Don't Dream It - Be It

This section contains FAQ and Tips; most of which we have provided, and some which were kindly provided to us from neat publications and web sites that we would like to give many thanks to for encouraging and inspiring us to be active in the amazing word of entertainment. This section may be of help to you if you are interested in beginning or furthering your career as an entertainer, so follow the simple instructions carefully to understand how to use it.

How to Use this Section: If you continue scrolling down or print from here on you will get our Mini Guide, or, Crash Course for Breaking Into the Entertainment Industry. Maybe you are interested in one of the fields the entertainment industry has to offer, and have a friend that is interested in another. Maybe you still have not decided which field interests you or, hey, maybe you love them all. There is nothing wrong with that.

1)The Entertainment Industry 2
2) The Acting Industry 2
3) The Modeling Industry 2
4) The Music Industry 2

All of your dreams can come true if you have the courage to pursue them
Walt Disney

So, what is the Entertainment Industry?

The Entertainment Industry is a lot like any other industry: millions of people are employed to produce, market and distribute a product to a group of consumers. Within the industry there are accountants, truck drivers, landscapers, lawyers, computer programmers, chefs, and just about any other career you can think of, in addition to the producers, directors, cinematographers, musicians, and actors—the jobs that most people associate with entertaining. Their common goal in one way or another is to entertain an audience, and to make a living doing it. This is an important thing to remember: production companies and studios are companies, organized and run like any other business.

If you want to get into entertainment, the most fundamental thing you can do is to learn about the industry. There is no clear-cut answer to which direction you must head if you want to get into entertainment, what any aspiring entertainer needs is exposure and promotion, and the toughest job ahead of any new entertainer is to get somebody interested in their work. If you are in this position one can offer more encouragement than hard advice.

Words of Encouragement
The entertainment industry is the most competitive industry in the world. Getting into it and trying to keep with it is a challenge. You have to remember, you are walking down a long dark hallway lined with thousands of doors. With each door you will encounter either success or rejection. With success you will open a new pathway for yourself. When you try to open a door of rejection it will be locked and you will have to go onto the next door. There may be more doors of rejection than success. You have to find the right door. It is there, just keep looking, and keep your hopes high.
Christofer Brian Barrette

What does it take to be a professional in the word of entertainment?

The Talent: As a talent, you are a product. Any product must be marketed if it is ever to be a successful product.

A Dream, Dedication and the Drive to be in this business: This passion for the business is something that comes from within you, the talent. We can help and encourage you only so much; you have to be the one to want to do this business enough that there is a strong commitment to make it on time for rehearsals, interviews, castings.

The Tools: While educating yourself on the industry is very important, you can be the most educated entertainer in the world, with education from the top schools, but if you do not have a marketing plan, no one will know that you exist. Marketing tools: your portfolios, your press kits are the essential tools a company needs to market you. The costs of these tools are your responsibility and are always yours unless you sell them.

Patience: If you are just getting started, plan two or three years. We mean, you would not expect to be a tennis pro in the first year, and yet people believe the stories they read about somebody being picked off the street and suddenly working; it just does not happen. It does not happen. You will read stories about that because it is good press.

Give your promotions time to start working. Do not expect instant results. Prepare to build your dreams and your business slowly and steadily, and while you cultivate your patience you can keep looking for new ways to promote.

Responsibility & Professionalism: No matter what business you choose to work in or what type of job you take on, you must be professional. Being an entertainer means fully understanding that you have a job, that you must answer to people, and that people are depending on you to fulfill your commitments. As an entertainer, you have responsibilities to your agent and to the people you work with on each job, the producers, photographers and others.

Follow your Dreams!

Getting Started

First, understand the business of acting—it is the process of promoting yourself as an actor to agents, casting directors, and producers. It involves knowing who is looking for talent, finding out whether you might fit what they are looking for, and presenting yourself to them. Becoming an actor is not something that happens overnight and most actors worked for years before they got their big break. If you have no acting experience then you simply have to find auditions, do speaking roles, and extra work to get the feel of production.

If you are under18 the best way to get started is to audition for community theater productions in your area, and work on stage whenever you can. The more experience you can get, the better. If there are any acting classes in your area, take a class. If your high school has a theatre program, get involved. Colleges and universities also frequently produce shows for which the general public can audition. Typically, performers work in non-union background and principal roles in the early stages of their careers.

What are the fields in which you might find jobs in the acting industry?

Theater: Live Theater is the most basic and traditional way for an actor to practice his or her craft. Most actors are trained by performing in the theatre rather than by learning film or commercial skills. Working in front of an audience is a basic and necessary part of an actors training if he or she takes more into film or television. Some actors who become film stars still return to the stage during their careers. They believe that the stage offers a rich experience for the actor that can be missing from film work. Though the basic skills of acting are the same, the actors' performance in a film must be more limited, or "pulled back," in style.

Commercials: are the short "spots" that advertise products during television shows. Again, commercial acting is different from theater and film acting. The skills required are similar to those used in film acting, but the point of a commercial is to sell a product rather than to tell a story. It helps if you are a good salesperson as well as a good actor.

Soap operas: (daytime television dramas) and prime time television shows require many of the same skills that film acting does. The major difference is that the stories are serial, or ongoing from one show to the next-the story unfolds and develops over months or years as the program is broadcast. An actor needs to be able to sustain and expand his or her character over a long period of time.

Voice-overs: are jobs that pay you for the use of your voice. Believe it or not this can be a strong career when it comes to making a good income as an actor. For that reason the field is hard to break into. In voice over work, the actors' voice is recorded for use on radio commercials; on television commercials in which you do not see the actor but only hear his or her voice; and for the voices of cartoon characters or TV and in movies.

Hosts: They are not acting but they have a very good knowledge of projecting themselves-being in front of the camera and speaking articulately. They can spend just as much or even much more time preparing and rehearsing their lines as actors, and coping with a demanding environment.

What are the promotional tools I need to begin an acting career?

