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The One

How To Know When You’ve Found The One…Agent Or Manager Who’s Right For You

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So you’re a free agent on the prowl for new representation. You’ve made your outreach list, brainstormed some solid opening lines, slid into a few DMs to test the waters, and adequately stalked your targets on the socials. It’s time to shoot your shot. 

Hold on. Before you dip your toe into the representation dating pool in hopes of connecting with the rep of your dreams, there’s one thing on which you absolutely need to have clarity.

What is it you’re really looking for?

 

Yes, obviously you want new representation. But what is it that you specifically want out of this relationship?Often actors scroll through IMDb to find a match, go on a few dates, and eventually settle down with a rep (Yay! Congrats!!), only to find months or years down the line that this partnership can’t be sustained due to irreconcilable differences.It’s best to be clear and upfront from the beginning as to what it is you need out of this relationship, so you don’t enter into the wrong one. Just like in dating, you’re unlikely to get ideal results by swiping right on everyone. You ultimately just want a right swipe from the person that’s right for you. How do you know when you’ve found The One?Here are a few things to consider when deciding whether a potential rep is worth the monogamy. 

How many other people are they currently seeing?

Do you want a boutique company with a small roster, ex. A manager who works alone and has a roster of 30, or an agency with 100 clients? Or would you want to partner with a large company that has hundreds of clients shared between teams of multiple reps?

Are they down for an open relationship?

As in…are they open to sharing you with reps in other regions? Some reps split commission between them. This is a topic to bring up if you’re a local hire in other cities and are considering, or may already have, reps in other markets.

How do they view their role in your partnership?

Every agent and manager has different expectations when it comes to the part they play in a client’s career. Agent roles are, for the most part, pretty straightforward- they pitch you to potential clients and negotiate contracts.Managers can vary greatly in how they view and execute their roles. Some managers help develop your materials and set you up with agents that will get you auditions. Other managers are more hands-on and will also pitch you themselves. Some want to be involved in all areas of your career, some just focus on the theatrical aspect.Be clear on what would be most helpful to you.

Who else are they currently seeing?

What level of actors would you like to see on their roster? Would you want to be a developmental version of someone they already work with? This could be an advantage if the celebrity version of you passes on roles you’re also right for.Are you interested in a company that also has a lit department? That represents directors/producers/writers as well as actors?

Will they make you sign a contract?

Run. Just kidding. Kind of. But at least know what terms you’re willing to agree to. Anything can be negotiated, including the existence of a contract itself, but the most commonly negotiated terms are:

  •  What and how much reps commission.
    <li “=”” dir=”ltr” tve-droppable”=””>On-camera agents commission 10% in their respective departments. Managers vary between 10%-15% and may either commission just theatrically, or across the board.
  • Length of the contract. Some might give you an easy out in the first few months if either party decides it’s not working. Look out for contracts that automatically renew for the same duration if no written notice is given.

What is their expectation of you?

I have friends who were formerly repped by large, celebrity-filled agencies and said they auditioned for great roles non-stop for 3 months, but when they didn’t book a series regular in that time, they got dropped from the roster. Yikes. That’s a lot of pressure. How would your ideal partner handle a booking slump? What would they realistically expect of you, and is this something you feel you can manage?

Who are their friends?

If your ultimate goal is to be a series regular on a half-hour sitcom, you’re more likely to have success if your rep has great contacts in the comedy world.A good question to ask in a meeting would be, “Which offices most often call your clients in to audition?”You can also research on IMDb to see what their clients have recently booked.Even if you’re not looking for an LTR with your next rep, working with one that has connections in line with your long term goals can help you land the bookings you need to get to where you want to be. 

What do their exes have to say about them?

If you know anyone who’s previously been represented by them, get the dirt. Why didn’t it work out? Is their answer to this question something you can work with? Know that people grow and change, and your relationship might be completely different from the experience of this particular ex(-client). But it’s always a good idea to be aware of potential red flags before committing.

What’s their communication style?

Any successful relationship requires clear communication. How communicative would you like your reps to be? Some want to chat with clients monthly, others are super accessible via DM, and some communicate on an as-needed basis (read: only when you book). What’s your ideal (but realistic) turnaround time if you reach out via phone or email?

Before you seek out a partner, answer these questions honestly for yourself, and rank them in order of importance. Not all of these elements will hold equal weight. Then, assess the reps you’re considering in terms of how well they fit what’s most important to you at this stage of your career. 

This will help make sure you don’t settle for someone that’s wrong for you just because they’re willing and available. 

Ugh. We’ve all been there.

Also, if you want tips on how to partner with a great rep now, check out our The Insider System Course HERE.

 

Promoting projects in a classy way

How To Promote Your Bookings In A Classy Way

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What if promoting projects you’re in helped open doors to you being cast in future projects? Promoting projects not only aids in building your fan base, it also can leverage new opportunities, as it shows filmmakers how valuable you are to the success of their film. It also shows other storytellers that you’re excited to promote, which increases the likelihood of them considering YOU for their future projects.

Below, I go over some tips on ways to effectively promote your projects on social media, at film festivals and through digital/physical mailers.

Digital Postcards

With so many free design programs out there, it’s relatively easy for you to create digital mailers that you can email or post to your social media channels. And if you’re not too graphically inclined, you could even have someone create one for you for pretty cheap (check out FIVERR.com!). 

