11 Steps To Prepare your Kids for Commercials. Advice from a Talent Manager.

This morning I met with one of those excited parents who want to get their kids into show business for modeling and commercials. She carried her 4-year old daughter Lila into my office and the mother said, “This is Lila, say hello to Wendy.” The child refused to look up or say hello to me. They sit down and the mom asks her daughter to say hello to me again. Lila refuses.

Great start. I can already tell this doesn’t work, but I indulge her and ask the mom, “So what can I do for you?” Mom replies, “My daughter did a glitter photo thing with my friend and I wanted to see if we can get her into print work.

Well first of all,” I said, “I need to see if your daughter wants to be here. And I need to ask her some simple questions and have her answer them. That way I can hear how she talks and see her expressions. I also need to see if she can follow directions because on the set of a commercial or photo shoot she will get lots of directions from people other than mom that she absolutely has to follow.”

So the mom sets the child down off her lap and into a chair next to me. She turns her daughter to face me and I ask sweet little Lila 3 simple questions – How old are you? Do you like having your picture taken? What is your favorite color?

Before, during and after each question, Lila fought to get out of the chair, worm her way to the floor, whine, turn her back to me, and completely avoid talking. The mom put her back in the chair several times, told her to sit still, answer Wendy her etc. Of course, the child was having none of that.

I said to the mom, “She isn’t ready.”

During the rest of the conversation I had with the mother the child was argumentative, wouldn’t listen to what her mother said and the sweet mother laughed her daughter’s behavior off and didn’t make her daughter follow any of her own directions. Hmmmm. My assessment- Lila is a very pretty, precocious, energetic, and a stubborn child. I can see she has a great look and cute personality but at this time she is unmanageable and out of control.  Her mother doesn’t know how to discipline her or enforce what she says. I asked if it was her only child and it is. I assumed that.

Her mom still wants to know what she can do to get her daughter into commercials if indeed she is going to pursue this.

So many parents think their child is ready for show business. It is just not true so I gave her the facts. The kind of children we are looking for have the basics: They can look you in the eye and say hello, proceed to a chair they have been asked to sit in, and answer simple questions politely. The ones we really love do all of that with enthusiasm. Then when we ask them to stand up and move in front of the camera to a spot on the floor with an X – of course they can do that too.

11 STEPS TO PREP YOUR CHILDREN AT HOME FOR COMMERCIALS & PRINT WORK

I sent this mother home with 11 steps she can take to prepare her child for work in Print and Commercials. You can do these too!

1) ARRANGE MOCK PHOTO SHOOTS. Take your own child’s picture. Tell your child you are going to do a “photo shoot” today. Set out 2 outfits, have your child help pick their favorites. Go outside to the side of your house. Put your child in front of the camera and take her picture. Tell her to stand still, turn to the right and hold it, turn to the left and hold it smile. Bigger smile, great. Now a serious face. Then change into the next outfit and do it again. This gives your child practice in front of the camera in a structured way. You can do this once a week. (As you advance look at department store magazines and have your child copy some of the poses the other children pose in )

2) TEACH THEM TO SIT STILL. Have your child sit still for short periods of time at home for no reason, just because you said so. This is important if you have a child who has a difficult time taking direction. If they can’t sit still for you just because you said so without any discussion, complaining or temper tantrums, how will they be prepared to do it on the set? Habits are formed early. Just get your child in the habit of following your commands. In this business following direction instantaneously is CRITICAL and REQUIRED. If your child can’t do that they will not be able to work professionally until they can.

3) TEACH THEM TO ANSWER QUESTIONS IN COMPLETE SENTENCES. Because little kids can’t read yet, casting sessions for small kids usually entail the casting director asking children a few simple questions so they can see their personalities. They are looking for kids who answer questions in complete sentences.

For example, “what is your favorite color?” A bad answer would be, “ blue.”

A good answer would be, “ My favorite color is Blue because blue is also the color of the sky and my favorite shirt.

You can practice this at home with your child. Ask a specific question and teach them to answer you in full sentences WITH an explanation: "My favorite TV show is Spongebob because..... It will take prompting and redirection at first but eventually they will get in the habit of doing that. Be sure not to criticize or yell at your child if they don’t do this correctly. Just re-direct them to do it. The last thing you want to do is make them feel bad for not speaking up. This will only hinder them further. VERY IMPORTANT: Make sure your child practice speaking clearly and enunciating their words. So many kids mumble and sound like they have marbles in their mouths. Mumbling children do not work in Commercials.

4) TEACH THEM TO REPEAT LINES. In auditions, small children will be asked to repeat lines with enthusiasm. I LOVE Jello Pudding. It feels good in my tummy. At home you can work with your child by having them her copy sentences. You tell them to repeat after you; "I love honey nut cheerios." Mom can I go play at Jimmy’s?, What time is dinner? Mom, Billy was playing with my truck and he broke it. “No one makes Cool Laid like my mom.”

To get more ideas watch TV commercials and listen to what kids your child’s age are saying. Write down some of the sentences have your child repeat them.

5) TEACH THEM TO STAND ON THEIR MARK IN FRONT OF A CAMERA. Put an X on the floor with big thick tape. Have your child stand on the mark …and stay on it. Give you child 2 lines and have them memorize them. Then ask them to say them to you – while standing on the mark. Have them stand still and help them stop from fidgeting, pulling on their clothes, swinging their arms etc. Encourage them to speak up, say the lines with enthusiasm, smiles and lots of energy,

6) PRACTICE TAKING PICTURES WITH PHOTOGRAPHERS. Find local photographers. Call local photographers and ask if they want to shoot your for their book. Also ask local photography students. They need models and experience and your child needs experience in front of the camera and taking direction form a non-parent. 

7) FIND LOCAL TRAINING. When kids are little (under 5) there is not much you can do for training. The most useful training you can give them to prepare and build their skills the ways I mentioned above.  But if you can find a local little dramagination class for kids doing improvisation or little plays at your local theatre company or church do that would be great. It will give them practice speaking up and some little performance experience.

Your child may be already putting little shows on at home. Make a big deal out of this give it your full attention. Everybody in your house can stop what they are doing, take seat in front of the child and watch their little show. You can even invite of few of your friends to watch. Tell your child they can do their “show” at a certain time. Let them know it’s coming up in 2 hours, then 1 hour, then ½ hour. Help the child pick put an outfit. Make some popcorn, relax and enjoy! NO criticism. Only applause.

