· Memorize at least the first and last lines of your copy. Get into the "Story".

· If there is a camera being used, stay on your "mark" until you hear "cut" or "thank you"

· Listen to your directions. They want you to get the job. They will help you with clues if you listen, so you can hear them. If you are asked for a "Sound Check" deliver your slate or your first line of copy in a clear, distinct voice. Don't say "Testing 1-2-3"

· Thank the person who you auditioned for. Make sure they have your photo and resume, even if they took a picture of you.

Your slate not only marks the tape for the casting director, it also is your way of introducing yourself to the person who will be making the decisions. This may not be any of the people in the room with you while you are auditioning. So , remember your energy. Think of this: as you are slating, pretend you are extending your hand to meet someone for the first time.

If you are under 17 years of age, you should state your age. Include your Union affiliations, if any.

Your copy may be held either straight on to camera or slightly off to one side, usually at about chest level and tipped slightly back with the top away from you. You may wish to bring a clipboard or a magazine to keep a flimsy sheet stiff. If you use both hands, your left thumb can be used as a guide to mark your spot as you go along. Just because this is called a reading , doesn't mean you should stand there and just read from your copy. You should glance down , pick up lines and deliver complete phrases to the camera. Don't drop your head to look down, just your eyes. If your copy is where it should be, you should be able to see it without tipping your head. Speak to the camera as if it was a person.

Be prepared, think of and concentrate on the message, not yourself, let anxiety out by doing some stretching exercises ahead of time, try to breath normally, keep what you are doing in the proper perspective: It is not a life or death situation. Remember: after the audition, do not call your agent to see if you got picked. If you did they'll call you.

· Conserve energy during rehearsals. In TV, you will often be involved in tech rehearsals to set up lighting, etc. Don't be sloppy but do save your energy.

· Give up control. Many Actors develop sever tension and use untold amounts of energy in fighting the process, in trying to control, manage or speed up a given situation. No director or producer wants to waste time, no technician wants a bad product, and no beginning performer is going to change the way these people work. Best advice: relax and go with the flow.

· Find you own way to drop out. Tension is contagious, so plan for long waiting hours when you will have nothing to do. Bring a or work that is relaxing to fill up that excess waiting time.

· Focus on a small units of space and small segments of action.. be sure that you have in mind your beginning, middle and end.

· Allow the lights and set to isolate areas of space for you. While you must be aware of microphones and cameras, you can reduce the number of distractions by allowing those outside the set to fade into shadow. You need only see director.

· Be well prepared with your lines and with a clear memory or your sequence of events. The better you know your script and blocking, the less likely you are to be thrown off. Practice entering the script at any point and running through lines and blocking. Learn to visualize blocking and run through your lines in crowded and confused places.

· Study your partner's physical appearance and then describe him and then go into your lines immediately.

· Be aware of your partner's body position. Even if you can't see them, be aware of their image.

Here are some rules of set etiquette that apply to actors, models, young actors, young models and their parents. These rules can be used on the set, at auditions, or in your dealings with agents and casting directors.

· Always arrive early and prepared. If you have lines, make sure they are memorized. Don't be surprised or complain if they change your lines.

· Always introduce yourself to the people with whom you will be working . Then wait for your directions.

· Children will usually bring one guardian on the set. Both child and guardian and individual actors should bring something to read or occupy their waiting time. Make sure to turn off your cells, beepers, and anything that makes sounds that might interfere with the shoot. Parents usually wait in a designated area.

· Once you're in costume, do not eat or drink, unless told to do so by someone in charge.

A: Being prepared, listening and doing what you are asked to do, without excuses.

Housewife, Character housewife, All-American, Sexy girl, Macho guy, salesman, Business person, Mom, Dad, Precocious Child, etc.

The more categories you can fit into, the more opportunities you will have to auditions. The key to TV Acting is believing that you can represent the product and come across as real on the tube. Believability and energy are the two most vital tools a TV/ Commercial actor uses.

AGENTS

Are probably the most important career decision you will make . Florida is a strong market and getting stronger daily. For this reason the role of a free lance talent is extremely difficult to maintain.

Be certain that when you make an appointment to visit an agent ( and you should always make an appointment) you not only arrive early , but also look good. Since this is the person that will be representing you , he or she wants to be sure that you are capable of dependability, as well as an attractive first impression.

Your agent will want to see how you photograph. So , bring photos, contact sheets, and any other examples you might have ( if you do not already have a headshot or composite). Let the agent look through them. Don't comment unless you are asked to . Never comment negatively about your look! If you are seeking an agent for "acting", be prepared with one or two short monologues.

A first appointment with an agent is usually secured by submitting photos (preferably a good quality 8x10 black and white) and a resume, along with a cover letter requesting an appointment to discuss representation. The cover letter should be brief and to the point. It should include:

A brief introduction of who you are and how you heard about the agency. ( do not re-state your resume. An overview will suffice)

Your goal in the correspondence. " I would like to set up a meeting with you to discuss representation through your agency".

A request for a return call or letter to schedule a personal interview.

A thank you for the time and consideration.

