Acting Career 101 PDF

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YOUR FIRST STOP
0.1 Necessary reality check

Stop right here. Are you saying you want to pursue a career as an actor? Are you out of
your mind? Haven’t you seen enough films and TV shows making fun of people who decided to
become actors? It’s a horrific business. You’ll be working long hours every day for low to no
pay; you won’t be getting any health insurance, there’s no stability, no safety, no life. You will
never know when your next paycheck is coming. Furthermore, that kind of life will last for
years, and after all this deprivation, you’ll have only a tiny chance to make a living from acting
without the need to have a survival job. Forget about making it anywhere near the top –
statistically, it’s impossible. The closest you will ever get to BAFTAs is as a seat-filler.
No, I’m not joking here. Aren’t there enough good-paying jobs out there for you? Are
you one of those “I can’t live without acting” people? Seriously, stop reading right now and get
a decent paying job that will support you and your family. The reason I’m saying this is because
if you had any idea what you are up against, you’d turn your tail and run away as fast as you
can. Do you have even a slightest clue what it will take? Forget about those fairy tales of
overnight success, there’s no such thing. These stories are made up by movie stars’ agents and
managers to make them look more appealing to the public. It’s textbook PR. You will NOT be
discovered just like that, and you will have years of toil and bottom feeder jobs ahead of you.
Need more convincing? Read further then. After you get your first proper job as an
actor, nothing will change, believe me. It will take several more years of hard work, talent and
dedication to move up into any meaningful position in this business. If you are very lucky, by the
time you’ve been in the industry for ten or fifteen years, you might actually make enough
money to pay off those bank overdrafts and loans you raked up in the past, and maybe save a
few pennies a month. I personally know actors over 60 years old who still can’t manage to make
the ends meet. But in the meantime, you’ve been working so hard that you’ve missed out on all
those “little” things your friends outside the industry have been collecting: a house, a
retirement plan, a family. It’s those components that make a regular person happy. You missed
out just because you have decided to blindly follow the siren song known as the Acting Dream.
It doesn’t matter if you just graduated from secondary school or University. What
matters is that you can make a thoughtful, intelligent choice of becoming a lawyer, doctor,
business manager or any other respected professional that can make a guaranteed six-figure
income before you’re even 30, and your parents will be proud of you. You can be safe, secure
and happily ensconced in your five bedroom house watching movies with your perfect spouse
Acting Career 101: A Step by Step Guide on How to Become an Actor – http://actinginlondon.co.uk
and your 2.5 children. Why would you want to give that up for almost guaranteed poverty,
rejection and failure trying to make movies or pretend on stage for a living? What are you, a
minimalist beatnik? Those times are gone, my friend.
What the hell are you still doing here, reading? Was that not enough of a reality check
for you? You’re really too stubborn for your own good. Or maybe you’re delusional. Most likely,
a little bit of both.
Well, good. Because if, against all advice that I have just given you (and believe, I was
NOT exaggerating), you decide to pursue a career in this god-awful industry of show business
no matter what, that pig-headed foolishness of yours will be critical to success as an actor. You
will be told over, and over, and over again – directly and behind your back – that you don’t have
what it takes. And the opposite will happen too: you will be told right to your face that you are
a magnificent actor, but then those backstabbing, two-faced liars will steal your ideas, your part
and never give you a real shot at anything. You have to be willing to ignore all of this chatter
and press ahead. Now the question is, are you willing to?
Oh, and one more thing before we get started. You are about to get some of the benefit
of a decade of experience with a touch of cynicism, as you have already witnessed, from your
fellow actors that have been fighting some serious battles in London, Los Angeles and New York
City, all succinctly consolidated in this handy and intermittently entertaining handbook. But
here’s the deal: you will have to give back! If you benefit from the advice in this handbook, you
must do what every honest actor would, and that is to help the next generation of actors to
succeed in this wilderness of fakers, freaks and facades. Do so by sharing this handbook with
everybody you know; let them have that little piece of free advice and maybe they will find
something in here that will greatly benefit their careers, and possibly yours. And of course if
you’re hungry for more, check out our eBooks section for more great acting tips and advice.
“One day you will wake up and there won’t be any more time to do the things you’ve always wanted. Do it now.”
0.2 Quick disclaimer and preface

Before we even begin at the beginning, a quick word to all those outside of major
entertainment cities like LA, NYC or London – anywhere in the United Kingdom, Europe, United
States, Africa, Asia and other continents. While we kept the major focus on the acting industry
on those three entertainment capitals of the world, this short handbook will benefit ANYBODY
trying to find a way to break into the industry as an actor regardless of your current location. All
you have to do is exchange the city name “London/LA/NYC” for a name of a different
entertainment capital that is much closer to you and continue following the advice.
Now, I’m honestly very happy to see you’ve made it up to this point and that you’re sure
about your future as an actor. But are you really sure? I mean really, really sure? Because as
glamorous and exciting as the successful actor’s life might seem from the pages of “OK!”
magazine, it is nothing like that. Well, maybe just a little bit. But mostly, as you will notice while
reading this handbook, the industry is all about frustration and heartbreak, and working your
bum off without any guarantee of even a minimal return on your investment. The only thing
that is going to sustain you through all these hardships is the love for what you are doing. So
you’d better be pretty sure you’re actually going to love it before you pack your stuff and jump
on a train to London or New York City. Fortunately, there are a few things you can do while
you’re still preparing for your last exam or languishing in a boring, but stable post-graduation
job that will give you a better idea whether you’ll love this godforsaken industry enough to stick
it out. Let me expand on that.
If you’re still in secondary school or University, then you’re in a great position to get
critical insight by taking classes (if there are any) in drama and getting involved in relevant
activities. Go and do those school plays, participate in a University theatre production, and do
anything that is remotely related to you using your acting abilities. Audition for local student
films, work on school’s or University’s radio station, get into the community theatre, write
some of your own screenplays, monologues or plays. Even volunteering for local film
productions will help you to see how the actual filming set looks like, and how to behave there.
You can contact your local TV stations or radio stations and find out if they have any internships
or volunteering positions. Usually there are many opportunities around that you are not aware
of, you just have to be looking for them because they won’t come looking for you.
The reason I strongly advise to explore such cheap acting opportunities mention above
is so that you can really understand what acting on stage or screen is all about, and decide
whether or not this is something you’d like to dedicate your life to without spending too much
cash on private acting classes or even drama school training.
If, after duly trying out at least several of these activities, you are more determined than
ever to forge a career in entertainment, then pack up that stuff and jump on that train (or a
plane, or a car, or a bus). And while you’re travelling, do me a favor – keep dreaming! I’ll be
waiting for you down here in the capital of entertainment.
0.3 Is moving to a major city necessary

This one is a no-brainer – YES! If you are interested in a career in film, television or
stage, then a move to the best theatre city in the world and the center of entertainment
business of the United Kingdom is absolutely necessary, if you’re ready. However, before you
do that, you can always explore other opportunities: places in Manchester like BBC North and a
few North-based film production companies are making good movies occasionally; there’s also
a lot of known theaters and theatre groups all around the United Kingdom, Fringe Festival in
Edinburgh and so forth. So if you’re not ready yet, or would prefer to explore other
opportunities before fully committing, you have my blessing to do so. But keep in mind, there is
no denying that London is the epicenter of theatre, film and television work in the UK, and the
opportunities here are exponentially greater. My actor friend moved to London after working
up North for five years, and in just one year he received more acting job offers than in those
five back up North; to quote him: “there’s no fudging way I’m moving back North!”
This advice on moving has NOTHING to do with the Manchester vs. London rivalry. It has
EVERYTHING to do with giving you the best chance at success. I can’t tell you how many actors
headed straight for Manchester from their hometowns up North, only to realize after several
years they should have been in London all along. When they finally got to London, they
essentially had to start all over again. And the result is a critical loss of years in this youth-
obsessed industry, especially if you’re pursuing a career in both stage and screen acting. Don’t
make the same mistake. Just suck it up, get in your car (or that public transportation option that
I mentioned before) and drive down south until you see a thin tall building with a huge clock on
it. I’m proud to say that I was one of the few to make a right choice and move to London as
soon as I could.
I cannot stress enough how important it is for an actor to be in the right place at the
right time, and no other city will provide the amount of job offers than London. Don’t commit
to this career partially, because that is when failure can creep in on you. If you decide to
become the best working actor there is in the market, then marry this goal and start building a
life together. Your new life. Just keep in mind that you are going to be poor for a long, long
time.
And if it’s of any consolation, once you learn to accept the rushed and packed life of
London (not as bad as you’ve heard) and the parking issues (worse than you’ve heard), London
is hands down the best city for an actor, or any artistic person, to live in. You’re going to love it!
0.4 The art of survival