8) GET PROFESIONAL HEADHSOTS When you want to get an agent or Manager for your child and you need headshots. To get started you can send shots you take yourself if they are good. BUT PLEASE!!! Don’t waste your money on professional headshots, especially if your child isn’t able to behave yet. They are kids who are very talented but can’t take direction. There are kids who are less talented and can take direction and are easy to work with. The ideal situation is a very talented kid, who can take direction AND is easy to work with. If you have a talented child at home who you can tell loves performing, singing and dancing, help them develop the discipline they need to translate that into the business world of show. When their behavior is up to snuff and they can stand up in front of casting directors, photographers, managers and agents and follow directions, speak up clearly and express themselves with enthusiasm then your child is ready for professional headshots. Go shot them! Wear solid primary colors without logos – red, blue, purple, green. Choose a happy, smiling big energy shot and a serious more soulful shot. Upload the pictures to ARGENTUM.COM and have 8x10’s printed out with your child’s name on the front and mailed to you.

9) CREATE A RESUME. You need a Resume to go with your child’s headshots. Your child’s resume will have your contact information and information about your child’s skills, experience, training, hobbies etc. Yes, even children have resumes. Albeit they are fairly blank when the child first starts, but they grow along with your child. You will put every acting class, dance class, commercial and print work they do on their fledgling resume.

Cut the resume down to 8x10 to fit perfectly behind the 8x10 Headshot, and then put one staple at the top and one staple at the bottom.

10) FILM A 1-MINUTE VIDEO OF YOUR CHILD’S PERSONALITY Technology makes it easy to communicate with agents and managers. You need a 1-minute video to capture your child personality. You will email this video to talent agent and managers along with your child’s headshot and resume.

To make the video: put your child in front of a blank wall (not in the bathroom, cluttered kitchen.) Use a well-lit room. Put the child on an X on the floor, have them stay on it, say their name and age and have them talk about their favorite friends, Disneyland, a funny story what they like about school, or their favorite TV show, etc.

Upload that video to You Tube and mark it unlisted. When you are ready to submit to kids agencies or kids management companies, you can send the You Tube link in your emails ALONG with their headshots and resume.

10) Create an LA Casting account and submit her yourself - to print stuff.

11) SUBMIT TO KIDS AGENTS AND MANAGERS After doing all of this wonderful prep work at home with your child for a year or so, your child should have some discipline, know how to speak up, stay on their mark, look at the camera when they talk, answer in complete sentences- these are the kinds of kids that do commercials and print work.

Remember when you meet with agents and managers don’t bring sick kids, reschedule, make sure your child has plenty of sleep the night before, don’t bring them tired or hungry to meetings, put them in clean clothes, with shiny squeaky clean faces and hair brushed. Always bring crayons and a coloring book in your purse so children can occupy themselves in a calm way that doesn’t wreck havoc on the offices you are visiting.

You can learn tons of information about getting your children started in TV, commercials and print in my new book “Secrets Of A Hollywood Talent Manager; How To Break Your Kids Into Show Business” available on my website. www.secretsofahollywoodtalentmanager.com

We are always looking for talented kids. Give your young child the best chance for success by preparing them well. Good luck!

Wendy Alane Wright, Talent Manager WAW Entertainment

www.wawentertainment.com

If You Believe It, And Work Hard, You Can Achieve A Career in Show Business!

Wendy Alane Wright is a Hollywood Talent Manager with WAW Entertainment. Her clients have appeared in numerous national commercials, movies, webisodes, short films, and on television networks such as ABC, NBC, Comedy Central, BIO, Lifetime, plus many more. Previous to being a Manager and a Talent Agent at Burn Down Entertainment, she assisted many high profile Managers, Agents and Publicists in the careers of Neil Patrick Harris, Johnny Galecki, Sarah Michelle Geller, The Four Tops, The Bee Gees, Meatloaf, Whoopi Goldberg, Steve Guttenberg, The Cranberries Michael Jackson, Barbra Streisand, Kenny Rogers, and Neil Diamond. Wendy is also a Recording Artist, Actress, Author and Music Producer all  giving her a 360-degree perspective of the industry.

I was listening to Casting Director Amy Jo Berman talk about the time she coached an actress who landed a series regular role. Amy Jo said, this actress became a series regular because she had been planning on it for years. She had visualized it and had determined nothing was going to get in the way of her getting it. In fact, everything single choice the actress made in her life was to lead to that outcome. In her mind she already was a series regular, as if it were her truth. She believed she was meant to do this. Amy Jo said that kind of focus and specificity is why people reach their goals and become successful.

I thought back about my own career to see if that concept applied, and found, yes it did. I had that kind of focus for a very long time, from age 10-35. When I first decided I wanted to hear my voice singing on records I was about 10 years old. I knew that was what I was going to do. Everything I did from then on in my life was to advance that goal for myself. I practiced singing 3-4 hours every day for about 7 years. I went to counseling to overcome feelings of inadequacy, and did insight seminars twice and EST to gain more personal power for myself and to become less fearful. I entered singing contests, I studied voice at college and finally packed my bags, left home and moved to LA to sing. I got a job in the office of an entertainment company so I could learn how everything works and get close to people who could help me. I had no doubt I was going to be a singer. I had no doubt I would sing on records. I wasn't going to allow any other option. In fact, there was no possibility for me not to do it. I was going to make it happen, no matter what. Period. This is the kind of focus and mind set Amy Jo Berman was talking about.

I looked for opportunities, and I took every opportunity that came my way. I studied with one of the best singing coaches in the world, Seth Riggs. (He also taught Michael Jackson, Barbra Streisand, Ray Charles, Tina Turner, and Anita Baker.) I auditioned, I met producers in banks and sang for them, I ran into execs at Hollywood parties and sang for them. People were going to see what I could do because I was singer, I had talent and I knew I was good. Period. I knew I was good enough, (if not better than most) and I knew I was good enough to be on records. So I was going to be. I had 3 jobs and sometimes no money for food. But I had a goal to fulfill and I wasn't going to stop until I reached it. After I sang on over 65 records, (well they turned to cds shortly after I started singing professionally) I started writing and producing songs for other artists. I wrote a single for Dutch artist Tatjana Simic that went Platinum. Then I decided I wanted to sing with a live band and sang with three amazing live bands for a few years. I opened for big artists. I wanted to go on tour so I did. I wanted my music to be on TV, in commercials and to release a couple of cds of my own. I did all of that. I had been working as a professional singer for 13 years and one day, I no longer had the desire to sing like I used to.

