Also a filmmaker, Kristina freelances as a videographer, is co-creator of the web series Frick, and collaborated with Claire on the Brains of Minerva Acting in Horror interview series. Kristina was recently accepted into the graduate film program at NYU’s Tisch School of the Arts.

Kristina appears in Chillerama, Adam Green’s much-anticipated new horror movie, which will see a theatrical release this fall. Her German film Bela Kiss will bow in German theaters in 2012. In the meantime, check out Kristina’s performance as Maks Vex, rogue super heroine here, and follow her on Twitter here.

As I’m writing this, I’m sitting on a train from Munich, Germany to Esslingen, Germany- a 2.5 hour journey- where I am going to see a presentation of the first 15 minutes of Bela Kiss, a German thriller in which I played the lead last year. It was an ultra low budget project shot in the Black Forest with English speaking actors, all of whom had to be German citizens. I am taking this trip on my own dime, to show support, reconnect with the director, and also to see whether this is a project I will feel confident promoting in the states (note: it was amazing and I JUST found out that it has been picked up by Drei Freunde for theatrical distribution in Germany – the same company that distributed the Swedish version of The Girl with the Dragon Tattoo!).

The reason I am in Germany right now, though, is not to watch 15 minutes of a film I shot. Next week, I’m shooting a TV pilot in Berlin for Germany’s version of HBO and they flew me to Germany. Sometimes the timing works out!

I’m lucky to be a dual- citizen as well as to be quad-lingual… But the recognition that these things could help me in my career as an actress did not occur to me until a few years ago. And, though very exciting, building a career simultaneously on two continents (and in several different countries) has been a gamble.

I strongly believe the only reason I was even able to break into the European acting market was because of my break-out role as Lynda in Rob Zombie’s remake of Halloween. It was a studio film that had an international audience. Through it, I was able to go to festivals and horror conventions where I met people from Italy, Germany, France, Serbia and Spain who appreciated my work. I simply made it a point to tell everyone I had dual citizenship and would love to work more in Europe. I took my opportunity and ran with it. I try as much as possible to stay in touch with these contacts and keep them up to date with my work. The term “out of sight, out of mind” applies everywhere in the world. So, working in Europe, NY and LA creates 3 times as many contacts to keep up with – something which has been overwhelming at times. Thank God for the Internet.

You may be wondering why I even would want to work in Europe. The answer is very simple: to go back to my roots and be closer to my large extended family. And then, three years ago, I fell in love with Berlin. I had been flown there to shoot a trailer for a film (the writer and director found me on a website listing all English speaking citizens). Berlin is a city teeming with angst-y, intellectual, chain-smoking, politically conscious artists who love the art for the art and not because of the money that comes with it… I had found my second home, though I don’t smoke and have to say sitting in a bar in Berlin can be nauseating! But from that time on, I knew I had to find a way to work in Berlin while continuing to book jobs in NY and LA.

There are ups and downs to this process. The downs involve 1) difficulty finding a supportive agent in both America and Europe 2) union rules and degree of protection vary from country to country and 3) the money that it costs to invest in this endeavor often evens out with what you earn. The upside is …. you’re working!! And isn’t that what actors are always complaining about? Not working enough? Plus, work begets work. And good work, anywhere in the world, begets even more!

The hardest thing about trying to work internationally is finding support from agents on both continents. I have struggled very much with this. No one in LA wants to hear about their client working overseas for too long – unless they’re getting some money – and the agents in Europe don’t believe me when I say I can be on a plane within a day because I have so many points on my frequent flier card. You do end up missing castings in both places. And the time difference between LA and Europe – 9 hours- is pretty daunting and makes telephone conversations almost impossible. Overall, it seems too difficult for everyone; for everyone except me, who’s actually doing all the work. In October, after I spent 2 months in Germany playing the lead in Bela Kiss where I was able to do some of the best work of my career for deferred payment (yes, feel sorry for my bank account…) my LA based agent dropped me three days after my return to the states and one day after I turned down an offer they sent me for the worst script I had ever read in my life… but, alas… it paid. I still haven’t found a new agent.

The last two years, my agent in Berlin got me this many auditions: 0.

And yet I’m working!! Viral and Skype casting has become more prevalent. And, in Germany, casting directors often cast off of your reel. I have a friend in Germany who’s full reel is about 40 minutes and the casting directors watch every minute of it, are familiar with it, and show only the pertinent scenes to whomever is interested. The guys who cast me in the trailer we shot in Berlin three years ago wrote the part in the TV pilot for me that I’m going to shoot next week. In fact, the part is called Kristina! And I’m supposed to be shooting a film in Italy this fall.

However, if I do not book a US based job in the next few months, I will possibly lose my SAG health insurance, and this leads me to the next point: Unions. Working in different countries involves learning and dealing with different customs and different industry standards. In Germany, I recently found out to my astonishment that the crew have a union that enforces overtime, while the actors do not. There IS a union for actors in Germany. You can find it here. However, it simply has no negotiating power. It offers free legal services though for a small fee of 50 euro a year.. If you don’t have an agent and need someone to look over your contract, they are specialized in this.

So you’re probably wondering “what about the SAG universal rule?” Well, most European productions will have nothing to do with it. It is completely foreign to them. Why should they have to pay SAG for an actor who is working in their country under their rules? And that is exactly what I’m doing.when I use my EU passport. I am going there to work in rules. However, what this means is that, although I’m getting paid, SAG is not registering it and if I don’t make enough money in a year, my health insurance falls through. Again, this is a gamble.

It is also very interesting to learn how an actor’s daily rate is calculated in Germany. Actors get higher wages if they attended an acting conservatory. Yes. You heard me right. The main television stations ZDF, RTL and ARD have a rating system. For example, you would get paid the most if you attended the best acting school and have worked previously for said station.

Now, to the cost of working bi-continentally. So far, in my experience, I have made no money. This pilot I will shoot next week will be my first real paycheck. All the other work I’ve done has been pro-bono or deferred payment with travel costs paid for. So no money lost but none earned. It’s kind of like when you’re first starting off acting and do theater for free or short films for free. I considered it an investment. And it HAS paid off. If the pilot is picked up, I will have a recurring role that will work for at least a few months in Berlin. And since Bela Kiss will be playing theatrically, I suppose that will lead to more work.

But the experience I’ve gained is priceless. And the opportunity to play roles that would most likely be played by film stars in America is also priceless.

The experience of working with highly trained actors on set – most German actors have gone to a conservatory and worked extensively in theater – is definitely different from the US. The art of acting is taken very seriously. I would probably say there’s less FUN on set and people are really intense – there are less compliments thrown around. But I see how seriously they take their job and with what respect acting is treated and it makes me PROUD to be an actor… In a casting session in Germany, it is highly frowned upon to arrive with your sides! In fact you are automatically disqualified if you are not off book. Quite different than here wouldn’t you say? The down side of this is that German acting can be quite stiff at times. However, I think this is changing as American TV and American style naturalism is becoming popular over there.

Concerning languages and accents, I have had to work very hard to get rid of any trace of an accent when I speak German. In Italy, they love the accent. In America, my languages and accents have helped me do voice overs for video games. I shot a movie in Serbia for six weeks. A year later, there was an audition for Criminal Minds for a Serbian serial killer. Guess who got the role? I went into the audition with the little knowledge of Serbian I had learned on set. It all ends up intertwining.

