An Acting Coach's Advice for Helping Your Child Actor Learn Lines

These days, young actors are being asked more and more to come to auditions with scripts fully memorized, even if they’re provided with pages the night before. Obviously, this is a difficult and daunting task for actors of any age, but especially so for young actors. 

So how can you make the task a bit easier and more manageable? Glad you asked! When it comes to memorizing lines—whether for a production or audition—the way you learn the words are just as vital to the way you perform them. As such, we have found in working with so many young actors on this exact task that learning lines by rote is the best, most effective way. 

What does it mean to learn something “by rote”? In short, it means rewriting the lines completely free of stage direction and punctuation...basically a long run-on sentence. If it’s a whole scene, write your lines and the other characters’ lines without capitalization, punctuation, or stage direction. 

And why do we think learning lines by rote is the best course of action? 

Because it means you learn the words without meaning and without any concern for how you will deliver them. Since punctuation and stage directions are the first things that lead an actor to a predetermined and intellectual way of performing, removing them allows you to solely memorize words and then instill your own take on how to act them. For example, if you see a question mark at the end of a line, you assume you have to raise your inflection when speaking the line. But that’s just an idea—you can perform that line any way that feels right to you in the context of the scene, inflection or no.

READ: 5 Steps to Understanding Your Scene as a Teen Actor

The truth is that in real life, people rarely talk with any notion of punctuation. It happens on its own as they’re speaking and is based on what is happening at that moment between themselves and the others in the conversation. The same must be true in your acting and memorizing by rote will help you with a more natural performance down the road since you haven’t made any hard-and-fast decisions about how you plan to deliver the lines. 

Ready to give it a try? When you first start rehearsing, read the scene very slowly with your acting partner. Do not try to perform yet. Really listen to the other person and simply respond to what they say and do. Allow the meaning to brew in you slowly and steadily.

Once you have the words learned as best as you can and think you really know them, move on to line rehearsal, an effective and fun way to work with your scene partner to get the words even more implanted into your veins. 

Get a small ball or pillow—anything you can toss back and forth with your acting partner. Stand about five feet apart and begin to throw the object back and forth rapidly. Then, as you are tossing the object to each other, begin to say the words of the scene as fast as you can. Spit the words out of your mouth mechanically, automatically, mindlessly, without any pauses. If you pause to remember a word, you must start again at the beginning of the scene. If you get stuck and mess up a word, you must start again at the beginning of the scene. Continue to do this before every scene rehearsal until you can do the whole scene—beginning to end—without any mistakes in the words and without pauses.

In the line rehearsal, there is no acting; it’s just words shooting out of your mouth as fast as possible and a great way to get stronger and stronger in really knowing the words. This is so important because when you put the scene on its feet, if you have a beautiful and unexpected moment between you and your partner, the first thing to go out the window will be the words. When you get stuck in this way, you’ll both miss out on a wonderful and surprising moment. But if you really know the words, they will simply ride on the wave of life that is happening and this creative event will take you by storm, which is exactly what we want.

The Secret to Working More as an Actor

Good actors make acting look effortless. That’s why everyone wants to be an actor. But the truth is, we all know it’s difficult. Yes, you need to train, hone your skills and craft, network, and have what the casting directors need. But being a good actor takes much more than that. Begin following these simple tips and you just might find yourself working more. 

Say please and thank you. 
It’s what your parents taught you. Saying please is just good manners and makes the other person feel comfortable. People want to be appreciated, plain and simple. And practicing gratitude will make you happy. Say thank you to your agent, manager, casting director, director, assistant director, fellow actors, craft services, the stage manager...anyone and everyone. You never know where your next job is coming from.

Tell the truth. 
Telling the truth will bring you peace of mind and allow you to have integrity. Everyone wants to work with someone with integrity. In an industry where people lie to get what they want, telling the truth will earn respect. Be truthful with your words, in your picture, and on your résumé. It must all represent who you are really are, not who you want to be or think someone else wants you to be.  

As an actor working on a character, we uncover the lies to get to the truth. We must get to our own truth as well. Watching a truthful actor is an extraordinary experience. The audience can spot a liar—they’re not stupid.