What to put on the image?

Using a program like Canva or Photoshop, create an image that includes your photo, the name of the project, dates of when one can watch it, and some other fun info. For example, if you book the role of Mercutio in ‘Romeo and Juliet,’ you could have a postcard with your headshot, a phrase saying “Just booked Mercutio!”, the name and address of the theater along with the show dates, and a fun little quote from the play, like “True, I talk of dreams/ Which are the children of an idle brain, /Begot of nothing but vain fantasy.”

IBWAK

Where do I post the image?

Post this digital postcard on Facebook, Twitter, Pinterest, Instagram, etc! Create posts on your social media channels and tag the filmmakers, playwrights, crew members, other actors, everyone involved. Let the world know about your incredible work and the incredible people that you got to work with. Make sure to reply to comments and say thank you for all the amazing support you get on these posts.

Email your digital postcard.

When people in the industry ask you to keep them updated on what you’ve got going on, make sure you do just that! Email them your digital postcard! Let them know about a booking or a play, the type of role you’re playing, what excites you about the project. Keep it relatively short and sweet. And if there’s a live performance or screening, invite them to watch.

Hard Copy Postcards

Another way to promote your good news is through traditional, hard copy postcards/mailers. Take the digital image you’d created for your social media posts above and adjust slightly.Add a little more info:Postcards have lots of space on the back that can be utilized to showcase a bit more of your personality. Add a little note about the project, for example, “I’m super excited to be working opposite so-and-so actor, and it’s been fun to get to play this type of character.” Make sure to put your (or your rep’s) contact info and be sure to address the postcard to the appropriate person. Send that baby off!

Create Multiple Mailers About The Same Booking!

A booking is a big deal and it should be shared multiple times. Use essentially the same template for each version of the mailer, but with different updates, like:1) Just booked!2) Just shot!3) Here’s a shot of me on set!4) Watch me on TV next week!5) I was on TV!6) Nominated for this award!7) The Reviews are in! (Be smart with this… Spread out these updates, especially if you are sending them to someone’s inbox)

Film Festival Promotion

A great part of our industry is that there are a multitude of festivals that are screening our projects, which creates so many opportunities for people to see our work. There are a lot of cool ways to promote film festivals and screenings, and here are some ideas for you.

Film Festival Promotion

A great part of our industry is that there are a multitude of festivals that are screening our projects, which creates so many opportunities for people to see our work. There are a lot of cool ways to promote film festivals and screenings, and here are some ideas for you.

Promoting On Social Media

Stills from a project are a great way to get promo images and to create a digital postcard, especially if you are growing tired of using your headshot for everything. Pull a still or screengrab with you in it, and then using an image editing software, add the laurels for that festival somewhere on the still. Also add info about the screening times and locations. Remember to ask the creators if this is ok to do, especially if you’ve been given an NDA to sign. Filmmakers do love it when people promote their projects, just clear everything with them beforehand :)Post these stills on social media + tag your collaborators

Just like the digital postcards above, post these images onto your social media channels. Make sure to tag the festival and the filmmakers. Make sure to THANK the festival for selecting the project you’re a part of! Oftentimes festivals will repost these types of posts, which allows your work to be seen by even more people.

REMEMBER: Promoting projects makes you look good to the producers, filmmakers, other actors, because you’re also promoting them. Whenever I produce a project, I make note of who in the cast/crew actively promotes the film on social media. It’s free advertising for my project, and it encourages me to work with those people again because it simply means that more people are becoming aware of the project.

Coach Rachel
DOs and DON’Ts During the Industry Shutdown

DOs and DON’Ts During the Industry Shutdown

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While the industry remains shut down and it feels like we’re stuck in an infinite time loop a la Lonely Island’s new Hulu movie Palm Springs, I’ve received  questions about outreach/marketing/general business etiquette, and wanted to address a few of them here. 

Bottom line: There are still (always) things you can do to drive your business, but make it a priority to maintain your sanity during these crazy times. Tackling the industry once it’s fully up and running will be a lot easier if you’re healthy mentally, physically, and emotionally!Here are some DOs and DON’Ts to keep in mind during the shutdown:

DON’T

Send snail mail

Most people aren’t in the office to receive it. If you have something to share, do it via social media or email. 

DO

Unplug if you need a break from the internet

This one seems self-explanatory. The news is bleak. I’m all for being an informed citizen, but know that it’s ok (and probably even necessary) to give yourself a break and recharge before hopping back in to stay up-to-date with this week’s developments.

DON’T

Be afraid to keep in touch

Beyond staying in communication with close friends and family, don’t be afraid to send out an e-newsletter to your business network to share an update. It could be career-related, but it doesn’t have to be. One tip I share with my clients is to keep a running Google doc of shareable announcements throughout the year. It can be hard to come up with this kind of stuff on the spot. Besides being an easy resource once it’s time to send out that bi-annual email blast, it’s also encouraging to look back and realize you have more exciting, newsworthy material than you thought. Jot them down as they happen- you’ll find more good things happen to you than you can think of at any given moment!Topics that are a great excuse to reach out to your business (or non-business) contacts:

  • Upcoming Zoom table read
  • VO/commercial booking
  • Film bookings! Some are being (re-)written so actors can tape in their homes on their phone, so they’re still happening!
  • Whatever video you last posted to social media (“just wanted to share!”)
  • Pandemic survival tips
  • Materials to support and encourage activism on social causes

If the people you desire to connect with are amongst the many turning to baking in their free time, maybe connect by including a pic of your latest doughy quarantine creation. A fringe Facebook connection posted a pic of homemade Hokkaido milk bread last week and it was so beautiful I haven’t been able to stop thinking about it. Way to stay top-of-mind, right?

