First, ask yourself the question, "Do I need an agent right away to get acting work?"

If you decide to go to LA and try to break into the movies first thing right off, then you will definitely need an agent. It will be extremely difficult to get a decent part in a decent film if no-one knows you or your work.

If you go to New York and get into plays first, you don't need an agent right away. You can audition and get into off Broadway and off-off Broadway productions without being in the union or having an agent. Your work can be seen by casting directors, directors and agents because they go to plays to look for talent.

A lot of actors are "discovered" in plays and asked to audition for films and other plays based on their work in the theatre.

If you want to do the soaps in New York, you can also wait to get an agent.

If you want to do "industrials" (training films and the like), you will need an agent.

If you want to do commercials, you will need an agent.

If you don't want to go to NY or LA, but choose to go to one of the smaller markets, you might not need an agent right away.

Since this is a lesson on getting an agent, let's assume you decided you want to get an agent.

The first thing you need to do is to decide what kind of agent you need.

Do you want a COMMERCIAL agent, a THEATRICAL agent , a LEGITIMATE agent, a VOICE-OVER agent, a MODELING agent, a VARIETY agent or a FULL SERVICE agent.

Commercial agents handle commercials. Theatrical agents handle movies, and TV. Legitimate agents handle theatre, Voice-over agents handle radio, and off-camera work. Modeling agents handle print and modeling work, Variety agents handle nightclub and personal appearance work, Full service agents handle all or some of the various types of work.

Theatrical and Commercial is where the bulk of the work is. So, from a business perspective, you will need to get an agent(s) who handle work in these areas.

If you live in LA, you can only sign with one agent in each category. In New York, you can sign with as many agents in each category as you want.

Unless you live in LA or New York, the agents you contact will frequently be full service.

Agents are also FRANCHISED or not franchised.

A franchised agent is one who is licensed to represent union performers. (UNION is good) It is to your advantage to get a franchised agent. Generally speaking, you do not have to join a union unless you are hired for a union job. Union pay is much better than non-union pay and you will get benefits and some work environment controls that prevent directors and producers from making slaves out of you. A franchised agent can refer you to these better jobs.

Also, franchised agents are required under their franchise agreement to conduct their business with you in certain ways. This gives you, the performer, a certain level of protection and an outlet to register grievances.

It is nearly impossible to build a decent career with non-union work, so try really hard to get a franchised agent and join the appropriate unions when you can.

Remember - we are talking about the BUSINESS of acting - earning money, making a living, building a professional career. You are going to spend a lot of time, energy and money (yes, you must spend money) to develop your career. Go where the money is. Strive to get a franchised agent and union work.

Of course, I realize many of you AWOL readers don't live in LA, New York or even San Francisco, Dallas, Chicago, Washington D.C., or any other large city. You might not have an agent in your small town. What do you do?

What's the biggest city near you? Are there agents there? Look in the Yellow pages.

What if you live hundreds of miles from a city that has an agent?

What if you have no way to travel where an agent is?

Then your ability to earn a living as an actor will be extremely limited. I suggest you finish high school, develop your performance skills (see the beginning of lesson 1) and when you are old enough, go where the work and the agents are. ( DO NOT RUN AWAY FROM HOME!!! LA and New York are not safe for wayward, homeless teenagers.)

Can you develop a long distance relationship with an agent - like over the internet? Or through the mail? Probably not. Agents are where the work is. If there are no agents within several hundred miles of you, there ain't no payin' work where you live, partner. How would you travel several hundred miles to get to a 5 minute audition and then travel several hundred miles more to get to a one shot, 5 hour acting job? Would it be worth the money? Would the pay cover your expenses? Would an agent want to spend much time on an actor in a situation like this? Probably not. An agent would probably send the referral to a performer who is closer to the action. My advice to you is...see the paragraph above.

