Actor's 411 Hotline Blog

Getting this one right can mean getting in to see an agent -
so I hope you'll take the time to read how it is done. by Bob Frazier

====================================

THE 'KILLER' COVER LETTER (PART ONE)
=================================

A letter is a universal implement of business and the greatest potential creator of and transactor of business in the world -- that's what gives it such great power and potential.In show business, we use several different kinds of business letters, from time to time - but the most
important, in our dealings with the industry is the so-called "cover letter."Since a cover letter can often mean the difference between getting a call and not getting a call - it's important to take your time to plan and execute your cover letter long before you start sending submissions. A good plan is to have several "cover letters" prepared ahead of time to use in various circumstances.

There is quite a difference between a cover letter to an agent and a casting director - or between a producer and a director. Having pre-prepared letters will save you time - and the homework of preparing them ahead of time will give you ample opportunity to "polish" every communication with others - through your written words.

===========================

SELLING WITH WORDS ON PAPER

===========================

The problem with most cover letters is they are not "aimed" properly and therefore rarely hit the target. It is crucial to take your time - and work through the pain of several re-writes ... to get each of your prepared letters 'right.'Letters do have their limitations and their advantages. And every actor is well advised to understand them. For instance, a letter has the inherent weakness of lacking personality (one of the best tools a salesman has).

But it does have some natural advantages that can be used to "connect" with the reader - if it is written effectively. As I said there is a slight disadvantage in letters ... of not being able to convey your 'in-person' personality.

But a well thought out and carefully written letter has the distinct advantage of being able to carry a message of quality and professionalism. It will also arrive on the recipient's desk with exactly the same amount of enthusiasm and freshness as it left your hand. Your cover letter, if written clearly will never misrepresent you - or your skills. It won't get discouraged or lack confidence at the last minute. It won't get flustered.

In fact, a written communication is immune to all the pitfalls of an in-person meeting
and can represent you faithfully, promptly and efficiently.
CHECK IT OUT TODAY! GO HERE to See "NailIt" http://www.bobfraser-nailit.com

===========================
YOUR REAL PURPOSE IN WRITING
=============================

Many actors make the mistake of thinking that a cover letter's purpose is to introduce yourself to a casting director, agent or manager. In fact, every letter you send should carry your sales message. That's because the written word is the greatest salesman known to man - and it's no different in show business.With all this in mind, it's important to understand that it's generally a very bad plan to try and "knock it out" just before sending your submission.

In other words ... this is more homework.In order to write an effective cover letter it's critically important to understand the principles that govern a letter whose main object is to "sell the prospect' on the idea that meeting you is a good idea. And to use the order, position and essential elements that make up a letter that "pulls."

Those essential elements are:

1. The Opening

2. Developing Interest

3. Handling Objections

4. Using Salesmanship

5. The Close

Next posting we'll walk you through these steps - and construct a template letter that you can use to build your own 'killer' cover letter.
Have a great day and, as always ... Much Success, Bob
-------------------------------------------------------------------------------------
"Reprinted from THE ACTOR'S TOOL KIT, the email course for subscribers of

Show Biz How-To - The Free Actor's Newsletter.

Get your subscription here to Bob Frasier's ACTORS TOOL KIT it's FREE:

------------------------------------------------------------------------------------

ACTOR'S TOOL-KIT #13
MONOLOGUE - THE BASICS
by Bob Fraser

Monologues? Which ones work the best, where to find them and how many does an actor need in the repertoire?
Here are some answers to these important concerns:
The monologue that works the best is the monologue you are most comfortable doing. It's also important that the piece shows you to your best advantage.

And the minimum number you need is two.

This general advice brings up some specific things that are important to doing a successful monologue:

1. Play Your Own Age.
It is mostly a bad idea to play an older man or woman if you are a teenager - or vice versa. Many actors make this mistake and then wonder why their monologue choices are not very successful. This happens most often when the actor chooses to do something that appeals to them, as opposed to finding something that shows their skills in an appropriate age range.
Remember, your goal is to have the viewer (auditor) get caught up in your performance - not sitting there trying to imagine you are 50 years old, when you are actually 20.
Pick something that you believe you'd be cast in today - not years from now - or years ago.

2. Avoid The Highly Dramatic.
Hysterical, over the top, harrowing monologues are generally to be avoided for a very simple reason: done properly and truthfully, they can make the audience (auditor) uncomfortable. This is not the outcome you're looking for.
It is difficult to judge a performance that seems as if it is out of hand. That may be the exact effect intended by the writer, but remember you don't have an entire play to work up to the emotional outburst of the climax. It's also not a great idea to do monologues with racist, sexist or foul language - for the same reason.

3. Do What You Are Good At.
Many actors make the mistake of thinking that a monologue is a perfect chance to "stretch." It's not. Most of the time when you are asked to perform a monologue it is in an effort to see where you might fit into a company or university program. This is your chance to show your best qualities and your most usable skills.
This means that if you don't have some experience (and practice) doing Shakespeare, you should probably avoid a Shakespearean monologue. There are other "classics" such as Chekhov, Sheridan and the Greeks. (Most of the translations have less difficult language with which to deal.)

4. Practice.
Although it's very important to memorize the piece, you would be well advised to not stop your "home-work" there. Once you have the monologue memorized, there is still a lot of work to do. Finding motivation, telling the story convincingly, nailing the "music" of the piece, varying your pace and vocal quality, etc. etc. One proviso to this advice is to keep it fresh - don't rehearse it to the point where it becomes slick and cold.
Big no-no: Don't try to do this work on the day before your audition. In that direction lies failure on all sorts of levels. If you plan to enter almost any university acting program this will be a pre-requisite. And many professional situations will require a monologue -- so start working on your monologues now.

