GET READY FOR YOUR CLOSE UP! Looking Your Best On Camera with NY Headshot Photographer and former ELITE model Blu Toth

"It's every actors dilemma-to get a winning headshot. But with so many photographers to choose from and so many ideas on what makes a good headshot, what should you do. Actors Connection is pleased to have Blu Toth, one of NY's leading headshot photographers leading this very informative seminar. With years of experience working as an international model with the world class ELITE Agency in Paris and New York and now as a NY photographer, Blu's wealth of knowledge and expertise is invaluable. In this seminar, she'll give you useful advice on do's and don'ts in front of the camera to get your best results. Blu will also share some of her beauty secrets and give you helpful makeup tips for your on-camera auditions for film, TV, and print."

I attended Blu of BluFace Photography's (http://www.blufacephotography.com/) seminar at Actors Connection on Tuesday, December 1st. Here are some of the highlights:

When posing for a photo angle yourself with your "good side" forward, position your weight on your front leg, and send your energy towards the camera, not away.

BLU'S BEAUTY TIPS:

• Prior to on camera work (headshots, auditions, etc) Blu recommends 2 weeks of vigorous exercise.
• Take Vitamin D, especially in the winter.
• Make-up Forever High Definition Foundation (http://www.makeupforever.com/)
• Bobbi Brown Sheer Loose Powder (http://www.bobbibrowncosmetics.com/)
• No eye liner for on camera.
• Haircut/ color: Cutler Salon (http://cutlersalon.com/) stylist: Anthony, Colorist: Lidia
• Facialist: Nina's European Day Spa (http://www.ninasskincare.com/)
• Dermatologist: Dr. Dennis Gross (212) 725-4555
• Manicurist: Sabrina's Nail Salon (212) 683-4320 aesthetician: Aida

BLU'S WELLNESS TIPS:

• Acupuncturist: Turning Point (http://www.nycacupuncture.com/) Therapist: Shane Hoffman
• Acupuncturist: Dr. Wong (212) 274-1823
• Massage: Peter Baldassari (212) 414-2475

Acting Success NOW!

Monday, November 30th, I attended a free seminar for "Acting Success Now" (http://actingsuccessnow.com/). Creators, Robert and Michelle Colt effortlessly combine quantum physics and neurosciene with profound and greatly misunderstood wisdom from the East to give you the TRUTH about Acting Success, not the "truthiness." Here are some of the things I learned, that stood out to me.

“Love the art in yourself, not yourself in the art” (Konstantin Stanislavsky).

Your "neural thermostat" is set between the ages of 3 and 7. Your "neural thermostat" is your temperature for success. Our experience of different parts of life between those years set our mind on what we think about them today. For example; our attitude on relationship success is set, and this attitude will effect how successful we are in relationships in our life. We know our formative years are very influential. There are 15 "pride obstacles", one of which is mind reading. We put ourselves down by trying to read minds, when we cannot truthfully know what people are thinking unless we ask. Our conceptions on what they are thinking are based off of stories or experiences from our childhood, they stay with us, and "mess with our heads" when we are adults.

Core beliefs:

• self worth
• alone, not connected
• powerless
• inadequate
• unsafe
• feel trapped
• feeling out of control
• incomplete
• anxiety
• unloveable
• imperfect
• self sabotage

These "core beliefs" are constantly circling us and we pay so much attention to them that we miss the "guerillas of opportunity." Like a giant ice berg, sometimes it is the issues that we do not see that are our biggest obstacles and what are actually in our way of getting to where we want to be. Our core beliefs make us afraid of what will happen when we do have success, we convince ourselves that there will be negative effects when we become successful. For example; "if I lost weight, I wouldn't have female friends." And in turn we avoid success. Our mind gets in our way. The mind is about wanting control, but if you could let go and find the power of no mind, maybe you could find success waiting there for you.

"Have A Savvy Holiday Season Taking Care Of Business" by Jodie Bentley

"The holidays can be such a magical time. Reconnecting with old friends, visiting family, buying presents for loved ones, getting caught up in holiday bustle and good cheer. This bustle brings along the phrase “I’ll wait until January” which tends to be spoken A LOT among actors at this time of year.

There is, however, much you can do in December to continue moving your career forward strategically. Some forget that there are still auditions to go on and people to meet at the networking facilities (Yes, it’s fine to meet them over the holiday season.) And while it isn’t necessarily the best time to start a brand new mailings campaign, it is a time to start the projects you haven’t had the chance to get to this year.

