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A few weeks ago, Christopher Stadulis wrote a post about why actors need be meeting agents and casting directors at network houses, commonly called "meet-and-greets."

I thought it was a great example about why actors should be doing this, but then it led the question about how does actor go about doing "meet-and-greets?" What's a good strategy or plan? I asked Christopher the follow questions based on his experience as an actor who is just starting to break into the business at a professional level:

How much $$ can one expect to pay for meet and greets? (This is an important question because it has to do with ROI, something all actors with professional ambitions should be doing (because producers calculate ROI) -- even though when you're just starting out, it can be painful calculation because numerator is probably low if not zero. Yet tracking costs is a great habit to get into -- and an essential habit if you are or want to be a professional actor. In fact, a simple way to do this with mailings and meet-and-greet is to use this Marketing ROI Calculator. For meet-and-greets, just enter the number of meetings you've been having instead of the number of pieces of mailings you've been doing).

It all depends on a persons budget, but I would recommend to do a package deal since you will see a good amount of industry professionals and will save money by going that route.[At Breakthrough Studios] it usually costs $32 per meet with a CD, Agent or Manager of your choice. I recently signed up for the $599 special at Breakthrough Studios, which I love, to meet with as many industry professionals as I can within 1 month. I met with 35 total. A combination of CD's, Agents and Managers. If I were to see each other and pay individually, it would have cost me $2,000. So I saved $1,400 which is huge! (Christopher Stadulis).

Lately I have been asked by many actor friends and acquaintances if they should pay to meet CD's, Agents and Managers.

My answer is simple- YES, ABSOLUTLEY. Actors should attend what are called MEET & GREETS. This is where you pay to meet a CD, Agent or Manager of your choice to show them your work and personality.

You're an "actor." It's Monday morning, the start of a new work week, and maybe you're off to your day job (or, like me, you're trying to figure out how to avoid getting one), and you're thinking:

. . . When is it all going to happen? How?! is it going to happen?

These are understandable questions and concerns, but -- they're not great questions.

They're not great questions because they cause you to focus on the wrong thing. Ask instead, How can I make it happen? What do I need to do to make it happen? And then believe -- know -- that a way exist.

I had my first monologue audition at The Actors Alliance last night with the head a New York City Film & Television Casting Agency. My first real professional audition (The Actors Alliance is a member's only meet-and-greet studio; They're known mostly by word-of-mouth: I first heard about them in How to be a Working Actor, 5th Edition: The Insider's Guide to Finding Jobs in Theater, Film, & Television by Mari Lyn Henry and Lynne Rogers).

I have been having trouble with my monologues lately -- so I've been working with Deborah Carlson/Word of Mouth Studios to hammer out my difficulties, and the difficulties, for me, have always been in starting.

Like most beginning actors (I'm assuming), I thought of auditions as a separate "thing" or "state" I needed to enter into before I started, i.e., in an audition, there's usually a brief introduction, and the auditor asks what you'll be doing. You tell them, and they say something like "whenever you're ready."

At this point, the pressure, naturally enough, steps up, and -- sometimes (actually, a lot of the time) I would just go blank: there was no internal motivation to start the monologue, i.e., no "reason" to start talking other than the auditor is waiting for me to start. This is absolutely the worst place to start from as any beginning or seasoned actor can attest.

Deborah, however, give me some good advice, and -- more importantly -- showed me how she starts an audition. Acting, for me, is in large part, learned by watching others who know what they're doing. It's hard to explain, but "I get it" (more times than not) when I see and hear something done well.

Basically, she said the critical moment before needs to be quite simple and it should come out of the "place" you're in just before the auditor says "whenever you're ready." Don't think you have to somehow undergo a rapid and radical transformation, or psychically teleport yourself, somehow, to some imaginary place. That (for me) is working to hard and trying to do to much. My beginning still need a lot of work, but I'm making progress.