So, in the end, is it worth it? Well, probably not if you don’t have dual citizenship to start off with. Without that, there are simply too many hurdles to conquer. And probably not if you don’t love languages and traveling! After that, though, how much effort do you want to put into working overseas? I would say, if you don’t have to spend too much out of pocket, it’s worth trying. If you have contacts that you can start off with, that’s good. And just ask, ask, ask. Ask people to introduce you to casting directors and agents and producers. If you are a working actor and have an acting reel with American television shows on it or any film work here, they really love that. Hollywood is still the mecca of film after all. And in the inter-connectivity of today’s world, who knows if working overseas cannot actually get you on Hollywood’s radar a little bit quicker than waiting in traffic on the 405…

Can you tell us the history of the New Media department? Can you share some recent progress SAG has made in regards to getting new media producers on board as SAG signatories?

Senior leadership at the Guild created the department in 2007 to investigate new technologies and the way those technologies effect the work of our members. Mark Friedlander was its first director and continues to lead the department. Recently, the department has expanded its purview to include a contracts administration function as well. We encourage actors to spend some time perusing SAG’s Digital Media Center to learn more about all the resources and services the department has to offer.

SAG has seen tremendous growth in the volume of signatory productions. Comparing the first half of 2011 to same period a year before, SAG more than doubled its number of covered productions. The department has seen an approximate 9-fold increase in annual signings over the last three years (2007 to 2010) and is on track to beat that again this year.

Sarah and I recently talked to a Seattle actor who had just joined SAG after booking 2 commercials. She wants to continue to build her reel but says that when she auditions for new media projects in Seattle she has been told several times by producers that “we don’t want the hassle of dealing with the union on this” and she’s out of the running. What advice do you have for an actor in her position? How can she advocate for the union with producers who are skeptical of the process of becoming a signatory?

It’s a pretty common occurrence for us to meet reluctant producers.  However, it is equally common that once we have a chance to explain really simple and fast our process is that they decide to sign up. Our growth in the space is a pretty good indication of that success.

The process of becoming signatory to the SAG New Media Agreement is very simple.  And they can do it fast. We have worked very hard to be responsive to producer feedback in simplifying and streamlining our procedures. Most recently we launched a web app, the Online Signatory Application, which allows producers to quickly and easily complete the process of becoming a signatory on the SAG website. A producer can often complete the process in as little as two days.

Becoming a signatory often leads not only to the production benefiting from the SAG talent pool, but also SAG’s resources can make all aspects of the filmmaking experience more efficient and professional for everyone involved.

Dena Beatty, Executive Director of the Seattle & Portland Branch Office has had great luck recently with helping actors get producers on board working SAG. As is often the case, working with SAG enables a filmmaker to up-level the whole production by taking advantage of SAG’s experience. Dena was able to help a filmmaker attract investors by suggesting he produce a (union!) web series as a predecessor to his feature. Another great initiative leading to more union jobs has been SAG’s efforts to partner with the Oregon Media Production Association to educate producers about the great supply of union talent in the Portland area. (Here you can read about these and other non-union to union stories & a view a step-by-step guide about turning non-union projects : SAG Organizing)

What consequences might an actor face if, as a union member, she knowingly works in a non-union new media project?

All members of SAG must abide by Global Rule One, which prohibits them from working in New Media on a non-union production. A member failing to abide by Rule One may face union discipline.

Members who violate Rule One could be required to appear before a Trial Board conducted by a group of their peers. A Trial Board has the authority to discipline, to impose fines, suspend, or recommend expulsion of a member from the union.

What’s the biggest misconception new media producers have about becoming a SAG signatory?

That it is a difficult, time consuming, and expensive process. None of those are true. It is a very easy and fast process and can be completed online. And our rates in new media entertainment are negotiable.

The rates for both background performers and principal performers are completely and separately negotiable between the producer and performer. If the producer offers a deferred rate, they will also need to negotiate the details of what event will trigger the payment to the performer. Other terms that are negotiable are hours in a work day and overtime rates. In all cases, we advise our producers to abide by all labor laws applicable to the state in which they are filming. The performer rates are not affected by the production budget, and SAG does not disclose budget details to the performers.

What are the goals of the New Media department and how can SAG members help you achieve them?

When David White, SAG’s Interim National Executive Director, assumed his post, he issued an imperative to the staff that SAG “match the level of technology in other media.”

To that end, we’re working on a Digital Production Center 2.0 release. This will offer producers more capability to manage their entire production on-line, and many of the daily forms will be able to be completed remotely. We also expect this to speed up the financial assurance process (e.g., making sure a production has sufficient bonds in place to protect the cast). Currently, the Center streamlines productions by reminding the production when its paperwork is due and by acting as a portal for SAG members to access information about their production in one place.

We want to continue to evolve the department with the growing business needs of the new media space. We want to be a resource for our members and the production community at large. Feedback and open dialogue among all the parties involved in this industry will help us to do just that.

Is there anything else you’d like to tell our readers about working SAG in new media?

It’s the new media producers who can say it best. To see what they have to say about working in new media with SAG, take a look at this video.

If you are an actor new media has provided an unprecedented opportunity for you to take charge of the types of roles you play. Go produce the SAG project you have always wanted to be in. And if you’re a producer and have concerns about working with SAG, please give us a call and let us help you. We want to be partners in the growth of this business.

SAG New Media Resources:

SAG Production Center

Online Signatory Process

New Media Online Signatory

SAG New Media

New Media Related Videos

SAG New Media Reps on the Production Center

New Media Producers Work with SAG

She began her career acting and then writing and directing for genre impresario Roger Corman. Katt is known for her gritty and sensual visual style and her facility with actors, which has enabled her to elicit great performances from the likes of Drew Barrymore, Sara Gilbert, Alison Lohman and Tom Skerritt, to name a few (she also teaches in LA). Watch below for insight into the fans of horror, why horror is the young actor’s friend, and a great story on how she got the ‘go’ on her first script.

For more in this series on Acting in Horror, watch our interviews with Paul Solet, director of Sundance’s Grace, here and here, and our talk with actor Dileep Rao, star of Avatar, Drag Me to Hell, and Inception.

Video introduction by Ryan Kravetz

The following is a chapter from his free ebook New Thoughts for Actors. He teaches regular workshops in Los Angeles (and periodically in New York) and coaches privately. Email info@jackplotnick.com to get on the mailing list for his weekly $20 drop-in cold reading workshops and monthly $5 Lecture for Charity.

ACTING “STRAIGHT”

I received an email from an actor who had been reading my website, and had a specific concern he wanted to share with me:

Dear Jack,

There is an issue I have been constantly dealing with, and I think it is the reason I have held myself back all these years.

Every time I get an audition, it’s usually to play a straight, ‘total guy’. I know I’m not a raging queen but I go back to all the teasing from school, all the ‘faggot’ calling and it actually makes me think I can never get parts because I am gay and straight guys have it so easy.

This is a major issue. I guess I just wanted to know if you had felt that and if so how you deal with it.

My response was similar to the following:

As a gay man, I also struggled with that exact issue.

There was a time, not long after I had graduated college, when I felt I had a terrible secret.

And that secret was that I wasn’t really a “MAN”.

(Or at least not the kind of “man” I thought I was supposed to be.)

When I would perform, I was afraid that everyone could see my secret, and I let this issue negatively affect my performances.

Then, one day, it just hit me…

I AM a man.

I just simply am.

I don’t have to prove it, or “Act” it.

It just is.

By definition, I am a man.

My insecure ego was creating this self-doubt.  It was an illusion.

Are all men super-macho?

No.

My god, if Andy Dick can portray a straight man on “Newsradio” then certainly you or I can.

Not all straight men act “butch”.

Do straight men cross their legs?

Hell yeah!

Do straight men get emotional?

Hell yeah!

Stop cutting out your self for fear that you are not right.

