Acting : Promoting Yourself

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Acting : Promoting Yourself

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PROMOTING YOURSELF
(from backstage.com)
A key part of being an actor is self-promotion. Literally, you are marketing yourself and your abilities to potential employers—often the only way to get work as a performer. But figuring out how to do that effectively is sometimes a challenge.

First, consider your headshot, résumé and demo reel. They are an actor's most basic calling cards. More than simply a photo and a list of credits, the headshot and résumé reflect what abilities, training and experiences you offer this person's project. Video and audio reels can be a more powerful tool; they literally demonstrate what you can do.

But which photographer will do the best work for you? What do you need to know to make a compelling résumé for film, stage or commercial work? How can you edit your reel together to grab someone's attention? Some of these questions are subjective, but there are good practices to follow and bad ones to avoid.

Is a website a necessity? Many now believe that the best way to promote yourself is having your headshot, résumé and demo reel online. Others question its effectiveness. Either way, many people are using the web as a tool with good results.

Finally, what is the best way to let people know about your projects? Postcards are a time-honored tradition, but email blasts are quickly becoming a new standard. For many actors, a combination of both techniques works best.

Headshots
A headshot is one of an actor's most important tools. It is, after all, your calling card — your first introduction to casting directors, agents, and managers. While there's no magic formula for getting the perfect shot, two things make a difference: (a) finding a good photographer, and (b) making sure your photo conveys the real-life, up-to-date you.

Finding a photographer starts with research. Ask fellow actors for referrals, or search on the Web. (You could always seek the help of onbe of your Camera batchmates) Most photographers have websites now. Carefully look at their site; it should give you a feel for their work.

After narrowing down to a few choices, meet the photographers in person. This is important: You should feel comfortable with whomever you choose. If you can't relax during the shoot, you won't take a good picture.

Key questions to ask: How many rolls of film or shots are included? What options for lighting, background, and location are offered? Are hair and makeup services additional? What kinds of clothes, and how many changes, should you bring? How long does a typical photo shoot take? Does the photographer shoot film, digital or both?

Whether you choose film or digital is a personal preference — the most important thing, after all, is the talent of the photographer. Digital is becoming more popular, in part, because of the convenience to the actor. You can look at some of your pictures before you leave the studio, and it's sometimes easier to make reproductions. But film is still an excellent medium; it offers visual qualities that digital cannot capture as well.

Note: Color photographs are quickly becoming dominant in some areas, including Los Angeles. But before you spend a fortune on color photos (and, especially, reproductions), check with fellow actors and your agent and/or manager.

The headshot photo should capture what you look like — but also convey who you are. To that end, develop a clear idea of what kind of shot will get you the types of roles you seek. Discuss the qualities you want to convey with the photographer. Remember: This is not a glamour shot; the purpose is to get an interview or an audition as an actor, not a model.

Résumés
Along with your photos, a good résumé is essential to your acting career. How you organize and display your training and experience affects how casting directors view you. Whether you'll get the chance to audition.

Your acting résumé is a one-page summary of your performing experience, skills, and qualifications. Its design and organization must impress its readers and make them want to select you above the hundreds of others that come across a casting director's desk every day.

To find what works, look at as many résumés as you can. Books about résumé writing usually offer dozens of examples. Or ask your actor friends to show you what they've done. You'll quickly get some ideas about what works and what doesn't.

There are certain hard and fast rules: résumés should be neatly typed — never add new credits to your résumé with a pen. Your résumé should be the same size as your headshot. Make the type easily readable. Make sure your resume is attached to the photo, with staples on all four corners.

And don't ever lie. Imagine a casting director reading your resume, and seeing a film listed there that he cast — that's a good way not to be hired. CDs have told us this happens more often than you might imagine.

One last bit of advice: Know exactly how much postage goes on your submission. The last thing you want is to see the same envelope you so painstakingly prepared come back due to lack of postage.

Video and Audio Reels
First impressions are crucial, particularly when it comes to how actors present themselves. In addition to the all-important headshot/resume, the other essential calling card is your demo reel. It's like your personal movie trailer — custom-designed to show casting directors and agents your range and exactly what you're capable of vocally and physically.

First rule to remember: Never mail out your reel unsolicited; it is counterproductive and a waste of money.

Always keep your reel brief (no more than three minutes), with your best clips first. However, if all you have are grainy student film clips, a commercial you're barely in, or a play with terrible sound and picture, make a reel from scratch. Acting-class sessions can suffice if they're powerful.

If you need help, demo-reel production companies can produce clips or put a polished look on existing clips. Some companies create interactive menus for DVD reels, and even edit them to increase your screen time on previous clips. The process takes time and money, however: Expect to pay anywhere from $200 to $300 for a professional-looking reel that has been created by an editor. Keep in mind that it's always better to have no tape than a bad tape.

You'll need to provide your demo reel in a variety of formats. The easiest way for casting director, agents, and managers to see your video/audio reel is by uploading it online as a Quicktime or MP3 file. There are also new kinds of reels available, such as BizCard CDs — plastic devices smaller than business cards with center holes allowing them to be plugged into any computer drive. Many industry folk, however, still prefer DVDs and VHS tapes; demo reel companies can always provide the industry standards.

As for audio reels, remember that voiceover is not a side career. It is one of the most competitive areas of acting. Your reel needs variety. Each separate clip must be tight and short so that casting directors can hear your range in one reel. For instance, video-game voiceover requires a lot of death sounds; commercial voiceover requires a fast, enunciated delivery; narration requires a different technique than announcing. Develop your own identity, and remember that your reel is just a tool.

Postcards & Email Blasts
It's SOP (standard operating procedure) for actors to mail a headshot/ resume/ cover letter to prospective casting directors and agents. Then what? Following up with industry folk often calls for other means. Two of the best: postcards and email blasts.

Postcards and email blasts are fantastic marketing tools for actors to keep CDs, agents, and other movers-and-shakers abreast of your roles in upcoming plays, films, commercials, or TV projects. But how do you get their digits?

Networking is a great way to build up a mailing list — both on paper and electronic. If you meet some industry insider at an event, get their business card. Or, at the least, ask for their snail mail or email address. If you're performing a show, ask the director/producer to prominently place a sign-in book in the lobby.

Email blasting can be done the old-fashioned way — with a long list of email addresses (one netiquette tip: put all the addresses in "bcc"; otherwise, recipients get an annoyingly long email header). Technologically disabled? Email blasting can easily be farmed out to companies that specialize in email marketing campaigns and can include custom HTML designs.

Introductory postcards are less useful because, by nature, the design is small. There isn't much room for large/multiple pictures or cover letters. Postcard submissions can be more appropriate for a commercial or modeling submission (called zed cards), where experience can be less important than look. Postcards are best made at the same place you get reproductions printed — or even at the local Kinko's.

There is, however, a fine line between persistent and pesky: Don't launch more spam than a Monty Python skit. Email blasts should be reserved for business-related news only (launch parties, openings). If you're announcing an appearance onscreen or onstage, remember to send it a couple of weeks prior. Then, a few days before the event (not Friday), email a reminder — no more than that. Brevity is the key.

Good reviews or profiles in publications would be another justifiable cause for email blasting. Postcards are always better when handed out personally. Essentially, personalizing and thinking creatively may set you apart with postcards and email blasts.
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