I have already mentioned that you must have an almost superhuman belief in yourself
to make it as an actor. However, this is not to say you should be immune to all the criticism. It’s
utterly, extremely, absurdly unlikely that your first role and your natural acting talent alone will
be enough to turn you into the next Colin Firth or Helen Mirren. You will have to be humble
enough to realize that you have little to no idea what you are doing at that point, and clever
enough to figure out what you need to learn about this industry. I will touch upon more of this
a little later, and we also expand on this topic in some of our other acting eBooks.
Some general survival advice: remember that as a struggling actor, you must never stop
daydreaming, but you do have to take off those pink glasses and occasionally look around
through a lens of skepticism. There’s not enough time to be foolish right now (leave that for
your post-BAFTA party) because you have to concentrate on becoming a well-known name in
this city, and I’m going to present you with a plan to accomplish that. But for now, there are
two things (aside from our eBooks and Acting Guides that you must definitely read) you will
need to survive in this fierce market: PERSISTENCE and HARD WORK. Duh, right? There’s a
common saying about Hollywood that no one really fails there – they just give up too soon. I
believe this could easily be applied to London’s industry as well, and I sincerely hope you won’t
be one of those actors.
Here in the industry, we quite often hear that luck is a must-have for an actor, but how
does this knowledge really help you achieve your goal? It doesn’t. Pure dumb luck occurs when
you are bumped into first class because of an overbooking and end up seated next to an up and
coming producer that’s currently involved with a major production in London, and who
happens to be very chatty and very interested in helping green aspiring actors to make it in the
business so s/he offers you a part in next summer’s blockbuster alongside Tom Hardy. Can we
please bring someone in to calculate the chance of such a thing actually happening?
Since nobody can influence your “luck factor”, we’re going to take a different approach
to achieving success in acting, and that is covering all the bases necessary to become an
overnight success. Across this handbook, other eBooks and the advice given on the website,
we’re going to approach acting industry as a BUSINESS that it actually is and provide you with a
step-by-step guide that will eventually place you in a the very similar positon mentioned above,
sitting right next to the city’s biggest talent agent. Only this time it will be well-deserved.
Why? Because certain kinds of “luck” can be created through key elements of hard
work, persistence (already mentioned) and CLEVER PLANNING. If you know exactly what to do,
where to go and who to approach, your chances of getting the roles you want and being signed
by the people you need will skyrocket.
There is another very important element to so-called “luck”, whether the dumb kind or
the created kind – you must be prepared to capitalize on that luck. You must know your stuff,
have credits ready, an awesome monologue prepared. You will need to have a great showreel,
acting CV/resume and perfect headshots.
CREATED LUCK + MANUALLY MAXIMIZING OPPORTUNITIES = OVERNIGHT SUCCESS
Did you notice one thing that I left out? It’s
talent. Based on what has been put out into the world I would recommend you to read a great book by
of acting in the last decade, it should be painfully Malcolm Gladwell called Outliers – it’s available
obvious that talent is not the most important quality on Amazon. The author talks about the reason why
some people are more talented than others and
for success. If you’re looking for a meritocracy, go to
breaks down the secret of success for any
law school or medical school. However, this is not to
professional field. I believe it’s worth reading for
say talent isn’t important. But no matter how much every aspiring actor to understand that you can be
talent you have, you won’t get anywhere without just as great as anybody else in your field.
clever planning, persistence and hard work.
Conversely, even if you don’t have a lot of raw talent,
persistence and hard work can still get you pretty close to where you want to get. Of course, if
you have talent, and you work hard, and you plan well, and are persistent, then you are in the
best possible position.
And the (almost) last thing that will be necessary for your survival: network of support.
You are going to get discouraged at various points along your journey of becoming a working
actor. Make sure you make some friends on that path who believe in you and will encourage
you. And I’m not talking about the “connections” discussed in the upcoming sections. I mean
the real, honest-to-goodness, stick-with-your-bum-when-you’re-down, keep-you-dreaming-
and-grounded-at-the-same-time friends. There are a lot of “haters” in this industry, more than
you can imagine. But you must surround yourself with positive, creative and open-minded
people; this will help tremendously in the times of hardships. And make sure to follow our
advice throughout it all.
0.5 One last thing before we really dive in

All the advice you’re about to read in this handbook is based on the experience of
multiple other actors who’ve dealt with the industry for years and experienced certain levels of
success. All of Acting in London’s eBooks are based on stories that we witnessed ourselves, have
read about or heard about, and everything that has gone down before you came to this
industry. It is high probability advice; that is, the best advice for the vast majority of likely
experiences. Remember that there will always be those few with ridiculous dumb luck who will
make it big within months of arriving to London or LA. Then there will also be those who seem
to have everything going for them but never even make it to the first step. There are as many
stories as there are people, and there is no set path to either success or failure. But if you follow
the advice you’re given, you will get off to the best possible start for pursuing an acting career.
I will not be touching upon the craft of acting in this handbook (nor in any other ones)
because I strongly believe that acting can only be taught in a class. There’s also more than
enough books on various acting techniques, some of which you should definitely read. This
handbook consists of advice solely on the business and the marketing sides of acting which are
absolutely necessary for an actor to learn in this day and age. With millions of others competing
in your own market, you want to increase your chances of exposure to the maximum, and that
is our goal here. Keep in mind that the craft is only 50% of it all – the other half is all about
making sure that people are aware of your name, your existence, talent and looks in this
country’s entertainment capital. That’s how this business functions, so you better get used to it.
THE BASICS
1.1 Pick a path (I mean, really pick a path)

If you think you want to do “something in the entertainment” or “any kind of acting”,
but you aren’t sure what exactly, stop right there. Don’t make another step until you have
figured out what exactly is it that you want to do and what interests you the most. Do you want
to be on stage? Do you want to be in front of cameras? Do you want to be a comedian? Is it film
work or TV work that you’re interested? Do you want to be a comedic actor, or do you consider
yourself the complete opposite of being funny? Do you write your own screenplays or plays
with parts for yourself? Do you want to do improvisation, or maybe commercials, or
corporates? Are you interested in voice-over work? Do you produce your own things? Do you
also want to be a filmmaker, or possibly a director instead? Do you want to do it all, or exclude
some of these paths? You’re going to have to make a choice here. It doesn’t matter which one
is it or if it’s all of them. What matters is that you know exactly what you want, and you are
sober enough to understand how much more difficult it’s going to be to get anywhere in every
one of these fields. My advice: pick and start with ONE, and then expand into other sectors (of
that’s your aspiration) once you begin to cover some ground in the industry.
“When I started writing after my career as an actor, I knew that that other life in the film industry would be pulled into my
writing life and that people would see me not as an author but as an actor starting to write.”
James Franco
In this business, pretty much everyone has to put in years’ worth of dues and each
branch of the industry has a different set of dues to be paid. So if you start out along one path,
and later decide to switch to another, there is a good chance you’ll have to step backwards.
How far you are going to have to step back will depend on individual situations. True – the
experience from your first “trip” may have given you skills that are fully transferable, and that’s
great because it’s not the same as going from being a plumber to being a film actor. But in this
business, credit for your experience as a comedian will not always be transferable towards your
new entertainment career as a stage actor. In fact, it might even hinder your chances a little bit.
People have done it successfully before (Steve Coogan and Robin Williams come to
mind), but you’re still going to have to put in those early dues. And to make matters worse, the
further you go along any of those paths, the harder it will be to switch. Do you think you can
follow all paths simultaneously? Think again. A few is an advantage; all of them is a mistake.
The dues to be paid along each path are long and arduous if you’re going to be working hard,
and trust me, even fueled by espresso and Red Bull mixed together (topping it off with any and
all illicit substances), there just aren’t enough hours in the day. Don’t be one of those “do it all”
people who eventually accomplish nothing. Be great in one or two things rather than average in
multiple. Once you’ve mastered a certain field, go ahead and expand.
Just like it was said over and over before, this is show business and there are no rules for
one out of a thousand people. But that one person has to be incredibly lucky, or be the
offspring of some big-shot producer. So for most of us, the advice is sound. Pick a direction and
follow it religiously; believe in it. If it’s a film acting career that you’re after, then you’re in luck –
our responsibility here is to serve all kinds of actors as the title of this handbook implies.
However, that is not to say that any other creative mind cannot apply the advice given here or
in any other of our eBooks to pursue their career in the entertainment industry.
To sum up, before you go any further in your chosen path, decide what it is that you
want to be. If you want to be a stage actor, don’t miss rehearsals because of commitments for
your comedy classes; if you want to be a screen actor, don’t sign up for a stage tour of half a
year. If you want to balance both, it’s possible, but it’s going to be tough. Remember that
entertainment industry loves youth above all else, so you never want to waste a day if you
don’t have to. Efficiency and smart choices will bring you success, and that’s what our advice is
all about.
How to make the decision? Read no less than a dozen books regarding those paths
you’re considering, and talk to as many people as possible who are pursuing their dreams along
those paths. Then take a bunch of classes, go to places where you can be with yourself for a
moment and think, consult your spiritual leader, do some yoga, talk to your family and friends,
do anything else you think might help, and then – flip a coin. Well, don’t really flip a coin, but
decide; and once you know what you’re destined to be, commit to it 100% until you completely
fail, succeed or completely change your mind (not recommended, but things happen).
By the way, “dozens of books” was not a metaphor. Check out the books we
recommend on our website, you can get them either in your local library or, if you have an
extra penny, buy from Amazon. Read them all and learn. How long will this take you? 40 to 60
hours? You’ll be working at least that much each week in the industry. Maybe even for the rest
of your life. So consider this reading assignment your first week on the job of being an actor;
you just won’t get paid for it. This is an easy edge you can get over the multitude of uneducated
ones against whom you are competing. You’ve already made the first smart step by reading this
handbook, which will put you slightly ahead of your fellow actors. You’re an actor, for Pete’s
sake, so do your research and do your homework!
1.2 Your first baby steps
I know that I have already busted your chops in the very beginning of this handbook
about how hard it is to become a working actor. Now as we went through some additional
information on the business, I would like to quickly remind you of that. No one in the
entertainment business has it quite as rough as actors. The reason so many of them are so thin
has nothing to do with aesthetic standards – it’s because they can’t afford food. Feature film
writers may be at the bottom of the totem pole, but at least they don’t get rejected just
because their breasts are too small, or their face is the wrong shape, or they’re too short. Yes,
actors pretty much have the raw deal. This obsession with looks is more common in Los Angeles
and among screen actors, but it gradually transfers itself to London’s industry and onto the
stage as well. So if you insist on trying to be the next Brad or Jen or Jen or Ben, well, all I can say
is – stay strong. Hopefully the following section, the longest one in this handbook, will help you
to get through alive.
While there are a few different points along an actor’s path that could be dubbed the
first “meaningful” step, until you have had a significant speaking role with enough screen time
in a major indie or studio film, or a recurring role on a television show, or are getting enough
commercials and bit parts to eke out a reasonable living, your life is going to be a constant
struggle of auditions, classes, schmoozing, and primping. Certainly a significant initial step will
be to get a manager or agent, but getting one will not guarantee you roles, just as not having
one will not necessarily prevent you from getting roles. Moreover, while a manager is
something you’re able to get somewhat easily, but not necessarily need to in the very
beginning, signing up with a decent talent agent that will get you into rooms of important
auditions will be a challenge. So my advice focuses on a two-pronged attack, focusing on getting
roles without an agent or manager, while continuing the search for one.
When you finally arrive and settle in the city you’ve picked to pursue your dream,
chances are you won’t have any representation, you won’t have much of a credit on your
resume and you probably are not in any actor’s union (Equity in the UK) and not on any major
casting website (Spotlight is the most popular in the UK). In this case, you’ll be starting from
square one. Your earliest steps should be focused on finding and taking any role that comes
along, paid or non-paid gigs, both to build a reel and to try to generate interest in yourself as an
actor among industry people, until you finally catch the eye of someone who can get you that
breakthrough role. Here’s what you do: perform in any plays you can get into (but preferably
plays that have a shot in hell of being seen by more than just friends of the people in the play)
and audition for student films (London, Los Angeles and New York City have the best student
filmmakers in the world).
And above all – network, network, and network so more. Get into various organizations
and groups like “Surviving Actors”, follow news and events from Equity and stay on top of
updates from Acting in London website. If you can afford it (and since you’re an actor, you
probably can’t unless mom and dad are helping you out), or if you manage to find a paying job
with flexible hours, another good option for networking is to try to do an internship at a small
casting office, management company, agency or production company (or possibly all of them –
just not all at once). Aside from expanding your network, such an internship will also provide
you with an internal view of how these places are run, and more importantly, how this business
works; more on this later.
Let’s quickly look at the most important things that make the acting industry what it is.
1.3 Private acting classes (not drama school training)