If you look at a list of the top TV shows of all time, there are plenty of popular and successful actors that are far from macho: Alan Alda, Bob Newhart, Mathew Perry, Jerry Seinfeld, Don Knotts, Kelsey Grammer, Patrick Stewart, Tony Randell, Larry Hagman…

None of these men had any problem being seen as a straight leading man.

Why do we want to focus on the few tough-guy characters?  Remember, for every Captain Kirk, there is a Mr. Spock standing right there alongside him.

And even William Shatner isn’t intrinsically a tough guy.  He often plays very sweet, endearing roles.

Speaking of top TV shows, look at Henry Winkler.  He was hardly the actor you’d first imagine to play the womanizing tough-guy “The Fonz”:

From Wikipedia.org:

An interesting note about his character on ‘Happy Days’ was that director/producer Garry Marshall originally had in mind a completely opposite physical presence.  Marshall sought to cast an Italian model-type male in the role of Fonzie.  However, when Winkler, a Jewish Yale MFA student interpreted the role in auditions, Marshall immediately snapped him up, smelling success. Winkler’s character gradually became the focus of the show as time passed, a testament to Winkler’s acting and Marshall’s foresight.

You can only be who you are.

If they want someone with an innate energy that is tough and hyper-masculine, they will hire that guy.

However, as was the case with “The Fonz”, the more interesting choice was the less “on the nose” choice.

I heard a story, that for his HAPPY DAYS audition, Henry was merely doing an impression of Sylvester Stallone, who he had just worked with in LORDS OF FLATBUSH.

So, the tough inner life as funneled through a sensitive actor was just what the role needed.

So don’t talk yourself out of roles!

There is a secret to gays portraying straight roles:

If you try to prove you are straight, YOU WILL COME OFF AS GAY-

(- or at least stiff and stilted as though you are hiding something: i.e., that you are gay!)

However, if you don’t care, and don’t get involved in being anything but who you are, THEN YOU WILL COME OFF AS STRAIGHT.

We are all the same really. All humans share the exact same integral characteristics.

So if you honestly play the circumstances of the scene, you will come off as straight as the character is.

However, if you deny a part of yourself, and strictly control and monitor your behavior, then you will not be able to play the scene.  Instead, you will be delivering some lifeless idea of the character.

You are your own tool to make your art.  If you are not using your tool, then there is no human being inhabiting the role.  The scene will be dead.

Why do we focus on the few hyper-masculine images out there?

Our ego wants to keep us in a place where we feel we are not “enough”.

Just accept that you will never be Vin Diesel.  So what?!  No one expects you to be!

Besides, that macho thing that you wish you could be is so fucking limiting.  Those people don’t get many jobs.

On the other hand, think of your favorite film actors;  Philip Seymour Hoffman, Dustin Hoffman, Tobey Maguire, Gene Wilder, Ralph Fiennes, Jeremy Irons, Jason Schwartzman, Kevin Kline, Mathew Broderick, Jake Gyllenhaal, Bill Murray, Johnny Depp, Owen Wilson, Richard Dreyfuss, etc. etc.

THEY certainly aren’t putting on some bullshit macho crap.

That macho behavior crap is learned and acted by the people who do it.  It’s not real for ANYONE. No one comes out of the womb and acts like that. They see people do it, and they imitate it.

So, it’s not even REAL to begin with.

You are so much more interesting than that.

You have warmth and sensitivity. Why would you want to deny or hide that?!

A great tool to rid yourself of this issue is affirmations:

I release and destroy my need to be “masculine”.

I release and destroy my need to be an “Actor” – I’m just here to be me and have fun.

Those kids from your childhood may have called you “faggot”, but they’re gone now.

So, whose voice is that you’re hearing in your head, still calling you “faggy”?

It’s YOU!

They may have given you the baton, but you are the one who is still running with it.

Read the Finding Your Inner Child chapter on my website, and start treating your inner child with the love and acceptance he should’ve been given from the beginning.

He wants to shine.

The actor who had originally written to me responded to my thoughts as follows:

You are so right, I have always tried to “act” like a straight guy, and was so nervous that someone would ask about my girlfriend or wife, that I was not “being” the goofy, sweet, caring, funny person I am.

I always hold back, for fear of being found out as being gay, and therefore not as valuable as a “real” straight guy.

Outrageous! I know, I so see it!

I don’t know many actors who are gay and do great work. So I always wondered what it was I was or wasn’t doing right. Thank you for being there and open to talking to me about all of this. I am really very excited about this ‘new’ chapter or step for myself.

A side note:

With so many great actors coming out as gay lately, and still playing straight parts, there are plenty of terrific role models; Neil Patrick Harris, T.R Knight, Ian McKellen, Rupert Everett, Robert Gant, Chad Allen…

I wanna talk about what doesn’t get talked about: quitting acting.

People in the industry, even coaches and teachers, won’t go there.

Because it’s scary. It’s personal. And because industry-related businesses rely on actors being actors, even if it’s time for them to move on.

I’m not here to convince you to quit acting; if you have zero doubts about your career and how it affects the rest of your life, stop reading now.

But if you’ve ever struggled, doubted, second-guessed, or questioned your career as an actor, then let’s take a minute to get real. Every actor I’ve ever spoken with one-on-one admits that at some point she’s questioned her career choice. And I think that’s a good thing.

You’re an actor because you’re the question-asking type. You didn’t go for traditional job. You had a vision, you worked your ass off to chase it, and you’re still here. That’s to be commended.

What’s not to be commended is when you keep chasing at the expense of what’s best for you. And guess what? If don’t want to act anymore? It doesn’t mean that you’re a failure or a sell-out. What no one tells you when you’re starting out: your dreams can change.

Truth:
Your priorities may change.
What’s fun may change.
What’s fulfilling may change.
What you’re willing to sacrifice may change.
Your interests may change.

If these things shift for you and you’re not willing to adjust your career accordingly? That’s the failure.

I’m not saying give up when it gets hard. I’m saying get honest. Evaluate what you get out of being an actor now. I’m asking you to entertain the tough questions.

Questions like:
Does this feel like a chore/obligation, or am excited to do and pursue the work?
Do the sacrifices feel too…sacrificial?
What are the financial returns?
Is this artistically fulfilling?
What do I stand to gain by quitting?
Does acting fit in with the lifestyle I want?
Who am I if I’m not an actor?

These can be extremely difficult questions. And when the answers emerge, they aren’t always black and white. So maybe you’re on the fence a bit, or starting to feel burned out; this could be a signal that you need a break. I asked actress Aisha Kabia (How I Met Your Mother, Knight Rider, Three Rivers) to share her experience:

“I took a break from acting from May – September of 2009. I was creatively tapped out and emotionally exhausted. I needed to check back in with myself to see if I was still on the right path. I immersed myself in yoga, reading fiction and being with family and friends. When auditions started picking up again in October I found myself full because I had nourished my artist for so many months and that fall I tested for a tv show and booked 5 national commercials in 5 weeks! I was in a space of fun, relaxation and creativity because I had given myself the gift of just being. Now instead of needing to take big breaks I know it’s crucial to schedule consistent artist dates and fill myself with what I love so I have something to give when I approach any audition or role.”

Or maybe you know in your gut that you need a change. Be assured that there’s other great stuff out there waiting for you.

Actress Amanda Randall (CSI Miami, JAG, All My Children) grappled with the tough questions for several years. She shares her decision to transition from a successful acting career to finding other meaningful work:

“I feel that a decision to change paths in the field of acting can be a very personal one — maybe more so than any other career path.  Essentially our trade is ourselves. It is the craft of materializing our deepest emotions, feelings, and reactions, and pouring them into an imaginary scenario. It is a honed skill process in and of itself; and to find yourself at a crossroads where you want to leave that comfort zone and explore other territories can be terrifying. For me, personally, it became very necessary.