If you’re stuck, there are a lot of things we can do during December in preparation for the new year; create a follow up plan for the meet and greets; start planning that website you have always wanted; clean out your song book or work on your monologues; refine your organizational system; find the holes in your audition wardrobe and ask Santa for a gift card to help round out that wardrobe.

December is also a great time for reflection to examine what worked and what didn’t in 2009. Plan some time in December to curl up on your couch for 20 minutes and write a list of all your successes of 2009 – ALL your successes. Write down anything that you want to celebrate from this past year. Use your calendar to remember the events of the past year and don’t forget to include the difficult times that you overcame. Those are successes too. Come up with at least 50 things you are proud that you did in 2009.

What was the biggest thing that happened to you this year?
What changed you this year?
What was your happiest moment this year?
What things do you know now that you didn't know a year ago?
What skills do you have now that you didn't have a year ago?
What new people are in your life?

As you continue to move your career forward, this December, honor the year coming to a close. Once you compiled your list, honor all that you have done this year by reaching out to your accountability partner, best friend, spouse, or fellow actor and share your successes with them. Use his holiday time not only to celebrate the season, but to celebrate your accomplishments as well. Look to the future, but learn from the past. The season is your reward!" ( http://www.thesavvyactor.com/resources/articles/09_December.php?__EB_CMP_CODE=raEz7JSZ )

"Giving Thanks": Year 2 in Review

To my dear reader,

Yes, “Year 2 in Review” is three months late, I meant to write it back in August as planned, but I was busy (which is a good thing). I figured better late than never, and what better week to acknowledge all I have to be thankful for? You may have heard me say that statistically most actors quit within the first two years of moving to New York, well it has now been 2 years and three months, and “good times, bum times, I’ve seen ‘em all and my dear, I’m still here!”

Here’s is my 2008/2009 recap:

Last October, I had the extreme pleasure of studying with Sheri Sanders, whom I had met the previous summer at Making it on Broadway, this time joining her Rock the Audition class. With her help, I uncovered some fears I had as a singer and through Sheri I got in contact with Tom Burke, hands down the MOST amazing voice teacher I have ever had! He has transformed my voice in one year and I can’t wait to go back to Sheri’s class now that I can belt like Tina Turner!

In November, I moved on the study with Sheri’s music theatre teacher and mentor Kimberly Vaughn at Actors Connection. Then took “Monologue Perfection” with the fabulous Paul Fouquet from Elissa Myers Casting. Paul’s class changed my outlook as a performer to include more than just musicals. Paul got to know me strictly as an actor, but when he found out I also sing, he said with how good I am as actor, when they find out I can sing too, I will be unstoppable! Don’t get me wrong I still love music theatre, but I have settled into the idea that I am maybe not the “jazz hands” musical theatre type and I find I am more excited to delve into new works, musicals and otherwise. Paul’s class gave me the confidence to be first and foremost an actor who also sings. I also brushed up my film acting technique this past spring at Weist Barron with Chris Lutkin. And I am pleased to announce I will soon be featured in a short film directed by Chris Baldyga at the Art Institute of New York. I also “may” be making my big screen debut as an extra in “Step Up 3” due out this coming August. Well, that is if you can actually see me…

Of course, music will always hold a big place in my heart. Now though, I am closer to finding my niche. I performed with Seth Bisen-Hersh at Don’t Tell Mama three times this past year, and last week, I made my debut at the Algonquin Cabaret. Last June, I was thrilled to be called back for “Kate Monster” in the National Tour of Avenue Q, and I cannot wait to give the audition another try this coming year and see what happens… keep your fingers crossed for me.

May was when things really started picking up. I was cast in my first off-off Broadway play, Happy Hour, based on Joelle Arqueros's compilation of monologues titled Sex, Relationships...and Sometimes Love, directed by off-off Broadway champion Michael Horn at the Michael Chekhov Theatre Company. In a way, Happy Hour is a right of passage for New York actors, and I am very proud of the work. Happy Hour forced me to work outside my comfort zone (my monologue was titled “Plunger”…). I was also paid a wonderful compliment while sitting outside the theatre after a performance, when I overheard an audience member cite me as being their favorite part of the show, saying I was “very Saturday Night Live.”

