When you get a song stuck in your head, how do you get rid of it? Some suggest thinking of another song, such as the theme from Gilligan’s Island. But that might get stuck in your head, which could be more annoying than the song you replayed before….

And how do you let go of or stop thinking about something important going on in your (or a close friend’s or family member’s) life, such as a huge audition, job interview or upcoming major decision? Often the higher the stakes of a given opportunity, the greater the possibility it could change your life or the more you want it, the more fretting or freaking out beforehand. The more dwelling and ruminating afterward…until you find out if you did or didn’t get it, or enough time passes that you’re comfortable that you made the right choice.

Preparation helps ease stress. Having a friend discuss options, approaches or pros/cons, run lines before an audition or ask those “where do you see yourself in five years” questions to force you to rehearse out loud can enhance confidence. Concentrating on enthusiasm instead of nerves, deep breathing and/or keeping busy so you focus on the task at hand are additional approaches.  Believe you’ve done the best you can.

On the other hand, learning from any mistakes may make you feel better about the next time. At recent auditions I’ve heard things like, “I should’ve worked more on those lines.”

So perhaps the most effective approach is to be in and enjoy the moment you’re in right now. Staying in your head, letting nerves get the best of you while auditioning or interviewing won’t help you do better. Neither worrying about what ifs of the future nor living in the past enhance today.

This, of course, is sometimes easier said than done. “Just sit right back and you’ll hear a tale…”

How can you not think about that song now?

Today is a first…three on-camera auditions at three locations in 75 minutes.  I got the first audition, for a pilot, on the 29th.  I found out about the second, an industrial, at around 1:30 yesterday.  And the third, another industrial, at 4:30.  I never know when the phone will ring or for what.  

Sometimes they offer an audition time range, say 11-1, and you can choose a time.  Other times, especially if the audition is at one of the big three casting agencies, you’re given a specific slot and can’t switch.  Because the time for the third conflicted with the second, I had to quickly see if I could reschedule.  I could.  I don’t know if it would’ve worked out if I hadn’t been available to take the call about #3. 

I don’t want to say no to an agent and miss out on an opportunity.  The bigger the job, the more I want to go. Not only do I have to be available for the audition, but also for the shoot date(s). And if there’s a callback, that too. Sometimes they’ll just say, “The callback is on Thursday,” and not give a time frame.  I’m grateful for my flexible schedule. Though one shoot date may conflict with a VO booking I already have….

The three locations aren’t too far apart, but if one place is running behind, getting to the next might be a challenge.  I can’t let the pressure of being on time interfere with being in the moment.

#1 is a few short lines to memorize, with a Southern accent.  #2 requires the use of my ear prompter…a small tape recorder onto which I record the 2+ minute script.  Then via an earphone like news anchors wear, I play the recording back and repeat what I say, trying not to lose my place or look like a deer in the headlights as I listen to my voice.  Try this with radio news…repeat what the anchor says. 

I’m not quite sure how #3 will work because the script involves several people.  Sometimes they’ll have a reader go through it with me, other times I’ll audition with other actors.  We may or may not have a few minutes to rehearse.   

Stay tuned…

As a Gainfully Unemployed feelancer, each week brings a variety of projects.  Which means I need to complete a variety of tasks on my computer and/or laptop–from recording, editing and uploading voice files to scanning and sending documents, printing in black/white or color, using FTP, the Internet for research or ordering supplies, social media like Facebook (anyone know how to get texts when an organization, such as a casting agency, not an individual friend, updates its status?  I somehow set a few up to do that, but now can’t find the way), email, Word, Excel and/or PowerPoint, business card programs, etc. 

Challenges can arise when I need to do something not in my computer skills repertoire, especially if it requires software I don’t already own.  I’m not great with trial and error, and the plethora of options and online tutorials can be confusing or not have the answer to my question.  When it comes to new technology,  I don’t have a long fuse, and can become frustrated if it takes a long time to get the software to do what I want it to do.
 
Today I need to rip a clip from a (not copyright protected) DVD of a cable TV show I hosted to add to my on-camera reel.  Ripping DVDs can’t be that hard, right?

I thought I already had a program, which I found and opened.  So far, so good.  I figured out how to copy my DVD onto another DVD, but despite visiting the cryptic help center, going online and trying several things, couldn’t figure out how to copy it to my computer or extract the clip I wanted.  I looked for videos, but the ones I found were about copying files from your hard drive to a DVD.  A couple of articles had too many steps I wasn’t sure how to follow.

Too much time later, I still had nothing.  Which, I confess, made me feel a little less smart.  But I knew how to feel smarter: ask a skilled friend for help.  And offer to do a favor in return.

Moral of the story:  Sometimes it’s better to ask someone to do a task for you or show you how than spend your valuable time and brain power trying to be independent.  

A versatile working actor’s schedule can change at the drop of a hat. Take yesterday.

I’d already given my availability Wednesday and Thursday for a job (that might be print, VO and/or on-camera), so they had first dibs. Late afternoon Monday, I got a check avail/put times on hold for a different VO that would record early Wednesday morning.  (I hadn’t even auditioned for it, which means they probably chose me from my demos.) 