At first I was mortified and confused, because that hunger had driven me and defined me since I was 10, and all of a sudden I no longer had it. I was sad at first, but I evolved into an amazing place where I decided I would rather help everyone else achieve their goals. I could share all my knowledge with young new talent who had the same dreams I had. Now I have a new hunger, to see each of them become successful in their goals. It drives me, keeps me awake at night and working in my office all hours of the nights. I love it.

I truly believe you have to have that kind of hunger to drive you to succeed. You have to see that you have no other options. Your passion for your talent and what makes you happy has to be all consuming. It has to be everything you are, everything you think, want and exist for.

When you have that kind of focus, you will always find a way. Quitting, or any other form of self sabotage like procrastination, fear, laziness etc, are just not acceptable and are qualities that can ruin everything for you. You must get rid of those at all costs. Use positive affirmations, go to therapy, pray, mediate, surrounds yourself with positive people who are doing the same things you are and believe in you. There is a saying, "The 5 people you spend the most time with will determine how far you will go in your life." Make sure you choose them wisely.

I lot of people "say" they want something, but do they really? Or are they just giving it a "try?" There is a huge difference.

I saw myself as a signer. I saw myself in the studio making records. I saw myself on stage performing for thousand of people. I saw myself being excited and happy doing it. I knew I was meant to be on stage singing. That's who I was already in my mind before I ever did it. I was a professional singer in my mind. I think you have to have that kind of confidence in who you are, passion and determination to succeed in this business. I had some insecurities, we all do. But I never had insecurities about who I was going to be. That kind of passion will have you talking to people you would normally be intimidated to speak to. It will have you going for it, when it is scary. It will get you up in the morning and make you say, okay what next? What can I do today to meet someone who can help me? It will drive you to meet other singers, to get into the studio, to write a song, to record someone else's songs, to contact producers, to practice singing.

Of course the same focus and determination applies to acting, or sports, or any other dream you have. If you can see it, really see it in the depths of your soul, you can be it, you can achieve it.

I say step back and take a real honest look at your life. If you have anybody around you who is trying to bring you down, or squash your spirit or your dreams, get rid of them. If they are a family member, move them off to the side for a bit. If they are a boyfriend or girlfriend, they may not be the right one for you. You need people around you who believe in your dream with you. You will always believe in your dream more than anyone else, because it's your dream. But when you can see it, others can see it too.

My advice is to go within. Look deep in your heart. What do you want? What is driving you? Then be true to your heart and listen to what it says. Maybe your true passion is in the entertainment field, maybe it isn't. Follow your heart and your own path. Don't do anything because of other people's expectations of you. Be true to yourself. It's your life. You can make anything happen if you just believe.

If being a successful actress or singer is your goal, decide that nothing is going to get in the way of that for you. Nothing. You are going to be successful at this. Period. Stay focused, stay committed, never stop. Keep believing. See yourself there. You are there. Do it!

If you found this helpful or inspiring leave a comment below. I love to hear from people. Check out my other blogs too. If you have any questions go ahead and ask. I want to help you :) Follow me on Twitter @wendyalane1

And as always, make your life everything you dream it can be. You are worth it!

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8 Reasons Your Agent or Manager May Drop You - Actors Don't Make These Mistakes!

Wendy Alane Wright is a Hollywood Talent Manager with WAW Entertainment. Her clients have appeared in numerous national commercials, movies, webisodes, short films, and on television networks such as ABC, NBC, Comedy Central, BIO, Lifetime, plus many more. Previous to being a Manager and a Talent Agent at Burn Down Entertainment, she assisted many high profile Managers, Agents and Publicists in the careers of Neil Patrick Harris, Johnny Galecki, Sarah Michelle Geller, The Four Tops, The Bee Gees, Meatloaf, Whoopi Goldberg, Steve Guttenberg, The Cranberries Michael Jackson, Barbra Streisand, Kenny Rogers, and Neil Diamond. Wendy is also a Recording Artist, Actress, Author and Music Producer all  giving her a 360-degree perspective of the industry.

Every year approximately 50,000 hopefuls come to Hollywood to try and "make it" in show business. Some are successful, most are not. Many actors come here with good intentions and big dreams, but it is up to each one of you to learn how this business works. Read industry books, ask managers, ask other actors, join support groups, ask actors who have made it, read actor biographies, read the entire IMDB page of the actors you idolize and you can see their entire journey laid out in their credits. To have an agent or a manager means you need to be manageable and take direction that you are given. If you fight your reps you won't get far. You must do what is necessary, consistently and without hesitation.

You are filled with talent and energy. You can accomplish anything you set your mind to. Don't let anyone hold you back. There are very specific reasons many actors fail. Here are 8 deadly sins that will kill your career. I want to help you avoid them.

1. Lack of talent. You may think this is a no brainer, but I sit in on casting sessions and auditions and I am stunned by how bad some people are. Some actors may think they are more talented than they actually are. You've seen it on American Idol. Yes that's real some people are really that bad. One time I was in the casting room of a NBC Singing show and 1/2 the people they were auditioning could not sing. Make sure you are really talented and get the training you need. You are going to be competing with great talent. You don't need to compare your self, but you do need to be your best, at the top of your game. If you aren't, go do something else. If you are serious about succeeding, get yourself the best training you can. Develop your talent thoroughly and you will be noticed.

2.Lack of preparation. Actors try to wing it in auditions and don't understand the importance of intensive and continual cold reading and acting training. Having poor audition skills will stop you from getting anywhere. You may be able to act, but auditioning is an entirely different skill set. Don't waste your time trying to get into the audition room if you don't know how to work the room once you get in there. Poor impressions on casting directors are hard to erase. Train, train, train. If you haven't you are not likely to book.

3. Missing opportunities, not showing up. Actors skip auditions and say no to opportunities that could lead them to new contacts and potential work. In the beginning, no job is too small for actors who really want to get ahead, gain experience and make contacts. Some actors won't go to auditions they feel are beneath them. What!! Really? Casting Directors work on all kinds of projects. You may not be right for a specific project. But believe me, they will remember if you are good. Each good impression on a Casting Director is you getting ahead. You need any and every project you can get for experience, strengthening your skills, making contacts, getting footage and being paid at times. An actors acts. If that isn't you, maybe acting isn't your calling afterall so go do something else. Don't sabotage yourself. You have talent, the world wants to see it and enjoy it. Stay positive and keep doing your best.

