THE 'KILLER' COVER LETTER (PART ONE)

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:

Copyright © 2008 Bob Fraser Productions All Rights Reserved"

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

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

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.

ACTOR'S TOOL-KIT #12

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"