Great Jobs for Theatre Majors

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Great Jobs for Theater Majors Goldberg, Jan. NTC Contemporary 084424743X 9780844247434 9780071397223 English Theater--Vocational guidance. 1998 PN2074.G66 1998eb 792/.023 Theater--Vocational guidance.

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Great Jobs for Theater Majors Jan Goldberg Series Developers and Contributing Authors Stephen E. Lambert Julie Ann DeGalan

VGM Career Horizons NTC/Contemporary Publishing Group

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Library of Congress Cataloging-in-Publication Data Goldberg, Jan. Great jobs for theater majors / Jan Goldberg. p. cm. Includes index. ISBN 0-8442-4743-X 1. TheaterVocational guidance. I. Title. PN2074.G66 1998 792'.023dc21 97-46133 CIP Published by VGM Career Horizons A division of NTC/Contemporary Publishing Group, Inc. 4255 West Touhy Avenue, Lincolnwood (Chicago), Illinois 60646-1975 U.S.A. Copyright © 1998 by NTC/Contemporary Publishing Group, Inc. All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of NTC/Contemporary Publishing Group, Inc. Printed in the United States of America International Standard Book Number: 0-8442-4743-X 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1

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Dedication

To my husband, Larry, for his continual love and support.

To my daughters, Sherri and Debbie, for always believing in me.

And to the memory of my father and mother, Sam and Sylvia Lefkovitz, for encouraging me to follow my dreams.

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CONTENTS

Acknowledgments

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Introduction Theater: Bringing Pleasure to Yourself and Others

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Part One. The Job Search

1

Chapter 1 The Self-Assessment

2

Chapter 2 The Resume and Cover Letter

22

Chapter 3 Researching Careers

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Chapter 4 Networking

63

Chapter 5 Interviewing

76

Chapter 6 Networking or Interviewing Follow-Up

86

Chapter 7 Job Offer Considerations

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Chapter 8 The Graduate School Choice

96

Part Two. The Career Paths

109

Chapter 9 Introduction to the Theater Career Paths

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Chapter 10 Path 1: Performing

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Chapter 11 Path 2: Behind the Scenes

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Chapter 12 Path 3: The Business of Theater

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Chapter 13 Path 4: Teaching Theater

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Chapter 14 Path 5: Other Theater Careers

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Appendix A: Course Descriptions

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Appendix B: Additional Resources

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Index

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About the Author

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ACKNOWLEDGMENTS The author gratefully acknowledges the professionals who graciously agreed to be profiled within and all of the associations and organizations that provided valuable and interesting information. My dear husband, Larry; daughters, Sherri and Debbie; son-in-law Bruce; sister Adrienne; and brother, Paul; for their encouragement and support. Family and close friends: Michele, Alison, Steven, Marty, Mindi, Cary, Michele, Marci, Steven, Brian, Jesse, Bertha, Aunt Estelle, Uncle Bernard, and Aunt Helen. A special thanks to a special friend, Diana Catlin. Sincere gratitude to Betsy Lancefield, editor of VGM Career Horizons, for providing this challenging opportunity and help whenever and wherever it is needed.

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INTRODUCTION THEATER: BRINGING PLEASURE TO YOURSELF AND OTHERS A just and lively image of human nature, representing its passions and humors, and the changes of fortune to which it is subject, for the delight and instruction of mankind. John Dryden Acting as an art can be traced all the way back to the fifth century B.C. to the time of the early Greeks, who held contests for dramatists at religious festivals. Here, in outdoor theaters, trained choruses sang or recited lines while wearing masks symbolic of the emotions of anger, sorrow, fear, or joy. Some of these plays, for example, Antigone and Oedipus, have continued through time and may still be seen presented similarly today. During the 1300s, dramas focusing on religious themes were presented to provide a method of religious instruction. In the sixteenth century, the Renaissance featured playwrights including Marlowe, who wrote Doctor Faustus, Caleron, who wrote Life Is a Dream, and probably the most famous playwright of all, Shakespeare, who wrote Hamlet, The Tempest, A Midsummer Night's Dream, Romeo and Juliet, Julius Caesar, and others.

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In the 1800s, theater in the United States advanced rapidly and several dramatic groups, including the Washington Square Players and the Province-town Players, were created. The early 1900s brought silent movies, a new and exciting outlet for actors. Early performers in this medium included Charlie Chaplin, Buster Keaton, and Mary Pickford. When methods of recording sound were developed in 1926, actors were allowed to speak as well as act. In the 1930s and 1940s, the heyday of radio broadcasting, comic, musical, and dramatic presentations such as The Shadow, the Jack Benny Show, Fibber McGee and Molly, and Amos and Andy were popular. This trend lasted only until the 1950s when television became the center of entertainment. Today, performers may appear in dramas, comedies, musicals, commercials, and other types of presentations that may be seen in movies, on television, or on the stage. These performances provide information, entertainment, education, and enrichment for millions of people living all over the world.

The Importance of Education While it is true that having a college degree will not guarantee you a position in the world of theater (or any other field, for that matter), it is important to realize that this is the best way to prepare yourself and to increase your chances in the job market. No matter what specific career you choose, a higher education will: Offer a broad base of knowledge and experiences 1. Allow you to increase and perfect your skills 2. Provide you with opportunities to gain important personal and professional contacts 3. Give you the information you need to make an informed career decision 4.

Recognizing that there is intense competition, given the multitude of talented people vying for each job opening, you must somehow set yourself above and apart from the others. A dynamite combination is a college degree with at least one internship, additional formal training or study, experience working in the field, and enthusiasm along with a positive attitude. That's the way to truly position yourself with an edge over other well-qualified candidates. Good luck in your quest!

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PART ONE THE JOB SEARCH

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Chapter One The Self-Assessment Self-assessment is the process by which you begin to acknowledge your own particular blend of education, experiences, values, needs, and goals. It provides the foundation for career planning and the entire job search process. Self-assessment involves looking inward and asking yourself what can sometimes prove to be difficult questions. This self-examination should lead to an intimate understanding of your personal traits, your personal values, your consumption patterns and economic needs, your longer-term goals, your skill base, your preferred skills, and your underdeveloped skills. You come to the self-assessment process knowing yourself well in some of these areas, but you may still be uncertain about other aspects. You may be well aware of your consumption patterns, but have you spent much time specifically identifying your longer-term goals, or your personal values as they relate to work? No matter what level of self-assessment you have undertaken to date, it is now time to clarify all of these issues and questions as they relate to the job search. The knowledge you gain in the self-assessment process will guide the rest of your job search. In this book, you will learn about all of the following tasks: Writing resumes Exploring possible job titles Identifying employment sites Networking Interviewing Following up Evaluating job offers

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In each of these steps, you will rely on and return often to the understanding gained through your self-assessment. Any individual seeking employment must be able and willing to express to potential recruiters and interviewers throughout the job search these facets of his or her personality. This communication allows you to show the world who you are so that together with employers you can determine whether there will be a workable match with a given job or career path. How to Conduct a Self-Assessment The self-assessment process goes on naturally all the time. People ask you to clarify what you mean, or you make a purchasing decision, or you begin a new relationship. You react to the world and the world reacts to you. How you understand these interactions and any changes you might make because of them are part of the natural process of self-discovery. There is, however, a more comprehensive and efficient way to approach self-assessment with regard to employment. Because self-assessment can become a complex exercise, we have distilled it into a seven-step process that provides an effective basis for undertaking a job search. The seven steps include the following: Understanding your personal traits 1. Identifying your personal values 2. Calculating your economic needs 3. Exploring your longer-term goals 4. Enumerating your skill base 5. Recognizing your preferred skills 6. Assessing skills needing further development 7.

As you work through your self-assessment, you might want to create a worksheet similar to the one shown in Exhibit 1.1. Or you might want to keep a journal of the thoughts you have as you undergo this process. There will be many opportunities to revise your self-assessment as you start down the path of seeking a career. Step 1 Understanding Your Personal Traits Each person has a unique personality that he or she brings to the job search process. Gaining a better understanding of your personal traits can help you

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evaluate job and career choices. Identifying these traits, then finding employment that allows you to draw on at least some of them can create a rewarding and fulfilling work experience. If potential employment doesn't allow you to use these preferred traits, it is important to decide whether you can find other ways to express them or whether you would be better off not considering this type of job. Interests and hobbies pursued outside of work hours can be one way to use personal traits you don't have an opportunity to draw on in your work. For example, if you consider yourself an outgoing person and the kinds of jobs you are examining allow little contact with other people, you may be able to achieve the level of interaction that is comfortable

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for you outside of your work setting. If such a compromise seems impractical or otherwise unsatisfactory, you probably should explore only jobs that provide the interaction you want and need on the job. Many young adults who are not very confident about their attractiveness to employers will downplay their need for income. They will say, ''Money is not all that important if I love my work." But if you begin to document exactly what you need for housing, transportation, insurance, clothing, food, and utilities, you will begin to understand that some jobs cannot meet your financial needs and it doesn't matter how wonderful the job is. If you have to worry each payday about bills and other financial obligations, you won't be very effective on the job. Begin now to be honest with yourself about your needs. Inventorying Your Personal Traits Begin the self-assessment process by creating an inventory of your personal traits. Using the list in Exhibit 1.2, decide which of these personal traits describe you.

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Focusing on Selected Personal Traits Of all the traits you identified from the list in Exhibit 1.2, select the ten you believe most accurately describe you. If you are having a difficult time deciding, think about which words people who know you well would use to describe you. Keep track of these ten traits. Considering Your Personal Traits in the Job Search Process As you begin exploring jobs and careers, watch for matches between your personal traits and the job descriptions you read. Some jobs will require many personal traits you know you possess, and others will not seem to match those traits. Working as a drama teacher, for example, will draw upon your reserves of creativitybut not necessarily for your own work. Teaching is essentially outer-directed, and your

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ability to create methods to stimulate, encourage, and guide students will be far more important personal traits for success than your own attention to technique and stage presence. Teaching calls for the ability to motivate others and to support their efforts without being overly critical or judgmental. Drama teachers, especially those working within a school system, must be sensitive to the needs and goals of their students, but also be able to work toward meeting the criteria set by others. Your ability to respond to changing conditions, decision-making ability, productivity, creativity, and verbal skills all have a bearing on your success in and enjoyment of your work life. To better guarantee success, be sure to take the time needed to understand these traits in yourself. Step 2 Identifying Your Personal Values Your personal values affect every aspect of your life, including employment, and they develop and change as you move through life. Values can be defined as principles that we hold in high regard, qualities that are important and desirable to us. Some values aren't ordinarily connected to work (love, beauty, marriage, family, or religion), and others are (autonomy, cooperation, effectiveness, achievement, knowledge, and security). Our values determine, in part, the level of satisfaction we feel in a particular job. Defining Acceptable Working Conditions One facet of employment is the set of working conditions that must exist for someone to consider taking a job. Each of us would probably create a unique list of acceptable working conditions, but items that might be included on many people's lists are the amount of money you would need to be paid, how far you are willing to drive or travel, the amount of freedom you want in determining your own schedule, whether you would be working with people or data or things, and the types of tasks you would be willing to do. Your conditions might include statements of working conditions you will not accept; for example, you might not be willing to work at night or on weekends or holidays. If you were offered a job tomorrow, what conditions would have to exist for you to realistically consider accepting the position? Take some time and make a list of these conditions. Realizing Associated Values Your list of working conditions can be used to create an inventory of your values relating to jobs and careers you are explor-

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ing. For example, if one of your conditions stated that you wanted to earn at least $25,000 per year, the associated value would be financial gain. If another condition was that you wanted to work with a friendly group of people, the value that goes along with that might be belonging or interaction with people. Exhibit 1.3 provides a list of commonly held values that relate to the work environment; use it to create your own list of personal values. Relating Your Values to the World of Work As you read the job descriptions in this book and in other suggested resources, think about the values associated with that position. For example, the duties of a theatrical agent would include networking, investigating, and arranging auditions; coordinating schedules with producers and performers; fielding offers; and negotiating contracts. Associated values are organization, mobility, communication, and cooperation.

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If you were thinking about a career in this field, or any other field you're exploring, at least some of the associated values should match those you extracted from your list of working conditions. Take a second look at any values that don't match up. How important are they to you? What will happen if they are not satisfied on the job? Can you incorporate those personal values elsewhere? Your answers need to be brutally honest. As you continue your exploration, be sure to add to your list any additional values that occur to you. Step 3 Calculating Your Economic Needs Each of us grew up in an environment that provided for certain basic needs, such as food and shelter, and, to varying degrees, other needs that we now consider basic, such as cable TV, reading materials, or an automobile. Needs such as privacy, space, and quiet, which at first glance may not appear to be monetary needs, may add to housing expenses and so should be considered as you examine your economic needs. For example, if you place a high value on a large, open living space for yourself, it would be difficult to satisfy that need without an associated high housing cost, especially in a densely populated city environment. As you prepare to move into the world of work and become responsible for meeting your own basic needs, it is important to consider the salary you will need to be able to afford a satisfying standard of living. The three-step process outlined here will help you plan a budget, which in turn will allow you to evaluate the various career choices and geographic locations you are considering. The steps include (1) developing a realistic budget, (2) examining starting salaries, and (3) using a cost-of-living index. Developing a Realistic Budget Each of us has certain expectations for the kind of lifestyle we want to maintain. In order to begin the process of defining your economic needs, it will be helpful to determine what you expect to spend on routine monthly expenses. These expenses include housing, food, transportation, entertainment, utilities, loan repayments, and revolving charge accounts. A worksheet that details many of these expenses is shown in Exhibit 1.4. You may not currently spend for certain items, but you probably will

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have to once you begin supporting yourself. As you develop this budget, be generous in your estimates, but keep in mind any items that could be reduced or eliminated. If you are not sure about the cost of a certain item, talk with family or friends who would be able to give you a realistic estimate. If this is new or difficult for you, start to keep a log of expenses right now. You may be surprised at how much you actually spend each month for food or stamps or magazines. Household expenses and personal grooming items can often loom very large in a budget, as can auto repairs or home maintenance. Income taxes must also be taken into consideration when examining salary requirements. State and local taxes vary by location, so it is difficult to calculate exactly the effect of taxes on the amount of income you need to generate. To roughly estimate the gross income necessary to generate your minimum annual salary requirement, multiply the minimum salary you have calculated (see Exhibit 1.4) by a factor of 1.35. The resulting figure will be an approximation of what your gross income would need to be, given your estimated expenses. Examining Starting Salaries Starting salaries for each of the career tracks are provided throughout this book. These salary figures can be used in conjunction with the cost-of-living index (discussed in the next section) to determine whether you would be able to meet your basic economic needs in a given geographic location. Using a Cost-of-Living Index If you are thinking about trying to get a job in a geographic region other than the one where you now live, understanding differences in the cost of living will help you come to a more informed decision about making a move. By using a cost-of-living index, you can compare salaries offered and the cost of living in different locations with what you know about the salaries offered and the cost of living in your present location. Many variables are used to calculate the cost-of-living index, including housing expenses, groceries, utilities, transportation, health care, clothing, entertainment, local income taxes, and local sales taxes. Cost-of-living indices can be found in many resources, such as Equal Employment Opportunity Bimonthly, Places Rated Almanac, or The Best Towns in America. They are constantly being recalculated based on changes in costs. If you lived in Cleveland, Ohio, for example, and you were interested in working as a high school drama teacher

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Page 13 in the Cleveland School District, you would earn, on average $21,093 annually. But let's say you're also thinking about moving to either New York, Los Angeles, or Minneapolis. You know you can live on $21,093 in Cleveland, but you want to be able to equate that salary in other locations you're considering.

You would have to earn $39,363 in New York, $22,994 in Los Angeles, and $19,303 in Minneapolis to match the buying power of $21,093 in Cleveland. If you would like to determine whether it's financially worthwhile to make any of these moves, one more piece of information is needed: the salaries of high school drama teachers in these other cities. The Association for School, College, and University Staffing, Inc. reports the following average salary information for elementary/secondary school teachers in their 19951996 school year: Region Annual Salary Change in Salary Equivalent Buying to Ohio Power Mid Atlantic (including New York) West (including Los Angeles) Great Plains (including Minneapolis) Midwest (including Cleveland)

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$23,751 $24,447 $20,068 $21,093

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$39,363 $22,994 $19,303

-$15,612 +1,453 +$765

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If you moved to New York City and secured employment as a high school drama teacher, you would not be able to maintain a lifestyle similar to the one you led in Cleveland; in fact, you would have to add more than fifty percent to your income to maintain a similar lifestyle in New York. The same would not be true for a move to Los Angeles or Minneapolis. You would increase your buying power given the rate of pay and cost of living in these cities. You can work through a similar exercise for any type of job you are considering and for many locations when current salary information is available. It will be worth your time to undertake this analysis if you are seriously considering a relocation. By doing so you will be able to make an informed choice. Step 4 Exploring Your Longer-Term Goals There is no question that when we first begin working, our goals are to use our skills and education in a job that will reward us with employment, income, and status relative to the preparation we brought with us to this position. If we are not being paid as much as we feel we should for our level of education, or if job demands don't provide the intellectual stimulation we had hoped for, we experience unhappiness and, as a result, often seek other employment. Most jobs we consider "good" are those that fulfill our basic "lower-level" needs of security, food, clothing, shelter, income, and productive work. But even when our basic needs are met and our jobs are secure and productive, we as individuals are constantly changing. As we change, the demands and expectations we place on our jobs may change. Fortunately, some jobs grow and change with us, and this explains why some people are happy throughout many years in a job. But more often people are bigger than the jobs they fill. We have more goals and needs than any job could fulfill. These are "higher-level" needs of selfesteem, companionship, affection, and an increasing desire to feel we are employing ourselves in the most effective way possible. Not all of these higherlevel needs can be fulfilled through employment, but for as long as we are employed, we increasingly demand that our jobs play their part in moving us along the path to fulfillment. Another obvious but important fact is that we change as we mature. Although our jobs also have the potential for change, they may not change as frequently or as markedly as we do. There are increasingly fewer one-job, one-employer careers; we must think about a work future that may involve

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voluntary or forced moves from employer to employer. Because of that very real possibility, we need to take advantage of the opportunities in each position we hold to acquire skills and competencies that will keep us viable and attractive as employees in a job market that is not only increasingly technology/computer dependent, but also is populated with more and more small, self-transforming organizations rather than the large, seemingly stable organizations of the past. It may be difficult in the early stages of the job search to determine whether the path you are considering can meet these longer-term goals. Reading about career paths and individual career histories in your field can be very helpful in this regard. Meeting and talking with individuals further along in their careers can be enlightening as well. Older workers can provide valuable guidance on "self-managing" your career, which will become an increasingly valuable skill in the future. Some of these ideas may seem remote as you read this now, but you should be able to appreciate the need to ensure that you are growing, developing valuable new skills, and researching other employers who might be interested in your particular skills package. If you are considering pursuing a career as an actor, you would gain a better perspective on this path if you talked to people working in different settings: to someone in regional theater, in television, in films, in commercials. Each will have a different perspective, unique concerns, and an individual set of value priorities. Step 5 Enumerating Your Skill Base In terms of the job search, skills can be thought of as capabilities that can be developed in school, at work, or by volunteering and then used in specific job settings. Many studies have documented the kinds of skills that employers seek in entry-level applicants. For example, some of the most desired skills for individuals interested in the teaching profession include the ability to interact effectively with students one on one, to manage a classroom, to adapt to varying situations as necessary, and to get involved in school activities. Business employers have also identified important qualities, including enthusiasm for the employer's product or service, a businesslike mind, the ability to follow written or verbal instructions, the ability to demonstrate selfcontrol, the confidence to suggest new ideas, the ability to communicate with all members of a group, awareness of cultural differences, and loyalty, to name just

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a few. You will find that many of these skills are also in the repertoire of qualities demanded in your college major. In order to be successful in obtaining any given job, you must be able to demonstrate that you possess a certain mix of skills that will allow you to carry out the duties required by that job. This skill mix will vary a great deal from job to job; to determine the skills necessary for the jobs you are seeking, you can read job advertisements or more generic job descriptions, such as those found later in this book. If you want to be effective in the job search, you must directly show employers that you possess the skills needed to be successful in filling the position. These skills will initially be described on your resume and then discussed again during the interview process. Skills are either general or specific. General skills are those that are developed throughout the college years by taking classes, being employed, and getting involved in other related activities such as volunteer work or campus organizations. General skills include the ability to read and write, to perform computations, to think critically, and to communicate effectively. Specific skills are also acquired on the job and in the classroom, but they allow you to complete tasks that require specialized knowledge. Computer programming, drafting, language translating, and copyediting are just a few examples of specific skills that may relate to a given job. In order to develop a list of skills relevant to employers, you must first identify the general skills you possess, then list specific skills you have to offer, and, finally, examine which of these skills employers are seeking. Identifying Your General Skills Because you possess or will possess a college degree, employers will assume that you can read and write, perform certain basic computations, think critically, and communicate effectively. Employers will want to see that you have acquired these skills, and they will want to know which additional general skills you possess. One way to begin identifying skills is to write an experiential diary. An experiential diary lists all the tasks you were responsible for completing for each job you've held and then outlines the skills required to do those tasks. You may list several skills for any given task. This diary allows you to distinguish between the tasks you performed and the underlying skills required to complete those tasks. Here's an example: Tasks Skills Effective use of language, clear diction, ability to direct inquiries, ability to solve Answering telephone problems Poise under conditions of time and pressure, speed, accuracy, good memory, Waiting on tables simultaneous completion of tasks, sales skills

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For each job or experience you have participated in, develop a worksheet based on the example shown here. On a resume, you may want to describe these skills rather than simply listing tasks. Skills are easier for the employer to appreciate, especially when your experience is very different from the employment you are seeking. In addition to helping you identify general skills, this experiential diary will prepare you to speak more effectively in an interview about the qualifications you possess. Identifying Your Specific Skills It may be easier to identify your specific skills, because you can definitely say whether you can speak other languages, program a computer, draft a map or diagram, or edit a document using appropriate symbols and terminology. Using your experiential diary, identify the points in your history where you learned how to do something very specific, and decide whether you have a beginning, intermediate, or advanced knowledge of how to use that particular skill. Right now, be sure to list every specific skill you have, and don't consider whether you like using the skill. Write down a list of specific skills you have acquired and the level of competence you possessbeginning, intermediate, or advanced. Relating Your Skills to Employers You probably have thought about a couple of different jobs you might be interested in obtaining, and one way to begin relating the general and specific skills you possess to potential employer needs is to read actual advertisements for these types of positions (see Part II for resources listing actual job openings). For example, you might be interested in a career as a broadcast technician. A typical job listing might read, ''Requires 25 years experience, organizational and inter-personal skills, imagination, drive, and the ability to work under pressure." If you then used any one of a number of general sources of information that describe the job of a broadcast technician, you would find additional information. Broadcast technicians also install, test, repair, set up, and operate the electronic equipment used to record and transmit radio and television programs. They work with television cameras, microphones, tape recorders, transmitters, antennas, and other equipment. Begin building a comprehensive list of required skills with the first job description you read. Exploring

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advertisements for and descriptions of several types of related positions will reveal an important core of skills necessary for obtaining the type of work you're interested in. In building this list, include both general and specific skills. Following is a sample list of skills needed to be successful as a broadcast technician. These items were extracted from general resources and actual job listings. Job: Broadcast Technician General Skills Have a specific body of knowledge Work long hours near deadline Work well with other people Be able to work under pressure Have physical stamina Possess manual dexterity

Specific Skills Be proficient with electronics Be familiar with control rooms Work with transmitters Test equipment functions Operate television cameras Set up sound effects

On separate sheets of paper, try to generate a comprehensive list of required skills for at least one job you are considering. The list of general skills that you develop for a given career path would be valuable for any number of jobs you might apply for. Many of the specific skills would also be transferable to other types of positions. For example, broadcast technicians who work with television transmitters and antennas would utilize many of the same skills working in radio stations. Now review the list of skills you developed and check off those skills that you know you possess and that are required for jobs you are considering. You should refer to these specific skills on the resume that you write for this type of job. See Chapter 2 for details on resume writing. Step 6 Recognizing Your Preferred Skills In the previous section, you developed a comprehensive list of skills that relate to particular career paths that are of interest to you. You can now relate these

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to skills that you prefer to use. We all use a wide range of skills (some researchers say individuals have a repertoire of about 500 skills), but we may not be particularly interested in using all of them in our work. There may be some skills that come to us more naturally or that we use successfully time and time again and that we want to continue to use; these are best described as our preferred skills. For this exercise, use the list of skills that you developed for the previous section and decide which of them you are most interested in using in future work and how often you would like to use them. You might be interested in using some skills only occasionally, while others you would like to use more regularly. You probably also have skills that you hope you can use constantly. As you examine job announcements, look for matches between this list of preferred skills and the qualifications described in the advertisements. These skills should be highlighted on your resume and discussed in job interviews. Step 7 Assessing Skills Needing Further Development Previously you developed a list of general and specific skills required for given positions. You already possess some of these skills; those that remain to be developed are your underdeveloped skills. If you are just beginning the job search, there may be gaps between the qualifications required for some of the jobs being considered and skills you possess. These are your underdeveloped skills. The thought of having to admit to and talk about these underdeveloped skills, especially in a job interview, is a frightening one. One way to put a healthy perspective on this subject is to target and relate your exploration of underdeveloped skills to the types of positions you are seeking. Recognizing these shortcomings and planning to overcome them with either on-the-job training or additional formal education can be a positive way to address the concept of underdeveloped skills. On your worksheet or in your journal, make a list of up to five general or specific skills required for the positions you're interested in that you don't currently possess. For each item, list an idea you have for specific action you could take to acquire that skill. Do some brainstorming to come up with possible actions. If you have a hard time generating ideas, talk to people currently working in this type of position, professionals in your college career services office, trusted friends, family members, or members of related professional associations. If, for example, you are interested in a job for which you don't have some specific required experience, you could locate training opportunities such as classes or workshops offered through a local college or university, community college, or club or association that would help you build the level of expertise you need for the job.

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Many excellent jobs in today's economy demand computer skills you probably already have. Most graduates are not so lucky, and have to acquire these skillsoften before an employer will give their application serious consideration. So, what can you do if you find there are certain skills you're missing? If you're still in school, try to fill the gaps in your knowledge before you graduate. If you've already graduated, look at evening programs, continuing education courses, or tutorial programs that may be available commercially. Developing a modest level of expertise will encourage you to be more confident in suggesting to potential employers that you can continue to add to your skill base on the job. In Chapter 5 on interviewing, we will discuss in detail how to effectively address questions about underdeveloped skills. Generally speaking, though, employers want genuine answers to these types of questions. They want you to reveal "the real you," and they also want to see how you answer difficult questions. In taking the positive, targeted approach discussed above, you show the employer that you are willing to continue to learn and that you have a plan for strengthening your job qualifications. Using your Self-Assessment Exploring entry-level career options can be an exciting experience if you have good resources available and will take the time to use them. Can you effectively complete the following tasks? Understand and relate your personality traits to career choices 1. Define your personal values 2. Determine your economic needs 3. Explore longer-term goals 4. Understand your skill base 5. Recognize your preferred skills 6. Express a willingness to improve on your underdeveloped skills 7.

If so, then you can more meaningfully participate in the job search process by writing a more effective resume, finding job titles that represent work you are interested in doing, locating job sites that will provide the opportunity for you to use your strengths and skills, networking in an informed way, participating in focused interviews, getting the most out of follow-up contacts, and evaluating job offers to find those that create a good match between you and the employer. The remaining chapters guide you through these next steps

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in the job search process. For many job seekers, this process can take anywhere from three months to a year to implement. The time you will need to put into your job search will depend on the type of job you want and the geographic location where you'd like to work. Think of your effort as a job in itself, requiring you to set aside time each week to complete the needed work. Carefully undertaken efforts may reduce the time you need for your job search.

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Chapter Two The Resume and Cover Letter The task of writing a resume may seem overwhelming if you are unfamiliar with this type of document, but there are some easily understood techniques that can and should be used. This section was written to help you understand the purpose of the resume, the different types of resume formats available, and how to write the sections of information traditionally found on a resume. We will present examples and explanations that address questions frequently posed by people writing their first resume or updating an old resume. Even within the formats and suggestions given below, however, there are infinite variations. True, most resumes follow one of the outlines suggested below, but you should feel free to adjust the resume to suit your needs and make it expressive of your life and experience. Why Write A Resume? The purpose of a resume is to convince an employer that you should be interviewed. You'll want to present enough information to show that you can make an immediate and valuable contribution to an organization. A resume is not an in-depth historical or legal document; later in the job search process you'll be asked to document your entire work history on an application form and attest to its validity. The resume should, instead, highlight relevant information pertaining directly to the organization that will receive the document or the type of position you are seeking.

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We will discuss four types of resumes in this chapter: chronological resume, functional resume, targeted resume, and the broadcast letter. The reasons for using one type of resume over another and the typical format for each are addressed in the following sections. The Chronological Resume The chronological resume is the most common of the various resume formats and therefore the format that employers are most used to receiving. This type of resume is easy to read and understand because it details the chronological progression of jobs you have held. (See Exhibit 2.1.) It begins with your most recent employment and works back in time. If you have a solid work history, or experience that provided growth and development in your duties and responsibilities, a chronological resume will highlight these achievements. The typical elements of a chronological resume include the heading, a career objective, educational background, employment experience, activities, and references. The Heading The heading consists of your name, address, and telephone number. Recently it has come to include fax numbers and electronic mail addresses as well. We suggest that you spell out your full name and type it in all capital letters in bold type. After all, you are the focus of the resume! If you have a current as well as a permanent address and you include both in the heading, be sure to indicate until what date your current address will be valid. Don't forget to include the zip code with your address and the area code with your telephone number. The Objective As you formulate the wording for this part of your resume, keep the following points in mind. The Objective Focuses the Resume Without a doubt, this is the most challenging part of the resume for most resume writers. Even for individuals who have quite firmly decided on a career path, it can be difficult to encapsulate all they want to say in one or two brief sentences. For job seekers who are unfocused or unclear about their intentions, trying to write this section can inhibit the entire resume writing process. Recruiters tell us, time and again, that the objective creates a frame of refer-ence for them. It helps them see how you express your goals and career focus.

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In addition, the statement may indicate in what ways you can immediately benefit an organization. Given the importance of the objective, every point covered in the resume should relate to it. If information doesn't relate, it should be omitted. With the word processing technology available today, each resume can and should be tailored for individual employers or specific positions that are available. Choose an Appropriate Length Because of the brevity necessary for a resume, you should keep the objective as short as possible. Although objectives of only four or five words often don't show much direction, objectives that take three full lines would be viewed as too wordy and might be ignored. Consider Which Type of Objective Statement You Will Use There are many ways to state an objective, but generally there are four forms this statement can take: (1) a very general statement; (2) a statement focused on a specific position; (3) a statement focused on a specific industry; or (4) a summary of your qualifications. In our contacts with employers, we often hear that many resumes don't exhibit any direction or career goals, so we suggest avoiding general statements when possible. 1. General Objective Statement. General objective statements look like the following: An entry-level educational programming coordinator position An entry-level marketing position

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This type of objective would be useful if you know what type of job you want but you're not sure which industries interest you. 2. Position-Focused Objective. Following are examples of objectives focusing on a specific position: To obtain the position of Conference Coordinator at State College To obtain a position as Assistant Editor at Time magazine When a student applies for an advertised job opening, this type of focus can be very effective. The employer knows that the applicant has taken the time to tailor the resume specifically for this position. 3. Industry-Focused Objective. Focusing on a particular industry in an objective could be stated as follows: To begin a career as a sales representative in the cruise line industry 4. Summary of Qualifications Statement. The summary of qualifications can be used instead of an objective or in conjunction with an objective. The purpose of this type of statement is to highlight relevant qualifications gained through a variety of experiences. This type of statement is often used by individuals with extensive and diversified work experience. An example of a qualifications statement follows: A graduate degree in psychology and three years of experience in a children's hospital have prepared me for a career as a full-time drama therapist in an institution that values hands-on involvement and creativity. Support Your Objective A resume that contains any one of these types of objective statements should then go on to demonstrate why you are qualified to get the position. Listing academic degrees can be one way to indicate qualifications. Another demonstration would be in the way previous experiences, both volunteer and paid, are described. Without this kind of documentation in the body of the resume, the objective looks unsupported. Think of the resume as telling a connected story about you. All the elements should work together to form a coherent picture that ideally should relate to your statement of objective.

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Education This section of your resume should indicate the exact name of the degree you will receive or have received, spelled out completely with no abbreviations. The degree is generally listed after the objective, followed by the institution name and address, and then the month and year of graduation. This section could also include your academic minor, grade point average (GPA), and appearance on the Dean's List or President's List. If you have enough space, you might want to include a section listing courses related to the field in which you are seeking work. The best use of a ''related courses" section would be to list some course work that is not traditionally associated with the major. Perhaps you took several computer courses outside your degree that will be helpful and related to the job prospects you are entertaining. Several education section examples are shown here: Bachelor of Arts degree in theater arts UCLA, Los Angeles, California, May 1998 Minor: English Bachelor of Arts degree in drama Tufts University, Medford, Massachusetts, May 1997 Minor: Screenwriting Bachelor of Science degree in broadcast technology State University, Boulder, Colorado, 1996 Minor: Music An example of a format for a related courses section follows: RELATED COURSES Creative Writing Economics Technical Writing

Computer Graphics Art History Desktop Publishing

Experience The experience section of your resume should be the most substantial part and should take up most of the space on the page. Employers want to see what kind of work history you have. They will look at your range of experiences, longevity in jobs, and specific tasks you are able to complete. This

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section may also be called "work experience," "related experience," "employment history,'' or "employment." No matter what you call this section, some important points to remember are the following: Describe your duties as they relate to the position you are seeking. 1. Emphasize major responsibilities and indicate increases in responsibility. Include all relevant employment experiences: summer, 2. part-time, internships, cooperative education, or self-employment. Emphasize skills, especially those that transfer from one situation to another. The fact that you coordinated a student organization, 3. chaired meetings, supervised others, and managed a budget leads one to suspect that you could coordinate other things as well. Use descriptive job titles that provide information about what you did. A "Student Intern" should be more specifically stated as, for 4. example, "Magazine Operations Intern." "Volunteer" is also too general; a title like "Peer Writing Tutor" would be more appropriate. Create word pictures by using active verbs to start sentences. Describe results you have produced in the work you have done. 5.

