Have you been on this pursuit for awhile?
You have every intention of Booking a Co-Star but you're not achieving results?
Is your patience starting to wane?
Don't give up- check out this 5th and final episode of the #BookACoStar series with John Cramer (House of Cards, Orange Is The New Black, Blue Bloods, Norman). This week we tackle some bonus actions you can take (from self-producing, to working with partners & more). John also introduces us to "The Pomodoro Technique" (which I am totally implementing my work this week!)
Watch it now!
A very special thank you to John Cramer for so generously sharing his expertise with us this past month!
If John's advice on partnering up for accountability sounds like it might work for you, I'd love to invite you to join the #GlobalActor Power Groups. I am welcoming a few new members to the group in October. Let me know if you'd like to be one of them. The bi-weekly coaching sessions are an awesome way to stay accountable, gain some laser-focused attention and specific actions to help you move forward strategically & efficiently toward your current acting goals and beyond! Set up a time to chat with me about it today!
If you missed any of the previous #BookACoStar episodes, get you can access them here!
Ep. 1: How John Cramer Booked His First Co-Star
Ep. 2: Narrow Your Target List
Ep. 3: Prepping for the Shoot
Ep. 4: How To Build Relationships Outside of Workshops
Is ORANGE IS THE NEW BLACK on your television co-star target list?
How about DIFFICULT PEOPLE or BROAD CITY?
If you've answered "yes" to any of the above, you may have been wondering how to be seen by casting directors of these shows -- when they do not offer workshops.
In this week's video, John Cramer (House of Cards, OITNB, Blue Bloods) fills us in on how he was brought into Jen Euston's office and his subsequent booking. He breaks it down so you can follow the actions & meet the same success.
Check it out now!
What do you think?
How will you get into action to begin or further relationships with those casting directors on your list who do not hold workshops? Please share in the comments below!
You can connect with John on Twitter @johncramer and facebook.com/johntcramer.
Find his work and sign up for his updates at: www.johnthomascramer.com
Are you ready to #book this episodic season?
So you already know the importance of training and experience, and hopefully you're feeling fired up after last week's video where John Cramer shared how the "cards" aligned for him to book his first #costar. If you missed last week's vid, check it out here!
John clearly nurtures relationships with numerous Casting Directors. But how does he know which casting directors to target in his marketing? And how can this technique work for you?
Find that answer and more in this week's video!
Double-whammy, you got to watch a #catvideo while also learning how to upgrade your hustle! Woot!
For more surprises, be sure to tune in for next week's 3rd episode in the #BookACoStar series.
If you're finding these weekly videos helpful, let me know in the comments below. Happy to answer any questions as well :)
On the checklist of acting success, talent is not necessarily number 1...
Or even number 2.
This may surprise you.
But, having a working knowledge of the business side of the industry scores much higher than talent alone.
Don’t misunderstand me, honing your craft is still necessary, but being able to create, nurture and capitalize on relationships in the industry is critical to booking work. While it may not be as glamorous as performing on stage or screen, understanding the casting, producing and marketing effort that happens before the curtain rises is essential.
It’s not called "show business" for nothing...
So, I’m pleased to share an interview with a performer who is out living his entrepreneurial lifestyle and inspiring other performers to do the same. Meet Aaron Reeder. Aaron is an accomplished professional singer/actor with a long list of amazing collaborations and projects. He is also a creative consultant, changing the mindset from "starving artists" to "thriving artists" by cultivating good business to compliment good art.
His background in business and marketing provides a unique perspective of the arts and what it entails to be a professional artist. Aaron and I have been holding "business meetings" for over a decade now, and I can't wait for you to listen in on a few of his secrets. :)
In this interview, you will learn:
So now that you have Aaron’s tips to preparing for networking situations, which will you work on first?
Crafting and perfecting your artistic message?
Building your online presence?
Researching a business course?
Let me know in the comments below.
For more information about Aaron and his latest news, please visit his website at www.aaron-reeder.com and connect with him on Facebook here.
In the search for new representation, it’s important to get to know who an agent is before you submit your materials to them. Yes, you can buy mailing labels for all the agents in town, but don’t let that fool you into thinking all the work is done for you.
If you’re not invested in learning about who an agent is, how can you expect them to invest in you and your acting career?
Connecting with your potential agent as a person and not just a means to adding credits to your resume greatly increases your chances of landing a meeting and a contract.
In this week’s #SignWithAnAgent video, Acting and Career Coach Ethan Paulini teaches you how to get super clear on what you’re looking for in a potential agent and how to target the specific ones that might be a right fit for you. You’ll also learn how you can utilize social media to create your first overture of reaching out.
Ethan has a special offer just for our community.Mention “Elise” when booking and your first coaching session with #ethancoaches is just $20.17.