5. Confidence.
If you do your "home-work" you will be more confident.
However, it's very important to realize that in many (if not all) situations the director (or auditor) might ask you to make some acting adjustments in your prepared piece.
You must be ready for this. If you are not, your confidence may be shaken and your ability to take direction will suffer.
This is not a good outcome. Again, the more thoroughly you know your monologues, the easier it will be to handle this 'curve-ball.'

6. Two is not really enough.
Most monologue situations will require two contrasting monologues. Generally this will be a comedic piece and a dramatic one. However, sometimes you will be asked to do two different dramatic monologues -- or two comedic and still be able to demonstrate contrast in character, emotion and presentation. This brings up a really important point. You will always be well prepared if you take the time to constantly add to your repertoire of monologues. I know professional actors, of many years experience, who still do this chore on a regular basis. It is the crux of an actor's constant study and preparation - and it inevitably will get you work.

7. Demonstrate the product.
This is the central point of all monologues. Your job is to demonstrate the product (you) so that potential buyers (directors, casting people, agents, etc.) can make a fully informed choice. If you do not do the necessary "home-work"
to put together a good demonstration of the product you are offering -- don't expect the buyer to be that interested.
Again, this is your business. Pay close attention to your business or you will not be in business for long.

Finally, remember that the end result of your preparation, research, practice and attention to detail can be the realization of your dreams -- so taking these steps is probably worth all the hard work.

Another question I get all the time is, "where do I find good monologues?" or "Tell me a good monologue to do."
Go to the library. Surf the internet. Read, read, read and read some more.
Oh yes, this is going to take a lot of work on your part.
Look, I'll be blunt: No one else is going to do this (or any other part of preparing to be an actor) for you.
Waiting for someone else to give you explicit directions to "the monologue tree" is a path to failure and frustration. If that's what you expect - my advice is to find something else to do with your life.
Acting is just too hard for people who can't be bothered to do their own legwork.
__________________________________________________________
"Reprinted from THE ACTOR'S TOOL KIT, the email course for subscribers of Show Biz How-To - The Free Actor's Newsletter. Get your subscription here to Bob Frasier's ACTORS TOOL KIT it's FREE: Copyright © 2008 Bob Fraser Productions All Rights Reserved"

If you are REAL new & need some basics in acting check this out!
KNOCKMDEAD Acting Technique E-Book.

A Complete Step-by-step System For Preparing An Acting Role. This Revolutionary New Technique Teaches You How To Take Your Brand-new Script And Create A Complex, Interesting Character

In The Shortest Possible Time.

THE AUDITION PARADIGM
by Bob Fraser

I am often asked about auditioning - "what's the secret?"
There really aren't any secrets, but there is a checklist.
Here is my memory word, a word you can use to make every audition more successful - by going through the checklist.

The word is PARADIGM.

PREPARE. Preparation usually involves several steps.
Here are just a few: Know what you are auditioning for.
Ask questions, get information, listen carefully.
Familiarize yourself with the script (if there is one).

If there is a script (or sides), study the character and make a couple of solid choices as to how you will perform it. If there is no script, but you have a general description of the character you are trying out for, again make some choices.

Plan your trip to the place where the audition is taking place. Have your outfit picked out.

Make sure you have gas in the car - or correct change for public transportation.

Plan the day ahead of time.

Give yourself plenty of time to get ready (hair, make-up, etc.).
The number one element in a successful audition - that most casting directors point to -

is preparation.

ARRIVE EARLY. This is VERY important. When you arrive early you accomplish two crucial things: First, you are "on time." This is a must in our industry.

People who show up late are a pain in the ___ (fill in your choice of body part).

Producers hate late.

Directors loathe the lackadaisical.

Other actors don't like it much either.
Casting directors are unlikely to form a favorable impression of you if you are late.

That's because if you are cast (on their recommendation) and then you show up late for production, they will get yelled at. CD's don't like getting yelled at.

They are unlikely to recommend you if you are late.

(Don't "sign in" early as this will cause problems. Get there and wait nearby.)

The second thing that happens when you arrive early is you have time to do the next part of a successful audition which is...

RELAX. Being relaxed is important to your results.
If you are keyed up, stressed, rushed or still coming down from the trip to the audition -

it will cost you.
Almost everybody needs some time to "get ready." Only you can know how much time you will need, but whatever it is - that's how early you have to get there.
There are about as many techniques for relaxation as there are humans on the planet -

so I'll skip listing them. The bottom line?

The relaxed actor is the more successful actor.

Why? Because if you are relaxed, you help relieve the natural anxiety the casting director, producer and director are also dealing with in the audition process.

Oh, yes, it's tough on them too.

If they don't get it right it can ruin an entire production.
So, believe me, they are stressed. Relax and the whole world relaxes with you.

ACT. A lot of actors forget the purpose of an audition.
The CD's, directors and producers are looking for a performer - which means it is important to perform. This is another reason to relax.

It's easier to remember to do the job when you are at ease.

DEAL. Every audition is just one of the many you will have in your career. If you are a normal human being you will "fail" 80% of the time. Not just at auditions either.
The best piece of advice about this failure business is given by one of the richest men in the world, Bill Gates; "If you want to be more successful, double your failure rate."
The most difficult thing to 'deal' with in the entertainment industry is the inevitable -

"I didn't get it." - realization

You must understand that this is going to be the case much more often than not.

Rejection is not an easy thing to deal with, but if you want to be a successful actor you must learn to deal with it. It's a central part of a professional acting career.
As I have pointed out, more than once, even successful established actors are rejected a lot. Every time a part is being cast (say, Batman or Scarlett O'Hara) there are hundreds of professional, money-earning stars who are dismissed as possibilities and dozens of others who meet with the producers and find out later that - "I didn't get it."

Dealing with rejection is crucial to your eventual success. So, deal with it.

IMPRESS. If you accomplish the goals on this list, you will impress the people doing the casting. You will be considered a "pro." Professionalism is the word you want attached to your efforts. This will happen if you are on time, prepared, entertaining, relaxed and able to deal with the inevitable rejection that follows most auditions.