(NOTE: Many actors prepare demo tapes which they send to agents and casting people. This can be expensive, but it does expand an actor's range of exposure. For instance, say an actor lives in Argo, Texas and has an agent in Dallas. And say a Hollywood movie will be partially filmed in Dallas and the Hollywood producer wants to use local talent (it's cheaper) for some small, speaking roles.

The Dallas agent might send the Argo actor's demo tape, photo and resumé to the casting director, who might fly into Dallas to audition actors or might simply cast from the demo tape.

However, the actor is still based fairly close (maybe 130 miles or so) to Dallas - where the work and the agent is.

What do you need to get an agent?

A plan.

This is important. Let me repeat it. To get an agent, you need...

1. You need money to fund your agent search.
2. You need to find out who the agencies and agents are in the geographic area you want to work.
3. You need to find out what kind of agents they are (theatrical, commercial, full service.)
4. You need to find out if they are experienced and successful, new and inexperienced, or frauds and con artists.
5. You need a photo.
6. You need a resumé.
7. You need an information storage and retrieval system.
8. You need appropriate clothing.
9. You need audition material.
10. You might need someone to assist you in an audition scene.
11. You need determination, persistence, and the ability to endure rejection with a smile.
12. If LA is where you want to be, you need a dependable car.

You need a dependable source of income. The materials you will need to purchase will cost hundreds of dollars.These expense are on-going. You also need to cover your living expenses while you search for an agent and acting work. These expenses can easily be a thousand dollars a month or more. NY and LA are expensive places to live and work.

The reason many beginning actors and actresses fail is not due to a lack of talent, but it is due to a lack of funds. They can't afford to live in the places where the work are.

Of course if you already live in LA or NY or someplace where you can get regular acting work, and have a steady source of income, life is a lot easier.

If you move to find acting work, then it gets harder.

If you need a job to support yourself, it has to be a job that is flexible enough to allow you to take off and go to an audition at a moments notice.

Agents will not find work for you if you have possible conflicts with a work schedule. They are not concerned with your work schedule. They will find someone else who can do the job. When you interview with an agent, you must tell them you have no work conflicts at all. None. And of course, you must make sure you get to the auditions and jobs at the appointed time, no matter what. If you are not dependable, your agent will drop you.

No it doesn't seem nice. I mean agents and producers should be more understanding, right? Wrong!!! This is the acting b-u-s-i-n-e-s-s , remember? Agents spend their time finding work for actors. Why would they spend their time finding work for someone who might not show up, or whose boss asked them to do overtime? They won't. They'll spend their time finding work for someone else. Producers need actors to be there. If you can't be there when they need you to be there, they'll find someone who will be there. That's the business. No one cares about your work schedule conflicts at the grocery store.

So-o-o-o-o you might get a regular, non-acting job to earn some money to survive, then lose it to take an acting job to build your career. This can be a hard way to live. It is much better to have several thousand dollars readily available to you that you can use to make it through the hard times. You might still have to do a lot of job hopping, but with a decent bankroll at your disposal, you can afford to stay in town long enough to get an agent and hopefully, enough acting work to keep you going.

Let's take small markets first. Look in the yellow pages. The one or two agents or agencies in town will probably be listed.

Don't have a yellow pages for the cities in your vicinity? Go to the library. They probably have yellow page books for your surrounding communities.

Contact your area TV and radio stations and advertising agencies. Ask them who the local agents are.

You might also contact your state's Film Commission and get a list of agents licensed in your state.

United States Film Commissions

(I'll post some Canadian Film Commissions soon.)

Finding agents in larger, secondary markets is easier. You can use the methods mentioned above, but you should also contact the SAG or AFTRA office near you and get a list of franchised agents. You can also click on this link to get a list of SAG Franchised Talent Agents. These are agents who are licensed by the unions to represent union performers. These are the agents you want to spend your time and energy pursuing.

An excellent resource for finding agents in the NY and LA area is the Ross Reports. If you are serious about becoming a professional actor, this monthly publication is extremely valuable. It contains information about:

• Casting Directors
• Talent Agents
• Prime-time Network Casting
• Personal Managers
• Films in Preparation & Development
• Cable & Syndicated TV Casting & Production
• Nuts & bolts articles about the business

If you live near a large metro area, you might find that your library carries Ross Reports or can get it from a sister library. Otherwise, subscribe.