READ: 6 Books Every Actor Should Have on the Shelf

Listen. 
Sure, we all practice listening. Do you ever see an actor scrunch up his face to show he is really listening? As my friend and colleague Larry Silverberg says, “listen with the ear of your heart.” That is what real listening means. It’s hard and takes practice, but when you achieve it, you can be fully present with another actor and with anyone you’re interacting with. It’s a great gift to be heard and one that may land you another job.

Go on more auditions.  
I encourage all my students to go on as many auditions as possible. The more you audition, the more comfortable you’ll be with the process. You’ll also hone your skills at interpreting material and putting your unique spin on characters. Acting can often be a numbers game. The more auditions you attend, the better your chances are at landing a part.

While you’re waiting, observe others. What do the other actors do that impresses you? What about the casting director and other staff members? Can you learn anything about them by their mannerisms and communication as they watch auditions? This isn’t an opportunity to judge others so you can feel better about yourself. Instead, it’s an opportunity to shift your focus from your own performance and learn from other actors. Everyone contributes something special to an audition, even if it didn’t go well. Watch and learn.

Have quiet confidence. 
I was recently on set with a few of my students shooting a film. I marveled at how the director connected with one young actor in particular. She possessed a quiet confidence the other young actors lacked. She was prepared for the challenging scene, but each time the camera stopped rolling and things shifted on set, she remained quiet, professional, and always with a confidence that said, “I’ve got this and am ready for anything.” She listened and offered an opinion or point of view when asked. Actors that possess a quiet confidence in the audition room are apt to get a director, producer, or casting director’s full attention.

5 Things Parents Should Never Say to Their Child Actors

In my experience, many people aren’t aware of the power their words can have. This is especially true for parents, and even more so for parents of young performers. As the caregiver and primary figure in a child’s life, a parent’s attitude and actions make a significant impact on a child actor’s confidence and success. As a mother myself, I’ve certainly said the wrong thing to my children many times because I thought I was helping.

As a mother myself, I also know you want the best for your child. But remember that while some things you say may seem helpful, they can be damaging. Below are five seemingly-helpful phrases it’s easy for you to offer your child actor but that should be avoided at all costs. If you’ve said them before, forgive yourself and remove them from your vocabulary for the future.

1. “Practice in front of a mirror.”
I’ve worked with hundreds of kids over the years and when a child tells me they were coached to practice in front of a mirror, it makes my skin crawl. In acting, you must know your lines and say them as if it’s the first time you’ve ever uttered them. Each time your child take the stage or the camera is ready to roll, he or she is experiencing something for the first time—so how does practicing in front of a mirror help? This practice only reinforces that your child is an actor who is rehearsing lines and mimicking facial expressions, an incredibly inorganic way to approach the material.

2. “You’ll get the next part.”
It hurts when a child doesn’t get something they wanted. To ease the pain, you may think you’re helping by telling your child this white lie. But telling them something you do not know to be true will hurt them more. If you say they’ll get the next part and it doesn’t happen, your child will learn to distrust you in the future. It’s hard to see your child face rejection but you can be a great mentor and role model during let downs by listening and helping them to stay optimistic about future opportunities. Your best approach is to help them find the good in every outcome.

3. “You look fat on camera.”
In an industry that puts so much emphasis on what someone looks like and with kids believing they have to be model-thin to be a star, this is one of the most dangerous things you can say to your child actor. Children are growing and developing for many years; their bodies will change throughout their lives, especially in adolescence. If you’ve noticed a change in your child’s body on camera, don’t address it directly. If you’re truly concerned, let your child’s doctor evaluate it.

4. “Look into the camera when taping with a reader.”
Casting directors are increasingly using video auditions to screen young actors these days. This can be beneficial as it reduces travel time and expense, making the first audition process more efficient for everyone. When self-taping, the actor needs to connect with the reader sitting and standing to the side of the camera so he only time the actor should be looking directly into the camera is when slating or if the instructions say to do so. Remember they’re not acting; they are making a connection with someone while trying to make something happen in the scene.

5. “You didn’t try hard enough.”
Your child may not have gotten the role because they were too tall, too short, didn’t have the right features, or simply wasn’t what the casting director wanted. It may have nothing to do with their effort. There is so much that’s out of one’s control in this business. If your child didn’t book the role, the worst thing you can say is, “You didn’t try hard enough.” Of course they did. Most of the time it’s not the best actor that gets cast, it’s the right actor.