I contacted the first opportunity, but they still weren’t sure about scheduling. So I tried to buy time with the second.

Then Monday at 11:59pm, I got an email about a TV commercial audition Wednesday at 1:15, which I’d be able to make if I got the second job assuming my session was early enough, but might not be able to make if I got the first job.

Late Tuesday morning, the second said if they didn’t hear within an hour, they’d have to go with another talent. Fortunately the first got back to me in the nick of time, saying they didn’t need me Wednesday, but would later in the week. I contacted the second and within an hour was booked.

Whew. This time it looked like I’d get both gigs. Sometimes when more than one client checks availability, I end up with neither…because of scheduling issues or because the client (which could be one person or several) is considering a few talents and goes a different direction.

The script arrived around 5pm Tuesday. I found out that I and a male VO I’ve worked with before were to play multiple roles.  We were advised to review them all. I do a lot of straight, serious narration, so this was an opportunity to stretch my comedic character wings and do several within one project.  

Often I record alone, even if my character is having a conversation with another. The guy’s session was first, so we assumed we’d pass like ships in the night. But when I arrived, they had him stay so we could record some dialogue and other bits together.  I also sang a short, funny song with the client.

I enjoy all VO jobs. But it’s more fun to interact with other talent, and I think it’s easier to react and results in better timing for the actors and the engineers.  It’s also easier for  to have different reactions on the second take, because you can respond in real time to the other person/people instead of making up something in your head.
Since we both recorded some of the roles, I’m really looking forward to hearing the final version, fully produced with sound effects and music.

Some of us are more trusting than others.  I think trust is like a bank.  People–whether family, friends, relatives, significant others, clients, or service providers from the cable guy to politicians–add to or delete funds from their  account through their words and actions.

If someone keeps a promise, does what he/she says, perhaps goes beyond the call, the balance increases.  One of America’s basic legal tenets is “innocent until proven guilty.”  We may believe what someone tells us…until we receive proof to the contrary, which results in a withdrawal.  What will that person have to do to restore trust?  What will we have to do if we want to forgive?     

At times people have a good reason for not following through.  If we receive what we consider to be sufficient notice or explanation, their trust balance may remain unchanged. 

Most of us want to believe people have good intentions, are honest and reliable.  Sometiemes life shows us otherwise.  We might trust the wrong people.  Being betrayed hurts, and can make us wonder why we didn’t see it coming.  In some cases, trust is a leap of faith, and only time will tell if we made a good decision.

Feelancers can have trust issues.  New clients may wonder if we’ll deliver a quality product on time.  We may wonder if a client will pay.  Sometimes the more people involved in a project, the more room for misinformation, miscommunication and misunderstanding, which can lead to less trust.   

Has my law degree has made me more skeptical or more realistic?  Unfortunately, I’ve seen evidence that some may breach contracts, lie, and/or commit a crime(s) knowing the pursuit of justice will probably cost more time, money, effort and stress than whatever was lost. Or that, given the vagaries of the legal system, they might win any legal proceeding and not be penalized.  Others knowingly manipulate by taking advantage of weaknesses.  How do these people look at themselves in the mirror and sleep at night?   

A recent example: the Dixon, Illinois comptroller who embezzled millions. 

Since the first Olympics, which supposedly were circa 776 BC, or perhaps before, society has rewarded the best.  The proliferation of awards shows such as the Academy Awards and the Grammys, reality TV shows such as American Idol  and the vast amount of publicity surrounding them, show that while being successful in your field is great, more value is placed on the finalists and the most on the winners.  America’s Next Top Model and Project Runway even had an All Stars cycle to honor the best of the best.

I remember wanting to be best at something from a young age.  Many might say just enjoy the journey, it’s doing your best, not being best that counts, etc.  But then there’s also winners never quit, quitters never win.
Last year my medieval At His Command won Romance Writers of America’s® Golden Heart® award for best unpublished inspirational manuscript.  What an amazing night.  But being the best can be fleeting.  My name/picture is still on the website, but now there’s a new crop of finalists.  Some 2011 finalists finaled again this year.  A good number of my fellow finalists have acquired an agent and/or sold, some more than one book.  I’m still working on that.  What can I be the best at right now?

Maybe it’s helping friends edit and finish their manuscripts.  There’s no award that I know of for best critiquer, but many thank me in their books, though that’s not my goal.  I truly enjoy critiquing, offering suggestions and especially finding typos. 

But I wonder who’s been thanked the in the most books for contributions and/or support and encouragement?  Among the authors who’ve thanked me are NYT and USA Today bestseller Simone Elkeles and NYT bestseller Tracy Anne Warren, who thanked me in The Husband Trap.  Simone has thanked me in many of her books, and even dedicated Leaving Paradise to me.

Recently I critiqued a proposal for another multi-published friend Terri Reed, who thanked me in The Secret Heiress.  And after commenting via track changes, I’ve been talking through things and motivating another friend to finish his first book.  I’m expecting a couple of more projects to critique.  It can be time consuming, but also rewarding.     

Of course, some friends have helped me in return by reviewing parts of my manuscripts.  I just don’t have any published novels to thank them in yet.  I look forward to the day when I can. 

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.