What I Learned from My Survival Job #3: Business Acumen
As it is for many actors and artists, I do not come to the business of show with a natural flair for, well, business. As a fellow artist and I were recently musing, there is so much of ourselves in our product that it can be painful to do the selling of it. But to eat, sell our product we must!
As a wedding dress salesperson, I was paid an hourly wage plus a percentage of my sales; at the intimates store, I was paid bonuses at graduated levels of sales. This meant my paycheck was closely tied to whether or not I could close the sale, how big a sale I could close, or how many sales I could close. As a member of the intimates store’s management team, I attended weekly meetings reviewing our previous week’s sales and planning for the coming week’s successes. Though I can’t say I enjoyed working retail, I appreciate that I have a more business-minded approach to my acting career as a result of these experiences.
First, let’s look at the commission aspect of sales and acting. When paid on commission, one does not get paid until one makes a sale. Likewise, in acting, one does not get paid until one is hired onto a project. How can I make the next sale/get hired onto the next project? Maybe this sale/project does not come through, or if the rate is lower than I would like, how many other sales/projects do I need to get on the books to make my budgeted goal? You can’t make someone hire you anymore than I could make someone come in and buy a dress at the price I needed to make my sales goals. But there were things I could do to help myself meet that goal, just as there are things we can do to improve our chances of being offered the role. To which contacts can you reach out in search of a paid project? What can you do on your next project to ingratiate yourself to the theatre/production company/director, improving your chances of being hired again later? Is there something you can do to generate work and income for yourself?
Secondly, consider sales goals. At the intimates store, we had promotions, seasons, new inventory, old inventory – all manner of things from the corporate office to push onto the customers. January was a big push on the fitness clothing; February brought lots of lace and push-up bras; you get the idea. With each new promotion, we moved everything in the store around to make it look fresh and new. With each new promotion, we were given a sales goal in total dollar amount, as well as a sales goal for number of items within the promotion (e.g. $10,000 weekly sales goal, within which we should sell at least 100 pieces of fitness clothing). I spent the first few months on management railing against these goals – how am I supposed to make someone who is coming in to buy a bra get interested in buying yoga pants? I mean, come on, this is why the general populace hates sales people, always pushing things on them that we don’t want or need.
Here’s what I learned, though: some people do want or need the item in question. Maybe they didn’t realize we sold yoga pants. Maybe they are happy not to have to stop at another store for the yoga pants they were also looking to buy. Maybe they just have money to burn. Why not burn that money with me, help me meet my sales goal and earn my bonus for the month? No, I cannot make someone who needs a bra and has budgeted to buy a bra, and only a bra, try on yoga pants. But I won’t know if a customer is receptive to trying on yoga pants unless I make the suggestion. Making a suggestion to someone does not obligate them to accept it.
The tie-in to my acting business is this: if I don’t ask for the role, or if I don’t reach out to new, and maybe non-traditional, clients, I won’t know if that is an income stream that will help me meet my sales goals. Further, by making weekly, monthly, quarterly, and yearly goals for my acting business – just like those sales goals our management team was given – I give myself and my business a structure. Then I have something to check in with weekly, monthly, etc – just like those weekly management team meetings. Celebrate the past week’s success, look for the weak spots, make a plan (with accountability) to build up the weaker bits and tackle the coming week’s projections.
The people who are making casting decisions are often making more of a sales decision about whom to hire than an artistic one: Will this person connect with our target demographic? Can we afford to hire this actor out-of-town, or do we have this type in town? It behooves us as actors to practice our art, but conduct our business like a salesperson.
The Price of a Paycheck
We all do it. We all make big sacrifices for small paychecks. I am amazed at how the small voice of self-worth and reason inside my head often becomes stifled when I’m faced with an opportunity to make a little money.
A few weeks ago I was called in for a day’s work on a little show you may have heard of… Mad Men? Truth be told I don’t watch the show, but I always oogle at the costumes and hair when I see commercials or publicity photos. They called me in because I had short hair in my headshot on file and I matched the size requirements for costumes. A few days later I went to a scheduled fitting, still a week out from our day of on-site shooting. This is one of my favorite things I’ve done in Los Angeles tv/film work. I was a human paper-doll, standing in my undies as two costume girls filled my dressing room with different 1967-era outfits and dressed and undressed me. Not only were all the costumes, accessories, and shoes vintage, I even had vintage underwear they had me wear under my clothing! Mad Men’s award-winning costume designer Janie Bryant sat in on most of my fitting, and picked my final looks for the shoot day. Very very fun. In another life I would love to be a costume designer or even assistant. There is something so delicious about piecing together period looks.