That's your goal in every audition -

to impress them with your professional attitude.
Even if you don't get this one, when you impress the CD, the director or the producer with your pro attitude, they will think of you for something else. Guaranteed.

GRACE. Gracious people have the edge. We like them, we trust them, we want to work with them. Be polite. Remember people's names. Be helpful. Listen carefully. Follow directions.

Don't impose your 'neediness' on the CD.

You will always leave a good impression if you are gracious to other people in the business.

Think Cary Grant or Audrey Hepburn.
Your mantra should be; "I'm nice ... to other people."

MANIPULATE. If you hope to succeed you will probably need to manipulate somebody.
Of course, there is only one human being you really have any control over -

and have any hope of manipulating: Yourself.
If you are a poor planner, you must manipulate your mind set to correct this deficiency.
If being turned down puts you in a deep funk, you must manipulate your reaction.
If you panic, you must manipulate your mental state until this is no longer a problem.
In other words, don't waste a minute of your time trying to find the "reasons" behind someone else's decisions and attempt to change her mind.

Take a step back from every 'failure'
and discover what needs manipulating in your own actions and reactions.
You can only change the world by changing yourself.

That's my audition PARADIGM.

Is it easy to do all these things? No way.

If it were easy, everyone would be a successful actor and they'd have a difficult time finding people to type up annual reports for $6.75 an hour.
But make no mistake, you can accomplish all you want, once you set your mind to it.

Of course, the important words in that last sentence are "set your mind to it."
Go ahead. You can do it if you really want to.

"Reprinted from THE ACTOR'S TOOL KIT, the email course for subscribers of
Show Biz How-To - The Free Actor's Newsletter.
Get your subscription here to Bob Frasier's ACTORS TOOL KIT it's FREE:
Copyright © 2008 Bob Fraser Productions All Rights Reserved"

If you want to REALLY be proactive....

Why note submit your Headshot & Resume to some or ALL!!!

Remember Timing is key .... They may open it & say just what we are Looking for...... Just Go do it...... we did!

Labels for Feature films (Casting Directors) that are currently casting
These were provided courtesy of Lance Carter w/ DailyActor
****************************************************

Advise from a vetern in the biz... Bob Fraiser.
Per Bob......

I get emails all the time from actors who find thatthey are in a 'pickle.' Here's the scenario: The actor has signed on to do a show (the salary is small to nonexistent) - and one fine day, in the middle of things, our actoris offered a good paying gig - which means leavingthe 'small' show. The 'pickle' is whether the actor leaves the 'small' thing (putting everyone else involved in their own 'pickle') ... or does the actor honor his (or her) commitment to the first show.

I'd like to give you my opinion - from a producer'sperspective.

And, by the way, it's a perspective that plans for long term success in our business.

BE SMART -WORK FOREVER
It's extremely important, at every stage of your career, to be very discerning ('picky') about what you choose to do (to commit to). This "something better scenario is the big reason for being choosy in the first place. Here's why: No matter what you are doing, something better will always come along - guaranteed. And the way you behave in that circumstance will determine how you are viewed by producers. In other words, it's not about your personal sense of integrity ... it's about the PERCEPTION of your integrity - by those who do the hiring. There are myriad examples of actors who've had some success on television getting the call from someone who wants them to transition into feature films.

THE GOOD GUYS

For instance, famously, Tom Selleck was the first choice for Indiana Jones, but the company producing his hit show, Magnum P.I. just couldn't see a way to release him for the film - and still keep the series delivered on schedule. Now, an undeniable reality of our business is this - the star of a TV series has an enormous amount of power.Especially a lead in a one camera filmed show. So, In this case, Tom could have very easily had his agents communicate how "unhappy" he would be if the producers didn't figure out a way for him to be madeavailable to do Raiders.

That 'unhappiness' would be manifested in regular tardiness, low performance energy, constant script arguments, and in general - a behavior pattern that would surely have cost the company lots of time and tons of money.

Believe me, if Tom's agent had made that call, the producers would have 'caved.' That's simply the reality of a TV star's 'power.' Many series stars have used this 'power' to get what they want. Tom Selleck didn't. He dealt with his disappointment and continued to deliver on Magnum.Every producer in town saw his behavior and he has enjoyed a stellar reputation among the buyers ever since. "He's a smart business man."

A similar situation happened with George Clooney.

George could have gotten out of his contract with E.R. and started his film career a few years earlier - but he chose to honor his commitment - a contract he'd signed when he was a 'nobody.' Again, his behavior was noticed by those who do the hiring - and to this day he enjoys one of the best reputations in the industry for loyalty, business sense and trustworthiness. You can't buy that sort of reputation in our biz. As a result of that decision - it's very unlikely that George will ever find himself "out of work." Producers trust him.
* * * * * * * * *
LEARN MORE at Bob Fraser workshops
* * * * * * * * *
THE NOT SO GOOD GUYS

On the other side of the coin there are dozens of actors (I'm sure you can name a few) who chose to 'go for the better deal' only to find, a few years later, that the offers started drying up. This unfortunate situation was almost never because the actor in question wasn't delivering, or wasn't talented. It's because the producers and production companies had a viewpoint about the actor that was formed when the actor 'opted out' of one job to takea "better" project - and cost some fellow producer some serious coin. So, when you choose to do a show - it should be in the knowledge that you intend to do it to the best of your ability - whether a "better" opportunity comes along ... or not. Because that's a habit worth building.

YOU
Here's the bottom line: The people in our industry who are in the position to hire actors have very long memories - and they talk to each other.

So, my advice is simple: Be very careful about what you practice doing today - because that is what youwill get good at doing. If you view your business in a way that allows you to dump one gig because another - 'better' - gig comes along ... you will be building a mindset that can sink you, even in success. It's not about whether a show at a small-ish theatre pays - or not.

Or what your rights are ... or whether that low level job is all that important ... or what your gut tells you ...