For the benefit of this example, I’m going to assume that you have recently either
graduated from a drama school or a University, or that you decided not to go to one (that is,
you’re free to do whatever the hell you want). If you are currently training at a drama school,
just put down this handbook and leave it until the day of your graduation. You won’t have the
time or the energy for this right now; plus, you definitely need to buckle down on your training
and grades, so make sure that when you’re out of that school, you are the best actor you can
possibly be. Now, based on the initial scenario of you currently NOT being a part of a drama
school program, I will advise you on how an actor can approach the situation of being a new
face in the city.
After your big move and while you’re doing all of this schmoozing, auditioning and
interning in this huge city, you’ll also need to think very seriously about taking acting classes.
This is a whole other scary world where money seems to disappear overnight and hacks
abound. Fortunately, you have us to straighten you out.
First, research, research, research for a month or two until you are sure what class best
fits you, and not who you think is the best name for your resume. Find a class that meets every
week, and that guarantees personal attention from the instructor. Your acting teacher should
be a mentor who can guide you and help you understand the artist’s lifestyle. Choosing the best
teacher for you is a very personal process and it may take you years to finally find the perfect
fit. You can also find the rundown of all acting classes, drama schools and acting teachers on
ActingInLondon.co.uk website.
1.4 Headshots (not portraits, and not modeling photos)

A headshot is a professional 8 x 10 photograph of you. In the US market, a headshot is
exclusively in color, but in the UK’s market, it should be black and white, however, it seems that
the changes are coming onto our land, too. Very slowly, people are switching to color
headshots, which is a very positive change. Casting directors use headshots to decide if you
have the “right look” for the part. If they don’t like your headshot, you won’t even get to
audition. Consequently, if you call yourself an actor, you must have a headshot. It’s that simple.
Without a headshot, you won’t be cast unless you know the filmmakers personally and maybe
not even then. And no, your friend cannot take a snapshot of you to be your headshot. You’re
reading this handbook to stop yourself from making amateurish mistakes, right?
While you’re networking and taking acting classes, ask for recommendations on
photographers. Before you settle on one, take a look at his or her work. Make sure the style
suits your taste. This, alongside your CV, will be your “business card,” so it should represent you
favorably. Also, pay attention if everyone looks the same in all the photographer’s pictures. If
they do, don’t use that person’s services. Some of the most expensive photographers in the city
who get a lot of hype do that, and after you spend £500/$1000 on pictures, you have
something that looks good, but that looks like everyone else’s headshot and does not show off
your amazing and unique personality.
Using black and white headshots in the 21st century seems a little outdated, but we all
have to follow the trends set by casting directors. For a headshot to be great, it is critical to
capture your true personality and essence of who you are; the headshot must represent the
kind of feeling people get when they meet you in real life. A little off to the side, and the casting
director will hate you for misrepresenting yourself. Make sure to play safe, and get both, color
and B&W headshots done, and always use both of them.
When you have found the right person to shoot with, a good photographer will fill you in
on the dos and don’ts in terms of clothing, hair and make-up, but as a general rule, make sure
to do your hair and make-up as you would normally look. Don’t try to be prettier than you
normally are, or pose as a character – this is considered very unprofessional. Go for one
commercial shot (smiling) and one theatrical shot (soulful) at the bare minimum, and have
them both in color and B&W.
You can find a photographer that can do a decent job in a bigger city for about
£200/$350. I say if anything less than that, then you have to make sure that they definitely
know what they are doing. Headshot is not a portrait, and you’d be surprised how many
photographers don’t realize that. Also, don’t pay any more than £300/$500 for a session. It’s
not worth it for now. Once you start booking commercials and making £50,000/$150,000 per
project (yes – that does happen, read more on this in our other eBooks), you can afford services
that are more expensive. Until then, tread carefully.
After the shoot is over, they’ll make a “contact sheet” so you can see mini versions of
the shots and/or give you a disk. You pick your favorite shot(s) and pay to get that retouched
and maybe ask for some prints. Generally, a photographer will retouch one or two looks free of
charge (that is to say the service was included in your initial price), but you can always pay a
little more to get more looks. After, you go and get yourself about two hundred copies of that
stuff, and always carry around some with you like a bible. You never know who you might
accidentally bump into in the city – stealthily hand them over your CV and headshot.
1.5 Background work, or what it’s like being an Extra

People doing background work are known as “extras”. Listen closely – if you’re trying to
become an actor, there’s only ONE reason why you would want to do background work. The
reason is to see how a filming set works and what it’ll be like when you have an actual acting
role. Try a day or two, or possibly even three, on each type of set: film, hour-long episodic
television drama, and comedy-based show. Each category has differences in the way they work
that are worthwhile to know before you chase after roles (plus, you’ll probably find it
fascinating as you start off your journey). The shine should wear off pretty quickly though, and
if you spend any more than a few days on a set as extra, you’re just wasting your time. You
don’t earn much, you’re treated like mindless cattle, and most people doing it have nothing else
going for them in life (on the other hand, if you need to research a role for a psycho-killer, it’s
the perfect place – in the US, background work is one of the jobs on the list jails hand out to ex-
cons telling them where they can work without a background check).
What did you say? Discovered on a set? Oh puh-lease, I thought we already settled this
matter on the first pages of this handbook. You will NOT be “discovered” while doing
background work, not even if you’re a stand-in, but you’re welcome to try (remember that
people like Brad Pitt and Clark Gable couldn’t get to be “discovered” while they worked years as
extras). Background work is a dead end, and it’s NOT acting. Sure, you’ve probably heard that
wife’s tale about some extra who was asked to say a line, but it probably didn’t happen and
even if it did, it’s not going to happen to you. Brad Pitt tried all sorts of tricks to get noticed
when he used to do background gigs – none of them worked, he never got discovered that way.
But above all, if you spend your time doing a lot of extra work, you won’t have a life outside of
it to do all of the important things you need to do for your actual career, and here’s why.
Call times for extras are usually very early, around 6 a.m., and go well into the night,
sometimes even 11 p.m. or 12 midnight. Or even worse, a lot of films do night shoots that
require you to be there from 11 p.m. until 11 a.m. Unlike actors who get to come and go and
chill in their cushy trailers, you’re on the set the whole time, most likely getting bored to death
because there’s nothing to do and nowhere to go. You’ll be sitting on a folding chair during
downtime, if you’re lucky. Most of the time, they even expect you to provide your own
wardrobe and make-up, so figure another hour dealing with that, unpaid, at home.
Forget about it. Background work is great to start off and learn the ins and outs of the
way filming set works. Once you’ve been there a couple of times, move on.
1.6 Online casting calls, secret breakdowns and regular mailings