A limp description would say something like the following: "My duties included helping with production, proofreading, and editing. I used a word processing package to alter text." An action statement would be stated as follows: "Coordinated and assisted in the creative marketing of brochures and seminar promotions, becoming proficient in WordPerfect." Remember, an accomplishment is simply a result, a final measurable product that people can relate to. A duty is not a result, it is an obligationevery job holder has duties. For an effective resume, list as many results as you can. To make the most of the limited space you have and to give your description impact, carefully select appropriate and accurate descriptors from the list of action words in Exhibit 2.2.

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Here are some traits that employers tell us they like to see: Teamwork Energy and motivation Learning and using new skills

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Demonstrated versatility Critical thinking Understanding how profits are created Displaying organizational acumen Communicating directly and clearly, in both writing and speaking Risk taking Willingness to admit mistakes Manifesting high personal standards

Solutions to Frequently Encountered Problems Repetitive Employment with the Same Employer EMPLOYMENT: The Foot Locker, Portland, Oregon. Summer 1991, 1992, 1993. Initially employed in high school as salesclerk. Due to successful performance, asked to return next two summers at higher pay with added responsibility. Ranked as the #2 salesperson the first summer and #1 the next two summers. Assisted in arranging eye-catching retail displays; served as manager of other summer workers during owner's absence. A Large Number of Jobs EMPLOYMENT: Recent Hospitality Industry Experience: Affiliated with four upscale hotel/restaurant complexes (September 1991February 1994), where I worked part- and full-time as a waiter, bartender, disc jockey, and bookkeeper to produce income for college. Several Positions with the Same Employer EMPLOYMENT: Coca-Cola Bottling Co., Burlington, VT, 199194. In four years, I received three promotions, each with increased pay and responsibility. Summer Sales Coordinator: Promoted to hire, train, and direct efforts of add-on staff of 15 college-age route salespeople hired to meet summer peak demand for product. Sales Administrator: Promoted to run home office sales desk, managing accounts and associated delivery schedules for professional sales force of ten

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people. Intensive phone work, daily interaction with all personnel, and strong knowledge of product line required. Route Salesperson: Summer employment to travel and tourism industry sites using Coke products. Met specific schedule demands, used good communication skills with wide variety of customers, and demonstrated strong selling skills. Named salesperson of the month for July and August of that year. Questions Resume Writers Often Ask How Far Back Should I Go in Terms of Listing Past Jobs? Usually, listing three or four jobs should suffice. If you did something back in high school that has a bearing on your future aspirations for employment, by all means list the job. As you progress through your college career, high school jobs may be replaced on the resume by college employment. Should I Differentiate Between Paid and Nonpaid Employment? Most employers are not initially as concerned about how much you were paid. They are anxious to know how much responsibility you held in your past employment. There is no need to specify that your work was volunteer if you had significant responsibilities. How Should I Represent My Accomplishments or Work-Related Responsibilities? Succinctly, but fully. In other words, give the employer enough information to arouse curiosity, but not so much detail that you leave nothing to the imagination. Besides, some jobs merit more lengthy explanations than others. Be sure to convey any information that can give an employer a better understanding of the depth of your involvement at work. Did you supervise others? How many? Did your efforts result in a more efficient operation? How much did you increase efficiency? Did you handle a budget? How much? Were you promoted in a short time? Did you work two jobs at once or 15 hours per week after high school? Where appropriate, quantify. Should the Work Section Always Follow the Education Section on the Resume? Always lead with your strengths. If your education closely relates to the employment you now seek, put this section after the objective. Or, if you are weak on the academic side but have a surplus of good work experiences,

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consider reversing the order of your sections to lead with employment, followed by education. How Should I Present My Activities, Honors, Awards, Professional Societies, and Affiliations? This section of the resume can add valuable information for an employer to consider if used correctly. The rule of thumb for information in this section is to include only those activities that are in some way relevant to the objective stated on your resume. If you can draw a valid connection between your activities and your objective, include them; if not, leave them out. Granted, this is hard to do. Center on the championship basketball team or coordinator of the biggest homecoming parade ever held are roles that have meaning for you and represent personal accomplishments you'd like to share. But the resume is a brief document, and the information you provide on it should help the employer make a decision about your job eligibility. Including personal details can be confusing and could hurt your candidacy. Limiting your activity list to a few very significant experiences can be very effective. If you are applying for a position as a safety officer, your certificate in Red Cross lifesaving skills or CPR would be related and valuable. You would want to include it. If, however, you are applying for a job as a junior account executive in an advertising agency, that information would be unrelated and superfluous. Leave it out. Professional affiliations and honors should all be listed; especially important are those related to your job objective. Social clubs and activities need not be a part of your resume unless you hold a significant office or you are looking for a position related to your membership. Be aware that most prospective employers' principle concerns are related to your employability, not your social life. If you have any, publications can be included as an addendum to your resume. The focus of the resume is your experience and education. It is not necessary to describe your involvement in activities. However, if your resume needs to be lengthened, this section provides the freedom either to expand on or mention only briefly the contributions you have made. If you have made significant contributions (e.g., an officer of an organization or a particularly long tenure with a group), you may choose to describe them in more detail. It is not always necessary to include the dates of your memberships with your activities the way you would include job dates. There are a number of different ways in which to present additional information. You may give this section a number of different titles. Assess what you want to list, and then use an appropriate title. Do not use extracurricular activities. This terminology is scholastic, not professional, and therefore not appropriate. The following are two examples:

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Society for Technical Communication, Student Senate, Student Admissions ACTIVITIES: Representative, Senior Class Officer ACTIVITIES: Society for Technical Communication Member Student Senator Student Admissions Representative Senior Class Officer The position you are looking for will determine what you should or should not include. Always look for a correlation between the activity and the prospective job. How Should I Handle References? The use of references is considered a part of the interview process, and they should never be listed on a resume. You would always provide references to a potential employer if requested to, so it is not even necessary to include this section on the resume if room does not permit. If space is available, it is acceptable to include one of the following statements: REFERENCES: Furnished upon request. REFERENCES: Available upon request.

Individuals used as references must be protected from unnecessary contacts. By including names on your resume, you leave your references unprotected. Overuse and abuse of your references will lead to less-than-supportive comments. Protect your references by giving out their names only when you are being considered seriously as a candidate for a given position. The Functional Resume The functional resume departs from a chronological resume in that it organizes information by specific accomplishments in various settings: previous jobs, volunteer work, associations, etc. This type of resume permits you to stress the substance of your experiences rather than the position titles you have held. (See Exhibit 2.3.) You should consider using a functional resume if you have held a series of similar jobs that relied on the same skills or abilities. The Objective A functional resume begins with an objective that can be used to focus the contents of the resume.

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Specific Accomplishments Specific accomplishments are listed on this type of resume. Examples of the types of headings used to describe these capabilities might include sales, counseling, teaching, communication, production, management, marketing, or writing. The headings you choose will directly relate to your experience and the tasks that you carried out. Each accomplishment section contains statements related to your experience in that category, regardless of when or where it occurred. Organize the accomplishments and the related tasks you describe in their order of importance as related to the position you seek. Experience or Employment History Your actual work experience is condensed and placed after the specific accomplishments section. It simply lists dates of employment, position titles, and employer names. Education The education section of a functional resume is identical to that of the chronological resume, but it does not carry the same visual importance because it is placed near the bottom of the page. References Because actual reference names are never listed on a resume, this section is optional if space does not permit.

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The Targeted Resume The targeted resume focuses on specific work-related capabilities you can bring to a given position within an organization. (See Exhibit 2.4.) It should be sent to an individual within the organization who makes hiring decisions about the position you are seeking.

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The Objective The objective on this type of resume should be targeted to a specific career or position. It should be supported by the capabilities, accomplishments, and achievements documented in the resume. Capabilities Capabilities should be statements that illustrate tasks you believe you are capable of based on your accomplishments, achievements, and work history. Each should relate to your targeted career or position. You can stress your qualifications rather than your employment history. This approach may require research to obtain an understanding of the nature of the work involved and the capabilities necessary to carry out that work. Accomplishments/Achievements This section relates the various activities you have been involved in to the job market. These experiences may include previous jobs, extracurricular activities at school, internships, and part-time summer work. Experience Your work history should be listed in abbreviated form and may include position title, employer name, and employment dates.

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Education Because this type of resume is directed toward a specific job target and an individual's related experience, the education section is not prominently located at the top of the resume as is done on the chronological resume. The Broadcast Letter The broadcast letter is used by some job seekers in place of a resume and cover letter. (See Exhibit 2.5.) The purpose of this type of document is to make a number of potential employers aware of the availability and expertise of the job seeker. Because the broadcast letter is mass-mailed (500600 employers), the amount of work required may not be worth the return for many people. If you choose to mail out a broadcast letter, you can expect to receive a response from 25 percent, at best, of the organizations that receive your letter. This type of document is most often used by individuals who have an extensive and quantifiable work history. College students often do not have the credentials and work experience to support using a broadcast letter, and most will find it difficult to effectively quantify a slim work history. A broadcast letter is generally four paragraphs (one page) long. The first paragraph should immediately gain the attention of the reader and state some unusual accomplishment or skill that would be of benefit to the organization. It also states the reason for the letter. Details of the sender's work history are revealed in the third paragraph. These can appear in paragraph form or as a bulleted list. Education and other qualifications or credentials are then described. Finally, the job seeker indicates what he or she will do to follow up on the letter, which usually is a follow-up call 1 to 2 weeks after the letter is sent.

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Resume Production and Other Tips If you have the option and convenience of using a laser printer, you may want to initially produce a limited number of copies in case you want or need to make changes on your resume. Resume paper color should be carefully chosen. You should consider the types of employers who will receive your resume and the types of positions for which you are applying. Use white or ivory paper for traditional or conservative employers, or for higher-level positions. Black ink on sharply white paper can be harsh on the reader's eyes. Think about an ivory or cream paper that will provide less contrast and be easier to read. Pink, green, and blue tints should generally be avoided. Many resume writers buy packages of matching envelopes and cover sheet stationery that, although not absolutely necessary, does convey a professional impression. If you'll be producing many cover letters at home, be sure you have high-quality printing equipment, whether it be computerized or standard typewriter equipment. Learn standard envelope formats for business and retain a copy of every cover letter you send out. You can use it to take notes of any telephone conversations that may occur. If attending a job fair, women generally can fold their resume in thirds lengthwise and find it fits into a clutch bag or envelope-style purse. Both men and women will have no trouble if they carry a briefcase. For men without a briefcase, carry the resume in a nicely covered legal-size pad holder or fold it in half lengthwise and place it inside your suitcoat pocket, taking care it doesn't ''float" outside your collar. The Cover Letter The cover letter provides you with the opportunity to tailor your resume by telling the prospective employer how you can be a benefit to the organization. It will allow you to highlight aspects of your background that are not already discussed in your resume and that might be especially relevant to the organization you are contacting or to the position you are seeking. Every resume should have a cover letter enclosed when you send it out. Unlike the resume, which may be mass-produced, a cover letter is most effective when it is individually typed and focused on the particular requirements of the organization in question. A good cover letter should supplement the resume and motivate the reader to review the resume. The format shown in Exhibit 2.6 is only a suggestion to help you decide what information to include in writing a cover letter.

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Begin the cover letter with your street address 12 lines down from the top. Leave three to five lines between the date and the name of the person to whom you are addressing the cover letter. Make sure you leave one blank line between the salutation and the body of the letter and between each paragraph. After typing "Sincerely," leave four blank lines and type your name. This should leave plenty of room for your signature. A sample cover letter is shown in Exhibit 2.7.

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The following are guidelines that will help you write good cover letters: Be sure to type your letter; ensure there are no misspellings. 1. Avoid unusual typefaces, such as script. 2. Address the letter to an individual, using the person's name and title. To obtain this information, call the company. If answering a 3. blind newspaper advertisement, address the letter "To Whom It May Concern" or omit the salutation. Be sure your cover letter directly indicates the position you are applying for and tells why you are qualified to fill it. 4.

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Send the original letter, not a photocopy, with your resume. Keep a copy for your records. 5. Make your cover letter no more than one page. 6. Include a phone number where you can be reached. 7. Avoid trite language and have someone read it over to react to its tone, content, and mechanics. 8. For your own information, record the date you send out each letter and resume. 9.

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Chapter Three Researching Careers One common question a career counselor encounters is "What can I do with my degree?" Theater majors have narrowed their interests a little more successfully than other liberal arts graduates, but still, all the choices are not clearly defined. Theater graduates often struggle with this problem, because unlike their fellow students in more applied fields, such as accounting, computer science, or health and physical education, there is real confusion about just what kinds of jobs, other than the obvious route of teaching or performing, they can do with their degree. Accounting majors become accountants, computer science majors can work as data analysts. What jobs are open to theater majors? What Do They Call the Job You Want? There is every reason to be unaware. One reason for confusion is perhaps a mistaken assumption that a college education provides job training. In most cases, it does not. Of course, applied fields such as engineering, management, or education provide specific skills for the workplace, whereas most liberal arts degrees simply provide an education. A liberal arts education exposes you

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to numerous fields of study and teaches you quantitative reasoning, critical thinking, writing, and speaking, all of which can be successfully applied to a number of different job fields. But it still remains up to you to choose a job field and to learn how to articulate the benefits of your education in a way the employer will appreciate. As indicated in Chapter 1 on self-assessment, your first task is to understand and value what parts of that education you enjoyed and were good at and would continue to enjoy in your life's work. Did your writing courses encourage you in your ability to express yourself in writing? Did you enjoy the research process and did you find your work was well received? Did you enjoy any of your required quantitative subjects like algebra or calculus? The answers to questions such as these provide clues to skills and interests you bring to the employment market over and above the credential of your degree. In fact, it is not an overstatement to suggest that most employers who demand a college degree immediately look beyond that degree to you as a person and your own individual expression of what you like to do and think you can do for them, regardless of your major. Collecting Job Titles The world of employment is a big place, and even seasoned veterans of the job hunt can be surprised about what jobs are to be found in what organizations. You need to become a bit of an explorer and adventurer and be willing to try a variety of techniques to begin a list of possible occupations that might use your talents and education. Once you have a list of possibilities that you are interested in and qualified for, you can move on to find out what kinds of organizations have these job titles. Not every employer seeking to hire a theater major may be equally desirable to you. Some employment environments may be more attractive to you than others. A theater major wanting to perform might do that on stage for regional or larger theaters, in nightclubs, in television commercials, or in TV entertainment programs or in films. Each of these environments presents a different "culture" with associated norms in the pace of work, the subject matter of interest, and the backgrounds of its employees. Although the job titles may be the same, not all locations may present the same "fit" for you.

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If you majored in theater and enjoyed any in-class presentations you might have done as part of your degree and have developed a strong stage presence, you might naturally think of performing. But theater majors with these same skills and interests also might go on to teach others their skills, or work as a drama therapist, a radio talk show host, or as a director or producer, working with other performers in a variety of media. Each of these job tides can also be found in a number of different settings. Take training, for example. Trainers write policy and procedural manuals and actively teach to assist all levels of employees in mastering various tasks and work-related systems. Trainers exist in all large corporations, banks, consumer goods manufacturers, medical diagnostic equipment firms, sales organizations, and any organization that has processes or materials that need to be presented to and learned by the staff. In reading job descriptions or want ads for any of these positions, you would find your four-year degree a "must." However, the academic major might be less important than your own individual skills in critical thinking, analysis, report writing, public presentations, and interpersonal communication. Even more important than thinking or knowing you have certain skills is your ability to express those skills concretely and the examples you use to illustrate them to an employer. The best beginning to a job search is to create a list of job titles you might want to pursue, learn more about the nature of the jobs behind those titles, and then discover what kinds of employers hire for those positions. In the following section, we'll teach you how to build a job title directory to use in your job search. Developing a Job Title Directory That Works for You A job title directory is simply a complete list of all the job titles you are interested in, are intrigued by, or think you are qualified for. Combining the understanding gained through self-assessment with your own individual interests and the skills and talents you've acquired with your degree, you'll soon start to read and recognize a number of occupational titles that seem right for you. There are several resources you can use to develop your list, including computer searches, books, and want ads. Computerized Interest Inventories One way to begin your search is to identify a number of jobs that call for your degree and the particular skills and

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interests you identified as part of the self-assessment process. There are excellent interactive computer career guidance programs on the market to help you produce such selected lists of possible job titles. Most of these are available at high schools and colleges and at some larger town and city libraries. Two of the industry leaders are SIGI and DISCOVER. Both allow you to enter interests, values, educational background, and other information to produce lists of possible occupations and industries. Each of the resources listed here will produce different job title lists. Some job titles will appear again and again, while others will be unique to a particular source. Investigate them all! Reference Books Books on the market that may be available through your local library, bookstore, or career counseling office also suggest various occupations related to a number of majors. The following are only two of the many good books on the market: Occupational Outlook Handbook and Occupational Projections and Training Data, both put out annually by the U.S. Department of Labor, Bureau of Labor Statistics. The OOH describes hundreds of job titles under several broad categories such as Executive, Administrative, and Managerial Occupations and also identifies those jobs by their Dictionary of Occupational Titles (DOT) code. (See following discussion.) For theater majors more than two dozen related job tides are listed throughout various section of the OOH. Some are familiar ones such as actor or director. Others are interestingly different, such as drama critic or drama therapist. The Occupational Projections and Training Data is another good resource that allows job seekers to compare 500 occupations on factors such as job openings, earnings, and training requirements. So, if as a theater major you discover stage manager as a job tide in the OOH, you can then go to the Occupational Projections and Training Data and compare it with scores of jobs related to that tide. This source adds some depth by presenting statistics in a number of different occupations within that field. Each job title deserves your consideration. Like the layers of an onion, the search for job titles can go on and on! As you spend time doing this activity,

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Page 49 you are actually learning more about the value of your degree. What's important in your search at this point is not to become critical or selective, but rather to develop as long a list of possibilities as you can. Every source used will help you add new and potentially exciting jobs to your growing list. Want Ads It has been well publicized that newspaper want ads represent only about 1015 percent of the current job market. Nevertheless, the Sunday want ads can be a great help to you in your search. Although they may not be the best place to look for a job, they can teach the job seeker much about the job market and provide a good education in job descriptions, duties and responsibilities, active industries, and some indication of the volume of job traffic. For our purposes, they are a good source for job titles to add to your list. Read the Sunday want ads in a major market newspaper for several Sundays in a row. Circle and cut out any and all ads that interest you and seem to call for something close to your education and experience. Remember, because want ads are written for what an organization hopes to find, you don't have to meet absolutely every criterion. However, if certain requirements are stated as absolute minimums and you cannot meet them, it's best not to waste your time. A recent examination of The Boston Sunday Globe reveals the following possible occupations for a liberal arts major with some computer skills and limited prior work experience. (This is only a partial list of what was available.) Technical writer Admissions representative Personnel trainee Salesperson GED examiner Compliance director Direct mail researcher Assistant principal gifts writer Associate publicist Public relations officer

After performing this exercise for a few Sundays, you'll find you have collected a new library of job titles. The Sunday want ad exercise is important because these jobs are out in the marketplace. They truly exist, and people with your qualifications are being sought to apply. What's more, many of these advertisements describe the duties and responsibilities of the job advertised and give you a beginning sense of the challenges and opportunities such a position presents. Some will indicate salary, and that will be helpful as well. This information will better define the jobs for you and provide some good material for possible interviews in that field.

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Exploring Job Descriptions Once you've arrived at a solid list of possible job titles that interest you and for which you believe you are somewhat qualified, it's a good idea to do some research on each of these jobs. The preeminent source for such job information is the Dictionary of Occupational Titles, or DOT. This directory lists every conceivable job and provides excellent up-todate information on duties and responsibilities, interactions with associates, and day-to-day assignments and tasks. These descriptions provide a thorough job analysis, but they do not consider the possible employers or the environments in which this job may be performed. So, although a position as public relations officer may be well defined in terms of duties and responsibilities, it does not explain the differences in doing public relations work in a college or a hospital or a factory or a bank. You will need to look somewhere else for work settings. Learning More About Possible Work Settings After reading some job descriptions, you may choose to edit and revise your list of job titles once again, discarding those you feel are not suitable and keeping those that continue to hold your interest. Or you may wish to keep your list intact and see where these jobs may be located. For example, if you are interested in public relations and you appear to have those skills and the requisite education, you'll want to know what organizations do public relations. How can you find that out? How much income does someone in public relations make a year and what is the employment potential for the field of public relations? To answer these and many other good questions about your list of job titles, we will direct you to any of the following resources: Careers Encyclopedia, Career Information Center, College to Career. The Guide to Job Opportunities, and the Occupational Outlook Handbook. Each of these books, in a different way, will help to put the job titles you have selected into an employer context. VGM'S Handbook for Business and Management Careers shows detailed career descriptions for over fifty fields. Entries include complete information on duties and responsibilities for individual careers and detailed entry-level requirements. There is information on working conditions and promotional opportunities as well. Salary ranges and career outlook projections are also provided. Perhaps the most extensive discussion is found in the Occupational Outlook Handbook, which gives a thorough presentation of the nature of the work, the working conditions, employment statistics, training, other qualifications, and advancement possibilities as well as job outlook and earnings. Related occupations are also detailed, and a select bibliography is provided to help you find additional information. Continuing with our public relations example, your search through these reference materials would teach you that the public relations jobs you find

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attractive are available in larger hospitals, financial institutions, most corporations (both consumer goods and industrial goods), media organizations, and colleges and universities. Networking to Get the Complete Story You now have not only a list of job titles but also, for each of these job titles, a description of the work involved and a general list of possible employment settings in which to work. You'll want to do some reading and keep talking to friends, colleagues, teachers, and others about the possibilities. Don't neglect to ask if the career office at your college maintains some kind of alumni network. Often such alumni networks will connect you with another graduate from the college who is working in the job title or industry you are seeking information about. These career networkers offer what assistance they can. For some, it is a full day ''shadowing" the alumnus as he or she goes about the job. Others offer partial day visits, tours, informational interviews, resume reviews, job postings, or, if distance prevents a visit, telephone interviews. As fellow graduates, they'll be frank and informative about their own jobs and prospects in their field. Take them up on their offer and continue to learn all you can about your own personal list of job titles, descriptions, and employment settings. You'll probably continue to edit and refine this list as you learn more about the realities of the job, the possible salary, advancement opportunities, and supply and demand statistics. In the next section, we'll describe how to find the specific organizations that represent these industries and employers, so that you can begin to make contact. Where Are These Jobs, Anyway? Having a list of job titles that you've designed around your own career interests and skills is an excellent beginning. It means you've really thought about who you are and what you are presenting to the employment market. It has caused you to think seriously about the most appealing environments to work in, and you have identified some employer types that represent these environments. The research and the thinking that you've done this far will be used again and again. It will be helpful in writing your resume and cover letters, in talking about yourself on the telephone to prospective employers, and in answering interview questions. Now is a good time to begin to narrow the field of job titles and employment sites down to some specific employers to initiate the employment contact.

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Finding Out Which Employers Hire People Like You This section will provide tips, techniques, and specific resources for developing an actual list of specific employers that can be used to make contacts. It is only an outline that you must be prepared to tailor to your own particular needs and according to what you bring to the job search. Once again, it is important to stress the need to communicate with others along the way exactly what you're looking for and what your goals are for the research you're doing. Librarians, employers, career counselors, friends, friends of friends, business contacts, and bookstore staff will all have helpful information on geographically specific and new resources to aid you in locating employers who'll hire you. Identifying Information Resources Your interview wardrobe and your new resume may have put a dent in your wallet, but the resources you'll need to pursue your job search are available for free (although you might choose to copy materials on a machine instead of taking notes by hand). The categories of information detailed here are not hard to find and are yours for the browsing. Numerous resources described in this section will help you identify actual employers. Use all of them or any others that you identify as available in your geographic area. As you become experienced in this process, you'll quickly figure out which information sources are helpful and which are not. If you live in a rural area, a well-planned day trip to a major city that includes a college career office, a large college or city library, state and federal employment centers, a chamber of commerce office, and a well-stocked bookstore can produce valuable results. There are many excellent resources available to help you identify actual job sites. They are categorized into employer directories (usually indexed by product lines and geographic location), geographically based directories (designed to highlight particular cities, regions, or states), career-specific directories (e.g., Sports Market Place, which lists tens of thousands of firms involved with sports), periodicals and newspapers, targeted job posting publications, and videos. This is by no means meant to be a complete list of resources, but rather a starting point for identifying useful resources. Working from the more general references to highly specific resources, we will provide a basic list to help you begin your search. Many of these you'll find easily available. In some cases, reference librarians and others will suggest even better materials for your particular situation. Start to create your own customized bibliography of job search references. Use copying services to save time and to allow you to carry away information about organization mission, location, company officers, phone numbers, and addresses.

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Employer Directories There are many employer directories available to give you the kind of information you need for your job search. Some of our favorites are listed here, but be sure to ask the professionals you are working with to make additional suggestions. America's Corporate Families identifies many major U.S. ultimate parent companies and displays corporate family linkage of subsidiaries and divisions. Businesses can be identified by their industrial code. Million Dollar Directory: America's Leading Public and Private Companies lists about 160,000 companies. Moody's various manuals are intended as guides for investors, so they contain a history of each company. Each manual contains a classification of companies by industries and products. Standard and Poor's Register of Corporations contains listings for 45,000 businesses, some of which are not listed in the Million Dollar Directory. Job Seekers Guide to Private and Public Companies profiles 15,000 employers in four volumes, each covering a different geographic region. Company entries include contact information, business descriptions, and application procedures. The Career Guide: Dun's Employment Opportunities Directory lists more than 5,000 large organizations, including hospitals and local governments. Profiles include an overview and history of the employer as well as opportunities, benefits, and contact names. It contains geographic and industrial indexes and indexes by discipline or internship availability. This guide also includes a state-bystate list of professional personnel consultants and their specialties. Professional's Job Finder/Government Job Finder/Non-Profits Job Finder are specific directories of job services, salary surveys, and periodical listings in which advertisements for jobs in the professional, government, or not-for-profit sector are found. Opportunities in Nonprofit Organizations is a VGM career series edition that opens up the world of not-for-profit by helping you match your interest profile to the aims and objectives of scores of nonprofit employers in business, education, health and medicine, social welfare, science and technology, and many others. There is also a special section on fundraising and development career paths.

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The 100 Best Companies to Sell For lists companies by industry and provides contact information and describes benefits and corporate culture. The 100 Best Companies to Work for in America rates organizations on several factors including opportunities, job security, and pay. Companies That Care lists organizations that the authors believe are family-friendly. One index organizes information by state. Infotrac CD-Rom Business Index covers business journals and magazines as well as news magazines and can provide information on public and private companies. ABI/INFORM on Disc (CD-ROM) indexes articles in over 800 journals.

Geographically Based Directories The Job Bank series published by Bob Adams, Inc. contains detailed entries on each area's major employers, including business activity, address, phone number, and hiring contact name. Many listings specify educational backgrounds being sought in potential employees. Each volume contains a solid discussion of each city's or state's major employment sectors. Organizations are also indexed by industry. Job Bank volumes are available for the following places: Atlanta, Boston, Chicago, Denver, Dallas-Ft. Worth, Florida, Houston, Ohio, St. Louis, San Francisco, Seattle, Los Angeles, New York, Detroit, Philadelphia, Minneapolis, the Northwest, and Washington, D.C. National Job Bank lists employers in every state, along with contact names and commonly hired job categories. Included are many small companies often overlooked by other directories. Companies are also indexed by industry. This publication provides information on educational backgrounds sought and lists company benefits. Career-Specific Directories VGM publishes a number of excellent series detailing careers for college graduates. In the Professional Career Series are guides to careers in the following fields, among others: Advertising Communications Business Computers Health Care High Tech

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Each provides an excellent discussion of the industry, educational requirements for jobs, salary ranges, duties, and projected outlooks for the field. Another VGM series, Opportunities In ..., has an equally wide range of titles relating to specific majors, such as the following: Opportunities in Banking Opportunities in Insurance Opportunities in Sports and Athletics Opportunities in Journalism Opportunities in Marketing Opportunities in Television and Radio

Sports Market Place (Sportsguide) lists organizations by sport. It also describes trade/professional associations, college athletic organizations, multi-sport publications, media contacts, corporate sports sponsors, promotion/event/athletic management services, and trade shows. Periodicals and Newspapers Several sources are available to help you locate which journals or magazines carry job advertisements in your field. Other resources help you identify opportunities in other parts of the country. Where the Jobs Are: A Comprehensive Directory of 1,200 Journals Listing Career Opportunities links specific occupational titles to corresponding periodicals that carry job listings for your field. Social & Behavioral Sciences Jobs Handbook contains a periodicals matrix organized by academic discipline and highlights periodicals containing job listings. National Business Employment Weekly compiles want ads from four regional editions of the Wall Street Journal. Most are business and management positions. National Ad Search reprints ads from seventy-five metropolitan newspapers across the country. Although the focus is on management positions, technical and professional postings are also included. Caution: Watch deadline dates carefully on listings, because deadlines may have already passed by the time the ad is printed. The Federal Jobs Digest and Federal Career Opportunities list government positions.

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World Chamber of Commerce Directory lists addresses for chambers worldwide, state boards of tourism, convention and visitors' bureaus, and economic development organizations. This list is certainly not exhaustive; use it to begin your job search work. Targeted Job Posting Publications Although the resources that follow are national in scope, they are either targeted to one medium of contact (telephone), focused on specific types of jobs, or are less comprehensive than the sources previously listed. Job Hotlines USA pinpoints over 1,000 hard-to-find telephone numbers for companies and government agencies that use prerecorded job messages and listings. Very few of the telephone numbers listed are toll-free, and sometimes recordings are long, so callers beware! The Job Hunter is a national biweekly newspaper listing business, arts, media, government, human services, health, communityrelated, and student services job openings. Current Jobs for Graduates is a national employment listing for liberal arts professions, including editorial positions, management opportunities, museum work, teaching, and nonprofit work. Environmental Opportunities serves environmental job interests nationwide by listing administrative, marketing, and human resources positions along with education-related jobs and positions directly related to a degree in an environmental field. Y National Vacancy List shows YMCA professional vacancies, including development, administration, programming, membership, and recreation postings. ARTSearch is a national employment service bulletin for the arts, including administration, managerial, marketing, and financial management jobs. Community Jobs is an employment newspaper for the nonprofit sector that provides a variety of listings, including project manager, canvas director, government relations specialist, community organizer, and program instructor. College Placement Council Annual: A Guide to Employment Opportunities for College Graduates is an annual guide containing solid job-hunting information and, more importantly, displaying ads from large corporations actively seeking recent college graduates in all

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majors. Company profiles provide brief descriptions and available employment opportunities. Contact names and addresses are given. Profiles are indexed by organization name, geographic location, and occupation. Videos You may be one of the many job seekers who like to get information via a medium other than paper. Many career libraries, public libraries, and career centers in libraries carry an assortment of videos that will help you learn new techniques and get information helpful in the job search. A small sampling of the multitude of videos now available includes the following: The Skills Search (20 min.) discusses three types of skills important in the workplace, how to present the skills in an interview, and how to respond to problem questions. Effective Answers to Interview Questions (35 min.) presents two real-life job seekers and shows how they realized the true meaning of interview questions and formulated positive answers. Employers Expectations (33 min.) covers three areas that are important to all employers: appearance, dependability, and skills. The Tough New Labor Market of the 1990s (30 min.) presents labor market facts as well as suggestions on what job seekers should do to gain employment in this market. Dialing for Jobs: Using the Phone in the Job Search (30 min.) describes how to use the phone effectively to gain information and arrange interviews by following two new graduates as they learn and apply techniques. Locating Information Resources An essay by John Case that appeared in the Boston Globe (August 25, 1993) alerts both new and seasoned job seekers that the job market is changing, and the old guarantees of lifelong employment no longer hold true. Some of our major corporations, which were once seen as the most prestigious of employment destinations, are now laying off thousands of employees. Middle management is especially hard hit in downsizing situations. On the other side of the coin, smaller, more entrepreneurial firms are adding employees and realizing enormous profit margins. The geography of the new job market is unfamiliar, and the terrain is much harder to map. New and smaller firms can mean different kinds of jobs and new job titles. The successful job seeker will keep an open mind about where he or she might find employment and what that employment might be called.

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In order to become familiar with this new terrain, you will need to undertake some research, which can be done at any of the following locations: Public libraries Business organizations Employment agencies Bookstores Career libraries

Each one of these places offers a collection of resources that will help you get the information you need. As you meet and talk with service professionals at all these sites, be sure to let them know what you're doing. Inform them of your job search, what you've already accomplished, and what you're looking for. The more people who know you're job seeking, the greater the possibility that someone will have information or know someone who can help you along your way. Public Libraries Large city libraries, college and university libraries, and even well-supported town library collections contain a variety of resources to help you conduct a job search. It is not uncommon for libraries to have separate "vocational choices" sections with books, tapes, and associated materials relating to job search and selection. Some are now even making resume creation software available for use by patrons. Some of the publications we name throughout this book are expensive reference items that are rarely purchased by individuals. In addition, libraries carry a wide range of newspapers and telephone yellow pages as well as the usual array of books. If resources are not immediately available, many libraries have loan arrangements with other facilities and can make information available to you relatively quickly. Take advantage of not only the reference collections, but also the skilled and informed staff. Let them know exactly what you are looking for, and they'll have their own suggestions. You'll be visiting the library frequently, and the reference staff will soon come to know who you are and what you're working on. They'll be part of your job search network! Business Organizations Chambers of Commerce, Offices of New Business Development, Councils on Business and Industry, Small Business Administration (SBA) offices, and professional associations can all provide geographically specific lists of companies and organizations that have hiring needs. They also have an array of other available materials, including visitors' guides and regional fact books that provide additional employment information.

