that ask in between two positive, complimentary statements about things that are working or that they are doing well. This softens the message without changing it, and prevents feedback from being received in a harsher way than intended, fostering more productive communication between you and your team.

Be Thoughtful and Considerate 

To your team, and to people in your life in general! So you don’t gain a reputation as the client who only reaches out when you want something, I recommend periodically emailing your reps without an ask.

Just simply, “I saw this online yesterday and thought of you!” or just dropping in occasionally when you’re in the neighborhood for a (super) quick chat. Remember to be respectful of their time, but also show that you’re thinking of them and ways to make their day better!

Reach out once in a while with a value-add but no ask, and I guarantee you’ll stand out from the pack! Just don’t spam their inboxes too often. Use your discretion and take their preferred communication frequency into consideration!

Reps are part of a team that you’ve built so you can optimize profits as a business together. Treat them like the valued, respected coworkers they are and even if it doesn’t ultimately work out in a business sense, you’ll maintain a positive interpersonal relationship that could play out for your career down the line!

-Coach  Melody

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