It's about building the sort of business reputation in our 'small town' that keeps you employed over a long period of time.
You will be building your habits (and in large part your reputation) with every choice you make ... now and in success.
So ... Choose wisely.

Have a great weekend, and as always ...
Much Success, Bob
Bob Fraser Productions
3727 W. Magnolia Blvd. #180
Burbank, CA 91505

THE HEADSHOT SYSTEM CORE
by Bob Fraser

I get lots of email about headshots.

Most actors want to know if the headshot they have is any good.
You know I love mnemonics (a fancy word meaning a system for remembering things).
This is the mnemonic phrase you can use, to keep in mind the PURPOSE of your headshots ... and their critical importance to your acting career results: SYSTEM CORE

S - SALES - It's of utmost importance to know the MAIN PURPOSE of your headshot:

TO SELL your acting services.
Your headshot can best be described as an unsolicited ad - a piece of paper you send in, that (hopefully) gets a casting director to call you in for an audition.
Bottom line? Your headshot has a job to do - it has to get you in the door. If it doesn't do that job, then your headshot doesn't work. Period.

Y - YOU - Your headshot must look like you. Many actors, unfortunately, choose headshots that (they think) make them look like stars - or at least someone else. This is a very bad strategy. Why? Because if you are called in - from a headshot that doesn't look like you - you will lose the audition the minute you walk in the door.
Casting directors, directors, and producers go through 100's (and sometimes 1000's) of headshots to find the right 'look' for their project. This is very hard work.
If you are picture-picked and you arrive looking different than the photo they have in their hand, they will be irritated at best, and royally ticked off at worst. You will have gotten in the door by using 'false advertising.' Think about how you feel when you've been tricked in this way.
Not good.

S - SUBMIT - You must submit your headshot and resume if you expect to have any results. You would be shocked to know how many actors get 100's of headshots ... and
6 months later they still have 100's of headshots ...
sitting in their closet.
You must submit for every role you are right for. (Don't submit for EVERYTHING - that's a waste of time and money, because you are not right for EVERYTHING - no matter how talented you may be.) Submit. All the time. Every day, if possible.

If you do this part, the next part is easy:

T - TESTING & TRACKING - The only way to tell whether your headshot works, is to test your results. That means keeping records of your submissions and tracking your 'call-ins.'
Since this is unsolicited advertising, there IS a way of telling how well you are doing. Most advertising gurus say that an unsolicited, direct mail ad, must get at least a 3 to 4% response to be considered effective.
This means that if you send out 100 headshots and you don't get at least 3 or 4 call ins ... you need another headshot.
Always test by keeping track of your submissions. This will save you time, money and wasted energy. The sooner you know the results you are getting, the sooner you can either move on to a new picture - or increase your rate of submission.

E - EDIT - Your headshot can almost always be improved by cropping. This is a process of eliminating parts of the picture that take away from the main purpose of your headshot - selling you. Don't just print up what the photographer hands you. Always take the time to fix your headshot - editing out those things that don't contribute to your goal.
(Side Bar) I have seen, and so have you, a tendency towards pretty or artsy or interesting headshots. An actor at the edge of the picture, a partially lit face, flashy black borders, lots of white space, etc. These are extremely poor strategies. Remember, you are trying to sell your face and physicality. Those elements are the only things the buyers are interested in.
Photographic flare is not only incidental to your desired result - it is often detrimental. Casting directors are not looking to hire the photographer.
What you want is a good, clear, unadulterated picture of yourself - as you really are.
Nothing else will do.

M - MAKE YOUR OWN DECISIONS - A lot of actors have been told to ask other people which headshot they should use. Unless you have a casting director friend who is willing to help you with your choices - you will probably be getting advice from someone who doesn't know what is important and generally doesn't really care which shot you use.
Pay careful attention to this: YOU know exactly what YOU are trying to accomplish, so YOU are in the best position to know what steps have to be taken, to make that happen.
Let's face it, you are the only one who cares deeply about your business - and leaving critical business decisions up to someone else is a recipe for disaster.
For instance, if you follow someone else's advice and find that the choice does not work, you'll lose both time and money. The money can be replaced - but the time is gone forever.
This is your business. You have to decide things.

C - COLOR - Digital photography has made this decision (to get color shots or black & white shots) obsolete. Get your shots taken in color and if you happen to need black & white shots (for your particular market), you can get B&W prints made from the digital files.
(Side Bar: In my opinion, the day of the B&W headshot is gone forever,

despite what some people - in some markets - may insist.)

O - OBJECTIVE - When deciding which headshot you should submit, you must make every effort to be objective. This isn't about having a "pretty" picture - or even one that you like - it's ONLY about selling your acting services.
Sometimes, a picture that you don't like is the very picture that gets you called in. Try looking at your pictures from the perspective of the person doing the casting - and make your decisions based on that point of view.

R - RESEARCH - Take the time to do your research before booking with a photographer. Interview, take notes, and make observations BEFORE you pick your photographer. Is it worth doing this homework - when all you really want to do is get going? The simple answer is ... yes.
The choice of a photographer is the first step to getting what you want and need - a headshot that gets you called in. This is about being comfortable, relaxed and in the zone - when getting your picture taken. Your choice of photographer impacts every one of those elements.

E - ENDURE - One of the most important traits any actor can have is the ability to persevere. What this means is try, try again. If your headshot doesn't work (get you called in), guess what? You have to get another one. And if that one doesn't work, you have to get another one.
And another. And another - until you have a headshot that gets you in the door.
If you are concerned about the cost of doing this, then you are thinking about the cost of doing business. That's a good thing. But if the cost is keeping you from doing the things that need to get done ... just know that your business will probably suffer.