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These agencies serve to promote local and regional businesses and ensure their survival and success. Although these business organizations do not advertise job openings or seek employees for their members, they may be very aware of staffing needs among their member firms. In your visits to each of these locations, spend some time with the personnel getting to know who they are and what they do. Let them know of your job search and your intentions regarding employment. You may be surprised and delighted at the information they may provide. Employment Agencies Employment agencies (including state and federal employment offices), professional "head hunters" or executive search firms, and some private career counselors can provide direct leads to job openings. Don't overlook these resources. If you are mounting a complete job search program and want to ensure that you are covering the potential market for employers, consider the employment agencies in your territory. Some of these organizations work contractually with several specific firms and may have access that is unavailable to you. Others may be particularly well-informed about supply and demand in particular industries or geographic locations. In the case of professional (commercial) employment agencies, which include those executive recruitment firms labeled "head hunters," you should be cautious about entering into any binding contractual agreement. Before doing so, be sure to get the information you need to decide whether their services can be of use to you. Questions to ask include the following: Who pays the fee when employment is obtained? Are there any other fees or costs associated with this service? What is their placement rate? Can you see a list of previous clients and can you talk to any for references? Do they typically work with entry-level job seekers? Do they tend to focus on particular kinds of employment or industries? A few cautions are in order, however, when you work with professional agencies. Remember, the professional employment agency is, in most cases, paid by the hiring organization. Naturally, their interest and attention is largely directed to the employer, not to the candidate. Of course, they want to provide good candidates to guarantee future contracts, but they are less interested in the job seeker than the employer. For teacher candidates, there are a number of good placement firms that charge the prospective teacher, not the employer. This situation has evolved over time as a result of supply and demand and financial structuring of most school systems, which cannot spend money on recruiting teachers. Usually these firms charge a nonrefundable administrative fee and, upon successful placement, require a fee based on percentage of salary, which may range from 1020 percent of annual compensation. Often, this can be repaid over a number of months. Check your contract carefully.

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State and federal employment offices are no-fee services that maintain extensive "job boards" and can provide detailed specifications for each job advertised and help with application forms. Because government employment application forms are detailed, keep a master copy along with copies of all additional documentation (resumes, educational transcripts, military discharge papers, proof of citizenship, etc.). Successive applications may require separate filings. Visit these offices as frequently as you can, because most deal with applicants on a "walk-in" basis and will not telephone prospective candidates or maintain files of job seekers. Check your telephone book for the address of the nearest state and federal offices. One type of employment service that causes much confusion among job seekers is the outplacement firm. Their advertisements tend to suggest they will put you in touch with the "hidden job market." They use advertising phrases such as "We'll work with you until you get that job," or "Maximize your earnings and career opportunities." In fact, if you read the fine print on these ads, you will notice these firms must state they are "Not an employment agency.'' These firms are, in fact, corporate and private outplacement counseling agencies whose work involves resume editing, counseling to provide leads for jobs, interview skills training, and all the other aspects of hiring preparation. They do this for a fee, sometimes in the thousands of dollars range, which is paid by you, the client. Some of these firms have good reputations and provide excellent materials and techniques. Most, however, provide a service you as a college student or graduate can receive free from your alma mater or through a reciprocity agreement between your college and a college or university located closer to your current address. Bookstores Any well-stocked bookstore will carry some job search books that are worth buying. Some major stores will even have an extensive section devoted to materials, including excellent videos, related to the job search process. Several possibilities are listed in following sections. You will also find copies of local newspapers and business magazines. The one advantage that is provided by resources purchased at a bookstore is that you can read and work with the information in the comfort of your own home and do not have to conform to the hours of operation of a library, which can present real difficulties if you are working full time as you seek employment. A few minutes spent browsing in a bookstore might be a beneficial break from your job search activities and turn up valuable resources. Career Libraries Career libraries, which are found in career centers at colleges and universities and sometimes within large public libraries, contain a unique blend of the job search resources housed in other settings. In addition, career libraries often purchase a number of job listing publications, each

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of which targets a specific industry or type of job. You may find job listings specifically for entry-level positions for theater majors. Ask about job posting newsletters or newspapers specifically focused on careers in the area that most interests you. Each center will be unique, but you are certain to discover some good sources of jobs. Most college career libraries now hold growing collections of video material on specific industries and on aspects of your job search process, including dress and appearance, how to manage the luncheon or dinner interview, how to be effective at a job fair, and many other specific titles. Some larger corporations produce handsome video materials detailing the variety of career paths and opportunities available in their organizations. Some career libraries also house computer-based career planning and information systems. These interactive computer programs help you to clarify your values and interests and will combine that with your education to provide possible job titles and industry locations. Some even contain extensive lists of graduate school programs. One specific kind of service a career library will be able to direct you to is computerized job search services. These services, of which there are many, are run by private companies, individual colleges, or consortiums of colleges. They attempt to match qualified job candidates with potential employers. The candidate submits a resume (or an application) to the service. This information (which can be categorized into hundreds of separate "fields" of data) is entered into a computer database. Your information is then compared with the information from employers about what they desire in a prospective employee. If there is a "match" between what they want and what you have indicated you can offer, the job search service or the employer will contact you directly to continue the process. Computerized job search services can complement an otherwise complete job search program. They are not, however, a substitute for the kinds of activities described in this book. They are essentially passive operations that are random in nature. If you have not listed skills, abilities, traits, experiences, or education exactly as an employer has listed its needs, there is simply no match. Consult with the staff members at the career libraries you use. These professionals have been specifically trained to meet the unique needs you present. Often you can just drop in and receive help with general questions, or you may want to set up an appointment to speak one-on-one with a career counselor to gain special assistance. Every career library is different in size and content, but each can provide valuable information for the job search. Some may even provide some limited counseling. If you have not visited the career library at your college or alma mater, call and ask if these collections are still available for your use. Be sure to ask about other services that you can use as well.

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If you are not near your own college as you work on your job search, call the career office and inquire about reciprocal agreements with other colleges that are closer to where you live. Very often, your own alma mater can arrange for you to use a limited menu of services at another school. This typically would include access to a career library and job posting information and might include limited counseling.

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Chapter Four Networking Networking is the process of deliberately establishing relationships to get career-related information or to alert potential employers that you are available for work. Networking is critically important to today's job seeker for two reasons: it will help you get the information you need, and it can help you find out about all of the available jobs. Getting the Information You Need Networkers will review your resume and give you candid feedback on its effectiveness. They will talk about the job you are looking for and give you it candid appraisal of how they see your strengths and weaknesses. If they have a good sense of the industry or the employment sector for that job, you'll get their feelings on future trends in the industry as well. Some networkers will be very candid about salaries, job hunting techniques, and suggestions for your job search strategy. Many have been known to place calls right from the interview desk to friends and associates that might be interested in you. Each networker will make his or her own contribution, and each will be valuable. Because organizations must evolve to adapt to current global market needs, the information provided by decisionmakers within various organizations will be critical to your success as a new job market entrant. For example, you might learn about the concept of virtual organizations from a networker. Virtual organizations are those that are temporarily established to take advantage of fast-changing opportunities and then dissolved. This concept is being discussed and implemented by chief executive officers of many organizations, including Corning, Apple, and Digital. Networking can help you find out about this and other trends currently affecting the industries under your consideration.

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Finding Out About All of the Available Jobs Secondly, not every job that is available at this very moment is advertised for potential applicants to see. This is called the hidden job market. Only 1520 percent of all jobs are formally advertised, which means that 8085 percent of available jobs do not appear in published channels. Networking will help you become more knowledgeable about all the employment opportunities available during your job search period. Although someone you might talk to today doesn't know of any openings within his or her organization, tomorrow or next week or next month an opening may occur. If you've taken the time to show an interest in and knowledge of their organization, if you've shown the company representative how you can help achieve organizational goals and that you can fit into the organization, you'll be one of the first candidates considered for the position. Networking: A Proactive Approach Networking is a proactive rather than a reactive approach. You, as a job seeker, are expected to initiate a certain level of activity on your own behalf; you cannot afford to simply respond to jobs listed in the newspaper. Being proactive means building a network of contacts that includes informed and interested decision-makers who will provide you with up-todate knowledge of the current job market and increase your chances of finding out about employment opportunities appropriate for your interests, experience, and level of education. An old axiom of networking says, "You are only two phone calls away from the information you need." In other words, by talking to enough people, you will quickly come across someone who can offer you help. Start with your professors. Each of them probably has a wide circle of contacts. In their work and travel they might have met someone who can help you or direct you to someone who can. Control and the Networking Process In deliberately establishing relationships, the process of networking begins with you in controlyou are contacting specific individuals. As your network expands and you establish a set of professional relationships, your search for information or jobs will begin to move outside of your total control. A part of the networking process involves others assisting you by gathering information for you or recommending you as a possible job candidate. As additional people become a part of your networking system, you will have less knowledge about activities undertaken on your behalf; you will undoubtedly be contacted by individuals whom you did not initially approach. If you want to function effectively in surprise situations, you must be prepared at

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all times to talk with strangers about the informational or employment needs that motivated you to become involved in the networking process. Preparing to Network In deliberately establishing relationships, maximize your efforts by organizing your approach. Five specific areas in which you can organize your efforts include reviewing your self-assessment, reviewing your research on job sites and organizations, deciding who it is you want to talk to, keeping track of all your efforts, and creating your self-promotion tools. Review Your Self-Assessment Your self-assessment is as important a tool in preparing to network as it has been in other aspects of your job search. You have carefully evaluated your personal traits, personal values, economic needs, longer-term goals, skill base, preferred skills, and underdeveloped skills. During the networking process you will be called upon to communicate what you know about yourself and relate it to the information or job you seek. Be sure to review the exercises that you completed in the self-assessment section of this book in preparation for networking. We've explained that you need to assess what skills you have acquired from your major that are of general value to an employer and to be ready to express those in ways employers can appreciate as useful in their own organizations. Review Researching Job Sites and Organizations In addition, individuals assisting you will expect that you'll have at least some background information on the occupation or industry of interest to you. Refer to the appropriate sections of this book and other relevant publications to acquire the background information necessary for effective networking. They'll explain how to identify not only the job titles that might be of interest to you, but also what kinds of organizations employ people to do that job. You will develop some sense of working conditions and expectations about duties and responsibilitiesall of which will be of help in your networking interviews. Decide Who It Is You Want to Talk To Networking cannot begin until you decide who it is that you want to talk to and, in general, what type of information you hope to gain from your contacts. Once you know this, it's time to begin developing a list of contacts. Five useful sources for locating contacts are described here.

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College Alumni Network Most colleges and universities have created a formal network of alumni and friends of the institution who are particularly interested in helping currently enrolled students and graduates of their alma mater gain employment-related information. Because theater is such a flexible degree program, you'll find an abundance of theater graduates spanning the full spectrum of possible employment. The diversity evidenced by such an alumni list should be encouraging and informative to the theater graduate. Among such a diversified group, there are likely to be many people you would enjoy talking with or perhaps meeting. Some might be working quite far from you, but that does not preclude a telephone call or exchange of correspondence. It is usually a simple process to make use of an alumni network. You need only visit the alumni or career office at your college or university and follow the procedure that has been established. Often, you will simply complete a form indicating your career goals and interests and you will be given the names of appropriate individuals to contact. In many cases, staff members will coach you on how to make the best use of the limited time these alumni contacts may have available for you. Alumni networkers may provide some combination of the following services: day-long shadowing experiences, telephone interviews, in-person interviews, information on relocating to given geographic areas, internship information, suggestions on graduate school study, and job vacancy notices. What a valuable experience! Perhaps you are interested in working as an actor but you are concerned about your preparation and whether you have a chance based on the competition in the industry. Spending a day with an alumnus who is a working actor, asking lots of questions about his or her training and preparation, will give you a more concrete view of the possibilities for your career. Learning firsthand how this person got started and observ-

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ing how he or she does the job will be a far better decision criterion for you than any reading on the subject could possibly provide. In addition to your own observations, the alumnus will have his or her own perspective on the relevance of your training and will give you realistic and honest feedback on your chances in this area. Present and Former Supervisors If you believe you are on good terms with present or former job supervisors, they may be an excellent resource for providing information or directing you to appropriate resources that would have information related to your current interests and needs. Additionally, these supervisors probably belong to professional organizations, which they might be willing to utilize to get information for you. If, for example, you are interested in working as a set designer for a theater production group and you are currently working on the wait staff of a local restaurant, talk with your supervisor or the owner. He or she may belong to the Chamber of Commerce, whose director would have information on regional theater companies. You would be able to obtain the names and telephone numbers of these people, thus enabling you to begin the networking process. Employers in Your Area Although you may be interested in working in a geographic location different from the one where you currently reside, don't overlook the value of the knowledge and contacts those around you are able to provide. Use the local telephone directory and newspaper to identify the types of organizations you are thinking of working for or professionals who have the kinds of jobs you are interested in. Recently, a call made to a local hospital's financial administrator for information on working in health care financial administration yielded more pertinent information on training seminars, regional professional organizations, and potential employment sites than a national organization was willing to provide.

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Employers in Geographic Areas Where You Hope to Work If you are thinking about relocating, identifying prospective employers or informational contacts in this new location will be critical to your success. Many resources are available to help you locate contact names. These include the yellow pages directory, the local newspapers, local or state business publications, and local Chambers of Commerce. Professional Associations and Organizations Professional associations and organizations can provide valuable information in several areas: career paths that you may not have considered, qualifications relating to those career choices, publications that list current job openings, and workshops or seminars that will enhance your professional knowledge and skills. They can also be excellent sources for background information on given industries: their health, current problems, and future challenges. There are several excellent resources available to help you locate professional associations and organizations that would have information to meet your needs. Two especially useful publications are the Encyclopedia of Associations and the National Trade and Professional Associations of the United States. Keep Track of All Your Efforts It can be difficult, almost impossible, to remember all the details related to each contact you make during the networking process, so you will want to develop a record-keeping system that works for you. Formalize this process by using a notebook or index cards to organize the information you gather. Begin by creating a list of the people or organizations you want to contact. Record the contact's name, address, telephone number, and what information you hope to gain. Each entry might look something like this: Contact Name Address Phone # Purpose Mr. Tim Keefe Wrigley Bldg. Dir. of Mines Suite 72 555-8906 Resume screen Once you have created this initial list, it will be helpful to keep more detailed information as you begin to actually make the contacts. Using the Network Contact Record form in Exhibit 4.1, keep good information on all your network contacts. They'll appreciate your recall of details of your meetings and conversations, and the information will help you to focus your networking efforts.

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Create Your Self-Promotion Tools There are two types of promotional tools that are used in the networking process. The first is a resume and cover letter, and the second is a one-minute ''infomercial," which may be given over the telephone or in person. Techniques for writing an effective resume and cover letter are covered in Chapter 2. Once you have reviewed that material and prepared these important documents, you will have created one of your self-promotion tools. The one-minute infomercial will demand that you begin tying your interests, abilities, and skills to the people or organizations you want to network with. Think about your goal for making the contact to help you understand what you should say about yourself. You should be able to express yourself easily and convincingly. If, for example, you are contacting an alumnus of your institution to obtain the names of possible employment sites in a distant city, be prepared to discuss why you are interested in moving to that location, the types of jobs you are interested in, and the skills and abilities you possess that will make you a qualified candidate. To create a meaningful one-minute infomercial, write it out, practice it if it will be a spoken presentation, rewrite it, and practice it again if necessary until expressing yourself comes easily and is convincing. Here's a simplified example of an infomercial for use over the telephone: Hello, Mr. Stevens? My name is Lily Horn. I am a recent graduate of East Coast College, and I wish to begin a career as a dramatic agent. I have a dual major, theater and business, and feel confident I have many of the skills I understand are valued in agenting, such as good interpersonal skills, experience with contract negotiations, and an understanding of the entertainment industry. What's more,

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I work well under pressure. I have read that can be a real advantage in your business! Mr. Stevens, I'm calling you because I still need more information about the agenting business. I'm hoping you'll have the time to sit down with me for about half an hour and discuss your perspective on agenting careers. There are so many possible agencies to contact and areas to specialize in, and I am seeking some advice on which of those areas might be the best bet for my particular combination of skills and experience. Would you be willing to do that for me? I would greatly appreciate it. I am available most mornings, if that's convenient for you. Other effective self-promotion tools include portfolios for those in the arts, writing professions, or teaching. Portfolios show examples of work, photographs of projects or classroom activities, or certificates and credentials that are job related. There may not be an opportunity to use the portfolio during an interview, and it is not something that should be left with the organization. It is designed to be explained and displayed by the creator. However, during some networking meetings, there may be an opportunity to illustrate a point or strengthen a qualification by exhibiting the portfolio. Beginning the Networking Process Set the Tone for Your Contacts It can be useful to establish "tone words" for any communications you embark upon. Before making your first telephone call or writing your first letter, decide what you want your contact to think of you. If you are networking to try to obtain a job, your tone words might include words like genuine, informed, and self-knowledgeable. When trying to acquire information, your tone words may have a slightly different focus, such as courteous, organized, focused, and well-spoken. Use the tone words you establish for your contacts to guide you through the networking process.

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Honestly Express Your Intentions When contacting individuals, it is important to be honest about your reasons for making the contact. Establish your purpose in your own mind and be able and ready to articulate it concisely. Determine an initial agenda, whether it be informational questioning or self-promotion, present it to your contact, and be ready to respond immediately. If you don't adequately prepare before initiating your contacts, you may find yourself at a disadvantage if you're asked to immediately begin your informational interview or self-promotion during the first phone conversation or visit. Start Networking Within Your Circle of Confidence Once you have organized your approachby utilizing specific researching methods, creating a system for keeping track of the people you will contact, and developing effective self-promotion toolsyou are ready to begin networking. The best place to begin networking is by talking with a group of people you trust and feel comfortable with. This group is usually made up of your family, friends, and career counselors. No matter who is in this inner circle, they will have a special interest in seeing you succeed in your job search. In addition, because they will be easy to talk to, you should try taking some risks in terms of practicing your information-seeking approach. Gain confidence in talking about the strengths you bring to an organization and the underdeveloped skills you feel hinder your candidacy. Be sure to review the section on self-assessment for tips on approaching each of these areas. Ask for critical but constructive feedback from the people in your circle of confidence on the letters you write and the one-minute infomercial you have developed. Evaluate whether you want to make the changes they suggest, then practice the changes on others within this circle. Stretch the Boundaries of Your Networking Circle of Confidence Once you have refined the promotional tools you will use to accomplish your networking goals, you will want to make additional contacts. Because you will not know most of these people, it will be a less comfortable activity to undertake. The practice that you gained with your inner circle of trusted friends should have prepared you to now move outside of that comfort zone. It is said that any information a person needs is only two phone calls away, but the information cannot be gained until you (1) make a reasonable guess about who might have the information you need and (2) pick up the telephone to make the call. Using your network list that includes alumni, instructors, supervisors, employers, and associations, you can begin preparing your list of questions that will allow you to get the information you need. Review the question list shown below and then develop a list of your own.

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Questions You Might Want to Ask In the position you now hold, what do you do on a typical day? 1. What are the most interesting aspects of your job? 2. What part of your work do you consider dull or repetitious? 3. What were the jobs you had that led to your present position? 4. How long does it usually take to move from one step to the next in this career path? 5. What is the top position to which you can aspire in this career path? 6. What is the next step in your career path? 7. Are there positions in this field that are similar to your position? 8. What are the required qualifications and training for entry-level positions in this field? 9. Are there specific courses a student should take to be qualified to work in this field? 10. What are the entry-level jobs in this field? 11. What types of training are provided to persons entering this field? 12. What are the salary ranges your organization typically offers to entry-level candidates for positions in this field? 13. What special advice would you give a person entering this field? 14. Do you see this field as a growing one? 15. How do you see the content of the entry-level jobs in this field changing over the next two years? 16. What can I do to prepare myself for these changes? 17. What is the best way to obtain a position that will start me on a career in this field? 18. Do you have any information on job specifications and descriptions that I may have? 19. What related occupational fields would you suggest I explore? 20. How could I improve my resume for a career in this field? 21. Who else would you suggest I talk to, both in your organization and in other organizations? 22.

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Questions You Might Have to Answer In order to communicate effectively, you must anticipate questions that will be asked of you by the networkers you contact. Review the list below and see if you can easily answer each of these questions. If you cannot, it may be time to revisit the self-assessment process. Where did you get my name, or how did you find out about this organization? 1. What are your career goals? 2. What kind of job are you interested in? 3. What do you know about this organization and this industry? 4. How do you know you're prepared to undertake an entry-level position in this industry? 5. What course work have you taken that is related to your career interests? 6. What are your short-term career goals? 7. What are your long-term career goals? 8. Do you plan to obtain additional formal education? 9. What contributions have you made to previous employers? 10. Which of your previous jobs have you enjoyed the most, and why? 11. What are you particularly good at doing? 12. What shortcomings have you had to face in previous employment? 13. What are your three greatest strengths? 14. Describe how comfortable you feel with your communication style. 15.

General Networking Tips Make Every Contact Count Setting the tone for each interaction is critical. Approaches that will help you communicate in an effective way include politeness, being appreciative of time provided to you, and being prepared and thorough. Remember, everyone within an organization has a circle of influence, so be prepared to interact effectively with each person you encounter in the networking process, including secretarial and support staff. Many information or job seekers have thwarted their own efforts by being

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rude to some individuals they encountered as they networked because they made the incorrect assumption that certain persons were unimportant. Sometimes your contacts may be surprised at their ability to help you. After meeting and talking with you, they might think they have not offered much in the way of help. A day or two later, however, they may make a contact that would be useful to you and refer you to it. With Each Contact, Widen Your Circle of Networkers Always leave an informational interview with the names of at least two more people who can help you get the information or job that you are seeking. Don't be shy about asking for additional contacts; networking is all about increasing the number of people you can interact with to achieve your goals. Make Your Own Decisions As you talk with different people and get answers to the questions you pose, you may hear conflicting information or get conflicting suggestions. Your job is to listen to these "experts" and decide what information and which suggestions will help you achieve your goals. Only implement those suggestions that you believe will work for you. Shutting Down Your Network As you achieve the goals that motivated your networking activitygetting the information you need or the job you wantthe time will come to inactivate all or parts of your network. As you do so, be sure to tell your primary supporters about your change in status. Call or write to each one of them and give them as many details about your new status as you feel is necessary to maintain a positive relationship. Because a network takes on a life of its own, activity undertaken on your behalf will continue even after you cease your efforts. As you get calls or are contacted in some fashion, be sure to inform these networkers about your change in status, and thank them for assistance they have provided. Information on the latest employment trends indicates that workers will change jobs or careers several times in their lifetime. If you carefully and thoughtfully conduct your networking activities now, you will have solid experience when you need to network again.

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Chapter Five Interviewing Certainly, there can be no one part of the job search process more fraught with anxiety and worry than the interview. Yet seasoned job seekers welcome the interview and will often say, "Just get me an interview and I'm on my way!" They understand that the interview is crucial to the hiring process and equally crucial for them, as job candidates, to have the opportunity of a personal dialogue to add to what the employer may already have learned from a resume, cover letter, and telephone conversations. Believe it or not, the interview is to be welcomed, and even enjoyed! It is a perfect opportunity for you, the candidate, to sit down with an employer and express yourself and display who you are and what you want. Of course, it takes thought and planning and a little strategy; after all, it is a job interview! But it can be a positive, if not pleasant, experience and one you can look back on and feel confident about your performance and effort. For many new job seekers, a job, any job, seems a wonderful thing. But seasoned interview veterans know that the job interview is an important step for both sidesthe employer and the candidateto see what each has to offer and whether there is going to be a "fit" of personalities, work styles, and attitudes. And it is this concept of balance in the interview, that both sides have important parts to play, that holds the key to success in mastering this aspect of the job search strategy. Try to think of the interview as a conversation between two interested and equal partners. You both have important, even vital, information to deliver and to learn. Of course, there's no denying the employer has some leverage, especially in the initial interview for recruitment or any interview scheduled by the candidate and not the recruiter. That should not prevent the interviewee from seeking to play an equal part in what should be a fair exchange of, information. Too often the untutored candidate allows the interview", to become one-sided. The employer asks all the questions and the candidate simply responds. The ideal would be for two mutually interested parties to sit down and discuss possibilities for each. For this is a conversation of signifi-

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cance, and it requires pre-interview preparation, thought about the tone of the interview, and planning of the nature and details of the information to be exchanged. Preparing For The Interview Most initial interviews are about thirty minutes long. Given the brevity, the information that is exchanged ought to be important. The candidate should be delivering material that the employer cannot discover on the resume and, in turn, the candidate should be learning things about the employer that he or she could not otherwise find out. After all, if you have only thirty minutes, why waste time on information that is already published? The information exchanged is more than just factual, and both sides will learn much from what they see of each other, as well. How the candidate looks, speaks, and acts is important to the employer. The employer's attention to the interview and awareness of the candidate's resume, the setting, and the quality of information presented are important to the candidate. Just as the employer has every right to be disappointed when a prospect is late for the interview, looks unkempt, and seems ill-prepared to answer fairly standard questions, the candidate may be disappointed with an interviewer who isn't ready for the meeting, hasn't learned the basic resume facts, and is constantly interrupted for telephone calls. In either situation, there's good reason to feel let down. There are many elements to a successful interview, and some of them are not easy to describe or prepare for. Sometimes there is just a chemistry between interviewer and interviewee that brings out the best in both, and a good exchange takes place. But there is much the candidate can do to pave the way for success in terms of his or her resume, personal appearance, goals, and interview strategyeach of which we will discuss. However, none of this preparation is as important as the time and thought the candidate gives to personal self-assessment. Self-Assessment Neither a stunning resume nor an expensive, well-tailored suit can compensate for candidates who do not know what they want, where they are going, or why they are interviewing with a particular employer. Self-assessment, the process by which we begin to know and acknowledge our own particular blend of education, experiences, needs, and goals is not something that can be sorted out the weekend before a major interview. Of all the elements of interview preparation, this one requires the longest lead time and cannot be faked.

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Because the time allotted for most interviews is brief, it is all the more important for job candidates to understand and express succinctly why they are there and what they have to offer. This is not a time for undue modesty or for braggadocio, either; but it is a time for a compelling, reasoned statement of why you feel that you and this employer might make a good match. It means you have to have thought about your skills, interests, and attributes; related those to your life experiences and your own history of challenges and opportunities; and determined what that indicates about your strengths, preferences, values, and areas needing further development. A common complaint of employers is that many candidates didn't take advantage of the interview time, didn't seem to know why they were there or what they wanted. When asked to talk about themselves and their work-related skills and attributes, employers don't want to be faced with shyness or embarrassed laughter; they need to know about you so they can make a fair determination of you and your competition. If you lose the opportunity to make a case for your employability, you can be certain the person ahead of you has or the person after you will, and it will be on the strength of those impressions that the employer will hire. If you need some assistance with self-assessment issues, refer to Chapter 1. Included are suggested exercises that can be done as needed, such as making up an experiential diary and extracting obvious strengths and weaknesses from past experiences. These simple, pen-and-paper assignments will help you look at past activities as collections of tasks with accompanying skills and responsibilities. Don't overlook your high school or college career office, as well. Many offer personal counseling on self-assessment issues and may provide testing instruments such as the Myers-Briggs Type Indicator (MBTI)®, the Harrington-O'Shea Career Decision Making® System (CDM), the Strong Interest Inventory (SII)®, or any of a wide selection of assessment tools that can help you clarify some of these issues prior to the interview stage of your job search. The Resume Resume preparation has been discussed in detail, and some basic examples of various types were provided. In this section, we want to concentrate on how best to use your resume in the interview. In most cases, the employer will have seen the resume prior to the interview, and, in fact, it may well have been the quality of that resume that secured the interview opportunity. An interview is a conversation, however, and not an exercise in reading. So, if the employer hasn't seen your resume and you have brought it along to the interview, wait until asked or until the end of the interview to offer it. Otherwise, you may find yourself staring at the back of your resume and simply answering "yes" and "no" to a series of questions drawn from that document.

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Sometimes an interviewer is not prepared and does not know or recall the contents of the resume and may use the resume to a greater or lesser degree as a "prompt" during the interview. It is for you to judge what that may indicate about the individual doing the interview or the employer. If your interviewer seems surprised by the scheduled meeting, relies on the resume to an inordinate degree, and seems otherwise unfamiliar with your background, this lack of preparation for the hiring process could well be a symptom of general management disorganization or may simply be the result of poor planning on the part of one individual. It is your responsibility as a potential employee to be aware of these signals and make your decisions accordingly. In any event, it is perfectly acceptable for you to get the conversation back to a more interpersonal style by saying something like, "Mr. Smith, you might be interested in some recent drama therapy experience I gained in an internship that is not detailed on my resume. May I tell you about it?" This can return the interview to two people talking to each other, not one reading and the other responding. By all means, bring at least one copy of your resume to the interview. Occasionally, at the close of an interview, an interviewer will express an interest in circulating a resume to several departments, and you could then offer to provide those. Sometimes, an interview appointment provides an opportunity to meet others in the organization who may express an interest in you and your background, and it may be helpful to follow that up with a copy of your resume. Our best advice, however, is to keep it out of sight until needed or requested. Appearance Although many of the absolute rules that once dominated the advice offered to job candidates about appearance have now been moderated significantly, conservative is still the watchword unless you are interviewing in a fashion-related industry. For men, conservative translates into a wellcut dark suit with appropriate tie, hosiery, and dress shirt. A wise strategy for the male job seeker looking for a good but not expensive suit would be to try the men's department of a major department store. They usually carry a good range of sizes, fabrics, and prices; offer professional sales help; provide free tailoring; and have associated departments for putting together a professional look.

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For women, there is more latitude. Business suits are still popular, but they have become more feminine in color and styling with a variety of jacket and skirt lengths. In addition to suits, better-quality dresses are now worn in many environments and, with the correct accessories, can be most appropriate. Company literature, professional magazines, the business section of major newspapers, and television interviews can all give clues about what is being worn in different employer environments. Both men and women need to pay attention to issues such as hair, jewelry, and make-up; these are often what separates the candidate in appearance from the professional work force. It seems particularly difficult for the young job seeker to give up certain hair styles, eyeglass fashions, and jewelry habits, yet those can be important to the employer, who is concerned with your ability to successfully make the transition into the organization. Candidates often find the best strategy is to dress conservatively until they find employment. Once employed and familiar with the norms within your organization, you can begin to determine a look that you enjoy, works for you, and fits your organization. Choose clothes that suit your body type, fit well, and flatter you. Feel good about the way you look! The interview day is not the best for a new hairdo, a new pair of shoes, or any other change that will distract you or cause you to be selfconscious. Arrive a bit early to avoid being rushed, and ask the receptionist to direct you to a restroom for any lastminute adjustments of hair and clothes. Employer Information Whether your interview is for graduate school admission, an overseas corporate position, or a reporter position with a local newspaper, it is important to know something about the employer or the organization. Keeping in mind that the interview is relatively brief and that you will hopefully have other interviews with other organizations, it is important to keep your research in proportion. If secondary interviews are called for, you will have additional time to do further research. For the first interview, it is helpful to know the organization's mission, goals, size, scope of operations, etc. Your research may uncover recent areas of challenge or particular successes that may help to fuel the interview. Use the ''Where Are These Jobs, Anyway?" section of Chapter 3, your library, and your career or guidance office to help you locate this information in the most efficient way possible. Don't be shy in asking advice of these counseling and guidance professionals on how best to spend your preparation time. With some practice, you'll soon learn how much information is enough and which kinds of information are most useful to you.

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Interview Content We've already discussed how it can help to think of the interview as an important conversationone that, as with any conversation, you want to find pleasant and interesting and leaves you with a good feeling. But because this conversation is especially important, the information that's exchanged is critical to its success. What do you want them to know about you? What do you need to know about them? What interview technique do you need to particularly pay attention to? How do you want to manage the close of the interview? What steps will follow in the hiring process? Except for the professional interviewer, most of us find interviewing stressful and anxiety-provoking. Developing a strategy before you begin interviewing will help you relieve some stress and anxiety. One particular strategy that has worked for many and may work for you is interviewing by objective. Before you interview, write down three to five goals you would like to achieve for that interview. They may be technique goals: smile a little more, have a firmer handshake, be sure to ask about the next stage in the interview process before leaving, etc. They may be contentoriented goals: find out about the company's current challenges and opportunities, be sure to speak of my recent research writing experiences or foreign travel, etc. Whatever your goals, jot down a few of them as goals for this interview. Most people find that, in trying to achieve these few goals, their interviewing technique becomes more organized and focused. After the interview, the most common question friends and family ask is, "How did it go?" With this technique, you have an indication of whether you met your goals for the meeting, not just some vague idea of how it went. Chances are, if you accomplished what you wanted to, it informed the quality of the entire interview. As you continue to interview, you will want to revise your goals to continue improving your interview skills. Now, add to the concept of the significant conversation the idea of a beginning, a middle, and a closing and you will have two thoughts that will give your interview a distinctive character. Be sure to make your introduction warm and cordial. Say your full name (and if it's a difficult-to-pronounce name, help the interviewer to pronounce it) and make certain you know your interviewer's name and how to pronounce it. Most interviews begin with some "soft talk" about the weather, chat about the candidate's trip to the interview site, national events, etc. This is done as a courtesy, to relax both you and the interviewer, to get you talking, and to generally try to defuse the atmosphere of excessive tension. Try to be yourself, engage in the conversation, and don't try to second-guess the interviewer. This is simply what it appears to becasual conversation.