DO

Engage on social media

Staying on the topic of keeping in touch, social media usage is up more than ever. It’s a great time to stalk some IG profiles and learn about what people you want to connect with value and respond to. Go ahead – respond to some IG stories and slide into some DMs. If they don’t follow you back (or even if they do), you might not get a response, but what’s the loss? There’s only the potential upside of forming a new relationship. 

Note: not everyone is on every format of social media, so if there’s someone you’re dying to connect with, search them on multiple platforms.

DO

Congratulate people

The most effective outreach happens when you make it about the other person. Even though pretty much nothing’s been filming over the past few months, people still have projects filmed a while ago that are airing for the first time. 

“How do I find out if someone has a project airing for the first time?”

Refer to the above section – the producers, writers, and directors are probably excitedly posting and reposting about it all over their socials.

Also, Emmy Award nominations came out July 28th. Did your industry contacts work on any of the nominated shows? Either way, congratulating someone on such an exciting career achievement is a great icebreaker and excuse to reach out to any producers/writers/CDs/directors/showrunners you’ve been wanting to e-meet!

DON’T

Continue to engage with people who were awful humans before the lockdown

The quarantine didn’t magically transform them into enlightened, compassionate beings. Assuming they don’t live with you, what an amazing opportunity to purge any unhealthy relationships!

DO

Collaborate on a new project

There’s never been a better time to finally start or finish that project you’ve had on the backburner. Since people have time now, reach out to someone you’ve been wanting to collaborate with. Taking on a partner and setting project goals as a team is also a good way to hold each other accountable.

Most importantly…

DO

Take care of yourself!

If any of this seems overwhelming, that’s totally ok. This list is meant to spur activity for anyone spinning their wheels thinking of ways to be productive with their downtime. However, it’s completely understandable to need more time than usual to unplug and unwind. Some days we have more energy than others. Do what you need to do to take care of you. On some (or, let’s be honest, most) days, that might mean not doing very much at all. And that’s absolutely perfect.

Simple Steps To Setting Up A Home VO Studio

Simple Steps To Setting Up A Home VO Studio

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As the pandemic keeps on keepin’ on, putting a majority of film/TV/commercials on hold, voiceover is the one area that hasn’t faltered. What has changed in these times is that the actors booking most of the VO work have access to a home studio.

More and more, actors are asked to state in their audition file what type of mic, audio interface, and remote connection we have, if any, and sound engineers weigh in on who gets hired. 

Bottom line? It’s not just about your acting anymore. Production teams need to know that the actor they hire has the equipment to deliver production quality sound. Which means that the sound quality of your audition file also matters. If your audition can be close to broadcast quality, you’ll only help your chances of booking the job.

If you’re new to a home VO setup, the equipment, cost, and technical stuff can be intimidating. The good news is, it’s much less complicated than it seems, and it doesn’t have to break the bank. 

Here, I’ll break down the basics of setting up a VO home studio and provide some additional resources. 

Step 1: Find A Good Location

Decide where to set up your equipment based on how soundproof the location is. Walk-in closets are great. I have a tiny closet under the stairs that I’ve turned into my own home studio.

Recently, an audio engineer told me that the treatment of your recording space matters more than your actual equipment, so choose wisely! Ideally, your studio setup is away from any noisy appliances or windows. 

Step 2: Sound Absorption

Cover up any reflective surfaces in your recording space with something that’ll prevent sound from bouncing around, like blankets or towels. To further soundproof, use the same materials to seal up any areas of light. If you’re open to spending a little more, you can also get acoustical blankets and foam specifically designed to soak up sound.

General principles: 

  • If there’s outside light coming in, there’s probably also outside sound coming in. Seal it up the best you can.
  • If it can soak up water, it can probably also soak up sound (use these materials to cover up reflective surfaces).
  • If it reflects a lot of light, it also probably reflects sound (cover up these surfaces with materials from above).

Step 3: Equipment

Finally, here’s what you’ll need once you have your space set up.Mic: Large diaphragm condenser mics are preferred by sound engineers over USB mics for sound quality. They range in price from about $200-$5000, so you’ll hopefully be able to find one that fits your budget.Mic Stand: Shock mounts are a separate piece and mitigate audio pickup if the mic moves subtly during your performance for any reason.Pop Filter: Mitigates the “popping” sound of plosives.Music Stand: Or something on which to prop up your script.Headphones: Over-the-ear vs. noise-cancelling headphones are used for studio recording.Audio Interface: Translates the audio signals going into the mic into the digital version that you can edit on your computer. The audio interface is hooked up to your mic on one end and your computer on the other with an XLR cable.