Casting calls, castings, or casting listings or sometimes casting breakdowns (in the US)
refer to the industry’s websites that provide real-time publication of all open castings – job
positions for actors to submit themselves (usually online). In the UK’s market, the biggest and
most reputable website where experienced actors submit themselves for jobs is Spotlight.
Since everything these days is Internet-dependent, casting offices and talent agencies do
the exact same thing – publish online casting calls and submit actors for them. An alternative to
online submissions is mailings (using the regular mail, with envelopes and everything) ;
however, this method is outdated and is now only used on two occasions. First, submissions for
a very particular bigger part that you somehow got information about and know the address of
the offices that are casting (you better be REALLY fitting for that part if you’re going to do this).
Second – and this is not actually casting call related – mailings of your headshots and acting
CV/resume to talent agents or managers in hopes to get invited for a meeting and ultimately be
signed by that person. You can read about this process on ActingInLondon.co.uk website; now,
back to online casting calls.
There are three kinds of online casting calls: 1) the ones that are intended for the eyes
of agents and managers only, who must register and prove their business to get access; 2) the
ones that are more open and available for anybody with a paid account on one of the reputable
casting websites; 3) and those usually named “open castings” or “opportunities”, where
anybody can submit for free without any membership or even a proper headshot (these are
mostly non-paid, low quality projects but can be a good opportunity at the very beginning).
The first type of casting calls is the most valuable as this is where the biggest films or
stage productions like Broadway and West End are looking for talent. If you’re not signed with a
good talent agent, there is very little chance that you can get access to such casting
breakdowns, which means you can’t even show up to audition. However, if by any chance you
somehow find a way to submit yourself for a casting call of such caliber, there’s a potential for
big success and some serious money, provided that you actually a) get the audition, and then b)
book the part. It’s not easy, but such casting calls is what your whole career is all about. These
are the opportunities that you are after.
If, thanks to some mystical powers, you do get access to these very special casting calls
without having an agent, know that television and commercial submissions must get to casting
offices the same day those calls come out or you’ve missed the opportunity to be called in. You
have to be on top of this. Everything is very fast-paced in commercial and TV world, so casting
for those projects happens in less than a week; they start seeing people the day after the
openings go online, if not the same day. NEVER try to drop off in person, which can be a) a big
waste of time, and b) show how unprofessional you are. Play by the rules. If you’re sending in
your casting submission by mail, use the very best delivery service – they will deliver your stuff
the very same day. Submissions for certain movie projects can be sent through regular mail as
well, and even though the casting is done over a couple of months, try to drop your stuff in the
mailbox the very same day to increase your chance of exposure. FYI, regular mail submissions
are seen less and less these days, and will completely die out in another few years.
When searching through the membership-based casting breakdowns that you DO have
access to, and if you find something a casting call that is very unique (i.e. a required unusual
skill or look that they will have a hard time finding), you can even try to call the casting office.
More often than not, they will want to meet you if you might be the solution to their casting
dilemma. However, do not do this for regular parts, as this might put you into agency’s
theoretical blacklist.
Additionally, there are people out there posing as agents or managers for their friends
to “submit” them for auditions. You can try it, but it’s risky. If you and your friend get caught,
you can get into a big legal trouble and most likely ruin your acting career. Stay clean.
1.7 Casting directors – gatekeepers to your acting success

Casting directors are perhaps the most important people before you’re “established” in
the city, therefore, much of your existence should be geared towards impressing them and
getting them on your side. They are the ones to whom your agents send you to and who decide
either to give you the job or not. All auditions with CDs are critical – even if you do not get that
particular role, the casting director may remember you for future roles (assuming you made a
good impression). There isn’t much else to say about these people aside from the fact that you
should always try your best to maintain a good working relationship with them. It will definitely
pay off one day, trust me on this.
As for submissions to CDs without having an agent, keep in mind that casting directors
tend to move with every project, so it’s a bit of a chore to keep track of them for mailings. That
means you’ll have to get your own database (a nightmare to keep updated) or just forget about
this widely unpopular idea altogether (advisable). The reason this practice is close to being
useless is because a lot of what you will mail out is going to be returned when you do large,
unsolicited mailings. Other part might get chucked into the trash bin without even being
opened, as not every casting director likes when actors send their headshots directly and not
through their agents. If you still want to do this and have all the necessary contacts, make sure
to put some thought into what casting people you include in your mailings, personalize it all so
that you wouldn’t completely waste your money.
1.8 Casting directors’ workshops

Casting directors’ workshops are forums in which actors pay to meet casting directors
(CDs, as the Internet casually abbreviates them) who “might potentially” cast actors in their
projects. The controversy should immediately become apparent: isn’t it a bit crooked for
casting directors to take (lots of) extra cash from desperate, penniless actors, just to do the very
job directors, producers and studios are paying them to do in the first place – i.e. find new
talent? You’re not supposed to pay for auditions, yet arguably that’s all these “workshops” are
– paid auditions. And to top it all off, while the casting directors themselves are usually fun
people, the other actors pretty much kill the buzz because they tend to be highly competitive
and needy, seeking attention in whatever way they can during the sessions.
If that is what your first thought was, let me tell you this: you are absolutely right.
Unfortunately, we’re in the showbiz now, and nothing in this industry is fair, so let’s just agree
that this is the way things are run, get over it and move on to the next paragraph.
Some actors might even argue that it’s awfully nice of these overworked and underpaid
casting directors to spend time helping actors after their long day is done. Where you come
down on the debate probably depends on your general worldview, so I will leave this up to you.
Still, you can absolutely learn something from these workshops (other than cynicism),
and it may be valuable to do one or two just to take the intimidation factor out of dealing with
CDs. Workshops tend to focus on comedy/improvisation material, and the CDs make these
evenings as light as possible (for their own enjoyment as well as yours).
Keep in mind that casting directors are NOT acting teachers. KNOW what you’re buying.
In this case, you’re pretty much only getting “access” and very little legitimate acting advice. If
you’re going to part with big chunks of hard-earned cash to learn how to act, pay it to a highly
respected, knowledgeable acting teacher who has made it their life’s work to find a way to
communicate with actors about furthering their craft and technique. Some CDs have stellar
training and backgrounds in acting, and indeed are excellent talent scouts, but a lot of them
came to the city without any education and with no training in any vocation and somehow
ended up casting. Most casting directors’ advice on your acting should be taken with a grain of
salt; you’re there strictly for the business, and not the craft.
Some of these places also offer agent or manager “workshops”. STAY AWAY from these
programs. While many casting directors who do workshops are actually legit, even prominent,
the managers and agents who hold workshops are solely third tier people that you probably
don’t want to meet anyway. They certainly aren’t worth paying to meet, and there’s very little
they can do for your career. And besides, you can meet these people for free or nearly free in a
zillion different ways (i.e. as guest speakers at various actors’ gatherings and events, through
schmoozing, showcases, and through good old fashioned requests for meetings). As you begin
your journey, you’ll be getting emails from “agents” and “managers” who will promise to
represent you, but first you’ll have to attend one of their workshop (which usually costs around
£100/$100-200). DO NOT fall for this; more on this later.
The allure of the concept of casting directors’ workshops is understandable. CDs are the
gatekeepers to producers and directors who can make or break your career, so you naturally
you want that connection. But for most people, attending these workshops will not be nearly as
effective as all the tactics we’re providing you with. If there’s nothing that distinguishes you
from all the actors CDs see all day at work – actors sent to them by A-list agents, actors with
better credits, etc. – they will not go out of their way to call you in from a workshop. On the
other hand, if they’re casting a Sumo wrestling film and haven’t been able to find an actor to
play the part, and you’re a 400-pound Asian man attending a workshop, you’ll probably get
your lucky break. But then again, you could have found that specialized role if you were
submitting yourself to casting calls at home and just contacted the CD directly, without all the
added expense of the workshop. So there it is again. Spend your time and your money as wisely
as possible – both are in short supply. In the end, it’s up to you to decide whether to attend or
not. Just don’t say I didn’t warn you.
1.9 Talent agents (it’s not “acting agents”) and managers