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Once you and the interviewer move on to exchange more serious information in the middle part of the interview, the two most important concerns become your ability to handle challenging questions and your success at asking meaningful ones. Interviewer questions will probably fall into one of three categories: personal assessment and career direction, academic background, and knowledge of the employer. The following are some examples of questions in each category: Personal Assessment and Career Direction How would you describe yourself? 1. What motivates you to put forth your greatest effort? 2. In what kind of work environment are you most comfortable? 3. What do you consider to be your greatest strengths and weaknesses? 4. How well do you work under pressure? 5. What qualifications do you have that make you think you will be successful in this career? 6. Will you relocate? What do you feel would be the most difficult aspect of relocating? 7. Are you willing to travel? 8. Why should I hire you? 9.

Academic Assessment Why did you select your college or university? 1. What changes would you make at your alma mater? 2. What led you to choose your major? 3. What subjects did you like best and least? Why? 4. If you could, how would you plan your academic study differently? Why? 5. Describe your most rewarding college experience. 6. How has your college experience prepared you for this career? 7. Do you think that your grades are a good indication of your ability to succeed with this organization? 8. Do you have plans for continued study? 9.

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Knowledge of the Employer If you were hiring a graduate of your school for this position, what qualities would you look for? 1. What do you think it takes to be successful in an organization like ours? 2. In what ways do you think you can make a contribution to our organization? 3. Why did you choose to seek a position with this organization? 4.

The interviewer wants a response to each question but is also gauging your enthusiasm, preparedness, and willingness to communicate. In each response you should provide some information about yourself that can be related to the employer's needs. A common mistake is to give too much information. Answer each question completely, but be careful not to run on too long with extensive details or examples. Questions About Underdeveloped Skills Most employers interview people who have met some minimum criteria of education and experience. They interview candidates to see who they are, to learn what kind of personality they exhibit, and to get some sense of how this person might fit into the existing organization. It may be that you are asked about skills the employer hopes to find and that you have not documented. Maybe it's grant-writing experience, knowledge of the European political system, or a knowledge of the film world. To questions about skills and experiences you don't have, answer honestly and forthrightly and try to offer some additional information about skills you do have. For example, perhaps the employer is disappointed you have no grant-writing experience. An honest answer may be as follows: No, unfortunately, I was never in a position to acquire those skills. I do understand something of the complexities of the grant-writing process and feel confident that my attention to detail, careful reading skills, and strong writing would make grants a wonderful challenge in a new job. I think I could get up on the learning curve quickly. The employer hears an honest admission of lack of experience but is reassured by some specific skill details that do relate to grant writing and a confident manner that suggests enthusiasm and interest in a challenge. For many students, questions about their possible contribution to an employer's organization can prove challenging. Because your education has probably not included specific training for a job, you need to review your

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academic record and select capabilities you have developed in your major that an employer can appreciate. For example, perhaps you read well and can analyze and condense what you've read into smaller, more focused pieces. That could be valuable. Or maybe you did some serious research and you know you have valuable investigative skills. Your public speaking might be highly developed and you might use visual aids appropriately and effectively. Or maybe your skill at correspondence, memos, and messages is effective. Whatever it is, you must take it out of the academic context and put it into a new, employer-friendly context so your interviewer can best judge how you could help the organization. Exhibiting knowledge of the organization will, without a doubt, show the interviewer that you are interested enough in the available position to have done some legwork in preparation for the interview. Remember, it is not necessary to know every detail of the organization's history, but rather to have a general knowledge about why it is in business and how the industry is faring. Sometime during the interview, generally after the midway point, you'll be asked if you have any questions for the interviewer. Your questions will tell the employer much about your attitude and your desire to understand the organization's expectations so you can compare it to your own strengths. The following are some selected questions you might want to ask: What are the main responsibilities of the position? 1. What are the opportunities and challenges associated with this position? 2. Could you outline some possible career paths beginning with this position? 3. How regularly do performance evaluations occur? 4. What is the communication style of the organization? (meetings, memos, etc.) 5. Describe a typical day for me in this position. 6. What kinds of opportunities might exist for me to improve my professional skills within the organization? 7. What have been some of the interesting challenges and opportunities your organization has recently faced? 8.

Most interviews draw to a natural closing point, so be careful not to prolong the discussion. At a signal from the interviewer, wind up your presentation, express your appreciation for the opportunity, and be sure to ask what the next stage in the process will be. When can you expect to hear from them?

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Will they be conducting second-tier interviews? If you're interested and haven't heard, would they mind a phone call? Be sure to collect a business card with the name and phone number of your interviewer. On your way out, you might have an opportunity to pick up organizational literature you haven't seen before. With the right preparationa thorough self-assessment, professional clothing, and employer informationyou'll be able to set and achieve the goals you have established for the interview process.

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Chapter Six Networking or Interviewing Follow-Up Quite often, there is a considerable time lag between interviewing for a position and being hired, or, in the case of the networker, between your phone call or letter to a possible contact and the opportunity of a meeting. This can be frustrating. "Why aren't they contacting me?" "I thought I'd get another interview, but no one has telephoned." "Am I out of the running?" You don't know what is happening. Consider the Differing Perspectives Of course, there is another perspectivethat of the networker or hiring organization. Organizations are complex, with multiple tasks that need to be accomplished each day. Hiring is but one discrete activity that does not occur as frequently as other job assignments. The hiring process might have to take second place to other, more immediate organizational needs. Although it may be very important to you and it is certainly ultimately significant to the employer, other issues such as fiscal management, planning and product development, employer vacation periods, or financial constraints, may prevent an organization or individual within that organization from acting on your employment or your request for information as quickly as you or they would prefer. Use Your Communication Skills Good communication is essential here to resolve any anxieties, and the responsibility the job or information seeker. Too many job seek-

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ers and networkers offer as an excuse that they don't want to "bother" the organization by writing letters or calling. Let us assure you here and now, once and for all, that if you are troubling an organization by over-communicating, someone will indicate that situation to you quite clearly. If not, you can only assume you are a worthwhile prospect and the employer appreciates being reminded of your availability and interest in them. Let's look at follow-up practices in both the job interview process and the networking situation separately. Following Up on the Employment Interview A brief thank-you note following an interview is an excellent and polite way to begin a series of follow-up communications with a potential employer with whom you have interviewed and want to remain in touch. It should be just thata thank you for a good meeting. If you failed to mention some fact or experience during your interview that you think might add to your candidacy, you may use this note to do that. However, this should be essentially a note whose overall tone is appreciative and, if appropriate, indicative of a continuing interest in pursuing any opportunity that may exist with that organization. It is one of the few pieces of business correspondence that may be handwritten, but always use plain, good quality, monarch-size paper. If, however, at this point you are no longer interested in the employer, the thank-you note is an appropriate time to indicate that. You are under no obligation to identify any reason for not continuing to pursue employment with that organization, but if you are so inclined to indicate your professional reasons (pursuing other employers more akin to your interests, looking for greater income production than this employer can provide, a different geographic location than is available, etc.), you certainly may. It should not be written with an eye to negotiation, for it will not be interpreted as such. As part of your interview closing, you should have taken the initiative to establish lines of communication for continuing information about your candidacy. If you asked permission to telephone, wait a week following your thankyou note, then telephone your contact simply to inquire how things are progressing on your employment status. The feedback you receive here should be taken at face value. If your interviewer simply has no information, he or she will tell you so and indicate whether you should call again and when. Don't be discouraged if this should continue over some period of time. If during this time something occurs that you think improves or changes your candidacy (some new qualification or experience you may have had), including any offers from other organizations, by all means telephone or write to inform the employer about this. In the case of an offer from a competing

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but less desirable or equally desirable organization, telephone your contact, explain what has happened, express your real interest in the organization, and inquire whether some determination on your employment might be made before you must respond to this other offer. If the organization is truly interested in you, they may be moved to make a decision about your candidacy. Equally possible is the scenario in which they are not yet ready to make a decision and so advise you to take the offer that has been presented. Again, you have no ethical alternative but to deal with the information presented in a straightforward manner. When accepting other employment, be sure to contact any employers still actively considering you and inform them of your new job. Thank them graciously for their consideration. There are many other job seekers out there just like you who will benefit from having their candidacy improved when others bow out of the race. Who knows, you might, at some future time, have occasion to interact professionally with one of the organizations with whom you sought employment. How embarrassing to have someone remember you as the candidate who failed to notify them of taking a job elsewhere! In all of your follow-up communications, keep good notes of who you spoke with, when you called, and any instructions that were given about return communications. This will prevent any misunderstandings and provide you with good records of what has transpired. Following Up on the Network Contact Far more common than the forgotten follow-up after an interview is the situation where a good network contact is allowed to lapse. Good communications are the essence of a network, and follow-up is not so much a matter of courtesy here as it is a necessity. In networking for job information and contacts, you are the active network link. Without you, and without continual contact from you, there is no network. You and your need for employment is often the only shared element between members of the network. Because network contacts were made regardless of the availability of any particular employment, it is incumbent upon the job seeker, if not simple common sense, that unless you stay in regular communication with the network, you will not be available for consideration should some job become available in the future. This brings up the issue of responsibility, which is likewise very clear. The job seeker initiates network contacts and is responsible for maintaining those contacts; therefore, the entire responsibility for the network belongs with him or her. This becomes patently obvious if the network is left unattended. It

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very shortly falls out of existence, as it cannot survive without careful attention by the networker. A variety of ways are open to you to keep the lines of communication open and to attempt to interest the network in you as a possible employee. You are limited only by your own enthusiasm for members of the network and your creativity. However, you as a networker are well-advised to keep good records of whom you have met and spoken with in each organization. Be sure to send thank-you notes to anyone who has spent any time with you, be it a quick tour of a department or a sit-down informational interview. All of these communications should, in addition to their ostensible reason, add some information about you and your particular combination of strengths and attributes. You can contact your network at any time to convey continued interest, to comment on some recent article you came across concerning an organization, to add information about your training or changes in your qualifications, to ask advice or seek guidance in your job search, or to request referrals to other possible network opportunities. Sometimes just a simple note to network members reminding them of your job search, indicating that you have been using their advice, and noting that you are still actively pursuing leads and hope to continue to interact with them is enough to keep communications alive. Because networks have been abused in the past, it's important that your conduct be above reproach. Networks are exploratory options, they are not back-door access to employers. The network works best for someone who is exploring a new industry or making a transition into a new area of employment and who needs to find information or to alert people to their search activity. Always be candid and direct with contacts in expressing the purpose of your call or letter and your interest in their help or information about their organization. In follow-up contacts, keep the tone professional and direct. Your honesty will be appreciated, and people will respond as best they can if your qualifications appear to meet their forthcoming needs. The network does not owe you anything, and that tone should be clear to each person you meet. Feedback from Follow-Ups A network contact may prove to be miscalculated. Perhaps you were referred to someone and it became clear that your goals and their particular needs did not make a good match. Or the network contact may simply not be in a position to provide you with the information you are seeking. Or in some

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unfortunate situations, the contact may become annoyed by being contacted for this purpose. In such a situation, many job seekers simply say ''Thank you" and move on. If the contact is simply not the right contact, but the individual you are speaking with is not annoyed by the call, it might be a better tactic to express regret that the contact was misplaced and then express to the contact what you are seeking and ask for their advice or possible suggestions as to a next step. The more people who are aware you are seeking employment, the better your chances of connecting, and that is the purpose of a network. Most people in a profession have excellent knowledge of their field and varying amounts of expertise on areas near to or tangent to their own. Use their expertise and seek some guidance before you dissolve the contact. You may be pleasantly surprised. Occasionally, networkers will express the feeling that they have done as much as they can or provided all the information that is available to them. This may be a cue that they would like to be released from your network. Be alert to such attempts to terminate, graciously thank the individual by letter, and move on in your network development. A network is always changing, adding and losing members, and you want the network to be composed of only those who are actively interested in supporting your interests. A Final Point on Networking for Theater Majors In any of the settings a theater major might consider as a potential place to work, your contacts will be critically evaluating all of your written and oral communications. This should serve to emphasize the importance of the quality of your interactions with people who are in a position to help you in your job search. In your telephone communications, interview presentation, and follow-up correspondence, your warmth, style, and personality as evidenced in your spoken and written use of English will be part of the portfolio of impressions you create, just as much as your dramatic ability.

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Chapter Seven Job Offer Considerations For many recent college graduates, the thrill of their first job and, for some, the most substantial regular income they have ever earned seems an excess of good fortune coming at once. To question that first income or be critical in any way of the conditions of employment at the time of the initial offer seems like looking a gift horse in the mouth. It doesn't seem to occur to many new hires even to attempt to negotiate any aspect of their first job. And, as many employers who deal with entry-level jobs for recent college graduates will readily confirm, the reality is that there simply isn't much movement in salary available to these new college recruits. The entry-level hire generally does not have an employment track record on a professional level to provide any leverage for negotiation. Real negotiations on salary, benefits, retirement provisions, etc., come to those with significant employment records at higher income levels. Of course, the job offer is more than just money. It can be comprised of geographic assignment, duties and responsibilities, training, benefits, health and medical insurance, educational assistance, car allowance or company vehicle, and a host of other items. All of this is generally detailed in the formal letter that presents the final job offer. In most cases, this is a follow-up to a personal phone call from the employer representative who has been principally responsible for your hiring process. That initial telephone offer is certainly binding as a verbal agreement, but most firms follow up with a detailed letter outlining the most significant parts of your employment contract. You may certainly choose to respond immediately at the time of the telephone offer (which would be considered a binding oral contract), but you will also be required to formally answer the letter of offer with a letter of acceptance, restating the salient elements of the

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employer's description of your position, salary, and benefits. This ensures that both parties are clear on the terms and conditions of employment and remuneration and any other outstanding aspects of the job offer. Is this the Job You Want? Most new employees will write this letter of acceptance back, glad to be in the position to accept employment. If you've worked hard to get the offer, and the job market is tight, other offers may not be in sight, so you will say "Yes, I accept!" What is important here is that the job offer you accept be one that does fit your particular needs, values, and interests as you've outlined them in your self-assessment process. Moreover, it should be a job that will not only use your skills and education, but also challenge you to develop new skills and talents. Jobs are sometimes accepted too hastily, for the wrong reasons, and without proper scrutiny by the applicant. For example, an individual might readily accept a sales job only to find the continual rejection by potential clients unendurable. An office worker might realize within weeks the constraints of a desk job and yearn for more activity. Employment is an important part of our lives. It is, for most of our adult lives, our most continuous productive activity. We want to make good choices based on the right criteria. If you have a low tolerance for risk, a job based on commission will certainly be very anxiety provoking. If being near your family is important, issues of relocation could present a decision crisis for you. If you're an adventurous person, a job with frequent travel would provide needed excitement and be very desirable. The importance of income, the need to continue your education, your personal health situationall of these have an impact on whether the job you are considering will ultimately meet your needs. Unless you've spent some time understanding and thinking about these issues, it will be difficult to evaluate offers you do receive. More importantly, if you make a decision that you cannot tolerate and feel you must leave that job, you will then have both unemployment and self-esteem issues to contend with. These will combine to make the next job search tough going, indeed. So make your acceptance a carefully considered decision. Negotiating Your Offer It may be that there is some aspect of your job offer that is not particularly attractive to you. Perhaps there is no relocation allotment to help you move your possessions, and this presents some financial hardship for you. It may

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be that the medical and health insurance is less than you had hoped. Your initial assignment may be different than you expected, either in its location or in the duties and responsibilities that comprise it. Or it may simply be that the salary is less than you anticipated. Other considerations may be your official starting date of employment, vacation time, evening hours, dates of training programs or schools, etc. If you are considering not accepting the job because of some item or items in the job offer "package" that do not meet your needs, you should know that most employers emphatically wish that you would bring that issue to their attention. It may be that the employer can alter it to make the offer more agreeable for you. In some cases, it cannot be changed. In any event, the employer would generally like to have the opportunity to try to remedy a difficulty rather than risk losing a good potential employee over an issue that might have been resolved. After all, they have spent time and funds in securing your services, and they certainly deserve an opportunity to resolve any possible differences. Honesty is the best approach in discussing any objections or uneasiness you might have over the employer's offer. Having received your formal offer in writing, contact your employer representative and indicate your particular dissatisfaction in a straightforward manner. For example, you might explain that, while very interested in being employed by this organization, the salary (or any other benefit) is less than you have determined you require. State the terms you do need, and listen to the response. You may be asked to put this in writing, or you may be asked to hold off until the firm can decide on a response. If you are dealing with a senior representative of the organization, one who has been involved in hiring for some time, you may get an immediate response or a solid indication of possible outcomes. Perhaps the issue is one of relocation. Your initial assignment is in the Midwest, and because you had indicated a strong West Coast preference, you are surprised at the actual assignment. You might simply indicate that, while you understand the need for the company to assign you based on its needs, you are disappointed and had hoped to be placed on the West Coast. You could inquire if that were still possible and, if not, would it be reasonable to expect a West Coast relocation in the future. If your request is presented in a reasonable way, the employer will not see this as jeopardizing your offer. If they can agree to your proposal, they will. If not, they will simply tell you so, and you may choose to continue your candidacy with them or remove yourself from consideration as a possible employee. The choice will be up to you. Some firms will adjust benefits within their parameters to meet the candidate's need if at all possible. If a candidate requires a relocation cost allowance, he or she may be asked to forgo tuition benefits for the first year to accomplish this adjustment. An increase in life insurance may be adjusted

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by some other benefit trade-off; perhaps a family dental plan is not needed. In these decisions, you are called upon, sometimes under time pressure, to know how you value these issues and how important each is to you. Many employers find they are more comfortable negotiating for candidates who have unique qualifications or who bring especially needed expertise to the organization. Employers hiring large numbers of entry-level college graduates may be far more reluctant to accommodate any changes in offer conditions. They are well supplied with candidates with similar education and experience, so that if rejected by one candidate, they can draw new candidates from an ample labor pool. Comparing Offers With only about 40 percent of recent college graduates employed three months after graduation, many graduates do not get to enjoy the experience of entertaining more than one offer at a time. The conditions of the economy, the job seekers' particular geographic job market, and their own needs and demands for certain employment conditions may not provide more than one offer at a time. Some job seekers may feel that no reasonable offer should go unaccepted, for the simple fear there won't be another. In a tough job market, or if the job you seek is not widely available, or when your job search goes on too long and becomes difficult to sustain financially and emotionally, it may be necessary to accept an offer. The alternative is continued unemployment. Even here, when you feel you don't have a choice, you can at least understand that in accepting this particular offer, there may be limitations and conditions you don't appreciate. At the time of acceptance, there were no other alternatives, but the new employee can begin to use that position to gain the experience and talent to move toward a more attractive position. Sometimes, however, more than one offer is received at one time, and the candidate has the luxury of choice. If the job seeker knows what he or she wants and has done the necessary self-assessment honestly and thoroughly, it may be clear that one of the offers conforms more closely to those expressed wants and needs. However, if, as so often happens, the offers are similar in terms of conditions and salary, the question then becomes which organization might provide the necessary climate, opportunities, and advantages for your professional development and growth. This is the time when solid employer research and astute questioning during the interviews really pays off. How much did you learn about the employer through your own research and skillful questioning? When the interviewer asked during the interview, "Do you have any

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questions?" did you ask the kinds of questions that would help resolve a choice between one organization and another? Just as an employer must decide among numerous applicants, so must the applicant learn to assess the potential employer. Both are partners in the job search. Reneging on an Offer An especially disturbing occurrence for employers and career counseling professionals is when a job seeker formally (either orally or by written contract) accepts employment with one organization and later reneges on the agreement and goes with another employer. There are all kinds of rationalizations offered for this unethical behavior. None of them satisfies. The sad irony is that what the job seeker is willing to do to the employermake a promise and then break ithe or she would be outraged to have done to themhave the job offer pulled. It is a very bad way to begin a career. It suggests the individual has not taken the time to do the necessary self-assessment and self-awareness exercises to think and judge critically. The new offer taken may, in fact, be no better or worse than the one refused. Job candidates should be aware that there have been incidents of legal action following job candidates reneging on an offer. This adds a very sour note to what should be a harmonious beginning of a lifelong adventure.

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Chapter Eight The Graduate School Choice The reasons for continuing one's education in graduate school can be as varied and unique as the individuals electing this course of action. Many continue their studies at an advanced level because they simply find it difficult to end the educational process. They love what they are learning and want to learn more and continue their academic exploration. Studying a particular subject in great depth, such as techniques used by seventeenth-century playwrights; and thinking, studying, researching, and writing critically on what others have discovered can provide excitement, challenge, and serious work. Some theater majors have loved this aspect of their academic work and want to continue that activity. Others go on to graduate school for purely practical reasons; they have examined employment prospects in their field of study, and all indications are that a graduate degree is requisite. If you have earned a B.A. in theater as a stepping stone to a career in drama therapy, for example, going on for further training becomes mandatory. As a B.A.-level theater major, you realize you cannot move above entry level without a master's degree or even a Ph.D. A review of jobs in different areas will suggest that at least a master's

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degree is important to be competitive. Alumni who are working in entertainment, education, the media, in museums, in hospitals, in libraries, or in writing and publishing can be a good source of what degree level the fields are hiring. Ask your college career office for some alumni names and give them a telephone call. Prepare some questions on specific job prospects in their field at each degree level. A thorough examination of the marketplace and talking to employers and professors will give you a sense of the scope of employment for a bachelor's degree, master's degree, or doctorate. College teaching will require an advanced degree. Your job prospects might also demand specialization in an additional field (counseling, business management, etc.). Mental health facilities and other settings may well put a premium on the advanced degree because the market is oversupplied and the employer can afford to make this demand or because the advanced training and research are requirements to function in the job. Consider Your Motives The answer to the question of "Why graduate school?" is a personal one for each applicant. Nevertheless, it is important to consider your motives carefully. Graduate school involves additional time out of the employment market, a high degree of critical evaluation, significant autonomy as you pursue your studies, and considerable financial expenditure. For some students in doctoral programs, there may be additional life choice issues, such as relationships, marriage, and parenthood that may present real challenges while in a program of study. You would be well-advised to consider the following questions as you think about your decision to continue your studies. Are You Postponing Some Tough Decisions by Going to School? Graduate school is not a place to go to avoid life's problems. There is intense competition for graduate school slots and for the fellowships, scholarships, and

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financial aid available. This competition means extensive interviewing, resume submission, and essay writing that rivals corporate recruitment. Likewise, the graduate school process is a mentored one in which faculty stay aware of and involved in the academic progress of their students and continually challenge the quality of their work. Many graduate students are called upon to participate in teaching and professional writing and research as well. In other words, this is no place to hide from the spotlight. Graduate students work very hard and much is demanded of them individually. If you elect to go to graduate school to avoid the stresses and strains of the "real world," you will find no safe place in higher academics. Vivid accounts, both fiction and nonfiction, have depicted quite accurately the personal and professional demands of graduate school work. The selection of graduate studies as a career option should be a positive choicesomething you want to do. It shouldn't be selected as an escape from other, less attractive or more challenging options, nor should it be selected as the option of last resort (i.e., "I can't do anything else; I'd better just stay in school"). If you're in some doubt about the strength of your reasoning about continuing in school, discuss the issues with a career counselor. Together you can clarify your reasoning, and you'll get some sound feedback on what you're about to undertake. On the other hand, staying on in graduate school because of a particularly poor employment market and a lack of jobs at entry-level positions has proven to be an effective "stalling" strategy. If you can afford it, pursuing a graduate degree immediately after your undergraduate education gives you a year or two to "wait out" a difficult economic climate while at the same time acquiring a potentially valuable credential. Have You Done Some "Hands-On" Reality Testing? There are experiential options available to give some reality to your decision-making process about graduate school. Internships or work in the field can give you a good idea about employment demands, conditions, and atmosphere. Perhaps, as a theater major, you're considering a graduate program in education with an eye to university teaching. Begin with your own college professors, and ask them to talk to you about their own educational and career paths to their current teaching posts. They can also talk to you about the time they spend outside the classroom, in research activities or in departmental meetings dealing with faculty and budget concerns.

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Even after hearing the experience of only one professor, you will have a stronger concept of the pace of the job, interaction with colleagues, subject matter, and pressure to do research and publish results. Talking to people and asking questions is an excellent exercise to help you better understand the objective of your graduate study. For theater majors especially, the opportunity to do this kind of reality testing is invaluable. It demonstrates far more authoritatively than any other method what your real-world skills are, how they can be put to use, and what aspect of your academic preparation you will rely on. It has been well documented that theater majors do well in occupations once they identify those skills. Internships and coop experiences speed that process up and prevent the frustrating and expensive process of investigation many graduates begin only after graduation. Do You Need an Advanced Degree to Work in Your Field? Certainly there are fields such as law, psychiatry, medicine, and college teaching that demand advanced degrees. Is the field of employment you're considering one that also puts a premium on an advanced degree? You may be surprised. Read the want ads in a number of major Sunday newspapers for positions you would enjoy. How many of those require an advanced degree? Retailing, for example, has always put a premium on what people can do, rather than how much education they have had. Successful people in retailing come from all academic preparations. A Ph.D. in English may bring only prestige to the individual employed as a magazine researcher. It may not bring a more senior position or better pay. In fact, it may disqualify you for some jobs because an employer might believe you will be unhappy to be overqualified for a particular position. Or your motives in applying for the work may be misconstrued, and the employer might think you will only be working at this level until something better comes along. None of this may be true for you, but it comes about because you are working outside of the usual territory for that degree level. When economic times are especially difficult, we tend to see stories featured about individuals with advanced degrees doing what is considered unsuitable work, such as the Ph.D. in English driving a cab or the Ph.D. in chemistry waiting tables. Actually, this is not particularly surprising when you

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consider that as your degree level advances, the job market narrows appreciably. At any one time, regardless of economic circumstances, there are only so many jobs for your particular level of expertise. If you cannot find employment for your advanced degree level, chances are you will be considered suspect for many other kinds of employment and may be forced into temporary work far removed from your original intention. Before making an important decision such as graduate study, learn your options and carefully consider what you want to do with your advanced degree. Ask yourself whether it is reasonable to think you can achieve your goals. Will there be jobs when you graduate? Where will they be? What will they pay? How competitive will the market be at that time, based on current predictions? If you're uncertain about the degree requirements for the fields you're interested in, you should check a publication such as the U.S. Department of Labor's Occupational Outlook Handbook. Each entry has a section on training and other qualifications that will indicate clearly what the minimum educational requirement is for employment, what degree is the standard, and what employment may be possible without the required credential. For example, for physicists and astronomers, a doctoral degree in physics or a closely related field is essential. Certainly this is the degree of choice in academic institutions. However, the Occupational Outlook Handbook also indicates what kinds of employment may be available to individuals holding a master's or even a bachelor's degree in physics. Have You Compared Your Expectations of What Graduate School Will Do for You with What It Has Done for Alumni of the Program You're Considering? Most colleges and universities perform some kind of postgraduate survey of their students to ascertain where they are employed, what additional education they have received, and what levels of salary they are enjoying. Ask to see this information either from the university you are considering applying to or from your own alma mater, especially if it has a similar graduate program. Such surveys often reveal surprises about occupational decisions, salaries, and work satisfaction. This information may affect your decision. The value of self-assessment (the process of examining and making decisions about your own hierarchy of values and goals) is especially important in this process of analyzing the desirability of possible career paths involving graduate education. Sometimes a job requiring advanced education seems to hold real promise but is disappointing in salary potential or numbers of opportunities available. Certainly, it is better to research this information before embarking on a program of graduate studies. It may not change your

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mind about your decision, but by becoming better informed about your choice, you become better prepared for your future. Have You Talked with People in Your Field to Explore What You Might Be Doing After Graduate School? In pursuing your undergraduate degree, you will have come into contact with many individuals trained in the field you are considering. You might also have the opportunity to attend professional conferences, workshops, seminars, and job fairs where you can expand your network of contacts. Talk to them all! Find out about their individual career paths, discuss your own plans and hopes, and get their feedback on the reality of your expectations, and heed their advice about your prospects. Each will have a unique tale to tell, and each will bring a different perspective on the current marketplace for the credentials you are seeking. Talking to enough people will make you an expert on what's out there. Are You Excited by the Idea of Studying the Particular Field You Have in Mind? This question may be the most important one of all. If you are going to spend several years in advanced study, perhaps engendering some debt or postponing some lifestyle decisions for an advanced degree, you simply ought to enjoy what you're doing. Examine your work in the discipline so far. Has it been fun? Have you found yourself exploring various paths of thought? Do you read in your area for fun? Do you enjoy talking about it, thinking about it, and sharing it with others? Advanced degrees often are the beginning of a lifetime's involvement with a particular subject. Choose carefully a field that will hold your interest and your enthusiasm. It is fairly obvious by now that we think you should give some careful thought to your decision and take some action. If nothing else, do the following: Talk and question (remember to listen!) Reality-test Soul-search by yourself or with a person you trust

Finding the Right Program for You: Some Considerations There are several important factors in coming to a sound decision about the right graduate program for you. You'll want to begin by locating institutions

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that offer appropriate programs, examining each of these programs and their requirements, undertaking the application process by obtaining catalogs and application materials, visiting campuses if possible, arranging for letters of recommendation, writing your application statement, and finally following up on your applications. Locate Institutions with Appropriate Programs Once you decide on a particular advanced degree, it's important to develop a list of schools offering such a degree program. Perhaps the best sources of graduate program information are Peterson's Guides to Graduate Study. Use these guides to build your list. In addition, you may want to consult the College Board's Index of Majors and Graduate Degrees, which will help you find graduate programs offering the degree you seek. It is indexed by academic major and then categorized by state. Now, this may be a considerable list. You may want to narrow the choices down further by a number of criteria: tuition, availability of financial aid, public versus private institutions, U.S. versus international institutions, size of student body, size of faculty, application fee (this varies by school; most fall within the $10$75 range), and geographic location. This is only a partial list; you will have your own important considerations. Perhaps you are an avid scuba diver and you find it unrealistic to think you could pursue graduate study for a number of years without being able to ocean dive from time to time. Good! That's a decision and it's honest. Now, how far from the ocean is too far, and what schools meet your other needs? In any case, and according to your own criteria, begin to build a reasonable list of graduate schools that you are willing to spend the time investigating. Examine the Degree Programs and Their Requirements Once you've determined the criteria by which you want to develop a list of graduate schools, you can begin to examine the degree program requirements, faculty composition, and institutional research orientation. Again, using a resource such as Peterson's Guides to Graduate Study can reveal an amazingly rich level of material by which to judge your possible selections. In addition to degree programs and degree requirements, entries will include information about application fees, entrance test requirements, tuition, percentage of applicants accepted, numbers of applicants receiving financial aid, gender breakdown of students, numbers of full- and part-time faculty, and often gender breakdown of faculty as well. Numbers graduating in each program and research orientations of departments are also included in some entries. There is information on graduate housing, student services, and library, research, and computer facilities. A contact person, phone num-

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ber, and address are also standard pieces of information in these listings. In addition to the standard entries, some schools pay an additional fee to place full-page, more detailed program descriptions. The location of such a display ad, if present, would be indicated at the end of the standard entry. It can be helpful to draw up a chart and enter relevant information about each school you are considering in order to have a ready reference on points of information that are important to you. Undertake the Application Process The Catalog Once you've decided on a selection of schools, send for catalogs and applications. It is important to note here that these materials might take many weeks to arrive. Consequently, if you need the materials quickly, it might be best to telephone and explain your situation to see whether the process can be speeded up for you. Also, check a local college or university library, which might have current and complete college catalogs in a microfiche collection. These microfiche copies can provide you with helpful information while you wait for your own copy of the graduate school catalog or bulletin to arrive. When you receive your catalogs, give them a careful reading and make notes of issues you might want to discuss on the telephone or in a personal interview, if that's possible. Does the course selection have the depth you had hoped for? What is the ratio of faculty to the required number of courses for your degree? How often will you encounter the same faculty member as an instructor? If you are interested in graduate work in theater management, for example, in addition to classic courses such as management theory or organizational behavior, consider the availability of colloquiums, directed research opportunities, and specialized seminars. If, for example, your program offers a practicum or off-campus experience, who arranges this? Does the graduate school select a site and place you there, or is it your responsibility? What are the professional affiliations of the faculty? Does the program merit any outside professional endorsement or accreditation? Critically evaluate the catalogs of each of the programs you are considering. List any questions you have and ask current or former teachers and colleagues for their impressions as well.