Keep in mind that it is usually only your willingness to persevere (to endure) that gets you to the red carpet, and complaining about what it may cost to get there, won't change anything.
Those who get to the top are those who are ALWAYS willing to try, try again.
________________________________________________________
* * * Best Selling Acting Career Course * * *
* * * * * YOU MUST ACT! * * * * *
Here's what an established actor wrote about You Must Act!
"It may be coincidence, but two weeks after starting to use the principles of You Must Act! I booked the biggest role of my career ... I say 'coincidence' with more than a little bit of sarcasm. I got this role after my agent had submitted me to the casting director and got 'no' for an answer.

I specifically followed the principles in your book: You Must Act! to obtain an audition anyway ...

and I got the role. Thanks, Bob, for your inspiration - and most of all, for your integrity."
==========================================================
"Reprinted from THE ACTOR'S TOOL KIT, the email course for subscribers of

Show Biz How-To - The Free Actor's Newsletter.

Get your subscription here to Bob Frasier's ACTORS TOOL KIT it's FREE:

Free Auditions database for Acting and modeling Auditions

I got this for our 13yr talent & she LOVES it! $15 can't go wrong.. Adults can use it too!

Vocal Warm-up CD for younger singers only $14.99

go to www.easyvocalwarmups.com

Developed by Broadway performer and recording artist David Chernault.

This is a total and complete vocal warm-up.

Designed to get your voice ready:

* Before your voice lesson!

Spend less time at your lesson warming up and more time working on your song!

* Auditions!

A total vocal warm-up will get your voice at peak performance to impress that director!

* Talent Shows!

Whether it's a pageant or the next American Idol, your voice is in top form and ready to shine.

* Introduction to voice lessons.

Even if you've never taken a voice lesson before,

Easy Vocal Warm-ups can help you begin your journey to becoming a better singer.

Each lessons comes with quick but essential instructions, helping you become a better singer right away!

Easy & Essential Preparation for the Young Singer has all the tools needed to get your voice in top condition.

* Posture* Breath support* Vocal placement* Vowel shapes* Articulation

The CD takes you through each step, giving you a clear understanding of how to use each warm-up properly for maximum benefit.

Before long you'll be singing freely with less effort and strain. What our clients have to say:...the best way I know to get ready to "get the job"......build strength and technique......

You will be stronger and more confident ......

well structured, creative......done within in a safe vocal range,...

Go to www.easyvocalwarmps.com to download a copy or have one shipped to you.

This is a real popular guy in the biz Ken Grant..... I know people who went to his workshops in Orlando area & RAVE of the hands on info.

This is a little about his thoughts he recently shared in a posting... Enjoy...

How often do actors read a script and say, "I know what I'd do in this situation", or "This part is exactly like me". We have learned in classes to 'pull from our personal experiences' and to 'act natural', but I believe too many actors are misinterpreting or misunderstanding what is meant bythese statements. When actors begin the study of acting, there may be an emphasis on 'getting them in touch with their feelings'.

We hear things like 'how do you feel' or 'what did it feel like when.' But that is before they start to developcharacters. Unfortunately, many actors stop studying before they developthe ability to become someone else who has a completely different view oflife and, therefore, a completely different set of beliefs, values and feelings associated with any particular situation.It's true that we should 'be ourselves' at times (like when meeting an agentor entering an audition), but to assume that the character would behave like we do in a particular situation is a gross misunderstanding.

Here are some thoughts on the subject that may help.

Premise #1: Effective Storytelling relies on establishing Drama

Premise #2: Drama is a direct result of Characters in Conflict

Premise #3: It is our (the actor's) nature in Everyday Life to try to avoid Conflict THEREFORE:
If Storytelling relies on Drama, Drama is a result of characters being in Conflict and real people (other than sociopaths) try to avoidconflict in their lives, BEING YOURSELF will NEVER create the conflict and drama necessary to tell stories!

Granted, characters are not ALWAYS at a fever-pitched emotional level inevery scene, but they ARE always at a higher level than you or I would be ifwe were in the same situation.

The key to playing a scene is NOT to 'be yourself', but rather to 'do what you WISH you could do' if you were in that situation with that character's history and beliefs. How often do we see the guy in a scene stand up to the bully or bad guy?

And don't we always say to ourselves, "Boy, I wish I could do that!"? Of course, our hero then gets the snot beaten out of him for having such a'smart mouth', and we (the audience) learn that keeping a civil tongue and mild temper is much better for our survival. In life, we may WANT to take a swing at the person flirting with our spouse, but we don't dare do it because we consider the consequences before acting.

Characters DON'T THINK about consequences. Or if they do, they do not have the self-control that we do in real life. Even when characters know theyare doing something they will regret later, they do not have the control tokeep from doing it.

In real life, our self control and the ability to avoidconflict is the key to our survival... as much as they may try, CHARACTERS LACK our self control, and that keeps them in conflict. and keeps us interested in their fate throughout the story.

So, when you get that initial gut feeling that you know 'exactly what thecharacter would think, feel and do', take another look. Imagine how someonewho is not NEARLY as stable as you are would react in that situation. thenthink of another character that would be even LESS able to handle it.

Now,THAT'S the character we want to see.

THAT character will have conflict.

THAT character will be INTERESTING!

And finding THAT character takes training, time and talent.

See you on the set!

Ken Grant
Ken Grant - A Sensible Approach to Acting KVG Acting
407 291 3640 office
407 758 7755 cell

--------------------------------------------

Check it out!!!

Free Auditions database for Acting and modeling Auditions

2009 Cute Kid of The Year Cutest Baby Picture Competition Win College Tuition, Prizes & More The Cute Kid

This is a GREAT post from another Florida actor, John Weyrick.

I agree & know quite a few actors who use 247cast.com - we are joining this month too!

EXPOSURE is key!!!

Per John.......
Sometimes I must put a paw to the keyboard and set the record straight. Blanket statements are almost always wrong. People who say always, are not always correct. I've seen posting lately that ALL Online Databases - catalogs and subscriptions are a waste of time and money for actors. Don't believe that! All are not bad. Most, but not all.