4. Can't handle the rejection. Some actors take rejection personally and run away back to where they came from or into another line of work. Rejection is 90% of this business. Get used to it. While pursuing acting, fill your life with fun, friends, sports, concerts, prayer anything that validates and fulfills you. Don't wait for this business to do it. I suggest you read the "Four Agreements" by don Miguel Ruiz to learn all about taking things personally.

5. Can't take direction or be managed. Some actors are "know-it-alls" and can't take direction from those wiser and more experienced than they are, which results in missing opportunities that managers and agents are trying to give them. Other actors get these chances instead. You are better than this!

6. Can't figure out to how to make money to survive and pay for their acting expenses.Some come to LA broke without saving up money before coming. Some actors won't or don't realize they may have to work two jobs to be able to put money aside for acting expenses which are about $8,000 per year. College costs money and starting a business costs money. That's the price of doing business. You are an adult now, figure it out or someone else will.

7. Won't spend money on great Headshots, Demo Reels, Business Card, Workshops, Training so they don't have the tools to compete and succeed. Some actors spend years tring to get by with the least they can. Usually due to shortage of money, stubborness or sometimes they just don't realize how important these tools are and how good the tools have to be in order to compete with prepared, working actors who have been here for years and years and have their materials in order. Recently an actor who has been dragging behind on getting me his marketing materials told me he only had $75 left each month after his bills were paid. I asked him, "what are you making a week?" He said, "$350." "What!!!! I cried." Why the hell is he still at the job? He has been there two years. Did he come to Hollywood to work as an accountant or be an actor? And on top of that, he could only audition after 3:00pm when he got off of work. I told him get another job, or I would not be working with him anymore. I hate to say that because he is so flipping talented. But talented people who don't make it in Hollywood are a dime a dozen. Don't be one of these. You are capable of so much. Give it all you've got and don't let your media hurt you.

8. Lack of understanding about how the business works. This is certainly one of the biggest reasons. Actors, you are the CEO of your own company. If you don't understand how your business works you are doomed to fail, no matter how talented you are. GO to every show business seminar you can. Read book endlessly. I have been in this business since 1990 and I never stop reading. Knowledge is power.

Personally, I hate it when actors fail over things they can control. I hate it when actors can not be managed. They have this amazing talent going to waste because they refuse to take direction from people who know more than they do and end up losing many opportunities. They suffer from "I know it all already" syndrome. Almost nothing kills a career faster than this. I hate this because I so love creative people and want everyone who comes here to succeed. I truly want people to achieve their dreams. That is why I became a talent manager in the first place, to help them do it.

These "know-it-alls" can come along and put a damper on your day. They simply don't understand that before we became agents and managers we gained experience and paid our dues in this business working many other jobs. We have actually been around a minute. I will give you my personal background to give you an idea of what I mean by experience.

I came to LA in the 1990 after college and I started as an assistant to Publicist Ken Amorosano. He was a smaller PR firm who represented Keith David, Andrea Evans, Elizabeth Pena and Francisco Quinn. It was the first time I ever saw a headshot. I learned about pitching the press, promoting films, scheduling interviews with media and I got to attend a lots of screenings and went to bunch of Hollywood parties. I fell in love with this business right off the bat. Here I was just 23 years old and I was having lunch with Andrea Evans who I had watched on "All My Children" all the way through high school and college. Okay a little start struck at first. I celebrated Francisco's birthday with his family, and met superstars like Daryl Hannah, Jackson Browne, Billy Crystal and Alfre Woodard at the Oscars After-Party that year. It was exciting and new!

I made a decision to work no longer than 1 year at any given company for the next 10 years. My goal was to learn the entertainment business inside and out, in every aspect. So for my 2nd year in Hollywood, I went to work one of the largest agencies in Hollywood; The Agency For The Performing Arts (APA). I began as an assistant to Jerry Kalajian in the Literary Department where he represented Writers and Directors. I met Director/Actor Anson Williams from Happy Days (cool!) and many other working Directors. Every day I was involved in the daily workings of their careers and observed the meetings and deal making that took place. I was on the set when Anson Williams directed an episode of the original Melrose Place. He put me in as an extra and gave me a SAG Voucher. So sweet!

I was a really efficient Assistant, so much so that I soon worked 2 desks at the same time. I was also assisting Agent Larry Masser in the Casting Department where he repped huge stars. I worked side by side these two powerful agents with polar opposite personalities. Jerry was calm and kind, and Larry was an angry, raving maniac. Whew! But I learned a lot about how Hollywood worked in the big leagues. I learned about clearing the call logs and determining whose calls are important enough to return first and why. I answered questions from actors who needed clarification about money, scripts, rehearsals. I distributed huge paychecks, gave driving directions to Christine Lahti when she need to get to the Mark Taper Forum for a show she was in. (She called 3 times, still lost.) LA can be very tricky down by the 101 and downtown with lots of 1 way streets. But remember, this was way before car's had navigation systems! Maybe I was a lousy direction giver or she was...?

Assistants had to do everything. We read tons of scripts and gave coverage, delivered scripts to clients and agents homes, set up appointments for Casting Sessions with Casting Directors for our clients to audition. Every day I spoke with Hollywood Casting Directors many of whom I have known now for over 15 years.

I worked for one of the CDs, April Webster at a side job in her office for a week to help move her office from one location to another. It was a fascinating week working inside a casting office. I saw how the casting office was set up and worked internally. I helped sort thousands of headshots into piles back, this was back before online casting and a number system to rate talent. I watched which headshots got tossed out and why. I sat in on a few casting sessions and decided casting was not for me. Actors were always so nervous and unprepared it was unbearable to be around. I felt so sad for them. Today I recommend actors volunteer in a casting directors office so they can see what is it like from the other side of the table. Just be sure while you are there you don't pitch yourself to them for anything. Just show up on time, be professional, assist and do your job facilitating their goals.

Sticking strictly to my plan to get a new job every year, I went to work for publicist Lee Solters who repped A-listers like Barbra Streisand, Michael Jackson, Neil Diamond, Lionel Richie and Dolly Parton. Whenever I mention names, I don't say this to name drop, I say it to help you understand that I have worked with the best, at the top levels and I know a thing or two about what people who are successful in this business have done, and are doing.