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The Application Preview each application thoroughly to determine what you need to provide in the way of letters of recommendation, transcripts from undergraduate schools or any previous graduate work, and personal essays that may be required. Make a notation for each application of what you need to complete that document. Additionally, you'll want to determine entrance testing requirements for each institution and immediately arrange to complete your test registration. For example, the Graduate Record Exam (GRE) and the Graduate Management Admission Test (GMAT) each have thee to four weeks between the last registration date and the test date. Your local college career office should be able to provide you with test registration booklets, sample test materials, information on test sites and dates, and independent test review materials that might be available commercially. Visit the Campus If Possible If time and finances allow, a visit, interview, and tour can help make your decision easier. You can develop a sense of the student body, meet some of the faculty, and hear up-to-date information on resources and the curriculum. You will have a brief opportunity to ''try out" the surroundings to see if they fit your needs. After all, it will be home for a while. If a visit is not possible but you have questions, don't hesitate to call and speak with the dean of the graduate school. Most are more than happy to talk to candidates and want them to have the answers they seek. Graduate school admission is a very personal and individual process. Arrange for Letters of Recommendation This is also the time to begin to assemble a group of individuals who will support your candidacy as a graduate student by writing letters of recommendation or completing recommendation forms. Some schools will ask you to provide letters of recommendation to be included with your application or sent directly to the school by the recommender. Other graduate programs will provide a recommendation form that must be completed by the recommender. These graduate school forms vary greatly in the amount of space provided for a written recommendation. So that you can use letters as you need to, ask your recommenders to address their letters "To Whom It May Concern," unless one of your recommenders has a particular connection to one of your graduate schools or knows an official at the school. Choose recommenders who can speak authoritatively about the criteria important to selection officials at your graduate school. In other words, choose recommenders who can write about your grasp of the literature in your field of study, your ability to write and speak effectively, your class performance, and your demonstrated interest in the field outside of class. Other character-

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istics that graduate schools are interested in assessing include your emotional maturity, leadership ability, breadth of general knowledge, intellectual ability, motivation, perseverance, and ability to engage in independent inquiry. When requesting recommendations, it's especially helpful to put the request in writing. Explain your graduate school intentions and express some of your thoughts about graduate school and your appreciation for their support. Don't be shy about "prompting" your recommenders with some suggestions of what you would appreciate being included in their comments. Most recommenders will find this direction helpful and will want to produce a statement of support that you can both stand behind. Consequently, if your interaction with one recommender was especially focused on research projects, he or she might be best able to speak of those skills and your critical thinking ability. Another recommender may have good comments to make about your public presentation skills. Give your recommenders plenty of lead time in which to complete your recommendation, and set a date by which they should respond. If they fail to meet your deadline, be prepared to make a polite call or visit to inquire if they need more information or if there is anything you can do to move the process along. Whether or not you are providing a graduate school form or asking for an original letter to be mailed, be sure to provide an envelope and postage if the recommender must mail the form or letter directly to the graduate school. Each recommendation you request should provide a different piece of information about you for the selection committee. It might be pleasant for letters of recommendation to say that you are a fine, upstanding individual, but a selection committee for graduate school will require specific information. Each recommender has had a unique relationship with you, and their letters should reflect that. Think of each letter as helping to build a more complete portrait of you as a potential graduate student. Write Your Application Statement For the theater major, the application and personal essay should be a welcome opportunity to express your deep interest in pursuing graduate study. Your understanding of the challenges ahead, your commitment to the work involved, and your expressed selfawareness will weigh heavily in the decision process of the graduate school admissions committee.

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An excellent source to help in thinking about writing this essay is How to Write a Winning Personal Statement for Graduate and Professional School by Richard J. Stelzer. It has been written from the perspective of what graduate school selection committees are looking for when they read these essays. It provides helpful tips to keep your essay targeted on the kinds of issues and criteria that are important to selection committees and that provide them with the kind of information they can best utilize in making their decision. Follow Up on Your Applications After you have finished each application and mailed it along with your transcript requests and letters of recommendation, be sure to follow up on the progress of your file. For example, call the graduate school administrative staff to see whether your transcripts have arrived. If the school required your recommenders to fill out a specific recommendation form that had to be mailed directly to the school, you will want to ensure that they have all arrived in good time for the processing of your application. It is your responsibility to make certain that all required information is received by the institution. Researching Financial Aid Sources, Scholarships, and Fellowships Financial aid information is available from each school, so be sure to request it when you call for a catalog and application materials. There will be several lengthy forms to complete, and these will vary by school, type of school (public versus private), and state. Be sure to note the deadline dates for these important forms. There are many excellent resources available to help you explore all of your financial aid options. Visit your college career office or local public library to find out about the range of materials available. Two excellent resources include Peterson's Grants for Graduate Students and the Foundation Center's Foundation Grants to Individuals. These types of resources generally contain information that can be accessed by indexes including field of study, specific eligibility requirements, administering agency, and geographic focus. Evaluating Acceptance If you apply to and are accepted at more than one school, it is time to return to your initial research and self-assessment to evaluate your options and select the program that will best help you achieve the goals you set for

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pursuing graduate study. You'll want to choose a program that will allow you to complete your studies in a timely and cost-effective way. This may be a good time to get additional feedback from professors and career professionals who are familiar with your interests and plans. Ultimately, the decision is yours, so be sure you get answers to all the questions you can think of. Some Notes About Rejection Each graduate school is searching for applicants who appear to have the qualifications necessary to succeed in its program. Applications are evaluated on a combination of undergraduate grade point average, strength of letters of recommendation, standardized test scores, and personal statements written for the application. A carelessly completed application is one reason many applicants are denied admission to a graduate program. To avoid this type of needless rejection, be sure to carefully and completely answer all appropriate questions on the application form, focus your personal statement given the instructions provided, and submit your materials well in advance of the deadline. Remember that your test scores and recommendations are considered a part of your application, so they must also be received by the deadline. If you are rejected by a school that especially interests you, you may want to contact the dean of graduate studies to discuss the strengths and weaknesses of your application. Information provided by the dean will be useful in reapplying to the program or applying to other, similar programs.

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PART TWO THE CAREER PATHS

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Chapter Nine Introduction to the Theater Career Paths In all ages the drama ... through its portrayal of the acting and suffering spirit of man, has been more closely allied than any other art to his deeper thoughts concerning his nature and destiny. Ludwig Lewisohn How can you best express your love for theater? You must examine your skills, abilities, strengths, weaknesses, standards, priorities, goals, dreams, and hopes to determine which aspect of' the world of theater is most appealing and most possible for you. Then ask yourself the following questions: What aspects of the world of theater do I enjoy most? Am I more attracted to the stage, television, radio, movies, or commercials? Do I want a nine-to-five job? Do I mind traveling? Do I enjoy being the center of attention?

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Would I prefer to be unseen and unidentified? Am I creative? Do I like working in a group situation? Do I mind working long hours? Do I like the idea of being my own boss? Am I good at passing along information to others? Do I like to be in charge? Would I prefer to have others in charge? Do I enjoy working with adults or children? Would I prefer doing a variety of thingsor only one? Do I prefer to work primarily with my hands or my mind? Answering these questions will give you a point from which to start. In This Book Though this book does not provide information about every career that would be possible for a theater major, the chapters that follow offer a multitude of information about many careers in this field. There is one element that they all have in common: All provide you with the opportunity to express your love for the world of theater. The five career paths described in this book include: Performing 1. Behind the Scenes 2. The Business of Theater 3. Teaching 4. Other Theater Careers 5.

Theater is a very wide field that provides many opportunities for those who are willing to prepare themselves and work hard to achieve success. Read on to determine which area of theater appeals to you most, and then take the necessary steps to fulfill your dreams.

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Far and away the best prize that life offers is the chance to work hard at work worth doing. Theodore Roosevelt

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Chapter Ten Path 1: Performing Simply what cannot be expressed by any other means.... A complexity of words, movements, gestures that convey a vision of the world unexpressible in any other way. Eugene Ionesco Many people, particularly those who are young, have the dream of becoming famous actors or actresses. Though only a small percentage succeed, a large number try. Casting Notice Open AuditionTown Playhouse Town Playhouse will hold open auditions for its new season. Auditions will be held in Florida, Saturday, March 25, from 11 A.M. to 4 P.M. at the Town Playhouse, 1234 Barclay Drive, Braver, Florida, and in New York, the first week of April. Performers should prepare two contrasting monologues, not to exceed four minutes combined. Those who are auditioning will be seen in the order of continued

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continued their arrival. The current schedule includes Shakespeare's The Comedy of Errors, rehearsals to begin May 25; Camping with Henry and Tom, rehearsals to begin August 2; Bell, Book and Candle, rehearsals to begin September 30; and To Kill a Mockingbird, rehearsals to begin November 10. Rehearsals will last for three-and-a-half weeks. Contracts will run for two to seven months. Every position is paid, and all roles are open. No calls please. Achieving success requires a combination of education, talent, hard work, experience, and lucknot necessarily in that order. Do you think you have what it takes to become one of the estimated 150,000 actors and actresses who are actively performing in the United States today? Definition of the Career Path Actors and actresses are performers who play roles or parts in comedic, musical, or dramatic productions. This includes performances on stage, on television, in motion pictures, and on radio. In an attempt to both communicate and entertain, actors utilize speech, gestures, movement, and body language. In this way they operate as the principals who tell us a story. The work of actors begins long before they perform in front of an audience or camera. Prior to the actual production, they analyze the theme of the play, study the script, scrutinize the character they are to play, memorize the lines, gain a concrete understanding of the director's viewpoint, become familiar with the cues that bring them on and off stage, and often spend long, tedious hours in rehearsals. In some ways, the medium in which actors work (whether it is on the stage, in movies, or in television) determines to what extent they must prepare for their parts. For example, performers assigned roles in musical comedies played on stage may not only have to memorize speaking lines, but also to sing, dance, and carry out other functions in connection with their parts. (This may mean taking vocal or dancing instructions in order to fulfill the requirements of the role.) Their roles may require them to speak with appropriate accents or speech patterns associated with the characters or the locale of the production (such as in West Side Story) or to learn distinctive physical movements and gestures that are specific to the characters they are playing. In some cases, they may be required to apply

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appropriate makeup, although in many cases, makeup artists are employed to accomplish this. Usually, actors and actresses who perform in stage shows rehearse for longer periods of time than do radio or television performers. Lines, actions, and cues must be perfect before the public sees the show. Musicals and stage plays may run for weeks or even years, although the people assuming the various roles may change. Rehearsals for a drama production may run about four weeks, while musicals may take one or two additional weeks. Radio performers are not required to practice as extensively as stage or film performers must because they can read their lines without having to memorize them. However, they must be sure to put a lot of feeling and emotion into their voices so that listeners may gain an understanding and appreciation for the characters without ever seeing them. Weekly television shows and commercials are frequently filmed or taped in shorter periods of time. Miniseries or specials may call for longer periods of rehearsal time. Many of the television programs currently being scheduled are weekly series, and all rehearsals and filming are accomplished in six days or less. Special shows or films made exclusively for television take much more preparation than weekly series shows. Because most television productions are prerecorded on film or videotape, the rehearsal and filming techniques are similar to those used by the movie industry. Generally movie actors and actresses don't rehearse a movie from the beginning to the end. They work on small segments one at a time, and the cameras roll to film these short scenes. Later, the film editors put the scenes in proper order. Only a relatively few actors and actresses achieve star status in any of the media of stage, motion pictures, or television. A somewhat larger number are well-known, experienced performers, who are frequently cast in supporting roles. Many successful actors continue to accept small roles, including commercials and product endorsements. Actors or actresses who accept non-speaking parts are usually called day players or extras. Sometimes hundreds of extras are hired for moviesespecially for scenes in which large numbers of people are assembled for a large-scale event (like the Super Bowl, for instance). To become a movie extra, one must usually be listed by a casting agency, such as Central Casting, a no-fee agency that supplies all extras to the major movie studios in Hollywood. Applicants are accepted only when the number of persons of a particular type on the listfor example, athletic young women, old men, or small childrenis below the foreseeable need. Between engagements, actors refine and develop their talents by taking vocal, dancing, and acting lessons. They also may make personal appearances; accept offers to perform benefit shows; or teach drama courses to aspiring actors.

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Casting Notice Bravo Players Auditions will be held for the 199899 season of the Bravo Players on Tuesday, July 19, from 4:00 P.M. until 8:00 P.M. at the Bravo Players Theater, 436 Broadway, New York. The season runs from September through May with 35 consistent, full-paid weeks. Performances will be mostly in the metropolitan area with a few overnights and a total of ten weeks in New York City. Audition material will be provided. Salary is approximately $400 per week.

Possible Job Titles Musical comedy star Actor Actress

Performer

Comic actor or actress

Performer of commercials

Day performer

Radio performer

Dramatic artist

Screen actor

Extra

Screen performer

Ingenue

Stage actor

Leading man or woman

Stage performer

Live theater performer

Television star

Motion picture artist

Voice-over artist

Movie star Casting Notice Professional Touring Company Seeks Performers Barclay Productions is preparing for their fall and spring touring season. Productions include Beauty and the Beast, Rumpelstiltskin, Cinderella, The Silly Adventures of Sinbad, Hercules, and Snow continued

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continued White and the Seven Dwarfs. Performers must also be able to sing and move well. We are especially interested in a group of actors to fill the following: ingenues, young leading men and women, and comic actors. Consideration will be given for the fallspring season, touring the TriState Area. All actors will be paid. If you have previously sent a photo/resume, just send a postcard to: Bruce Barclay, 168 Elm Street, Edison, New Jersey.

Possible Employers Performers are hired for stage shows, for appearances in film, for commercials, and for parts on radio and television. New York and Hollywood are the most likely places to acquire employment. Next most likely would be Boston, Chicago, Seattle, Dallas, Miami, Minneapolis, and San Francisco. However, most larger cities have some kind of theater groups. And even smaller towns usually have acting groups that offer a chance to gain some experience and employment. These would include little theaters, children's theaters, and regional and community theaters. Summer stock tours take actors and actresses all around the United States. Petre Players Playhouse Petre Players Playhouse will hold open auditions for its 19981999 season. Auditions will be held in Chicago, Saturday, September 1, 1998 beginning at 10:00 A.M. and at the Petre Playhouse in New York the first week of September. Performers should prepare a four-minute monologue. Those who audition will be seen in order of their arrival. All positions are paid and all roles are open. Plays will include The Miser and The Business of Murder.

Related Occupations People who work in occupations requiring acting skills include dancers, choreographers, disc jockeys, comedians, impersonators, mimes, puppeteers,

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ventriloquists, magicians, clowns, drama teachers or coaches, and radio and television announcers. Others working in occupations related to acting are playwrights, scriptwriters, stage managers, costume designers, makeup artists, hair stylists, lighting designers, and set designers. Workers in occupations involved with the business aspects of theater productions include managing directors; company managers; booking managers; publicists; and agents for actors, directors, or playwrights. Casting Notice Driving Miss DaisyWisconsin Submissions are now being accepted for Driving Miss Daisy, which will be performed in Wisconsin with the Stonehouse Playhouse in Sycamore. Rehearsals will take place in August and performances will be given in September. Salary and housing provided. Please fax your resume to (414) 656-7777.

Working Conditions The life of an actor or actress is usually an uncertain oneindividuals always face the anxiety of unsteady employment and the disappointment of rejections. And because there are often long periods of unemployment between jobs, acting demands patience and total commitment. Performers must be available for constant rehearsals, which may be stressful, physically and mentally exhausting, and exacerbated by script and/or cast changes. Performers often spend several weeks rehearsing their parts and some rehearsals may be scheduled on weekends, holidays, and evenings. Those having small roles may wait for hours before being called to rehearse their parts. Rehearsals may take place amid the clutter of electricians, camera operators, painters, carpenters, and stagehands. Heavy costumes and hot lights may be necessary. Deadlines loom in this business tooand performers may be called upon to accomplish quite a bit in a very short period of time. In fact, a performer may rehearse one production in the morning and afternoon and perform another every evening. The type of role being played often determines the amount of physical exertion required. For some roles, performers move about a great deal when

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walking or running, riding horses, dancing, or performing hazardous stunts (a professionally trained ''stunt person" usually undertakes the more dangerous stunts). Considerable traveling is often required of performers employed by theatrical road companies. These individuals perform the same play in a series of different locations. They frequently give an evening performance in one city and spend the following day traveling to the theater where their next performance is to be given. They must adjust to the varying facilities and equipment available in each theater. Movie personnel are also required to travel to sites that have been chosen as film "locations." The physical surroundings of actors performing in stage productions can range from modern, air-conditioned, comfortable, and well-equipped theaters to those that are old and have inadequate facilities. Backstage areas of many theaters are crowded, dusty, drafty, and poorly ventilated. Actors may be provided private dressing rooms or apply their makeup and change costumes in areas shared by several other performers. Casting Notice Sherri's Stage Sherri's Stage will hold eligible performer auditions for their 25th Anniversary Season, on Tuesday, Wednesday, and Thursday September 3rd, 4th, and 5th at the Boone Audition Center. Productions will include A Few Good Men, The Sunshine Boys, A Christmas Carol, Angels in America, Three Tall Women, Macbeth, and The Sisters Rosenzweig. Please prepare a brief classical monologue.

Training and Qualifications Aspiring actors should take part in high school and college plays, and/or work with little theaters, summer stock, regional theater, dinner theater, children's theater, and other acting groups for experience. (In fact, any stage work is useful.) Formal dramatic training or acting experience is generally necessary, and is definitely advantageous, although some people do enter the field without it. Most people take college courses in theater, arts, drama, and dramatic literature. Many experienced actors get additional formal training to learn new skills and improve old ones. Training can be obtained at dramatic arts

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schools in New York and Los Angeles, and at colleges and universities throughout the country offering bachelor's or higher degrees in dramatic and theater arts. College drama curriculums usually include courses in liberal arts, stage speech and movement, directing, playwriting, play production, design, and history of the drama, as well as practical courses in acting. Other important areas include literature, dramatic arts, music, dance, communications, and English. The curriculum catalogue offered by the University of Illinois at Urbana-Champaign offers insights for prospective theater majors. The curricular options in the Department of Theatre provide intensive and extensive preparation for the rigorous demands of a professional career in the theatre. A strong commitment to work in the theatre and a realistic understanding of its intellectual, aesthetic, and physical demands is therefore necessary in students who enter the department. Before acceptance in the undergraduate programs in theatre, applicants must participate in one of several pre-admission workshops, which take place at the Krannert Center for the Performing Arts five or more weekends each year, and at selected regional locations (normally, New York, Chicago, San Francisco, and Los Angeles). In these workshops, applicants who ultimately plan to pursue the curriculum in acting in their junior year should present a four-minute audition, comprised of two contrasting works from dramatic literature. Applicants who intend to pursue the performance studies curriculum should bring a portfolio of their previous theatre work, an original two-page script written specifically for the workshop, and any other written work that reflects the student's interests and accomplishments. Information on these workshops will be sent to applicants once their admissibility to the University has been determined by the Office of Admissions and Records. Three curricula are offered in theatre: (1) the Professional Studio in Acting (2) the Performance Studies Curriculum and (3) the Division of Design Technology and Management, which has specialized options in scene design, costume design and construction, theatre technology and lighting, and stage management. Students are formally admitted to these curricula only after an evaluation by the faculty during

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the student's second year. The programs in acting and theatre design, technology, and management are intended for students, who, in the judgment of the faculty, are ready to concentrate in these specialties in an intensive undergraduate professional training curriculum. The Department of Theatre sponsors the Illinois Repertory Theatre, which is one of the resident producing organizations of the Krannert Center for the Performing Arts. Illinois Repertory Theatre produces eight fully mounted productions each academic year and three each summer. The theatres and workshops of the Krannert Center serve as laboratories for theatre students, who have the opportunity to learn and to work alongside an outstanding staff of resident theatre professionals and visiting artists, preparing performances in theatre, opera, and dance. In addition, the department sponsors a small experimental theatre space for student-directed productions. All theatre majors must successfully complete five production crew assignments at the Krannert Center under the THEAT 100Practicum, I. Acting and performance studies students cast in Krannert Center productions may receive additional credit for their roles under THEAT 300Practicum, II. Curricula in Theatre For the Degree of Bachelor of Fine Arts in Theatre A minimum of 128 hours of credit is required for the degree. First Year Hours

First Semester THEAT 120Basic Theatre Practice: Scenecraft

2 THEAT 121Basic Theatre Practice: Costume Design and Technology 2 THEAT 170Fundamentals of Acting 3 THEAT 178The Arts of Theatre 3

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RHET 105 or 108Composition I 4 General education 3 Total 17 Second Semester Hours THEAT 109Dramatic Analysis 3 THEAT 122Basic Theatre Practice: Lighting 2 THEAT 123Basic Theatre Practice: Makeup 2 THEAT 175Improvisation in Acting, or 3 THEAT 125Graphic Skills General education 6 Total 16

Professional Studio in Acting The acting program provides intensive training in a wide variety of performing media. In the first and second years, students take introductory courses in movement, voice, and acting. Near the end of their second year of study in the department, students must audition for acceptance into the professional studio in acting. In addition to successful completion of all classes in their first and second years, acceptance will be based on an evaluation of each student's potential for professionalcaliber performance, commitment to theatre, and the necessary discipline for intensive study. Third- and fourth-year students meet in daily four-hour sessions, each of which includes sections in dynamics, voice and speech, movement, and acting. Semester-long acting sections include advanced scene study, musical theatre, Shakespeare, and acting for the camera. Students in the professional studio in acting must audition for Illinois Repertory Theatre productions and perform one role each semester if cast. General Requirements Hours Composition I 4 Composition II (fulfilled by THEAT 110)

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Quantitative reasoning 3 General education Humanities and the arts 6 Natural sciences and technology 6 Social and behavioral sciences 6 General electives 12 General and/or professional electives 11 Total 48 Required Theatre Credits Hours Required first-year theatre courses 20 THEAT 100Practicum, I 5 THEAT 100Literature of the Modern Theatre 3 THEAT 176Relationships in Acting 3 THEAT 177Acting: The Author, the Play, and the Role 3 THEAT 179Acting: Voice 2 THEAT 182Acting: Movement 2 THEAT 253Acting Studio, I 8 THEAT 254Acting Studio, II 8 THEAT 255Acting Studio, III 8 THEAT 256Acting Studio IV 8 THEAT 300Practicum, II 2

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THEAT 361Development of Theatrical Forms, I 4 THEAT 362Development of Theatrical Forms, II 4 Total 80

See Appendix A for additional information. Once you have your degree and some basic experience, the best way to get started is to make use of opportunities close to you and to build upon

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them. For example, regional theater experience may help in obtaining work in New York or Los Angeles. Modeling experience may also be helpful. Actors and actresses must have a sincere interest and affection for acting, talent, training, poise, stage presence, the ability to move an audience, the ability to follow directions, an appealing physical appearance, and experience in order to succeed. Other important qualities include hard work, self-confidence, dedication, versatility, ambition, good health, poise, patience, commitment, stamina, the ability to memorize, ability to withstand adverse conditions, perseverance, drive, determination, desire, discipline, and the ability to handle emotional tension and disappointment. Those who are self-conscious or withdrawn will not make it. The length of a performer's working life depends largely on training, skills, versatility, and perseverance. Some actors continue working throughout their lives; however, many leave the occupation after a short time because they cannot find enough work to make a living. Casting Notice Seeking Talented Actors/Voices Deborah Casting Company wants you on file! E-mail abcdefghaol.com for address to send Headshots/Resume, and for information. We are located in Pennsylvaniaa terrific location for production work in Harrisburg, Lancaster, Baltimore, Philadelphia, Allentown, and Reading. Great day work for professional actors who are experienced in teleprompter, commercials and indusrtial scene work. We hope to hea from you soon.

Earnings Minimum salaries, hours of work, and other conditions of employment are covered in collective bargaining agreements between producers of shows and unions representing workers in this field. The Actors' Equity Association (AEA) represents stage actors; the Screen Actors Guild (SAG) and the Screen Extras Guild (SEG) cover actors in motion pictures, including prime-time television, commercials, and films; and the American Federation of Television and Radio Artists (AFTRA) represents daytime television, recording, and radio performers. Of course, any actor or director may negotiate for a salary higher than the minimum. Some well-known actors have salary rates well above the min-

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imums, and the salaries of the few top stars are many times the figures cited, creating a false impression that all actors are highly paid. Each motion picture is a separate entity and the terms may vary from one film to another. Some top stars receive a percentage of the box office sales along with their stated salary. Once agreed upon, contracts are drawn up which specify overtime and residual rights. (Residual rights are those payments made to actors or actresses for reruns of films, television shows, and commercials.) Sometimes performers may receive residuals for pay television, cable television, or videotape sales According to limited information, the Occupational Outlook Handbook reports that the minimum weekly salary for actors in Broadway stage productions was $1,000 in 1995. Those in small "off-Broadway" theaters received minimums ranging from $380 to $650 a week, depending on the seating capacity of the theater. For shows on the road, actors received about $100 more per day for living expenses. According to the Screen Actors Guild, motion picture and television actors with speaking parts earned a minimum daily rate of about $500, or $1,750 for a five-day week, in 1995. Those without speaking parts, "extras," earned a minimum daily rate of about $100. Actors also receive contributions to their health and pension plans and additional compensation for reruns. Earnings from acting are low because employment is so irregular. However, actors and actresses do work steady hours when they have a role in a play. Usually this translates to two matinees and six evening performancesa week of work is considered eight stage showings. More than this may translate to overtime pay. A basic work week after a show opens is thirty-six hours. Many actors who work more than a set number of weeks per year are covered by a union health, welfare, and pension fund, including hospitalization insurance, to which employers contribute. Under some employment conditions, Actors' Equity and AFTRA members have paid vacations and sick leave. Casting Notice The Living Area Lexington Theater Enterprises is accepting submissions for The Living Area. Rehearsals begin in Virginia, August 15 and the Preview is scheduled for September 21. The show opens September 25 and closes October 17. We are seeking six actors: three men and three women in their late twenties or early thirties. continued

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continued Each actor will play seven roles, ranging from childhood to old age. The characters are all generally well-educated and well-mannered, but most often not in touch with their emotions. Some have a dry sense of humorothers take themselves much too seriously. Actors, therefore, must be inventive and versatile. Salary is $330 per week plus transportation. Apply in writing.

Career Outlook Employment of actors is expected to grow faster than the average for all occupations through the year 2005. Rising foreign demand for American productions, combined with a growing domestic marketfueled by the growth of cable television, home movie rentals, and television syndicationsshould stimulate demand for actors and other production personnel. Growth of opportunities in recorded media should be accompanied by increasing jobs in live productions. Growing numbers of people who enjoy live theatrical entertainment will continue to go to theaters for excitement and aesthetics. Touring productions of Broadway plays and other large shows are providing new opportunities for actors and directors. However, employment may be somewhat affected by government funding for the artsa decline in funding could dampen future employment growth in this segment of the entertainment industry. Workers leaving the field will continue to create more job openings than will growth. The large number of people desiring acting careers and the lack of formal entry requirements should continue to cause keen competition for actor positions. Only the most talented will find regular employment. The Man Who Came to Dinner Auditions will be held, by appointment only, for The Man Who Came to Dinner. Performances will run from October 14 through December 22. There is some pay. All roles open. For information and/or to schedule an audition appointment, please call (745) 555-2190.

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Strategy or Finding the Jobs Armed with your college degree, basic knowledge of the acting business, and some experience, you'll need to prepare a portfolio that will highlight your qualifications, acting history, and special skills This will take the form of a resume. You will also need to have photos taken by a professional photographer (one who shows you off to your best advantage). These are the essential tools of your trade. Attach your resume to the back of your picture with one staple at the upper left and right hand corner. Once you have your portfolio ready, you can start "making the rounds" at casting offices, ad agencies, producers' offices, and agents. Several trade newspapers contain casting information, ads for part-time jobs, information about shows, and other pertinent data about what's going on in the industry. Among these are Back Stage in New York and Los Angeles, and Ross Reports in New York. There is also the weekly Variety. In Los Angeles, there's also Daily Variety, the Hollywood Reporter, and Drama-Logue. Once you drop off your resumes and head shots, you shouldn't just sit at home waiting for the phone to ring. It's wise to stay in contactstop by and say hello. Check in by phone every week to see if any opportunities are available for you. If you are currently in a show, send prospective employers a flyer. It shows them that you are a working actor. When you get past this initial stage and actually win an auditionhere are some things you should remember: Audition Tips Be prepared. 1. Be familiar with the pieceread it beforehand and choose the parts you'd like to try out for. 2. Go for itdon't hold back. 3. Speak loudly and clearlyproject to the back of the room. 4. Take chances. 5. Try not to be the one going firstif you can observe others you can see what they do, correct their mistakes, and get a feel for the 6. script. Be enthusiastic and confident. 7. Keep auditioningeven if you don't get any partsyou are getting invaluable experience which is bound to pay off. 8.

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So when do you get an agent? Not right away, anyway. First of all, you don't need an agent to audition for everything. There are many things you can audition for that do not require an agenttheater, nonunion films, union films. However, most commercials are cast through agencies, so you would most likely need an agent to land one of those. While waiting to be chosen for a part, acting hopefuls often take jobs as waiters or waitresses, bartenders, taxi drivers, etc.workers who are afforded a flexible schedule and money to live on. Professional Associations Actors Equity Association 165 West 46th Street New York, NY 10036 Alliance of Canadian Cinema, Television and Radio Artists 2239 Yonge Street Toronto, Ontario M5S 2B5 Canada Alliance of Resident Theaters/New York 325 Spring Street New York, NY 10013 American Alliance for Theater and Education P.O. Box 87341 Department of Theater Arizona State University Tempe, AZ 85287 American Federation of Television and Radio Artists (AFTRA) 260 Madison Avenue New York, NY 10016 American Film Institute P.O. Box 27999 2021 North Western Avenue Los Angeles, CA 90027 American Guild of Variety Artists (AVA) 184 Fifth Avenue New York, NY 10019

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American Theater Association (ATA) 1010 Wisconsin Avenue NW Washington, DC 20007 American Theatre Works, Inc. Theatre Directories P.O. Box 519 Dorset, VT 05251 Canadian Actors Equity Association 260 Richmond Street East Toronto, Ontario M5A1P4 National Arts Jobbank 141 East Palace Avenue Santa Fe, NM 87501 National Association of Schools of Theatre 11250 Roger Bacon Drive, Suite 21 Reston, VA 22090 Screen Actors Guild (SAG) 1515 Broadway New York, NY 10036 Theatre Communications Group (TCG) 355 Lexington Avenue New York, NY 10017 First-Hand Accounts From Three Actors MEET JENNIFER AQUINO Jennifer Aquino grew up in Cerritos, California. She got her first taste of acting at St. Linus elementary school in Norwalk, where she played the leading role of the Princess in Beyond the Horizon. Continuing with success in this area, she received the Performing Arts Award while attending Whitney High School. Subsequently, she graduated from the University of California (Los Angeles), where she studied theater and dance and received a Bachelor of Arts in economics. (After all, the continued

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continued entertainment industry is a business!) As a member of the dance team, she was a UCLA cheerleader for three years. In addition to cheering for UCLA's football and basketball teams, she also entered national dance team competitions. Following her college graduation, she got her first break playing Eolani, the wife of Dr. Jacoby in David Lynch's television series Twin Peaks. (A result of her very first audition!) Then she got an agent and joined the Screen Actors Guild. She has been performing in various theatrical productions and is a founding member of Theatre Geo, as well as an active member of Theatre West and the East West Players Network. (Watch for her in a national commercial for Ford trucks.) Jennifer's television credits include Weird Science, The Paranormal Borderline, Fresh Prince of Bel Air, Santa Barbara, and Twin Peaks. Her film credits include The Party Crashers, Prisoners of Love, AFI's It Makes You Wonder ... How a Girl Can Keep from Going Under, UCLA's Fleeting Vanities of Life, USC's Unexpected Love, and NYU's Free Love. Her theater credits include People Like Me at the Playwrights' Arena; Gila River at Japan America Theatre and at Scottsdale Center for the Arts in Arizona; Cabaret and Sophisticated Barflies at East West Players; PAWS/LA Gala Benefit at the Pasadena Playhouse; S.T.A.G.E. Benefit at the Luckman Theatre; The Really Early Dinner Theatre for Kids at The Hollywood Playhouse; Boys' Life, Hold Me!, Scruples, and Watermelon Boats at Theatre West; Mistletoe Mews at Theatre Geo; and Is Nudity Required? at Playhouse of the Foothills. ''I remember performing at family gatherings ever since I was a little kid," says Jennifer. "I always enjoyed being in the spotlight. To me, acting is like a child's game of pretend, something I always enjoyed. I see it as a career where you can earn a lot of money while having a lot of fun. At the same time you are entertaining people, impacting them, making them think, making them feel certain emotions, educating them, and helping them escape from their current lives. "Most actors who are starting out hold some kind of side job, day job, or part-time job," she continues. "For me, it was a career in the health care industry working for Kaiser Foundation continued

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continued Health Plan. I then became a health care consultant for one of the Big Six accounting firms, Deloitte & Touche LLP. I was such a good employee that my managers would be flexible and let me go out on auditions. After a few years, I realized that I was working too many hours (70 to 80 per week), and I finally had to make a decision to quit my day job and focus 100 percent of my time toward acting. After booking a few jobs, including a national commercial, I was able to do so. It was a big risk, but one I felt necessary to take. I remember what my acting coach would say'part-time work gets part-time results.' The more I put into acting, the more I got out of it. "Don't be fooled thoughacting is a lot of hard work! I am at it seven days a week, mornings, afternoons, evenings, weekends, 40 to 60 hours per week. And If I'm not working on the creative side of acting (which is doing my homework for a job that I booked or for an audition), I am working on the business side of actingtalking to my agents, managers, networking, sending my head shots to casting directors, producers, directors, writers, attending seminars, meeting people, etc. I also try to keep my stress level down, and take care of myself by getting enough sleep, exercising, eating healthy, and having some relaxation time. And I have been fortunatethe sets I've worked on have all been positive experiences for me. "What I like most about my work is that I can say that I am making a living doing what I absolutely love to do, and that I am pursuing my passion in life. Not too many people in this world can say that. What I like least about my work is that there are a lot of politics in it. It's not always the best actor that gets the job. Some of the time, it's a certain look, what your credits are, who you know, etc., that determines who gets the job. There are a lot of things that are out of your control. That's just part of the business and you have to accept it. "I would advise anyone who is considering acting as a career to pursue your dreams and be persistentbut only if it's something you absolutely love to do, and there's nothing else in the world you would rather do. Pursue the creative as well as the business side of acting. Don't let anyone stop you from doing what you want to do. And always keep up your craft, by continuing your training."