A few weeks into rehearsals for Happy Hour, I was approached by Roger Hendricks Simon* to join the Simon Studio. With the Simon Studio, I was honored to work with many well respected theatre artists and joined them in performance in June with the Cinema and Theatre Festival where I performed the role of “Prudence” in Beyond Therapy by Christopher Durang. I joined them again in August, playing “Kate” from Taming of the Shrew in the annual “Bard at the Bar.” *Watch for Roger as AIG Insurance Magnate, Bernie Jacobs in “Wall Street 2: Money Never Sleeps”, currently in production.

Then came the whirlwind of September and October when I got to play the part of romance novelist, and lost soul, “Fuchsia deMornay” in Poodle With Guitar and Dark Glasses by Liz Duffy Adams, directed by Stefanie Horowitz. (My part had nothing to do with a poodle, a guitar or dark glasses). I am SO proud to have been involved with “Poodle” and to have worked with other talented, “up and coming” theatre artists, whom I now consider my friends.

As for now, I am winding down for the end of 2009, and making preparations for a prosperous new year. Still working the ultimate day job as a food tour guide in Greenwich Village for Foods of New York, and recently I have picked up some shifts serving at Little Havana, the Cuban restaurant that we feature on the tour. So, good news, I am making some extra money, which means new audition clothes, headshots, classes, and stocks (that’s something else I have taken advantage of in this interesting financial year). I also volunteer now as a host at Actors Connection in exchange for my own opportunities to audition for casting directors and agents, in hopes of having SO MUCH MORE.

I have expanded my presence on the world-wide-web. I have a blog that I have recently updated on Blog-Spot called "Top of the Heap" http://topoftheheap-nyc.blogspot.com/. I document my daily theatre experiences on Twitter http://twitter.com/hdrefvem. And I reach out to my "audience" with my myspace page http://www.myspace.com/hdrefvem, and a facebook fan page http://www.facebook.com/pages/Heather-Refvem/89391758143, while I work on completing http://www.heatherrefvem.com (which I am very excited about!).

So, that is what I have to report right now. I hope you enjoyed my recap. Have a Happy Thanksgiving, a wonderful holiday season, and a 2010 full of love, happiness, and success!

Love, Heather

Karen Kohlhaas Workshop at Theatre Resources Unlimited (11/17/09)

I attended an outstanding workshop last night with Karen Kohlhaas (http://www.monologueaudition.com/) through Theatre Resources Unlimited (http://www.truonline.org/). I've always heard great things about Karen, and after getting the honor of being selected to work with her last night, I know now why she is so great. Here are some of my notes:

Study the door at an audition so you can plan your entrance. What is the least amount of effort will you have to use to close it? Will it close on it's own? Are there steps coming in? You want to enter with ease.

Choose each step in and out of the room. They are the steps you take to reach your dream, coming in and going out.

You are the dance partner in an audition, you follow the casting director by being there, ready and giving out positive energy.

THE GREETING:

• Be you, not the character.
• Have an intention to share something that comes from the best part of you in the moment (does not have to be positive).
• Answer ideas to: "How are you?" "I'm great, just finished a show that I am really proud of/ just got back from a great vacation."
• Answer ideas to: "Tell me about yourself." Anything, non theatre related, that you can tell them to give them a vivid image of you. Example: "I spend my weekends working at an animal shelter."

Don't try to show too much in your audition piece. All it needs to show is you changing from one thing to another.

COLD READING:

• Connect to the person and to the material.
• Face your scene partner and be far enough back that you can take them in 100%, cheat out with your heart.
• Be out of the script on their line, look down to read your line off the page, taking as much as you can to other person, but DO NOT memorize your line.
• Be ready for the words that help you make changes. Take everything at face value, if your character says "I'm sorry" then you go with that intention.
• Always hold the script even if you have memorized it.

Know what you are auditioning for; the director, theatre, style. Don't do a dark piece for a theatre who's mission is positive messages.

"Don't Be a Stranger" by Secret Agent Man (Backstage, 11/12/09)

"If you want to have a successful relationship with your new agents, you have to give them a chance to get to know you as a person, not just as an actor"

"Invite each of your agents to lunch, one at a time, so you get some valuable face time with everyone... Ask as many questions as you answer. Get to know each other as people"

"You can also find excuses to drop by the office every now and then, so you can see your agents in person... tell me how great his audition for 'Grey's Anatomy' went... showed me his gratitude for the opportunity, and that made me feel good as a person."

