The Gainfully Unemployed have many options to choose among to forge a productive career. Ideas for new projects pop into our heads, an article sparks a new direction, friends ask for our help with their ventures, offer suggestions or gigs. Which will be to our benefit?

Two paths keep popping up of late, via friends’ advice, experiences, and articles. I’m intrigued because both seem to offer more control of product and placement. But do they offer a better chance of income? Or will I seem like I’m on my way but really be spinning my wheels?

1) Create my own content to showcase my acting/writing: Write and shoot my own funny videos/web series/films to put online or market to industry professionals. It’s not enough to just write any old thing, it has to be good. Maybe I’d build a following, go viral and then talent buyers would come to me. Maybe my as yet unpublished novel turned into a movie treatment would get plucked from the slush pile.

Actors far more well-known and with many more connections than I have done so. I ran into one recently who has a variety of projects in play, one of them for years. Yes, some videos will go viral. Some self-made films/shows will get picked up.

2) Self-publish my manuscripts. I have a few friends (NYT bestsellers who publish backlist and new books, and less well-known authors) who have done so with great success. I know more who aren’t selling that many books.

At the moment, to me, the time, effort and expense with no guarantee of income seems too risky. How much time and money did the writers/actors spend to put their product out there? Would the time be better spent focusing on getting paid work, or is finding new ways to get yourself out there the way to go?

Writers: If you aren’t good at cover and interior book design, formatting, website building/hosting, publicity…you need to hire people to do those things. You also need to write your own back cover copy and put on many other hats a publisher wears. And when will you write your next book?

Actors: Yes, the costs to produce our own content have dropped significantly. Yes, most of us have friends who might help write/produce/be in our short films. There are sites such as Kickstarter to get investors. How much time/money will you invest, to what end?

Both: If you don’t already have a significant following, it’s more challenging to get your book(s)/film(s) noticed among the millions now available. There’s just so much content out there, from professional to amateur, how do you keep yours from being a needle in a haystack? What can we do to make our projects stand out?

I did self-pub a co-authored non-fiction book, but am finding it a challenge to make significant time needed to promote it. There are some opportunities and contests (I recently entered one that cost $69) for self-published books, but it’s harder to get reviews or interviews without the backing of a publisher. There are film festivals, but can self-producers afford the entry fees, the time to research options and submit?

Some will find the success they seek via self-created content. Some will win the lottery. I’m not sure yet how much I’m willing to invest in self-producing pursuits vs. getting writing and acting work from established publishers and production companies.

At last week’s RT Booklovers Convention in Chicago, opportunities to pitch to editors and agents abounded.  As with other conferences, aspirants could sign up for two traditional 10 minute appointments, one agent, one editor.  If there were open time slots on site, we could sign up for more.  In addition, I attended Pitch-A-Palooza, where for an hour and forty-five minutes, dozens of editors and agents offered three minute appoinments. 

Some authors don’t like or fear pitching, but I view it as an opportunity.  I give workshops about pitching (and discussing your writing) with confidence.  It’s exciting to have the chance to talk to prominent industry professionals.  I’ve heard some say they get more than 100 unsolicited queries a week and don’t make many requests.  An appointment is a way to bypass the query process, and make yours a requested submission.  And some editors don’t take unagented submissions unless you meet them at a conference.  

Ancitipating a huge crowd and long lines, I’d mapped out my strategy and arrived early.  But there weren’t as many pitchers as I’d expected. 

Perhaps three minutes doesn’t sound like a long time, but I talk pretty fast.  And after online research of websites, recent sales or purchases and blog entries, had decided which project(s) to discuss with each. 

Only one editor failed to request.  Since I only have one manuscript suitable for her, I couldn’t discuss another.  Rejection is never fun, but I’d rather that up front than go through the effort of submitting and waiting for a response.   

Will the pitchees’ inboxes be flooded?  I’ve heard that some authors fail to follow up with requested submissions.  Will anyone get an agent and/or sell any manuscripts via appointments or P-A-P?  In any case, it was a great opportunity to meet, talk to and even get some feedback from many industry professionals.

Jean Cozier wrote Dear Judith, the true story of her cousin, artist and incest survivor Judith Dawn Hickey.  Jean used excerpts to create a short play of the same name.

Several times over the past couple of years, I’ve been honored to voice Judith’s words at events held at The Awakenings Foundation Center and Gallery.  The website says the gallery “showcases the healing of rape and sexual abuse survivors who pursue the creative arts, and to share their stories with the public as a means of raising awareness about the problems faced by rape and sexual abuse survivors in our society.”

When I was first called in to audition, I wasn’t sure if I could pull off the deeply emotional words about such serious, heartfelt topics.  I’m not often cast in heavy dramatic roles.  However, in 2007, I played the mother of a teen who committed suicide in Carnal Savior (that year a candidate for the Pulitzer Prize for Dramatic Works).  The play started with “my son” sitting on stage, writing his suicide note to me.  He’d write a slightly different one each night, then give it to me when he got back to the dressing room.  His words helped me with my scenes. 

Just so, I hope Judith’s words help me do her story justice. 