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MEET GONZO SCHEXNAYDER Gonzo Schexnayder earned a Bachelor's Degree in journalism and advertising at Louisiana State University in Baton Rouge, Louisiana. He attended various acting classes at LSU and Monterey Peninsula College in Monterey, California. He also attended Chicago's Second City Training Center for over a year and The Actors Center following that. He is a SAG and AFTRA member. "I had always wanted to do stand-up comedy but didn't pursue it until graduating from college, when I began working with an improvisational comedy group," he says. "Four months later, the military sent me to Monterey, California, for language training. While there, I did my first staged reading and my first show. I'd never felt such elation as when I performed. Nothing in my life had given me the sheer thrill and rush that I experienced by creating a character and maintaining that throughout a given period of time. Nothing else mattered but that moment on stage, my other actors, and the scene we were performing. "After completing the language program in November of 1990, I returned to Baton Rouge. There I began the long process of introspection about my career choices and what I wanted to do. I began to audition locally and started reading and studying acting. I still had not made the jump to being an actor, I was merely investigating the possibility. "One night while watching an interview with John Goodman, I realized how important acting had become to me. I knew that it possibly meant a life of macaroni and cheese and ramen noodles, but I knew that up until that moment, nothing had made me as happy or as motivated. While I believe I had the skills and the drive to make it in advertising (or whatever career I chose), I decided that acting was my only logical choice. "Whether it's rehearsing a show, performing improvisation in front of an audience, or even auditioning for a commercial, it's fun. If you can separate the sense of rejection most actors feel from not getting a part, auditioning for anything becomes your job. Rehearsing becomes your life. Just as a carpenter's job is building a house, as an actor, I look at my job as building my performance. The final product is there for me to look continued

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continued at and admire (if executed well), but the path to that product is the thrill. "Unfortunately, I'm not at a point in my career where I'm making enough money to quit my day job. I'm close, but not close enough. I still feel the need to have some sense of financial stability or I lapse into thinking about money. It's all about balance and deciding what's really important. Sure I'd love to have an apartment with central air and a balcony. I'd love to have a car that is still under warranty. But I know that by putting my efforts and money into my acting career, those other things don't matter. What matters is how it makes me feel. Cars and apartments don't give me the satisfaction that being an actor does. "How many hours and how busy I am depends on what I'm doing. Over the last year I've worked with five other actors to open our own theater, Broad Shoulders Theatre, and have found my time constrained. On top of that I have been pursuing (with some success) a voice-over/on-camera career in addition to working a full-time job. Yesterday I finished six days of shooting on a graduate thesis film, and last weekend we opened our first show (TheatreSports/Chicago, Improvisational Comedy) at our new theater. We have another opening (which I'm not performing in) tonight and expect to open four more shows in the next three months. I've also taken a year of guitar classes and maintained my presence in acting/on-camera classes and workshops. I'm always busy and continually looking for the next chance to market myself and increase my salability as an actor (train, study, perform, work). "I love the process of acting and sometimes just the fast-paced, eclectic nature of the business. There is always something new to learn and something new to try. The sheer excitement of performing live is amazing, and the personal satisfaction of getting an audience to laugh or cry simply by your words and actions is very gratifying. 0"I dislike pretentious actors and people who take advantage of an actor's desire to perform. As one of the only professions where there is an abundance of people willing to work for nothing, producers/casting directors/agents/managers who continued

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continued only care about the money will take advantage of and abuse actors for personal gain. Being an astute actor helps prevent much of this, but one must always be on the lookout. I would advise others who are interested in this career to work where you are. Perfect your craft. Move when you 'have' toyou will know when it's time. And above alltrust your instincts." MEET MIKE MATHESON Mike Matheson earned a Bachelor of Science in psychology from Lawrence University in Appleton, Wisconsin. He has earned his livelihood as a full-time freelance voice-over talent since 1985. "I've always had an outgoing, performing kind of personality," says Mike, "so this profession seemed natural to me. I've come to understand the fact that what I have is a gift, for which I am very appreciative. "My background includes studying various musical instruments with private teacherspiano, drums, saxophone, guitar. Then I performed in folk groups and rock bands during high school, singing and playing guitar," he says. "While attending college, I first worked in radio at a college station, where I learned the basics of on-air work, production, commercial writing, voice-overs, etc. Then I worked as a professional musician (bass, guitar, vocals) performing in clubs throughout the Midwest, playing in folk, rock, jazz, country, and 'oldies' groups. Next, I worked in a small-market cable TV station (Janesville, Wisconsin) in every imaginable capacity. These were definitely the dues-paying years. In the two years I was there, I functioned as a talk show host, sports anchorman and play-by-play, advertising salesman, commercial producer-writer and voice-over, camera operator, and telethon host. I can only describe this stage of my career as a real eye-openera true learning experience. But it gave me a great deal of perspective regarding what was to come. continued

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continued "I then worked for a small-market radio station as program director, disc jockey, commercial producer, and voice-over, and did my first freelance work for a handful of clients as commercial writer, producer, and voice-over. "Subsequently, I relocated to Indianapolis and worked as a recording engineer in a studio specializing in commercial production. At the same time, I continued to expand my free-lance voice-over work. When the freelance income surpassed my salary as an engineer, I decided it was time to step out on my own. "Today, about 90 percent of my work is actually done in Chicago, where I moved in 1988. Actually, my employers are all over the country, but the work itself is done in Chicago recording studios. There are several studios in the Michigan Avenue area of downtown Chicago that do voice-over recording as well as music and video production, all within about a mile radius of the major advertising agencies they serve. I occasionally work in suburban studios in Evanston and Oak Park. In rare instances, when the client cannot travel to Chicago or refuses to do the recording via telephone, I do the recording out of town. However, one of the advantages of living in Chicago is that most out-of-town employers would rather work in Chicago, traveling here, sometimes combining business and pleasure. "Ironically, what I do is actually very basic. I talk on radio and TV commercials, as well as for industrial films and tapes. My voice is heard over the picture portion of TV spots. It's recorded in a studio, after I have been selected (either from a demo tape, audition, previous employment, or word of mouth), and hired, via my agent, by an ad agency that has requested my voice. I read from a script and am directed by a producer or copywriter who has written the script. In the case of TV work, I read to a video that has already been assembled or 'cold' without the picture. My voice, music, and sound effects are then edited to the picture to complete the commercial. Very seldom do I see or hear the finished product when my part of the job is done, either in TV or radio, unless I happen to see or hear it on the air. This can be frustrating, and it would be continued

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continued much more satisfying if I could see what I'd contributed to the completed commercial. Then I wouldn't feel so detached from the creative process. "There really is no typical day for me. Because of that, it is really up to me to give my day-to-day existence some structure and discipline. The need to 'keep an even keel' is, to me, the single most important aspect of my job. That is because of the unstable and volatile nature inherent in this field. There is very little predictability in the amount of work, income, time required, stress level, or in the personalities involved in my work. That can be both good and bad. The variety can be very stimulating as well as stressful. "My work can be extremely lucrative (a definite plus). With some national commercials, as little as eight or ten hours a week in the studio can be sufficient to earn a handsome living. A vast majority pay much less, however, and because of the occasional big payoff, the field is extremely competitive. For that reason, extensive (and expensive) marketing is a must. Roughly 75 to 80 percent of my work week is spent outside the studio, doing either auditions or promotion and marketing. If I get one job in fifteen or twenty auditions, I'm doing extremely well against the several hundred people competing in the Chicago market. "To promote myself I do the following: 1) Send two to three mass mailings a year to 2,500 creatives (writers, producers, creative directors) at ad agencies in about ten Midwestern markets. All are custom designed and written, either by me or freelancers I hire. Because agency personnel are constantly changing, updating these mailing lists is an ongoing job. "2) Produce a voice demo tape or CD (it's my resume) annually and send copies to the same 2,500 people. This involves collecting copies of commercials I've done, assembling and editing them into a two-minute sample of my work. I personally finance the production, duplication, and on-stage expenses of the tape as well as the mailers. "3) Pay a personal representative to make visits and calls on my behalf. With the number of voice-overs in the market, keeping contact with potential employers is a must. continued

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continued "During an average week, I spend up to fifteen hours (maybe seven or eight sessions) in the studio recording, and another three or four auditioning. The upside of this, at first glance, is lots of free time. However, I have to be available on a moment's notice during regular work hours (40 to 50 hours a week). My time is my own only until someone needs me for work or an audition. Adaptability is an absolutely essential trait, and long-term planning is sometimes impossible. Making good use of free time is very important, because I never know when it might end. That time is spent working on promotion and staying informed about my industry by reading trade papers, networking with other voice-overs, producers, recording engineers, etc. "The pace is hecticand unpredictable. There's a lot of 'hurry up and wait' going on. Some weeks I may have only one audition and no sessions. I must wait and, at the same time, be prepared to be at a session immediately. So it can be slow one minute, and very busy the next. Other weeks, I may have four sessions on Mondaythen nothing until my Friday afternoon audition. In either case, sessions and auditions are very seldom booked more than a day or two ahead of time. "Depending how busy one is doing sessions and auditions, this career can be either relaxed or stressful. It is most relaxing when there is a slow, but steady stream of sessions and auditionsa condition that almost never exists! Perhaps the most unsettling part of the job is its unpredictability. Being extremely busy can be hectic and stressful, but preferable to and certainly less stressful than no work and no income. "Sessions themselves can also range from a relaxed atmosphere, perhaps with a producer and client you like and know well, to very stressfulwith many personalities (writer, producer, account execs, client, engineer, other voice-overs) and egos, many of whom you may not know, involved. You may have the wrong voice for the job. Or you may be ill. Or you may simply have an off day. You've auditionedand have been hired and paid to do well. If you don't, you probably won't work for that producer, that agency, or that client again. When you have a bad day, it makes them look bad. continued

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continued "It's hardly ever physically dangerous. The most dangerous thing is if something were to happen to prevent me from working. If I don't work I don't earn. If I became disabled, private disability insurance wouldn't begin to replace my earnings. There are no paid vacations. If I leave town, I might miss work that could potentially pay thousands of dollars. Learning to relax on vacations is a real art. I have to put lost income out of my mind so I can enjoy my time away. "The other 'danger' is that my voice will somehow go out of stylethat whatever people like about it will no longer be in demand. I've accepted that I really have no control over that. I've learned that all I can do is continue to remind people I'm available, give it my best when I'm called, and save my money when the big jobs come along; because, as one recording engineer said to me at the end of a recording session, 'you're fired again! In some ways that sums up my existence as freelance voice-over. Every time I finish a job, I'm unemployed again and in search of the next one. "When I am hired for a job, I take great satisfaction knowing I've beaten the best in the business to get that job. High riskhigh payoff. The financial rewards pale in comparison to the joy I experience doing what I love. I feel blessed to have this job-one I am proud to say I do well. I love what I do. And, in spite of some of the pitfalls, I wouldn't trade it for any job in the world. "A friend in the voice-over business says he feels like a thief. He fears that earning a living this way might be outlawed. He says that he's sometimes hesitant to answer his door. He's afraid the police may come to arrest him. "I'd advise others to keep your seat belt fastened. Keep your shirt on. Keep your sense of humor. Keep your ego in check. Don't take anything personallyespecially rejection. Keep your head. And when you make money, keep it. Remember when you're working, you're making more than anyone in the room. Make their job easy. Make them look good. "Enjoy it. You're lucky."

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Chapter Eleven Path 2: Behind the Scenes The theater ... is not life in miniature, but life enormously magnified, life hideously exaggerated. H. L. Mencken, Prejudices: First Series, 1919 When you were younger and taking part in performances, did you long to be the center of attention with all eyes focused on you, or did you prefer the idea of staying in the background helping with lighting, sound, and props? When you go to a performance, do you ever wonder about what's going on behind the scenes? Do you ever consider how many people have a role in making sure that everything on stage goes according to plan? Many people don't have any idea about what goes on behind the scenes and how many professionals perform a variety of tasks in order to make a performance as successful and entertaining as possible. In this chapter, you can explore what it would be like to become a part of this. Casting Notice Spectacular Performing Arts Spectacular Performing Arts is seeking professionals for part-time work: sound technicians capable of mixing live music, electricians familiar with boards, wardrobe and backstage personnel. Hourly rate is based upon experience. We are also seeking an assistant continued

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continued technical director, with sound, electrics, and rigging background. This is a 20-hour work week which pays $300. Medical benefits after 90 days. Please send your resume to Spectacular Performing Arts Center, 2534 Tenth Street, New York, NY 10007, Attention: Ben Jones, technical director.

Definition of the Career Path Team spirit is of the utmost importance for the professionals who work together behind the scenes to create performances everyone can be proud of. Those who work behind the scenes include stage directors, stage managers, technical directors, set designers, costume designers, hair stylists, makeup artists, lighting designers, sound designers, property designers, carpenters, scenic artists, wardrobe supervisors, special effects specialists, riggers, and broadcast technicians. Career Choices: Behind the Scenes Stage Director At the top of the stage hierarchy are stage directors, who read each play to decide whether or not they are interested in directing it. If they decide to take on the project, they are in charge of coordinating the entire production of the play. Meetings then take place between director and playwright to decide about the best way to present it. Additional conversations will take place with the producer about issues including casting, budgets, production schedules, designers, and other details. Directors are the ones who interpret the plays or scripts as they see fit. In addition, they may audition and select cast members, conduct rehearsals, and direct the work of the cast and crew. Directors use their knowledge of acting, voice, and movement to achieve the best possible performance and usually approve the scenery, costumes, choreography, and music. Once directors have become familiar enough with the play to determine the approach and perspective they wish to take, they meet with designers to begin the process of creating costumes, scenery, sound effects, and lighting. With the aid of a stage manager, directors make hundreds of decisions in order to best represent the piece.

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Once rehearsals begin, directors are the ones who instruct the cast about where they are to be positioned on stage, how they are to move, and what feelings and actions they should display. In the process they rehearse the performers as they practice their lines and make suggestions for changes whenever they see fit. Upon presentation, directors often like to attend a dress rehearsal or preview and position themselves in different parts of the theater in order to observe the reactions of people in the audience. Even at that point, changes may be madeif the director feels it can improve the play. Directors and producers often work under stress as they try to meet schedules, stay within budgets, and resolve personnel problems while putting together a production. Stage Manager Once the director leaves the production, stage managers have the final say on most everything to do with the play and its production. They are the ones who call the casts together to begin rehearsals. They see to it that everyone is present whenever their presence is required. They send an assistant to inform the stars when they will be needed and when to be ready to go onstage. If necessary, they make arrangements for stand-ins. They are the ones who give the signal for the house lights to dim, indicating that the production is about to begin. They maintain a master script or a book containing all details of the play. Listed inside is every actor's movements, entrance and exit cue, costume detail, and lighting and sound cue. Any changes are recorded in the master book. They also maintain personal records on all cast members and backstage workers including names, addresses, and phone numbers. Stage managers often have assistants who help with the backstage duties. If so, they are able to be out front to watch the play. In this way, they can stay attuned to changes or improvements that can be made. Technical Director Technical directors are assigned the task of coordinating all of the work of designers and their entire crews. They are responsible for making sure that all of the preliminary work moves forward on schedule and that everything fits together properly. They meet with lighting, property, and sound designers to work out details. Also, they make sure set changes and storage details work as planned. When on tour, technical directors aid other workers to make adjustments to fit the space and layouts of different theaters.

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Set Designer Set designers are entrusted with the responsibility of the physical environment of the play. In order to successfully accomplish this, they research the time and place of the play. Uncovering typical architecture for the time and place, they make sketches and models of possible sets and present them to the director for his or her approval. Then they make detailed drawings and models (exactly to scale) using cardboard, wood, plastic, clay, or other materials. The plans must show ways to prepare and move the pieces quickly and safely and how remaining sets may be stored offstage while one is being used onstage. Set designers may meet with directors concerning details of construction costs and other relevant ideas. On the other hand, they make take their plans to two or three shops for bids. The designers then oversee the building and painting of the sets whether this means creating stairs, mountains, balconies, or whatever is needed for the play. Costume Designer Costume designers must also do some researching about the locale, period, and social background of the play. Libraries and museums are appropriate places to study clothing styles and fabrication. Once this stage is completed, they begin to draw sketches of costumes which will eventually need director approval. Once approval is given, they bring the sketches to the theater costume shop to plan how to make them. If the production is taking place in a large city such as New York, costume designers may secure bids from two or three costume shops. They select the fabric, approve the clothing patterns, and stay abreast of the progress of how the costumes are developing. For plays that will take place with a modern setting, costume designers might also shop for ready-made garments. Other pieces such as wigs or beards may be needed, and the costume designer will select them from a wig shop. Once everything is secured, fittings are scheduled for cast members to make sure everything is right. And to make sure everything looks the way it should en total, a dress parade is held under stage lights with scenery and props in place onstage. Hairstylist and Makeup Artist Hairstylists and makeup artists use cosmetics, pencils, greasepaints, brushes, and other materials to make the actors and actresses look like the characters they play. Makeup may also include hair, clay, or plastics to create wrinkles, warts, bald heads, tooth changes, burns, or scars. Even an actor's hands must be right for the character he or she is playing.

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Lighting Designer Lighting designers use lighting fixtures, patterns, color filters, and dimmers in order to create lighting effects. Referring to floor plans of the sets, they decide where to place each piece of equipment. The master electrician and lighting director plan the electric circuits for the equipment. The lighting board operator controls the lights in the theater throughout the play. Cue sheets will allow the operator to know exactly when to turn each unit on and off. In some cases, a computer in the light board handles these details, which expands the effects of lighting designs. In order to make sure that circuits and lights are in proper working order, lighting designers report for work one hour before the performance. Sound Designer Sound designers are the individuals who create and direct the making of sound effects: drumbeats, sirens, breaking glass, whirling tornadoes. The designers are faced with choosing and directing placement of amplifiers, speakers, synthesizers, microphones, and other equipment. Once satisfied with the results, cue sheets are made up for the soundboard operator to follow during all performances. One or more sound technicians work during a show. One may work from a place in the audience mixing or blending the sounds the audience hears. Another, backstage, may control sounds the performers and musicians hear. A third worker may be in charge of handling prerecorded sounds or special sound effects. All wear intercom headsets to monitor the work going on at the time. Property Designer Property designers are involved in planning and in some cases, directing the making of pieces needed for productionsanything from palm trees to antique sofas. Other items they may be asked to provide are books, violins, spears, shields, or a wide variety of other items. They may also be asked to construct masks or hands for characters appearing as dragons, monkeys, monsters, donkeys, or any number of other animals. Carpenter and Scenic Artist Working with materials such as wood, canvas, muslin, metal, clay and other materials, carpenters and scenic artists are hired to build the sets and properties for a theatrical production.

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Special Effects Specialist Special effects specialists are the ones who create, plan, and install the devices needed to make smoke, rain, snow, fog, or the like. Electrician Electricians connect and mark the circuits for both sound and lighting effects. Rigger Riggers do their work considerably above ground levelhanging lighting, sound equipment, and scenery from wires and ropes. They are also involved in working with pulleys and counterbalances to control the movable parts of sets. Broadcast Technician Broadcast technicians operate and maintain the equipment used to record and transmit radio and television programs. They work with sound and video recorders, television cameras, transmitters, microphones, and equipment used for special effects. Wardrobe Supervisor Once the play opens, wardrobe supervisors are in charge of all of the costumes. Crews are hired to keep shoes polished, suits brushed, broken zippers replaced, hems stitched. Costumes may also need to be adjusted to fit stand-ins. When on tour, the wardrobe supervisors and their helpers are charged with packing and unpacking the costumes and putting them in the dressing rooms. Possible Job Titles Scenic artist Broadcast technician Set designer Carpenter Sound designer Costume designer Special effects technician Electrician Stage director Hair stylist Stage manager Lighting designer Technical director Makeup artist

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Wardrobe supervisor Property designer Rigger

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Possible Employers All of the same opportunities open to actors and actresses are also available to those who work behind the scenes. This would include Broadway productions, regional plays, children's theater, summer stock, radio, television, and commercials. Related Occupations Related occupations include communications technicians, drama teachers, motion picture directors, script supervisors, program assistants (radio and television), announcers, disc jockeys, and narrators. Others may be film editors, communications technicians, miniature set constructors, recordists, sound cutters, microphone boom operators, dubbing machine operators, or film loaders. Other possible options include drama teachers, actors and actresses, dramatic coaches, fashion designers, furniture designers, interior designers, artists's managers, booking managers, circus agents, location managers, and real estate appraisers. Casting Notice Lynne County Playhouse Lynne County Playhouse is seeking an experienced set designer to take charge of our production of Romeo and Juliet and direct several assistants. We also seek a carpenter for immediate hire, per show or full-season contracts, a sound designer/technician position beginning in August or September (possibly as a staff member). Competitive salary for all positions. Round trip and housing provided for set designer and carpenter positions. Please send letter and resume.

Working Conditions Working conditions for stage production workers will vary considerably, depending on the job. For instance, a musical on Broadway with a budget of two or three million dollars will differ greatly from a play with a cast of eight or ten in a small summer theater.

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The physical aspects of the job may also vary greatly. Directors and designers generally spend a fair amount of time in an office or studio. A lot of time is also spent in empty theaters, which may be chilly, stuffy, drafty, or dark. Most backstage workers are on their feet a lot. They move about both in the theater and out. They may be shopping around town for props, visiting libraries or museums for research, or on other discovery trips. Many hours are put in when a play is in planning or rehearsal. Little thought is given to schedules or working hours. Costume and set designing crews often work in crowded areas constructing what is needed for the play. When the play is actually underway, many workers are in pressure situations. One issue of the utmost importance to all participants and the project at large is safety. There are a number of potentially dangerous situationshigh-voltage equipment, hot lights, ladders with people climbing high or working on scaffolds. Safety laws are strictly enforced, however, and accidents are rare. Cabaret What good is sitting alone in your room? Come to the Cabaret! The Ilene Theater in Madison, Wisconsin, is looking for a talented and enthusiastic Stage Manager for our fall production of Cabaret with rehearsals starting immediately and performances scheduled for Friday and Saturday evenings and Sunday matinees for four consecutive weekends opening September 26, 1998. The Stage Manager will run all rehearsals and call all performances. This is a paid position. We already have a fabulous cast and crew. Please contact us.

Training and Qualifications Even at the middle school level and certainly at the high school level, many schools have programs in fine arts. Students who plan to work in theater should take part in school plays and musical shows. In high school, they should take history, literature, art, and English. Hopefuls for careers behind the scenes should get as much experience as possible working on productions in school, church, or local theater. Work with a professional company is an added bonus. Working as a volunteer is also a good idea. Part-time possibilities include local theater, dinner theater, and special events like benefits or rock concerts.

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Candidates for these careers should plan on earning at least a bachelor's degree in fine arts with a major in drama. Those who plan to focus on lighting and sound design may take courses in design, electricity, art, history, computers, electronics, mathematics, physics, and sound. Set designers may decide to place their major in architecture. They should take drawing, art and art history, drafting, and sculpture. Makeup artists must know something about anatomy. And they should also take sculpture, portrait painting, and other art topics. Most directors, stage managers, and designers earn a Master of Fine Arts Degree in drama or another specialty or a Master of Arts. On a more personal level, it is important that directors and designers have a strong artistic sense along with the ability to make decisions and instill confidence in others. Managers who are organized, possess strong leadership skills, and can inspire teamwork are bound for success. Stage production workers need to be enthusiastic, energetic, confident, creative, and intelligent. They also need to have a good sense of humor and the ability to handle successes and failures. Casting Notice Crazy for You Seeking carpenters, technical director, and assistant technical director for Jamestown University's Summer Stock production of Crazy for You. Construction dates are June 20 through July 25. Salary based upon experience. Dorm room availability. 45 minutes from New York City. Please contact us.

Earnings Earnings of stage directors vary greatly. According to the Society of Stage Directors and Choreographers, summer theaters offer compensation including ''royalties" (based on the number of performances), usually ranging from $2,000 to $8,000 for a three-to four-week run of a production. Directing a production at a dinner theater will usually pay less than a summer theater but has more potential for royalties. Regional theaters may hire directors for longer periods of time, increasing compensation accordingly. The highest-paid directors work on Broadway productions, typically earning $80,000 plus royalties.

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The following figures represent sample rates for summer theater jobs: Stage directors$500 to $2,500 a show Stage managers$150 to $350 per week Costume designers$500 to $1,500 a show Set designers$350 to $1,000 or more for each design Lighting and sound designers$110 to $330 or more per week Property coordinators$110 to $200 or more per week Technical directors$110 to $220 or more Painters, carpenters, electricians$110 to $330 or more Wardrobe workers$100 to $150 or more Nearly all stage production workers belong to a union, maybe more than one. In New York City, Broadway and offBroadway workers must belong to a union. In other locations, the requirements vary. Actors' Equity Association is a large, strong union to which actors and stage managers belong. Some theaters will only employ Equity actors or stage managers. Behind-the-scenes workers may be paid by the week, month, or season. Those who are truly skilled at what they do often get much more than a minimum amount. For example, though most riggers earn about $15 per hour, one who is experienced might get $3,000 for a single rock concert. Sometimes summer theaters offer internships with a modest stipend. Some summer programs offer $500 to $900 for the season to assistant designers, stage managers, and technical directors. Technical production interns and shop assistants may be offered $75 per week. Salaries for beginning broadcast technicians in radio and television stations range from $190 to $330 per week. Experienced technicians earn $330 to $1,000 per week. Union technicians are entitled to union scale. Casting Notice Technical Help Seeking an experienced technician to build and rig scenery for the five remaining plays for this season with the Peter Power Repertory. Position requires budget management ability, strong carpentry, continued

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continued and stage rigging experience. Part-time, flexible hours. Pay $1,200$1,500 per production. Anticipated start July 12. Please send your letter, resume, and three references.

Career Outlook Since the competition for jobs is so fierce, even seasoned workers have long periods between jobs. Although stage workers do have more steady employment than actors or dancers, many spend weeks and months at other jobs. It is an advantage if you can fill more than one slotsuch as design both sets and props or make and remodel costumes as well as design them. Your chances of getting work are greater. Strategy for Finding the Jobs Although most actors and actresses aim to work on Broadway, there are many other excellent places to work in theater. San Francisco, Los Angeles, Chicago, Boston, and many other cities have theater year-round. Regional and repertory theaters in all parts of the United States attract exceptional talent. Summer theater, dinner theater, and theme parks also offer opportunities. Beginners often start as volunteers working as costume dressers, production assistants, and stagehands. The finding of stage production work depends largely on individual effort and achievement. Being in the right place at the right time also helps. Professional Associations American Theater Works, Inc. Theater Directories P.O. Box 519 Dorset, VT 05251 Association for Communication Administration ACA National Office 311 Wilson Hall Murray State University Murray, KY 42071

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Broadcast Education Association National Association of Broadcasters 1771 N Street, NW Washington, DC 20006 National Association of Broadcasters Employment Clearinghouse 1771 N Street, NW Washington, DC 20036 National Association of Schools of Theater 11250 Roger Bacon Drive, Suite 21 Reston, VA 22090 National Cable Television Association 1724 Massachusetts Avenue, NW Washington, DC 20036 U.S. Institute for Theater Design and Technology 8-10 West Nineteenth Street, Suite 5A New York, NY 10011 First-Hand Accounts from Seven Behind-the-Scenes Workers MEET RANDALL PRESSWOOD, DIRECTOR OF PERFORMING ARTS FACILITIES Randall Presswood serves as Director of Performing Arts Facilities for Bloomsburg University in Bloomsburg, Pennsylvania. He earned a Bachelor of Arts in technical theater from Coe College in Cedar Rapids, Iowa, and an M.F.A. in Theater Design/Lighting from Wayne State University. He served his internship as Assistant Technical Director at the Chelsea Theatre Center in New York City. "My theater 'bug' developed from having performed and worked in the technical aspect of theater at my high school in Wentzville, Missouri," says Randall. "I enjoyed the challenge of solving technical problems for short-run productions that would enthrall, dazzle, or amaze the audiences. I delighted in seeing the satisfaction and joy on the faces of the audiences as they left the theater, having escaped for two hours from the worries and stress of their everyday routines. I enjoyed the continued

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continued recognition I received for being part of a successful production, and the great comfort and camaraderie I received from my 'extended family' I knew that what I felt is what I wanted for the audiences that came to my productions. I believe that theater gave me the opportunity to make a small statement to society and to perhaps make a positive impact on the lives of those who witnessed my efforts. It wasn't necessary for them to know that I had a part in this processit was enough for me to know. Choosing theater as a career and lifestyle would allow me to experience this feeling day in and day out. For me, there was clearly no other choice. "Now, as the director of a performing arts facility, I not only have the opportunity to provide this joy for the patrons of my own productions, but I am able to provide a venue for other theater professionals and amateurs alike to present their work to the public. Thus I am able to continue this cycle of escape and entertainment; allowing others to fulfill their dream of providing joy for the theater-going public. "I enjoyed the creativity offered me in technical theater, particularly lighting design, more than I did performing. So I decided to study lighting design with the dream of one day accepting the Tony for outstanding lighting design (I still have my acceptance speech ready). I designed for the college and university I attended as much as possible, and I insisted that I be allowed to design a production (with no additional pay) each time I took a summer job as a theater technician/gofer. As I studied the field, I did everything I couldperforming, designing, assisting, draftingto enhance my experiences. My intent was just to be a part of any type of theater that was happening wherever I was. As a result, I received a tremendous amount of education and experience. I learned what was needed as an actor to 'find the light,' what was needed to produce the light as a designer and electrician, and what was needed to make scenery safe, secure, pleasing, and exciting. I also learned what was needed to produce a costume on the stage and what was necessary to manage the stage during a production run. Everything I did added to a total education that has made it possible for me to conduct the business of directing a performing arts facility. continued

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continued "After receiving my Master of Fine Arts degree in lighting, I accepted a position as a university technical director with lighting design responsibilities. One of my first responsibilities was to refurbish the production shop of this university. I had to research and specify the replacement/ purchase of all hand and stationary or portable power tools. Later, I was charged to design a student computer laboratory and refurbish the rigging, sound systems, lighting instrumentation, and lighting control, as well as design a production space for a summer dinner theater (complete with preparation kitchen and wet bar). What a wonderful world this opened up for me! I was no longer confined to the benefits of only my designs, but now every designer who ventured after me would benefit from my planning and specifications. "When I left this university in upstate New York, I sought out an opportunity to continue with facilities refurbishing. What I found instead, was a performing arts center just under construction in Northern California. Being hired as the Production Manager, I was responsible for the production shop from the ground up. (It was literally four walls when I arrived.) Every tool and cabinet was of my specification. The Center had hired a theater consultant and sound consultant to assist in the construction of the facility. So although I was not responsible for specifying lighting or sound, my association with these consultants was again a tremendous learning opportunity. My knowledge base was growing by leaps and bounds. I was now familiar and experienced with lighting systems, stage carpentry, electrical needs, safety and fire codes, security needs and applications, budgets, savings methods, personnel and employment procedures, janitorial methods, supplies, and much more. I had developed a large vendor file and was able to make quick and efficient dealsin short, I was building a reputation (not a worldrenowned one as I had hoped to forge on Broadway as a lighting designer, but a regional one as a manager who could get the job donewhatever the job was). I freelanced as a lighting designer, scenic designer, costumer, and I joined Actors Equity Association as a stage manager. "As production manager for the center in California, I scheduled the facilities for in-house productions as well as outside continued

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continued rentals. I created the policies and procedures outside groups would follow to use in their facilities. Eventually I began to field calls from other regional centers in the area wanting to know how I handled this situation or that one, where they should buy this type of hardware, who is the best supplier for lighting equipment, etc. My name continued to grow. I was no longer a lighting designer, but now a theater designer. "When I left California, I knew that I would have to continue in my new careertheater design. It's not that my career path had changed (after all, I was still a working theater professional), but it had evolved into what I had actually been trained for. All of my experiences contributed to one another, and my path as a theater designer (in hindsight) only seemed inevitable. It is these experiences, as much as my training, that landed me in my current position in central Pennsylvania as the Director of Performing Arts Facilities for Bloomsburg University. "I am fortunate that in my present position, my supervisors understand the impact and needs of my position. They assist me in helping them present more opportunities for the users of my facilities. It is not a 'piece of cake' however. "I spend a great deal of time scheduling the facilities I direct for the many users wishing access. I am charged by my superiors to provide the most opportunities possible. I run two venues (a 600seat hall and 2,000-seat hall), and I average four classes and four performances/dress rehearsals per day in my facilities (scheduled a year in advance). I often have to determine the needs of these users, as they may well be novices in the theater and not only unfamiliar with theatrical terminology, but unaware of what can be accomplished in a producing venue. I have to tread the fine line of not offering too much, and in so doing overwhelming the user, but offering enough so as to provide for the user the best production possible. As the facility director, I am required to review each technical rider for outside presenters/touring groups being produced by the institution. I may choose to contact the proposed group and negotiate the technical needs of the presentation. Although much of this can be accomplished through e-mail and other electronic means, it can nonetheless become quite time consuming. continued

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continued "Depending upon the performance season, I employ twelve to thirty assistants. Each of these employees must be trained in the general theatrical amenities of my facilities, as well as the specific control and operation of facility technology (lighting and sound) and procedures and policies for my department and the institution as a whole. The security of my equipment, the safety of my employees, and the safety of the users and patrons are dependent upon the knowledge I provide these employees. Because of the time demands on my venues, this training is often done at the performanceswhich then requires my attendance. It is not unusual to work an eighteen-hour day, or to work four to six weeks straight without a full day off. It would be typical to be called in for an hour or two during a weekend off. The general workday however, would be about eight to ten hours daily, Monday through Friday. A well trained staff will determine the availability of my time off. "As an administrator I spend between four and eight hours per week in meetings. It is expected that I will likewise spend time contributing to the community. "Another large portion of my day (and in fact consuming most of my thoughts while away from the office), is spent planning for improvements, facility rehabilitation, equipment upgrades and replacement, and general maintenance. Since much of this work must be performed by professionals and union tradespeople, a good deal of advance planning and paperwork is required. I must anticipate my needs and my facility/equipment failures in order to schedule these around rentals and productions that are generating income for the institution. To accomplish this, I must spend time researching and keeping abreast of current and proposed technology and theater trends, attend workshops, seminars, and conferences to gain this knowledge. This planning then increases my employee base as I become the site supervisor for the contractors hired to complete the projects placed into the schedule. Gaining the funding for these projects may require grant writing. Of course while all of this work and preparation is going on, the eight events per day are continuing. Everything in my job is deadline based. The stage must be cleared and set by a certain time, the lights must be focused and cued by an exact time, continued

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continued etc. The audience will enter the doors at 6:00 P.M. whether you are prepared for them or not. Consequently, you simply must be prepared, no matter what, no matter when. I have found that a good sense of humor and the ability to let things roll off your back are essential for an arts facilities director. "What I like most about my job is its constant changing nature. Although I may do the same or similar work day after day, it is always for a new client with a new set of needs. The challenges are never ending, and the solution to these challenges carry immediate and gratifying rewards. I am in a visible position. My success results in an increased demand on my time and talents. The more I am able to accomplish in my own venue, the more other venues come to me for advice or consultation. I accept this as a compliment and reward for my hard work. I am particularly pleased to be working for an institution that values my efforts, opinions, and proposals; and goes the extra step to secure the funding necessary for me to be successful. I have worked in places where this is not the case, so having that support and encouragement is a paramount reward. "Of course the sometimes relentless hours and the need to occasionally function under 'crises management' are among the dislikes of my job. As an administrator I am sometimes viewed as the obstacle or enemy to those presenting in my venue. It is my job to provide a total experience for many users and patrons. However, each user is convinced that his or her four hours in my space is the most important thing I will do all year long. When I thoroughly research and propose a project and become convinced that it is an important step for the institution, it is indeed frustrating when I am unable to convince my superiors to accept that belief. Whereas the art of theater is a collaborative one, the business of theater is often tooth and nail. "If you want to make a living in theater, be prepared to go where the path leads you. Don't force yourself down the straight path when the winding one is tugging at your boot straps. If it is important to you to be a theater professional, then just be in the theater. Don't insist that you become an actor or designer. Be willing (and prepared) to become a box office manager, stage carpenter, or a director of performing arts facilities."

