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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.

 

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
Pilot Season - A Shift In Perspective

Pilot Season: A Shift In Perspective

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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.

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
2019 Audition Stats

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

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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.