You want to help your child and have them succeed but you may not always have the right answer when the moment is tense and your child is hurting. If you’re not sure what to say, say nothing except that you love them and are proud of their efforts, the most important message a parent can share with any child.

Doing—Not Acting—Will Make You Great

Many young actors are taught to play “tactics,” an action or strategy carefully planned to achieve a specific end. The word brings up images of generals sitting around a war room, strategically planning an attack on the enemy. And that’s exactly how most actors approach the “playing of an action.”

But we prefer to call actions or objectives “doings.” What’s the difference? With “doing,” you’re not pretending or faking something, you really do it, hence the name. This small tweak in approach will lead to great acting that is truly alive.

For example, you’re playing a character named Sally who just found out she’s failing math class. She needs to get the teacher to change her grade so as to not disappoint her parents. All too often, we’ll see the actor make a sad facial expression and sad sounds with her voice to make it seem like she is, in fact, sad about the grade. This is called indicating and it’s nothing more than a lie.

To really grip the audience and hit them where they live, the actor instead needs to actually experience and feel what the character is experiencing and feeling. She needs to be devastated. She needs to beg the actor playing her teacher, not just have her character beg another character. It’s a simple concept, but it’s not as easy to achieve.

Have you ever seen an actor onstage who is supposed to be hungry and eating but only pretends to eat, not actually putting the food in his or her mouth for fear of the food getting in the way of the audience appreciating the clever way he or she is delivering lines? If you’re supposed to be hungry and eating cereal, eat the cereal. Really do what you are doing.

How? Here’s an example from life that may help illustrate the point.

You come home from school and your sister is standing by the sink, crying. You rush over and hug her but she pushes you away and shouts, “Don’t!” What do you do next? Do you run right back and hug her again in the same way? Of course not. You’re a human being and you would adjust to the information you just received from her response. Maybe you remain silent for a moment. Maybe you gently whisper, “What happened today?” The only person who would rush right back over and throw their arms around her in the very same way would be the actor who had carefully and strategically rehearsed their “tactic.”

While you must always know what you’re doing or what your objective is, the how to do it is supplied by the other person. You must learn how to actually receive what the other actor is giving and then authentically respond to that behavior, moment by moment.

This takes a lot of practice and is only truly achieved through training with others. It requires taking risks and being willing to explore freely with your mind, body, and spirit. The objective must be accomplished with all of your behavior—the speaking of the words, your physical and emotional behavior, the way you listen and receive what the other actors are giving you.

It’s invigorating stuff and will transform the quality of your acting in the most brilliant way, making you what we call a “true actor.”

Help Your Child Actor Grow This Summer

As the days get longer, temperatures rise and school demands end. It’s officially summer, most kids’ and teens’ favorite season, and a wonderful time to decompress, change up routines, pick up skills, form different relationships, and try new things.

Because young working actors carry the burden of both work and school during the academic year, summer is a valuable time to lighten up and actually be a kid, while at the same time developing new skills. Whether your child is enrolled in a theater or traditional camp, traveling, or working at home, summer affords endless possibilities for growth that can’t take place during the school year.

When I see my students in September, I marvel at how they have not only grown in inches but also in maturity. This summer, encourage your kids to get the most out of their time with these tips.

Become a camper.
I attended sleepaway camp from the age of seven. As an independent, active, social young girl, I was happiest at a camp that offered a host of activities. As I developed into a teen, summer camp became a place to blossom and form healthy relationships, some of which I still maintain today.

Listen and observe while traveling.
I love hearing of all the fascinating places my students visited over the summer. With the world as their classroom, encourage them to watch, listen, and learn. If your child wants to work on their dialect skills, consider planning a family trip to another country; the best way to learn a dialect is directly from the source.

If you’re traveling this summer, encourage your child to do a little homework by observing and listening. It can be fun and educational to speak with new people.

Delve deeply into the craft of acting.
One of my favorite sayings is, “Talent and passion are essential elements in an actor’s life. Training is the glue that holds them together.” During the school year, there is limited time to study intensely and consistently between school, rehearsals, and other commitments which makes summer a great time to take advantage of intense training in acting, singing, or dance.

Just like an athlete, your young performer needs to continually improve their skills. Intensive courses that require many hours that just aren’t feasible during the school year, making it an ideal endeavor come summer.