The business card of an actor & actress is a recto-verso head shot with resume. Whether you are attempting to do television, film or theatre, you must have a headshot—and it must be a competitive professional looking shot that reveals something about you. A headshot is a black and white 8"x10" photograph that shows your face. Your first and last names are printed on the front of it in a clear, legible font. It is that simple. There are as many styles as there are actors. Headshot photography is a 3 step process: Hiring a headshot photographer, developing the shot you chose from your proof sheet, and reproducing it.

The next thing you will need is your resume. Keep it simple and to the point. Casting directors and talent agents do not care about fancy type and paper. They want an organized, readable, resume with some decent credits. Here is the simple formula:

Contact Info - How to contact you Description - Your height, weight, hair color, eye color Training - Any acting training you have done Credits - Anything you have acted in Union Affiliations - Do you belong to any unions Skills - Special things that you can do

If you have nothing to put on your resume, or only one or two things do it anyway. Even if all you have is your name, do it! You have to start with something. If you are persistent you will start building your resume with real roles.

Another item you may want to add is a video demo reel; however you will need some experience in film and television before you have enough varied and interesting material to put on it. The reel is useful to introduce yourself to agents and casting directors. If they haven't seen you in action, they might ask you to audition, but the demo tape is a way for them to see you actually working. They will not have to go to the theatre or cinema, or remember to tune in the television to catch your scene. Whenever they have a minute, your work is there waiting to be viewed.

Finally, when you mail out or present your resume to a casting director or other show-business person, it should have cover letter. This is a one page letter which introduces you and explains in a simple and well written way why you are contacting the person.

OK, I have my tools together now what?

Once you have your promotional tools, and have written a cover letter, these are the four main steps you must pursue for beginning a career in acting. You may do these steps in any order you wish but remember you can not do the second step (submit to talent agents) until you have a solid resume. The key is to do something every day.

STEP 1) Finding acting auditions and work as an actor

You can find acting auditions, movie auditions, and acting jobs without a talent agency. Even if you have a talent agent, you need to look for acting jobs and movie auditions on your own. Finding acting jobs and movie auditions, requires patience, persistence and resourcefulness. Occasionally you will see open casting calls in local newspapers. You simply go there and stand in line with your resume.

The next type of work you can do as an actor is extra work. Some people frown on extra work, but it can be a god opportunity to be in a film, become a guild member, and gain valuable experience. There are a multitude of businesses that will sign you up to do extra work. This is how they operate. You go to an extra casting service and drop off your headshot and resume. You will have to pay a fee, and depending on the season, you might get called everyday. Most of the time "extras" don't have any lines; they are background players-seated at a table in a restaurant in which a scene takes place, or walking down a street behind lead performers. Some actors make most of their living from extra work. These actors are known as professional extras.

Most universities have a TV or film department as well as a drama department. The film and TV departments often welcome outsiders for their projects. Although they do not pay, you should not over look this area—it can be very good for getting practice in front of a camera. Other auditions you can try are Independent Film, and Local Theatre auditions.

STEP 2) Finding a talent agent

If you do not have any acting jobs on your resume or you are not currently appearing on anything, then you should not approach an agent yet. You can not call an agent and say "Hi, I have nothing on my resume" or "I am currently not appearing in anything. Would you like to represent me?" They will not be able to sell you. When approaching talent agents and talent agencies, you must sell yourself. A talent agent will be much more receptive if you tell them that you have an actor's reel or that you are appearing in a play or showcase or that you just completed something. You have to give them some kind of unique selling point, anything. If you can not think of anything, then go ahead and simply ask for a meeting, you might find someone who will say yes. Talent agencies very often specialize in certain categories, so make sure you find out which one fits you. Do you want to contact an agency that represents voice acting only, or an agency that represents comedians only?

Meeting a talent agent When you meet a talent agent it may be in a small office that will not look as glamorous as you hoped. There will be papers and pictures everywhere and the phone will be ringing and there may be a couple of actors who look just as scared as you. The talent agent is very impatient and will practically have no time for you. They might look you over and toss you out or they might audition you.

Getting an agent is like getting a job. You do your research, you send your headshot and resume with a cover letter, you phone to set up an appointment, you follow up, and you keep trying. The cover letter is as important as the resume. Never use dear sir or madam. This is an insult. You're saying you are doing a mass mailing and have not researched the agency. If you have a demo reel, you will want to drop it off with your resume and cover letter. If you end up getting an interview with an agent on the strength of your first package, be prepared to audition or to do a cold reading.

Do I really need a talent agent?

To start with, no. If you want a career, yes. Remember, showbiz is all about image. If you go to an acting audition that you found yourself and they ask you if you have an agent and you say "yes", then you look much more legitimate—like a more experienced actor. The best thing you can do is to ask your agent if you can visit them once a week for direction and advice.

What does a talent agent look for in an actor? In general, it is a gut feeling of talent and energy, and references. Saleability. Marketability. In the eyes of an agent, the actor must: fit in the market as is; not be in conflict with the roster; be able to have a working relationship. It would seem like the ideal client has a strong commercial appeal that is easy to market, combined with that "certain something".

STEP 3) Getting some acting training

Let us answer a couple of the most FAQ about taking classes in acting. 1) Is training necessary for everyone who wants to be an actor? The answer is clearly, no, not for everyone. There are major stars who have never been near a drama school. 2) But most acting schools seem to have theatre-based curricula—if all you want is to be a television or movie star, why would you want to train for the theatre? The answer is that you might be lucky and "make it" in front of a camera without theatre training—but you are then in hock to the vagaries of television and film economics. It is then difficult to expand your work opportunities.

Most people with serious professional aspirations seem to consider a period of formal training essential and the majority of actors pursuing successful careers have undergone training of some sort. Acting schools or private instructors can be very helpful and important. Even though someone might be a genius-actor, there is always something missing, for example, not being able to project or getting stage-freight. So you should always try to improve.

Whether you are taking acting classes to polish up your skills as an actor, or just for fun, there are many kinds of teachers and classes to choose from. There are classes in improvisation, acting technique, and scene study. There are also classes in different period styles—historical periods, and commercial technique classes that teach you special skills for performing before a camera. Many good actors think of acting classes as a place to take risks, to play, to try different things, and at the same time it is also a good way to learn the self discipline an actor must have.