If you think you're not ready for a franchised agent, then you need more training, experience &/or confidence in your skills and experience.

In small markets, it is likely the agents or agencies will be full service and probably handle models also.

In the secondary markets, you will find some agencies that specialize

In LA and NY you will find that many agencies specialize.

Ask.

Another good reason to pursue franchised agents is that you can be more confident that the agent is more reputable. Contact the area union offices to see if the agent you are interested in is in fact still franchised.

Of course being a franchised agent is no guarantee that you will be treated fairly, respectfully or that you will not encounter questionable or illegal behavior, (licensing does not guarantee nice behavior) but it is much better than no assurances at all and if you encounter bad or illegal behavior from a franchised agent, you have a formal outlet for complaints.

Many times, new or inexperienced agents will place ads in newspapers and magazines to attract talent to represent. Also, agencies will advertise in local papers when they are hired by producers to find extras and other cast members for films being shot outside of Hollywood. (You do not pay commissions, the agencies are paid by the producers of the film.) BEWARE! Scam artists and dangerous people also do this to find unsuspecting victims to take money from, sexually molest or even do bodily harm to. (YES THIS HAPPENS!!! BELIEVE IT!)

How can you tell the difference? There are no guarantees, however there are some warning signals you can watch for that will tell you to "get out now!"

If the person you are to meet wants to meet you in a motel room or hotel room, (no matter how nice the hotel or motel is) especially at night - DON'T GO!

If the person asks you intimate, embarrassing, or inappropriate questions - GET OUT!

If the person asks you to remove any clothing - GET OUT!

If the person says nudity is required and this was not listed in the ad - GET OUT!

If the person is unkempt, smelly or acts strange - GET OUT!

If you go to an office and you don't see any office people or the office people don't look busy, the phones are not ringing or you don't see other indications that this is a busy agency - this might not be the agent for you.

If the person starts asking you for money up front or starts pressuring you to pay for classes or photo packages - watch out. Agents get paid by commissions on work you perform (10%). In some states, it is illegal for agents to offer other services for fees.

If the person gushes about how gorgeous you are, or that you have the perfect look, or that you are unquestionably star material, or other such extreme flattery - and then asks you to pay for classes, photos, etc. - same as above.

If the person takes the opposite approach, telling you that you don't have what it takes, or almost has what it takes, but they can help you to succeed and then asks you to pay for their classes or photos or resumé service or whatever - same as above.

There are a lot of scams and scammers out there.

If something doesn't seem right - it's probably not.
If things seem too good to be true - they're probably not true.
You have lost nothing by walking away from a questionable situation.
You have gained nothing by being represented by an incompetent, lazy, unqualified agent.
You will lose a lot by being represented by an incompetent, lazy, unqualified agent.

Take your time finding an agent. It is not a desperate act by a desperate actor.

It is a business decision and a life decision. It is your future career and earnings. It is your time and energy. These things are valuable. Too valuable to waste on someone trying to pressure you into a bad deal. Too valuable to waste on careless judgment.

Take time to think about an offer. Don't be pressured to sign anything until you have walked away for a while and thought about it.

You need lots of photos. Tons of photos. An endless supply of photos. Agents use these photos to send to casting directors who are requesting info on performers who might fit certain rolls they are trying to fill.

Your agent will send your photo and resumé to casting directors. If you have a good agent, and if you are talented, skilled, dependable, and eager to work, this will happen frequently. So you will need to provide your agent with a lot of photos. (Yes, you provide the photos to your agent - they should not charge you for photos, or for keeping photos on file, or any other fees.)