When I moved to LA, I booked my first gig almost right away and got Taft-Hartley’ed into SAG. I booked another gig and really felt like things were happening quite quickly. Then I lived in NYC for a year — I booked a couple more gigs, but even with all the moderate success, the suppressed urge that ‘this just wasn’t right’ would not go away.

Once I moved back to LA I started to have some serious doubts. I began verbalizing them. I was poor. I didn’t have health insurance. I had zero financial support from my family. The acting jobs were fun when I got them, but still felt so false and unfulfilling. I constantly was going on auditions for characters and roles that I didn’t give a shit about.  And I had this aching urge inside of me that was only growing stronger. Instead of just acknowledging that the urge was there, I began exploring it. I started to journal. I made lists. I asked myself questions….over and over and over again.  “What do you want?  What do you want to do?”  The only thing that came clear to me was that I wanted to help others. To teach. To inspire. To protect. To represent. Can one do that in the field of acting and arts and performance? Of course. Was that the path that I, personally, was supposed to take in order to make it happen? Turns out, it wasn’t. I needed stability. I needed purpose. And I needed to play the most difficult role that I had yet to attempt: that of Amanda Randall.

I experimented with different options. I contemplated teaching: the passion wasn’t there. I pondered the idea of a random office job: it wasn’t doing it for me. I thought about being an astronaut: I was afraid of heights. OK not really on the last one. But it went on and on. And THEN this little thing called Proposition 8 came about…right around the same time that my darling partner and I became engaged. It gave me purpose. It gave me understanding.  It helped me to identify with the oppressed. It enhanced my empathy. And it only fueled my fire to help defend and protect the rights of individuals who have been discriminated against — in any capacity. I finally felt passionate again and was given specific direction. I was working at a law firm as a legal secretary during the day and doing plays at night. By that time I was literally turning down auditions. I also decided I had done my last play for a while and was going to apply to UCLA’s paralegal program. I wanted to pursue some legal training and knew that knowledge was power when it came to representing and defending the oppressed. It was one of the best decisions I ever made.

Will I act again? Maybe. Will it be for pay? Who knows. But what I do know is what I am doing now feels right. And I no longer have that aching urge inside of me.”

Confession: I, too, have had the aching urge. And I was astonished that there was really no where for me to go with these looming questions. So I sat with them. Chewed them, cried over them. My great (and eventual) realization was that I had put myself in a bad marriage with my career. I expected acting to be my source of income, purpose, happiness, creativity, and social life. That’s a lot of pressure for a husband. I’m still an actor–love it, pursue it–but I absolutely had to find other places to disperse some of those needs. Finding coaching has been a big part of that for me. Now I’m glad to have a more balanced, happy marriage with acting.

If you tackle your own big questions and feel at peace with acting, Godspeed. I think you’ll be a better actor for having faced the questions. And you’ll probably answer them at many stages of your career. The practice of checking in about your career satisfaction is a good one to cultivate; no one else is going to sit you down for a yearly review, after all.

But if you have the aching urge, listen to it. Aching Urges don’t go away on their own; they demand answers. You satisfy them when you have the courage to listen, question, and consider new possibilities. And as actors, we’re very good at that.

Read part 1 of the interview series here.

When did your interest in building online communities begin?  For actors that are overwhelmed by social media, do you have any advice on how to navigate it?

Eesh, this answer could be a separate article all its own. Ha! I’ve probably always been a community builder. The Internet just came along as a great place to help that along at the right time. Back Stage launched their message boards while I was a columnist there and I was the geek leader, for sure, so they gave me a “Casting Qs” forum and I moderated it, for anyone with follow-up questions about my weekly articles. I had already been a regular poster at Wolfesden (R.I.P. 2004) since 1999, and a member of e-Groups (which later became Yahoo Groups) since moving back to Los Angeles in 1998. I brought together a group of fellow actors who wanted to rehearse or run lines or work out with one another pretty much right after moving here. I had just come out of grad school, where using online forums to connect between in-person meetings was just part of the deal. It was a natural progression, really. Creating the Yahoo Group for Hollywood Happy Hour was a bigger deal than I ever thought it would be, at the time. Every week, I’m amazed at the support, encouragement, and information that flows through that mailing list.

I know that social networking in its current form can be overwhelming. As much of an “early adopter” as I am, for technology, I’m also very much a “lurk then lead” type too. I’ll wait, watch, observe the culture, eventually join, and then BAM! I’ll be running the place. But I think I see too many eager (and well-meaning) actors jump in and start flailing—and publicly—without realizing the damage they may be doing to their industry relationships. There’s this one poor dude who has tweeted at me no fewer than 37 times (I blocked him once he got up there, in frequency) to spam out the link to his demo reel. Once I blocked him, he contacted me through LinkedIn. He posted to my Facebook fan page. He sent email to all of the email addresses he could find on me (and I have a lot). Do I now know his name? You betcha. And I will never be an inroad for him to get access to a producer or director whose contact information he could also abuse. All he has taught me is that he is not to be trusted behind a keyboard. And if you can’t be trusted with a computer, I sure as shit can’t trust you in a role opposite an Oscar, Emmy, or Tony winner who has agreed to do a gritty indie I’m casting.

No, I have never watched his reel. His talent is irrelevant, because his professionalism is non-existent. Too risky.

Why and how are things like twitter and facebook useful for actors?  Do you have any examples of actors who you think use those tools exceptionally well?

I’ve been saying for about a year now that I think Facebook will be done by 2012. It’s going the way of MySpace (and I’m not looking for debate on this). While some have said Tumblr would be its replacement, I’m not seeing that yet. I think Twitter will have a greater lifespan because of its non-forced-reciprocity. Because people can just be on-brand and share quick blasts from their various devices without having to endure the blather of folks who may find them fascinating, but not so much vice-versa, the Twitter micro-blogging format has staying power. Add “likes” (not just “favorites”) to the options, and we’re golden. Facebook—while amazing and certainly life-changing for many of its users—has led to social networking fatigue among many folks (including me) and as I see ridiculous “like” campaigns springing up, I know we’ve jumped the shark on its usefulness. At this point, we are all Zuckerberg’s data (not his customers).

Using the existing tools well means being on-brand with every status update, with every tweet: Coming up with a balance of actor news and real-life shares that help us truly “get” you and feel more connected to one another, even before we’ve met (or remind us of the existing connectedness, should we already know one another). Being responsive to a fanbase is essential, of course. But berating people into being your fanbase isn’t very cool. I’m not a huge fan of being overly promotional. I am, however, a fan of living authentically and thanking people who respond to that. Being engaged is great. And that takes time.

Actors need to be Googleable. They need to have their demo reel, headshots, resumé, and contact information totally out there, so we can bump into them when we need to find them, without having to click through pages of crap to get to them. We also shouldn’t have to—daily—unsubscribe from actor email blasts. It’s gross how many actors just sign us right on up, without asking, before sending out these “here’s what’s new in my career” e-blasts. They may have decided it’s harmless, because if we don’t want the emails, we just delete or hit unsubscribe. But what they’re not thinking through is the residual effect that has on our impression of them. If—when I see your headshot in an Actors Access submission—my reaction is, “Ooh! Spammer!” that’s not going to help you get called in. As for folks who are doing it right? The ones who email once and say, “Hey, Bon. I read for you on that industrial last month. I have a quarterly e-blast. May I add your email address to my list?” I’m actually more likely to opt in for that one, because of how outlandish the courtesy is. (And isn’t that a shame? Courtesy shouldn’t be outlandish.)