After wardrobe approved me I was escorted to the hair and make up trailer. The hair stylist took a picture of me on her iPhone and sent it to whoever was in charge of hair for the show, and then waited for a response telling her how my hair needed to be styled. Apparently my hair was not the same as it was from my picture on file because the hair-lady wanted it chopped off. They told me it was my call – I could get a haircut then, and work the single day on the show. Or I could keep my hair, that I had been trying to grow out for the last 5 months, and not work. They also didn’t like my modern, so-cal blonde highlights, and said I would need to dye my hair a solid blonde to cover them if I wanted to work on the show. Maybe I should have thought about it; maybe a lot of other girls would have kindly turned down the offer and walked away, but GOSH DARN IT I’M A SUCKER and I said “screw it, let’s go!” and chop-chop went the 2.5 inches of beautiful hair growth I had worked so hard for. That night I stopped by the beauty supply store for hair dye, and said bye-bye to my expensive highlights (I guess they needed to be redone anyways..). Another girl came into the trailer shortly after I did and had a freak-out right before the stylist started cutting her hair. Needless to say she did not work on set next week because she wasn’t willing to get the haircut.
Turns out that almost every single girl working on set that next week (there were at least 25 of us) went thru the same traumatic hair-cutting experience. And honestly it was worth it because the Mad Men set is truly magical; a lovely crew, kind cast members, and the attention to historical detail is INSANE! But the experience made me think about what other things I would be willing to do for just a single day’s work. Or maybe a week or month’s work… Have you ever changed your appearance or made an expensive purchase or taken a long journey for something that seemed small to other people? These are the choices that make us artists. The dedication to our craft that separates the dreamers and the doers.
And now, please enjoy a sneak peek at the haircut, the awesome hairstyle and the perfect 60’s makeup from my day on set!
And please! I want to hear about sacrifices you’ve made. Comment below!
What I Learned from My Survival Job #2: Closing the Sale
During my year selling wedding dresses the most challenging part of the sale was the close. I enjoyed helping figure out what the bride wanted in her dress and making that as much a reality as I could within her budget. But when it came time to close the sale, my skill-set was sorely lacking. The core of the issue is that I was hesitant to ask for the sale.
As I reflected on how to improve my business model as an actor, I realized that in acting, too, I had been hesitant to ask for the sale. In my dealings with potential artistic partners, I was not looking for ways to close the sale, as it were. Never had I considered myself a great salesperson; I knew I am a good facilitator, but salespeople are pushy and offensive, right? Not so! Sure, there are salespeople who feed the sleazeball stereotype, but we are all salespeople, and our product happens to be ourselves.
Once I made the connection to my improving sales skills at the dress store and my sales skills as an actor, my perspective on how to market myself and connect with potential clients improved, as well. I began to scrutinize my decisions as an acting businessperson with the same sales-savvy eye I was developing at the dress store. How was I presenting my product? Was I confidently asserting that my product is a good fit for the client’s needs? Were my words chosen in a way that encouraged the client to engage with me further?
Most importantly – was I asking for the sale? Reviewing my interactions prior to my dress sales days, I was too consumed with being “nice.” People want to work with “nice” people, sure, but “nice” people can also assert themselves without crossing into “not nice” territory.
Moving with my manager to the intimates store, I was given a spot on the management team. Something I learned as I became the sales coach to other salespeople is that each person has to find their own way of engaging the client and asking for the sale. The intimates store is a mall chain and we were given a script, of sorts, to follow with each customer. That cookie-cutter approach drove me nuts because I saw some of my salespeople work wonders with a very forward, almost abrasive approach to customers, while others’ sales grew steadily in a more quiet, understated way. Each salesperson had a sales personality that worked for them.
As an actor, I now approach my interactions with artistic partners and clients with the same eye toward closing the sale that I developed as a wedding dress and intimates salesperson. The best side effect of this perspective is that it takes the personal sting out of not getting a role because I understand that each casting decision is a business decision. (Though I still reserve the right to not agree with said business decision, because I’m always the best person for the role.)
Green Room Bloggers Meetup!
I am honored to be a part of this incredible Green Room community. The bloggers, who work so hard and are inspirational leaders in our industry, and our readers, who are just as passionate, dedicated, and generous.
Many of our New York-based bloggers (and one of our Cali ladies!) got together for drinks this week, and I was nothing short of proud to call each and every one of them colleagues and friends:
Can you name the Green Room Bloggers? 🙂
Now What?
I’m at a bit of an impasse.
Unlike most of my fellow bloggers here at the Green Room Blog, I am not a theater professional. As regular readers know, I started taking acting classes in my early 30s and made the leap to community theater and Fringe Festival performance about a year ago. I have had rapid success and have maintained a full schedule — one that is already filling up for this new year.