Sometimes, an agent will ask that you get a different photo taken. (This should not be handled or done directly by the agency.) Good photos are expensive. You do not have to run out and get another photo taken, assuming you have a good photo to begin with. However, this is a judgment call. You should discuss this with your agent. It might be the case that the photos you had taken were good for getting you an agent's attention, but they might not be right for selling you to casting people. If your agent suggests that you should get new photos, discuss the reasons why. The agent might have some good reasons why your current photo wouldn't be right.

If the agent suggests a specific photographer, then the agent should suggest two or three others too. The agent should not make the photo shoot appointment for you, or set up the shoot in the agent's office, or tell you that you have to use a specific photographer if you want representation or charge you a fee of any kind. All these things indicate you are being scammed and you should get another agent.

What's a good photo? First, let's talk about some things to avoid:

• An acting photo is NOT a modeling photo.
• It is NOT a glamour photo.
• It is NOT a Polaroid picture.
• It is NOT a picture your friend or relative took because she has a nicer camera than yours.
• EXCEPT FOR PICTURES OF YOUNG CHILDREN, 12 YEARS or YOUNGER!!!

  For toddlers and young children, a good quality, close-up photo is accepted. If an agent or "manager" tries to tell you that you need to get expensive professional photos done of your toddler or young child - especially if they provide the photo services or tell you someone you need to go to - they are scamming you and you should go elsewhere for representation.

  Toddlers and young children change their appearance so much over a year, there is no need to get expensive professional photos taken. Don't let ANYONE try to convince you that an expensive, professionally shot, studio photo will give your child an advantage. It won't. No legitimate agent or casting person requires it. In fact, what they really want to see is that wonderfully candid photo of your kid. You know, that great close-up you took in the park a few weeks ago. The one where she smiles so big and broad, with her first little tooth gleaming in the sun, and her eyes are all lit up and her smile makes you feel all warm and cuddly inside - that one. That's the one that will sell you child to the agent and director

  BUT , make sure the photo you use of your toddler or youngster is:

  • Fairly recent (Get new photos at least once a year - make sure you send the new ones to all the agents you sent the old ones to a year ago.)
  • Clear, in focus and in good physical condition
  • Shows well defined facial features (not cast in dark shadows)
  • A close-up head or head and shoulder shot
  • Happy, smiling, showing off your child's wonderful, energetic personality
  • Not wearing clothing with distracting patterns
  • Not wearing clothing that obscures your child's face
  • Not sharing the photo with an animal, other children or props that distract from your child.
  • Includes you child's date of birth

An acting photo for everyone else is something done by a professional photographer who is experienced with such things. They look easy. They are not.

An acting photo can be a traditional head shot or can be a composite of several "looks" on the same photo. A composite is usually only done if you are aspiring to be a character actor and want to depict several character looks you are good at.

An acting photo (head shot) should look like you. If you had long hair when your photo was taken, then several months later you got your hair cut and styled, get new pictures. Your picture should look like you.

Slight imperfections like pimples can be retouched out of your photos.

Prominent imperfections like tooth gaps, crooked noses and the like should not be retouched. A good photographer can minimize such things by lighting and posing methods. A bad photographer can maximize them too, so watch out.

This is no time to deny your imperfections. Everyone has them. Look at your imperfections with as much objectivity as possible. Deal with them in an objective, practical way. If your nose is big, then your nose is big. People with big noses can make a decent living in the acting business. They don't, however, make it a prominent feature on their photo. (Unless that's what they're selling.)

Severe, dramatic lighting usually doesn't work well with head shots. Unless you want to accent every ripple of every muscle on your well oiled, muscular body. (This goes for muscular men and women if that's the look you're selling.)

What should you wear to your photo shoot? Well that depends upon what "look" you are trying to convey. Your look should be consistent with your "type". Are you trying to convey that clean-cut, cheerful, schoolgirl look you see in many commercials? Then wear a simple, nice looking, uncomplicated blouse and skirt or dress with medium to light colors. No jewelry or heavy make-up. Don't let your hair style dominate your photo image.