STEP 4) Networking

It is often said in show business that it is not what you know but who you know that makes the difference between minor and major success. Networking goes on in every business and in every part of life. It involves casual and not so casual personal contacts—meeting people, talking, trading information, and sometimes sitting in lobbies or offices, hanging around in nightclubs, waiting for a chance to chat to them. In the entertainment industry it simply means you are putting yourself in the company of people who hire actors. If you wanted to learn about weightlifting, your best bet would be to hang out at gyms. If you want to learn about acting and filmmaking, then you need to hang out in major cities. If you do not actively network in the entertainment industry, it is very difficult to succeed as an actor. It all takes time, so persevere. Pound the pavement. Continue to make at least one call, and one personal visit a day. Keep your ear to the ground and ask as many people as you can, "what's happening?"

Some actors frequent actors' pubs. Some acting communities have local newsletters and regular get-togethers. Fitness clubs, workshops, seminars, and classes are used, not just for the professional skills that you gain, but for the conversations that can lead to information about auditions, new producers, who is leaving what management and going where. Do not forget directors and stage managers—they like to talk too, and often hear things before actors do.

The major players

In order to become successful in Hollywood, you must become familiar with the players and the major centers of activity.

The Major Agencies

Creative Artists Agency - Beverly Hills; United Talent Agency - Beverly Hills; International Creative management - Beverly Hills;

William Morris agency - Beverly Hills

Why is it that most talent agencies do not consider experienced actors?

Film in particular is so technical and each take is so expensive to produce that there is simply no time to be doing on-the-job training with inexperienced talent. This is why most agencies only consider working with actors that are part of a union or have training.

The dreaded Performer vs. Union vs. Agent catch-22

If you have sweated, built a few sets and pulled some nails then you are very familiar with this dreaded issue. If you are not, it basically means that agents will not consider you if you are not part of a union, but you can not register with a union unless you are in a commercial release. That is the catch-22. There is a reason why things work that way. They must. Learn about the unions. Learn about the agents, what they require from you and why. Then keep at it. If you do something everyday you will certainly make progress. Remember, you are out there. You are determined. That is all that matters OK!

Now get into your car and go become a star.

What are performers' right societies?

Performers' right societies (unions, guilds) are democratically organized, member-driven, grass roots organizations which are run by their members, for their members. Their mission has always been to negotiate, safeguard and promote the professional rights of their members-to increase work opportunities and to pursue performer friendly public policies at the municipal, state (or provincial) and federal levels.

In Canada the main actors union is ACTRA; whereas in the U.S. it is the SAG and AFTRA; and Equity is the British actors Union. The performers' right societies are responsible for the collection and distribution of fees, royalties, residuals fees and all other forms of compensation or remuneration to which members, permit holders, and others may be entitled to as a result of their work or engagement in the entertainment and related industries.

Since the primary role of performance guilds concerns the members' wages and working conditions, on their jobs, most guild resources are spent on enforcing the contracts under which the members work, rather than career development—they do not provide employment. It is the performers that must take their own steps towards developing their professional skills, and getting agents and roles. Nevertheless, the national and branch offices do offer workshops and courses from time to time. The best way to learn about these is to read the newsletters and check the website.

Actors unions are the only force in the entertainment world to bring some order to the uncertain lives of performers
Dame Judy Dench

Suggested further reading
Acting A to Z Katherine Backstage books
The Actors Survival Kit Simon & Pierre
Teach Yourself acting Ntc/Contemporary
myactingagent.com
bunimmuray.com

Getting Started

There is no doubt that modeling is an incredible career. It offers people without any special skills a fantastic opportunity to make money, travel, and improves their lifestyle. That is because modeling is somehow magic—it opens doors, it impresses people, it is an incredible status symbol. You go to beautiful places and meet all sorts of interesting people.

However, working as a model doesn't mean being photographed for a major magazine or ad campaign every day. A lot of your time is downtime—waiting for appointments or jobs to begin, going to castings to get jobs, working out in the gym, taking care of yourself, talking to your agents … and still more appointments. In the modeling business—unlike many other fields—one day may be totally different from the next. Models' schedules are unpredictable, and jobs may be frequent or sporadic. What is consistent is that each day builds on the last one in enhancing a model's breadth of experience, level of professionalism, and knowledge of the industry.

How do you get started in modeling? There is no one way to get started. Different models have reached success through different routes. Begin by reading books and magazines with articles on modeling; speak to modeling industry associations, contact local advertising agencies photographers, and the fashion editors of local newspapers. All these people will know, or should have a good idea of what is available locally. Success does not happen overnight, it will take time. Whether you are looking at modeling full time or only part time, starting a career in modeling is just like starting your own business, you need to recognize that to succeed you will need to make a few investments, in yourself and in your portfolio. It is your duty as a model to mail your portfolios to agencies, casting directors, production companies. The process can be costly and requires a large amount of your time.

What does it take to be a successful model?

Besides the look—clear skin, healthy hair and a toned and well proportioned body, a model has to have the following qualities:

Ambition: A model goes after her goals. You will not become a model by sitting at home and waiting for agents to come to you!

Intelligence: To succeed a model must be an intelligent business person. She must know how to spend and invest money wisely. Also, she must know how to conduct business with agents, photographers and clients. She must appear professional and businesslike at castings and go-sees.

Independence: Because models must sometimes travel away from their friends and family for a job, or move to a big city to pursue a full time career, it is important to have a great deal of independence. You must be comfortable being by yourself for long periods of time.

Stamina: A model is sometimes on her feet all day in the freezing cold or the hot sun. She must be healthy and in shape to be able to work all day and still look good. Eating healthy, going for walks and jogs and working out three times a week is a must.

Organization: A model must be organized in order to keep track of the different dates, times and locations of appointments so that she can show up at to appointments and go-sees on time.

Do I have to be thin and super tall to be a successful model?

There is a market for just about all sizes however, realistically, if you want to be in the mainstream of the modeling industry there are standards, in height and body proportions that should be met.

Why are agents important in the modeling industry?