But I have no idea what to do next.
I do not expect to ever make a living as an actor, though I would welcome the happy surprise of it if it should happen somehow. (While a lot of “late blooming actors” look to the memory of Kathryn Joosten, who started performing at age 42, my own household saint is John Mahoney, who, like me, worked as an editor until, like me, first appearing on stage at 37. So it could happen.) But I am wondering what comes next.
I have a full-time job and provide the sole income for our household. (My wife and I have twin sons, and we homeschool them, with her doing the vast majority of that hard job.) I have managed to fit my years of acting classes, and now year of performing, in around that. It makes me happy, and I do better with each role. But I want to keep moving forward.
One of the stars of my most recent show told me that many here in Washington — and I suspect in other cities as well — engage in “evening professional” acting. That is, they hold full-time jobs and perform, as I do, but have made the leap from community theater to a mix of unpaid and paid roles. This is where I would like to be by my 40th birthday, about two years from now. It’s realistic, but I’m still not sure how to get from here to there.
Always be auditioning, yes — I know that rule. And I know what I need to work on — monologues, making better emotional connections on-stage, having the discipline to work on lines when I’d rather be reading something else or napping. But beyond that, what else can I do? What should I be doing? I welcome the advice of our wise readership.
A Vocalist’s Guide To Booking Gigs
Since my band recently recorded a new demo, (which you can read more about HERE) I have really been pounding the pavement to get us gigs. New year, new demo, new gigs! Getting gigs is not as easy as it looks in the movies. There isn’t always a prospective employer just waiting to pick you up! YOU have to find THEM, and even then, this is a business. Just because you have talent, doesn’t necessarily insure that you are going to convince them to hire you to play in their venue. I still have a lot to learn, but here are some tips I have found useful in booking gigs so far:
Don’t give up. You are probably going to have to approach venue after venue after venue before you finally book a gig. Don’t be deterred! It has nothing to do with you, your talent, your band, etc. It just takes time and pressure. Rome wasn’t built in a day!
Don’t settle for anything less than what you are worth. Now, when I say this – I don’t mean, be a stick in the mud. You do sometimes have to know when to bend. However, don’t do anything that makes you uncomfortable. If the venue is not willing to pay you what you are comfortable being paid, it’s not worth it! Obviously, you may have a personal reason to play at a venue for little to no pay, and in that case, you have to weigh the importance. When you are first starting out, it may be beneficial to perform for little to no pay just to gain experience, develop a fan base, get photos/video footage of the performance, etc. My point is, don’t let yourself be taken advantage of. A lot of venues will try to get it all for nothing.
Have a good recording. I know this is difficult when you are first starting out, and you have a limited budget. You may need to use some amateur recordings in the beginning, just to get your feet on the ground. As soon as you are comfortable doing so, try to have a professional demo made. This is the first thing prospective employers see/hear. This is what is going to sell you/your band. Always be sure to include these things on your demo and any other promotional material you give to venues:
- Name/Band Name
- Phone Number
- E-mail Address
- Facebook/Website Link
- Genre of Music You Play (Jazz, Rock, Metal, Pop, etc.)
Be prepared. You may think you will have loads of time to prepare if/when an opportunity presents itself. Wrong. Rehearse whenever you can. You may receive a last-minute call from a venue that the band they originally had scheduled backed out and they need an emergency replacement! Who knows – you need to be ready to jump! Always have your promotional materials (business cards, demos, postcards, flyers, etc.) on you. You never know when you may meet someone who is looking for exactly what you can offer.
Have a following. The reason venues hire bands is often to bring in more business. They are looking to attract more customers, and hoping the customers will stay longer and purchase more food/beverages while listening to YOU! Invite your friends, family, co-workers, neighbors, and anyone else you know to these events. The more business you can drum up for the venue, the more likely they will be to hire you again.
See other bands perform. This may sound like an odd tip, but watching other bands perform will help you. You can see what they are doing right, and why THEY are booking gigs. You can set yourself apart as an artist and make what you do more unique. You may be inspired!
Once you have a gig…
Always arrive early. This may sound like a no-brainer, but always arrive early to a gig. Give yourself plenty of time to set up, as well as take a breather before the gig. You do not want to be running to get to the venue and arrive out of breath, quickly trying to set up – and probably making big mistakes along the way.
Relax. Enjoy the moment. Don’t stress yourself out and end up not doing your best because you’re so worried. You’ll be fine. Take some deep breaths, drink some water/tea, and have confidence! Good luck!
Is It Break Time Yet?