Ok, Publicists are privy to quite a lot of private information, none of which I will ever repeat. But needless to say we put out a few fires and I learned more and more about the business. Mr. Solters loaned me out to John Singleton one summer to help with Publicity on the film Higher Learning. I have to say I was so excited to be working on the lot at Sony. Just driving in every day was a thrill. I walked all over the lot during my lunch hours taking the magic in! With Mr. Singleton, I worked on the NY and LA premieres coordinating celebrity, media and guest invitations. There is a hierarchy. There is a select number of invitation available and their is criteria for who receives them and industry people get angry when they are not invited.

One day Michael Jackson was coming to our office to discus the video "Remember The Time" that John was directing. I was to escort Mr. Jackson to our office when he arrived. Somehow the entire building knew he was coming because every office door had flung open. I met him down the hall and walked him and about 20 Asian Sony executives to our office. Upon leaving, Mr. Jackson had to escape the building through a back door in order to avoid the mass of studio professionals who had gathered out front to see him. I was told he Michael was never able to go out the same way he came in.

The following year I went to work as an assistant at Fox Television in the TV sales department and learned all about MIPCOM which is a content event for co-producing, buying, selling, financing and distributing entertainment content throughout the world. I learned that foreign markets like to buy reruns of our shows because they are already produced, which saves foreign companies a ton of money not having to produce content for their markets and all they have to do is hire voice over artists. I never knew that. I also had no idea how much money was involved with that aspect of the business. Wow. I also remember that year was the tragedy of 911 and our building on Wilshire Blvd was closed for days afterwards because it was across the street from a Government building. We were all in shock.

My next job was assisting President Jeff Syndey at Beyond Music Management. He repped The Cranberries, Meatloaf, The Bee Gees, Tommy Lee and Motley Crue. I experienced tours being arranged, studio sessions taking place, publishing deals being worked out, songs being selected, A&R departments reviewing and often rejecting submissions from new acts. I handled the day to day business of Musicians working and meeting their business needs.

I left at the end of the year moving to the Soundtrack Department at Virgin Records. The Spice Girls were huge at the time and the entire building was filled with energy when they all arrived! It was fun time. I learned how and why songs are selected from artists and placed on the highly coveted spots - soundtracks of films. I lunched with A&R reps like John Wooler and took in everything he said about the business and politics.

Next, I went to assist Booh Schut and incredible talent manager who repped Neil Patrick Harris, Johnny Galecki, Mayim Bialk, Sarah Michelle Geller and others. I larned a lot from her about working with agents to advance a clients career, setting up deals and helping clients in every aspect of their career from communicating with lawyers, arranging coaching, training and even getting their dogs groomed. Booh was very structured and I adapted a lot of what I do now as a manager from her.

I realized in order for me to understand this business more completely I needed to see what it was like from the artists perspective. After my day job, I started singing at night in local studios doing background vocals. I have a pretty good voice so I got a few gigs and made some extra money. I did a video for Colourblind a band that was signed to Capitol Records at the time. I recorded a few demos at Capital Records Studios on Vine Street. So iconic. These demos were handed to a producer who flew me to Europe and put me in the studio with a female rap group who needed big vocals for the choruses. We were given a record deal. Our first single was turned down by radio. But with the perserverance of our A&R rep Ronald Van Der Meyden, he went back to radio with the same exact song 6 months later feeling it was a better time for the release. And this time radio loved it. It climbed the charts to # 20, same record, top 20 hit.

We suddenly became important and in demand. It was fun. I now had a record deal, my own talent manager, a tour, tv shows, press interviews, radio drops and awards shows I had to attend. We shot music videos that were on MTV, BET VH1 and had another hit off our 1st albumn. Then our label went bankrupt and we were signed to another label Polydor/Polygram who wasn't behind the group like our previous label was. Six months later we were dropped. I learned things like this happen all the time.

I loved the artist part of the business too, performing in front of the camera, on live television in front of thousands of people. I wasn't ready to stop!

I stayed in Holland for 4 years, went solo and began writing for other artists and collaborated with super talented people like Candy Dulfer, Tatjana Simic and Tony Scott. I wrote 3 top 40 hits and made a bunch of money. I soaked up everything I could learn about publishing advances, royalties when music is licensed to territories throughout the world, music publishing deals, pitching songs to labels. I even began licensing music myself to foreign distributors and was so excited when I started closing deals and making money. I made $50,000 on my first deal and I was ecstatic. I bought my dream Porche with cash. And I think during those 4 years I spent over 8,000 hours recording, writing and producing vocals in the studio. So I know all about that process.

Getting homesick, I returned to Los Angeles and went to work as a booking agent for Eternity records repping new bands and coordinating tours across the country, organizing radio play, and marketing materials to promote the live shows. These skills led me to another Music Management company where I had the privilege of assisting Terry Lippman, who discovered and managed Matchbox 20. Terry was one of my favorite people in the business, he was so loving and passionate about what he was doing. He had a new band he had fallen in love with and he was shopping their demo to all the Major labels. He created a huge bidding war and they received a $500,000 advanced for this beginning band which was unheard of. I was involved in every step of this process even down to being a production coordinator on the their 1st music video.

During this ten years of my life, I had received extensive on the job, high level training and had learned how this business worked inside and out. So I became a Talent Agent at Burnt Down Entertainment repping two of my heroes Deniece Williams and The Four Tops. I was now the one negotiating deals and creating opportunities. At the end of that year, I decided I could do more as a Talent Manager and wanted to make sure I could guide my clients through every step of the business to help ensure their success. Like I said, I so love creative people and want everyone who comes here to succeed. I truly want people to achieve their dreams. I grew up like everyone else in love with movies and music and just want to see them continue to be made and touch people's lives and hearts. What a wonderful career I have!

And occasionally I still sing, I was on a series, I've done a few films and pilots, many jingles, released 3 solo CDS' written a book and still record. So with all that, I know a thing or two about this business.

Then here comes a "know it all" who just got off the boat so to speak, and have been here only 1 or 2 years trying to make it. They really have no idea what they are doing, or should be doing and yet...they want to tell me how to do my job. They are talented but absolutely can not take direction which leads them to sabotage their own goals. And because they "know it all" they constantly the miss opportunities you are trying to give them. It's very sad. If you came here to succeed get a good manager and take direction. Watch out for the 8 deadly sins I mentioned. And don't be an unmanageable actor.