So, what works?
If you read this entire post you will learn 4 things.

One is that you shouldn't believe that everything is a scam, do due diligence.

Second, there is a different way to look at things, a 2nd viewpoint that I suggest.

Third, a brief explanation of a system that works.

Fourth, meet some people for whom it has worked.

Facts are facts!

Fact #1: There is a casting service that works, and here's how to determine for yourself what works. If you are looking for help for acting work on line in Florida, ask these 3 questions:
1) have offices in Florida?
2) have real people answer the phone?
3) have a track record that it works for FLORIDA?

247cast.com has been on the backlot of Universal in Orlando for 10 years.

No scam could say that!Call them at 407-224-5388 ext 2 or 3

They do over 100 castings a year, booking over 500 actors.
Yes, they do, and these are paid jobs, average day rate of $600.
The proof is there in black and white..That is point 1. Now for point 2.These professionals are also offering training with some of the best in the local business.

Based on that great saying: "what did you do for your acting career today?"
There have been free seminars, (for members) taught by well known acting coaches, Ken Grant, Justin Smith, and EMMY award winning Yvonne Suhor!
Also training from Paula Bowers and Jennifer Foster who are the people who largely are responsible for selection of talent for Universal and Disney. Imagine working directly with the client? Notice I'm dropping names?

Oh, for more experienced actors, go ask your agent about http://www.247cast.com/
Many, many Florida agents think very highly of it. Some haven't taken the time to truly understand it. However, all bookings must be paid through an agent. Don't have an agent?If you don't have one, and you get booked from a 247 casting, an amazing thing happens. We call an agent on your behalf to see if they'd like to represent an actor who already has a booking...that's a no-brainer! Why not? So the actor gets an agent.

Beginners are welcome because a part of that Second Viewpoint of mine is that a beginner should get to working first, then when a resume is built, getting an agent is much easier. Agents don't want a pure beginner, a SAG agent gets hundreds of newbies every week wanting a start. My point is to get started first, getting work and experience.And SAG members are welcome too. There are some jobs (like print) that don't fall under SAG rules. Now, some have joined and didn't get anything. There is NO, absolutely NO guarantee that a person gets booked in this business.

The point is, to get looked at by the people who make the decisions. Getting looked at is all we try to do. Guess what? EVERYBODY who fills out the data base is included in the searches.

So for point 3, do you want a brief, fast explanation of how it works?

Heather Heinz has been an established Casting Director for 10 years, Before that she worked for Emmy award winning Casting Director Bob Kahn and others. Before that, she was a well known successful actor/model. She has clients use the 247cast.com data base. They submit a breakdown of the character roles, and see resume, picture, and audition video or demo reel of the actors that fit the breakdown. (Did I mention that members get to shoot a free video if they don't have a demo reel?) Seventy times or more a year, the actor is booked DIRECTLY from the video, no audition. Twenty times or so a year, there is a call back, but the actor has been pre-qualified.

Only 10 jobs a year are open to non-members, because there weren't enough of their type on the site. Members have a counter on their site to show that they are being looked at. They didn't have to drive to the audition. Did they get it? Only the person/people who the client select get booked. There are many actors in Florida who have used this service and gotten results.

Many beginners get looked at and book their first job from this service. And after the initial fee to join, there is no renewal fee until the actor has made over $300 in bookings. Doesn't that sound fair?

My name is John Weyrick, and along with Melissa Gruver, Jack Amos, Francine Wolf and Richard Huggins, booked for a company out of California. They tour the USA doing corporate seminars, and we got 7 bookings at about $1000 each, in Florida and Princeton NJ. Powerball came to Florida and was cast by 247cast.com. They had their breakdown for people ONLY who have already had live TV experience. They did allow 247 to submit several people who were close to breakdown. You see, getting looked at is what is important.

So as you all must know, Tracy was that person who had a lot of live theme park experience, she was seen, and leads the Powerball show now. You can see the touching thank you note she wrote at the office. My quirky buddy Thomas Noel Smith has had more bookings from 247 that all agent submissions combined.Some SAG members belong and have made money, I don't think they'll mind if I mention their names; Ted Christino, Carol Halliburton, and our moderator, Annie Kidwell.The soap called Guiding Light came to Universal for casting and 247 was their host. GL looked at 15 people from 247 that weren't submitted by their agents. (What's with that?).

And one got booked, changed her life as her mother and grandmother have followed the show for 57 years. She wouldn't have gotten booked otherwise. And I'm not forgetting the kids. There are way more kids than there are roles available.

You can look at our MySpace and Facebook pages to see yourself what the kids say, like the four young actors on the 247 site who got a TV pilot. One teen bragged that she rode the Hulk 32 straight times for a shoot. And many more.

Thank you for reading this, please don't believe the people who say there is nothing you should pay for.

Over 2000 actors in Florida will disagree. http://www.247cast.com/ It works!

ActorJohn.com

PS.

I'm sure someone who hasn't booked yet from 247 will answer this post and say it doesn't work. Many will not admit that someone else beat them out for the bookings that someone got. It did work, so keep the faith that you'll nail the next one!

There are many websites that are great sources to find work in the Florida market. All of the information regarding auditions for Florida projects available to you FREE from websites like:

Green Room Orlando

Green Room Tampa Bay

Actors Info Booth

Mandy and of course your agent[s] who get the breakdowns.

Personally I believe one should still join some of the top talent sites as a FREE basic member.

Many of the top talent sites let you put a profile/pics up as they are visited by talent scouts & casting directors - a few talent site only charge small annual fee of $10 for the year or Starnow.com is $19.95/6mth We get ALOT of auditions & local work on that site I will say!

