Samuel French Launches Ebooks Today

Now you can get plays digitally, on your kindle or iPad.
Very nice.

I found this article while browsing LOS ANGELES ACTING, a blog by David August

Samuel French Launches Ebooks Today - Los Angeles Acting blog by David August

Let's create goals for 2012!

Let's create goals for 2012!

It's nearly impossible to create the career of your dreams without establishing goals, action plans, deadlines and, budgets. What do you want from your career in the coming year? What are you willing to do to make your career move forward? How much time will you spend? How much money can you invest?

Here are some things to think about:
•How much money did I earn in 2011? Can I earn more in 2012? How much? Be precise.
•What was the artistic high in my career for 2011? Could I find a better highpoint in 2012? What do I want it to be?
•Did I pass any milestones in 2011? My first commercial audition? My first Off-Broadway play? My first National Commercial? My first spoken line on television? Finishing my VO demo? Joining Equity?
Figure out what you accomplished, and what you want for yourself in 2012?
These are your goals.

Now, what are you going to be about it? This is your action plan.
It helps to have a marketing coach to do this, but you can absolutely make personal career breakthroughs by creating your own thoughtful action plan.
Action plans, unlike goals, are 100% up to you. There's no chance involved. These are promises you make to yourself that are controllable by you; these are commitments.

Your action plan could include:
•I'm going to do a mailing of headshots, and subsequent postcards to 15 commercial agents.
•I'm going to finish my audiobook demo CD.
•I'm going to strengthen my relationship with my agent, by calling once a month, and visiting 3 times. I'm going to ask questions, and find out what I can do to make his job easier.
•I'm going to go to open calls for 10 things that will get me my Equity Card.
•I'm going to not accept commercial work that pays less than $300 a day.
•I'm going to join AFTRA.
•I'm going to consistently send postcards to my maintenance list, every 4 to 6 weeks, for the whole year.
•I'm going to buy myname.com
•I'm going to lose 10 pounds.
•I'm going to meet the casting director for Blue Bloods, at a meet-and-greet.
...You get the idea. Again, all of these are 100% do-able.

Now mixed in with your action plan are your deadlines and budgets. Be realistic. Your have a busy life and limited resources. Make the commitment now, and you won't have to feel like you're not doing enough for your career. If you've decided - THIS IS WHAT I'M DOING, you never have to feel bad that you're selling yourself short.

Make deadlines for mailings, for getting in shape, for finishing your demo, for learning 3 new monologues, for finding a great up-tempo audition song, for finishing your one-person show.

Make a budget for all of it too:
$89 to meet the casting director for a show that is currently casting in NYC.
$1000 for a year's worth of vocal coaching.
$60 for 3 bottles of thank-you wine for the agents I freelance with.
$300 goes into savings for new headshots in 2013.
$200 for 3 new audition outfits.
And so on...


I promise, If you thoroughly explore your goals, action plan, deadline, and budget, success will come. You will sleep better, you will audition better, your skin will be better, your LIFE will be better.

If you need any help, drop your questions below in the comments.

Practical Audition Tips...

Auditioning is barely acting. It's a confidence game. The key to a good audition is clearing away the things that make you nervous and inauthentic, so you can just be the natural performer you are. The more you practice, the better you get.

Here are some more audition tips, I've picked up in my 1700+ auditions. Practical tips.

•Sign in clearly. It happens almost every audition: someone signs in sloppily, which ticks off the casting director, and ruins the positive energy in the room. You want the casting director to be on your side. Signing in legibly is a simple way to do that.

•Always bring headshots. For many legit auditions, headshots are still required. But for commercial auditions, they are often not necessary. But, BRING THEM ANYWAY. Last week, I was at an audition, and the computer system was down. They asked for a headshot, which I had, and the audition went great. (I booked it actually.) The guy after didn't have it, and it made the casting director prickly.

•Arrive on time. In a lot of cases it won't matter-your time is approximate. Sometimes, however, it will be very purposefully scheduled. Again, don't piss off the casting director. Just be there. If you're late, they may call your agent looking for you - then that's another person who thinks you're flaky.

•Stay until the door closes.

•Dress appropriately. Remember that most commercials are geared toward Middle America. Dress like them, not like New Yorkers. Hipsters-I'm talking to you.

