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| Introduction: Discovering the Dream | |
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| Given Circumstances: Building from the Ground Up | |
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| Superobjective and Objective: What Do You Want? My System of Wants Exercise | |
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| Obstacle and Intention: How Will You Get It? | |
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| Stakes: What Is It Worth to You? | |
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| Inner Imagery: The Life Within | |
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| Battling Acting Teachers: Don't Get Caught in a Senseless War | |
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| Emotion on Demand: Finding Your Triggers: Memories of Home Exercise | |
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| The Actor's Choice: Creating Your Interpretation | |
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| Defining and Redefining Your Relationships: In-Character Improvisation | |
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| Destination, Business, and Gesture Creating Physical Life for Your Character | |
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| Back Story and Biography: Believing Your Character's Life | |
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| The Animal Exercise: Expanding Your Behavioral Choices | |
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| Place: The Richness of Where You Are | |
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| Cold, Drunk, Hot, Sexy: Using Sensory Work for Character: The Physical Sensation Exercise | |
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| Endowing Objects, Places, Persons, and Events: The Personal Object Exercise | |
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| The Moment Before: Starting the Scene with Life | |
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| Moment to Moment: It's Always Improvisation: The Repeat Exercise | |
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| Relaxation and Overcoming Fear: The Release Exercise | |
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| Voice, Accents, and Blood Memory | |
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| An Actor's Tipsheet for Comedy | |
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| Stage, Screen, and TV: Similarities, Differences, Traps | |
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| How to Work with a Director or Be Your Own Director | |
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| The Power of Yes | |
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| When Race, Racial Stereotypes, Class, Ethnicity, and Sexuality Become Issues | |
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| The Story Exercise: Becoming the Writer and Star of Your Own Play | |
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| Confidence versus Arrogance and the Work Ethic | |
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| On Being Cool: A Rant | |
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| Breaking In and Breaking Out: How I Learned Not to Be a Demented Puppy | |
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| For Further Study | |
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| Essential Questions for Working on a Part | |
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| A Case Study: Lobby Hero | |
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| The Scene | |
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| The Process | |
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| The Monologue Workout Program | |
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| Acknowledgments | |