What is an unmanageable actor like? Here is an example. It was the 1st week of December and I was working with a client who had some film credits and all of her marketing materials together. I needed to get her an agent right away. The Christmas break was coming in a few weeks and after that agents would not signing anyone or taking meetings with actors for about 4 months. Instead they would be scrambling to try and get their clients booked during what is left of the old pilot season. So we literally had a 3 week window to approach agents, or wait until April. She told me I should start pitching her to Casting Directors for auditions and told me she was going after a voice over agent, a commercial agent, a print agent, and frankly she seemed all over the place. Huge red flags popped up so I told her, "slow down, we will get to all of that but right now we need to concentrate on getting a theatrical agent." She immediately said, "I don't think this is working between us." Not getting her way and a temper tantrum. Uugggh.

So I stick to my plan because after all I do know what I am doing, and I submitted this actress to some of the fabulous agents I work with, including Nathan Habben President of Prestige. I know him of course because one of my clients had been signed to him for the past year and 1/2. I told Nathan about this actress who had a great look, lots of talent and I was pretty sure she could make him money. He agreed to take a look at her stuff so I sent it over to him. That day, I also noticed he was doing a workshop that weekend looking for new talent. I called my client and said get down to his workshop tomorrow and show him what you've got in person, blow him out of the water! He is reviewing your demo and materials right now...go the extra mile." She said, "No, those workshops never get anyone signed." I couldn't believe my ears. I told her she was wrong and that I have 2 clients right now who got great agents in showcases exactly like this. She said, no, I don't think this is working between us. What do you think I did? I dropped her immediately. This is an actress who thinks she knows more about the business than I do. And she has been here one or two whole years!

I hate these kids of situations with actors because they are very disappointing. We managers get so excited and inspired by our clients talent and what we can do for them and then they show us who they really are. Agents, Managers, Casting Directors, Producers, Directors, Writers, we have all come across this kind of "Know It All". Artists with egos that are so big they think somehow they will magically be whisked to the top because 'don't you know who they think they are?' Statistically I would say this kind of actor shows up maybe 2 out of every 30 we work with. They piss off everyone they come in contact with, burn bridges, go from rep to rep, develop a bad reputation and tend to get blackballed in time because no one wants to deal with that type of energy or personality. And let's face it, word travels fast in this town and everybody knows everybody's business. I wish I could open their eyes but I've come to learn, you can't save them all.

We hear stories all the time; I don't have the money for headshots so I had my neighbor take these. I don't have money for classes. I was late to my audition because of the traffic. All of this behavior is self sabotaging and we can't do anything with these types of clients. These people say they want it more than they actually do. This is a business for all of us here in Hollywood. Managers and agents don't get paid unless our clients work. We do our part and expect the talent will do theirs. Throughout the year we see which ones are doing their part and we drop whoever isn't. Like I said, this is a highly competitive business and I am in it to win. Talent Managers look for big talent, charisma, a willingness to do whatever it takes, the ability to take our direction, and never ending commitment to learn and understand how this business works. All of these elements must be present in one person in order to be success in this business whether in front of or behind the camera. You must be likeable.

Actors my advice to you is drop the ego, get humble, follow directions from your reps and on the set, be open like a sponge, soak it all in, study your craft, study the business, take chances, do your best work and in time your work will speak for itself.

Several times a year I offer a workshop called, “The Winner's Circle" for brand new actors which will help you begin to understand the business and start to develop a plan of action for your success. I teach it along with several important industry friends of mine including a top Theatrical Agent, Commercial Agent, Casting Director, Headshot Photographer, Working Actor and including Reel Producer. You will learn so much information in this workshop from top people in the business who are all committed to your success! I have been coaching actors for years, and I know new actors need a mentor and professional guidance, so if you are new to this business I highly recommend this workshop. It will give you the "inside" information you need and it will put you miles ahead of the hundreds of other newcomers that arrive in L.A. every year. At the end of this 4-hour seminar with us you will have a game plan for success. The cost is $179 and it's worth every penny. Visit my website and sign up today for the next workshop. email wawentertainment@yahoo.com for more info.

If you liked this information and found it helpful leave a comment! I love to hear from new people.
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Wendy Alane Wright Smith
Talent Manager
WAW ENTERTAINMENT
wawentertainment@yahoo.com

How Can I Get A Talent Manager?

You can get a Talent Manager in several ways. Here are three ways:
1) Attend Showcases for Managers.
2) Ask other actors who their Managers are and ask for a referral.
3) Purchase the book at Samuel Frenchs in (Hollywood or online, "The Right Manager" by Keith Wolfe and start making tons of phone calls and sending emails.

As a Talent Manager I receive submissions from people everyday who want to be actors. I say it this way because not all people who submit are actors. They want to be, but many of them aren't yet. They can't all act. I open emails and snail mail with pictures and resumes and it never ceases to amaze me how wanna be actors put so little thought into these all important 1st impressions.

I recently got a headshot from a guy in his 20's with a really great look. His cover letter to me said among other things, "I am currently seeking a commercial or theatrical agent for representation." First I am a manger, not an agent. But I can get him an agent when he is ready if I believe in his talent, like his attitude and choose to take him on as a client. Next I followed the link to his LA Casting site and there was no demo attached. Not a single piece of footage was attached to anything. So how can I see if he can act?

I called this actor and asked if he would please email me a demo from any of the 5 films on his resume, or a scene, or any footage he may have of his acting. He sent back a link that did not work when I clicked it. Great 1st impression. (Actors please check that the link works before you send it.) He also sent one audition video he did for the role of a thug. He said "Most of the projects I have done, I have not received copies for. I hope this suffices." Well it was something, so I watched the audition video.

I liked his look, I liked the body language, his facial expressions and reactions were good, but, his eyes did not mean anything he said. He was acting like he meant what he was saying, but he did not live it. He was not believable. He was not ready to meet an agent. Now I have to determine if I think there is enough potential for me to work with him to get him ready. So I flip over his resume to see where he has trained and there are only four items listed: MN TV & Film On Camera Technique, AIA Studios Scene Study Analysis, 310 Studios Commercial Workshop and Entertainment Studios Improvisation. Do you see the problem here?