And now for two little bits of advice I use from time to time. I'll call these Advanced Practical Audition Techniques.

•If you're not sure whether the casting director wants to shake hands, try this: Extend both of your hands, with your headshot in the left, and your right hand open to shake. The casting director will shake your hand if he/she wants, or just take the headshot. No need for awkwardness.

•As you exit the room, you have one chance for a final impression. Don't just head out of the room, ass to the casting director/director. Grab the handle, turn around and give one more smile before you head out. I don't know why, but THIS WORKS. It gives them one last impression of what a nice face you have.

Talent can't be taught. Marketing can.

The Al Hirschfeld Free Health Clinic

I'm not sure where I was, but I just picked up a brochure for
The Al Hirschfeld Free Health Clinic.

It says right on the front: For the uninsured in performing arts and entertainment.

(that includes the underinsured as well.)

Let's examine further....


The Clinic is a program of The Actors Fund, which I could not say enough good things about. An amazing organization, that helps people get jobs, find homes, find insurance, and also keeps them healthy.

You must make an appointment, 212-489-1939, and meet certain criteria to prove that you're a performer (union card, pay stubs, even playbills). They offer primary care, specialty care and referrals, preventative care (flu shots, mammograms) and counseling. It's located near Lincoln Center.

I haven't gone myself, but I've talked to dozens of actors who have. Also, I once talked to a dancer who broke his foot, and racked up $15,000 of medical bills at the emergency room. He called The Actors Fund out of desperation, and a mediator argued it down to $150. Wow, right?


You're not alone! And though Sarah Palin and Mitt Romney don't care about you having health care... The Actors Fund does.

It's okay to quit!

In the years that I've been a New York Actor, I've done a large variety of work. I've been paid well at times, but I've often done stuff for nothing (or next-to-nothing) for the opportunity to do something fun and artistic, or to network.

The longer I've been in the game, the LESS I like to work for free. That makes sense right?




I made a decision a few years ago about working for free, that has saved me some time, some money, and heaps of sanity:

IT'S OKAY TO QUIT!

I pride myself on being a man of my word; when I commit to something, I follow it through, and I would never leave a project in the lurch - but it has to be worth my time, to work for free.

I will quit a non-paying job if:
-If I get the script, and it's terrible.
-If I meet my co-star at the read-through, and he/she is terrible.
-If my first impression of the director is that he/she is an idiot.
-If, when I ask for a detailed schedule up front, that it becomes clear that they won't use my time efficiently.
-If something gives me the willies about it.

I will not quit:
-Once the project is underway, and replacing me is impossible.


Three thoughts:

1- I get treated better when I make demands at the get-go. Nothing crazy, but just: What is the schedule? Can I read the entire script before I decide? Can you accommodate all of my conflicts? What is the pay, really?
When you take your business seriously, you are taken seriously as a business(wo)man.

2- I have avoided some CRAP!

3- Now when I choose to work for free, I always enjoy it.


What do you think?

Financial Core Status "Fi-Core"

Financial Core

The following is an excerpt from my book, SO YOU WANNA BE A NEW YORK ACTOR?:

Deciding whether or not to join the unions is a critical decision in an actor’s career, and we’ve outlined some of the things to think about before joining. Joining the unions may limit the work you can do. There is one loophole, however, with SAG. An actor can become “financial core.” When this happens, he can work for any rate that he thinks is fair—that includes non-union work. Sounds too good to be true, right? Well, there are some drawbacks.

A financial core (Fi-Core) member of SAG is referred to as a “fee paying nonmember,” so he loses some of the rights that SAG members have

Some of the rights you lose when you declare financial core are:
• The right to vote in SAG elections
• The right to hold SAG office
• The right to use iActor, a web service run by SAG
• The right to represent yourself as SAG on your resume or on the Internet
• The right to call yourself a member of SAG or have a SAG card
• The right to re-join SAG without a formal hearing and without repaying the initiation fee

Some of the rights you gain:
• The right to work on non-union projects
• The continued right to work on SAG projects
• The right to pension and health if you qualify under SAG rules

In order to become Fi-Core with SAG, you must first join SAG. You pay your initiation fee, and start paying your dues. (Even after you turn in your card, you still have to pay your dues and fees. Your dues will be 5-10 percent less, however.) Pension and health is completely separate from the SAG office. Don’t worry about losing those benefits.