Are you a muscular, rugged, outdoor girl who is looking to do muscular, rugged, outdoor, action roles in film or commercials? Then wear clothes that reflect that kind of image.

Take a variety of clothes that will reflect different looks that work for you. Then discuss the possibilities with your photographer. You will want to get a number of different poses and looks photographed so you can be a bit more flexible in deciding on one or possibly even put together a composite of different looks appropriate to your type.

Just keep in mind that the image(s) you convey with your photo will steer casting agents to consider you for the kind of roles your look suggests you are capable of doing. You won't be hired to do household goods or bank commercials if your "look" is spiked hair and lip rings.

Where to find a photographer? If you live in a large metro area where there is lots of professional acting work, there are apt to be several or even dozens of photographers. If you live in a small town - good luck! You might want to search in a larger town near by.

Personal referrals are usually better than blindly calling numbers in the phone book. If you do not know any professional actors, then get to know some. Do you have any professional repertory companies or other professional theatre groups in your area? Call them and ask about area photographers who are experienced with theatrical and commercial head shots.

Attend a professional show with local actors in the cast. After the show, go backstage (or wait until they come out the stage door exit) and talk to some of the actors . Be brave. The worst that can happen is that someone asks you to leave and you won't be able to talk to any actors - which is exactly the same position you were in before you went backstage - so you have nothing to lose and everything to gain.

If you live near a college that has a professional theatre training program, or an acting training conservatory, call some of the acting instructors and ask them about local photographers.

If you have an AFTRA, SAG or Actors' Equity Association (AEA or Equity) office near you, call them and see if they have a list of local photographers.

If getting referrals does not work for you, and you live in an area that carries a local acting trade paper (like PerformInk for Chicago actors) then get a copy of the trade paper and look at the ads.

If all else fails, then open the phone book and start calling. However keep in mind that:

• An acting photo is NOT a modeling photo.
• It is NOT a glamour photo.
• It is NOT a Polaroid picture.
• It is NOT a picture your friend or relative took because she has a nicer camera than yours.

An acting photo is something done by a professional photographer who is experienced with such things. They look easy. They are not.

You will be spending several hundreds of dollars to get you head shot. Take your time looking at the photographers' portfolios, discussing the "looks(s)" you want, discussing what your photo "package" will include and what the cost will be for the session, contact sheets, proofs and high quality copies. Purchase the negatives, otherwise they remain the property of the photographer and you will be forced to return to that photographer and no-one else for future copies.

Get all terms and conditions in writing!!! If you do not and things do not go well you will have no legal recourse to settle the dispute. Remember - getting photos taken means you are entering the BUSINESS side of acting. Business agreements need to be spelled out in writing or you are apt to be sorry and out of luck later on. Trust and a handshake works great until something goes wrong. Then a detailed, signed and dated agreement sure does come in handy.

8"X10", glossy finish is a standard size. You can also get 5X7 or postcard size to use as follow-up mailings to agents you have already contacted.

Put a "slug" (your name) on the front, in the lower corner or lower center.

I suggest you search the web and look at the photos other performers are posting at casting sites or their own home pages. (see "Hundreds of Great Acting Links" link on AWOL home page)

I also suggest looking in the trade magazines. There are usually numerous head shots as part of articles and in the classified section. Most large newsstands or bookstores with large magazine and newspaper displays will have one or two popular trade magazines for sale.

You must provide a resumé to a prospective agent. If they represent you, they might re-format it to match their agency format. That is OK. They should not charge you for this. They provide copies of your resumé to the casting agents as needed. You should not pay for this either.

You must, however, prepare your original resumé to present to the agent or, until you get an agent, to use yourself when you go to auditions.

The resumé is an important document. It is used for a lot of things: It shows your experience and training; It reminds the casting people who you are after you leave the audition; It is your first opportunity to sell your performance skills and talents to someone who is hoping you are the one they are looking for; It is the instrument that can motivate someone to call you in for an audition.

Therefore, your resumé should reflect your thoughtful consideration of what is important for you to project as well as your consideration of what the casting people are interested in.