Volunteer and serve your community.
Sympathy and empathy can’t be taught in the classroom, but these qualities are critical to a being a good actor and a good human. Being charitable is a beautiful way for kids to give back and have fun. The most successful actors are those who demonstrate the ability to give and support others.  A kind and giving person is attractive and always welcome in a cast.

Learn a new skill. 
A person with diverse interests who is curious and invests time in acquiring new skills comes across as vital, intriguing, and attractive. Your child’s interests outside of acting can be as essential as learning how to act or sing. The best performers are interesting people first. Casting directors love to see the pieces that make up your child and keep them well-rounded.

Take a break.
Be a kid and have fun. Wash your hair in the rain, catch lightning bugs, go fishing, read a book, lie on the beach! Just as there is much to learn with structured time, learning how to be still is a skill in and of itself. To “just be” is a core concept in acting and requires practice. Encourage your child to carve out time to rest and relax. When they do, they’ll be ready for the fall audition season with plenty of energy and excitement.

Whatever you and your child choose this summer, make sure you include plenty of time to make great memories together.

How to Deal With the Stress of a Last-Minute Self-Tape for Your Child Actor

You just received a message from your rep that your child has an audition…tomorrow. Because auditions have been slow, you are excited about the opportunity for your child. But then you realize it’s actually a self-tape with 12 pages of memorized material due in the next 24 hours. Your child isn’t even home from school yet and you’re already stressed because, on top of this self-tape, he also has a test tomorrow he needs to study for.

This stressful situation can be painful for both parents and young actors. To make it all a little easier, there are a few things you can do as a parent of a child actor:

Be prepared with equipment. 
Self-tapes are very popular today so make sure you have a home setup for tapings. Even though your child will have to memorize and be prepared with the material, if you’re prepared to tape at home with lights, backdrop, and camera equipment, you won’t have to make last-minute calls looking for a studio. It will also be helpful if you/your child knows how to upload the scene onto a computer to be sent off quickly.

Oh, and be sure your printer is working so you can have the sides handy—along with a highlighter—to start the memorization process.

Ask for help.
Parental anxiety and the desires to have your child nail the audition will stress your kid out and can get in the way of their best performance. If that’s true for your family, remove yourself from the mix and use a coach or taping studio. As an acting coach who does many tapings a week, I get last-minute calls all the time and will always try to accommodate young actors if I can, even taping clients at 10 p.m. if necessary.

If there isn’t time for a live coaching session, consider a Skype lesson with a coach to get some tips on the scene to make the taping smoother. Find a mentor you can trust and count on for moments like these.

Think outside the box.
If your child is a good student and has good attendance, you may want to consider letting them tape in the morning and head to school late. Discuss the situation with the school ahead of time to let them know your child is pursuing an acting career and ask for allowances. If the school agrees, it will take some of the pressure off. If your child is auditioning regularly and seems stressed, you may want to revisit the schooling situation to make sure it’s working for everyone.

Breathe and let go of perfectionism. 
Remind your child that this is all supposed to be fun, satisfying, and gratifying. Casting directors don’t expect perfection, especially when a young actor is asked to prepare many pages on short notice. The instructions say actors should memorize the material but if that is just not possible, instruct your child to become very familiar with the material. Then, he can glance at the script off to the side if he stumbles over the lines.

Ask for an extension. 
In some situations, you may be able to request an extension. Extensions aren’t always available but if you don’t ask, you will never know. Speak to your rep and explain the situation. An extra day could make all the difference.

Turn down the audition. 
Is it worth the aggravation? If your child has been very committed and never turns down an audition, weigh this decision carefully. Ask yourself how important this one is. Discuss this option with your child, then your agent and manager so you can make a choice together. It’s not wise to set a precedent of missing auditions but declining one or two will not be harmful if the situation is impossible.

The industry is using self-tapes so much these days and it’s a trend I don’t see slowing down anytime soon. Preparing for situations like these is wise. Be ready to move quickly and help your child do their best. Check in with your child to make sure they understand the commitment and that they’re still on board. Working hard under pressure is tough, especially when there’s no guarantee of a callback or booking so be sure to celebrate their hard work in other ways.