Recently I attended the Chicago regionals of Harmony Sweepstakes, an a cappella competition similar to regionals on Glee, but with more groups competing to attend nationals in San Francisco. Only the winning group in each of eight regions goes (and wins other prizes, at least in Chicago), but the second and third receive a few prizes. A lot was on the line in each 10 minute performance.

Though anyone who’s watched American Idol knows you don’t have to win to have a successful career (runner up Clay Aiken, for example, went on to perform in Spamalot on Broadway and sold out tours, has a bestselling book, etc.), competing in the national finals was the goal. 

As a guest of a judge, I decided to play judge, too, though I didn’t have the benefit of the score sheet. I’ve been a fan of a cappella for years, have sung a bit, and watched the sing-off, so I’m somewhat familiar with contemporary styles and critiques.

I couldn’t decide between Rooftop Rhythm or Breath of Soul. Barbershop quartet RR brought such infectious energy and a great sound, to my ears. But I wasn’t sure if traditional barbershop could prevail in today’s world of contemporary songs, mashups and beat boxing. It could.

In post-performance analysis, my friend and I agreed that a couple of the groups had pitch problems. Maybe they were right on in other performances or even 5 minutes before going on stage, but when it counted, they weren’t. We analyzed the importance of energy and presentation. What sounds amazing and what constitutes great presentation is in the ear and eye of the beholder…or in this case, those of the five judges. Given the amount of choreography on the sing-off, I expected to see some, but there wasn’t much.

Lessons learned: When the pressure’s on in any career, from an audition to job interview to presentation, you have to find a way to bring your best. Because some events in life are a competition, you are being judged. In some cases, the winner takes all. In others, consolation prizes may pay off in the future. If you did a great job but just didn’t have a high enough score to win/book the gig, someone may take note.  Tty to learn your audience’s expectations, and meet or exceed them.

When I’m crafting my novels, I write for myself and my characters.  Do I like the them, the conflict and plot?  Am I moved in some way by each scene?  Am I satisfied with the pacing, flow of chapters and word choices?  But when working on a revision letter, I’m also writing for the editor who asked for changes.  I’m keeping in mind what she wants and the expectations of the agents who are waiting for the updated version.  Because in the end, what I like won’t secure representation or a sale.  What matters is what they like and believe is marketable.  What makes them willing to put their names and reputations on the line, to invest their time and effort.

Usually when I write, my characters guide the story.  I see things through their eyes as if I’m watching a movie.  When I’m focused on what industry professionals have asked for, it’s more of a challenge to stay in my characters’ heads.  I’m often in mine, wondering if this or that is what she meant. 

Have I changed/cut/added enough?  “I really like this scene, does so much of it have to go?”  “Is this new scene as good as the others?”  In the end, it’s still my decision.  And on occasion, it’s exciting to come up with something I think is even better or is a fabulous addition. 

How much revision is too much, whether it’s for a novel, blog entry or letter?  I want to feel confident about my writing, not worry I’ve reworked a chapter so much that my voice gets lost.  A friend says I’m too picky about spelling, grammar and avoiding typos.  Another peruses then re-peruses each email before sending. 

How do we know when we’ve spent enough but not too much time, when we’re done, when to let go? 

WSJ:  Books That Are Never Done Being Written

Endless Revisions

Last Minute Revisions

There are three main casting agencies in Chicago: O’Connor Casting, Pascal Rudnicke Casting and Claire Simon Casting.  They book the vast majority of commercials, TV shows and feature films.  Actors want these casting directors to know who they are, relish the opportunity to be called in and hope they give a great performance at each audition. 

Most of the time, you can’t get called in to audition unless you have an agent.  On occasion, opportunities such as The Great Danish Adventure come along or the search for the new voice of the Afflac duck, and they’ll hold an open casting call.  Sometimes they’ll seek a specific kind of person, such as those who take a certain medication.

The business is fairly fast paced.  Yesterday just after noon, I was driving to a indie film audition when one of my agents called to say I had a TV commercial audition at one of the big three the next day at 10:50am.  Yay!  (You can ask for something later or earlier if  you have a conflict with your assigned 5 or 10 minute time slot, but usually you don’t get to choose.)  If you’re not available for the callback or the shoot date(s), you probably won’t get to audition. 

I’d be doing two short spots.  The scripts didn’t arrive until 5:15pm.  I had a class until 9:45, so I couldn’t prepare before then. 

Deciding what to wear can be a challenge, whatever “nice casual” or “business casual,” etc., means to you.  Basic rules of solids over busy patterns, simple jewelry that doesn’t distract, apply.  On occasion, people will truly dress the part.  When I had an audition to be a nun, I wore a black sweater over a white blouse, as did many auditionees.  But a few showed up in full nun’s habits.  I bought a lab coat because I was going on so many pharmacist/doctor auditions, and the coats provided at auditions were far too big and baggy.  I haven’t had a single opportunity to wear it…yet.

In the waiting area, you fill out an information form.  Headshots/resumes used to be mandatory, but with online casting services they aren’t always requested.  Sometimes more than one audition is taking place, so it can be crowded and hectic.  I almost always run into someone I know, and enjoy catching up.