Notes on acting:

The art of doing a monologue is that they are scenes. Play to one or few people, otherwise you look like you are telling a story instead of how you feel about it.

Invite people to care. The audience will listen if you say "I experienced it", they will not if you say "I know it".

Plays are about events that change our lives. Each person gets 2 to 3 "play worthy" events in their lives.

You are never more important than your scene partner.

You are looking for one of 3 responses for your scene partner; yes, no, or no response. Your choice is what you do to get the response you want from the scene partner. "Your talent is in your choices" (Stella Adler).

Split difference between playing to the reader and playing out. For an on-camera audition, ask the reader to be as close to the camera as possible.

Cross out the stage directions.

With Disney auditions, don't play characters, make them real people and the jokes are played to the adults, not the kids, but the situation still makes sense to kids.

Notes on pop/rock:

Music theatre is about telling the story, pop/rock is about feeling the story. The pain is in the craving.

Be behind the note.

What does your music video look like? Move in slow motion and use the space (NO RULES).

Meeting the accompanist (he is your best friend in the room).

1. Ask "Hey, do you know this song?"

2. Tell them who the artist is. If it is 1950/60's tell the composer.

3. Sing the hook and tap beet with your foot and tap your hand to your chest

Need a song for each era. But, sometimes with 90's show auditions, they love to hear old stuff too.

I learned everything I know here from actress Sheri Sanders in her "Rock the Audition" class. Let her work her magic for you too: http://www.sherisanders.biz/class.htm.

Notes on singing:

Sing with the sound of 4, but the energy of 10.

ACTING ANALYSIS: Find the hope in every song. Think of a ballad as an uptempo and and uptempo as a ballad. Find what is not nice about ballads. What is at risk? Show you are strong enough to be still with ballads.

MUSIC ANALYSIS: The three most important notes in a phrase are the first note, the high note, and the last note. "Paint rainbows" with the phrase.

LYRIC ANALYSIS: Watch punctuation and capitol letters. Lyricists put capitol letters in the middle of sentences to encourage you to take a breath. "But" is the turning point of a song. With a pronoun, you have to match the verb's emphasis.

In an audition, your first song should show your personality. Save your legit song, it is meant to show you have musicality.

"16 bars" actually means 30 to 45 seconds.

Know the ranges and keys of your songs. Get two keys so you can decide where it fits best with you. Make it yours. You should be able to sing everything in your book on any day. Song selections are usually simpler than the score.

Notes on auditions:

Own the room, walk in like you have 6 other auditions today.

Nerves are your life energy wanting to come out.

On a good day, most actors give 65-75% of themselves, be better than most.

Casting directors forgive you for mistakes, they do not forgive if you do not make any choice.

It is more important to be alive than polished. Guard what is special about you. What makes you different from the last 100 people? The casting director needs to learn something about you. You do not need to give 100% of who you are in your 30 second audition, show an aspect of who you are and connect with your audience (the casting director).

Actors get paid by their ability to sell tickets, not by their talent. What do you have to offer that people would want to buy?

Understand the "world" that you are auditioning for.

Never memorize sides unless they ask you to (Mel Brooks likes sides memorized). Never sing a song from the show, unless they ask you to. However, if the composer is in the room, they are often flattered to hear their songs.

At a callback, don't change your original performance (unless asked). Your original performance was enough for them to call you back.

It is a good audition when you have achieved what you were working on in the piece.

Notes on going union:

Stay non-union until your card is handed to you.

Avoid getting your card through Theatre for Young Audiences (TYA).

Some theatres that are good places to get your card from. These theatres will see non-union and getting your card from them means you are "good enough" to get your card:

• Northshore Musical Theatre
• Theatre Under the Stars
• St. Louis MUNY
• Pittsburgh CLO
• Kansas City Starlight
• Stages St. Louis

So, now you have your card and have an agent, now STOP GOING TO EPA's. Why? Because, it sends a signal to the casting director that you are looking for a chorus position. If you have an agent, that means they have submitted you for an appointment, which is where the principal roles will be cast from. EPA's are before the appointments, don't let them see you before, and not give you an appointment.

"YOU, TOO, CAN PREPARE FOR THE AGENT INTERVIEW" BY BRIAN O'NEIL (BACKSTAGE, OCTOBER 8, 2009)

Question 1: "'Tell me something about yourself.' ... tell the agent whatever you decide you want him or her to know about you... you get to control the interview... prepare a seemingly off-the-cuff but well-thought-out presentation with a beginning, middle, and end. It should last less than one minute ad be a combination of personal and professional. Your presentation might include where you are from originally, where you went to college, and where you trained, and it may conclude what you are up to professionally at this very minute. Period. No rambling."