An actor’s work is never done. As soon as we land one gig, we are immediately bombarded with lines to memorize, music to learn, rehearsals to get to…all while simultaneously trying to line up our next job! After the non-stop audition searching, countless long drives to interviews, prepping, learning, stressing, hoping, achieving, and failing, it’s easy to let yourself relax when you finally land a long-term job that you love. Not to say that we don’t deserve a break and a chance to revel in our newfound opportunity, but I’ve found that it’s during this time that we can do some of our best career building.
On several occasions, I have been the perfect example of letting myself get too comfortable with where I’m at. I’ll land a contract for six months as a singer in a fantastic show and spend six months forgetting that the next audition I attend might have a dance portion. When the contract is over, my skills, stamina, and flexibility are greatly lacking. Similarly, I’ve spent the better part of a year working in musical theatre, only to attend an acting audition with a monologue portion and realized that I haven’t even read a monologue in a year, much less practiced one.
After spending a month or two of my current contract loving the fact that I don’t have to constantly search for auditions or prepare songs to sing, I wisened up to the fact that one day, this contract will end and it would be detrimental to my career if I spent another month lying in the sun and acting like a tourist rather than bettering myself for my field.
My first step was to start some personal marketing. True, I don’t have to go on any auditions just yet, but it wouldn’t hurt to prepare a well-organized website and a killer show reel for when I do need another job. Next, I looked for dance/acrobatics studios in the area to try to keep my skills well-rounded for when audition time rolls around. I kept an eye out for new songs to learn for my audition book, constantly worked out at the gym, and spent a huge amount of time networking with the other industry professionals here to figure out what my next step might be.
As a scatterbrained, stressed out, struggling actor, I know that it’s crucial to find some time to simply relax and be happy with where you are in life. But it’s equally important to never stop bettering yourself, never stop learning new skills, and never stop looking for the next great opportunity to add to your resume. What are some ways that you keep yourself motivated to develop your skills and continue improving your career?
Gentlemen, I apologize at the outset that this is primarily directed at the lady-folk of the acting business, though feel free to read on and glean your own lessons.
For one year I sold wedding gowns at a big, national chain. I then followed my manager to the mall to help her open a lingerie store, also a national chain. What I learned from two years of working retail that I can apply to my acting career is surprising. One unique lesson I learned in these two particular stores is the importance of the proper foundation garment/s.
Seriously, ladies, stand in some brutal light and check your lines from the front and back before heading out. I had brides bypass garments – bras, bustiers, slips – because they didn’t want to feel too confined or too poofy. Instead, the dress hung a few inches too low from their sagging bosom, and the skirts of their gowns hang unceremoniously from their hips for lack of structure.
If you are a costume shop kinda gal, or generally a fashionista, I may not have much trouble convincing you that a good set of supportwear and a great bra, that keeps the girls where they belong, are necessary items in your wardrobe. I know they are obnoxiously expensive for less than a yard of fabric, but trust me, the engineering that goes into that scant amount of cloth and wire is worth it. This is never so true as in photographs and on film.
When you are taking headshots, or if you are booked on a shoot, scrutinize your undergarment selection – and take back-up. I always keep an extra bra or two in my set bag for shoots, because one never knows how the client will decide to dress your character. My best fitting bra happens to be black, but you bet your bippety that I take a nude bra with me on shoots, lest they put me in a white blouse. I have a great bra for a handful of lower-cut blouses, but I dare not wear it with a T-shirt because the line of the demi-cup shows through. Not every bra is meant to be worn with every outfit. No, really – not every bra is meant to be worn with every outfit.
The key is to try on lots and lots and LOTS of bras styles and bra sizes. Have a professional measure you, then try on a bajillion different styles of bras in sizes on either side of your fitted size. And don’t argue with the fitter, they are just doing the math based on their training. I’ve seen A-cups who have a great decollete, and I’ve seen C-cups who look like A-cups in proportion with the rest of their bodies. Don’t get hung up on that size, besides which, your size may vary from manufacturer to manufacturer and style to style. For example, I have to buy a size up in push-up bras because the cup is shaped much shallower than a standard T-shirt bra. A good bra fitter will be able to guide you to styles that match your needs and size and shape.
There is also shapewear to help give you the smooth lines you crave under your garments. You can use pantyhose-style shapewear, similar to Spanx, or if you need to really rein things in, go full on hooks and stays. It is all a matter of application for your body and the outfit you are trying to fit. If nothing else, find a great control top that will help your dresses lay smoothly and not roll at your waist. Seriously, I don’t need to see your thong-line, and neither does the casting director.
Younger women and older women are equally guilty of skirting the proper undergarment. But I guarantee you, with as careful attention paid to what lies beneath your clothing as that outfit itself, your overall appearance will be greatly enhanced, you may even appear to lose a few pounds once all the pieces and parts are sitting in the right place!
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