There are certain jobs, especially in high-fashion work which cannot be auditioned for without an agent's representation. Modeling agencies help models get their careers off the ground. They help to make sure that their look is as marketable as possible by; testing with the right photographers and, developing a portfolio so that it captures her best attributes. The agent is the link between the model and the clients. They send models to job interviews and manage their careers by getting bookings and handling contracts. If you are just starting out it may be better to work with a smaller agency—a mother agency that will concentrate on your photos, before you approach a big one.

How a modeling agency functions

It is important to know how an agency works and who does what, so that you get the most out of the agencies personnel, and when you go to open calls you will understand who everyone is, what their purpose is, and how they can help you. The agents, (also called bookers or model managers) are the people at the agency who will manage every aspect of your career in the short-and-long-term. When you are just starting out, they direct you to the testing photographers you should work with, decide what photos you should be taking, and determine what aspects of your look you should be focusing on to sell. All the bookers in a department traditionally sit at one round table which makes it easier for them to communicate.

What a modeling agency looks for in a model

Being photogenic is the single most important quality to have for a model; this is a business based on how you photograph. The physical requirements: a healthy body, a clear face. Self confidence is a prerequisite for stepping in front of the camera. If you are not sure about yourself you will end up being intimidated by others. Versatility: the ability to look different in different photos, to portray a variety of looks. Versatility is partly a function of external changes—different hairstyles, make-up applications, clothing, lighting, but it also comes from the range of emotions and moods a model is able to project. It is also a mental state of being adaptable and ready to tackle any situation or job presented to you.

The Types of Markets in the Modeling Industry

Commercial Print Modeling is the line of work in which models are used to promote products on billboards, buses, magazines or newspapers. Just like a commercial on television the model and the ad entices you to buy anything from food to shampoo, jeans to health insurance. Although some commercial models are good-looking women, men and children, many of them are intended to look just like everyday people. The individual who has the greatest chance of being chosen for a certain ad can convincingly look like a business person, doctor, student.

High Fashion & Editorial Print Modeling is the type of work that most people think of when they think of modeling. It is magazine work, involving models who appear both on the cover and in its "editorial" pages. This line of work is very eagerly sought after by models because of the exposure it provides. For this reason you can expect to work long and hard for $300-$1200 a day depending on the locality.

High fashion models are the cream of the crop-high-profile, high-exposure girls people come to know by their first names, like Cindy or Tyra. The best editorial models are able to move well in front of the camera, and may have some degree of acting skills. Only 2% percent of the industry is high fashion.

Catalogue Modeling: In catalogue modeling the main objective is to sell the clothes, unlike editorial, where the goal is to achieve popularity. Although it may not be considered high-exposure it is an area where models can make money most consistently. The better jobs are with the famous companies that send out mail order catalogues, like JC Penny, The Bay, Victoria's Secret and with stores that offer advertising circulars.

Runway Modeling is one of the most effective ways to gain exposure and is considered to be the most glamorous type of live modeling. It requires a lot of confidence and grace. The model must make the outfit look comfortable and make even the dullest outfit look attractive. There is a minimum height requirement of 5'9'' and taller for runway work. Runway shows take place twice a year; in March for the fall collection and in October for the spring collection. The major cities that host them are Milan, London, Paris, and New York and are attended by many magazine editors, photographers, agents and other people who book models, making them perfect opportunities for clients to see how an individual model moves and expresses herself.

Children and teens can find work in many different types of modeling including fashion shows and commercials. Teen models are generally called junior models and must be 5'6'' to 5'8'' and 12 to 17 years old with very youthful looks. They usually have 32-34'' busts, 21-25'' waists and 32-34'' hips.

A Great Place to start: Magazines and Books on Modeling and Fashion

Fashion magazines are inexpensive, easily accessible, and fun to read. They are must reads for any aspiring model. Although they all may seem alike, these magazines actually have different editorial missions, readerships, and advertisers. They promote necessary information on fashion, makeup, and hair trends. They can teach you how to dress and present yourself so that your best assets stand out. When you know the latest trends, you can make sure that your look is current. Some of the best monthly magazines to read are: Cosmopolitain, Vogue, Elle, Glamour, Seventeen, YM, Mademoiselle, Allure, Harper's Bazaar, GQ and In Style.

Modeling.com: Beauty and the Internet

Modern-day science has brought us the Internet, which happens to be loaded with information on modeling and the modeling industry. Log on and check out an interview with your favorite supermodels, hear what they have to say about their careers and extracurricular activities, download their photos, and purchase merchandise such as, posters, and videos they may be selling. Many modeling agencies, magazines, and even individual supermodels have their own Web Sites.

What about modeling Schools?

Modeling might seem easy. Although your physical appearance is the first characteristic casting agents consider, models with training and experience are absolutely the most sought after. Taking modeling classes from a professional school will train you how to walk down the runway, to turn and pose, and improve your existing skills. More importantly, it will help you learn the guidelines you will need to follow for auditions.

Test Shoots: Your Debut in Front of the Camera

Test shoots are special photo shoots that models do before their careers get started. There are two different kinds of test shoots. The first type is called "test shoots for experience", and as the name implies, they are done for experience. They help you learn how to pose and move naturally but effectively in front of the camera, so you do not look uncomfortable, stiff or afraid, or like you are "modeling". These shoots will help you figure out the best angles of your body and face, get comfortable in the environment of the photo studio, and learn to take directions from a photographer. They can also help you get use to studio lighting. It is up to you to find a photographer when you are at this stage of your modeling career.

The second type of test shoots are for your professional portfolio. These are very different from test shoots for experience because they do not require much of your input and are not done until you have an agent. You do not have to find the photographer or decide which photos to take. Your agent will arrange all of this. The primary purpose of test shoots for your book is to have photos to put in your book, which will be shown to potential clients when the agency is booking a magazine shoot, fashion show, or advertisement. It gives clients an idea of what you look like and how well you photograph. Before you do a test shoot, practice in front of a mirror. It is a good technique for figuring out your angles. Start by trying out some poses you see in catalogues and fashion magazines. See if you can imitate the poses and expressions of some of your favorite models.