I (somehow) last night did just what Deborah told me to do -- and showed me how to do: I don't know how I did it -- but I did it, and it was the best I've done so far under pressure:

"Headshot" -- sounds violent, e.g., 24's Agent Jack Bauer says "I've got a head shot -- I'm gonna take it!!"

Well, headshots aren't violent, but they are critical.

I've posted before about headshots (How to take a Great Headshot) -- and it's turned out to be one of this blogs most popular posts. This episode of Jeff Mitchell's podcast is with Headshot Photographer Melissa Hamburg, It's a great follow up to that earlier post: it's a terrific discussion (and -- at times -- rant) about what headshot are, what they're suppose to be, and why most of them aren't. Some highlights:

Last week I posted my thoughts on the various resources in NYC that facilitate agent and casting director "Meet-and-Greets:" Hopes and Dreams and Goals. Auditioning at The Actors Alliance.

Like most beginning actors, those who are trying to find professional opportunities with the initial goal of creating a professional network of casting agents and directors who know, like, and support you, I felt (and still feel) surprisingly lost, but -- the best way to get past that lost (and sometimes even "stuck" [I'm not going anywhere] feeling) is to just start moving forward and believe you'll find your way as you go along.

And -- follow the leaders! Find people who are successful at doing what you want to do, and 1) ask their advice and 2) do what they're doing. This is a terrific tried-and-true strategy, and it makes me feel less scared and unsure about just simply starting. Auditioning and gaining membership with The Actors Alliance and One-on-One is part of this strategy.

Another component of my strategy has been to ask advice from people who are doing what I want to do, so I contacted Christopher Stadulis, a part time contributor to this blog, and I asked him this:

I wanted to ask your advice about meet and greets, i.e., meeting casting directors and agents, at places like actors connection. I know many actors who do not believe in paying to meet casting director's and agents, or they just don't know how to evaluate the opportunity. I do believe in the value of these meet and greets, but I confess I've had cold feet because I'm not sure how to take advantage of the opportunity they offer. I guess the basic question I have is: how do I best prepare myself? I know my audition skills have to be good, and I continually work on those, but beyond that, is their anything else. The meet and greets do cost some $$, so I want to make sure my time and $$ (as well as the casting director's agent's time) are well spent.

He wrote back with some great advice about "Meet-and-Greets" in general, how to approach them, and how to audition:

Enter: The Actors Alliance and One On One. Both are like Actor's Connection and The Network, i.e., they function as middlemen between actors (sellers) and casting directors, filmmakers, agents, managers and producers (buyers), but you need to audition for The Actors Alliance and One On One to be a member, and then you can take part in their agent and casting director's workshops and meet-and-greets --  and their audition process is not just a formality, i.e., last fall, I auditioned for One On One, but I was rejected for membership, so I've taken the advice and feedback I got from that audition, and I'm going to try again later this month.

However, I decided to try to kill two birds with one stone, and I took One On One's feedback and advice and today I went in and auditioned for membership in The Actors Alliance. Harry O'Reilly auditioned me (a terrific guy, a professional actor and successful businessman with a great ear and eye in terms of training and coaching actors), and he congratulated me on my audition technique and told me that Deborah Carlson's Word Of Mouth Studios had trained me well (I always knew she had, and I've worked hard, but this was terrific validation nonetheless).

I passed! I'm now a member! This has been a MAJOR goal of mine for almost a year now!

I want to formally welcome Christopher Stadulis as a contributor to this blog.

I first meet Christopher during auditions for The Upside Down Mirror (produced by The Riant Theatre).

He invited me to join his myspace page (http://www.myspace.com/actingsuccess) -- I did, started reading his blog there, and I was blown away with his mindset, focus, and positive attitude about becoming -- and BEING/REMAINING -- a professional actor.

Hello all,

I have been acting now for 3 1/2 years and have learned a great deal from working with several industry professionals and books which I have read.