Question 2: "'Which casting directors know your work?'... Your list should be presented in descending order of whoever knows you best. Ideally then, you should start the list with the names of any casting directors who have been instrumental in your having been hired-- and what it was that you were hired for. Next, mention those casting directors who have given you callbacks-- and what the callbacks were for. Last on the list should be casting directors who've seen you in performance or whom you've auditioned for only once."

Question 3 (the most dreaded): "'How do you see yourself?'... concise-- presentation of the kinds of roles that you believe you are most realistically suited for at this time."

" ... make sure you have monologues and/or songs ready at all times."

'AUDITION AS IF YOU'RE REHEARSING" BY SIMI HORWITZ (BACKSTAGE, OCTOBER 8, 2009)

Film and TV CD Todd Thaler talks submissions and auditions:

"[On headshots]... photograph captures a moment that meakes me wonder what makes that person tick. My word is 'repose.' It means waiting. I like a photograph that captures the moment before the reaction, when the actor looks at the camera, listening" (Todd Thaler).

"On the resume, especially for newcomers... I'd rather see where the actor has trained and special skills... I prefer hearing about how an actor can touch his nose with his tongue or cry like a baby on cue. If you can cry like a baby on cue, I might be able to get you some voiceover work" (T. Thaler).

"Extra work can be mentioned parenthetically... 'Appeared as an extra in several projects including...' and then list those we might have heard of. If you have done extra work in a student film, listing the title won't mean anything to us. But if you've had a featured role in a student film, name the film and let me know if a video is available upon request or accessible on a website... DVDs can include clips from 'Law and Order' and also monologues taped in a studio" (T. Thaler).

"As for cover letters, I dont' want to see 'Enclosed is a picture and resume for review'... That's just redundant... I like cover letters to reveal something honest and personal... I like some kind of biographical information-- that's not drawn out of life stories-- that tells me something more than where the actor studied" (T. Thaler).

"TV and film work has to be subtle... 'When you think you're doing nothing, you're still doing too much'... that only comes with repetition" (T. Thaler).

"I like an actor who approaches an audition as a workshop... Actors who come in with smart questions turn me on... If an actor says before the audition, 'Is there anything you want to tell me ahead of time?,' I'll probably say nothing. But if the actor says, "Is there anything you can tell me about the scene before this scene? Did they just have sex?," that begs a response. I also like an actor who says I should feel free to interrupt him with an adjustment" (T. Thaler).

"As for actors coming in costume, I can take it or leave it... For TV, where they want camera readiness, it may be more important than for meeting me for a part in a feature film. But generally I don't think it helps. Of course, you can always ask..." (T. Thaler).

"Before and after the actual audition, actors need to be a good judge of the vibe. If I'm welcoming and curious about you, the door is open to have some conversation. But if I'm detached and clinical and strictly business, then you come in, do the audition, and leave. Of course, there are occasions when the actor is too closed down or nervous. I've had actors freak out and become speechless when they've found themselves readying with Robert De Niro or auditioning for Ed Harris, who was directing. That's the time to say, 'I'm freaking out and speechless'" (T. Thaler).

"After the audition, receiving a thank-you note is delightful. But again, those notes should be heartfelt, earnest, and sincere rather that boilerplate. Follow up postcards are fine too, but use them sparingly, only to brag about an achievement..." (T. Thaler).

"IS 'BEAUTIFUL' THE NEW 'UGLY'?" BY SIMI HORWITZ (BACKSTAGE, SEPT. 10, 2009)

The CD for "Ugly Betty" and "The Beautiful Life" reveals what he is looking for:

"The headshot is the passport into the casting director's office. It has to say something about who the actor is... let us know what we can cast him in... The picture has to make me feel that the actor could be part of the show's world. But I don't need the actor to write a cover letter telling me what he thinks he'd be good for" (Geoffrey Soffer).

"Acting experience on a resume grabs me. If it's a New York actor, I like to see that he's working in the theatre, has studied with solid acting teachers, or comes from a great school-- or great agency" (G. Soffer).