I sometimes worry that the group coming up behind me seems so much more focused on building an audience than they are on being great actors.  Sometimes Claire and I want to bang our heads on the wall and yell, “Get off twitter and go back to acting class!  Go rehearse a play!”  Do you worry about that or are we just being out of touch?

Ooh, girl! You’ve so hit a hot-button issue, here. Again, this one could be another article on its own. Ha! This goes back to the “like” campaigns. I received an email for Your Turn in my column a bit ago about someone who actually suggested that actors list their social networking stats (number of followers, fans, etc.) on their resumés. My exact response? “That right there is some BULLSHIT.” It’s gross. I can’t even begin to explain how gross I think it is. Let’s just leave it at that.

Is all of this busy work happening at the sacrifice of acting technique? Craft classes? Actual work on the work? Wow, I hope not! Let’s hope it’s happening at the sacrifice of chronic drug-taking or some other really bad habit.

All kidding aside, I don’t know that I’ve seen any sort of decline in acting class attendance lately. In fact, I’m seeing more acting coaches branch off from their “parent” studios to create their own schools these days. So, let’s hope that classes are full, the craft is still alive and well, and all this social networking is just obsessive busy work that some folks have taken to extremes. There’s always some silly Actor Mind Taffy-like activity taking actors’ attention; it’s just not usually stuff that other actors get to witness. Let’s say this falls in the category of the mass mailings to everyone in every guidebook sold at Samuel French. So, somewhere, someone has always been doing needless spaghetti slinging to try and get noticed, but observers wouldn’t see it. Now that it’s a social networking thing, y’all see it. You keep going on with your craft, ladies. The rest is just noise. A different bad, not-quite-tuned-in radio station, but the same noise.

Self Management for Actors is such an important idea – how did that book come about?  Can you share one idea from it with our readers?

I so love that li’l book. I really do. Basically, Self-Management for Actors started out as a collection of all the emails I had answered, in my first years of writing “Casting Qs” for Back Stage. Because I had interviewed hundreds of casting directors, it’s like I became the ad-hoc expert on trends in casting (because, back in those days, very few casting directors were actually going to speaking engagements, blogging, posting on message boards, or revealing anything about what their world was like, outside of interviews like the ones I was doing).

I was bombarded with emails from actors about everything. And I would always do my best to help. If I didn’t know the answer, I would research and find an answer. I’d connect with anyone who would talk with me—from SAG reps to TMA board members to city attorneys to child actor activist reps to members of the ATA to working actors to studio execs to top casting directors to trade publication journalists—and get answers. And then the book was born. It was the road map I would have wanted, back when I was an actor. It was all the stuff I sucked at, as an actor. And it’s what—for many talented actors—makes the difference between being “just talented” and being “castable.”

I’m thrilled that I was smart enough (or enough of a packrat, or both) to bring all of that great information together. I also never lose a contact. So, anyone who ever said something better—at a talk at SAG, during a panel discussion for which I was moderating, on a message board—I contacted and asked to contribute an essay to the book. I knew I didn’t want mine to be the book’s only voice. I’m very grateful for the contributions from so many people in this wonderful industry, filling that book. I’m very lucky that so many wonderful friends and colleagues have found the book worth contributing to, recommending, even buying in bulk and then donating to current students at their alma maters.

The overarching premise is that actors have far more control over their careers than they think they do. This town is designed to keep actors feeling powerless and small. My book is an attempt to say, “Hell no. That’s not true. Stop buying it just because that’s what they’re selling. THEY need you to feel small because if you realized how big you really are, THEY wouldn’t be in control.” And frankly, they’re not. We’re watching a revolution of self-producing happen. We’re in the midst of a major shift in the way people behave in this industry. Casting directors, agents, managers, producers, directors, publicists, showrunners, writers, development execs… they’re all sharing behind-the-scenes peeks into their worlds, when ten years ago, almost no one was (and those of us who did were ridiculed for doing so). And now, actors are putting together their own resource maps and sharing them with one another. When I got started, actors were rarely sharing tips with one another. If you could find one actor to mentor you, you were lucky. Twenty years ago, The Actors’ Network began building upon that model. Today, thousands of actors are creating resources for one another, sharing their journeys with one another, supporting and encouraging one another—and gleefully so. There’s very little of the old, “I had to work hard for it, so you have to figure it out like I did,” attitude in this generation.

Outstanding. That Self-Management for Actors has added to that generational evolution? Awesome. Lucky me.

I have this column of yours bookmarked because of all the fantastic practical advice it contains.  Which columns of yours do you consider ‘must reads’?

Ah, yes. The intro to the “Get Critiqued!” series. Lots of good links in that one. Thanks. I think one of the most valuable parts of “The Actors Voice” is that Showfax keeps everything free and searchable, so I can do those links back to previous columns, which means you can dig as deep as you’d like on any particular subject.

For me, the “must reads” are the ones I email out the most (and yes, I do answer my email, though it is getting harder to do so in a timely fashion, due to high volume). Those would be: I Think I Want To Be an Actor (for the just-starting-out type), Just Get Better (for the filled-with-excuses type), Help Us Help You (for the about-to-reach-out-to-anyone-for-help type), How To Network Badly (for the networking-phobic type), The CD Workshop Issue (for anyone wondering what actually changed when AB 1319 went into law, January 2010), Conspiracy of Yes (for anyone who wants to enjoy how far you’ve come every time you get anywhere close to a booking), and Get Ready for LA (for the moving-to-LA-soon type).  Also Agent-Free Auditioning. I get a lot of email about that one, from actors trying to go it on their own before they’re repped (and sometimes after).

I have personal favorites too, but those are probably the ones I hear the most about. I think I write about the same themes many times over (of course) and just come at the information from different directions, which helps folks who may not have “heard it” the first or second time. So, while the resource and tools columns are very popular, the ones on mindset and getting out of your own way are my faves.

Keep creating!

RAPUNZEL, RAPUNZEL, CUT YOUR HAIR!!

Psst. Over here. I kind of wanted to keep quiet about this. They say that baseball fans are extremely superstitious. Well, if that’s true, than actors aren’t far behind. Every actor knows, when you feel like you’ve figured something out, unlocked the answer to some actor riddle, and it’s working, may lightning strike you down if you talk about it too much. If you do, you might jinx it. Nay, you WILL jinx it!! JINX! Okay, now that I’ve said that out loud, I believe that having done so, naturally, releases any superstitious negative outcome. Like when I’m on a flight and I start imagining the plane crashing, I then believe, of course, that since I’ve already played it out in my mind then, obviously, it won’t happen! That totally makes sense. Totally.

If you are of the human persuasion and an actor who auditions for commercials, then read on.

In a surprising and exciting turn of events I booked 6 national commercials in 7 months (2 for Time Warner Cable, 2 for Td Ameritrade, Dodge, and Southwest Airlines). It was actually 6 in 6 months, but I changed it to 7 because the double 6’s freaked me out when I saw them so close together. Eek. Now, maybe I magically and spontaneously became a better actress or more “real” “subtle” and “natural” in my auditions, but between you and me, I am pretty effing sure it’s because I cut my damn hair.

I have been blessed with having the same wonderful commercial agent for 6 years, Pam Sparks at Sutton, Barth & Vennari (as well as their recent fantastic addition, Rachele Fink). Over this time, I had many auditions and very, very, I mean very few jobs. My numbers really sucked. Bad. Yeah, I did get some callbacks, and some avails here and there. I booked a few small gigs that I either got cut out of or that didn’t run. Needless to say, I was waiting, ever so patiently, for my lovely agent to drop my ass.