  • Audio interfaces commonly used by VO actors have a preamp built in, such as the FocusRite Scarlett series, which start around $110.
  • Preamps clarify and amplify the sound of your recording.
  • Audio interfaces only work with XLR (analog) mics- not USB mics.
  • USB mics plug directly into your computer and have a built-in digitizer, but with the tradeoff of lower sound quality.

Computer Laptop: Runs the recording software. Software (DAW): Whichever program you choose to do your recording and editing in. Audacity, Reaper, ProTools, and Twisted Wave are a few that are commonly used. Remote Connectivity: If you book a job, do you have ISDN, Source Connect, or ipDTL? All essentially allow your home studio to function and record a live session as if you were in a recording booth with the director in the next room.

  • ISDN requires a separate phone line. 
  • Source Connect Standard and ipDTL:
  • Both connect through WiFi, so make sure you have stable, high-speed WiFi!
  • Both programs run around $30-$35 per month, or you can purchase to own.
  • I’d recommend waiting to purchase remote connectivity until you book a job and need it.

Additional Resources

There’s plenty of information available online, from Youtube equipment reviews to sample home studio setups. Check out some additional resources here: 

A couple aptly titled YouTube tutorials:How to Turn a Crappy Closet into a Home Recording Studio on a BudgetSetting Up Your First Voice Booth

SAG-AFTRA FoundationFor union members, check back frequently for new VO classes that cover everything from auditioning for specific segments of VO to software tutorials and yes- classes about home studio setups, all run by working VO professionals.

Sweetwater.comThey’re not paying me to say this, but I purchased my preamp from this site and loved that their sales team, which largely consists of sound engineers, reached out to offer remote help with setup. I found this to be super reassuring since I’m not very tech-savvy. Also the prices were good, there was free shipping, and that shit got to my house faster than Amazon. 

Have fun with your setup! Don’t be afraid to reach out to VO professionals in your network for help. And know that, if all else fails, the tips, tricks, and knowledge of many experienced VO experts are just a quick Google search away.

Mo’ Money, Mo’ Problems

Mo’ Money, Mo’ Problems

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Booked it! Congratulations! After going to tons of castings the excitement of booking a job and finally getting a chance to play on set or stage can be so intense that we almost don’t care about the money anymore. 

The paycheck becomes an afterthought, almost an added bonus. And here come the problems. 

When actors don’t pay attention to earnings and carefully read check stubs, they may be missing money that is owed.

All those classes, coachings, headshots and reel footage have a cost attached and talent has real market value. Without a process to ensure payments were properly prepared it’s possible to lose significant business earnings. 

 

Most recently, I personally earned an additional $3,606.14* from just two jobs. I used the same tips I offer in this blog to secure these payments. This was on top of the sessions fees I had already received. It’s almost like booking twice!

So the next time you get into a tizzy about the next exciting job you’ve booked use the following checklist to make sure you are accurately paid and get every penny you are owed.  Also, underpayment is sometimes a result of an honest mistake on the part of the production company or payroll company, not any malicious intent, so make sure you are paid what you are owed on all fronts.

​CAVEAT: This checklist is primarily applicable to union work.

MONEY CHECKLIST

Did you do a fitting before your shoot day(s)?If yes, you are due commissionable fees by the hour for your time and this should be included in your check.When was the check due?Use the SAG FAQs page for the appropriate department or call SAG and ask for the business rep for the production to find out when payment is due. 

For Theatrical jobs payment is typically due a week from the last work day in the production week. For example, if the production week runs Monday-Friday, Friday is the last day of the production week and payment must be mailed out by the following Friday. 

Commercial payments are typically due 15 business days from the last day of work for talent for a session fee or the first air date for residual payments. 

If the check is postmarked after the deadline, talent is owed a non-commissionable late fee. I’ve literally made thousands of dollars from double checking the due date for all my payments. 

Late fees are most common with commercials. 

KEEP IN MIND: If your money is processed first by your agent or manager, it’s almost impossible to know the postmark date. In this case, use the check date.

Did you use your own wardrobe on set?If yes, a non-commissionable cleaning reimbursement fee is due and should be included in the check. 

The only way to get this payment for this is if you filled in the wardrobe fee portion of your contract on set. 

Was the shooting location outside of the studio zone?If yes, you are due non-commissionable mileage reimbursement.

PLEASE NOTE:

Agents and managers are not inclined to invest time into pursuing non-commissionable fees (late fees and reimbursements) for talent because they are not commissionable. If your agency doesn’t have an accounting department you’re probably better off pursuing the fees on your own. 

If you are due a late fee, ask the accounting department at your agency to send payroll an invoice or email the payroll contact yourself. The email for the payroll person handling your checks is typically listed on the paystub. Be sure to include the production name and episode number or commercial ID in any email correspondence. 

After reaching out to payroll several times without receiving a response or payment, union actors do have the option of filing a claim with SAG-AFTRA. Filing a claim is considered the absolute last resort. It’s like hitting the big red button that sets off sirens. The good thing about filing a claim is that it is anonymous. The union handles all further pursuit of payment and every actor on that contract gets paid. 

TIP: Always take a picture of your contract and the sign out sheet before you hand it over to production and exit set for the day.

Simply being grateful for work is wonderful. I believe an important part of exercising that gratitude is making sure you are properly paid and, therefore, fully leveraging each job to support you on your journey to the next one.

