Persistence, Part II

This is a continuation from my post about persistence last Sunday, but this time it’s more specific to the audition world through your theatrical reps (thus having nothing to do with works you create on your own or collaborate with):

As of March 23rd, I’ve been blessed with the auditions my reps has gotten me so far this year, even though I have yet to book anything. Persistence is the key word, I valiantly tell myself. And followups for every single audition to the casting office and occasionally to the exec producers/showrunners (for now, just doing that with all the theatrical auditions).

THEATRICAL with Sovereign Talent Group + Stein Entertainment Group
– 21 theatrical auditions (out of those, 4 series regular auditions)
– 1 pin for a co-star

THEATRICAL with Houghton Talent (Atlanta agency)
– 9 theatrical auditions
– 1 callback for guest star

COMMERCIALS with AKA Talent Agency
– 21 commercial auditions
– 1 callback
Not complaining whatsoever as I know I have talented actor friends who are having trouble just getting out but already this year in the month of March has beaten all of my previous years out of the water. There is however that nagging useless voice within me going “Book something already. Others are doing it, why can’t you?”

But let’s first address the amount of auditions I’ve been getting, as several have outwardly expressed that it’s a good amount for such a short period of time. Although I do have amazing reps with great reputations, I do a massive amount of hustle. And I think that may play a big factor why I’m fortunate to have the amount of auditions I do. With these pointers, I hope they help you out with you and your reps as well 

1. I constantly, CONSTANTLY talk to my reps. They always get an email from me at least once a week (minimum of once every two weeks) with anything that I’m doing. Whether it’s a workshop, or an Atlanta audition that my LA team should know about, my M. Butterfly picture, or whatever, they are constantly informed in ways that I believe can benefit them.

2. I am a zealot when it comes to marketing. In early February this year, I sent out 40+ postcards to commercial casting directors and will do it again every 2-4 months. I also did the same amount with theatrical casting directors as well and in early March, I got a LOT of attention from casting folks when I wrote my blog post about why actors need to acknowledge casting directors more during award seasons. I use Twitter and various casting Facebook groups to my fullest advantage, hence why I’m on social media constantly.

3. I followup with a thank you letter to every theatrical audition I’ve ever been sent on, even the ones I didn’t feel too hot on. It’s a small gesture but I want to thank them for bringing me in out of hundreds/thousands that get submitted.

4. I write letters/emails/tweets to writers, producers, directors, and showrunners that inspire me on a weekly basis. Part of them are from shows that I enjoy auditioning for, others are just being inspired by what they do. Like writing to Gore Verbinski congratulating him on directing the PYONGYANG North Korean film? I made the first step and will followup with him and the writer Steven Conrad as the film progresses toward the casting phase.

With the amount of auditions I’m getting, am I worried about me not booking anything yet? Yeah, I am a little. There is also a tiny, TINY part of me worried that I might get dropped because I haven’t quite delivered in the booking department but knowing that I am a hound when it comes to tracking and followups, if the worst comes to worst that my entire team dumps me, I have an entire tracking history that can be used to bring in new reps. Although some have told me that because of this work ethic, the rep would have to be a fool to drop me when they are fully aware not many actors work at the capacity I do. This is not a bragging remark whatsoever as I’m a nut who seem to enjoy doing spreadsheets, address checking, Deadline news hunting, followup loving kind of maniac.

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