The Three Basic Types of Photos You'll Want

1) Face/Beauty/Headshots: First you will want to focus on beauty or head shots—close-ups of your face. In these photos, you will want to experiment with different facial expressions—happy, pouty, sexy, intense, aloof-to get an idea of what you look like with a smile, with a soft sattry look, or with an intense stare. Trying different expressions will give you an idea of the range of emotions you can project, and which expressions best suit your personality and facial features. Also, take pictures of your face at different angles: straight-on and in profile. Throw your head back and laugh, tilt your head up, tilt your head down, thrust your jaw out.

You'll want to have different kinds of headshots taken: natural (wearing very little or no makeup), enhanced (wearing a medium amount of makeup), and glamour (wearing a lot of makeup). Most agencies want to see what you look like without makeup at first. Why? Because if you look good without makeup then you will look great with makeup.

2) Body Shots: When you are posing for body shots, make sure that your whole body is working. You don't want to have a big, brilliant smile when the rest of your body looks limp. For the body shots, you will want to pose in a simple one—or two-piece bathing suit, a leotard or body conscious clothing (such as a spandex dress). You want to familiarize yourself with what your body looks like without a lot of clothes on. This will allow you to clearly see your body in the photographs; your body's lines, proportions, and best and worst features: Do you have long, bony arms, or a long, elegant neck? Do you have a rounded tummy or wide shoulders?

3) Personality Shots: The third type of photo you will want to take during a test shoot is a personality shot. When you look at the contact sheets of the shots you will be able to discover what you are capable of in front of a camera. Personality shots also teach you what style of clothing suits you best-athletic wear, high-fashion styles, masculine-tailored clothing, or simple, casual clothes.

For these types of photos you will want to experiment with different types of clothing, make up, even wigs—let your imagination guide you. Most likely you will collaborate with the photographer on the looks you want to use. Try a variety of poses: in motion, standing completely still, and sitting down.

Do I need a professional photographer?

You absolutely need professional shots to start working. But take it slowly and only go by referrals from reputable agencies or working models. You do not just pick a photographer; you should find the best one for your type. This means that you may need a different set of photos to represent yourself if you are a commercial type, than if you were a high fashion type. Try to get all the different looks on one card.

Be careful! Many models have photos taken by well-meaning friends who are not fashion or industry photographers. Wedding photographers, school photographers, glamour photographers and still life photographers are not usually going to do the kind of work that will represent the model well in competing for jobs. They usually do not know how to coach or direct the model (especially a novice model) to assure that they will come across with a strong, professional look. On the other end of the spectrum are the high-end, overly expensive photographers who charge $150.00 to $300.00 per look, shooting only a single outfit per look, which can be quite costly if you need to show various outfits.

What are the promotional tools I need to get into modeling?

Although it is now possible to have your digital-portfolios viewed on-line by agencies all over the world, you must never forget the old fashion methods of promoting. First, anyone who wants to do any type of modeling should have both a composite and a portfolio. A composite is a printed piece with several photos of the model. The model needs to indicate through the composite that they are truly photogenic, comfortable in front of the camera, and that they are versatile enough to model in different marketing categories. For example, sports wear, swim suit, lifestyle, catalog, specialty parts (hands or hair), high fashion. An example of what a good comp card looks like can be seen on a site of a company in Miami called Studio 1611: www.studio1611.com. The composite card is generally used to get auditions.

Once at the audition, the model will be required to show a portfolio. This is a book with about twenty-four 9"x12" photo and tears from magazines of the model, again indicating further the models poise, photogenic qualities and versatility. Typically, a good portfolio is shot by numerous photographers over a period of time to present this versatility. Tear sheets are pages torn from a publication such as a magazine or newspaper which prominently features the model. The model "tears" them from the publication to include in her portfolio or composite.

They say you should always update your portfolio, is this necessary?

Absolutely, your portfolio needs to reflect your current look. As a general rule of thumb, you should not have any photos in your book that were taken over a year. It is very common for new models not to understand the importance of this requirement. Hairstyles and clothing styles change rapidly and if your photos do not show that, your portfolio will become dated. One thing a model must understand is that in the world of modeling, you will constantly be updating your book. Hopefully, your book will be full of tear sheets of recent work, but if it is not you must understand the need to test frequently. A book full of old tests only shows agencies that you are not committed enough. For the majority of aspiring models this can be a costly process however you must look at your career as a business and realize that any business requires financial input. There are stories of that model that gets discovered and signed to a top agency with a Polaroid snapshot but that is rare indeed.

What is the best portfolio to use?

While various markets do have different sizes, the most common sized and professional looking book in most world markets is the 9"x12". These books may be difficult to find in smaller towns and models are generally referred to contact Models Mart in New York City. There you will find everything you need as a model. The standard black scuba book it the one most recommended and may cost you about $75.00. You can call 800-223-1254 to order it.

OK I have my tools together now what?

One of the most direct ways to get a modeling career started is by literally walking into the office of a modeling agency. Find out what agencies are in your location and what their policies are for seeking new people. If there is a branch of Elite, Ford, Next, Folio, Metropolitan near you then visit them all. Most of them have open calls on certain days of every week, which are a little like a modeling agency's version of an open house. They are always looking for new models to represent, so they invite aspiring models to come into their offices to meet them to see if they have modeling potential. You will most likely want to try several modeling agencies to see if there is any interest in you.

The most important thing an aspiring model must do is analyze other models. This must be done for two reasons: first, to be sure that her look is genuinely new; and second, to know the different kinds of looks that each market is interested in. A good idea is to compare yourself to or pretend you are your favorite model. What kind of magazines do you see them in be in; high fashion, swimwear or health magazines? Pick up the magazine. Imagine yourself in it that magazine—what kind of work is involved in getting you in it (or on the cover), not only on your behalf but on your agents as well. In the credits of every fashion story are the names of agencies which supplied the models. Call and visit these agencies! You will find their numbers in many industry directories. Make sure you ask an agent what type of work they can line you up with. If you love shows like FT (with a lot of runway modeling) find an agent that will help you get there.