*I earned exactly $1,106.14 in late fees and one unpaid Class A use from one job. I earned an estimated $2,500 from monitoring unpaid usage and applicable late fees from a second job. This is just a sampling of recent payments received using the aforementioned methods and does not include all received additional payments.

 

Winners of The Career ACTivate Self-Tape Challenge

The 9 Winners of The Career ACTivate Self-Tape Challenge

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The 9 Winners of The Career ACTivate Self-Tape Challenge

 

The Challenge

In April, Career ACTivate launched our first-ever self-tape challenge and it was a huge success!For this challenge, participants were asked to submit a self-tape of any length. It could be a favorite scene, or even a brand new monologue. As a prize we offered General Meetings for the Top 9 Winners with Casting Associate Laura Aughton of Wendy O’Brien Casting, Casting Director Mike Page of Page & Day Casting as well as Talent Managers David Chien of Art/Work Entertainment and Jacob Gallagher of E85 Artist Management.

A Gift For You

Our Top 9 Winners aren’t the only winners. Just for participating, everyone who submitted is being invited to Q&A Sessions with David Chien, Laura Aughton, and Jacob Gallagher. During our Q&A Sessions, participants can submit their questions and the industry professional will provide their insights as well as tips & tricks.If you didn’t submit, never fear! We have two more Q&A Sessions coming up and you’re invited. Register to receive the virtual meeting links or to receive a recording of the events. Join us for our upcoming Q&As listed below.Friday, June 5th at 11:00 AM – Q&A with Laura Aughton, Casting Associate at Wendy O’Brien CastingREGISTER HERE: https://www.careeractivate.com/lauraqa 

Tuesday, June 23rd at 2:00 PM – Q&A with Jacob Gallagher, Talent Manager & Owner of E85 Artist Management

REGISTER HERE: https://www.careeractivate.com/jacobqa 

The Winners

We’d like to give a shoutout to everyone who submitted a video: We are absolutely blown away by the talent and creativity you all shared with us; the competition was fierce. Today we are announcing all 9 winners right here.

Congratulations to all of our winners!We hope you saw a familiar face above, maybe even your own.

How Can You Be The Next Winner?

To win, you have to submit! Find a current list of self-tape challenges by heading on over to our Career ACTivate Success Network Facebook Page. We’ve got you covered.

How To Win A #MonologueChallenge

How to Win a #MonologueChallenge

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Along with jigsaw puzzles, virtual dance parties, and Zoom happy hours, another activity to trend during quarantine is the wave of #monologuechallenges all over Instagram.CDs and channels like Freeform are taking this opportunity to discover new talent, or reconnect with talent they already know, by hosting open calls and inviting actors from all over the world to submit their work.Here’s what I’ve found after looking at some commonalities between the winning self-tapes that have won, and a few general tips to streamline this process and keep it fun.

Staying In The Know: You Can’t Win If You Don’t Submit!

You should already be following CDs on Instagram (IG). Make it a routine to check their IG stories at least a few times a week. That’s how news of scene challenges and open calls are spread! Even if a particular CD isn’t participating in a challenge or open call, many share news from their casting colleagues to help spread the word to their own followers.

  • Look out for IG tags by CDs in their posts and stories when they share these updates- it’s an easy way to find additional IG handles of people who work in casting.
  • There is an ongoing list of current open submissions on the Career ACTivate Success Network Facebook page.

Scroll Through Social Media (You’re Already Doing It)

Since these challenges have been going on for weeks, a list of past winners can be found in many CDs’ saved IG stories, which can be viewed in their IG highlights – they’re the little circles at the top of their profile, hopefully labeled something along the lines of “Past Challenge Winners” or “Monologue Challenge.”

Check out past winners to inform your own performance and scene choices, especially if the same CD is running a new challenge. 

Here are examples of 2 #SelfTapeChallenge winners from Career ACTivate’s self-tape challenge. What jumps out at you that may be effective if applied to your next tape?

​NOTE: 3 other winners were announced on our Instagram (@careeractivate) last week, and we’ll be announcing the last 4 winners in the upcoming couple of weeks via email or social media. Stay tuned…

Which leads into…

The Biggest Decision You’ll Make In Quarantine Today:

Choosing the right material!The vast majority of monologue/scene challenges and open calls are coming from CDs who work in TV and film. Although many are fans of theater, and Shakespeare has written some wonderful monologues, it’s most effective to use these opportunities to show how you could be cast in one of their upcoming TV and film projects. Therefore: 

  • Be knowledgeable about what each office casts. What tone or genre is most appropriate to put in front of this particular CD?
  • Know your type, and the roles that you’d largely be competitive for once the casting process picks up again.
  • Play to your strengths. Just because you like a particular monologue doesn’t mean it’s right for you. Now is the time to showcase your skills, not experiment and stretch yourself as an actor. Save that for acting class.
  • It’s generally wise to use a contemporary monologue unless this CD specifically casts Shakespeare (I don’t know of any) or is currently casting a period piece you’re right for.
  • It’s also a good idea to avoid monologues that have widespread recognition and are iconic in their original performance. You’re setting yourself up to be compared to acting legends and will likely fall short.
  • If you do choose a scene from TV, make sure it’s from a project that’s already released (no current pilots or roles that are currently casting).
  • At the end of the day, it’s about making a genuine connection with whomever you’re speaking to – having a strong intention, message, and need that jumps off the screen and affects the viewer. Even if, as in my case, you happen to be talking to be a piece of tape attached to your laptop camera.