Aside from becoming a member of the actors’ union, putting together a showreel and a
solid acting CV/resume, and honing your skills in an acting class – attracting talent agents’ and
managers’ attention is a matter of getting out there and doing the groundwork. There are
several time-tested ways to get the attention of these highly valuable industry personas.
Obviously, acting in a very successful play or an indie film that becomes a film fest phenomenon
and gets you some good reviews and buzz would be ideal. But that isn’t going to happen all that
often, especially now with all those household names stealing good indie roles and the studio-
fication of independent films.
Networking is still the best way to eventually get somewhere, assuming you have the
necessary look and/or talent, and you’re following the previous advice of making smart and
calculated decisions, being persistent and working hard. In fact, networking is so critical that
any other method you use to attract agents and managers should supplement networking, and
never replace it. Other methods for attracting agents and managers include referrals (an
outgrowth of networking), cold mailings of headshots and CVs/resumes that we have already
talked about, and mailing/emailing invites to your shows. More details on every one of these
practices you can find on ActingInLondon.co.uk website and other eBooks we have there.
Some print and modeling agencies will only sign you if you “take their classes or get
headshots with their people.” DO NOT do this. If you’re approached by any of such agencies
asking you to pay anything in advance, even if it’s just a penny, RUN AWAY. This is not how
reputable agencies work, and all they’re trying to do is take your money. Money you don’t
have. Remember this for the future: a legitimate agent or manager will NEVER ask you for any
money in advance; all the cash they make is 10-20% commission based on what you get paid
from the work they provide you with. This is the only way legitimate business works.
1.11 Nudity and other shady things

DO NOT do nudity. Not until you are an A-list actor, and even then be careful about how
much you want to show. If you do nudity once, you will forever be labeled as someone willing
to do nudity. From the first “yes” on, producers and directors will pressure you to strip down on
every project you’re hired for. If you abstain from the beginning, it is much easier to negotiate
yourself out of nudity for the rest of your career. And if the dozens of stories on the
entertainment pages haven’t made this clear already, this will come back to haunt you.
Do not do revealing sex scenes for anyone other than an A-list director in a big budget
movie. Use nipple covers and crotch patches so that if the shot is wider than they tell you it will
be (accidentally or on purpose), they won’t be able to use it. Do this even if you know and trust
the director. If s/he says those parts won’t be seen, then there’s no harm in covering them up
just in case, right? Definitely stay away from the any kind of porn and late-nights, even though
it’s a paycheck. Get a job as a waitress or a waiter instead. Otherwise, the next thing you know,
you’ll be stripping and then working as an escort and then... Well, you know where this is going.
1.12 Showreels (demo reels) or demo reels (showreels)

When paying someone to compile and edit a showreel (term better known as “demo
reel” in the US) for you, always check their previous work first. Try to stay away from MTV-style
editing that shows off the editor’s work rather than yours. You don’t need all the flash they can
get you; what you need is exposure of great performance, period. Don’t get sucked into
something overly complex, which will also needlessly increase the costs. You can try to find a
friend of a friend who’s an editor and who can do it at home for you super cheap. Keep it simple
to show off YOURSELF; just two or three clips that demonstrate your talent, not a dizzying
montage. It should be under five minutes, ideally around 2-3 minutes and look professionally
done. Clips must be taken from a well-done production. Try not to use any home shoots,
monologue shoots or anything similar to that.
I’ve seen so many unprofessional looking showreels displaying parts of bad acting that it
would benefit an actor to actually take that video off their casting profile. Make sure you put
the best parts in the very beginning, don’t leave “the best for last”. Agents, managers and
casting directors go through many of these a day and a lot of the times they are not interested
to watch the whole showreel till the end. Therefore, you have to guarantee yourself an
opportunity to expose your best work within the first minute of that video. No recorded
monologues, no bad quality stuff and no phone-recorded material. Don’t make yourself look
like an amateur; it’s always better wait to get some decent content and edit it then.
1.13 Your personal actor’s website

Set up your own website. It’s a great tool for promoting yourself to people you meet and
hand your business cards to because they can easily access your headshots, resume, showreel,
biography and any other promotional stuff. It’s also perfect for submitting yourself to student,
non-union, and other projects that permit submissions online. Another neat feature is that you
can track the spike in website hits following a mailing process to agents and managers. Connect
with your fans and brand yourself using your website. For more tips and advice on how to build
and maintain a website, as well as all other Internet-related acting stuff, make sure to check out
our eBooks section.
1.14 Acting showcases

One thing you can do if you aren’t getting the exposure you want is to create your own
showcase. You don’t have to be a drama school graduate to get an opportunity to be in one. A
showcase is a series of scenes selected by an actor, put up using a stage or other space with
very sparse props, with post-show food and drink provided for the industry people. It’s true
that this is mostly done by graduates of colleges/universities and drama schools, but who says
that you can’t get together with your fellow actors and do the same? Nobody. You can pay the
producer or the director to participate, and in exchange the producer/director promises to get
industry people to come see the show and to provide a typed list of who attended after.
Attendees usually do not need to pay anything, and you must provide food and drinks for them
stored not too far from stacks of your headshots and resumes. This is costly, but can be a
career-changer.
Showcases are a reasonably good option if you are not having any luck auditioning for
full productions, if you don’t have a lot of stage experience and need to build your resume.
They are also worth it if you have already met with an agent, manager or a casting director who
is very interested in you and wants to come see your work. Showcases are also a good
opportunity to meet other actors. However, they can be a waste of money if you already have
real theatre credits or decent representation, especially given that most showcases are
mediocre or downright bad, and few producers/directors will actually get any industry people
to come to the showcase. In other words, do it in the beginning of your acting career to speed it
up, but don’t waste your time once you’re somewhat established in the city.
If you do a showcase, stick to the one produced and/or directed by a coach or teacher
you or your friends know, so you have some assurance of quality and attendance. Even better if
they audition participants or have some exclusivity that will promise both you and your
audience quality. Don’t forget to have your resume, headshot and business cards ready. Take
advantage of your having your own website and promote your show over there.
1.15 In addition to what has been said above…

Let’s sum it up: at this point you’re taking acting classes, actively auditioning around
town, mailing/submitting to agents and maybe even CDs, looking for a manager to help you
sort out your career, doing decent but short-run plays when you have time, and perhaps even
producing some of your own things. What should you do with the rest of your time before your
big break catapults you right onto the A-list? Aside from sleeping, eating, and bringing home a
paycheck, you should be spending your extra time learning more about the business! This is a
super-competitive industry and there is always someone smarter, more knowledgeable, better
looking and more talented than you. Don’t waste your time watching TV when you could be
doing something to sharpen your competitive edge. Keep an eye out on daily updates on
ActingInLondon.co.uk website as there is always some useful advice regarding the business side
of acting.
Take classes in other areas of the industry such as directing, producing, writing, etc.
Intern or volunteer as a reader for a casting office, agency or production company. Get out of
the city and do something different, such as a summer or season of theatre. If you can afford it,
try going to other big cities for some great training and additional experience. If you’re an EU
citizen, you can travel to multiple great theatre-strong cities in Europe for supplementary
theatre training which will expand your worldview and better you as an actor. If you’re a US
citizen, you have Los Angeles, New York, Chicago, San Francisco and many other places with
amazing training. Also try to volunteer for some film festivals or maybe find ssemi-related work
in film/TV/stage productions.
Those of you with big hearts can volunteer in programs that offer free theatre, or free
acting and writing classes to disadvantaged, foster or disabled children. Some groups travel
with shows to foster homes, hospitals and so forth, especially during the holiday season. Others
offer classes to children whose parents can’t afford after-school programs. There are also a lot
of programs for reading to children or to the blind, which is a great practice for storytelling,
especially for people interested in voiceovers or writing on the side. All of this is not only great
for your soul, but also a great way to practice your craft. Plus, the people volunteering for these
programs are usually great contacts for your career. Everyone wins!
1.16 Scams that are out to get clueless actors