Again, the modeling industry is a business; therefore it is a good idea for models to try to learn as much as they can about the business side of their work. They should understand how the voucher system works, what they are being paid and why. People in the industry are hired for their looks, talent, and qualifications. Knowing this fact can lead to understanding how you as a model interpret your role and learn to get jobs. You must have a clear knowledge of how to present yourself, how to put your best face forward and showcase your attributes in the most positive light.

What is the voucher system?

The model is not paid directly by the photographers, magazines, advertising agency, or other client. All payments go through the agency, who takes a commission. The standard arrangement is that the agency receives a percentage out of the total payment for a modeling job—a percentage from the model, and the same from the publication or company that that has hired her. The publication or company pays the agent, then the agency pays the model.

The way this is done is called the voucher system. After a model completes an assignment, she and the company that has hired her both sign a voucher stating what the job was, how many hours he worked and her fee. She then gives the voucher to the agency. Vouchers are used for almost all types of modeling: advertisements, editorial, catalog, and fittings. The only exceptions are runway shows, because things are just too hectic, and TV commercials, which usually involve a contract that is negotiated beforehand.

Your voucher book should be taken with you to every job. You must not forget to have it signed before you leave the job because they are truly your only legal document that proves that you worked and should be paid. The voucher states the legal and binding terms of the relationship between the client, model, and the agency. Once it is signed by a client, it legally binds them to the stated terms and rates.

Are there unions for models?
Yes, just like actors they can belong to one or more of the several unions, or guilds. The two biggest unions for modeling in the states are the SAG and AFTRA.

Suggested further reading
The Modeling Life Berkley Publishing Group

What do I need to know about copyrighting my music?

What you must understand about copyright is that it does not have practical application until your music is fixed in a tangible form and has commercial potential appeal and value. Copyright is simply a law passed by the Government giving you the right to take legal action in the event that your song has been infringed upon. If you write music it is more important to understand that there are various types of rights for your song: mechanical, performing and synchronization rights. This sounds a bit complicated but we can understand better by associating your CD with them. You do have a demo CD, right?

Performing Rights are probably the most valuable and common rights. They are basically the rights given to control the performance of your song. Mechanical Rights are the rights to mechanically reproduce the song on CD-or any tangible form. Tangible means something (a product) that you can buy, as compared to your song being performed on the radio. Synchronization Rights are for the use of your music in any film, and commercial motion picture, television show or similar. Then there are Derivative, and a couple of more other types of rights, which are not as important. All this stuff can be explained more thorough in sections of music books concerning copyright.

Why is it that some record companies do not accept unsolicited material? What is unsolicited material?

Unsolicited material is material that is submitted without prior consent. In other words, if they did not ask for it then it is unsolicited. You must understand that most of the major labels are simply just too tied up with their own artists. Sometimes they can only concentrate on a few big acts than a bunch of new ones.

Do not be discouraged by these (the two most) dreaded issues. As far as copyrighting is concerned, do not bother wasting your money in mailing yourself CDs of your music or registering with Copyright Offices. This is passé. Formal registration and mailing yourself your CDs only provides additional evidence of your claim in the event of someone infringing on your work. Now first of all, do you think that a famous pop-star or a big record company would actually steal your music? Even if they did, you would never stand a chance against their lawyers.

We can make a comparison of what a copyright is to a song by the comparison of what a patent is to an invention. You may be more familiar with the term, to patent. For example, suppose you invented a new kind of supersonic computerized, whatever, do not worry about patenting it. Concentrate on your name, and marketing it. When the word gets around you will be recognized. Similarly, with a composition, we will discuss later how the importance of your music lies in the manufacturing and marketing of your CD. Send it out! Record companies and publishers do not steal music. When things start happening then you can look into copyrighting. At the submission stage, please do not worry about marking symbols and phrases like "all rights reserved" on your demo CDs.

As far as companies that are not accepting any unsolicited material are concerned, you should not be sending out your promotional material, especially demos unsolicited in the first place. Unsolicited material is certain trash—you do not like junk mail, postal or electronic. Do not think that anybody else does either. Take the time to contact your market and convince people to call you. Even companies that do accept unsolicited submissions should be initially enquired to, and if you write to the ones that do not, maybe they will make exceptions. You are the star; you will make yourself so well-known and sought of that people will come to you. Now these are the important things that you should be concerned about when you are looking for a record deal. Remember concentrate on marketing your CD.

What is the role of a record label?

The record label is responsible for the release and the distribution of CDs—the tangible products of the music industry. They sign artists to recording contracts, decide what songs those artists will record, and determine which songs to release. They are also responsible for providing recording facilities, securing producers and musicians, and overseeing the manufacture distribution and promotion new releases. Major record labels are defined as those record companies distributed by one of the "big five" distribution companies: EMI, BMG, Sony, Warner/Electra/Atlantic (WEA) and Universal Music and Video Distribution (UNVD). (UMVD is the result of the 1998 acquisition of PolyGram Distribution by Universal parent Seagram, making them the world's largest record company. If a record label is distributed by one of these major companies you can be assured any release coming out on that label has a large distribution network behind it, and it will most likely be sent to most major retail stores in the world. For example: Epic Records is distributed by Sony Music Distribution; or, Arista Records is distributed by BMG.

Independent record labels go through smaller distribution companies to distribute their product. However, that does not mean they are not able to have hit records and success. As a matter of fact, believe it or not, many people say that the best talents come from the innovative folks who put music out themselves. The major record companies do not necessarily have their fingers on the cutting edge, nor do they have the patience to nurture an act that may have potential, so they watch the indies and wait to pick up acts that have already gone through the development process. Indies are easier to contact and can be important in building a local base of support for your music. They usually concentrate on a specific type of music, which will help you target those companies your submissions should be sent to, and since the staff is smaller, there are fewer channels to go through to get your music heard by the decision makers in the company. Many artists actually start their own record labels out of the frustration caused by trying to get their own acts signed, and if you are an established songwriter or publisher you may have though about starting your own label.

What does send it to the A&R department mean?