Post Your Tape!

The point of all this is to show what we can do as actors. To get more eyeballs on your mad monologue skills, post the tapes to your IG account, to your IG stories, tag the CD who’s running the challenge as well as any CDs who’ve posted about this challenge for their peers (they’ll each get a notification), and use the proper challenge hashtag.

Additional Tips

Make Things Easy For Yourself

With seemingly new #monologuechallenge and open call opportunities popping up every week, it can seem like a lot to keep up with. To avoid feeling overwhelmed, find a good monologue/scene that plays to your strengths and use that same tape for every challenge it’s right for!

Tell Me Your Name & Handle

Slates are meant to be simple and just provide the required information, so don’t overthink it. 

  • Follow the instructions. What information is needed? Do they want the slate at the beginning? The end? As a separate attachment? If this information isn’t included, you can: 

  • message the CD on IG to ask, OR
  • assume that it’s generally acceptable for actors to include the slate at the end of the audition tape.

  • Since this competition lives on social media, it’s maybe not a bad idea to throw your IG handle in your slate as well. You can do this by inserting text in your video, if you have an easy way to do so, writing it down, or spelling it out. Another option is to simply post and tag.

  • To save time in the future, I keep a separate folder on my computer just for slates. In general, slates typically ask for a combination of the following information:

  • Name
  • Height
  • Profiles/Full body
  • Age (if under 18)
  • Location
  • Representation 

Each time I create a slate for a project, I’ll save the slate as a separate file for my own records and label the file by what information is included, ex. “Name_Height_Location,” or “Name_Height_Full Body_Rep”. That way, when a slate for a future project asks for the same info (and the character doesn’t have a drastically different style or tone), I’ll just reuse a past slate.

Boring, But Still Important Part

Follow the rules.

  • If the rules state that your performance needs to be under 1.5 minutes, keep it under 1.5 minutes.
  • Respect deadlines. With the thousands of submissions that pour in every time a new challenge is announced, challenge moderators are unlikely to bend the rules and you’re saving them time by disqualifying yourself.
  • Give yourself some flexibility and submit earlier so you don’t run the risk of technical difficulties right at the submission cutoff.

TIP FOR INSTAGRAM NEWBIES:
Each submission opportunity comes with its own rules and submission link. It can be hard to read the rules and submit on your phone. You can access and view IG from a computer (although you can’t post) if it’s easier to read the submission rules and access submission links there vs. your phone. Just go to www.instagram.com/@(CD’s IG handle)

Here’s to winning the next challenge! Or, at least, having created usable, quality self-tape material for ourselves in the process. Sounds like a win either way.

Coach Melody
Productivity Over Panic

Productivity Over Panic: Handling the Production Shut Down

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Productivity Over Panic:

Handling The Production Shut Down

Happy Apocalypse, everyone! Just kidding. 

Not trying to make light of a heavy situation; Coronavirus is real and we all need to do our part to protect our elders and other vulnerable people in our communities. 

On top of that, so many actors feel stressed about income for at least the next few weeks, and that’s understandable. 

All over LA, production is shut down. As restaurants, bars, and gyms close, actors working in those fields will lose additional income. 

And heaven forbid any one of you runs out of toilet paper.

In the midst of chaos, I urge you not to join the masses in panicking. Instead, stay productive as much as you can. 

This industry shut down won’t last forever. 

So, here are some ways to set yourself up for success so you’re able to jump right back in once everything blows over.

FINANCES

I know no one’s gonna focus until I address what’s on the forefront of everyone’s minds. Here’s my take on money.

First of all, file for unemployment if you lose your job or have your hours reduced. For more information, visit: https://www.edd.ca.gov/unemployment/filing_a_claim.htm

 The Actor’s Fund is an organization designed to support artists during hard times. Whether you need budgeting, financial coaching, or even an extra cushion to cover your bills, they are a great resource.  Go to their website and find out what support they have available. 

Though money may feel tight in the short term, working from home provides an opportunity to save money too. 

The obvious one is gas, if you’re like me and drive a ton.

You’ll cook more, eat out less (although many more restaurants are providing free delivery options), and appreciate that vodka Red Bulls aren’t $12 apiece when you make them at home. Add in a fun Spotify hype jams playlist (on a shared family account, of course), close your eyes, jump around, and it’s almost like you’re out on a normal Saturday night.

Maybe that’s just me.

Lastly, and related, put that gym membership on hold and go for a run or work out at home. 

There are tons of free online workout classes available on Youtube. If all else fails, throw a solo party with some loud music, use a couple jumbo packs of toilet paper as weights, and dance like no one’s around! 

No one’s around.