You can connect with Ethan at www.ethanpaulini.com/acting-coach, firstname.lastname@example.org or (917) 903-3546. And find him on social media at Facebook, Twitter and Instagram.
Don’t forget, I’m hosting a Facebook Live this Wednesday, June 7th at 8:30pm EDT / 5:30pm PDT, where I’ll be sharing everything I learned in my agent meeting. You won’t want to miss it.
This video is Part 3 of our 5-part #SignWithAnAgent video series with Ethan Paulini. You can check out Part 1 and Part 2 here.
.This is part 4 of a 4 part blog series. Check out part1, part 2 and part 3 here.
I’m sure you’ve heard the saying “work begets more work” and “it’s all about relationships”, right?
Well those phrases could not be more true in show biz. Most of the work we acquire comes from established relationships.
So this week I’m sharing a recent conversation with working actor Carolina Ravassa where we discuss her indie film career and how this idea of “Work leading to more work” plays out.
Follow Carolina at Insta: ravassa, twitter: carolina ravassa, facebook: Hispanglosaxon page
If this video finds you motivated to book that work that will lead to more work, I’d love to help you set and reach your goal! Let’s get started with a one-on-one Actor Strategy Session!
I am so thrilled to introduce you to my friend and fellow working actor, Carolina Ravassa.
She not only created her one-woman web series, Hispanglosaxon, but she has appeared on Showtime's The Affair and voices Sombra for Blizzard's OVERWATCH.
Check out part one of her interview here, and please share this with any other performers you know who may be inspired by this interview clip where we talk "Moving to New York".
Follow Carolina at Insta: @ravassa, twitter: carolina ravassa, facebook: Hispanglosaxon page
Let’s discuss on FACEBOOK & Insta LIVE tonight (Tuesday, March 14th) at 8:30 EST/ 5:30 PST
Watch Facebook Live Video Here
Removing Yourself From Uncomfortable Situations
I am all for going out of your comfort zone, in fact I challenge you to go out of your comfort zone on a daily basis, because it will help you grow as both a human and artist. We will definitely explore the subject of “going out of your comfort zone” in a future post …
But today let’s talk about UNCOMFORTABLE SITUATIONS… And when it’s time to walk away
There have been times in my career where I have lost confidence because I found myself in uncomfortable environments. A time or two it was clear that I was in a straight up dangerous situation and I hustled to the door as quickly as I arrived. I was lucky in that all turned out well soon after. But if I hadn't walked away immediately, I could have been emotionally and physically hurt.
This industry is full of hopeful artists trying to pursue their dreams, and sometimes not so nice people will take advantage of our starry-eyed aspirations—taking our money and not fully delivering.
When should you get out of a situation that is makes you feel uncomfortable?
1.) If you feel like you will be risking your mental, physical or spiritual well-being by taking part in a project or experience.
In my career I have had the awkwardness of:
2.) When the leadership uses fear-based motivation versus empowering inspiration and collaboration.
Does the leadership inspire you OR make you fearful?
Keep in mind that there are many paths to success in our industry. If a certain coach, company, director, actor or writer, is making you feel uncomfortable--- end the relationship. Walking away is not a career-ending decision. You WILL find others who are the right fit for you AND who treat you with respect.
I don’t know about you, but I am interested in working with inclusive not exclusive folks who share a similar mindset of inclusiveness and love. I want to be creating inspiring art that challenges and has the power to change humanity for good!
If the method of communication is fear-based, how is that in line with the work I want to create? We already have enough work to do in this business to keep our mindsets in check---- SO when given a choice, I choose inspiration over fear.
What kind of work to you want to create? When looking at a next project or even current projects, are they in line with your goals?
This topic and some of these examples may trigger questions and fears. I’d love to address your specific questions below. We are each at a unique place in our performing career and if my examples are not quite in line with where you currently are, I’d love to discuss your specific journey and current challenges.
I will be exploring this subject further on Facebook Live, Wednesday, March 1st at 3pm EST/Noon PST. Please join me with your questions or comments then and check back for a link to the video.
This question pops up in my coaching sessions time and again.
So here’s my take…
For those not familiar: an EPA [Equity Principal Audition] is an audition open to Actors Equity members, providing the opportunity for an Equity (union) actor to be seen by a regional theater, Off-Broadway or Broadway production. Equity Membership Candidates (EMC) may also participate if time permits. Non-union actors may or may not be seen depending on time or management.
I have had success in these auditions and I have heard crickets chirp.
In the past I too waited all day as an EMC member, and as a non-union actor was sometimes turned away after a four-hour bus trip. I have also found joy when receiving a callback for a national tour or booking a regional production via this route. My hope is that the following guidelines may help you in making the choice “to go” or “not to go”.