My approach to my craft and business has changed dramatically. I understand that this is a business and I am the CEO of my own company and must always showcase myself in the best possible light. I shake as many hands as possible, always remain professional and positive, be open to change and most importantly, BE MYSELF! I submit for every project I can but focus my time, energy and money on areas that are geared towards my type. And it's extremely important to know your type/product. Meaning if a CD, Agent or Manager ask you, "Who's getting your work?" What they are trying to find out is if you were auditioning for roles in the BIG leagues, which Actors are getting the roles that you'd be perfect for based on your type. This is part of knowing your business.

With over 20 years experience in talent representation and casting, Jeff knows the ins and outs of all of the issues that concern actors who want to start their careers and actors who want to take their careers to the next level. Jeff helps actors get a fresh perspective on their careers and teaches them how to create a structured plan of action to move their careers forward.

Click on the link below to listen to Jeff's Maiden Podcast where callers ask questions in all categories such as agents, managers, cold reads, pictures, postcards, clip reels, meet and greets, auditioning, submitting on breakdowns, training, showcases, NY vs. LA, resumes, cover letters.

The Maiden Podcast has some minor technical glitches at the beginning that should go away with future podcast, so give a listen -- and learn! -- today!

Acting Business Basic, from agents to voiceovers:

Get attention fm your commercial agency's film and TV agents - How to get agents to your showcase - Secret to getting feedback at your meet-and-greet (fast forward to about 42 or 43 minutes into the podcast to learn The Secret!) - Best look bald or hairpiece? - Best headshot photographer - Voice-over reel editing

Click here to listen to more InsideThe Casting Office With Jeff Mitchell

Jeff Mitchell, one of NY’s top casting directors, is the host of “Inside The Casting Office”, a new call-in internet radio talk show on:

Jeff Mitchell, of Jeff Mitchell of Mitchell/Rudolph Casting in NYC, is a top New York City film and television casting director who provides information and advice on "the business of the business" for aspiring actors.

Jeff gives actors an honest, direct and uniquely informative look at “the business of the business”. He helps actors get a fresh perspective on their careers and teaches them how to create a structured plan of action to move their careers forward. The show provides a motivational and informational pit-stop for actors struggling to move their careers to the next level. (Inside The Casting Office, Blogtalkradio.com)

One of my hobbies, during my active career, was watching the results of other show biz folks. I kept journals for about 5 years, then I noticed that I didn't need to keep a journal because it was becoming redundant. The fact is, that all the successful people I met over 40 years, (and when I say ALL I mean 100%) were capitalists.

I don't mean that in a political way - I'm talking about store-keeper capitalism. All the successful people I've known in the show business are successful because they are good business people. Good store-keepers.

The other side of the coin is the unsuccessful actor, writer, director, producer, etc. Believe me, most of them are not untalented, or unlucky, or unconnected. Generally, their real problem is that they are just lackadaisical business people.

The biggest mistake I see is the total time and energy the unsuccessful actor puts into the business. This amount of time can be described as: NOT ENOUGH. (Acting For Money, Bob Fraser, Author of You Must Act!, The Secrets To Acting Career Success)

I do non-paid off-Off Broadway and Off-Broadway -- but I don't expect to work for free. I never expect that.

What I Expect

I expect deferred payment from The Universe in the form of future professional theatre, film, television, and commercial work. I base this expectation on the contingency of doing my absolute best in these productions. I ACT as IF I'm getting paid.

I'm not working for free (money is important, and you have to respect that) -- I'm working for deferred payment.

This is what motivates me to work hard. I love acting. But to continue acting, to continue growing as a actor, I have to increase my value, and a necessary (but not sufficient) metric of success as an actor is money. Money won't make me happy, but I need an income, derived from acting services rendered, if I am to grow as an actor. It's that simple.