This is what you can find besides casting calls in the "Greenroom"In Tampa Bay here's a few can find in Greenroom - Casting Directors

Bobbi Hill's Casting By Reel People
Description: Full service company & Staff for ALL your casting needs; West Coast of Florida ~ Tampa, Clearwater, St.Pete, and Orlando. Crystal Reel Award Recipient
Member: Florida Motion Picture & Television Association
7934 Orangewood Lake
New Port Richey, FL 35653
727-848-3709
castreelpeople@tampabay.rr.com

Follow these steps to create a great video resume

Dress professionaly
Practice first
Look directly into the camera
Speak clearly and at a consistent pace
Keep it short (under 2 minutes)

Organize your information

Start by telling your name
List your professional endeavors
Discuss why you would be a valuable employee
Discuss what you can do for the company that hires you
Thank the viewer for considering you

Sample Questions to Answer

What are my greatest strengths? Why?
What motivates me? Why?
What accomplishments am I most proud of? Why?
What skills do I posses?
How have my skills developed?

That's it!

If you are in the Tampa Bay area

Very good work & prices at K2 Video by Krystine

************************************************************************************

If you are REAL new & need some basics in acting check this out!
KNOCKMDEAD Acting Technique E-Book.

A Complete Step-by-step System For Preparing An Acting Role. This Revolutionary New Technique Teaches You How To Take Your Brand-new Script And Create A Complex, Interesting Character

In The Shortest Possible Time.

This was recently on Entertainment Tonight.

In my opinion it was well worth the small investment to help our family Talent get more work in the biz!

Everyone knows you NEED to MAIL to Talent Agents & Casting Directors on a regular basis IF you want to get noticed! Remember ... MARKETING is IMPORTANT in the biz!

There are a few ways to get the names & addresses of casting directors & talent agents.

One takes alot of time (searching the Internet or in phone books), the other way is to buy a GOOD updated list. We did just that...invested in this helpful MARKETING tool for under $20.

We found it well worth the time saved. FYI... We send out 10 -12 headshot/resumes/wk.
Get yourself seen by over 40 + Talent agents & Casting Directors a month.

Think you'll get some auditions??????

You bet!
Timing is everything in the biz!

Who knows when your envelope is opened if they are looking for a certain look & WOW - it's you that day that is in front of them---
I DOES happen IF you market yourself - Why not you!

It's your call. FYI..there is no gain in this for us just wanted to help others not make mistakes we did before we learned about this place..... Break a leg!

**************************************************

AS SEEN ON "ENTERTAINMENT TONIGHT" Talent wanted for New TV Shows. Beginners and Experienced Welcome. Send your Photo and Contact Information to the Casting Directors found at CastingList.com (Lists run $16.95 & Labels run $19.95)

Getting Auditions is Easy as A, B, C . . .

A) Write a short cover letter introducing yourself (or talent/child)

B) Any size photo with name, age, height, weight and contact number on back.

C) Include a resume if you have it. Newcomers are welcome!

Mail to the Casting Directors on our lists weekly!

*******************************************

Hollywood CA (PRWEB) July 23, 2009 -- CastingList.com and CommercialKids.com
Present Tips for Successful Auditions

by Working Performers Audition tips for all performers.

Acting auditions, modeling auditions, singing auditions, dance auditions. http://www.CommercialKids.com is the key to getting

Free auditions nationwide for upcoming TV, film, television commercials, stage, print modeling and videos.

1. Be Prepared. Auditions are a way to market skills and demonstrate value to the entertainment industry.

2. Be Professional and Courteous -to all- from the security guard to the receptionist to the casting director, and to everyone in the room. A performer's personal behavior speaks volumes. Casting directors and producers hire on 3 things, look, talent and professionalism

3. Be Punctual. Casting takes place in a fast-paced environment and industry professionals appreciate consideration of their time and schedules. Don't waste their time! Be personable and responsive, but don't talk too much or try to overstay your welcome.

4. Photos and Resumes. Keep them up to date.

5. Presentation. Be seen and heard. Position so that face is visible (also, keep long hair out of face). If the performer can't be seen or heard, the performance is lost. Dressing for a role is fine, but don't wear a costume. Wear something that suggests the character or the profession and let the performance do the rest.

6. Don't be thrown. Performers were invited there to audition. When other performers enter the waiting room and don't look like you,remember there are different ways to go with every role. Often the casting process is about exploring various ways to go with a character, so stay confident and show them how to do the role. If asked to read another role or make an adjustment, take a moment, and do what is asked.

7. Be Gracious and Receptive. Be open to direction. Don't challenge, make excuses or try to explain. Stay open and easy to direct. They may want to see if the performer can take direction.

8. No chit chat. They don't want to hear about the traffic, or how one's day is going. Casting directors will meet 15-50 people performers auditioning in one day. Why hear 50 excuses on why one is late? Go in. Do the work. Get out. Leave the casting people wanting more instead of having overdosed.

9. Auditions, Like Scenes, Have a Beginning, Middle, and an End. Walk in confidently, take charge, do the best job and get out of the room (always leave them wanting more). Once the audition is done, let it go. It can be a great audition and still not get the job through. They just went another way.

10. Casting Directors Remember Good Work. Follow all of these steps and one will be called back by the casting director. It may be for that part or it may happen five years down the line. Each successful audition is like money in the bank. Be show in the best light possible by being prepared, professional and positive.

11. Research the Casting Director. By researching the director, casting director, producer and show, performers may find connections to other people or projects, and learn about the style or genre of a project or its creators.

Check it out yourself - Read it all well (it's FREE to read).
You'll find lots of helpful free info there too!

If you are REAL new & need some basics in acting check this out!
KNOCKMDEAD Acting Technique E-Book.

A Complete Step-by-step System For Preparing An Acting Role. This Revolutionary New Technique Teaches You How To Take Your Brand-new Script And Create A Complex, Interesting Character

In The Shortest Possible Time.

One of the biggest challenges most actors face when starting their career is "knowing their type"

(i.e. the kind of roles for which they would be called in to read).