Just because you have done the above does not automatically mean the agent will respond in kind. Central Florida agents are receiving upwards of fifty headshots per day. If you have sent your packet out and have not heard back within a month, call the agency to verify receipt of your correspondence and try to set up and appointment at that time. You will probably be asked to resubmit your packet.

Agents may respond via the mail. You could receive a rejection ( usually, "sorry, we already have an adequate number with your look. Try again later.") Or, some agents simply send out an information packet, possibly including a contract. Still others may call to schedule and interview which may last from five minutes to one hour. Agents can very busy. That's Good!. So persist, if it seem you can't make an agency connection right away.

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GO-SEES

Some agents have “Go Sees” lists for their talent. These would be people in advertising or casting who have no immediate work but meet talent for upcoming projects. This is part of the ground work for building a working base within the industry. Try to group your Go-Sees, so you can accomplish several each day you go out. Bring photos and resumes and allow 30 minutes per appointment. Do not be late.

When Placing your call to set up a Go See, write down a head of time what you wan to say, You don’t want to stumble over your words when you are speaking to someone who could ultimately hire you for a high-paying job.

Try something like: “ Hello, Mr._______. My name is _______ and I am listed with the _____ agency. I would like to arrange a time that would be convenient for you to show you my (demo tape, photos,etc.) . (Agent name) suggested I set up a Go-See with you .”

Not everyone you contact will want to see you right away, if at all. Listen to what they say! Write it next to their names on your list for future reference. Some will ask you to mail them a photo and resume. Do it! It may pay off later!

Especially in the early days, this ground work can really make a difference in the pace your career takes. Remember to be professional. If you are granted a Goo-See., follow up with a thank you note. This goes for agents, too. Take every opportunity to show off your professionalism!

Some reminders:

1. Always take your headshots, porfolio (for print), demo tape or comp with you.

2. Update your Resumes and take them with you . (Carry extra headshots/resumes)

3. Be prepared to leave headshots and resumes with agent or client.

4. List only your agent’s phone # (unless you are freelancing)

5. You will always be contacted by the client through your agent. If otherwise, let your agent know.

6. Don’t sit at home and wait for the phone to ring. Work on generating more work.

7. Let your personality show through at all times. Be positive and enthusiastic.

8. Thank the person with whom you have met for the time they spent with you... even if it seemed like a very short time.

9. Inform your agent about any Go-See contacts made. (A note to the agent is fine)

10. Learn to take criticism and rejection and turn it into a positive. Don’t loose any sleep over it. Make it work for you by increasing your resolve to succeed.

11. Don’t call your agent to ask who got the job. If you did, you will find out.

12. Don’t ever minimize your experience by letting someone who can hire you hear you say “This is my first job” or “I’m just a beginner.”

13. Never discuss your pay while on the job. Very unprofessional!

14. Never tell others about auditions your agent has gotten you before you go on them.

15. Always fill out the agent’s voucher before leaving a job.

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COMPOSITES/PORTFOLIOS

Your portfolio will be most useful to you when it is an accumulation of your experience– shots that represent actual work you have done or tear sheets. It is foolish and the mark of a beginner to present twenty or thirty studio photos in a book as your “portfolio”.

The most functional pictures will show you in a variety of ways and include full length, as well as close- up shots. As the model, you should be the center of attention in the photos. You can cut other models out of the shot, if their look is competitive with yours.

Contact sheets and slides may be kept in the cover flap of your book, if they show consistency and are favorable of you. You may wan to bring a “lupe” (magnifier) with you if showing contacts and slides.

Your composite should reflect the real you in a variety of different images. Don’t try to be something you are not in a composite. Use shots that are typical of the way you will be marked. Diversity of “marketable” looks it your objective.

Before shooting with a photographer for composite shots, know exactly what types of looks and poses you want. Flip through magazines to find poses you will feel comfortable with and practice them before a mirror. It is also a good idea to bring these “proven” examples to your photographer, so he or she has a very good indication of the type of photos you would like to produce to market you.

Prior to printing your composite, check with your agents to see what type of photographs he or she sees you needing. A composite is a tool which should get you work, and you can’t blame your agent for sending no jobs your way if the agent has not been given the proper tool. Your agents must be pleased with the looks you have showcased on your comp.

Unique shots that really feature you will make your composite memorable and allow it to stand out from others. Examine your special talents to see if they add something to your photo set-up selections: consider waterskiing, running, rollerblading, biking, etc.

STATS for listing on your comp should include

Female: Height, Hair, Eyes, Size, Shoe (measurements for swim/lingerie)

Male: Height, Hair, Eyes, Sizes (jackets, slacks, shirt) shoe

Weight is optional for both males and females.

Remember the composite is important for landing a print work.

GLOSSARY OF BASIC TERMS

AEA: Actors Equity Association- stage actors union

AD LIB: Extemporize dialogue or movement

AFTRA: American Federation of TV and Radio Artists. Union for Video , Radio.

AGENT: Person responsible for sending you on auditions, not for getting you the job. Receives a percentage of your earnings.