5 Ways to Be a Fearless Actor

The most successful actors in the world are the fearless ones. And they develop the ability to be fearless by taking risks. When you get out of your comfort zone and try new things, your acting becomes more alive, more exciting, and more passionate. Safe acting is dull for you and your audience.

Now, I’m not talking about walking through fire, jumping off a building, or driving a race car (unless of course, you’re a stuntman or woman). Risk-taking comes in many forms and the choices you make in the audition room and on stage will demonstrate just how daring, brave, and courageous you can be. 

Why? Because directors and casting directors respond to the actors who aren’t afraid to get out of their comfort zones and be willing to try new things. It’s real, it’s honest, and it’s irresistible. 

When I ask my students to do their first scene in class, no hands go up to volunteer. They’re afraid of not being ready, of failing, of being judged, of not being perfect. But I tell them that it’s these precise moments when they’re scared that they should volunteer to go first. Jump in and see what happens. If mistakes are made, no big deal. Class is the perfect place to take risks, try new things, and learn to recover when you fall. 

Ready to give fearless acting a try?

READ: Conquering the Audition Is an Inside Job

Get out of your comfort zone.
If you’ve primarily been performing dramatic work and want to focus on comedic skills, try doing stand-up at an open mic. It might sound scary but all the more reason to do it. I recently tried stand-up and to my surprise, found I could make people laugh. It helped me gain new confidence and learn that when a joke didn’t land, the world didn’t end.

Practice risk-taking in your daily life.
Talk to a stranger on the subway, in line for coffee, on a plane. Ask someone who you’ve been admiring out on a date. Share that thing that’s been on your mind for awhile. Pay attention to what happens afterward. Did you fall flat on your face or did you learn something new about yourself? Practicing in life is an excellent rehearsal for your next audition or performance.

Shed perfection and embrace imperfection.
Though you’re probably your own harshest critic, know that it’s the crack in the vase that’s often most interesting to the person looking at the whole picture. Don’t be afraid of letting your flaws show through. If you’re not totally off book for an audition, hold the pages. Better to have an incredible audition with them in your hand than stumble through half-memorized lines.

Forgive yourself.
Maybe you took a risk that didn’t pan out or you got a bad review. That can hurt and be hard to forget, but embrace humanness and all the mistakes that come with it. It’s those mistakes that may be the game-changers. 

Act like nobody’s watching.
Don’t care what someone else thinks of you and your performance. Trust that you have done the work, that you are embodying your character, that you are genuinely showing up present in the moment and getting your needs met. You don’t always know what the auditor wants. They don’t always know what they want either until they see a stellar audition. But when you can show up authentically, have fun and feel good about what you’re doing, they will too.

Ask Denise: Should Background Work Be on Your Child’s Résumé?

Q: Should my daughter put a featured background role for a TV show on her résumé or should all extra work be left off?  —@Amanda052, Backstage Community Forums

The purpose of a résumé is to provide casting directors and directors with your child’s range of experience and training as an actor through the roles they have played. And while extra work—also known as background work—is experience, it is not acting work. Industry professionals know that.

Extra work can give your child industry experience, but not legitimacy regarding skill. No one looks at a résumé and gets excited about extra work. A small part in a community theater production or a student film will hold more weight than a featured background credit because the role requires skill.

If your child has no experience other than some extra work, then list it. It can be a positive learning experience for actors who are just starting out, and it provides the chance to work on a set and see what goes on behind and in front of the camera.

However, extra work is not a launching pad to an acting career. While it gives the actor some knowledge of how production works, it’s not a replacement for working as an actor. Many well-known actors began by doing extra work, but that’s not how they ultimately achieved success.

Young actors just beginning in the industry may not have a lot of credits yet. When putting together their résumé, it’s perfectly acceptable to have school and camp experience, student films, and even extra or background work listed, as long as it’s not there only as padding. 

If all your child has done is extra work, feel free to list some of those credits initially. As they gain more experience and have more acting roles under their belt, the extra work should be replaced with the new credits on their résumé.

How To Prevent Your Child From Being Over-Coached

Casting directors want real kids. The problem is that many young actors are over-coached. Parents, read on for some tips to help you help your child get the casting director’s attention and win the audition!