In the casting room, you often have the opportunity to do a rehearsal with the session director.  There may be others watching, from interns to clients.  And those who watch don’t look at you, they look at you on the monitor.  Then you get two takes, usually with some guidance in between.  Nerves can set in because a lot is on the line.

Afterward, I try to let go of how I think I did and when the callback is.  Because you never know why you didn’t get chosen. You might have done a fabulous job, but you’re blond and they want a brunette.  They chose a tall husband, and you’re too short to be his wife.  Instead of worrying and wondering, I look forward to the next opportunity.  

When it comes to learning lines, songs, choreography or talking points for a presentation, I’m a fairly quick study. But when it comes to learning new software, I often get stuck and/or frustrated, especially when I know what task I want to complete but can’t find the answer.

While many help options are available, the information I need may not be there or is a challenge to locate. User guides aren’t always thorough, and online Wikis, forums or video tutorials can take time to wade through and still not yield the solution.

I’m sure many programs have features I’d love if only I knew what they were. Many of us never had formal computer training. I picked up Word on the job. And from the descriptions of some classes I’ve read it seems the topics covered are too basic. I don’t want to pay for, go to and sit through an hour of class for one or two useful nuggets.

There’s always the trial and error method. Sometimes that works, other times, I get frustrated trying to figure out a workaround.

Just when we think we know a program or a site like Facebook, it’ll probably change again. Sometimes the changes are improvements, other times commands we liked are harder to find or buttons are moved.  Not only that, many of us customize and with a new version have to set up our personalization all over again.

I’m working on changing audio editing software, from Audacity (which is free) to Sound Forge (which is $64.95).  A friend helped me figure out a few things, but performing the tasks I’m accustomed to means different shortcuts and terminology. 

What are you waiting for…the cable guy to show up, to hear if you got the job, the release of the next iPhone, a friend who’s late to lunch?

Because feelancers have so many irons in the fire, we’re often waiting for news about many things–whether our manuscripts or articles will be requested or bought, if we’ll get that new client or assignment, when our agents (literary or talent) will call.  Everyone’s waiting for something, but some handle it better than others.

Why is waiting often so difficult, so frustrating?  You’re not actually doing anything.
One reason is sometimes you can’t make plans until you find out, say, if you’re booked on a given day.  Another reason could be that we want good things to come our way, our efforts to pay off.  Maybe we don’t like the sense of power or control others seem to have over us as they make decisions that impact our incomes and future.  Sometimes closure, even if the result isn’t what we’d hoped, is preferable to not knowing.

Those of us whose lives often revolve around waiting need to find ways to enjoy and appreciate or at least tolerate the journey.  Logically we know sitting by the phone or checking our e-mail every five minutes won’t make responses come any faster, yet the urge is there. 

What seems to help is keeping busy, focusing my energies and time on other projects instead of dwelling on when news will arrive.  Some may choose to sit back and think that fantastic job, book deal or national TV commercial is just around the corner, so there’s no point working all that hard now.  Others move forward with what is and keep creating additional opportunities.  They don’t rely on supposition–what if X or Y happens.  If they get some sort of windfall, great, but they know they can’t count on it.

About a year ago I wrote a related post on Anticipation. 

They say patience is a virtue.  What can you do to make waiting easier?

It seems that as soon as I learn and feel comfortable with one social media venue or kind of software, there’s an update or a different version. Or there’s some new or increasingly popular site I keep hearing about either via a post, article or actual recommendation.

From Facebook to Twitter to Tumblr to Pinterest, from LinkedIn to Plaxo to Google+ to Friend Stream, to content sites such as The Huffington Post and Mashable, how can we be everywhere, keep up with everything…from all the messages/articles/posts to changes in how to use the sites? How do we distill the information we really want to know from the vast sea? How often are new features/layouts that valuable or better than what came before?

Case in point: Facebook’s relatively new Timeline. I haven’t heard a single good thing about it. I have heard many complaints, especially that it’s confusing to look at and makes it more difficult to find the bits of info you’re interested in. I’ve checked out a few friends that have, and agree. I hear virtual groans when friends are asked to switch over. Yet I fear I’ll have to succumb in the near future, because I don’t think we can opt out. It’s an encroaching tidal wave, hanging over our heads. Is it really an unimprovement (my word), or will I and others like or even prefer it once we suffer through and complete the learning curve?

Then there’s Pinterest, which I’ve only heard good things about, but after an admittedly brief visit seemed too busy and a probable time suck. I keep hearing more about the importance of making sure your LinkedIn profile is complete and recently more about being sure not to accept every request to Link (but only those of people you truly want to network with). I was surprised to see that one of my clients sends my LinkedIn profile link–instead of a link to my website–when recommending or introducing me to their clients.

On the other hand, if I don’t stay up to date on new technologies, I feel like a left out Luddite, old fashioned and unhip (my word). Like the world is passing me by. Just glancing at Wikipedia’s list of social networking sites is mind boggling. How many have you heard of?