ANTAGONIST: Main character who opposes the protagonist

APRON: Area in front of the stage curtain

Backdrop / Drop: Painted background hung from battens

Black out: All stage lights off simultaneously

Blocking: Director’s planned movement for the character

Boom Mike: Microphone hung above or hand held by gaffer

Business: Detail bits of action such as knitting, brushing , eating a sandwich

Call board: Posted announcements of rehearsals, cast, etc.

Call back: Return for second audition

Cameo: Small part played by well known actor, small role

Casting: An audition for film, commercial, industrial, etc.

Casting Director: Person responsible for holing casting

Cheat: to play more towards audience or camera

Clapstick: Small, hinged board at top of the slate, when clapped it provides visual and aural cue by which film and sound are synchronized.

Clear Stage/Set: Leave the area if you are not in the scene

Cold reading: reading a script or piece of copy in audition that you have not seen before.

Composite: A mass duplicated, conglomeration photos which show talent in various scenarios. May be used in addition to headshot. Also called a character card.

Copy: The spoken words of a commercial script

Countercross: movement in the opposite direction to the cross made by the other actor.

Cross: move from one part of the stage to the other.

Cue: Last word or action of one actor that immediately precedes another actor’s line.

Cut: Stop acting

Downstage: Area closes to the audience or camera

Director of photography: in charge of the camera crew.

Dress the stage: Keep the stage picture balanced

Exit: Direction for the actor to leave the stage or set

Floor Cloth: Used in film to produce more natural sound, laid on floor, walls

Focus: Center attention on, center all energy

Foley room: area where sound effects are made

Fourth Wall: Imaginary wall between stage / camera and audience.

Gaffer: A member of the light crew

Give: Throw focus on the important character in a certain scene

Greenroom: Actors’ lounge backstage

Grip: Stage crew member who moves heavy scenery, equipment

Hand Props: properties carried by the actor

Hold For: Waiting for audience reaction to diminish before continuing

Headshot: An 8x10 head and shoulders shot of talent in black and white

Ingenue: young female character

Juvenile: Young male character

Kill: Eliminate noise; Quite on set

Mask: to cover from view

Motivation: A specific reason for saying something, or acting in a certain way.

Open Up: to play more toward audience or camera

Out front: audience area

Pick up: cues to quickly begin a speech without allowing a pause between the first words of the speech and the cue

Places: Warning command for actors to assume their positions

Practical: Usable, such as a door that an actor may open.

Project: increase voice actions so they will carry to audience or microphone

Properties: set furnishings: furniture , pictures et.

Quick study: One who can memorize a part rapidly

Resume: A listing of your experience as an actor, in a definite format

Run through: Rehearse without interruption

SAG: Screen Actors Guild, Union for members who work in film

SEG: Screen Extras Guild, union for members who work as extras

Script clerk: keeps record on which scenes are done and how filmed.

Script : Printed copy of the play or film

Share: To assume a position of equal dramatic importance with another actor

Sides: lines of script to be used for and audition

For example, " He moved slooowleeey down the street." You make the words "slowly" and "down" sound their meanings.

Using ONOMATOPOEIA when delivering your lines will make your reading more colorful, expressive and interesting.

Not all commercials or auditions will call for the talent to handle props, such as products, but it is best that you understand the proper method if called upon to do so.

Your viewing audience reads the screen at home from left to right. In the right hand, the product is seen first.

Since it is established that products are usually "right hand held", any change can be distracting.

There is an old connotation of "left - handedness" being linked with things sinister. Even the word "sinister" is derived from roots which actually meant "from or toward the left side". Naturally, this is non-sense, but the object is to be as "inoffensive" to the greatest number of viewers.

Remember to hold your product with all your fingers, as though you just picked it up form a table. A stray finger is distracting. Use your right shoulder as a target area for placement of small to mid-size products. Draw an imaginary line from your right shoulder to the camera lens and lay your product on that line about 6-8 inches away.

Casually glancing at the back of your product helps draw the viewer's attention to it. Always look at your product when you first bring it into the frame. In an actual shoot, your director will block your movements.

Are rarely used, but knowing how to read one when you do see one will only make your appear more professional. Always ask for a quick read through on your cue card before the camera starts rolling. Pick up a phrase or line at a time and deliver that line to the camera. Don't just stare at the cue-card and read. If you have a choice of the card placement, find a spot near the camera where you can comfortably go back and forth without much head movement. It is there to assist you , so don't allow it to hinder!

Are the more modern version of cue cards, used predominantly in live TV News broadcasters, industrials and "info-mercials". With this technology , the talent can actually look right into the camera and "read" copy as it scrolls by.

To practice reading copy, practice reading! Read your daily paper out loud every day. During this you will become a better and more natural reader.

BLOCKING TERMS include: Stage right/left, camera right/left, mark, properties, background action, standby, roll-tape, "cheat" the ..., starting position, upstaging and cut.

- For actors interested in working in Film, TV & Commercials.

AGENTS

GO-SEES

COMPOSITES/PORTFOLIOS

GLOSSARY OF BASIC TERMS