Will “Liking” Me Get Me Work?

Every day I see actors asking for “Likes” for their IMDb or Facebook Page. Somewhere in some “marketing” seminar someone has told us that this is how actors get work. We are told stories of how producers narrow 100k-Facebook-Likesdown their choices to whoever has the greatest social media following. We are shown charts and statistics that “prove” their point. So every day I see actors scrambling  . . .  to get more “Likes”.

This concept never sat well with me. Something in my gut said, “No, this is not true. This is not how an actor gets work.” I couldn’t prove it, I couldn’t argue it, because there was always some random example of how it worked for “someone”. (Most likely because the producers needed the talent’s “friend” list more than their talent.) But here is what I have witnessed:

Working actors are “well liked”, while actors scrambling for “likes” are not working. 

It’s simply a reversal of events, and comes down to two things: working actors go out into the real world and grow their network (hence more “likes”), and they have something to offer their followers. We see production stills, personal stories, funny or insightful observations, RandomQUOTEphotos from industry events, etc. The Non-Working Scrambler re-posts links and quotes from other sources and we only hear from them when they need an audience or money for their crowdfunding campaign. If we reverse our actions and maker better use our time by scrambling for work in the real world, our rewards will be far greater and more tangible than scrambling for “likes” in the virtual world.

I am writing this as I contemplate opening up my Profile Page to the general public. What to do?

 

How to Dodge the Flying Sh*t

slippery-slope-3One year ago, the beginning of my downward spiral began. On September 11th, my boyfriend’s father called to say he didn’t have long to live. I drove my boyfriend to the airport, supporting him with strength and optimism. I thought he’d be back in two weeks. Instead, he spent four months tending to his dad’s declining health. From September to January, I drove back and forth from my place to his – over the hill and back – to forward his mail and personal items, water his (now dead) plants, and care for his cat. Kitty’s renal failure required special care. As bad timing would have it, I began to suffer from painful facial eczema that greatly affected my quality of life. My strength and optimism were beginning to wane. Just before Thanksgiving, my computer died. With all my running around I had no time to see friends. I was quite alone, and started to feel it. We decided it was best if I moved in to his place. I felt a sense of relief, but now I was looking at having to purge thirteen years of my lifePallBearers. On New Year’s Eve, I gave my thirty days’ notice, and on January 3rd, my boyfriend’s father died. I had my phone turned off when he tried to call me. Epic Fail.

I jumped on a plane to help with his dad’s funeral, but didn’t expect to help with his mom as well. Dementia was setting in, and now her son had a new reason to stay even longer. Back in L.A., I had to either sell or give away most of my belongings before I could move. It wasn’t until March when I felt I could finally catch up with my business and my life. (Really, there is no “catching up”).

Now six months had passed, and my savings were drained. Commercial auditions were unusually scarce, and theater jobs trickled. I still suffered from the eczema, buGetting to know yout could no longer afford a doctor. In May, Kitty was diagnosed with cancer and needed even more care. In June, my theatrical agent went out of business, I had a terrible falling out with a friend, and my dentist informed me that I needed a $1000 crown. July was a very dark month. Then on August on 29th – in the vein of “wfronthat else could go wrong?” –  my parked car was totaled by a reckless driver.

Don’t’ ask me if I can see that “everything happens for a reason”. That’s a question to occupy the mind, not the heart. Here is what my heart awakened to: Every terrible thing I experienced gave me something concrete to fix/solve, and every single time, it revealed itself as a distraction. Everything distracted me from working on my art and on my business. This is not to say that I place no importance on these outside events. I very much do. What they’ve brought to my attention, however, is my willingness to put my art and my business aside in favor of them. There are no clear outcomes, no guaranteed results in creative endeavors. To do the work for the sake of doing the work is “poo-pooed” in our culture – How can you enjoy (fill in the blank) when (fill in the blank) has happened? Are you making money at it? Are you forwarding your career? These questions are nothing but excuses for not showing up to the canvas. couch_potatoDuring hard times, it is more acceptable to self medicate in front of the TV than it is to expand ourselves. What we must see is that exercising our talents – with no societal agenda or audience approval –  is how we feel better, feel joy, and reap the rewards.

What is that thing you’ve been yearning to do that will expand your talents and put a smile on your face? doingMakeUpAre you too busy checking off your to-do list to get down to the real work? Are you doing the work, but repeatedly coming up for air to see if someone is clapping? Expanding our talents is what we are meant to do. It is not selfish. It is mandatory, and it gets us through the hard times.

LAW #1 Infinite Creativity

Get Out of Your Head

Get Out of Your Head

Get out of your head and you will have access to infinite possibilities. How many times have we been told, “Get out of your head”? The problem is, the harder we try, the more we’re sure to stay in it. When our minds are occupied by thoughts of trying  to think ahead or trying to find the joke/game or what furthers the plot, we are no longer open to every possibility. So what to do? Get out of your head and get into  . . . the now.  You might ask: But if I get out of my amazing memory of impressive facts, how can I wow the audience with quick wit and pop culture trivia? Or, how can I make the scenes relevant without implementing current events and philosophical references? Personally, I hate when a stage gets littered with “clever clutter”. It’s a guaranteed sign that the actors don’t trust the scene. The 13th century poet and mystic, Rumi, said, “Sell your cleverness and buy bewilderment.” Observe the artist who successfully suspends their rational, linear mind andmoves ‘into the zone’. It’s when your thinking mind lures you out of the zone – out of the “now” –that you resort to the clutter. Be present. Look at your partner. Look at them entirely. Really look at them. (Or really feel them.) When you get into the present, your mind stops, and everything that is important rises to the surface. Compare the hyperactive dispensing of cleverisms to a string quartet where the musicians are banging on their instruments. If the “chatter” is noisy, then no one will notice the subtle pluck of the perfectly tuned viola. That subtle pluck could be what takes you to the next level of relationship and scenic progression. That subtle pluck was probably the heart of the scene. If you’d rather make a joke, then that subtle pluck will never be heard.

I’m not Moses, but I’ve got these Laws . . .

Link

I was inspired to write a book about the Laws of Improv, because after so many years of watching improvisation become “mainstream”, I was still shocked to see how many people thought it was something that only “funny, clever” people did, or worse – feared it. I’m not that clever, but I do have more funny moments than the average person. Hitting those moments (quite by accident) gave me encouragement to move forward. I took it as a hint to further explore other different forms, but at no time was I ever afraid. I took my fearlessness for granted. Recently, I thought I should look inward to see why I was so attracted to improv and why I loved it so. I asked myself: What is it in me that makes me fearless without a script? Why am I so excited about uncertainty? It seems that I – and many others– was born with a  knowing. A knowing that is there for everybody. This is when I began to put it into words. While doing this, I was surprised to learn that a very skilled improv friend did not have this innate knowing, but that years ago had forced themselves to cultivate it. What if they had this information 20 years ago?

 

We all know the basic rules of improv: Don’t ask questions, Don’t deny, YesAnd, etc. But these rules can and have been broken by many a seasoned improviser. We’ve seen it, and it gives us delight to see how a pro handles it. What I now discovered – literally at my kitchen table – is that there are Laws of Improv, and these can never be broken. They are like the laws of physics   – they just are. I’m hoping that these Laws will bring you a sense of relief and peace. Knowing that no matter what you to do, these laws will never change and you can find comfort in them. Once you fully understand them and make them part of your play time, you will be able to achieve great things. After all, air travel is only possible by understanding the Law of Gravity.