There are no acting classes, he has not trained as an actor! Seriously? He did not study at any school for acting. He did not go to college and get a degree in acting. So where did he learn his craft and what makes him think he can act? That is like a Doctor that hasn't been trained as a Doctor. Would you ever hire him?

By looking at his resume, I can see exactly what he has been up to. He has simply taken a few 1 day workshops. Yet in his cover letter informs me he thinks he is ready to have an agent. I see this all the time. Listen up actors, I would never use my relationships and connections with agents to send them an untrained actor. I would look like a fool, and agents would hate me. "Actors" like this have no possibility of competing with trained actors. Agents trust my opinion because I only send them great actors, who are well trained and who are ready! My relationship with the agents I know are crucial I will never put these relationships in jeopardy for anyone. One of our top jobs as Managers is to weed out these kind of people for Agents.

Now here is where it gets funny. I have to call the actor and tell him he can't act. Well I don't say it that way. Instead I say, "I love your look, I think you have potential but I had a few problems with the scene I watched. Your energy was great, expressions wonderful, but I did not believe you. There was no truth in your eyes."

At this point, actors either get defensive and give me attitude, saying I don't know what I am talking about and thank me for my time. Good luck I say and believe me, I am grateful I don't have to waste anymore time with that actor. Or they accept the feedback. Maybe they even agree and ask what they should do. That is the answer I am looking for. That is a sign they may be willing to take my direction. Great because that is what our entire relationship will be based on. For this actor specifically, I will suggest a class with Margie Haber who teaches actors to "live" the moment and not "act out" the moment. That is what he needs. Will he take my advice? Who knows.

Another one of my jobs as a talent manager is to develop actors to get them to the point where they would be good enough for an agent. It is all about doing good acting work. You have to be a good or great actor. Period. If you do exceptional work people will notice. If you want to be an actor you primary goal is to become the best you can be at it. That requires lots of training with quality teachers. If you have a degree in college you are still not done training. You have only had institutional training. not professional training. Often recent college grads with Theater degrees in hand get bent out of shape when you tell them that. Thank you for your time they say. Listen up college grads professional acting training is the same reason Doctors have internships after their schooling. You need time to learn from working professionals. It is very different. If you don't take a managers word for it you will find out yourself.

So I spend some of my time weeding through tons of headshots to determine which actors are serious by the amount of training they have had, the plays they have done and the non-union work they have gotten on their own. I get excited by every actors dream, but it is only feasible for me to work with actors who are committed to being great actors, who have a positive attitude and are willing to take direction.

To find a Talent Manager that is right for you in LA go to Samuel French Bookstore on Sunset Boulevard or online and purchase the $12 book "Personal Managers" by Keith Wolfe. It lists most managers in LA and the types of clients they work with. Go through it with a highlighter and mark the ones that are open to submissions from your type. Hopefully you know what your type is, but that will be another discussion. Be careful selecting a manager. Managers do not have to be licensed like Talent Agents so there are scam artists out there. You should never pay upfront fees for any manager. Managers are supposed to take 15%-20% commission on what your book. Also, you should be given a list of various photographers and teachers to work with. Avoid managers who have a training, photo, representation package. They are often not legit.
When contacting a manager you really need to have your stuff together. Your cover letter should be professional. It should include your headshot, resume and demo reel. If you don't have a demo reel, it should include some kind of footage of you acting so we can get a taste of what you can do. Record a scene or a monologue on your iPhone and send that. Make sure it is well lit so we can actually see you. At least it is something. If you really can act, don't worry about sending professional film if you don't have it. We can tell by what you send where you are in your career. But if the acting is good that is all we care about.

Your headshot should be professional but if it isn't, we will look still review them. We are looking for energy, a sparkle in your eye, charisma, truth, for emotion in the pictures. My daughter's first headshot at 5 years old was a picture I took and she booked off of it all the time. It captured an attitude and an intensity she had. It cost $0. Once we have signed you and are starting to get you out on auditions, you will likely need new headshots then. So don't let that stop you from reaching out to a manager. We can help you get the right headshots when the time is right.

Always be polite and friendly. We don't owe you anything. There are thousands of actors right behind you looking for their chance every year. If you have an attitude of entitlement, or your ego proceeds you into the room, we quickly remove you from our presence. We are looking for humble, talented, hardworking actors. Confidence is fine, arrogance is not. It won't work on the set with directors and it won't work with your representatives. Our job as managers is to weed that kind of actor out so as not to burden the rest of our industry with them.

Be enthusiastic, upbeat and speak positively about yourself and your passion for acting. Don't worry, if you are lying, we will figure that out by what you have done on your resume. Which reminds me to tell you, keep your resume 100% truthful because sometimes we do call your teachers to see what they think about your acting ability. Remember, we are investing a lot of time into your career and we don't get paid until you are good enough to book the work.

It amazes me when actors say, "I don't know about paying 15% of what I make." Really? You don't make anything yet. Geez. And when you do start making money it will be because we spent 2 years getting you ready to.

It also stuns me when actors don't want to sign a 2 or 3 year contract. They say, "that's a long time, can't we just do 6 months." No we can't. Why on earth would I invest 6 months of my time developing you for free so you can walk away with advances skills and give some other representative the benefit of my hard work? Realistically, it takes 2 - 3 years to really start working in this town. That is what it takes to get you going. If I spend that kind of time with you, working for free, it is because I believe in you and believe that you have the ability to be a profitable actor in the future. I want a piece of that pie.

But, that is not the reason I do this job. I love discovering new talent and getting them on TV and into Films. Nothing makes me happier than to see actors succeed at their dreams. I love on that adrenaline every day. However, this is also a business and you are a mini corporation. I am one of your investors so of course I want to see a return on my investment. Oh by the way, I also have to like you personally because we are going to be spending a lot of time together.

Lastly, one of the biggest things managers look in an actor is the ability to take direction. If you sign with a manager, be prepared to take a lot of direction. We have a lot to do to get you ready for a career as a actor. We are like Med School for an actor. You will have to work hard, but by the time you have completed "my curriculum" you will be ready.

Well that's that. Now you see what it takes to contact a manager and make a good impression. The fact is MOST actors just starting out are NOT ready for a talent manager, because you are not ready for us to sell yet to casting directors. A manager helps makes an actor competitive with actors who have been here longer. I have a 52-Week Course "Talent Manager In Your Pocket - Step by Step Instructions For Every Actor's First Year." This course gets actors ready for a manager.