"I don't look at self-submitted reels. I may look at a reel if if comes from an actor I've met or an agent. A reel shouldn't be more than three or four minutes, and it's production values as well as the level of acting on it should be high" (G. Soffer).

"For any audition, you have to have a clear idea of who you are and what it is you bring to the story... The truth is, the casting director, the writer, the producer are hoping the actor will bring something to the role... have a vision of the character, even if it's the wrong vision. The only wrong choice is not making one" (G. Soffer).

"Preparation is so important. Know the line. Know the character. Know the show's style" (G. Soffer).

" Actors have to be able to see where they are, know where they want to be , and acknowledge the steps that have to be taken. It's a journey, and if you're able to accept that idea, that takes the pressure off what you're doing now" (G. Soffer).

"Following an audition, some actors like to send thank-you notes. It's doesn't hurt, but it's not necessary and it doesn't guarantee that you'll be brought in for the next audition... Still, postcards are a great informational tool if you've booked a film, for example. It keeps you in our minds. But it's not imperative" (G. Soffer).

"ASK AN AGENT" (BACKSTAGE)

"...Cover letters that stand out are genuine ones: the actors who write about what they are working on at the moment and describe their ability to make jobs happen for themselves despite their lack of representation or Screen Actors Guild card. The best ones are honest, direct, and display a passionate urgency to work..." (Julie Civiello, intern for Orion Barnes, Theatrical agent and owner of Rogers Orion Talent Agency, Sherman Oaks, CA).

"I recommend that every actor should intern at an agent's office for at least a week" (Orion Barnes, Theatrical agent and owner of Rogers Orion Talent Agency, Sherman Oaks, CA).

"TAKE FIVE" (BACKSTAGE, AUGUST 6, 2009)

"Sometimes a critic not only likes you and the show but totally 'gets' what they production is saying. You'll get a review that you couldn't have written better yourself. On those rare occassions, I'll sometimes break the 'unwritten rule' and write a note of thanks to the author. Why not?" (Leon Acord, Los Angeles Actor).

"Some of the actors' movements seem arbitrary to me, like they didn't know what to do with themselves. Others were perfectly still and only moved when they had to; it was as if they were very precise in their movements, and these are the actors whom I thought were the most effective. Their bodies were instruments to tell the playwright's history. These actors took the time to figure out what they would be doing if the scene never happened" (Victor Joel Ortiz, New York Actor, on Shakespeare in the Park performances).

"SCHMOOZE ALARM... MAKING CONNECTIONS IS A KEY TO SUCCESS" BY MIRIAM ISPAHANY (BACKSTAGE, AUGUST 6, 2009)

"attend every industry event... financing forums... probably the only actor there... 'I'm actually an actor,' you may get a project" (Dan Griffin, actor-producer).

"Actors must constantly look for work and stay in touch with their contacts... including Myspace, Twitter and the New York Film Exposure a group started by Amore Leighton Black... In addition to sending out e-mails about industry events and opportunities, Black sets up meetings around the city for members..."

"Singer also emhasizes the need to make the most of every opportunity. Early in her acting career, she had a role in an Off-Off Broadway play, and one evening a man was waiting for her after a performance. 'He said he used to produce on Broadway and that if he was still producing he would do anything to help my career,' she recalls. 'I looked at him and thanked him and that was it. I didn't have a networking brain. I should have asked him to lunch and gotten some contacts from him'... Even familiar territory, such as your school, can be a valuable resource... 'Ask them if they can mentor you or if you could work for them" (Lynn Singer, acting and vocal coach).

"LoGiudice also finds parties helpful in building her network. Because she's interested in film and wants to get to know filmmakers, she organized a monthly performance party and gets the word out through Facebook. 'Before the party, I organized a film screening and invited filmmakers to show their films,' she says. 'That was the way I met my collaborator on some of the short films that I work on now."... it's important to know what you want in your career and to listen to others who have experience: "I've built a community of artists who I really respect, who are really supportive, and who are very positive. Fifty percent of the work I've gotten has been from knowing friends of friends" (Lauren LoGiudice, actor and model).

Networking resources:

Dramalogue: Informative on auditions, writing opportunities, and classes, plus study guides and tips: http://www.dramalogue.com

GenArt: Showcases up-and-coming artists through film festivals and screenings, fashion shows, and music showcases http://www.genart.org

Sam Christensen: Marketing workshops for actors http://www.samchristensen.com

The Savvy Actor: http://www.thesavvyactor.com