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MEET SHEILA QUINLAN, OPERATIONS MANAGER Sheila Quinlan is Operations Manger at Syracuse Scenery and Stage Lighting Company, Inc., in Liverpool, New York. She earned a Bachelor of Arts degree in technical theater from SUNY at Oswego, New York. She also served in summer stock with the Cortland Repertory Theatre in Cortland, New York, regional theater with the Alliance Theatre in Atlanta, Georgia, and with C. Henning Studios in Atlanta. "I started out taking dancing lessons at the age of five," she says, "so I guess my interest in the theater started then. I danced through junior high school and then moved behind the scenes when I reached high school, and worked on a total of ten different productions. I was never very comfortable onstage, and I was always fascinated by how things worked backstage. I grew up as a 'tomboy' with good mechanical skills so it just seemed like a natural transition. "When I graduated from high school (and coming from a small town), I never thought that there could be a career for me working in theater. Most colleges only offered a Bachelor of Arts degree that required you to take acting, directing, and technical classes, and I was not interested in that. "I spent two years at a community college, where I received my Associate Degree in criminal justice. Then, when I took the following year off from school, the Summer Cortland Repertory Theater opened right down the road from me. I discovered that most of the technical staff there either taught in the Theater Department or were technical theater majors at SUNY Oswego. Once I discovered I could major in technical theater, I applied to the program. "After graduating from Oswego, I moved to Atlanta to work at the Alliance Theatre as a stage carpenter. I discovered that real theater work meant very long days and lots of weekend work, but I was young and having fun, so I didn't care. While working at the Alliance Theatre, I began to work part-time with a production company that did a lot of corporate meetings and trade show work, and I discovered that I really enjoyed working in the corporate end of theater. "The hours were still long (80 hours a week at times), but the work was more interesting and it had the added benefit of continued

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continued travel. Subsequently, I worked for C. Henning Studios in Atlanta, a company that built large convention displays, provided lighting for corporate meetings and shows, and produced theme parties throughout the country. I hadn't taken any business courses, except a high school typing course, so most of the business background and training were acquired while working here. I worked for a very dynamic woman with a great business sense and acquired a solid business education from her. After six years, I decided it was necessary for a change to a more normal working schedule so I moved back to the upstate New York area. ''Now, I normally work approximately 40 to 45 hours a week, and a big part of my job at Syracuse Scenery is curtain sales. This is done either through phone sales or actual on-site visits. I often go out and measure a stage and then discuss with the school or facility the options that are available. So I spend the majority of my time in the office quoting prices for stage curtain projects and providing verbal quotes to customers that call. "In addition, I coordinate the manufacture of the stage curtains (which we manufacture at our facility in Liverpool, New York) and installation of the stage rigging and lighting. We generally have anywhere from 50 to 60 large jobs, in different phases, going on at one time. A large job may take anywhere from six weeks to two years from order to completion. In addition to the large jobs, we generally have six to ten smaller jobs in production each week. "For the most part, the atmosphere is very relaxed. Our schedule gets very hectic from May to December, and summers can get particularly crazy. I enjoy working with some interesting individuals, and like most companies it's a very diverse group. Because we are manufacturers and installers, not everyone's background is in theater. Our sewing room is filled with skilled sewers and cutters with backgrounds in the garment and fur business. A lot of our production installation staff includes ex-'roadies' from the world of 'rock and roll,' and the office staff has backgrounds in either theater or business. It makes for a very interesting mix. "I love to travel, so when I am on the road making sales calls I am happiest. We have also begun to do some interesting continued

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continued projects for cruise ships, theme parks, and large performing centers, etc. I like these because they offer a challenge to our creativity. They usually require entirely different types of curtains and glitzier fabricsnot just your basic black curtain masking. "I also enjoy the daily interaction with the variety of customers that call. However, sometimes quoting prices for stage curtains can become very mundane. The majority of stage curtains are the same, with only the sizes or the fabrics changing, so there is very little creativity to that part of my job. However, one of the things that makes my job interesting is that I have to wear a lot of different hats. Even though I spend most of my day quoting and discussing curtains, I still have to be able to answer other questions about makeup, paint, color media, hardware, etc. So my first advice to anyone wanting to get into the business side of the theatrical industry is to make sure your educational background is well rounded in all phases of technical theater. "The best advice I could give anyone would be to find an interesting production job, like a cruise line, theme park, or production company. There are so many more opportunities out there today. I would have loved to have traveled more before settling into a nine-to-five job. While you're still young and not tied down to family or other responsibilities, have some fun with your career." MEET DENNIS PARICHY, LIGHTING DESIGNER Dennis Parichy earned a Bachelor of Science degree in theater from the School of Speech at Northwestern University in Evanston, Illinois. In addition, he completed course work in lighting design, drafting, drawing, and painting for the theater designer at Lester Polakov Studio and Forum of Stage Design. He serves as a professional lighting designer. "My first designs were for Eagles Mere Playhouse in Eagles Mere, Pennsylvaniaa non-Equity summer theater operated by Alvina Krause of Northwestern University, professor of acting," says Dennis. "I discovered lighting design in a class in stage lighting during my junior year at Northwestern University continued

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continued and was so fascinated that I asked Miss Krause to take me to Eagles Mere (she took people she judged to be talented and trainable) so that I could try this new field. Previously I had flirted with writing plays, acting (too self-conscious), and technical theater, about which I knew very little. So since lighting seemed an important and fascinating area of theater, I wanted to try my hand at it. Working at Eagles Merenine shows in ten weeksI was electrician as well as designer, and except for individual directors, it was all up to me without any supervision or help. Consequently, I had to take the ideas lighting class had given me about technique and craft, with the injunction to support and illuminate the play, and try to work out how to light each show effectively and artistically. This included a substantial amount of trial and error in addition to putting Professor Theodore Fuch's teachings into practice. The only experience I had had before this was working on the lighting crew of a couple of university productions. In the course of three summers, I learned an enormous amount about turning lighting ideas into effective designs. I had to test each idea I had acquired, figure out how to make it work with very limited resources, find out what worked and what did not, and discover my own lighting preferences. It was, of course, a high-pressure situation guided only by my own insights and the needs of the moment. So compared to formal training, it was chaotic, but it gave me invaluable experience about the realities of achieving a lighting design. I was able to learn firsthand how you must light the actors and the space effectively in order to achieve the basic goal of making the theatrical performance visible to the audience in a way that helps them understand and relate to the onstage events. "For several years, I had an interest in astronomy, physics, and engineering as possible careers. All of these areas fascinated me, though I never felt I had the necessary drive and kind of mind that could carry me very far in those professions. But looking back, I would say that those interests predisposed me to find lighting design, with its apparent technical aspectscontrol, instrumentation, optics, color, etc.all concrete and gadget-like thingsa familiar and exciting field. The other influence was totally nontechnical: a great fascination with books continued

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continued primarily stories: novels, adventures, etc.which briefly led me into playwriting. I had an interest in stories and the telling of stories, which is what theater does. So theater design, and specifically lighting, combined an interest in technical and scientific things with the opportunity to help tell fascinating stories about people's experiencesto put those technical things in the service of creating art. "Once the rudiments of technique are acquired, lighting design involves the ability to delve into the nature of a script, libretto, score, or choreography, open your mind to what it is, what it means, what emotions, images, and ideas it evokes in you, and translate those things into ideas about color, direction, and intensity of light. The job has four major components: "1) Experiencing the work. This includes reading a script, listening to a score, and/or watching a rehearsal in order to experience the work for yourself in some vivid and immediate way. It means exploring the ideas, images, and emotions this experience arouses for you and developing your own point of view about the piece at hand. The process may require a single reading/listening or a dozen or more depending on the particular show, its complexity and demands, and your own interest and needs. "2) Discussing the work. The next stage focuses on discussions with the show's director and/or producer, the other designers, and anyone else involved in creating the overall production. This usually requires several meetings or phone conversations with one or several of your fellow collaborators, all in pursuit of defining the needs of this particular production regarding lighting, scenic, costume, and directorial elements. The goal is to produce a unified approach to the play in which the lighting design will blend with and support the work of everyone else. This process takes place over the course of several weeks. "3) Arranging the lighting instruments. Once the first two steps are well underway (they may continue and overlap with later stages of your work), you take the ideas and needs and points of view about the show and sit down at the drafting table, desk, and computer and figure out (in very specific terms) how continued

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continued to arrange lighting instruments in the theater space to create the kind of look that you and the director have decided the show needs. This means analyzing the scenic elements, the physical reality of the theater, the money, time, and resources available to you, and determining and solving the inherent problems in this particular situation. During this part of the process, you have to decide what kind of lights you need (or how to use those available), where to put them, where they will be focused, how to control them, and what color and intensity they must have in order to achieve your goals. The designer then has to produce a light plot, hookup, shop order, and other lists and specifications that will communicate to the crew what he or she needs, where it should be located in the theater, and how it will be wired and equipped. This part of the job may be done by the designer himself or herself in the studio (or with assistants), and can last anywhere from a day or two to three weeks (for a large and complex show) and may require constant consultation with the producers, managers, and the shops that supply the equipment, and the men and women who do the installation. "4) Creating the lighting. The last phase of lighting design is the actual week to several weeks you spend in the theater creating the specific lighting and executing the design in order to make the show have the look all have decided upon. This begins when the lights are hung and includes focusing the lights, creating the looks of the show (the cues), rehearsing the show, and modifying and refining the looks so that they all help the audience experience the show. Most of the time this period lasts from two to three days (summer stock) to about ten days for most regional theater shows and most plays. However, in the case of new and complex musicals, the time required may be several weeks (putting in twelve-hour days, six days a week). "A typical day is difficult to spell out since every show has its own schedule, needs, and special circumstances," says Dennis. "In the professional theater, most designers are in the process of designing several shows at once, each at a different stage of the process. So a typical day might easily involve continued

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continued working in the studio in the morning on the light plot or hookup of a show you are going to do in two or three weeks. Then in the afternoon you might go to a run-through of the show that you will light next week. During the rehearsal, you note important things about cueing and staging that must be taken into account. You may discuss specific cues, problems, or needs with the stage manager and director. At the end of rehearsal you might be required to attend a production meeting about a show that you will do two months from now and discuss with the director and perhaps other designers various ideas about that show, what its 'story' is, and what it should look like. And then in the eveningif you're very busy and the schedule is tight (as it often is)you either go home and read the script for another show or think about the show just discussed or go to the theater and begin focusing next week's show (until midnight, typically). "There are of course an infinite number of variations on this schedule. The designer is required to take control of his or her work, to be self-motivated, independent, dedicated, and ambitious. You have to get the job done and no one is supervising you. "The work, while you're working, is intense, often tense, and driven by deadlines. The plot has to be delivered on time, the lights have to go in the theater on a specific day, and there can be no postponements. You have to be ready and you have to be willing and able to work under pressure and to take charge. Once in a while it is relaxed and easygoing, but that is the exception. Most lighting designers, in order to make a good living, take on as many shows as they can possibly work into their schedules, so high pressure, anxiety, and stress are an inevitable part of the experience. "I have often had the privilege and opportunity to work with playwrights, directors, designers, and actors who welcome my contribution and with whom I have forged lasting personal and artistic relationships. But sometimes shows are fraught with disagreement, demands, and unhappiness, and these situations can be stressful and exhausting. Each show is a new challenge and adventure. continued

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continued "What I like most about my work is the chance to help create an effective theatrical event in collaboration with other eager, exciting, and stimulating theater artists. The process of creating the designespecially the days in the theateris almost always an exciting and satisfying time, because it gives me a chance to exercise my skills and visual talents, which is immensely satisfying. The processfrom show to showmay be bumpy or difficult or fraught with occasional conflict, but is almost always in the end such a source of fulfillment that this makes the difficulties acceptable. "The downside of lighting design (applicable I believe to almost all theatrical careers) is that there is often a lack of continuity, security, and stability in theatrical work. No matter how advanced your career, there is always the possibility that you may have to struggle for sufficient work to support yourself and a family; as associates and colleagues move on in their careers you may have to unexpectedly develop new relationships and find new sources of work. Since the network of friends and professional colleaguesespecially directorsis extremely important to one's success, you are often vulnerable to significant changes in your relationships with theaters and other theater artists. At some point, finding work that will stimulate and stretch your artistic muscles may be difficult, and you have to be continually aware of the need to escape from the type-casting that inevitably happens and to find ways to expand your horizons. "I think the most important advice I could give someone interested in lighting design as a career is to be realistic about the likely monetary and artistic rewards of lighting design in the theater. If you have the dedication, drive, and ambition to tackle the professional world, to put in the inevitable apprenticeship of learning the ropes and living hand-to-mouth for a while, you have a chance. If you are determined to do it, and are willing to brave the rigors of finding your niche, you have a good chance of succeeding. Training is important, but dedication and enthusiasm, a willingness to learn and expand, a genuine enjoyment of and eagerness to work with and for others, and an effort to submit your artistic impulses to the needs and demands of the production are what will make you a success."

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MEET TWYLA MITCHELL, COSTUME SHOP TEACHING ASSISTANT AND FORMER STAGE MANAGER Twyla Mitchell is currently working as a costume shop teaching assistant as a method of paying for graduate school, but has also worked as a stage manager. She is currently in her second year of a combined M.A./Ph.D. program at the University of California in Santa Barbara. She earned her Bachelor of Arts in drama from the University of California in Irvine. She also completed internships with the Pacific Conservatory of the Performing Arts in Santa Maria, California, and Western Stage in Salinas, California. "I feel that educational theater is important on so many levels,'she says. "First of all, it's one of the last remnants of truly experimental theaterwhile universities are concerned with making money, it isn't as all-consuming an issue as it is in the other forms of theater. Even students who do not go forth into the theater hopefully can come out with an appreciation for all it can meanthe importance of art in a culture that so often seems to have forgotten. On a more personal level, a professorship is likely to be a significantly more stable position than any other in theater. "As a graduate student, the time constraints are enormous. For example, in addition to the regular reading required in seminars, it is assumed that you will participate in some sort of side readingfurther research on that week's topic, enabling you to come to class with some significant contribution to the discussion. Furthermore, it is assumed that you are doing some sort of practically oriented side project, which can take anywhere from ten to thirty hours of your week, depending on the scope of your involvement. In addition there is usually some sort of teaching assistantship, which occupies another twenty hours of your week. So in a slow week you'll spend forty hours on various projects. On a typical week, it's in the fifty-to-sixty hour range. And on a hectic week (say, nearing paper deadlines or performance times) it often gets into the eighty-toone-hundred hour range. "The atmosphere varies with the time pressureoften everyone goes through similar constraintsand the support level will vary with your colleagues. In a highly competitive continued

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continued atmosphere, there can be great levels of tension, like any workplace, while in a more cooperative environment there can be a strong sense of everyone being in the same boat, which can be a greater help to one's sometimes precarious sanity than it would seem. "I really love the classes I am teaching in the basic elements of costume-building. I never get tired of them. I don't even mind when I have to repeat the explanation two or three times. (Good thing, because that happens a lot!) I also really love studying, researching, finding out things I never knew before and that maybe other people never knew before and trying to find clear, precise ways of explaining them. "The downside is that there aren't enough hours in the week to do all that and spend time with my toddler, so I often find myself stretched terribly thin. I have tried to find shortcuts when I canfor example I do a great deal of research on the Internet and often check out books in the one-hour blocks I get during the day to take home and look over after the child is in bed, but I still am forced to make many sacrifices in my attempt to reconcile all of these elements. "I would advise others to read as much as you cannot just plays but criticism and theory. Absorb all you can, whenever you can. Talk to 'people in the know' and glean as much knowledge as you can from them. "As far as being a stage manager goes, I've always been fascinated with stage managersprofessionals who know everything about what's going on and who get to call the shots. They seemed to be the final authority on many issues. "Working as a stage manager I have found that a typical day usually involves meetingssmall meetings with each department, or a huge meeting with all the designers and shop heads to discuss the progress of the upcoming show. Once a show has opened, it's small check-in meetingswith actors, crew, crew heads, etc.to see how things are flowing and how they are being maintained, what problems are on the horizon, and so forth. Then the stage manager acts as secretary, types up and distributes the notes from the formal meetings so that everyone has a clear picture of what is being discussed and developed. continued

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continued "The latter part of the day or evening usually involves either rehearsals or performances, or both, with the stage manager acting in any of a number of different roles (i.e., stage hand, assistant, etc.), depending on the size and scope of the theater and the production and the stage manager's working relationship with the director. "The best part of being a stage manager is that you really have the opportunity to be in on all elements of the production from concept meeting forward to post-show strike. You get to work with some truly amazing artists across the board and have a complete notion of the process. The downside is that with that comes the fact that the buck stops with you. As with all middle management, you are the one to whom the producers turn when a problem comes up, and you had best have a way of solving it. It can create a tremendous feeling of overload and pressure, which is why stage managers have a very high burnout rate. To paraphrase a cliché, when everything is going wrong, everyone blames you, and when everything is going well, nobody notices you. "I would advise others to learn all you can about the different aspects in theatercostumes, props, light, sound, acting, directing, etc. The more you know, the more effectively you can communicate with the artists you will be working with. It's also a good idea to brush up on your self-confidence and self-esteem, because sometimes both can take a beating out there." MEET MICHAEL LONERGAN, ARTISTIC DIRECTOR AND ADMINISTRATIVE DIRECTOR Michael Lonergan earned a Bachelor of Arts degree from the University of Minnesota and a Master of Fine Arts degree from Purdue University. He is Artistic Director of the Village Repertory Theatre and Administrative Director of the Theater School at Playwrights Horizons. "The arts were always an important part of my life," he says. "I was exposed to them at an early age through educational programs in the Minneapolis area schools. As I grew up, I found that my primary means of expression were articulated and continued

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continued answered in the theater. While I have broadened since then, I do feel that that statement is a driving force of why I continue to work in this field. ''My commitment to the educational aspects of training artists and the audience came from this background. It is my goal to develop a theater that speaks to tomorrow's audience by incorporating our cultural past and fusing it with today. "At the Village Repertory Theatre, most of my day is spent on administration. I work twelve to fourteen hours a day maintaining an atmosphere to allow the organization to stay afloatspeaking on the phone to potential donors, writing grants, maintaining the office. I only direct one show a year, so that when I am not directing, I have to lay all the groundwork for the organization to continue operation for the other artists that I hire. "What I like most about the Village Repertory Theatre is the continued contact with the artists. I enjoy having dialogues with them regarding each of their projects. I particularly like working with the educational director to develop educational programs for our outreach programs. "Some of the difficulties include raising money, loosing sleep over raising the money, going for weeks without a paycheck so we can pay the rent, not owning a Xerox machine, and telling designers they can't build what they want because we don't have any money. "There is no formula for heading a theater company. I would advise others to 'Just do it!' Everything is trial by fire. The artistic work will carry you through the dark periods, if you are focused and committed." MEET MARK T. SIMPSON, LIGHTING DESIGNER Mark T. Simpson earned his Bachelor of Arts degree from Case Western Reserve University in Cleveland, Ohio, and a Master of Arts degree from the American University at Washington, D. C., in interdisciplinary studies (lighting and set design for the theater). He is now completing his M.F.A. in lighting design from New York University, Tisch School of the Arts. He continued

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continued also served an internship as stage manager at the Cleveland Play House in Cleveland, Ohio, and is now employed as a lighting designer. "For me, theater is exciting, interesting, and immediate," Mark says. "I first set foot in a theater my senior year of college. I took beginning acting for an easy 'A' and signed up for running crew for an extra credit. Sitting behind the light board during a performance one night, it suddenly occurred to me that people get paid to do this! I no longer had a choice, I was hooked. I didn't know exactly what I could do in the theater, but I knew it would betheater. It was the only place I'd ever been that the prospect of spending my time and exerting my energies didn't seem like intolerable drudgery. The theater was also filled with the nicest, most selfless people I had ever met. The stereotypical egomaniacal actors were few and far between, and usually they were young and not destined to last long. The professionals that had been in the business for years and years were all wonderful-Jonathan Hadary, Daniel J. Travanti, Tammi Grimes. I was lucky to work with them early, as guest artists, and during my internship at the Cleveland Play House. "Lighting design turned out to be something that addressed all of my talents and inclinationstechnology, art, special relations, mathematics and physics, and computers and robotics. Lastly, theater as an art appealed to me politically and socially. It is an optimist's art formthat people can be changed and educated by peaceful demonstrations of opinions and alternatives. It is a pacifist's art formit provides a socially acceptable outlet to explore and cathartically deal with violence and negativityit never has the intention to harm the participants or the audience. It is an art form for people seeking to live healthy, whole, productive, creative lives. ''My typical day involves at least eight hours of doing something else that's not my career. When I'm in New York, I work a full day as a tempdoing clerical or computer work. If I'm the resident designer for an equity summer theater, I'm also a carpenter. If it's turnover time and I'm actually working on lights, I'm an electrician. Over the summer, I work three 40-hour weeks and one 100hour week. Out of those 220 hours, continued

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continued I spend about eighteen hours as a lighting designer. Back in New York, I did eight shows in the last eight months. In one month, I worked 176 hours at my day job and 50 hours in a theater. Of those 226 hours, about 20 are designing lights. So, on the average, I have to work about ten hours for the privilege of working one hour on my career. My work as a lighting designer comprises about eight hours drafting and doing paperwork, three hours in meetings, and eight to fifteen hours in rehearsals writing the light cues, taking notes, and making corrections. It is the last eight to fifteen hours in the theater that keeps me coming back. It is very busy, very tense, but not negative. I often am convinced that it's impossible to finish in time for opening, but I always do. I sometimes find myself crawling along ductwork twenty feet off the floor, or balancing a twohundred-pound pipe on a hydraulic lift twenty feet off the floor, but that is work that will go away once I reach the top of my profession. Being a lighting designer isn't dangerous, but getting there is. The work atmosphere is very positive. When you get in the theater and see a moment of magic on the stage that is a direct result of your effort and imagination, you hear immediate approval from your peers, and your spine tingles with the realization that this personal success of yours adds to the value of everyone else's work. And when an audience responds to it, your spine tingles again. "What I like most are the people, the creativity, ingenuity, problem solving, and short-term nature of projects. What I like least is the low pay, understaffing, underbudgeting, lack of time allotted for first class work, and the poor public understanding of what constitutes high-quality work. "If you have to do thisyou'll know it. Just show up and work hard. If you can, go to Yale or New York Universityif you can't, don't give up. Visit with a number of other designers, decide what you like, and imitate it until you understand it. Take chances with your work. Make big statements as often as you can. Pay attention to the whole first, the details second. Leave yourself time to finish your designs, finished and modest is better than unfinished and grandiose. Draw every day. Paint every day. Draft every day. Have funwhy else would you be in this business?"

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MEET DAVID PALMER David Palmer serves as Theater Manager of the Ruth B. Shannon Center for the Performing Arts at Whittier College in Whittier, California. He earned an Associate Degree in business at Delta College in Bay City, Michigan, a Bachelor of Arts from California State University in Long Beach, California, a Master of Arts in stage lighting design and a Master of Fine Arts in stage lighting design from California State University in Long Beach. He also served two years at Michigan State University touring with the Ball of Yarns children's theater company and toured and taught in Lansing Public Schools with the Lansing Team of Four creative dramatics troupe. Other positions include Lighting Designer, Technical Director, Master Electrician, Instructor, and Cofounder of a repertory theater. "In high school, I worked in the audiovisual department during my free periods," he says. "One of my duties was to run the sound for basketball games, and to set up lighting and sound for the dances in the gym following the game. My experience in theater was zero! But I found that I enjoyed the work. "Some time later, a very close friend convinced me to help on a summer production of a Gilbert and Sullivan operetta at the local community theater. I spent most of my time in the scene shop helping build the setsnever having had formal training, just doing what I had watched my father do in our home wood shop. I found that I really enjoyed the work, the pace of activity, the sense of accomplishment, and the 'magic' of perception versus reality (what the audience sees versus what is behind the scenes). "It wasn't until I had transferred from a junior college to a four-year institution that I found out that I could actually take classes in theater, that there was such a thing as a theater major, and that one could make a living at it. After one quarter, I changed majors from business administration to theater. Since that time, I have been making a living performing work I enjoy. "A milestone in my career occurred when I was given an opportunity to travel to California to design the lighting for a touring opera and discovered the plethora of work that was continued

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continued available. Another milestone occurred when I transferred to CSU-Long Beach to finish my B.A. and then proceeded to earn my M.A. and M.F.A. This program was simply outstanding, and provided significant professional training, contacts, and teaching experience. All of the jobs that I have gotten since coming out to California twenty years ago have been a direct result of the contacts that I began to establish when I transferred to CSULB. "My job now is very administrative. I spend much of my time on the telephone with artists, managers, printers, possible crew members, potential and current donors, etc. I divide my time between booking/artist services, box office supervision, marketing and public relations, technical preparations, and performances. Any given day the ratio between them all changes. Some days are very laid-back and relaxed. Others just don't have enough hours in the day. "The job isn't really dangerous unless you have a heart condition. I typically put in nine to twelve hours per day, six to seven days per week during the academic year (September 1 to May 25). The summer is a fairly normal nine-to-five type of job with fewer performances. "Since all but one of the staff are students here at the college, I try to maintain a professional yet educational work environment. I find that I will spend ten or fifteen minutes explaining the 'why' of a question to a student, and helping the student reach a solution based on his or her own knowledge, rather than giving a definitive 'yes'-or-'no'-type of answer. The work-place is another classroom. As a result, the amount of work accomplished is often less than in a fully professional environment. But the students are gaining an understanding of a profession that is often perceived as being all play and no work. In the end, many of the artists and patrons that visit the Shannon Center are simply not aware that everyone on the crew is an undergraduate student. "First and foremost, I like watching the glow of an audience member's face as he or she exits the theater after a first-rate performance. I feel that I have helped accomplish something for each one of those individuals. Second (but not by much) is continued

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continued watching the expression of understanding light up a student's eyes as he or she suddenly discovers a new piece of information that has real-life application. After that, I enjoy meeting and working with all of the peopleartists, patrons, students, staff. We are all in this together. This is a business of emotions, not just dollar signs. Everything has a human value associated with it. "In order to be successful in this (or any) business, you must have a passion for what you do. That passion will help you strive for the best 100 percent of the time. An attitude of 'that's good enough' just isn't acceptable. Being an idealist who is capable of thinking in a geometric or nonlinear fashion is a big plus. Taking an idea, rolling it around and coming up with four more ideas that then spark four more ideas is how you come up with fresh and exciting events. Never say no until you have exhausted all of the possibilities, because if you really want something you will find a way of doing it. Finally, always remember'what goes around, comes around.' That favor that you do for someone else will come back to you just when you need it most. I have found that it has worked for me since the early 1970s, when I did that favor for my friend and helped him out with the Gilbert and Sullivan operetta."

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Chapter Twelve Path 3: The Business of Theater If you want something from an audience, you give blood to their fantasies. It's the ultimate hustle. Marlon Brando Perhaps the world of theater is attractive to you, but not as a performer. Do you have a flair for business and enjoy handling that aspect of things? Can you speak persuasively? Do you like to solicit money for worthwhile projects? Are you good with figures? Do you like to represent others? Do you enjoy working with people? Then the business of theater, with its wide array of career opportunities, might offer the perfect career path for you! Definition of the Career Path Those who are involved in the business of theater include producers, casting directors, theatrical agents, general managers, company managers, box office managers, house managers, touring production managers, and theatrical press agents (among others). All of them remain behind the scenes (as do the professionals in Chapter 11), but instead of attending to things backstage, they focus on theater as a business.

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Career Choices: The Business of Theater Producers Producers are entrepreneurs who have financial and administrative control over the making of movies, plays, and television shows. It is their responsibility to raise enough money, oversee all finances, and make sure that all dollars are wisely spent. They must find investors (called "angels") who are willing to put up money to finance the project. They are the ones who are ultimately responsible for turning a profit for the investors. The producer is also responsible for selecting the plays or scripts, deciding on the size and content of the production, and its budget. Scripts may be located in a number of waysplaywrights may send them to producers, sometimes producers might also do new versions of previous productions, and often the producer may commission a playwright to write a script. Once a script is located or written, the producer will pay the playwright for an option to use the script for a specified time period. Producers also hire directors, who make the artistic and day-to-day decisions on the production. They also choose the principal members of the cast and key production staff members. They may negotiate contracts with artistic personnel (often in accordance with collective bargaining agreements) and coordinate the activities of writers, directors, managers, and other personnel. Producers have many responsibilitiesultimately they are the ones who make the decisions that determine the success of the project. Television producers are employed by television stations or networks. Network television series usually have an executive producer who does the long-term planning for the show. Movie producers are employed by a film studio or may work independently. Theatrical producers work independently. Casting Directors Casting directors are influential theater professionals who audition and interview performers for specific parts in a play or movie. In order to correctly match people with parts, casting directors read scripts and then work with others in the production staff to determine their thoughts, ideas, and desires regarding the character's personality, voice quality, and physical appearance. Casting directors may find the right performer in a number of ways. They develop advertisements and place them in the trades, newspapers, or other publications. These ads announce casting requirements of the production. They may also hold open auditions where hundreds or even thousands of hopeful actors and actresses come to audition for parts. Most casting directors also have a file of information on all the performers who ever auditioned

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for them, as well as a file on those who have sent resumes and photos but have never formally auditioned. In some cases, established actors or actresses hear about a production, are interested in a specific role, and instruct their agents to call the casting director. If these well-known actors and actresses are very successful in the industry and are right for the part, they will often get a role without auditioning. Similarly, casting directors might have a specific actor or actress in mind for a part. In these instances, they contact the performer's agent to check out the interest and availability. Often casting directors and actors meet in a "pre-read session." Usually, this includes about twenty people who are in contention for the part. The purpose of the meeting is to screen out people so that the producer's time is not wasted unnecessarily. From the twenty, usually, five or six candidates are chosen to attend a "producer's session," which also includes the casting director. Internships always provide invaluable education and experience. As a casting director's intern, one of your important responsibilities might be to take care of calls from producers and directors. You might also be involved in casting a TV show, which would require that you spend your days reading a script in order to determine the list of characters needed to fill these parts. Then you might send the list to agents (possibly also to Breakdown Services, who forwards them to agents and managers) who will subsequently send you submissions (envelopes with pictures and resumes of candidates) to fill these roles. Then you'd pick out the people to audition. Agents Agents are representatives who advise their clients in a certain area of expertise. They may represent athletes, writers, models, actors, producers, performers, and other types of celebrities. There are three types of agents who represent performerscommercial agents, theatrical agents, or full-service agents. Theatrical agents handle movies, TV, and stage roles. Commercial agents handle only commercials. Full-service agents handle both. Agents may also be franchised or not franchised. A franchised agent is one who is licensed to represent union performers. Most theatrical agents work for large agencies who service many clients. They always use their contacts and are on the lookout for news about new plays or other projects so they know where and when actors will be needed. Since it is true that an agent won't survive if his or her clients are not successful, agents may also see to it that the actors study acting, speech, voice and danceanything that will enhance the abilities of the actors they represent. They are definitely looking to help make their clients successful because there is a significant paycheck for those whose clients strike it rich.

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An agent spends most of the day on the telephone: negotiating, networking, arranging meetings, discussing prospects, maintaining connections, and keeping in touch with the industry trends and deals. Nearly one-third of all phone time is spent with clients, explaining what the agent is doing on their behalf and strategizing. Face-to-face meetings are also important. An agent has to be willing to find creative compromises and live with them. Those who are successful must have tenacity, the willingness to fight for their clients, and the ability to sell ideas effectively and communicate clearly. General Managers General managers are the individuals in charge of legal details. They may set up the play company as a corporation and also negotiate contracts with those who have been hired to be part of the production. They may aid in preparing budgets and make sure that costs stay within them. It is their job to set ticket prices, hire a company manager, and order the printed tickets. Company Managers Company managers are in charge of making out the payroll and seeing to it that appropriate taxes are paid. They also work with box office managers on receipts and ticket sales. Once the show is closed, they make sure that nothing remains in the theater. Box Office Managers Box office managers are strictly in charge of tickets. It is their job to arrange the sale of tickets through mail order, advance ticket sales at the theater, and any other outlets they have in mind. They are held accountable for all ticket sales and money derived from them. House Managers House managers are responsible for the upkeep of the theater. As a result, they must be present whenever anyone else is there. They are also in charge of ushers, fire and safety laws, and extra stagehands who are hired to move the sets into and out of the theater. Touring Production Managers When the show is on the road, touring production managers are in charge of all business affairs of the company. Their duties usually include obtaining local permits, hiring local stagehands, arranging for housing for the cast and other members of the staff, and working with local unions. They also audit box office accounts and write out and disburse paychecks.