One of the biggest mistakes I made while I was pursuing my acting career was not having a clear picture of who I was, or what my "type" was. Like everyone else who comes to Hollywood, I wanted to be a star. Or, more specifically, I wanted to be Julia Roberts! She had the career and the stardom that I wanted.

Unfortunately, the one thing I didn’t have was her leading-lady looks. I was a character actor – or as everyone else kept telling me – a "young Kathy Bates." There was only one problem with that … I didn’t want to be Kathy Bates. I wanted to be Julia Roberts, but no one was listening!

There’s a big difference between being typecast and knowing your type,

(i.e. leading man, character woman, ingénue). Being typecast means always being called in for the same "type" of roles, i.e. law enforcement, blue collar, southern belle, gang member, and so on.

Knowing your type means knowing whether you’re a character actor (Kathy Bates, Philip Seymour Hoffman), a leading man or woman (Denzel Washington, Reese Witherspoon), ingénue (Keira Knightley, Scarlett Johansson) or younger leading man (Jake Gyllenhaal, Heath Ledger).

Once you know your type, it will make it much, much easier for you to decide which roles to go out for – especially in the early stages of your career.

In trying to figure out your "type," it is important that you be honest with yourself, because the truth of the matter is this: there is more work in Hollywood for character actors and actresses than for leading men and women.

There is more work in Hollywood for character actors and actresses than for leading men and women, so take some time to figure out

exactly what your "type" is!

If you enjoyed this article, subscribe to Sharon's free, full-length, coaching newsletter, Industry News Digest.

For a Free Subscription to her email newsletter, the Industry News Digest, go to: www.IndustryNewsDigest.com

For more information or to work with Sharon directly, you can visit her website at: http://www.theindustrycoach.com/

You can find "101 Tips for Actors: Secrets for Success Every Actor Must Know"

www.101TipsForActors.com Copyright © Sharon Moist. All Rights Reserved.
Sharon, President and Founder of the Actors Resource Center® works with actors to help them develop strategies for pursuing their acting career … with or without an agent or manager.

**********************************************************************************

If you are REAL new & need some basics in acting check this out!

KNOCKMDEAD Acting Technique E-Book. A Complete Step-by-step System For Preparing An Acting Role.
This Revolutionary New Technique Teaches You How To Take Your Brand-new Script And Create A Complex, Interesting Character In The Shortest Possible Time.

REALITY TV .. here's links to most popular one!
DO YOU REALLY WANT TO AUDITION FOR REALITY TV?

You came to the right place!

Actors Pages is your best source for Reality TV auditions online.

Actors Pages is FREE Talent site for all performers, including screen actors, theater actors, television actors, commercial performers, or extras.
It doesn't matter if you're an amateur or experienced performer.
It's FREE to register for your Talent site at Actors Pages just CLICK HERE

Stay tuned for the best, most up-to-date information on when and where new Reality TV auditions & casting calls are happening. Below you'll find the most up to date Reality tv auditions, Reality tv casting calls, Reality auditions for tv, Reality casting for tv, reality tv casting, tv casting, casting for reality tv, Reality auditions tv shows, Reality tv shows audition.

REALITY TV CASTING CALLS

CBS In Turn

Survivor

ABC National Bingo Night

Extreme Makeover: Home Edition

NBC 1 vs 100

The Biggest Loser

Deal or No Deal

Fortune

Identity - Contestants

Identity - Strangers

Last Comic Standing

Top Chef

USA Network - Character Fantasy

USA Network - Character Road Trip

Welcome To The Family

FOX Kitchen Nightmare

Nightclub Confessions

Note: Use these Talent sites like Actors Pages for FREE EXPOSURE & finding more casting calls!

It is very important to log in daily, and to make sure your profile is completed.

Even if you don't submit your profile to auditions and casting calls available from these Talent sites, you are still listed in their search engine so, there is a BIG chance casting directors will browse and pull up your information & see you!
------------------------------------------------

Remember.........................

You, (the talent) need to continue to get Experience & Exposure so, you can will get Paid to do what you L♥ve! ACT & Entertain!

I'll keep reminding you of this as it's the heart to getting ahead in this biz.
Most people don't treat this as a business & it IS!
Remember YOU the Talent are the product!
MARKET yourself well to succeed!

World Models - accepting submissions

“World of Kids” new Adult division, “World Models” is accepting submissions on Hispanic and Asian Talent and Models, 18 years to Seniors

Please email to worldmodels@bellsouth.net

or

send hard copies to:
Autumn Mc Fadden
World Models

1460 Ocean Drive, Ste 205

Miami Beach, Florida 33139

********************************************

Good Luck! Go FOR it!!!!!

Remember YOU the Talent are the product!

MARKET yourself well to succeed!

Facebook Badge

Facebook Badge

Facebook Badge

Actor's 411 Hotline

THE 'KILLER' COVER LETTER (PART ONE)

ACTOR'S TOOL-KIT # 13 MONOLOGUE......

ACTOR'S TOOL-KIT #12

Free List of Casting DIrectors handling Feature Films

BE SMART -WORK FOREVER

ACTOR'S TOOL-KIT #11

Have a Young Talent in the family?

'Being Yourself' is never enough

Not ALL Online Databases are Bad........

Where to find FREE casting calls in Florida market

Tips to make a GREAT Video Resume'

Tips for Successful Auditions & more....

Do you KNOW who YOU are... What role type is U?

DO YOU WANT TO AUDITION FOR REALITY TV?

World Models” is accepting submissions - Hispanic & Asian Talent & Models 18 +

Helpful Sites...

2 GREAT.. Actor's NETWORK Communities * FREE to join*

Get this FREE * "ROCK ME" Great way to show off your Portfolio!

HOLIDAY HELP...

Blog Archive

More Helpful Sites for you......

American Idol Audition Secrets

Your Own Talent Agency. Great Home Biz Opportunity.

Subscribe to RSS Feed for updates on Actor's 411 Hotline

Actor's 411 Hotline Followers

About Me ☺