Occasionally they would call me into the office to “discuss” why I wasn’t booking and I would inevitably get simultaneously awkwardly defensive and awkwardly apologetic. We always ended these discussions with a renewed (ahem, repeated) sit back and wait for “my time” attitude. Which is, frankly, often the case. Any good commercial agent, in my opinion, knows that it can take years, and literally hundreds and hundreds of commercial auditions, for that ever-elusive “click” to finally happen. It’s like dating. Sometimes you have to kiss a hell of a lot of frogs before that frog turns into a national commercial.

But I had hit the wall. I was carrying far too much tension at my auditions, and even more at my callbacks. I couldn’t stop that desperate energy from sifting out from my pores and bouncing off the walls. And I was so tired of seeing the commercials that I didn’t get mocking me during my favorite TV shows. I was even more tired of seeing them go to girl-with-short-wavy-bob. I became obsessed. For the non-actor, this seems crazy (and, um, it is.) I mean, really. It’s. Just. Hair. But for us, changing our look is a big deal. It means money, new headshots…it’s a commitment. And what if it doesn’t work? Then you have to wait for it to grow back and of course think of all the things you’ll be missing when it’s in the inbetween phase!! (Oh the neurosis.) You’ve convinced yourself that you’ve lost your “big break” job while you were growing out your bangs!

But this is what I’ve learned: when you’re not working as much as you think you should, then get out of your comfort zone and try something new. For me it was becoming the girl-with-short-wavy-bob. For you it could be something else entirely. But no matter what it is, the answer is right there in that little square rabbit-eared box. Oh god, I just aged myself..um..I mean, that 42 inch plasma screen box. I started looking and learning from commercials in a new way. I began dressing exactly the way they did. I studied the trends. Hair, make up, colors. This takes some self-reflection and honesty. Are you being realistic about your age range? Do you have a clear idea of your basic type? Also, simple things too like hair color. Is it dull on camera? Needs some highlights? Or is it dead from too many highlights? Do you even know? For men, is there a facial hair trend going on? And for those that can’t grow any, then how else does that look play out? There isn’t any one answer, but there are many practical things that you can do that may just help your chances in a very competitive industry.

This doesn’t have to be about a giant makeover or a huge overhaul. I asked one of my agents at SBV, Rachele Fink, to weigh in on the subject and she had this to say: “Commercials set the trends and hair is a major trend that young girls and women look for in commercials whether they actually think about it or not. One time I asked a girl if she would cut her hair, even just style it, and she said no, and I said this isn’t the agency for you because you won’t book with the same style from the 90′s. Actors have to be current and willing to set, and be able to change with the trends of our society.”

In my experience if you want to book commercials, you’ve got to conform, conform, conform. A tough pill to swallow? I know.

I get it. Two awesome lefty artist types in the East Village of New York City raised me, so the idea of conforming to the norm was totally against my grain. But in this case, the norm was working and I wasn’t. I had spent my whole life trying to be different, to be un-labelable. You know, Me! What I ultimately realized was that “me” is what books the job, and looking “right” for it just makes it easier for them to do it. Ultimately, your personality, your essence, your vibe is what people want to see and hire. But the commercial world also needs you to meet it halfway.

Jill Alexander, a friend and talented actress, has worked on over 50 National Commercials. She also teaches a fantastic commercial workshop, which I highly recommend, by the way (www.jillforpromqueen.com). This is what she said on the matter: “I think you have to be a real person in order to be successful in commercials. Which means wearing your hair in a way that makes you feel confident and attractive, and not in a way that makes someone else look confident and attractive. I do not believe that there is any rule of thumb. A smart haircut will help you in all aspects of your life.” I can’t speak for how that new haircut will go over at home, but feeling confident and contemporary will never hurt you at your auditions!

I bumped into an accomplished commercial casting director recently at Trader Joe’s. This particular office hadn’t called me in a really long time so I fumblingly saddled up to her in the cheese section and said hello. When she asked how I was doing, trust me, I was thrilled to finally be able to blurt out, “Great! I booked some stuff recently, and….well, I cut my hair. What do you think?”

And she quickly responded, while fingering through the Brie, “Ah, commercials…it is all about the hair….”

Shit. I hope I didn’t just jinx myself…

You can see Sunah & her wavy bob in action here and here.

Photo by Maya Adrabi

Tammy has nearly 15 years public relations experience providing her the opportunity to build long-standing relationships with a variety of media outlets. Starting her career at Medialink, the leading broadcast PR company in New York, Tammy was responsible for overseeing PR strategy and cultivating media contacts. Taking her knowledge and skills out on her own, she has worked on a variety of projects spanning the entertainment, lifestyle, technology, medical, non-profit, consumer product, and publishing fields.

You can read Tammy Lynn’s article on assembling materials for your press kit – with examples of bios & press releases – here.

It’s Time to Start Building Your Buzz

In today’s fast paced entertainment industry, it’s not enough to be artistically productive if no one knows about you or your projects. We all know incredibly talented, well-trained actors that just aren’t getting the opportunity to strut their stuff. Whether it’s for financial reasons, lack of imagination, or fear of failure, the bottom line is that studios and networks are taking fewer risks on unfamiliar talent. They want actors that are considered “bankable,” as evidenced by the large number of celebrities showing up on television and in independent films these days. Casting directors are given a “list” of talent from which they’re to start a project, leaving little room for thinking outside the box.

For this reason, it’s more important than ever that an actor starts thinking about how to utilize PR to elevate their career and build their buzz from the beginning.

So, now that we all agree on that…what exactly can you do to get started?

The Big Picture

First, you need to understand a few things about the media itself. There are different types: broadcast television & radio, print magazines & newspapers, and online outlets; and each are geared toward a specific audience. Industry trades like Variety, The Hollywood Reporter, Deadline.com, Broadcasting & Cable, etc. cover the business of “the Biz.” They report on the details behind the scenes of the entertainment industry, the playmakers, companies, and deals that literally create Hollywood. These outlets are interested in you and your projects when you’re first cast in a role, sell a script, or land that distribution deal for your film.

On the flip side, consumer outlets like Entertainment Weekly, LA Times, EOnline.com, and People magazine, etc. want to hear about you and your projects when they’re releasing. They like to be able to tell their readers when and where they can watch you, using interviews and photos as teasers for soon-to-be-released projects.

It’s All About Timing

When thinking about a timeline for sending out a press release or pitching a story idea, it’s important to understand that magazines generally need a long lead time. They plan their issues 4-5 months in advance, so you have to start really early to land a story in them. Weekly magazines and newspapers like 1-2 months advance notice and dailies prefer 3-4 weeks if possible. Online outlets are the fastest growing segment of media and are looking for stories 24/7, so they can turn a story around very quickly.

These details are important to understand when figuring out exactly which outlets might be interested in covering you at various times throughout the life of any given project. It’s good to start thinking about how to capitalize on PR as soon as you book a role, so you can plan ahead. The longer lead time you have, the more you can create different pitches for the various types of media.

Not Just the Facts, Ma’am

A press release takes certain key elements of information and puts them together in such a way that announces something for the purpose of gaining favorable media attention. The headline is considered the most important element because it can often determine if a release gets read or not, so create one that grabs attention and creates a news hook. This isn’t always easy, so be prepared to write and re-write the headline a few times before you finalize it. The main section of the release should contain some basic facts: title of project, your role and how it relates to the storyline, when it will shoot/release, any well-known people you worked with, and any other significant tidbits about the project. The release should also give the reporter a brief history of your previous work and tell them what’s coming up next for you. At the bottom, it’s good to include your personal website address or where your fans can find you online. Don’t forget to include a way for media to contact you in case they have questions, need photos or want to schedule an interview.

My Release is Out…Now What?