A&R stands for artist repertoire. The A&R department (of a record company) searches for new artists or bands. They go out and see bands, listen to demos and decide which artists to sign. They also look for material for already signed artists, match producers with artists and oversee recording projects. Once an artist is signed by an A&R rep and a record is recorded, the rest of the departments of the record company come into play.

What is the function of the music distributors—"The Big Five"?

A music distributor is a wholesaler, stocking products from record labels and getting them into retail stores. Some distributors handle more than recorded material, such as videos, t-shirts, etc. A good distributor gets the products of a record company into stores efficiently so they are available to buyers when promotion from the record company begins. Just like there are independent record labels, there are also many successful independent music distributors.

What is the role of a music publisher?

The music publisher is the business partner in a musical composition. A good music publisher has the knowledge and contacts to promote a musical composition. They earn income by issuing licenses to those wishing to use the music. Typically a publisher enters into a songwriter/publisher agreement with the songwriter whereby the songwriter assigns control of the copyright to the publisher in exchange for a percentage of the income derived from the exploitation of the copyright. Most publishers also handle administrative tasks such as, collecting royalties for the songwriter, negotiating and issuing licenses, arranging and administering foreign rights, securing commercial recordings of songs, auditing record companies and producing new demos of the music submitted to them.

Publishing is the only branch of the music industry that does not manufacture anything. It is one of the hardest to comprehend. All publishing companies scout around for new acts in the same way that record companies do. You can get a publishing deal, or get help from a publisher, even before you get a record deal. Music publishers are the jacks-of-all trades in the industry, having knowledge about and keeping abreast of developments in all segments of the music business.

What is the role of a producer?

Producers play a large role in deciding what songs will be recorded for a particular project and are always on the lookout for new songs for their artists. They can be valuable contacts for songwriters because they work very close with the artists whose records they produce, usually have a lot more freedom than others in executive positions and are known for having a good ear for potential hit songs. Many producers are songwriters and musicians themselves, and because they wield a great deal of influence, a good song in the hands of the right producer at the right time stands a good chance of being cut. The independent producer can best be described as a creative coordinator—the one with the most creative control over a recording project and is ultimately responsible for the finished product.

What about agents and managers?

Agents and managers can be very important and helpful especially if you have been offered contracts, and if you often tour and perform. They will make sure that recording and publishing contracts are fair, and if you are considering performing they can help you book shows in your local area and throughout the country. Considering that agents and managers earn from 10 to 15 percent this can mean more income than you may be able to generate on your own.

So who should I submit my material to, agents, producers, record companies? How should I submit it?

First, make sure you learn about and understand what their main functions are, and that they sometimes work together or even under the same roof. Next, it depends on who you are writing your music for. Are you writing songs for an act you now belong to? Are you hoping to have your songs accepted and recorded by an artist? If you are writing songs for your group or for yourself as a solo artist then you are a performing songwriter and most likely will be seeking a record deal, therefore you should submit to record labels. If you are a songwriter seeking to have your songs recorded by other artists, then you are a nonperforming songwriter and record producers or personal managers may be your best bets, as many of them constantly seek new material for the acts they represent or work regularly with, and may be willing to consider songs with a particular act in mind. A good song sent at the right time can mean a valuable cut for the songwriter.

The importance of a professional press kit

Though the internet now plays an important role in promoting your band outside your hometown, do not rely on it completely. You must never forget the old-fashion methods of promotion—press kits, to get the attention you deserve. Once you have an understanding of the markets we just covered, your next step is to put together a professional-quality press kit. The best way to attract attention and to make your press kit stand out from slush piles is to make it as appealing as possible. Colors, folders, and a good use of words can open doors for you with a publisher or a record company.

Your demo is the heart of your press kit. It is very important you try to have a professional demo. This can be a bit costly, but publishers and record companies will more likely be interested in a finished CD that is ready for the shelves, than a demo from a band saying, "Well, we are going to redo the guitar solo and the vocals". In other words, do you feel you can walk into a radio station and play the demo that is in your hands right now?

Prospectuses are becoming more and more important in the competitive music industry. These prospectuses should include an outline of: the way you intend to market yourself (or your band); your influences in the market (the style of your music, comparisons to similar artists or bands); a detailed budget for the recording of your CD; and the titles and writers for all the songs. Your biography should be at the very least grammatically correct. Describe you're band. List each member and what they play, etc. Try to keep it simple, you only have a short window of opportunity to grab someone's interest, and if your bio is well written you just might be able to do that. If you have already received press coverage, weather in the form of interviews, show reviews, or CD reviews, copy them and include them in your press kit as well.

The importance of a cover letter

The most indispensable companion to an unsold piece of music can be its cover letter. Whether you are trying to sell a song, an independent CD that you spent hours and lots of money in recording, or a state-of-the art multimedia MP3/digital video, you need a good cover letter to go with it. Mastering promotional writing can be crucial to your success. Why? Because it is often the main way you communicate with buyers. Your printed pieces mirror your telephone and in-person pitches and your web site matches on the back of your CD. You must know how to produce solid promotional materials.

How to Write a Cover Letter

Take a look at the cover letter you have written. What is on the page? "We," "I", or "my name is"? If that is how your promotions begin then you have made a fundamental error, because your promo kit (press kit) probably focuses on you when it should focus on your prospects and buyers and what they want to achieve. Focus on the buyer (them) and not the seller (you). The key is to turn your attention to your audience. You must appeal to your prospect's needs and desires. What do they want to achieve. You must talk about what they want and answer all their questions and objectives. Invariably the first question your target audience will ask is: "what is in it for me?" Therefore it is essential that you lead with a benefit that tells them precisely what they will get when they buy from you. These are the fundamentals you need to include in every promotion you use:

1) Turn every feature into a benefit: Ask yourself what the buyer gets from this feature. Think of features as parts of your product or service.

2) Create action and urgency: Good promotion is about motivating people to take action. Often it takes several steps before you convince people that what you have is what they really need. Therefore you need to load each step with benefits and make it seem that if they do not act immediately they will not get what they really want. You need to push and prod people along.