Some actors, much better than I, choose to work primarily in non-profit theatre either for artistic or professional reason. And make no mistake about it, absolutely terrific work is being done in these venues, and it's my heart's greatest desire and dream to work in these absolutely wonderful off-Broadway production houses and productions. However -- it's not (for me) enough. My "perfect" life ("perfect" in a human, rational, realistically achievable sense) is this type of work and money. That would be perfect! (And I fully intend to do this perfect thing).

 My Goal

Though it likely will be some time before anyone knows definitively what killed Heath Ledger, he wouldn't be the first young Hollywood actor to fall victim to drugs. (Heath Ledger's Death Puts Spotlight on Abuse of Prescription Drugs, Marrecca Fiore, Fox News, 01 . 23 . 2008)

On the sad occasion of Heath Ledger's death, Bob Fraser posted some timely wisdom on the nature of "rejection" in the business, and how NOT to handle it:

The sad and sudden death of Heath Ledger (and last week, Brad Renfroe) reminds me of a warning I passed along some four years ago, when writing about rejection in You Must Act!

There are 5 VERY BAD WAYS to react to rejection, all of which lead to directly to long-term failure. Any one of these methods will be fatal. When I say 'fatal,' I mean fatal to your career plans – however, the last BAD WAY – (5) – can be literally fatal.

DO NOT try to deal with the inevitable rejection you will face in your career, by using any of these 5 VERY BAD WAYS:
1. Lying to yourself.
2. Lying to others.
3. Listening to other people's lies.
4. Being lazy.
5. Destroying your product.

Bob expands on each of these bad ideas:

I live in New York City where the film and television industry are now fastest-growing employment sector in the city, and that's on top of the world class opportunities for working on stage and for terrific theatrical training. If you want to become an actor (or an investment banker), New York City is the place to be.

One of the great pleasures, delights, and values of the internet and the World Wide Web is being able to communicate with individuals all over the planet, or at least where they have electricity.

While NYC is a world class theatrical training ground -- it's not the only one. Thus by way of the WWW, I was introduced to Bob Fraser who resides in L.A. Bob Fraser is an actor, writer, director, producer and author. Bob is one of the best authorities out there on the business of acting. If you're confused about how to tackle the business end of the acting, what to do and the attitude you need while doing it, you'll find no better guide then Bob Fraser's incredible resource: You Must Act! The Bible of Acting Success.

Another terrific resource that Bob Fraser has created is Headshot Secrets Revealed! Revealed indeed! -- and finally, some excellent, real-world grounded advice.

The heart of this great resource is it's excellent to-the-point discussions about how to get a head shot that will catch a casting director's eye (it's simple!), how to organically discover your type (your UPC -- Unique Character Presentation), and how to practice to insure you'll have a great head shot session, as I did.

How I used Headshot Secrets Revealed!

I just auditioned for membership with One on One. Like Actor's Connection and The Network, they function as middlemen between actors (sellers) and casting directors, filmmakers, agents, managers and producers (buyers), but their audition process is not just a formality.

I was rejected, but they invited me to try again, and I thought I'd share the feedback I got -- feedback I found constructive, solid and professional.

Dear Reader of The Secret Of Theatrical Space,

        This blog has now qualified to become a member of Smorty, blog for money -- from their web site: Smorty is a bridge between bloggers and advertisers. Advertisers start campaigns with us and we deliver them to the right bloggers for publishing an opinion on their Blogs.

In short, I'll get paid to blog by 1) advertising on this on blogs and 2) by writing about what I think various products and services have to offer my readers (artists, actors).

        So -- an experiment in Capitalism, and a way to continue to indirectly support myself as a actor, but in a way that's is directly related to, and definitely part of, that main goal. Smorty will point me to products and services that are targeted to readers of this blog, and I'll do my best to point out their value for you from my perspective, as someone living in New York City and learning to become a better and better actor.

       A second, and almost even more important, reason for doing this (though it's great to get paid for my time) is that one of my goals is to become a great commercial actor -- because it's fun, and it pays, and what Smorty is asking me to do is write my own commercial copy!

