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