With so many people desperate to find an edge, entertainment business is a fertile
ground for scammers and con artists who are amazingly adept at parting actors from their
pennies. Here’s a sampling of scams to watch out for.
Website scams
There are several websites that ask for a fee from actors to post their headshot and
resume, but no one in the industry uses them. If you visit these websites, you’ll notice most of
the people posted don’t live in any of the bigger cities, i.e. they don’t know any better. Film and
television roles are still cast based on physical headshots or known names. Commercial casting
uses online systems since they move very fast and care more about looks, but they use systems
where only agents and managers can submit their clients, not ones where any average Joe can
join.
Some websites that are half legitimate – not total scams but just a waste of money –
have set up systems for actors to submit themselves for specific projects posted on the site. But
these usually include just a few projects listed, and the rest of them are poor 1 st year student
films. Same goes for those background work websites. We’ve talked about that already – you
don’t need it.
False project scams
Never pay to be in a film! If you audition for something and later they tell you that you
have the part, but that they’ve “discovered actors do a better job if they’re financially invested
in the project,” or later say their “financing just fell through, and they need everyone to help
pay for the project if it’s to be done,” walk away! Even if they have an office on a studio lot:
these offices can be rented by anyone trying to put on a good face. This is a VERY common
scam, so watch out, because the people who pull it will make you believe they are genuine
struggling filmmakers.
Remember that filmmakers and producers of the project are responsible for raising the
money, not you, no matter how desperate you are for a role. Even if you have been guaranteed
that the project will happen and you’ll get material out of it for your reel, don’t do it unless the
project was advertised as a showreel production class. If they falsely advertised it as a film
project, call the editors of the publication of wherever you saw the listing and let them know.
We need to work together to eliminate any kind of scam out there.
Manager scams
I’ve already mentioned this previously. In the United States, it is illegal for agents and
managers to ask for upfront payments of any kind, and it’s strongly regulated. Unfortunately, in
the United Kingdom, the union isn’t strong enough nor does the government care as much
about their actors to look out for them more. Nevertheless, remember that the only money
agents and managers make should be from work that they get you, or that you got while being
represented by them (10 percent for agents, 10 to 20 percent for managers). A common scam is
for someone posing as a manager to ask for “submission fees” from new actors. They will claim
that they’re taking a chance on you, spending their money on materials to submit you, and that
you should help cover those costs while they get your career started.
They’re lying and this is wrong, no matter what real work the person may have done in
the past. They could also ask you to attend one of their workshops to see if you have what it
takes, and those workshops are paid, of course. Do not do this.
Some of those so-called “talent agencies” that ask you for an upfront fee will actually
sign you after you pay or attend the paid workshop, and will indeed represent you, sort of.
However, all they do is submit you using the same casting call services that you yourself could
have used sitting at home with your laptop on the table. The more time you spend inside of this
cruel industry, the more experience you will gain at recognizing all sorts of scams or people
misrepresenting themselves. You will quickly learn how to smell them from far away.
Contract scams
If you are signing any kind of contract that involves big money or terms that affect you
(e.g. signing with a manager for 2 years), be sure to have a lawyer look it over before you put
your signature on that piece of paper, no matter how legit the person seems, unless they
already successfully represent someone you know well. Dishonest agents and managers have
been known to include ridiculous conditions in actors’ contracts, which unsuspecting (or naïve)
artists sign and agree to. It’s worth the £100/$200 or so in attorneys’ fees to ensure that you
don’t sign away your life. Please take it as a serious matter, I don’t want you to become yet one
of those victims who are chained to their managers for years.
1.17 Be smart and be safe
I know I’ve been a bit irreverent up until this point, but I’m going to slip into mom mode
for a minute. Be careful out there, okay? I meant it when I said actors have a raw deal. You hear
stories about young women being murdered after being lured to a fake audition by a man
posing as a producer and offering them an audition for a movie. In Los Angeles it happens
enough that their former SAG union (now SAG-AFTRA) has published a safety handbook for
every actor to go through. I don’t want you to be alarmed, and I don’t – by any means – want
you to live your life in fear. But I do want you to be very careful about the situations you put
yourself in and use your common sense, especially if you are a woman submitting yourself to
projects through online casting websites. Here are some tips to keep you safe.
Two must-have books for women
1. A Girl’s Gotta Do What A Girl’s Gotta Do by Kathleen Baty. This is a practical

advice with tons of resources where you can get more information for specific situations. Every
woman should read either this book, or try to find something similar if it’s not available any
more.
2. The Gift of Fear by Gavin de Becker. He’s an expert on violent behavior and
spotting danger signals, and teaches you how to listen to your instincts. He’s also a coach to
celebrities who deal with stalkers.
Now for some safety tips.
Never let your guard down
1. You should never be alone with one other person when auditioning or shooting.
If you show up and it’s just the “director,” leave. Even if he seems like a nice harmless guy,
don’t take the risk. It’s obviously a bad project not worth your time if he doesn’t have even one
person helping out.
2. You should never audition at someone’s house or apartment. Filmmakers know

this golden rule, and there are free or very cheap spaces they can get around the city, so they
should be using those. Occasionally, such residential auditions will be safe, but don’t take
unnecessary risks. If you go to one, leave if there are not several people conducting the
audition, signs outside the apartment entrance, other actors and so forth. Avoid hotels at all
costs.
3. Be wary if you are auditioning in an isolated location like a warehouse in an

industrial park. Leave if you feel scared or awkward; your instincts are probably right. That’s
why it’s handy to have a smartphone with GPS/Google Maps and always-on Wi-Fi; and before
you leave home, make sure you are going to a safe area. A project with a bad script, production
values and sound is not worth the risk to you.
4. You’ll hear this everywhere, but just in case you haven’t heard it yet: there
should NEVER be any stripping during an audition, even if nudity will be involved in the role.
Every audition also has a strict no kissing and no inappropriate contact unwritten rule, with
nobody. Sometimes you will end up kissing the other actor in the scene at callbacks, but that is
your choice and you should leave if they pressure you to do more than you feel comfortable
with.
You should not have to “test out” your chemistry by doing that, NEVER. The actual contact
should only take place after you’ve got the part and are legitimately performing.
5. If someone approaches you – at a pub, store, in a restaurant, on the street –

claiming to be a successful director/producer/executive/agent/whatnot or other member of
the “industry,” but is not someone you or anyone else knows, do not meet up with them alone
until you have verified their credentials and/or place of work. Not to alarm you, but other
women have gone missing with men who misled them in this way. Men are very skillful at
name-dropping and assuming industry attitude. Always ask for their business card (if they are
what they claim to be, they’re going to have one). If you have any suspicions or concerns at all,
investigate the person online: call up the agency or company they are supposed to be working
for to find out if that’s really true. Also, try and bring a friend with you to your first meetings.
Make sure that your family and friends know whenever you have a meeting of this type, and
where you are going for it.
A FOOT IN THE DOOR
For most, working in a big city while struggling to become an actor means some menial
job to make ends meet while simultaneously pursuing your chosen career path in the industry.
Sure, working at Starbucks is an option, probably not a terrible one. And the old standbys,
waiting tables and tending bar jobs still provide some of the best short-term returns. But there
are a number of reasonably attainable jobs in the industry that will not only help you with the
bills, but will also get you started in earning the real currency in this industry – CONNECTIONS.
You should always have your eyes on the prize.
2.1 Internships
As we have previously discussed, getting a survival job or a volunteer position as a
reader in a casting office, or assistant at an agency, is a pretty sweet deal in that you can see
how it all works and also make some connections while you’re at it.
If you are lucky enough to have some savings in the bank, or extremely supportive
parents who can afford to pay your expenses for a few months, a good way to get your foot in
the door (and to get the experience those assistant jobs keep demanding) is to do an internship.
Unfortunately, some of the best internships at the largest companies are limited (for legal
reasons) to enrolled students. (So those of you who are still students – grab these while you
can!) But there are still some internships available to non-students. Many smaller businesses
are either exempted from the laws binding larger companies and/or are willing to work around
that law by setting up just three or four hours a week for you to come in. That is just perfect for
your busy schedule (if it’s not busy, it should be!)
Some of the job lists floating around the city have

Here’s a trick for you: in order to get
sections listing available internships. You can also just contact
in touch with a specific television
production companies, management companies, talent
show to ask about interning, contact
agencies, specific productions or other smaller operations
the studio that produces the show.
and ask them if they are looking for volunteers or interns. If
They will usually either forward your
you are still a student, check with the University’s Career
call to a specific show or give you
Planning department for opportunities, although back in the
the phone number for the show’s
day those were pretty useless.
offices. Don’t be shy.
2.2 Temp Agencies
There are some temp agencies in the city that specialize in placing people in industry
jobs, usually at talent agencies. A lot of people have gotten their first permanent jobs by being
hired on as a temp and then kicking some bum. Get your basic skills up (typing, software
experience, etc.) and call them up. You’ll probably have to take some tests and if you’re good,
you will get plenty of temporary work. Once you get to your temp assignment, you should do
everything in your power to impress. After a week of being the perfect employee you can start
bugging people for tips about the industry.
A lot of actors who are not waiting on tables survive with the help of temporary work.
They work a month or two, and then once the assignment is done, they take a break to pursue
some acting opportunities. Once the funds have drained, it’s easy to get yet another temp job,
provided that you have done well in your previous employment. Try it, it’s worth it!
AN ACTOR IN THE CITY
3.1 Your first and (somewhat) meaningful gig: Part 1