There isn't really any "correct" format, which is why you see so many. Of course slopping any old thing together will not do. The person looking at your resumé won't spend a lot of time trying to find the important information. So your job is to make that resumé neat, easy to read and contain only relevant information.

Include a brief cover letter if it is relevant to the situation. One page, a few short paragraphs. Don't write a lot of philosophical babble, explanations, apologies or other such stuff.

Include a short introduction. Maybe a brief statement about how you came to contact the person you are hoping to audition for. (Did a mutual acquaintance suggest the contact? Use it.) Perhaps a line or two about why you are eager to have them see your work. A simple sentence or two flattering the recipient's own performance, directorial skills or well deserved reputation won't hurt - but don't get all stupid about it. (Don't ask for an autograph!)

Here are some guidelines for your resumé:

• Limit your resumé to one page.
• Trim your resumé to fit the size of your head-shot.
• Staple your resumé to the back of your photo. (Don't ask to borrow the casting agent's stapler. For some reason this offends them. Must be a shortage of staples or something.)
• Your name should appear at the top.
• If you have union affiliations, put those at the top.
• Also at the top, put what you are trained to do (Singer, Dancer, Actor...whatever)
• Put how someone can contact you.

  Keep in mind that security IS an issue. Having a bunch of resumés floating around the world with your picture, phone number and other personal information can be a problem if unsavory people get a hold of one. Believe it or not this really does happen and you could easily be duped into placing yourself into a dangerous situation. You should seriously consider a pager or answering service and a PO box instead of placing your home phone and home address on your resumé. When you get an agent, then put your agent's contact info on your resumé

• Height, weight, measurements (for models or if you think it might help), clothing size, hair color, eye color, vocal range (if you are a singer), union affiliations (not always included especially if you are not yet a union member) should be near the top, easy to find and read. Do not include your age unless asked to do so, except for infants and young children.
• Generally, credits are listed by show name first then the role you played, the director (if notable) and theatre or production company.
• DO NOT LIE ABOUT YOUR CREDITS . The professional acting community is relatively small and your lies will come back to bite you one day.
• Try to organize your experience section (acting, singing, dancing, whatever) in some sort of logical order that will highlight your strong points. If you are trying out for a part that needs a strong singing voice, and if you have a strong singing voice, then you will want to place your singing experience at the beginning of your experience section.
• Try to make your experience reflect the kind of part for which you are auditioning. For instance, if you are auditioning for a heavy drama, don't put your light comedy roles first. Put your heavy drama roles.

  What if you don't have any heavy drama roles? Only musical comedy roles? Do your best on the resumé and then try like the dickens to build up some heavy drama experience (assuming that's what you want to do.)

  If the part you want requires a strong singing voice, but you have a weak singing voice - try out for a different part.

• Same for acting, dancing or whatever.
• Don't include "extra" work on your resumé. A lot of actors use extra work to pay the bills, but it doesn't belong on your resumé.
• A section for relevant education can also be helpful, especially if you received training from some noteworthy school or instructor.
• Toward the bottom, put other skills you have that might be appealing: Horseback riding, skiing, billiards, mountain climbing, handball, tennis, skating, playing an instrument, etc.

  These skills might throw a part your way.

• What if you don't have much experience? Do the best you can. Highlight your strongest points. Then work hard to build up experience.

As you perform in more and more productions, you will start to build an extensive list of experience. At some point you will want to start dropping the weaker items from your list. Begin cutting those school shows, extra roles (if you decided to put them on anyway) tiny or ensemble parts, non-speaking roles, etc.

If the resumé is not for any specific role or person (like one you might send to an agency,) then it should be geared to reflect the kind of work you hope to get (and are trained and skilled enough to do well.)

You should develop different types of resumés. For instance, you may want to have both a theatre and a film resumé if you have done extensive work in both areas.

Finally, keep improving your resumé by working on improving your skills. Develop more skills. Take workshops, classes, private lessons and perform in whatever you can.