INDUSTRY HEALTH

First off, if you’re covered by SAG-AFTRA healthcare, you are able to get tested for COVID-19 at no cost to you. More information can be found at: https://www.sagaftraplans.org/health/news-resources/news/467-no-out-pocket-costs-network-coronavirus-testing

The Union has also created a Disaster Relief Fund specifically for COVID-19. Learn more at: https://sagaftra.foundation/assistance/disasterrelief/

And lastly, additional information regardless of insurance coverage or union status can be found at: https://www.labor.ca.gov/coronavirus2019/

REPRESENTATION & MATERIALS

With production being delayed or canceled outright, it’s a slower time all around. Agents now have much less to pitch on, and more time for things that are typically delayed during busy season, i.e. going through photos and reviewing materials, which can easily be done remotely. 

If it’s been slow for you in one particular area of work (theatrical, commercial, VO, etc.) for a few months leading to this shut down, reach out to your reps and assess if there are any changes or updates you should make so you’re absolutely ready to go when things DO pick back up (and they will!!). 

One strategy that’s been helpful for me is creating a self-tape archive of unlisted links that only my reps have access to. 

Under each tape, I include a short description of the project (network/cable/studio feature/indie, comedy/drama), character (usually a quirky, offbeat, Type-A office worker), and note if I got a CB or booking from it. These tapes are useful when casting requests additional footage of you before deciding whether to bring you in for a certain role. 

This is especially important when your reps are trying to get you seen against type (for me, that’d be any role described as edgy or badass). 

If you already have the footage, all you have to do is compile it. I suggest uploading your tapes onto YouTube as unlisted links and organizing the videos by role type into a hidden page on your website.

If you don’t have the footage, figure out what roles you’re missing that you could reasonably play, find sides from any project that’s already aired (ShowFax has a bunch, or transcribe the scene from a past episode of a TV show), and hone those self-tape skills!

While reps do have more time on their hands, you won’t be able to visit them in person. But consider scheduling a check-in with them over Zoom or Facetime. 

And, on the relationship building front, now is a great to forge new connections and deepen existing ones.  So, think about how you can connect on a personal level with industry professionals you respect. 

Initiate the relationship via email or on social media, since social distancing has people seeking social connection on IG/FB/Twitter, and see if you can move it to a face-to-virtual-face relationship through regular engagement.

Speaking of…

SOCIAL MEDIA

People are bored. Sports, live events, nightlife, and seemingly the world at large has been canceled. Has anyone else witnessed an uptick in their likes/views/comments? 

There’s never been a better time to engage your target industry connections on social media. Everyone is spending more time online with this quarantine. 

CDs have more time to answer your casting questions via AMAs on Instagram, and responding to stories is a great way to start that relationship. People on social media want validation and crave a sense of connection more than ever with the suspension of in-person contact. 

So be generous with your likes, views, and comments, and create some content. Again, people are v. bored and you’re doing them a service by providing entertainment. Make it good and tag the right people.

PERSONAL

If they haven’t yet, people will likely be going crazy locked in their houses very soon. Check in with friends you haven’t had time to catch up with in a while, just to chat. 

Don’t underestimate the power of a few simple words of gratitude and encouragement, whether it’s with your personal or industry connections. It’s a tough time for everyone. Reach out and thank the CD who cast you in your first network show for the role they played in your willingness to stick it out in such a tough industry. Thank your reps for everything they’ve done to move your career forward. Actors are always complaining that no one has time for us. Well, now people have time. Reach out and start that dialogue.

I understand the urge to watch the news for to-the-minute updates, but it can be good for your mental health to take time away from the news, too. Trust me, it’s gonna be depressing before it becomes uplifting. 

Mass panic brings out the worst in some, but brings out the best in many! Check in if you have elderly or immuno-compromised neighbors and loved ones to see how you can help make this experience less challenging for them.

Utilize this additional time to watch (or re-watch) that TV show. Part of our job as actors is to watch good acting. Take a free online class in some obscure topic you’ve been interested in but never had the time to explore. Finish that novel. Catch up with friends (remotely). Write a script. Collaborate online. 

No matter what you choose to do, stay healthy, stay optimistic, and don’t forget to wash your hands.

Coach Melody

How to Get into the Top 1% of Commercial Actors: Part 2 of 2

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How to Get into the Top 1% of Commercial Actors: Part 2 of 2

In my last blog we discussed the first two steps to getting into the top 1% of commercial actors: landing a top commercial agent and nailing specific headshots.

Now let’s lay down how to make your casting profile pop. As a coach, I find it’s all the little details coming together that create a competitive edge.

​STEP 3: Create a Quick Read Online Resume

TV/Film Credits

While theatrical offices could care less if you booked a huge commercial campaign. Commercial offices definitely care about your theatrical bookings. Why? Often top TV and film directors work in commercials and they want to work with great actors. Theatrical credits are one way casting shows that you’re a solid actor.

Instead of listing everything you’ve ever booked list your top 5 credits in TV and top 5 in film. Include anything notable in parenthesis. For example, if the film won an award. Check out my resume link below as an example.

www.lacasting.com/alysialiving

Training

No recognizable credits yet? No worries! I didn’t have any TV credits when I booked my first commercial. This is where training comes in and why you want to keep the credits short and sweet.

Commercial casting directors LOVE actors with improv training. While casting primarily cares about improv training at UCB, Groundlings and Second City. Any improv training or commercial workshops helps.

Commercial BookingsDO NOT list commercials bookings on your resume. If you list commercial bookings, casting directors will automatically assume that you have conflict.  That often means that if you have a Honda commercial running, you are not eligible to star in a Ford commercial.  But, if your Honda commercial is no longer running, you can indeed be in that Ford commercial. 