This chapter can also be titled “Solving the Catch-22 of ‘How can you get a job if they
require experience, but you can only get experience by having a job?’” But I thought it was a
little too long.
It’s going to take a long time before you get the first meaningful job as an actor. Of
course, it depends what you consider a meaningful job, but for the purpose of this example,
let’s say something like a lead role in a small independent film with an average-size budget. It
will be YEARS. Just to take that first real step. Before that, you’ll be languishing in some boring
survival jobs around town, getting small parts in student films, earning the minimum amount
per week a person can earn in this country. And that’s if you’re one of the lucky ones. The
unlucky ones will be working somewhere miles away from the city, where there’s no real
opportunity to meet anyone from the industry, bottom rung or otherwise.
That’s why this chapter is titled “Meaningful” gig. The hard part isn’t getting some job,
or even some job vaguely connected with the industry. It’s getting the first job that is a true
stepping stone in your chosen field, with real opportunities for advancement and exposure.
There are three main ways to get that first meaningful job: 1) Luck, including dumb luck;
2) Nepotism; and 3) “the proven path.” I’ve already talked about luck and nepotism in earlier
sections, and those principles apply here. The bottom line is, you can’t count on a number one
and you already know if you can attempt number two. And if you could, then you might as well
just throw this handbook out (or click “Close” because you’re reading it in your computer).
Most of you are going to be stuck following the third path of an actor’s career, and that
means you’re really going to have to work your ass off. You’ll be competing with thousands of
other people for even the crappiest little parts, and it’s going to be really tough to distinguish
yourself. That pretty much epitomizes the living experience of an actor in a big entertainment
city. But it’s not all bad news. There is one factor working for you: most of the competition is
stupid, and my job is to educate you on all things related to acting as a business, that way you
can jump forward significantly faster than your clueless competition (hey, it’s their own fault if
they don’t take a few hours from their lives to read and learn about the industry!)
The following chapters discuss the proven path for the key creative opportunities and
tips for getting on the path to that first meaningful acting job in your chosen career. In each
instance, the goal is to keep at it, work hard, and make the directors happy with your
performance, and gain necessary skills while also meeting people who can eventually refer you
to some other industry folks. In other words, just as we discussed earlier, educated decisions,
persistence and hard work while following the proven path will eventually lead to dumb luck or
nepotism opportunities.
Here’s another important point (although a little to the side) to remember in these
early stages of your acting career: you may be slightly better at your job than the fellow next to
you, or maybe even your director. But keep your contempt in check and practice humility. The
key is to learn to work with, and for, others. So bite your tongue, make the right choices as an
actor that don’t hinder your performance and save the attitude for much, much later. You
never know when a burned bridge might come back and bite you in the ass (not that this
makes any sense, but you get the gist).
And finally, remember that this is isn’t a race. There’s no schedule and no deadline by
when you have to make it. Some actors get slightly luckier with opportunities in the beginning;
others will get those same opportunities a little later in their career. The key is to have a game
plan based on milestones, not a calendar, so you can take real, meaningful stock of your
progress in the entertainment industry.
3.2 Your first and (somewhat) meaningful gig: Part 2

There is one very significant arrangement you can do early on that will help to get you
on your feet quicker regardless of your chosen path. As soon as you get to the city of your
choice (or sooner if you can manage it), arrange as many informational meetings or interviews
as you can. Talk to everyone you know (from the industry or not) and find out if they know
anyone at any level of entertainment business. If they do, and based on who they are, ask for
an introduction. Once you have your list of contacts, keep it. When the time comes and you
have a great project on your hands that you want to promote, or you wrote a screenplay with
yourself as a lead, call them up and invite them for coffee or lunch (your treat!), or ask if you
can come by their office to talk to them, or find any other way to connect. Discuss any
possibility of bringing yourself out there with the help of that project or whatever you might
have, as well as with the help of your contacts. Don’t be shy – this is a very common practice in
the entertainment industry, and a lot of professionals will be open to meeting with if your
project sounds at least somewhat intriguing and if you’re paying for lunch (duh!)
You can also schedule this type of meetings with people from the industry even if you
don’t have anything going at that moment. However, you have to be sure that these people will
be open to new connections, especially with newbie actors. If they are, then you’re in luck; your
goal at this stage is to pick their brains, and to make it known you’re out here and eager to work
hard. These people can be anyone from an up-and-coming director or producer to sound
technician, screenwriter and even fellow actor. You never know when they might inform you of
an important audition or recommend you to somebody. Secondarily, these informational
interviews can give you invaluable insight on how others have progressed in their careers via
the choices they made, whom they talked to, where they worked, and can help you sharpen
your focus on becoming a successful actor.
You think these people will not waste their time with you? Think again. Some people
won’t, obviously. But a lot will. People in the entertainment industry love to talk about what
they do and how much they know about the industry. (If this business could figure out how to
turn egos into electricity, we’d be wouldn’t have to worry about Global Warming.) They will
appreciate that you have shown an interest in what they do versus simply asking for a job. Of
course, they do know you’re looking for an audition, and if they like you, they’ll offer to help
you if they can. People in the industry like to be known as someone who can help their bosses
(current and prospective) and colleagues, so if they have, for instance, recently been asked to
fill a guest part in some TV show, your timing might be perfect. At the very least, you’ll walk
away with some good conversation and insight, and perhaps two or three other contacts to
follow up on. And you’d be well-advised to send a thank-you note to anyone who gives you
their time.
This is how the industry works, and if you want to get anywhere as fast as possible,
connections and networking should be one of your priorities. Speaking of which…
3.3 Networking
You have probably heard the rumor “It’s not about what you know, but who you know.”
Well, let me tell you something, this rumor is false. It’s not about who you know, but who
knows you. Show business works the same way everywhere, be it London, New York, Los
Angeles or any other major city. Do you really think Colin Hanks would have gotten the lead in
“Orange County” if it weren’t for his lineage? Do you really think Paris Hilton would have an
agent and be considering television and film roles if she weren’t the semi-hot daughter of a
hotel magnate? Of course, it’s not solely who you know or who knows you. It’s mostly about
getting you into the room, but then you’re on your own. Ultimately, you will need to have the
skills to back up all those claims about your great acting abilities. Some people may get the job
thanks to a good connection, but if they’re not good at what they do, they won’t keep it. This of
course is where Ms. Hilton hit an early wall.
3.4 Getting connected
So the good news is if you are related to Steven Spielberg or Julia Roberts, you’re pretty
much set on the connections front. You can probably use this handbook to… I’d tell you what
you could use it for if it was a paperback.
However, for the vast majority who are not so well connected, the news is not too bleak.
Getting connected is ultimately a matter of – yes, you guessed it – clever planning, persistence
and hard work. The good news is this “work” can be fun if you’re a social being, because it
means going out to parties and pubs and otherwise getting to know as many talented and
ambitious people as possible. The opportunities in big entertainment capitals of the world for
this sort of socializing, especially for the younger set (who can more easily stay out until 3 a.m.
on a weeknight and still function at their day jobs), are legion. The more people you meet and
befriend, the better your chances of making those crucial connections for your acting career.
Because eventually, some of the underlings you know now are going to make it over the wall in
five or ten years. You might even meet some people who are already well connected. (Show
business is, after all, a community divided by only about two degrees of separation, as you’ll
soon find out.) And if you’ve done the groundwork, and made genuine connections, those
people will walk to the front door and open it for you.
You should also be networking at any other industry jobs you can get, whether or not
the job is in your chosen field. Of course, it would help if your survival job is somehow related
to the industry, more or less. Then, keep a list of every person you work with at each of your
jobs (in production jobs, staff lists are generally made available; an invaluable resource, and less
writing for you). Put notes next to the names of people you work with directly to remind you
who they are. Director, producer, actor, screenwriter, any kind of designer or assistant… Keep
these lists at home. And make sure the people you work with remember you positively by doing
an amazing job, above and beyond the call. Another nice touch, particularly if you’re doing
occasional gigs all over the city, is to send thank-you notes to your directors, producers, agents
or whoever might have gotten you that gig. This will put your name in their heads one last time
in a favorable light, and they might just remember you at the very crucial moment of deciding
whom to cast in their new big budget production. And like your mother always told you, it’s just
plain polite.
In fact, as soon as you move to the city, you should consider everything you do an
opportunity to network. You never know where a potential contact or audition lead will come
from. Many actors I know got plenty of auditions from parties they attended. One of them got a
big part in a major production you might have heard about that was filmed fairly recently,
called “Anna Karenina” with Keira Knightley. Here’s another great story that I recently heard
about an actor in Los Angeles.
His wife is a young physician and he has gotten several contacts from colleagues and
patients of hers. While working as an overnight bellman at the Four Seasons Hotel in Chicago,
he met an independent producer with whom he corresponded by email. Six years later he
called on him when he moved to LA and they established a relationship. This actor’s best
friend’s uncle went to school with a big-budget, studio-based producer. So the actor has yet to
call in this favor, but someday he might. On his honeymoon, his wife and he happened to be in
Cannes during the film festival. During their stay they helped promote an independent film
along the Croissette. Not only was it fun for them, but it led to several contacts that they have
maintained back in LA.
Do you see? The world is a crazy quilt of networking opportunities. However, if you
decide to spend your honeymoon rubbing elbows instead of other parts, please make sure your
significant other is on board with the idea. I don’t want to be responsible for contributing to the
already too-short life span of the typical marriage these days. And no job is worth losing the
love of your life, right? Right?!
All this may seem very cynical and shallow: get to know people just because they might
know someone important, or be able to help you out some day to get an important role. But
that’s not what I’m saying. What I am saying is that for various reasons, this is an industry built
on relationships, not on grades or test scores or billable hours. Not necessarily even on results.
Insiders want to work with actors they trust and are comfortable with. Be one of those actors.
Plus, as I’ve said over and over, this is a harsh, unforgiving business. No one can make it through
the toil and torment alone. Friends, particularly those who understand what it takes to be an
actor and can empathize with the problems and issues particular to this career path, are critical
to survival. And remember: part of making friends and connections is helping them out
whenever possible. It’s not just about what you need; it’s also about what they need. It’s a two
way street, my friend. Plus, you might learn something in the process of it all.
So to sum it up, networking is the second most important thing you can do for your
acting career, after consistently working on your craft. Knowing people is what can make or
break your career, and if you start from the right foot by gleaning wisdom of those who have
been down the path before, you might just make it to the other side of the wall.
3.5 Staying connected