Imagine you are in New York. You have a few names of agents you have heard about or maybe even contacted before you made the big move. Maybe things worked out well, and you are now being represented by J. B. Jerkamonis, Theatrical Agent Extraordinaire.So J.B. calls you...

"Hey baby, I got an audition for you, in three hours. Be there..." and he gives you the low down.

Great! Fabulous! Whoopdeedo! So you don something from your extensive auditioning wardrobe, and off you go to fame and fortune.

You do the audition.

You were great.

The casting director says that they'll get back to you in a week or two.

Of course, being a wise actress, you know that nothing is real until you get the contract signed, so....

J.B. calls you. "Hey baby, I got an audition for you, 6 o'clock. Be there..." and he gives you the low down...

Excellent! So you don something from your extensive auditioning wardrobe, and off you go to fame.

You do the audition.

You were great.

The casting director says that they'll get back to you in a week or two.

Of course, being a wise actress, you know that nothing is real until you get the contract signed, so....

J.B. calls you. "Hey baby, I got an audition for you, tomorrow. Be there..." and he gives you the low down...

Oh boy! So you don something from your extensive auditioning wardrobe, and off you go to another audition.

You do the audition.

You were great.

The casting director says that they'll get back to you in a week or two.

Of course, being a wise actress, you know that nothing is real until you get the contract signed, so....

J.B. calls you. "Hey baby, I got an audition for you, 7 tonight. Be there..." and he gives you the low down...

OK! So you don something from your extensive auditioning wardrobe, and off you go to yet another audition.

You do the audition.

You were great.

The casting director says that they'll get back to you in a week or two.

Of course, being a wise actress, you know that nothing is real until you get the contract signed, so....

J.B. calls you. "Hey baby, I got an audition for you, noon. Be there..." and he gives you the low down...

That's nice. So you don something from your extensive auditioning wardrobe, and off you go to - you guessed it, yet another audition.

You do the audition.

You were great.

The casting director says that they'll get back to you in a week or two.

Of course, being a wise actress, you know that nothing is real until you get the contract signed, so....

And on and on and on and on...This is the acting life, baby.

Until suddenly, you get a call from J.B. "Hey baby, they loved ya!"

"They loved me? They loved me!!! "Who loved me?"

"That audition you went to three weeks ago. They loved you. They want you to read again. Gonna have the director there this time. Just do what you did before. You'll knock 'em dead."

"Do what I did before? What did I do before? What did I read? Who was there? What did I wear? What was my hair style then? Was that before I frosted it or after? That was three weeks ago. I must have gone to 20 auditions since then. I can't remember!!! AAAAAAAARRRRRRRGGGGGGHHHHHH!!!!! Why didn't I have a record keeping system?

Don't ask me. I told you to get one.

A record keeping system should be simple. Computers are nice, but expensive and what if it gets stolen or crashes...not good.

A nice, easy index card file is good.

Use one card for each contact, audition, role you played, whatever. Write on the card the details. The who, what, where, how, of whatever you need to remember about that audition, or lunch meeting, or interview or contact or performance, or whatever.

Put those little, colored tabs on heading cards and arrange your cards (your career history) by category and date so you can find what you need when you need it (which will always be a lot longer than you thought you would ever have to remember it.)

Do this. If you don't, the little horror story written above, will become...
YOUR LIVING NIGHTMARE! HA! HA! HA! HA HA-A-A-A-A-A-A-A-A! .

Say your an agent and you have scheduled an appointment to meet an actress who's talent you hope will make you a lot of money. At the appointed hour, the actress arrives dressed in dirty sneakers, sweat pants with a hole in the knee and a tank top. Her hair is a mess and she has a portable radio glued to her ear.

Is this someone you are inclined to spend time and energy and money on to help launch a career? Is this person serious about acting as a profession? Is this how she'll show up to auditions?

Of course this example is an extreme. You might not be inclined to dress in a full business suit, but nice fitting, clean, stylish attire, well groomed hair and a modest amount of make-up is a better choice then some sort of extreme attire.

