8-15-08
Training 2008
Networking: A Business Tool for Theatre Artists
The power of networking in the business world is well established. So why has it not taken off in the performing arts community? Absent an official poll, I’ve spent the summer informally chatting with people about actors and networking, and have learned that they don’t do it as much as they could, resulting in untold missed opportunities.
What holds them back? Generally it’s the fear of being labeled as irritating. They don’t want to be seen as that annoying person who’s always bugging casting directors for information. Or worse, they don’t want to be seen as sucking up.
As long as actors (and all theatre artists) view networking as something you’re doing for yourself to get ahead, you’ll probably feel like a fake. It’s when you turn it around and look at networking as helping others find what they need, that you can get comfortable with it. The basic rule is: It’s not about you, it’s about them.
Carmen Aiello, former Chicago casting director for Next and Raven theatres, now LA casting assistant for “CSI Miami,” is passionate about actors getting out there and meeting the people who can hire them.
“You have to look outside yourself, and you have to know how to network,” Aiello said. “Actors need to be speaking to each other more than just on a Thursday night at a bar. They need to go out and talk about who is directing this next project, what is going on next.”
So how do you actually do it? Many of you already keep casting directors updated on what you’re doing by sending out regular mailings. But how many of you know what those casting directors are doing and what kind of roles they might need help filling? How many of you keep in touch with former directors and fellow cast members you’ve worked with to learn what they are working on? And how do you do it all without coming off as a sycophant?
Mark J. Carter (or just “Carter”), consultant on building professional relationships online and offline, understands the stigma around networking in theatre and film, but also the importance of doing it well. He offered the following advice to networking newbies in the arts. (In the interest of full disclosure, Carter co-founded an organization with me and our other business partner, Justin Roy, called Networking for a Cause, and I frequently avail myself of his expertise.)
The Approach: “Networking is a lot like dating. You’re not going to ask someone to marry you on the first date,” says Carter. “Just like you don’t ask Erica Daniels to cast you in a Steppenwolf show the first time you run into her at a performance.”
Keep in mind everyone’s favorite subject—themselves—and stay focused on them, which leads us to a handy acronym….
POP: “Every single person in the world has a Person they need to know, an Opportunity they want to create, or a Problem that they need to solve,” says Carter. “The great thing is those three things will change on average every 30-60 days.” This creates a built-in follow up excuse and gives you new ways to help them and make an impression. Carter says to ask the person, “What do you need right now? What are you working on right now?”
The answer may not have anything to do with theatre—maybe it’s tax time and they really need a CPA.
“If you help them solve a problem, they will love you.”
Focus: If you are serious about your business (and we all know it’s called show business for a reason), ask yourself every day: where am I going to be, what am I going to do, and how am I going to follow up? Carter points out that “where” doesn’t have to be a physical place. Go online and find something written by the person you want to connect with professionally.
“There is zero excuse to not find a blog posting, Facebook update, article, whatever,” he says. “Get off your ass and spend 15 minutes at midnight and respond to a blog.”
This is an easy way to get on the radar of someone you want to meet and create a built-in conversation starter when you do run into them at an event.
“You already know a topic that they care enough to write about,” Carter notes. “Take advantage of that.”
Ultimately it comes down to your audition or interview in order to get hired, but by getting to know the person outside of the audition room, they may be much more receptive to you when they see you at auditions. These are some simple steps you can take to get started. All things being equal in the audition, we’d rather work with people we know than people we don’t. Wouldn’t you rather be in the former category?