Whenever you make a connection, keep in touch. Don’t just collect business cards and
store them in your drawer. (Oh, and make sure you have your own business cards to hand out
with your headshot and resume on there, too.) Every job and every person can lead to a good
audition. It’s hard work, but didn’t I say it will be? It’s totally worth it though. Keep
spreadsheets of personal contacts and big players in the business. I use my phone for that, and
also back everything up in my laptop (Excel and Word work wonders). Keep track of when you
contact them and what your next steps should be. Smartphones are the best for this type of
thing.
Keep track of all birthdays, important show credits, alma maters, family members’
names, where and when you met, and anything that will help you differentiate them from the
(hopefully) hundreds of other people in your phone. You should try to update this information
as soon as you get someone’s business card or meet them at a party (though not in front of
them!), so you don’t forget later on. This is a big part of an actor’s job, and a very important one
too, if you really want that major part audition. Also, make sure you back up all your data
frequently. (Sounds obvious? Yes. But if I didn’t tell you, you would’ve forgotten. There’s a 50
percent chance you’ll still forget. Don’t come crying to me if you lose it all.)
3.6 Network often with important people

If you are particularly bold, you can try making connections with people who are already
established or becoming established. Although don’t just start calling people or approaching
them at showcases, workshops and classes. Wait until you are ready and know your stuff about
your career path and your goals. Wait till you have at least some credit and training under your
belt. Then, before you do approach someone, know as much as you can about the person. At
the very least, check them out on Google and IMDB; at best, check out their work and ask peers
who may have worked with them about their experiences, interests, and the like. This type of
research has a potential to pay off greatly.
Finally, when you do contact anyone in this category, tell them you’re looking for advice
and ask if they’d be willing to meet you (face time is better than phone time if you can get it). If
you are extremely lucky and they are willing to give you some of their time, be focused and
selective with your questions; don’t waste their time or yours by asking them which restaurants
are good or where you should live. Ask them substantive questions about their creative process
or what work and people in the business they admire. (And be ready to answer the same
questions, intelligently. Do your research, and know your stuff!) And – this is very important –
don’t ask them to give you a job, to read your script or to do anything else for you, NEVER. Just
ask them about their experiences, and LISTEN. You’ll be surprised how much you can learn. And
if you’re lucky and they like you, and you don’t forget to send them a thank-you note after, you
might get a call one day from them or someone they recommended you to, and be offered an
audition.
3.7 Alternatives to extroverted schmoozing
If you’re not much of a schmoozer or partier, and prefer more structured activities to
make connections, you still have a number of great options. The various professional
organizations and the events they sponsor are good options, as are classes, showcases and
workshops, volunteer opportunities, and the broader industry organizations for all types of film
and theatre people. Non-entertainment-focused organizations, such as alumni associations,
sports groups (yoga, football, running, etc.), environmental and political organizations, gaming
groups, twelve-step programs and religious organizations can also be fertile ground for making
unique connections. If you’re really adventurous, try extreme sports – nothing creates a lasting
bond like a near-death experience.
3.8 Avoid making enemies at all costs

Whatever you do, don’t make enemies. In this city, there’s really no such thing as a
person who doesn’t matter. Not for long, anyway. That assistant you’re snapping at today
might be the high-powered agent you want tomorrow. Moreover, the industry is so fluid that
executives often find themselves reporting to (or at least forced to work civilly with) former
subordinates when they change jobs. This rule applies even when you work at jobs outside of
the industry.
The bottom line here is: be nice to everyone at all times. (Plus, like your mother always
said, being nice is just the right thing to do). You never know who is going to be someone
someday. Better to have a neutral relationship or no relationship than enmity. This goes for
your romantic life, too, if you’re getting involved with partners from your career path. No
matter how much you loathe your boyfriend or girlfriend for cheating on you, make it an
amicable split. That vile, untrustworthy, freakish jerk might someday be running a studio, or at
least an agency. They can also screw you over in many other different ways, especially if they
have some important connections.
As you should already know, acting career is a marathon, not a sprint, so you have to
look into the future. While living only in present is great, cool and romantic – it doesn’t really
work this. If you snap at someone today, tomorrow they might fire you from that big budget gig
you worked so hard to get. Keep this in mind and stay focused on your ultimate goal.
3.9 Post scriptum

A note about “art”: it’s obviously subjective. You’ll never get ten people to agree what the best
films are. So there can’t be an objective “good” when it comes to taste. But you can get people
to agree on what is professional, so never fail in that respect. Here are some specifics: proper
spelling, clean paper, proper formatting, internal logic and consistency. Also remember that
gimmicks are super-high risk. They might work, but they are much more likely to flag you as a
pathetic amateur. It’s helpful to view your city’s entertainment industry like an art community.
If you want to act in films that will never be seen by anybody, that’s your prerogative. That’s
like a sculptor who makes five-inch sculptures with his own clay. But if you want to make a
thirty-foot sculpture, you’d better find a benefactor. You have to give the investors what they
want. And an actor’s professionalism goes a long way.
FINAL WORDS
I sincerely hope that some of this information was helpful to you and now you know just
a little more about how to get your feet wet. I understand that for some of you, this handbook
has actually raised more questions, and that’s great. We do have so much more advice to share
with you, so please make sure to follow us on Facebook and periodically check for an updated
list of acting eBooks. You’ll find every advice you need there. And if not, please let us know!
Now, would you kindly do me a small favor? Let me know how you liked this handbook:
what parts were specifically useful to you and where would you like us to improve it. I would
greatly appreciate your contribution towards making this free acting handbook the best
introductory resource for budding actors seeking advice online.
For more regular tips and advice on the acting industry, or if you wish to get in touch
with the authors of this and other acting eBooks, please use the “Contact Us” form on our
website http://actinginlondon.co.uk
Thank you for reading, and I would like to ask you for one last thing: never stop dreaming,
never stop achieving and don’t settle for anything ordinary!
“It’s the possibility of having a dream come true that makes life interesting.” - Paulo Coelho
Break a leg!
Tom, Dean, Paul & Co.
Acting In London

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What are the steps to pursue an acting career?

What are the steps to pursue an acting career?

What advice is given about networking?

What advice is given about networking?

Acting Career 101: A Step by Step Guide on How to Become an Actor – http://actinginlondon.co.

Last Updated: March, 2016. Please visit our website at http://actinginlondon.co.uk

Disclaimer and Legal Notice

You can contact authors of this handbook at tom@actinginlondon.co.uk

0.1 Necessary reality check

0.2 Quick disclaimer and preface

0.3 Is moving to a major city necessary

0.4 The art of survival

CREATED LUCK + MANUALLY MAXIMIZING OPPORTUNITIES = OVERNIGHT SUCCESS

0.5 One last thing before we really dive in

1.1 Pick a path (I mean, really pick a path)

1.3 Private acting classes (not drama school training)

1.4 Headshots (not portraits, and not modeling photos)

1.5 Background work, or what it’s like being an Extra

1.6 Online casting calls, secret breakdowns and regular mailings

1.7 Casting directors – gatekeepers to your acting success

1.8 Casting directors’ workshops

1.9 Talent agents (it’s not “acting agents”) and managers

1.11 Nudity and other shady things

1.12 Showreels (demo reels) or demo reels (showreels)

1.13 Your personal actor’s website

1.14 Acting showcases

1.15 In addition to what has been said above…

1.16 Scams that are out to get clueless actors

False project scams

Two must-have books for women

1. A Girl’s Gotta Do What A Girl’s Gotta Do by Kathleen Baty. This is a practical

Now for some safety tips.

Never let your guard down

2. You should never audition at someone’s house or apartment. Filmmakers know

3. Be wary if you are auditioning in an isolated location like a warehouse in an

5. If someone approaches you – at a pub, store, in a restaurant, on the street –

Some of the job lists floating around the city have

3.1 Your first and (somewhat) meaningful gig: Part 1

3.2 Your first and (somewhat) meaningful gig: Part 2

3.5 Staying connected

3.6 Network often with important people

3.8 Avoid making enemies at all costs

3.9 Post scriptum

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