Five Ways to Keep Working When You're Not Working

1) Go to as many auditions as possible.
Try to go to at least three auditions or casting calls per week – more, if possible. Go to every audition you can find – even if the production in question doesn’t have a part for you. This is of the utmost importance, for three reasons:

It’s just good practice.

You’re getting your name out there, meeting new people and making connections – and if the director likes you, maybe he’ll keep you in mind for a future project where there is a part for you.

Who knows? – if they really like you, they may find some way to work you into the script (especially in the world of television, this is not unusual).

2) Keep acting, even when you don’t have an audience.
There are a million ways to keep yourself on your game. Arrange play-readings with your friends, join an improv troupe – if necessary, recite poetry or monologues out loud when you’re alone in your apartment. Never under-estimate the value of reading out loud – it is as important for actors as laps and stretching are for athletes. Practice makes perfect – don’t neglect your basic training!

3) Be cool, stay in school.
Classes are an essential part of any actor’s training. If you can afford it, you should be taking classes constantly, whether you’re working or not. A good general coaching class is a must – whether you prefer to work through a big acting school or an independent teacher is up to you. When you’re not working, supplement these coaching sessions with other types of training – dance, stage combat, Shakespeare 101…

4) Find new material.
Use the down-time between jobs to augment your repertoire – learn new monologues (and songs, if you’re a musical theater performer); learn how to do a foreign accent; teach yourself to juggle. You never know when these skills might come in handy.

5) Read, read, read.
Knowledge is power. Read as many plays and scripts as you can get your hands on. The greater your knowledge of the dramatic repertoire, the more you’ll have to work with. This is a great way to find new monologues and scene-work – but more importantly, a broad-based familiarity with the diverse forms of the drama (from Aeschylus to Shakespeare to David Mamet to your roommate’s student short film) will help prepare you for cold readings, and also make you more comfortable in a wide variety of roles.