Save the costumes for auditions.

If you were a commercial artist, you would carry a portfolio of your work around with you to clients or job prospect; to show your skills and abilities, your creativity and competence.

If you were a print model, you would show a portfolio of the ads you've appeared in and photos of your different" looks".

As actors, your portfolio is you. Usually in the here and now, although audition tapes and even the internet are being used more and more.

But usually, an agent will want you to audition or do readings, so you must be prepared to show off what you can do.

I will do a separate lesson on auditions, so at this point, suffice it to say that you better be prepared with a monolog or two and develop your cold reading skills.

If you're into acting as a career, then expect you will spend many years developing a successful career.

Look at it this way. Say you had to have a couple of fillings done on your teeth. So at the bus stop, on your way to the dentist, you meet some guy who notices you are in some pain. You explain you are going to the dentist to get some work done.

"Hey, save your money, buddy," the guy says," I been to the dentist a couple 'a times. Seen a movie about it on the public TV once. It don't look so tough ta' do. I'll do them fillings for ya', an' I won't even charge ya' a cent."

Nice guy. Well what do you think? Would you trust your teeth to someone who's "been to the dentist a couple 'a times" and "Seen a movie" about it? Or are you going to trust a professional; someone who has spent many years studying, training, practicing and developing experience in the fine art of tooth repair?

So why would anyone expect to become a successful, professional actor or actress without spending a considerable amount of time and energy studying, practicing and developing experience in the fine art of acting?

Of course that doesn't mean you can't get acting jobs early in the process of building a career. Just remember that it will take time, years before you will be able to earn a regular or decent living as an actress or actor. A lot of people never earn all their income acting and must have other sources of income.

If you are pouty, ill-tempered, prone to explosive outbursts when things don't go your way, walk out in a huff, are frequently negative, and often times exhibit other such disagreeable behavior - then do everybody a favor, stay home. Who the heck is going to want to work with you more than the one time they get stuck with you.

It's probably not a good idea to throw a tantrum at a director. They might have to work with you to finish the job, but they'll never work with you again.

Period. No exceptions. The only way to get around in the LA area is with a car. You need one. You need a dependable one.

And one last thing. It does not hurt to resubmit to agencies on a regular basis. How else are they going to remember you exist? However, instead of sending yet another head-shot and resumé try sending a postcard size of your photo with a brief note updating the agents about recent productions and/or classes you have been in since you sent your last mailing: student films, independent films, local commercials, industrials and plays

Send such an "update" mailing every 4-6 weeks (assuming you have something new to tell them.) After 6 months or so, you might want to send a new, updated resumé and another 8X10.

Have patience. This agent thing can take time - especially if you are sending your info to franchised agents - who can do you the most good. Sending post cards lets them know you are sincere in your desire to be an actor because you regularly take classes to improve your skills and are in productions - which shows you are winning auditions and are improving your acting abilities.

In the mean time, don't just wait for agents to respond to your mailings. Be assertive. Market yourself directly. Contact your nearest AFTRA/SAG office to see if they have any casting director contact names and addresses. Watch the TV commercials for your local businesses. Call the various businesses and ask who do their TV ads. Then call the ad agencies and ask if they keep actor files (for those times when they cast direct) and/or who handles casting for their productions. Often times the production houses do their own casting instead of going through agencies. Contact your local production houses.

Contact big companies directly. Some really big companies do some of their own productions in-house and keep actor files. Also ask who they use for their outside production work and which agencies they use for casting.

Contact your local film schools or universities with film making depts. Find out who is making student films and make sure each of those aspiring directors know you are an eager actor willing to work (expect to get NO pay. But you might get a video of the films you are in - from which you can put together an audition video to send to agents).

Check your local papers, film commissions or trade publications for audition notices for independent films that might be filmed in your area. Call whatever contact # is given.

That's it for this lesson. Whew! I'm goin' to a movie. See ya'.