      So -- the benefits of Smorty for me and you: 1) you get to read about products and services that I hope will be of interest to both you and myself, 2) In addition to learning how to handle commercial copy in front of a camera, I'll now get a chance to apply what I'm learning as a commercial actor to writing my own commercial copy, and 3) . . . I GET PAID!!!!!

     Money is definitely not every (or the only) thing, but it is definitely ONE thing -- it's a hell of great motivator.

Through my facebook account, I was virtually introduced to the Artistic Director of the Collective Theatre's Group 2 Theatre Acting Workshops NYC. The classes are very inexpensive (I have to interview, possibly audition, to get into the class), and I liked their tag line: Its about the craft first, then the business.

It's close to my own: It's about the craft AND the business as I've decided to focus on both at the same time (i.e., training, actually working, & focusing on Acting As A Business, all at once), despite my fears and inexperience . . .

A while back I wrote a post titled Attitude Is Everything, and I'd like to hand the ball off to Christopher Stadulis who I met during call backs for The Upside Down Mirror.

Christopher Stadulis epitomizes the beginning actor who "gets it," and who has the necesary winning attitude:

Rejection doesn't prevent me from moving forward, it only strengthens me as I feed off of it. I am passionate and dedicated about my craft and career. I don't believe in waiting for my BIG break, I believe in creating it! For me, success is not how much money I can make but how much of an affect I have on people when watching me perform. I have a responsibility in telling a good story. Having an audience connect, relate, feel the emotions I am experiencing as I take them on my journey, are very gratifying for me. To me, that is success. If I accomplish that, then I have done my job. In addition to being a Firefighter & Actor, I am a Father, Husband & caretaker for my disabled mother who suffers from Multiple Sclerosis. People always ask me how have I accomplished so much in being an Actor for only 3 years and having so much on my plate. I tell them it's about having a balance, staying focused, dedicated and very hungry towards becoming a TRUE Actor. I am a firm believer in doing something productive everyday towards my career, shaking as many hands as possible, always maintain a professional positive attitude and understand that this is a business. I am the CEO of my own business and should always showcase myself in the best possible light.
~ from www.myspace.com/actingsuccess

Check out his career and life advice articles and writings on his myspace blog . . . (you need to have a myspace account to read them):

I'm a novitiate, a beginning actor, and I've been putting more time into learning about the business side of acting, and I want to comment on how important is to recognize your true opportunities, and to be grateful for them.

A while ago, this empty-headed post appeared on the BackStage.com community message board:

For all of you newbies here are some names for you to stay away from. These people have scammed and scammed over and over again. They will not pay you, or they will charge you to be part of their company or they will tell you that your pay is one amount and pocket the difference. They will always tell you to make sure your vouchers are filled out to their companies: {names and casting agencies removed}. There are some more. Keep these names on an index card with you at all times. Do not get caught up in their scams. NO JOB IS WORTH it!!! Believe me then you are known as one of their people!! (oh your one of their people) Go ahead next time your on a set mention any one of their names and see what type of feed back you get, YOU will BE surprised!!! Good luck to all of you. YOU HAVE BEEN WARNED!!

I was shocked to see this -- First: it's NOT TRUE. It's simply not true. Period.

Second -- The Mayor's Office of Film, Theatre, and Broadcasting tax credits has made the film and television industry the fastest-growing employment source in New York City, creating 10,000 jobs over the last year pressuring California to consider similar incentives.

There is right now, today, more opportunity for New York City actors to make a living then ever before, and Actors Reps, Extra Mile, Divine Management, Dorothy Palmer, Desiree Agudo, Stanley Kaplan provide a critical, necessary, and invaluable service to the New York City acting community.

I was so angry when I saw this posting, that I replied on the community message board, and I'd like to give my reply a wider audience here:

Wor