If you’re unrepresented…
This may be the only opportunity you have to audition for an Equity company or production. It is likely that agent appointments take precedence and may have more decision makers in the room (compared to some EPA rooms where one casting assistant is in the room fulfilling the requirement or sifting through headshots). However, if you are unrepresented, the EPA could be your only opportunity to be seen. So in this case, I say GO FOR IT—go to the EPA!
If you are PERFECT for the role/show…
Let me give you an example. I have performed in a couple regional productions of AVENUE Q and would LOVE to be seen for the ongoing production at New World Stages. If I am unable to schedule an audition appointment through an agent, I will hit the EPA. What have I got to lose?
If there is a dream role or show for which your skills are a perfect match, you owe it to that production team to go in there and show your your best work. I say GO FOR IT!
If you are nurturing a specific relationship with someone in the room (casting director, producer, composer, etc)…
Do you know one of the decision makers in the room? The EPA would be a great way to say “hi” and give them an update of what you are up. GO FOR IT!
If the audition is outside of NYC or LA…
If you live or work in a market outside of NYC or LA, the EPA may be worth your time. Some regional theaters do not even hold auditions in NY or LA so their local EPA is the only audition available—chances will likely be in your favor. On the other hand, a company may only be holding local EPAs as a contract requirement, and may be fully cast, have a resident company or hire exclusively from NY & LA.
Do your research. Ask around. Check the breakdown for specific roles available. It may not be worth your time to drive from DC to VT for a local EPA, if they are only seeking understudies—or it might… For me, it would have to be a dream role and/or a director, producer, etc. who I am in relationship with in in order for my travel (time & money) to be worth it.
As with all auditions, the audition is only a piece in the puzzle. It is up to you to be prepared, follow-up and nurture relationships with the decision-makers in the room, and at the end of the day LET IT GO.
For more on nurturing relationships, check out this previous post.
What do you think? I’d love to hear your experience with EPAs below.
Through the years, I have found myself at times feeling like I have needed to defend my chosen career path, the choice I have made to be a professional actor, a freelance artist…
Unfortunately, the career path of an artist is not quite supported or encouraged here in the United States (at least not when compared to the paths of doctors or lawyers), but I am always thrilled when I see my artistic training translating to application in non-artistic work with “real-life” folks.
I recently was involved in planning an event for a non-profit organization and was lauded for my efforts in the planning phase through execution and follow-up. To me, my efforts seemed common-sense and obvious. But they weren’t. As an actor, I have been honing my communication skills for years, so they were obvious to me.
What follows are my takeaways from both my artistic and event-planning processes:
1. Connect with audience before the event
So back when I was auditioning for national theater conferences as a college student (for summer stock or year-round work), I would research the list of participating theaters and casting companies I might meet at a particular conference. I highlighted the key companies I thought would be a fit, and sent them a postcard with my headshot introducing myself and asking them to look out for me on the specific day and time of my audition. This little drop of communication proved to be fruitful time and time again-job after job.
I encouraged the organization I was working with this past month to be creative with our audience outreach. We used a multi-pronged approach which included a combination of MailChimp invites, postcards, personal phone calls and personal e-mails. Our RSVP list was three times larger than past events of this size!
2.) Engaging with audience during event
The event is showtime. Whether it be an audition or performance, it is what I have been trained for and it is “the thing” I live for, the story I desire to tell that day or evening. I breathe in the same air as my audience, pursue the action, deal with the obstacles and stay grounded in the truth of the moment.
While I have been preparing for weeks before debuting a new performance or audition piece, the same should be true for any other kind of event. Preparation is key.
Small hiccups did occur the evening of the event, and I realized that sometimes during the speaking portion I found myself wondering why this person didn’t say something “this way”, or “include that”. Simply- we hadn’t practiced-- at the risk of micro-managing, I tried to let some things go. I took for granted how many times I have been onstage in the spotlight. What I thought was common sense, is not, it is a honed skill. I am always meeting new people and coming from a place of service-- essentially asking “how can I help you?” in each and every audition room I enter. I need to come across as approachable and likeable, and with practice I have learned to stand in an honest, grounded place.
3.) Following up post-event
Post audition or performance, I follow up with either the employer or potential employer (or audience member). A genuine thank-you is important, including a specific personal connection. If there is an “ask” (“I’d love to be considered for ‘xyz’, if you think I’d be a fit”) now is the time to go for it. I also add the contact to a list of people to periodically update.
As far as the organization I was working with, I pointed them to a ton of resources and blog posts that already laid out templates for what is to be included in a great follow-up! They may or not receive instant response from their audience, but I know that if they practice consistency following these steps, their audience will grow and engage in a meaningful and intimate way, with regularity.
Let me know what you think.
Please post questions or thoughts below.
And if you will, please share!
the global actor