There are numerous factors that can play into whether your story gets picked up quickly or if it’s a waiting game. Either way, make sure you have your bio and some photos ready to send out at the click of a mouse. Crafting your bio is something that you can do whether you need it immediately or not. They don’t really change that much, except possibly adding in your newest credits, so this is something you can start crafting today. Also, go back through your headshot sessions and pick photos that you really like. They don’t have to be the same ones that your agent uses to submit you with…instead pick your favorites. And, if you’ve got a few behind-the-scenes shots from the set…that’s a big plus with reporters, too.

Start Talking

Your release went out and Congratulations! — a reporter wants to do a story about you. Don’t panic…just prepare. Create your own sample questions that you think a reporter might ask you about this project, previous projects, your background, and what you’re doing next. I suggest you get together with a friend and have them pretend to be the reporter. You could even do it over the phone, since many interviews take place this way. Keep your answers simple, but no one-word responses. I don’t suggest you write out your answers and have them in front of you because you’ll probably sound like you’re reading them. Reporters are looking to get a glimpse of your personality during their interview, so keep it loose.

For questions that you’re afraid of, I call these the “complicated issues,” like your age, sexuality, relationship status, etc., I suggest crafting an answer that doesn’t give away any details that you wouldn’t want circulating, and then delivering it in such a way that is in-line with your personality, but also polite to the reporter. For example, if you’re asked how old you are, you might shockingly answer with something like, “I can’t tell you that…because then you’ll be able to figure out my Mother’s age and she’ll kill me if that gets out.” The most important thing during an interview is simply to relax and have fun. If you’re enjoying the conversation, they probably are too…which makes for a better final outcome.

Hiring Some Help

If you decide this is all too overwhelming and you want to work with a PR professional, there are a few things you can do to help. Do yourself a favor; keep a list of all the media that has covered you or your projects in the past because these reporters might remember you and be interested in following your career as you move forward. Tell your publicist of any conflict dates you’re not available for interviews in advance, that way they can schedule times easier and not have to do the back and forth phone-tag. Discuss your expectations with your publicist up front, that way everyone is on the same page about who you’re approaching and what your chances for coverage are. It’s always smart to ask your publicist questions when you don’t understand how the process works or what to expect.

The Long Haul

Even if you do all of these things, there is still no guarantee for coverage. Just like it can take a Casting Director numerous times of seeing your picture cross their desk before they call you in, it can take a reporter several times of seeing your name on a press release before they decide to run a story about you. Don’t give up! PR is all about cultivating relationships with the media over time. Create a target list of your “dream” outlets, but also include those that you have a connection to, like your hometown newspapers. In the beginning, the lower profile outlets might be your best bets for coverage, but send to your entire list because you never know what might catch a reporter’s interest.

Visit Tammy’s website at www.SpotlightPRCompany.com & sign up for her newsletter in which she shares PR tips, media details, and resources.

Tammy has nearly 15 years public relations experience providing her the opportunity to build long-standing relationships with a variety of media outlets. Starting her career at Medialink, the leading broadcast PR company in New York, Tammy was responsible for overseeing PR strategy and cultivating media contacts. Taking her knowledge and skills out on her own, she has worked on a variety of projects spanning the entertainment, lifestyle, technology, medical, non-profit, consumer product, and publishing fields.

At some point, and sooner than later if you’re taking your career bull by the horns, someone is going to say to you: “Send me your press kit” or “Email me your EPK (electronic press kit).” You’ll probably nod your head and reply “no problem” while secretly panicking inside because you meant to put one together but haven’t had time, and you don’t really know what it is or what goes in it, and blah…blah…blah. While I can’t drag you over to your computer to start packaging your materials, I can tell you what steps you need to take to get that kit together. In other words, your excuses end here!

First, I like to start by figuring out what the purpose of the kit is. Are you sending it out to the media or to potential agents & managers? This is important because they don’t necessarily contain exactly the same thing. I like to refer to a package you’re sending to the media as a “press” kit and a package you’re sending for self-promotion as a “personal” kit.

Second, are you sending out hard copy kits or emailing it? With hard copy kits, the more pages you create the pricier the printing costs get. You’ll need to compile everything into a folder and factor in the cost of postage, courier, or gas if you’re delivering it yourself. Another option is having the kit available as an E.P.K. (electronic press kit), which is an electronic version that you can either attach to an email or make accessible as a download from your website. It contains the same information as the hard copy kit, and the only distribution cost might be hiring someone to help you format it for delivery. Make it as compressed of a PDF file as possible without losing quality because no one likes waiting too long for downloads. Along with this file, you can also attach your demo reel or teaser footage to support the information in the kit.

Now that you know there’s more than one kind of kit, let’s figure out what goes in each of them.

The Dreaded Bio

Every kit needs a biography. I know, I know — you hate your bio! But, this is probably one of the most important pieces in any kit, so you need to create one you love…or at least one you can live with. There are different types of bios depending on its purpose: press kit, IMDB, personal website, promotional package, theatre program, etc. For this article, the type I’m talking about is a ‘full length’ bio for inclusion in a press kit. This is often the most difficult to write and the basis for all the others.

Craft a bio that tells your story, something we wouldn’t have known from just reading your resume. It can be more than one paragraph, but not longer than a page; and it doesn’t have to be told in chronological order. You can start with your biggest successes and head backwards into how you got to where you are today or you can create a theme that explains how your personal life experience has helped you in your professional career. You don’t need to reveal anything that makes you uncomfortable or that you wouldn’t want to see in print and it never hurts to inject a little bit of your personality into it either. For a examples of a good actor bio and a not-so-good, click here.

Please Release Me

A press kit can include a press release that highlights you or your current project. If you’re sending a kit to the media, it’s because you’re looking to gain coverage of some sort. Whether you’re seeking a feature story about you or a review of your latest theater production, a press release contains all the basic information: Who, What, When, and Where, along with a news-hook to grab the reader’s attention. A reporter will also consider the urgency of your story idea. If you think logically and ask yourself “why is this important right now?” you’ll begin to understand how a reporter approaches story ideas. Typically, they like to cover stories either before or as they’re happening, not two months after your show airs, so keep your releases about future events.

A release can also be included in a personal kit, even if it’s highlighting something that has already occurred. Releases written for this use can be longer in length, incorporate additional background details, and help to fill out a package if you don’t have a lot of other stuff to include.

For sample press releases, click here.

One-Sheet…or Two

Personal kits often include ‘one-sheets’. Just as a movie poster is a one-sheet for a specific film, you can create one-sheets for yourself or any of your projects. These are literally one-page in length, crafted to highlight a specific project or success, and they usually contain more pictures, logos, and elements of eye-candy than actual written text.

For example, using a specific role you booked on a TV show: at the top of the page is a photo of you on-set and next to it a quick description of your role on the show; below that in the middle of the page you might have the networks logo and the stats on how the show did in the ratings that week; and at the bottom of the page another photo of you in costume or sitting in the make-up chair and a quote about your performance from the director or casting director.

Another example, using a web series you created and starred in: at the top is the web series logo and a brief description of your participation in it; in the middle of the page are a few photos of you on-set and some stats on how many viewers you’ve had or where it launched, and at the bottom of the page are simple descriptions or logos from any awards you’ve won, festivals you’ve screened at, or possibly quotes from press you might have received.

This is your opportunity to go crazy with Photoshop if you have the skills, but these can also be created in standard programs like Word. There are lots of places to view examples and get templates, just search online for ‘one-sheet’.

Clip-Clip-Clippings

I get asked all the time, “So, what exactly am I supposed to do with all these interviews?” Well, this is the place to strut your stuff. Gather them up, scan them into your computer and create pages of your clippings. You can reproduce an entire article or just pull out the best blurbs about you. Be sure to label the source or add the outlet’s logo next to each quote and arrange these in a visually stimulating way similar to a one-sheet. You can sort them by project if you have interviews that span over a number of projects; and you don’t have to include the date if some of your clippings are older. These are your bragging pages, so don’t hold back.

