| Dedication | iii |
| Acknowledgments | ix |
| Introduction | xi |
1 | Auditioning and the Craft of Acting | 1 |
| Acting Is a Craft | |
2 | An Audition is Not a Performance | 3 |
| Choose Obtainable Goals | |
| Auditioning and Performing Are Two Different Things | |
3 | Audition Philosophy | 7 |
| Truth in Numbers | |
| Free Yourself by Removing Expectations | |
| Offer Your Gift | |
4 | Chances of Booking the Job | 13 |
| A Casting Director's Process | |
| The Decision-Makers | |
| The Human Element | |
| The Role is Up for Grabs | |
5 | First Audition | 21 |
| Type A: The Audition and Meeting | |
| Showing Potential is the Key | |
| Theatrical Preparation versus Audition Preparation | |
| An Audition is Not Workshop Time | |
| Memorization | |
| Type B | |
6 | The Callback | 27 |
| Type 1 | |
| Type 2 | |
| Don't Change Your Choices | |
| How to Make Progress from Potential | |
| Your Callback Audition for a New Role | |
| The Perception of You Changes | |
| Callback Memorization | |
7 | The Screen Test | 33 |
| The Business Side | |
| The Screen Test Day | |
| From Auditioning to Performing | |
| Screen Test Memorization | |
8 | On the Clock | 37 |
9 | General Audition Information and Advice | 39 |
| Make Specific Choices and Fill in All the Blanks | |
| Asking Questions | |
| Sit or Stand; It's Your Choice | |
| No Blocking | |
| No Props | |
| No Miming | |
10 | The Audition Technique | 49 |
11 | Beats and Beat Changes | 51 |
| Beat Changes Are in the Script | |
| Write on Your Sides | |
| Don't Overthink the Beat Changes | |
12 | Major Beat Change | 65 |
| Determining the Major Beat Change | |
| Indicating the Major Beat Change | |
| Significance of the Major Beat Change | |
13 | Subject Word | 73 |
| Example Subject Words | |
| Write the Subject Words Down | |
| A Reference Point | |
14 | Feeling Word | 79 |
| Determining the Feeling Words | |
| Justify Your Choices | |
| Variations to Your Choices | |
| No Indecisive Feelings | |
15 | Summary (So Far) | 93 |
| Notes to the Test Are on Your Sides | |
16 | Major Objective | 95 |
| Major Objective and Major Beat Change Are Connected | |
| Take Action | |
| The Major Objective is about What You Want for You | |
| Major Objective Creates a Natural Level of Subtext | |
| Keep It Simple | |
| Remind Yourself of the Major Objective before You Begin | |
| Don't Forget to Be an Actor | |
17 | Dictate the Pace | 101 |
| Pick up Your Cues | |
| Don't Blame the Reader | |
18 | Think and Feel on the Lines | 105 |
| Don't Anticipate | |
| Use the Beat Changes | |
19 | Avoid Subtext | 107 |
| Negative Use of Subtext | |
| Literal Sincere-Feeling Lines | |
20 | The Right Approach, the Right Attitude | 111 |
| Three Minutes of Joy | |
| Be Confident | |
21 | Beginnings and Endings | 113 |
| Opening Line | |
| Tag Line | |
22 | High Stakes and Urgency | 117 |
| The Audition Scene Is Important | |
23 | Spontaneity and Listening | 119 |
24 | Voice and Speech | 121 |
| Natural and Conversational Tone | |
| Spatial Relationship | |
| Don't Project | |
| No Word Is More Important than Any Other Word | |
25 | Charm, Personality, and Passion | 123 |
| Don't Fake It | |
| Passion | |
26 | The Acting Part | 125 |
27 | Don't Forget to Breathe! | 127 |
| How to Remind Yourself | |
| Use Your Feeling Word | |
28 | The On-Camera Audition | 131 |
| Do I Look at the Camera? | |
| You Have to Pop off the Screen | |
| Slating | |
| What to Wear | |
29 | The Cold Reading Audition | 135 |
| How to Break It Down | |
30 | Under-5 and Background Work in Daytime Television | 137 |
| Take the Work and Get the Experience | |
| You Never Know What Can Happen | |
| Under-5 Work | |
| You Are Protecting a Career You Do Not Have Yet | |
31 | The Under-5 Audition | 141 |
| Technique | |
32 | I Wouldn't Do That If I Were You | 145 |
| Do's | |
| Don'ts | |
| Get In and Get Out | |
| Don't Forget Your Props and Stuff | |
33 | Building a Relationship with the Casting Director | 149 |
| The Follow-Up and Staying in Touch | |
| How to Begin That Relationship | |
| No Tricks, Please | |
34 | The Business of Acting and a Career | 153 |
| Learn the Craft | |
| Talent Is a Guarantee of Nothing | |
| The Business | |
35 | Getting an Agent or a Manager | 157 |
| Go to School | |
| Write to the Assistant | |
| Get a Friend to Help You | |
36 | Headshots and Resumes | 159 |
| Look Like Your Picture | |
| One Shot Only, Please | |
37 | Daytime Actor Interviews | 161 |
| Aubrey Dollar | |
| Jordi Vilasuso | |
| Daniel Cosgrove | |
38 | Agent and Manager Interviews | 175 |
| Michael Bruno | |
| Jill McGrath | |
| Rhonda Price | |
39 | Casting Director Interviews | 183 |
| Daytime Casting Director Interviews: Mary Clay Boland, Marnie Saitta | |
| Primetime Casting Director Interview: Andra Reeve-Rabb | |
40 | The Workbook | 193 |
| Make the Workbook | |
| Write Down the Questions | |
| Track Your Progress | |
| Sample Workbook Submission | |
41 | Final Advice | 199 |
| Your Obligation and Commitment | |
| Entitled to Make a Living | |
| The Television Audition Technique | |
| Look Yourself in the Mirror | |
| The Core Truth | |
| My Casting Director Perspective | |
| Good Luck | |
| About the Author | 203 |
| Index | 205 |