Learn all about my 52-Week Course and watch the VIDEO here:
http://www.youtube.com/watch?v=NwMGlTmmidM

SIGN UP TODAY!

If you are ready to join the other smart actors who are receiving my 52-week program "Talent Manager In Your Pocket - Step by Step Instructions For Every Actor's First Year" and you are ready to take your career to the next level then...JOIN ME TODAY! The 52 Week program is only $295. For less than 1 month of acting classes you will receive one whole year of personal guidance from a Hollywood Talent Manager. By the end of the year, you will be miles ahead of the competition and I told you would happy with the price. It may go up in the next year or two, but for now that's what it is.

So if you are ready:

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If you liked this information and found it helpful leave a comment! I love to hear from new people.
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Wendy Alane Wright Smith
Talent Manager
WAW ENTERTAINMENT
wawentertainment@yahoo.com

Don't Be Afraid. Believe In Yourself.

Fear can be your worst enemy. It can suck the life out of you. It can drain you of your inspiration, your motivation and your actions. It can keep you from being who you are capable of being. It is a raper of creativity. But, you have to accept it's existence, learn how to live with it and over come it. You should never let fear define you or your life. That will be a life you will regret.

Performers deal with fear all the time. Fear of not being good enough is a huge one! There is also fear of making mistakes, fear of failure or even fear of succeeding. Failing and falling down only means you have to get up. Taking chances that may have you looking badly is part of the journey. Let's be honest. Everyone will not like you. Not everyone will care for your brand of humour, or style or looks or talent. And that is okay! You are who you are. You are a unique gift to this world. Stop and breathe that in. It's true. You will never be someone else and you will never be repeated again, ever. You are a miracle. And what is inside of you is special. Your talent is uniquely you. Only you can bring it.

John Kimble from the William Morris Agency says, "I believe every person on the face of the earth is unique. Therefore you are not in competition with anybody else."

It is important to say this mantra to yourself every single day, "What other people think of me is none of my business." Say it in your car, when you wake up, looking straigh into your eyes in the mirror. Post it on the mirror. This will change how you think. And when you have done this for several months, you will notice you care so much less about what people think and you will gain new strength to follow your own heart.

I hate when people are born with great gifts inside them and never realize them fully because they are too afraid to take chances, to fail, or to succeed. It breaks my heart because we are all worth so more much than we remember we are. Artists are notorious for self sabotage and fear "interfearing" with success. But remember, because you are born with your gifts already inside you, they are your birth rite to share. God has placed them within us not to hoard and be selfish with, but to share with others and make the world a better place. (if you believe in God). If you don't, it doesn't change the fact that we are all born with gifts and they are there to be shared, period. Not sharing them will only cause you personal stress. And that is no fun to live with.

The great singer Michael McDonald told me one day after a concert, Wendy not everyone will like your voice. Not everyone likes mine. I sing for the people who do and I sing for myself." Man was he right. I sing because I love to sing. It fills my soul to be creative and to express. And when that dirty things called fear creeps back in, I have to work hard to embrace it and get past it. The most successful people in the world have to do this too. When Mayor Bloomfield was asked to sing at a NY event he panicked. Even though he had spoken in front of thousands of people at countless events, he had never sung at any of them. Doing something new was terrifying. Even a very successful and wealthy man can be afraid of not being good enough, or making a mistake, or a fool of himself. The difference between successful people and unsuccessful people is that successful people feel the fear and do it anyways. Unsuccessful people feel the fear and let it stop them in their tracks, or cause them to run away from opportunity. Half of success is just showing up.

Artists are sensitive, often insecure, and deeply self centered by nature have to work very hard at this. Being an artist means taking chances and being willing to bare all of your heart and soul in front of strangers, and opening yourself up to public criticism and rejection. We stand on a stage and say what do you think? It can be so scary, but our art calls us in a haunting, never let go of you sort of way. As artists we must do this, or we feel trapped inside ourselves. And that can be unbearable for ourselves and others. Just ask the people around us!

I recommend a concept called Contrary Action. It means to take an opposite action than you currently feel like taking. If you get afraid and start to back out of an audition, you take contrary action and go anyways. If you think speaking to a producer or director is scary and you procrastinate on the call you should be making, take Contrary Action. You will have to force yourself to take Contrary Action. But what will happen after 6 months of this is you will have realized that none of what you were afraid of was ever as scary as you had imagined it to be. And sometimes you will have really enjoyed it. Wow! To learn more about Contrary Action and how to apply it to your life for drastic changes you can purchase my Book "Contrary Action, An Ordinary Girl's Dialogue with God straight from my Contrary Action website. Yes, the title mentions God, but it is not a religious book. It is a spiritual book that will truly help you make drastic changes and create the life you really want to be living. It has worked for me and many others!

So to wrap this up... if you are alive and if your are human which I assume all of you are. That dirty things called fear is present in your life. You do yourself a huge disservice by letting manipulate you. You are strong and in charge of your thoughts and emotions. You can choose what to give your power to. We have tremendous power and the ability to manifest what we intend. Use that for your own benefit and the benefit of others. Focus your Power of Intention and all that good energy you have inside yourself on taking Contrary Actions and being the creative, expressive person I know you really are.

This applies to people in all walks of life. We need scientists to follow their dreams and intuition and share their gifts. We need doctors to do it, teachers, veterinarians, etc. etc., and even plumbers. No offense...we really need them to do it. However artists are my personal favorite people. I am moved to the core by people who are willing to be vulnerable and share their humanity. Actors, Writes, Singers, Directors, Producers, Musicians, Casting Directors, Costumers, Special Effects and so many more have the amazing opportunity to express their creativity and bring forth light and love into t he world through their art and talents. Yaaay! I love them and I thank them.

You follow your dreams and your heart. Your gifts will be appreciate by many, not everyone, but enough to matter.
If you touch just one heart with your gifts haven't you made the world a better place?
If you liked this information and found it helpful leave a comment! I love to hear from new people.
Visit and "like" me on Facebook https://www.facebook.com/#!/pages/WAW-Entertainment/108466172546413 or follow me on Twitter @WAW_wendy

Wendy Alane Wright Smith
Talent Manager
WAW ENTERTAINMENT
wawentertainment@yahoo.com