Acting : How do you handle the limbo time after an audition? by Neva J Howell

I just move on to the next auditions. Seriously, I just forget about the previous one knowing that if I fit and they love me, they will contact me. If I don't fit or they don't love me, there is nothing I can do about it.

@Michael I'd like to share this powerful article with you: Can Your FEELings Get In The Way Of Your Performing Business?" By Holdon Log Have you read well-meaning "advice" like this from "Industry Experts" online? In a blog? On Twitter? Or, maybe you've heard it while in acting class?... http://www.holdonlog.com/pages/AN-FEELINGS-0710.html Hope this helps!

@Kristina thanks for the article there is plenty of useful information in it and it made me realize my response on this post was perhaps a little too flippant? I was thinking more specifically on the time between audition and hearing back, which I really have no control over. I do have a management company that I communicate with regularly. In fact, I had an audition this morning and I called them immediately afterward to let them know how I felt it went. My original post was more focused on the beating yourself up over the performance or getting anxious waiting to hear back, which will drive a person nuts. Thanks again for the article though, there was good value to it that I can use and didn't think of.

Michael: I actually resonated a lot with your attitude. Holding on to a moment that has passed, for whatever reason, tends to pull the energy backward or hold it in one place. I think it's smart to forget it immediately. Now, if I could put that into practice .... if it's a role I really enjoy and a project that engages me passionately, it's harder. Thanks for the great responses so far!

@Michael you are welcome. It's important to remember that this is a business (even if you are doing it part time, the producer is most likely doing it full-time) and there are some awesome things to track and a specific way to follow-up each & every time so that you stay on your radar. NEVER assume and audition went bad (but do learn from what might feel you need to work on...more prep time, insight from a coach, friend or researching the company, etc.). So many people book when they think it was awful. Make sure you (not just your reps) are building relationships via follow-ups b/c if you rely on them and you get dropped, they close their doors, etc. you need to have the contact info and full names of these folks you've auditioned with so that you can communicate this with perspective agents so they know who you have relationships with already. Have a great one!

Haven't been to an audition for some time, I usually get one or two call backs. I just move on, if I don't hear back. I make sure they know I'm available for any given project. I have a tendency to keep people in the loop. On a side note I'm fine tuning my skills for the next six weeks.

Liam: It's always a good idea to keep fine tuning and staying fresh with the craft, I find. What are you doing to fine tune, if you don't mind my asking? I always found improvisation to be terrifying and terrific in that regard. Always quickened the senses for me.

I don't find improvisation terrifying as I'm always doing it, I find it easy to slip into characters as I'm consistently using my imagination. I love to learn new ways to tap into it.

Ha, Liam, I was still a little terrified even when I was doing it all the time too. Well, hmmm, my point was that whatever scares an actor a bit, or pushes them outside their comfort zone is often helpful. So what are you doing to fine tune, if you don't mind sharing.

My comfort zone is my home town, I don't like traveling out side of it. I know that's more of a personal thing, but I have to push my self to do the things I love to do. As for fine tuning, it's more about confidence than anything else. voice needs to be a better since I refused to pay 20 bucks for an afternoon so long ago, been practicing for too long on my own. memorization needs to be improved. Usually I'm very good with memorization, I've found I look down to often at lines. When some people drink alcohol, they slur their words, some get mean but not I. My confidence sours, and I talk a lot more. No I don't drive when I drink. Now instead of drinking, I'm trying to use the practice to help me so it's more like a two way traffic. So you can see I'm not just helping myself to get the desired result but as a means to come out of my shell more than ever. In the distant past, I used to lock my self in my bedroom until people left the house.

Michael, your attitude is perfect for the limbo in between auditions. Sometimes you can't think of anything else. Sad story- I obsessed about getting the title role of Jane Eyre and it killed me when I walked into a rehearsal and they were holding the callbacks for that part downstairs. A brutal way to find out that you weren't picked! Happy story- I obsessed about getting Ophelia in Hamlet and got the callback. At the callback I was freaking out because I was desperate for the role and the director walked up to me before we started and told me that I got the role. That made my year! For film it's a bit easier to let go of because there are more projects and I'm never as familiar with them as the theatre I audition for. But I've found following up to check whether you got the part isn't helpful. Sometimes they cast things efficiently and sometimes it takes them weeks. It's pretty exciting to find that something you gave up on is suddenly your next big project. But I definitely build a relationship with the person you auditioned for. A quick email a few days after the audition simply to say thank you for the opportunity and let them know that you would like an opportunity to work with them on any future projects has yielded results for me. And then for closure's sake, I find it therapeutic to send an email about a month after an audition if I haven't heard anything, saying thank you again but this time include details of upcoming projects, availability and contact details, maybe an updated CV and asking them to keep you in mind for future projects. Just because you weren't right for this doesn't mean you won't be right next time they're looking. But other than that, I try to forget about the auditions I've done and keep my plate full of more projects and auditions. If you have a lot, it's easier to be relaxed in between them. And practice helps, anyway.

Molly, I really resonated with your strategy. I definitely feel that building relationships, truthfully and not just to be polite, is very key in our industry. I like the idea of following up a month later with details of upcoming projects because that lets them know that, even though you were not cast for their project, you were cast for others. Terrific advice! Kristin, thanks for the webinar too; will watch that when I have more time.

both comments very good advice

I wish actors would follow up.

That's great Simon! Here are some tips on how to do that: http://www.performertrack.com/webinars-home-pw-follow-od.html This is a free On-Demand Webinar focused just on following-up after the audition is over! If you don't follow-up it could mean the difference between getting a Callback or getting a "Go Back"!

Simon, why do you wish actors would follow up? And how is the best way for them to follow up after an audition, in your opinion? Thanks.

Well if an actor follows up, for one it shows professionalism and desire. Best way to follow up would be the contact point. IE: Email if that was contact point. Along with an email every 90 to 100 days to say "Hey I am here, got anything going on?" What is that 3 times a year? As a person who writes, directs, shoots, edits, basically does everything. It would be nice to collaborate with someone who takes 2 minutes to fire off an email to say I am still interested in working on a project, and by the way...if you want some help...or have something? In this way, if someone were to do that, they may find themselves learning more aspects of the business, being first on the call back list. Or even have something written around them. Maybe help put a project together they can be proud of. All from follow up and letting the other artist know you are willing and able. Not just answering an ad at a time you may have thought about being an actor as most sometimes do.

Simon, thanks for this great information. I wonder how many directors/producers feel the same way you do? I hope others on this site will weigh in with whether they appreciate the follow ups you've mention or consider them a nuisiance. Terrific to hear the other side of it.

what I am noticing is the compartmentalizing of the business. It seems the further one gets vested in the business the more they compartmentalize. IE: camera operator. One to load the film the other to operate it and one more to push and pull (zoom). Maybe it is the Indy budget in me that has me doing multi tasking? However, even Clint went from pumping gas, to acting, to directing. Almost every show you see released on the TV starts the first 10 episodes under a different producer and then you will see the main star as the Exec producer. Not sure if that is a title or actual multitasking. It never hurts for the baker to know how to shop.....