1. Be Truthful. Too often, kids rehearse with their parents or coaches over and over again learning to emphasize words and emote. They are taught to show, not do. Going over dialogue until they are blue in the face will get them nowhere. It isn’t about the words; it is about being themselves and listening. A child’s biggest asset is simply to be who they are and not try to imitate someone else. When I see youngsters who practice in front of the mirror, it makes me crazy! Do you practice in front of the mirror when you are going to have a conversation with someone? Even in the interview or slate (when an actor says their name for the camera before an audition), over-coaching can be obvious. I once auditioned a young actor who came in the room and when I said “Hello,” she responded, “Hello, ladies and gentlemen,” as if she was a speaker addressing a full house. Parents, allow your children to be natural and real. It may be the most helpful thing you can do for them.

2. Listen. This basic concept may sound simple, but it is not always easy. Kids are often so concerned about memorizing lines that they spend their time thinking of the next words to say rather than actually listening to the reader or other actor. Memorization is certainly important, especially if the actor is going on tape, but not nearly as important as a truthful audition. If there is not enough time to learn the lines, encourage your child to use the script as a reference, glancing when necessary, but always listening attentively to the person they are reading with.

3. Take Direction. Good listening also plays a big part in being able to take direction. The over-coached child may have learned the scene well in one way but may be incapable of changing it. Listening to the director or casting director and being able to make adjustments is a sure-fire way to make a good impression. If something is not clear, it is perfectly acceptable to ask questions. In fact, this may be a way to score points. I can assure you that captivating, smart, and curious actors will most always get the callback!

So, how can you as a parent be the most helpful to your child without over-coaching? Explain what is going on in the scene and define any words your child may not understand. If you are a professionally trained actor or coach and your child will listen to you, great! If not, it is really best to leave the job to a skilled acting coach who knows how to get your child to be natural without looking coached. Master your craft, empower yourself, and enjoy the journey.

How To Assemble the Best Team For Your Career (Part 1)

I never met an athlete who wanted to be on a losing team. They know that being good at what you do may get you in the game, but it won’t win you a championship trophy. The same is true for actors. Your team matters.

Picking the right agent and/or manager, the “team,” may be just what you need to help you succeed in this business. Your team can be comprised of you (the player) and your agent; you and your manager; or all three of you. Knowing the right questions will help you determine what is best for you.

How do you best prepare for the interview? First, make sure you know the roles of both agent and manager. In a nutshell, the agent is franchised with the union and able to procure auditions for you. The manager plays a more supportive role as they help you cultivate your career. A manager can be an integral part of your team when you are just entering the business or when you become more successful. They tend to work with fewer clients than the agent and have more time to guide and advise you. You want to find someone who believes in you wholeheartedly and will do whatever it takes to move your career forward.

Get familiar with the company you are interviewing with beforehand. Research them on the web, and ask colleagues what they know about them. You may feel more self-assured if you prepare ahead of time with some questions for your interview. Here are a few tips to get you started.

1. What is the difference between an agent and a manager? You did a general mailing or you were seen in a performance, and both managers and agents wanted to meet with you. You may think you know the difference, but finding out how they define their role will be very informative. What is the agent's role? What will the manager do for you that the agent doesn’t? How do they work together? Each agent or manager has their own style. Listen carefully. It’s not only what they say but how they say it that will help you know if they are the right match for you.

2. If I sign with a manager, do I need to be signed with one agent or will I freelance with many? Years ago, managers submitted directly on projects without an agent and used an attorney to negotiate the contract. This is still a grey area. Some continue to work this way. In the world of child actors, it is very common to work with a manager and freelance with a few agents. Whichever agent calls the manager for the client first, wins. Today, many managers sign their clients to one agent and collaborate as a team. Find out how your prospective rep works and make sure it will meet your needs.

3. What is the difference between a freelance agreement and signing with one agent? It is typical to sign a one-year exclusive contract with an agent and a three-year contract with a manager. It is also possible to work on a handshake or freelance with several agents. Offering you a contract may give you a sense of security knowing your rep is committed to you. Ask the company you are interviewing with how they operate and see if it will work for you.

I’m sure you are flattered and excited to be interviewing with the agent and/or manager, but remember, you are hiring them. Ask questions, get informed, and listen carefully. This is an important decision, and you want to make sure that it’s a good fit.

Tune in next week for Part Two on how to best prepare for your interview.