Casting won’t know that though, if you keep a list of commercial bookings on your resume.  My recommendation is to exclude a commercials section all together. But if you must have it, just list “conflicts available upon request” under the commercials section.

Your goal is for the CD to be able to view your entire resume without scrolling down. The less time they must invest in evaluating if they want to call you in, the better.

BONUS STEP 4:

Attach your reel to your commercial casting profiles.

I know what you’re thinking… “commercial casting directors don’t take the time to look at reels”. Well, just like theatrical offices some do and some don’t.

This blog is called How to Get Into the TOP 1% of Commercial Actors.  Not, “how to do the bare minimum.”

This is all about what we at Career ACTivate call exiting the sea of sameness. If you just do what everyone else does you’ll get the same mediocre results as everyone else. Elite kick-ass ninja actors go above and beyond, taking every step available to set themselves up to win.

So post that reel! Drama, comedy, sketch or a blend of your best acting moments. Remember it’s all about selling your brand and be sure to keep it to 2.5 mins or less.

—

CAVEAT: I do NOT recommend you spend a lot of time and resources shooting a commercial reel or create a reel of past commercials.  I’m all about saving actors time and money. We don’t want casting to think you have conflicts if you don’t remember? Use your footage from theatrical work 😉

—

Ok, so you landed a TOP commercial agent, you nailed your headshots, you sold yourself with your resume and reel. Congratulations! You’ve elevated yourself to the top 1% of actors that consistently go out on commercials.

 Why is this alone significant? There are about 3,000 submissions for each role in a commercial. Out of the 3,000 submissions about 36 people receive appointments.

Following these 4 simple steps will put you above 99% of all other commercial actors in your category.

Why? Because most actors, my former self included, feel commercial work is beneath theatrical. As a result, they don’t do the work to land great commercial representation.

Their pictures are out of date or terrible, their resume isn’t a quick sell and they don’t invest in showcasing their acting ability to commercial CDs with a reel.

With over 3,000 submissions per role getting in the room is 90% of booking. So let’s set you up for success. More commercial appointments means support for the long term vision for your career.

Set a deadline for each step. Create accountability and watch those appointments come in. Who knows? It could help you finally quit your thrival job. Save for those expensive headshots with that fancy photographer. Or finally take that trip to Europe like I did 🙂

 

Paris

 

Rome

London

Looking for great insider strategies to get a great agent or manager for you?  Get access to our online training: Get Signed!  3 Insider Strategies

-Coach & Diagnostic Expert Alysia

How to Get into the Top 1% of Commercial Actors: Part 1 of 2

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How to Get into the Top 1% of Commercial Actors: Part 1 of 2

When I first got to LA I thought “commercials, naaah I’m all about movies.” I only began to reconsider when I got a job running the accounting department at a TOP commercial agency in LA. Every day I processed checks for actors, some of which were making 6 figures in passive income from commercials.

I thought “…maybe it’d be good to check out commercials!”

Now I’m happy to say that in the last 18 months I’ve booked 4 big commercial campaigns and have a 3/5 callback ratio..

Before I got to Hollywood I never even considered commercials. Now I’ve come to find it’s an essential part of creating the time freedom to pursue TV/Film work.

So how can you get into the TOP 1% of commercial actors?

Step 1: Land a GREAT Commercial Agent

If you’re not going on at least 1-2 auditions per month for commercials, it might be time to change agencies.

Caveat, if your headshots are unprofessional i.e. shot by your friend or cousin or super outdated, you won’t get out for commercial work no matter what agency you are at. You know who you are 😉

Top commercial departments are open to signing talent with little to no experience if you present yourself as highly marketable (part of this includes your headshots, which I detail below).

Before you submit to any agency, check for conflicts. It’s ok if a commercial department has a few conflicting clients with your type. But if there are a LOT of clients in your category, the agency has your type covered and probably won’t take a meeting. Use IMDb to go through each agency’s commercial client list and ensure you are a missing piece in their roster.

Caveat, if one of those conflicts is name talent or an actor that works a lot theatrically they don’t count. Most likely, their theatrical schedule takes them out of the commercial game. The agent may keep them as a client for prestige.

If you’d like some awesome insider tips & tricks for landing a great rep, check out our free online training, Get Signed: 3 Insider Strategies to get an Agent or Manager.

STEP 2: Get Rich in your Niche: Take Specific Headshots

The commercial world is all about specificity. Watch commercials and get to know where you fit in. Everyone has about 4 types they play in the commercial world which fit into different categories.

For instance, check out my commercial shots below. Each headshot reflects a different type.

Millennial Hipster Think Taco Bell, McDonald’s

Genuine Aspirational Girlfriend, Barista Think Toyota

Quirky Intern, Entry Level Co-Worker Think Google

Real looking Yogi or athlete Think Hotels.com

Friendly Customer Service Think Best Buy and Verizon

Your commercial types may not be the same types you play theatrically. Talk to your agent. Any top commercial agent should be able to give you specific types they want you to have.

PRO TIP: Ask your agent for examples of headshots from clients that get called in a lot and imitate those shots 😉

-Coach & Diagnostic Expert Alysia

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