If you make the decision to become Fi-Core, you have to call SAG, and they will walk you through the steps. SAG desperately wants you NOT to go Fi- Core. In fact, there is someone at each office designated to try to talk you out of it. And their arguments are compelling. They will tell you that SAG does everything it can to keep conditions high and pay high, through collective bargaining. They will tell you that SAG has a rich history, which you will no longer be a part of. They will tell you that Fi-Core SAG members are seen as scabs and anti-union by the industry at large. The argument for the other side is quite compelling as well. Why limit yourself to work that is SAG-approved? If you are making money, or potentially could make money doing non-union gigs, why shouldn’t you? Can’t the actor decide for himself what he’s willing to work for?

Additionally, from a marketing standpoint, if you become a SAG member with a weak resume, and limited relationships in the industry, you may be sunk. Even if you have a strong agent, you may only get a few auditions a month. If you can take SAG and non-SAG auditions, you could have 20 or 40 auditions per month. Also, the best way to get a powerful agent is to book work and let everyone know that you’re booking work. Your chances of booking work are much higher if you can audition for everything.

The real truth of the commercial market in New York is that non-union commercials are plentiful, and they are here to stay. The very same casting directors that cast the incredibly lucrative SAG commercials often cast non-union commercials. If you come in to audition for small non-SAG commercials and do a great job (maybe even book a few), of course the casting directors will start calling you in for SAG jobs. Then you can tell all of the top agents that you have this great relationship with a casting director, and that’s how you get the great agents. That’s just an example, but the point is: why cut yourself off from money and connections?

It should be noted that in Los Angeles, there is more of a stigma to being Fi-Core. Many actors who are Fi-Core keep it under wraps in New York. However, with only a few exceptions, no one really cares. This is and should be a tough decision, so consider carefully.


A couple of additional notes:
•Since writing this last year, I have heard from quite a few fi-core actors. They have reported general satisfaction, but I have heard of a few instances when SAG franchised agents rejected them based on their fi-core status. This should be weighed in the decision.
•Here's what SAG has to say: http://www.sag.org/getthefacts/ficore2.html
•Here's a great pro-fi-core article: http://www.coalminecanary.com/SAG.html
•I heard through the grapevine that there is a way to become fi-core without joining SAG. It could save you over $2000. Call SAG, and be adamant. See if this is true.
•Don't be afraid to talk to people you trust in the industry before you make the decision. At least 5 or 10. You want to make an informed decision for your particular situation.

Have any questions or comments? Leave them below!
Guy

Non-SAG New York

I have had three conversations in recent days, with some of the most talented actors I know. Each one asked me what I was doing to sustain my business - they were struggling.

The answer is, I stayed non-union.

New York - and this is a paradigm shift - is a non-union city. By that I mean that over 50% of the paying work seems to be non-union. Once you get your SAG card, you may find your options drastically diminished. If you don't have the connections and relationships with agents and casting director to sustain a career - you're unlikely to get them at that point.

Many people get their SAG card, and never get paid to work again.

A few thoughts:
•You don't need to be SAG to work on episodic tv
•You don't need to be SAG to work on feature films
•Non-SAG actors audition way more - they are eligible for all jobs
•More auditions means more booking, which means more money
•More bookings means better/stronger relationships with casting directors
•Non-SAG actors booking non-SAG work are building relationships with the SAME casting directors as the SAG work.
•There is less pressure for non-SAG actors - much more allowance for growth
•There are way fewer non-SAG actors the older you get. Age means less competition in the non-union world.

Conclusion:
•Don't join SAG until you HAVE TO.

I don't mean this to overly glib. I understand that celebrities are SAG. I know that most of the people you regularly see on TV and in film are SAG. Being SAG has prestige. Once you have momentum - GREAT! Join SAG. But if you don't - there's no need - in New York.

And there's a giant loophole: Financial Core Status (fi-core) which allows actors to join SAG, withdraw, and be covered to work SAG jobs and non-SAG jobs.****This will be the topic of next week's blog.