3) Make a compelling offer: Every promotional piece must have an offer. First decide on a reason or purpose for your promotion that forms the basis for your offer: What do you want to happen with it? Generate sales leads. Make direct sales with new clients or make a new sale to an exciting client. Remember, your offer must be motivating. Never send out something that whispers to people "Ummm, hate to bother you. Er, we are here if you need something. Call us or stop by. Whatever. Thanks" You need to focus your document on your prospects and give them something to do. Make that offer very enticing. Make your document shout loudly: "Here is how to get this benefit now!" Never promote the offer itself . Promote this 'benefit" of having, getting and using the offer.

4) Don't forget to ask them to take action: You grabbed their attention; you loaded the benefits and made offers. Do not blow it by blow it by forgetting to ask to take the next step. Never rely on this person knowing what to do. Include an action call in every promotional and explain precisely what you want to happen next.

The purpose of a cover letter is to get a publisher to ask for your press kit. (Note: some music publishers accept press kits on first contact. Refer to individual listings for contact guidelines.) Some beginners are hesitant and impatient to query, thinking a publisher can more fairly judge a recording artist or band by seeing the entire press kit. Actually, most music publishers and record companies prefer to be queried.

Keeping your written material short, sweet, and to the point will make the recipients happy. Quality is always better than quantity. The less you send, the faster they can go through it. Include personal information only if it will help sell your song, such as previous writing experience with the market and relevant sample clips. Do not say things like "My band is really amazing!" or, "I got some hit songs for you".

OK I have my tools, now what?

Before you begin submitting your cover letter or your press kit, make sure you review the types of companies we just discussed again and begin compiling your target list. The goal is simply; to get as many companies as possible interested in receiving your press kit. Make sure that you send it to the A&R, or even better, the person representing A&R. When submitting to companies in the music industry, a professional attitude is very important. Be specific about what you are submitting and what your goals are. If you are strictly a songwriter and the label carries a band or artist you believe would properly present your song, state that in your cover letter. For example, "This song was written for Shania Twaine". If you are an artist looking for a contract, showcase your strong points as a performer. Whatever your goals are, be sure to follow submission guidelines closely, be as neat as possible and include a top-notch demo like we discussed.

Meanwhile, there are lots of things you must do. Begin by generating a buzz in your hometown, and you can do that by getting yourself out on your scene and promoting, sending press kits to the local press representatives and radio stations. Hand out flyers of your gigs, build a web site, burn lots of copies of your disk and give copies away at your shows. You never know who will be in your audience and whose hand your CD will be passed on to.

The most important thing an aspiring composer can do is listening to lots of music. This must be done for two reasons: first to be sure that the music they write is genuinely new; and second, to know which record companies are interested in different kinds of music. As far as performing artists and bands are concerned, do as many gigs as possible. Good performers give their 100% even if it means playing in a wedding band or singing at Monday night karaoke's. Compare yourself to other bands. What radio stations do you hear their music on? Which sections of the music stores are their CDs in? Go to the store, pickup their CDs. You do not even have to buy them. What does it say on the back of them? Which companies distributed the product? How can you contact them or their affiliates? Do they concentrate on a few artists or many? Publishers tend to specialize. Some concentrate on R&B, some on Pop or instrumental. If you are a thrash band do not send your demo to a publisher who specializes in classical music.

Songwriting unions

One of the first places an aspiring songwriter should look for guidance and support is a songwriting organization. Offering a wealth of contacts, instruction, feedback and most of all, encouragement these groups can help hone the skills needed to compete in the ever changing music industry. These non-profit co-operative membership organizations derived from the fact that under the copyright acts of the U.S., Great Britain, Canada and most other countries, the creator of an original copyrighted musical work, or his assignee, had the right to control the public performance and distribution of his work.

As a practical matter, you will not be able to be paid for the rights unless you have become a member of a performing rights society—as far as performances are concerned. It would be difficult for you to go around the country collecting money from all the radio stations and record stores that are playing and selling your music and musical products. This is the function of songwriting unions.

Performing rights unions were formed in the early days of the last century, during the introduction of the phonograph and the jukebox, which followed by the impact of radio, television, and the first organized background services. As music was made public via all these neat methods, composers and publishers realized that they would have to look into the inherent of their performing rights and be compensated by the users: mainly radio stations and concert halls that made money from audiences. They therefore formed the first performing rights societies. In the U.S., the American Society of Composers, authors and Publishers (ASCAP) was established in 1914, then Broadcast Music, inc.(BMI), SESAC and the SGA (Songwriters Guild of America), while in England, the Performing Rights society (PRS) was established. As far Canada, CPRS was founded in 1925 which later on became CAPAC and is now known as SOCAN.

Mechanically rights unions have the exact function as performing rights societies however they secure reproduction rights (mechanical) and broadcast mechanicals for their members. In Canada there are different societies such as SODRAC which handle mechanical rights, unlike the U.S. where societies such as ASCAP or BMI handle both-performing and mechanical rights. Mechanical rights royalties (those pertaining to sales rather than royalties for airplay) allow usage of your material by others on records or CDs as long as they give notice to the copyright owners and pay them. They are paid by the record label for the right to manufacture and sell your songs. The publisher will issue a license giving the label the right to do this for each song that the publisher controls. The current rate is about 8 cents per song per record store.

What are MP3's?

MP3's are a major breakthrough in music technology that has blown the music industry wide open. Before that, in order to put a song on a web page, you had to record it in what was called a wave file format. That sounded great, but a typical 4 minute song, in CD quality stereo could be as much as a 50 megabyte-file, which is huge by any standard. Even with a 56k modem and a typical phone line, that would take probably 45 minutes to an hour to download a single song.

MP3 is a compression protocol. It squishes the sound files, so you can listen to NEAR CD quality in a fraction of the time. That same song in MP3 format would be around 4.5 megabytes, and will be downloaded in a few minutes.

Suggested further reading
Songwriters Market Writers Digest Books
Ruthless Self Promotion Mix Books

It is better to fail in the attempt to do something great than to succeed at doing nothing
Robert Schuller

© Hello Holly Publishing

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