Now that you’ve create these pages, it’s time to think logically again about when to use them. As a general rule, the press doesn’t really care about what other press thinks of you or your project. You don’t usually see Variety quoting Entertainment Weekly…or Deadline.com quoting EXTRA! They want to make up their own minds without any outside influence, which means they’re not really interested in clippings that contain reviews or opinions about something they’re also going to review or cover. The exception is when a reporter is covering you for a feature about the entire body of your work. So, when do you use these clippings pages? In your personal kit, attach them to your website, send them to casting directors, or give them to your agent electronically to help them pitch you.

Say Cheese

Photos are a must with any press kit. Whether you work them into the one-sheets, embed them into your bio or keep them separate, a good photo is worth 1000 words.

When putting together your press kit, keep in mind that reporters love to get behind-the-scenes photos, even if you’re just sitting in the make-up chair. I suggest always taking your own camera with you to set even if you can’t use the photos until after the show airs. You might consider having a few posed shots available for reporters to print as well. Every actor has a headshot, so you can use these to send out, But you might go back and review the session again to find ones that you liked better than your agent…and use them.

Next time you get headshots taken, consider snapping a few shots for editorial purposes. Not sure what I mean by editorial photos? Flip through some of your favorite magazines and pay attention to the photos. Not the advertisements, but the ones that contain the people who are featured in the stories. Notice that a lot of the time they aren’t just your standard head. They can be simple or crazy, placing you in an environment that relates to your role in a specific project or your overall career path. These types of photos can always be cropped if the reporter doesn’t have enough room to print the entire scenario, and who know…you might just get a unique headshot out of it that you wouldn’t have gotten otherwise.

Of course for personal kits, your photos really need to target the recipient. If you’re sending to an agent or manager, then be sure to send your best headshots; and don’t forget to attach your resume.

More Stuff

Create your kit to look like a cohesive package. You can use the same header design, logo, or color scheme throughout to make it feel like a single campaign.

Other stuff to think about: If you’re a director/producer/creator of a project, it’s perfectly normal for you to write and include a page of “Notes” that tell the story about how your project started or a behind-the-scenes account of the production. Also, a cast and crew list is a good idea to include for kits that focus on an entire project, but not necessary for an individual’s kit. If you’re an actor or musician, include a demo of your work in hard copy kits, but not always necessary when sending to the media.

Overall, the most important part of any kit is simply getting it done. Stop worrying about whether you have enough stuff or the “right” stuff to put in it…just get started!

Visit Tammy’s website at www.SpotlightPRCompany.com & sign up for her newsletter in which she shares PR tips, media details, and resources. She’ll be back next week sharing info on time-lines for your publicity outreach.

Wendy’s other passion has been to inspire, educate and empower actors. As a workshop leader, guest speaker, private coach and guest column writer for BackStage, Now Casting’s Actor’s Ink, and other publications, she has inspired hundreds of actors over the years.  To help other actors to create their own success and maintain a positive outlook, she created her website, ActorInspiration.com, where she shares her business savvy and inspiring insights.

A lot of actors (hopefully not you?!) love to blame their agents, casting directors, traffic, and even celebrities for the lack of work/auditions that are coming their way. It’s definitely the easy way out, but it also makes you the victim of your circumstances and makes you feel powerless. In fact, go to any audition in any town, and you’ll probably overhear a few actors on a negative rampage. The problem is, it perpetuates negativity. You convince yourself you can’t move forward and then gather more evidence from other actors. All this blaming and complaining just makes it easy to stay stuck and helpless.

1) DON’T BLAME & COMPLAIN

WHAT TO DO? Walk away from any negative energy, and become aware of your own. Practice not complaining for one week. One day even! Practice praise and appreciation of yourself, your career, and even your agents!

Affirm: I no longer engage in blaming and complaining. I have the power to change my circumstances and I begin looking for the good, now. The more I focus on what IS working in my career, the more positive experiences come my way.

2) LET GO OF FEAR

So many performers are plagued with fears. If you could hear the internal thoughts of actors in the waiting room of an audition or callback, it would probably sound something like this…“ I hope I they like me,” “I don’t have enough credits,” “I’m too old, (young, tall, short, pretty, ugly) to play this role.” “What if I don’t remember my lines,” “I really need this job” and any other fearful thought you’d like to insert. This fear-based thought process robs the actor from bringing their best, authentic self into the room. The funny thing is, F.E.A.R. is really just an acronym for FALSE EVIDENCE APPEARING REAL.

WHAT TO DO? Acknowledge that your fears are just lies you’ve been telling yourself to keep you “seemingly” safe. Know that you are bigger than your fears, especially since they are your ego’s way of controlling you.

Affirm: My fears are merely false evidence appearing real. I release and let go of any fears I have right now. I am here to have fun. I can let go of needing to please anyone but myself. I do not have to be perfect or get the lines perfect. I let go of my need to please and embrace my imperfections as they make me unique. I deserve to be here. Who I am right now is enough.

3) END PROCRASTINATION

When you are a self-employed actor, it’s easy to get overwhelmed and not know what to do next or where to begin. When we lack a clear vision of what we want, it leads to a lack of action, which leads to a lack of results.

WHAT TO DO? Begin with the end in mind and work your way backwards. Create one clear goal, and list all the baby steps you can take, and pick one and begin. Don’t worry about HOW things will unfold, just get busy taking inspired action.

Affirm: As I begin with one small step, it leads to the next one. I take inspired action and trust my intuition. I know what to do next. I will learn as I go. I release the need to be perfect. Everything always works out for me.

4) STOP COMPARING

This is actor death! Focusing on how many auditions your roommate had, how many IMDB.com credits another actor has, or who booked what pilot is asking for trouble, if it makes you feel frustrated, angry, or depressed. In fact, if you can’t be happy for someone else’s success, don’t ask!

WHAT TO DO? Understand that the more jealous and envious you are of another’s career, the more you are actually holding yourself apart from what you want. When you feel negatively towards another’s success, what you are really feeling is doubt about your own. When you can begin to be happy for those who are doing work you’d like to do, you are actually telling the Universe that you expect it too.

Affirm: I bless those that have created the success I want. The more people close to me who are successful, the closer I am to success as well. I know there is enough for all of us, and the right roles are on their way to me now.

5) DON’T OVER THINK THE FUTURE

It’s easy to fast forward to how your whole world would change if you just booked this commercial, pilot, film, theatre role, etc. Whether you are fantasizing about the money, prestige, status, accolades or just the feeling you’d have, it will never help you get the job. The energy you use to over-think your future always creates a feeling of desperation that you don’t want to bring in any audition room.

WHAT TO DO? Take the pressure off yourself by being less concerned with the end result and more focused on the present moment. Find the thoughts and feelings of the character in the scene vs. the runaway thoughts of the actor who wants a job.

Affirm: I focus on being present in this moment. I let go of needing this job or controlling this audition. I focus on aligning myself with the thoughts and feelings of the character I’m playing and having fun in the room.

Now that you’ve become more aware of how your thinking might have been sabotaging your best efforts, try some new thoughts and affirmations for the next 30 days, and see what changes occur in your career. Good luck!

Want to dig deeper? Rid yourself of SELF-SABOTAGE, FRUSTRATION, & PROCRASTINATION and RECLAIM your POWER and CAREER? Get INSPIRED with Wendy’s 5-Week Tele-Class, Acting Success – How To Master The Inner & Outer Game.
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