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Theatrical Press Agents Theatrical press agents are the professionals in charge of handling all of the publicity for regional theater group productions, off-Broadway shows, and Broadway shows. If a show is going to be successful, it is imperative that enough publicity is given so that sufficient ticket sales will be generated. In order to accomplish this, theatrical press agents must create press kits, prepare biographies, write press releases, arrange interviews, and deal with all media sources. For this job, it is critical to make the right media contacts. This entails compiling lists that will be used to send press releases, press passes, and perhaps invitations for opening night. Along with this, the theatrical press agent must plan as many events and press conferences as possible to generate as much publicity as possible. It is important that these professionals are creative about developing new ideas and new angles for exposure through reporters, entertainment and feature writers, and other newspaper and magazine writers. Opening night is a gala event that theatrical press agents are in charge of. It is their responsibility to call all reviewers and critics on the day of the show to make sure they will be present in the audience. The agents will be on hand on the day of the opening to be the liaison to the media, to pass out press kits, or provide any information that is required. Some theatrical press agents work aloneothers have apprentices who work with them, helping them with their various projects. Possible Job Titles Press director Advertising manager Producer Agent Producing director Business manager Production assistant Casting director Publicist Executive director Public relations director Fine arts manager Talent manager Managing director Theatrical agent Marketing director Theatrical press agent Personal manager

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Possible Employers The greatest number of employment opportunities exist in large, culturally active cities such as Los Angeles, Hollywood, New York, Chicago, Washington, D.C., Philadelphia, Atlanta, and San Francisco. Producers may work in a number of settings. Those working in legitimate theater are self-employed. Some may be on the staff of not-for-profit theatrical companies, regional theaters, etc. Since they may produce any of the followingBroadway plays, off-Broadway plays, off-off-Broadway plays, road company productions, dinner theater productions, cabaret theater productions, regional theater productions, stock productionsthey may find work in any of these situations. Not all productions employ casting directors. Some utilize the services of the director or producer to handle casting responsibilities. Casting directors may work on a consulting basis, for a production company, or be on staff at a theater. Related Occupations The connections agents make in their careers come in handy if they decide to leave. Many enter the field their clients are in, such as producing, editing, publishing, and in rare cases, writing and directing. Other related professions include public relations, sales, labor relations, advertising, management, communications, and media relations. Working Conditions These professionals usually work in an office environment, but may spend little time there. They often work long hours, traveling extensively in order to conduct meetings with interested parties and attend plays and other productions. The pace is usually very hectic. A good deal of time is spent meeting people at parties and receptions, often evenings and weekends. Training and Qualifications No standard educational or training requirements exist for producers and other business theater professionals. However, a thorough knowledge and understanding of theater is absolutely necessary, and a college degree gives individuals a certain measure of credibility and increased opportunities for

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hands-on training. Course work should focus on theater, film, business, English, fine arts, law, fiscal management, and personnel management. Advanced degrees are generally not necessary and, as a rule, do not affect earnings. Seminars and workshops in theater and producing are important. Professionals in this area of theater need good business sense, financial management skills, organizational skills, effective communication skills, strong interpersonal skills, and negotiation skills. They must also have the ability to listen, to match people with roles, to work under pressure, to relate to clients, to handle stress, and to attend to details. A three-year apprenticeship with a member of the Association of Theatrical Press Agents and Managers (ATPAM) is required for theatrical press agents. While a college degree is not a requirement, many in the business feel that it is the best approach. Good course choices include public relations, communications, writing, advertising, marketing, business, English, and theater arts. Theatrical press agents must be creative, detail oriented, and aggressive and must have excellent verbal and written communication skills. They need experience in publicity, public relations, or promotion. Earnings In general, the pay for producers is good but varies due to experience, company, and production budget. Though producers on staff usually receive a specific salary, others do not. Instead, they might receive a finder's fee for putting together a group of investors. Others are compensated with a percentage of the profits earned from the show. Figures for producers can vary from a few thousand to hundreds of thousands of dollars. However, entry-level producers in television usually earn about $20,000 per year. Unionized producers generally receive paid vacation and health insurance. Because of the nature of the job, it is difficult to determine annual earnings of casting directors. A lot depends on whether professionals are consultants or on staff, the nature of the production, and how many productions they cast each year. For individuals who are on staff, salaries may range from $10,000 to $75,000 and up. Consultants may charge $2,000 to $40,000 or more per production. Agents usually make a standard 10 or 15 percent commission of all of the client's earnings, but actual salaries vary greatly depending on the experience and talent of the individual. Agents working on a part-time basis can earn anywhere from $15,000 to $50,000 a year. Benefits vary. Agents working for large agencies generally are offered health insurance and paid vacations. Since individuals are usually hired for specific productions, it's difficult to determine annual earnings for theatrical press agents. Factors affecting this

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include the number of projects that year, how long the production lasts, and the size and type of theater. Minimum earnings are negotiated by the ATPAM, an AFL-CIO union. Earnings include a minimum weekly salary plus a percentage for pensions, vacation pay, and a set figure for a welfare fund. Theatrical press agents usually earn about $600 to $1,600 per week and up. Career Outlook The number of producers is small, and few new ones are hired each year. Theatrical producers work from show to show. For agents, success lies in finding new talent and promoting it in order to earn a reputation and a bigger salary. Competition is fierce among all of these occupations. Strategy for Finding the Jobs Strategies for finding the jobs include the following tactics: Find contacts by joining professional theatrical associations and organizations. 1. Attend trade association meetings and conferences. 2. Learn as much as possible about every facet of theater. To get a foot in the door, volunteer. 3. Attend seminars, workshops, and courses in all aspects of theater, business, and fund-raising. 4. Look for a part-time or summer job working for a producer. 5. Contact theaters, production companies, colleges, universities, etc., to find internships, apprenticeships, and training programs in 6. this end of the industry. Offer to handle the fund-raising for your local community theater, arts council, or not-for-profit theater group. This will give you 7. experience in raising moneya skill needed as a producer. Try to find a mentor in theater who can help guide you in your career. 8.

Prospective casting directors should be advised that it's almost impossible to get a job in casting without interning first. There are so many people who

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are willing to work free as a way to break into Hollywood. Find out about internships by looking in The Casting Director's Directory, which is sold at Samuel French bookstore in Los Angeles. It lists the names, addresses, and phone numbers of all the casting directors and what shows they cast. Then send your resume. Potential theatrical press agents should know that you can acquire much needed experience by handling the publicity and promotion for a school, college, or community theater production. Look for seminars, workshops, and classes in publicity, writing, promotion, and theater. These experiences will improve your skills in addition to providing opportunities to make important contacts. Professional Associations Association of Theatrical Press Agents and Managers 165 West 46th Street, Suite 700 New York, NY 10036 International Theatrical Agencies Association (ITAA) c/o Hartland Talent Marketing 5775 Wayzetta Blvd. Minneapolis, MN 55426 League of American Theaters and Producers 226 West 47th Street New York, NY 10036 First-Hand Accounts From Four Theater Business Professionals MEET GARY MURPHY, PUBLICIST Gary Murphy is an independent publicist specializing in national public relations campaigns for the performing arts. He serves as the National Press Representative for The Geffen Playhouse in Los Angeles, the Alley Theater in Houston, and Santa Fe Stages in Santa Fe, New Mexico. He earned his Bachelor of Science degree in English education from SUNY continued

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continued at Cortland. Gary did not enter his profession overtlyit just sort of happened. ''In 1977, while recovering from an illness," he says, "a friend suggested I tend the intermission bar at Manhattan Theater Club in New York City as a recuperative activity. I had recently graduated from college with a teaching degree, but found the idea of actually teaching unbearable. Working in Manhattan restaurants was far more appealing at the time than getting up at dawn to teach English grammar. Up until that point, my theater education was minimalI had taken one course and seen a total of perhaps a dozen plays. It didn't really seem to be a viable career choice. MTC, lodged in the Old Bohemian Hall on New York's Upper East Side, had three spaces operating at the time: the Downstage, where the American premier of Athol Fugard's Statements After the Arrest Under the Immorality Act just opened; the Upstage had Fugard's Nongogo, directed by Oz Scott and starring Mary Alice; and the Cabaret featured the world premiere of Ain't Misbehavin'with Nell Carter, Amelia MacQueen, and Andre DeShields, among others. The bar was rolled into a hand-cranked elevator that opened onto the first floor vestibule and served as intermission lobby for the two stages. It also served as elevator for the Cabaret's Ain't Misbehavin' cast, and I would transport them to their dressing rooms during the break. After that gig, I was hooked on theater. I proceeded to work in the box office, the marketing department, and then the press department, gaining my real theater schooling in a two-and-onehalf-year paid apprenticeship at Manhattan Theater Club. "From there I worked as the Marketing and Press Director for Manhattan Punch Line (an independent publicist for a number of theater productions), then Communications Director for Circle Repertory Company from 1985 to 1991, and Press Representative for New York Theater workshop from 1988 to 1991. "Today my day-to-day work varies from month to month. However, it always focuses on writingmemos, faxes, press releases, photo identifications, letters, etc. I maintain a large database press list which is constantly changed, updated, and targeted. One of my goals is to attempt to get daily news continued

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continued updates from clients about their projects and collect news that can sometimes be turned into items. In addition, I hire photographers for production photo shoots and work closely with the managing directors for all theaters, taking my cues from them. When I have information in advance, I do long-lead planning and pitches. Another major responsibility is to handle all opening nights, inviting the press, creating the press kits, and meeting and greeting on the actual day. During the height of the season (October/November), all of this can translate to about sixty hours per week. "What I enjoy the most is dealing with the artists and the media. I enjoy working with writersplaywrights as much as criticsand it gives me tremendous pleasure to bring a playwright's work to the attention of the media. I have been fortunate to work with some of the finest artists appearing on stage during the last twenty years, and I've also worked with a number of vital theater institutions responsible for keeping American theater moving forward. They include the Manhattan Theatre Club, Circle Repertory Company, New York Theatre Workshop, and currently The Geffen Playhouse. "Don't follow in my footsteps," stresses Gary. "Make your own way. There are no set rules, no set game plan. If you want to be an actor, designer, or director you can go to Julliard, Yale, or Northwestern University and receive some of the best training available. Academic programs are available in theater administration, and I'd recommend that you choose one that gives you a solid liberal arts/business education along with the theater background. But more than that, if you want to work in theater today, you just have to love it. It's that simple. Because when you love what you do, nothing is too much, and the learning never stops." MEET WAYNE KELLER, ARTIST'S REPRESENTATIVE Wayne Keller attended Michigan State University in East Lansing, Michigan, majoring in police administration and minoring in communications. He now works as an artist's representative in Nashville, Tennessee. continued

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continued "There is really no training ground or formal education for this profession," says Wayne. "You must first learn the business from its performing standpoint, then from the producers or club owner's angle. I personally grew up in my father's night club in Milwaukee, learned the entertainer's standpoint by 'hanging around' with numerous talented performers, and by utilizing normal small business practices. My work history prior to becoming an agent was as an office manager for the Pinkerton Detective Agency. "The most important qualifications for a new agent would be honesty, availability, and the ability to tolerate and nurture the egos of the talented. I was fortunate enough to have learned this by the time I became an agent in 1961 at the age of twenty-nine. I did not, however, have the experience that was almost a prerequisite for becoming an agent, that of having been an entertainer myself. My experience was only from having been an observer of the wonderful world of show business. In fact, to my knowledge, I am the only agent who is not a former entertainer. My former wife was a performer and was definitely a help in handling the helm of the business, as far as staying in touch with the changing sentiments of the various acts and club owners was concerned. "The profession is really like no other. You go out evenings to watch various people perform and endeavor to have a discussion with them. A few days, weeks, or months later, they write you (submitting photos), and advise you of their availability on a certain date. You then contact a producer or club owner and inform him or her of the availability and attributes of the entertainer. (One thing is for surethere is never anything negative about a performer you are selling.) A contract for that one engagement is then prepared and you go on to the next booking. Once you are established and have instilled confidence in your honesty in both entertainers and clients, the business becomes somewhat routine. You are the catalyst between the acts and their appearances. The atmosphere in the business is always very relaxed, and you reach a point where you are paid more for what you know than for the number of hours you work. continued

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Page 185 continued "If you're lucky enough to become nationally known and respected, the business almost amounts to making a few telephone calls and instructing your secretary to make up the contracts while you concentrate on obtaining more publicity for your performers. "The upsides of the business are numerous if you have the ability to do the job. You are constantly dealing with interesting, talented people and behind the scenes of a fascinating field. Your income is restricted only by your own ability. Your schedule is very adaptable, and you need only work the hours you choose. "The downsides include producers and club owners who are not honest with you and do not pay you the agreed fees. And, to some extent, the aforementioned inflated ego of the performers. I must say in defense of these performer egos, however, that they are a necessity. If one is to get up before hundreds of people show after show, night after night, you have to believe in yourself, and if your agent chooses to call that an inflated ego it's his or her problem! For years, I represented two of the greatest night-club-style performers in the business, comedian-musician Frankie Capri and comedian-singer Nelson Sardelli. Their egos were part of their charmand they were as good as they believed themselves to be. "If someone is interested in becoming an agent, he or she should first acquire a working knowledge of show business and 1) be honest, and 2) always be available to his or her people. You must realize that you are responsible for the livelihood of these entertainers, and you must take care of them as your own. "I was attracted to the business by a love of entertainment, a kind of fascination for the performers, and an awareness of income possibilities that superseded a career as a private detective. Also, in working for yourself you are totally in control of your own destiny in the business world. For me, this translated into thirty wonderful years in this career." MEET JENNIFER LAPORTE, FINE ARTS MANAGER Jennifer is the Fine Arts Manager at Alverno College in Milwaukee, Wisconsin. continued

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continued "Arts administration is exciting because it encompasses programming, marketing fund development, and education," she says. "So it requires juggling quite a number of different tasks, all at the same time. You must always keep in mind that a lack of grant money could wipe out your job in one fell swoop even though you are working long, but meaningful hours. "As the manager of a college's performing arts series, there are also duties related to curriculum connections and serving as a marketing tool for the college. There is a constant pressure to work over and beyond your job description because sometimes what you do is perceived as an 'extra' or 'fun.' However, most arts administrators take their work very seriously and do it for the love of the arts, not for the money (which isn't there anyway). Arts administrators sometimes also have to fight the perception that people in the arts are poor money managers and disorganized. Truth be told, you need to be incredibly organized. Creativity is important, but almost secondary to running a tight ship. "My background is in theater and teaching. I never planned to be a professional actress, but instead wanted to work in an educational setting or do experimental theater. I started in the administrative end of things by teaching acting to young girls at a community center about three hours a week. I then got an administrative position there and worked in a pregnancy prevention/ teen mentoring program. When they found out that I could write well enough to crank out grant proposals and was willing to work erratic hours onstage, in the gallery, and in the office, I got the arts coordinator position. There I learned about fund-raising, programming, and marketing. I have been in my current position for over a year. "My advice is to volunteer as much as possible and to stay involved in other arts groups as well as the one you work for. And," she adds, ''rather than pursuing a master's in arts administration, I'd recommend that you get as much experience on the job as possible."

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Chapter Thirteen Path 4: Teaching Theater [A teacher is] the man who can make hard things easy. Ralph Waldo Emerson While knowledge is one barometer for measuring the effectiveness of a teacher, a number of other qualities are equally important. If you possess a genuine desire to educate people, are an able communicator, enjoy interacting with others, are highly motivated and organized, and have patience and a sense of humor, then you have the potential to be an outstanding teacher. Teaching offers much in the way of independence, financial security, and time off, but requires a large measure of hard work, both physically and mentally. But, for most, the returns are manifold in the form of the intrinsic rewards received knowing you have contributed to someone's future; indeed, perhaps the future for all of us. Definition of the Career Path Theater teachers instruct or coach students in the techniques of acting, directing, playwriting, script analysis, and the history of theater. They help students acquire confidence, assurance, speaking skills, and timing. They encourage students in their work, direct rehearsals, and guide pupils in their roles. At the same time, they instruct students in backstage work including set design, production organization, set building, stage lighting and sound, properties, costuming, and makeup. At the high school level, theater may be a part of English or language arts. On the other hand, many high schools today have separate theater departments. They may offer classes in acting, directing, theater history, stage-craft, makeup, playwriting, wardrobe, speech arts, and theater management.

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In most schools and colleges, theater teachers and administrators produce or direct plays for school and public performance. They audition students by cold reading of plays or listening to prepared auditions in order to judge the pupil's potential. Theater teachers also stress the front-of-the-house or management duties of a stage show. Students learn publicity and promotion, programs, tickets, ushering, and business procedures. In general, college teachers are specialists in one or two theater arts. They may work in acting, which focuses on scenes, study, improvisation, voice for the actor, classical acting, and audition techniques. They may teach technical skills such as set construction, properties, lighting, sound, costume construction, and makeup. Some teach the art of directing, playwriting, or both. Others teach stage production and arts administration. Theater teachers may lead seminars and workshops or arrange trips to professional plays or plays at other schools. They may work on drama forms such as mime, improvisation, and reader's theater. Some produce children's theater, summer theater, or dinner theater. College teachers may also do research and write articles and books. They may take on projects such as plays by students or young playwrights. Some develop programs that give theater experience to troubled children. Others work to present traveling street theater or community or regional theater productions. School theater departments often give two or three full-length plays or musicals each year for the student body and the public. Theater teachers may guide students who give plays in local, regional, state, and national contests. School theater clubs may have ties to national groups. Dramatic coaches work with actors in an attempt to improve their acting techniques. They conduct readings to evaluate actors' abilities and then instruct them on how to improve their performances. Areas of concern may be stage presence, character interpretation, voice projection, or dialect. Possible Job Titles Theater teacher Drama coach High school drama teacher

University professor

Possible Employers Theater teachers work in almost every city and town. Most full-time theater teachers, however, work in or near large cities. They teach in public and

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private schools, colleges, and universities. Some work in regional theater, community theater, children's theater, or other groups that present theater productions. A great many of these teachers are employed in some other capacity. They may, for instance, teach English, speech, and theater arts as an adjunct of this subject. Others may work part time as directors of theater arts. Some theater teachers employed by a school district may work in several elementary schools, junior high, or middle schools. Related Occupations The United States Department of Labor classifies theater teachers with stage directors, stage managers, producers, communications technicians, casting directors, motion picture directors, script supervisors, radio and television directors, and program assistants in radio and television. Other related careers include actors, actresses, stage directors, narrators, and drama coaches. People interested in the theater might also explore the work of set designers, property managers, lighting specialists, wardrobe supervisors, or other technical workers. Working Conditions Theater teachers in some high schools may put on plays in an assembly hall or gym. Others produce plays in state-ofthe-art theaters. A college theater arts department may have a separate building and theater for productions and classes. Most teachers have summer vacations of two or three months off. They may then work in summer stock or travel to see plays. High school theater teachers work the same hours as other teachers at this level. Some of these teachers also teach other subjects besides theater. When a play goes into production, their hours may extend into the afternoon, evening, and weekends. Training and Qualifications Most theater teachers who are employed at the college level graduate with either a master's or a doctoral degree in theater or visual and performing arts.

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Those who plan to teach at the high school level must take courses in teaching methods, along with studies in drama. Some states offer certification in theater arts. More than 1,500 colleges and universities in the United States offer undergraduate and graduate degrees in dramatic arts. Studies may include the techniques of acting; history of the theater; understanding lighting, scenery, and costumes; analyzing and creating roles; working with directing concepts and techniques; script study and rehearsal techniques; and lab sessions to gain experience. College students may major in acting, child drama, directing, playwriting, theater design, theater education, stage technology, or theater management. A part of the training includes staging and acting in plays. In order to obtain a Master of Arts degree, students take the curriculum prescribed by the university and produce a thesis. To get a Master of Fine Arts degree, students take mandatory courses along with electives and do a creative project. They must also pass tests, both oral and written. Doctoral candidates take more course work, pass examinations, and write a dissertation on some aspect of the theater. Certification and Unions Theater teachers in public and private elementary or high schools need state certification. Certification demands a college degree, a stated number of credits in a major, and courses in teaching methods. Many school teachers belong to a union. The two principal ones are the National Education Association of the United States and the American Federation of Teachers. These unions negotiate contract terms on pay, tenure, working conditions, and other issues. College and high school teachers can also join the National Association of Dramatic and Speech Arts. High school teachers may join the Theatre Education Association, which works to support theater programs in the educational system and emphasizes the importance of theater arts in the learning process. The American Alliance for Theatre and Education consists of educators, artists, administrators, and others serving young people in professional and community youth theaters and theater educational programs. The Association for Theatre in Higher Education is a group of 1,500 individuals and 500 organizations that foster the interaction and exchange of information among those engaged in theater research, performance, scholarship, and crafts. The association sets standards of excellence for organizations and individuals concerned with postsecondary theater training, production, and scholarship.

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Earnings In general, high school teachers are paid on a nine-month or ten-month contract. Yearly pay may range from a starting salary of about $20,000 to $40,000 after ten years of experience. Pay varies with the size of the city or town, the region of the country, and the number of years on the job. In most schools, where theater is an elective or extracurricular activity, teachers get a set amount along with their regular salary for leading the theater club or group and directing productions. This amount is generally between $2,000 and $5,000 per year. The earnings of college theater teachers depend on their faculty rank. In January of 1996, according to a report from the National Association of Colleges and Employers (formerly the College Placement Council) a graduate with a bachelor's degree in visual and performing arts received beginning offers averaging $18,541 per year. The College and University Personnel Association reported the average earnings for all faculty teaching visual and performing arts in four-year institutions at $41,152 in public universities and colleges and $38,733 in private institutions. Salaries ranged from $25,848 for instructors to $79,500 for professors. A report in the College Planning Quarterly lists $26,000 as the starting salary for graduates with a bachelor's degree in theater arts. Fringe benefits for teachers usually include health insurance and pension plans. Career Outlook Although the demand for live theater today is not strong enough to support the many who seek to enter the field, countless individuals sign up to study theater in high school or college. These hopefuls create a demand for theater curricula and theater teachers. The employment of college and university faculty as a whole is expected to increase through the year 2005. Many openings will arise as faculty retirements increase from the late 1990s through 2005. However, reduced budgets have cut some jobs, and those seeking work as theater teachers will in fact still face stiff competition. Strategy for Finding the Jobs High school and college students should participate in theater activities such as school plays, community theater, dinner theater, children's theater,

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playhouses, and summer stock. Students should also make an effort to read and attend a substantial number of plays. They should talk to actors and actresses, stage crews, and all who help produce plays to gain insights into the world of theater. When they graduate from college, most job seekers get help from school placement offices. Some colleges and universities offer graduates assistantships. Students may also check theater journals for job listings, auditions, and other leads. Some state, regional, and other theater groups have placement bureaus. Some associations have employment referral systems. Professional Associations American Alliance for Theatre and Education Arizona State University Theatre Department Box 873411 Tempe, Arizona 85287 American Federation of Teachers 555 New Jersey Avenue, NW Washington, DC 20001 American Theatre Works, Inc. Theatre Directories P.O. Box 519 Dorset, VT 05251 Association for Theatre in Higher Education c/o Theatre Service 200 N. Michigan Avenue, Suite 300 Chicago, IL 60601 National Association of Dramatic and Speech Arts 208 Cherokee Drive Blacksburg, VA 24060 National Association of Schools of Theatre 11250 Roger Bacon Drive, Suite 21 Reston, VA 22090 National Education Association of the United States 1201 16th Street, NW Washington, DC 20036

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Theatre Communications Group (TCG) 355 Lexington Avenue New York, NY 10017 Theatre Education Association 3368 Central Parkway Cincinnati, OH 45225 First-Hand Accounts From Five Theater Teachers MEET RICK DAVIS, ARTISTIC DIRECTOR Rick Davis is Artistic Director of the Theater of the First Amendment and Associate Professor of Theater at the Institute of the Arts at George Mason University in Fairfax, Virginia. His education includes a Bachelor of Arts degree in theater and drama from Lawrence University in Appleton, Wisconsin, and a Masters of Fine Arts in dramaturgy, dramatic literature and criticism from the Yale School of Drama. "I came to Theater of the First Amendment in 1991 directly from a six-season stint at Center Stage in Baltimore, where I began as Resident Dramaturg and ended up as Associate Artistic Director,' he says. "I was attracted to the program here at George Mason University because it combines a professional, Equity resident company with a liberal arts undergraduate theater program, an experiment I thought well worth undertaking, and quite a rare if not a unique combination. I was also at a point in my career (about eight years out of graduate school, a variety of experiences under my belt both in the professional theater and in academia) where I wanted to try my hand at running a theater and a theater program. TFA and GMU offered the chance to do both in a supportive environment. "For as long as I can rememberor, to be strictly accurate, once I stopped wanting to be a mad scientistI wanted to work on plays: almost anything to do with plays, from writing to designing to directing to (occasionally and not too successfully) acting in them. My formal involvement in theater began on the community level when I was about ten or so, running a light continued

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continued board. I think it is significant that my first 'job' was on a production of A Midsummer Night's Dream, so that the imprint on my impressionable young mind was that a play should include poetry, music, dance, mythology, fantasy, and miraculous resolutions. I think I continue to look for all of those things today, in part with my ten-year-old eyes. "In college I tried very hard to pretend that I wasn't going to major in theater, as a way of testing my level of commitment to it. The tests always resolved themselves in favor of theatrical work, though, so the early pattern was increasingly confirmed. Every summer, from age eighteen on, I found some way to earn a little money doing playssummer stock technical work, some directing, some lighting design, some janitorial work (in a theater!), whatever would fill the summer with drama and pay for at least some of the associated expenses. Four summers of repertory stock in Colorado, during the transition defined by finishing college and starting grad school, really proved to me that I wanted to make this a life's career. "In graduate school, several of us banded together to start a theater that would commence operations literally days after our graduation. We raised money, contributed what little we could, did publicity, scouted spaces, chose plays and artists and staff, and launched the American Ibsen Theater in Pittsburgh in the summer of 1983. We had three very interesting, critically successful, and challenging seasons before some of our management naiveté caught up with us and we ran out of money. But I would not trade the experience of being in on the founding of a theater for anything. The level of commitment it requires is total, and the sense of emotional and artistic investment is profound. It shapes you forever. "I was extremely fortunate to be employed during this period as a faculty member at Washington College, a lovely small school on Maryland's eastern shore. That job provided a secure (if modest) financial base, a home to return to, and an intellectually and artistically stimulating environment in which to try out ideasand it is the place where I learned how to teach. When the Ibsen Theater folded, the College was generous enough to allow me to take a year-round position at Center continued

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continued Stage in Baltimore and craft a schedule that, for a couple of years anyway, was sustainable. "Center Stage was an immersion in the world of the large, well-funded and well-managed institutional theaterwhat a difference from the Ibsen Theater! Center Stage was and is artistically driven, but has sophisticated, mature leadership that recognizes how difficult it can be to be a 'grownup' and maintain a theater career. They've taken steps to make sure that the things that drive people away from the business once they reach their thirtiesburnout, low pay, poor benefits, a frenzied atmosphereare brought under control to the largest extent possible. It was great for me to a part of that for long enough to appreciate how it's done, and how important it is. "Since I both direct a company and teach, there's a built-in schizophrenia in my job which I cherish: not that my attention span is unusually short, but I crave variety and change, and they come with the territory here. There is no 'typical' day, but over the last couple of days this summer I've read a play for consideration for the season after next, interviewed a costume designer, spoken long-distance to the composer of our upcoming production about the vocal range of one of the parts, and to the director about what effect that will have on casting, talked to the set designer of the next play I'm directing, had four University committee meetings ranging from curriculum planning to marketing, proofread a brochure, worked on a press release, and given a lecture. All of that goes on pretty much all the time, and this is our quiet season. Once the school year and the theater season start, add directing, producing, and teaching to the list. It is busyyesbut we strive to create an unhurried atmosphere in our work, one that is susceptible to humor, irony, and recognition of those moments when enough is enough. In general, I'd say that I look forward to coming to work every day. "I thrive on the variety of challenges that come my way in any given week. I love directing plays and operas above all, and this job allows me to do that several times a year (and, crucially, allows me 'off-campus' opportunities when they come about). I love to teach, and I find that teaching reinforces continued

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continued theater work and vice versa. I like the interactions among students, colleagues, and artists that a place like this tends to foster. I like hearing from alumni who are 'out there' doing what they want to do. ''In any institution, but especially in larger-sized academic institutions, there are bureaucracies, traditions, procedures, and other ways of making it difficult to do one's work quickly and sensibly. In academia there is also an unnatural enthusiasm for committees. And there is tenure. And ... and ... but overall, a university can be a supportive and exciting place to work if you keep your eye on what works and don't get consumed by what doesn't. That is true in theaters as well. "Realize that no scrap of experience or knowledge is ever wasted when one is pursuing a life in the theater. Be hungry for as much of both as you can handle. Read widely, listen to music (all kinds), look at lots of pictures, read the newspaper every single day. Cultivate collaborators in whom you have confidence and for whom you have enthusiasm. Have at least one thing you do outside the theater that is important and stimulating to you. Etymologize the word liberal as in liberal arts, and recognize that it's not exactly what most people think it is. Then pursue it." MEET HARRIS D. SMITH, ASSISTANT PROFESSOR OF THEATRE ARTS Harris D. Smith is an Assistant Professor of Theatre Arts at Central Washington University in Ellensburg, Washington. He earned a Bachelor of Arts degree in theatre arts from Montana State University in Bozeman and a Master of Fine Arts degree in theatre arts (acting emphasis) from the University of Washington, Seattle (whose graduate department is currently ranked number four in the country by Newsweek magazine). He is also certified by the Society of American Fight Directors (SAFD) as an actor/combatant in stage combat. He was trained by David Boushey, (Fight Master and founder of the SAFD at the University of Washingtonone of the few fight masters certified in both Britain and America) and is a member continued

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continued of the United Stuntmen's Association, Screen Actors Guild, and Actors Equity Association. His professional work as an actor includes Amazing Grace and Chuck, Runaway Train, and Chips the War Dog (films), Pandora's Clock (television miniseries), and this spring as an actor/ stuntman on the X-Files interactive CD-ROM. "The fortunate thing about teaching and acting is that Shakespeare festivals and summer stock happen during the summer," he says. "So, I'm able to do a little of that, too. One of my more enjoyable roles was playing Tybalt (in Romeo and Juliet) at the Utah Shakespearean Festival. "I started teaching in 1993 at the State University of New York (SUNY) at Albany," says Harris. "I went into graduate school planning to become a university professor. After several years of full-time professional acting work, I applied for the position at Central. My professional experience includes working with the Sacramento Theatre Company; A Contemporary Theatre (ACT; Seattle, Washington); Seattle Children's Theatre; and the St. Louis (Missouri) Black Repertory. ''I was attracted to the art of creating illusion," he says. "I feel that when drama is done wellin whatever genreit can be very powerful, moving, even dangerousdangerous not just physically but politically, morally, and emotionally. I get the most enjoyment out of seeing my students learn the skills needed to effectively create illusion. "After teaching acting for a time, I found that I have a gift for sharing and teaching the art of illusion, particularly in stage combat. As a college football player, I understood the dangers of full contact in what some consider to be a violent sport. On stage, I have the chance to create that illusion of danger without bodily harm. I find this to be much more rewardingand a lot healthier. "Overall, I would say my athletic background and the aspect of sports as entertainment had a greatest influence on me. Besides, I love to perform. "Between teaching and advising my students, service on departmental and university committees, and a wife and three children, I keep quite busy during the year. I spend the majority continued

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continued of my day in the classroom. Generally, I teach at least two classes per day along with assisting on other department projects (including some acting in theatrical productions) that are going on throughout the year. "Up to a sixty-hour workweek is typical, especially when I'm working on a production. Central's theater department is constantly growing, and with growth comes change and adjustment. This can be particularly challengingbut gratifyingwhen what you do enhances the education of many students. "I'm lucky to be working with some of the most gifted colleagues in my profession, which helps me to be even more effective in the classroom and on the collegiate stage. We share a common goal: to produce talented, well-rounded students in the arts. "To me, teaching is one of the greatest jobs you can have. What I enjoy most is working with the students and pushing them to achieve beyond what they thought was possible. For example, about five weeks into one of my classes I require my students to perform a singing exercise. They may have to sing a capella. When they read the syllabus the first day of class I know they see that exercise and think 'No way.' After the performances, they are generally patting each other on the back and discussing how great and moving the songs were. It's so rewarding to see them take risks and achieve their goals. You can't put a price on that. "I ask my students to try to picture Michael Jordan with his muscles all tensed up and nervous, trying to move around the basketball floor. He wouldn't be able to be spontaneous and create all the moves he does. He just free-flowsand actors have to do the same thing. "My least favorite tasks include paperwork, grading, and other administrative tasks. I find grading to be particularly difficulthow do you grade someone on his or her life experiences, or lack thereof? "I would encourage potential theater educators to pace yourselves. Students will 'suck up' everything you have to offerwhich is great. But you need to have a portion of yourself left over to bring home at night to give to your family, who continued

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Page 199 continued love you more than anyone else. And what you have for them must be genuinefor they know better than anyone when you're acting." MEET DONALD W. GUIDO, TECHNICAL DIRECTOR Donald W. Guido is Technical Director at the Department of Theater at Binghamton University (State University of New York). He earned his Bachelor of Arts degree in theater (design/ technical concentration) at SUNY College at Oswego in Oswego, New York. Over the years, he has also taken several courses ranging from computers to theater safety, rigging, and rigging safety, to new products, in an effort to increase his job skills. They ranged from two-hour sessions to one that exceeded forty class hours. "The nature of life is that you have to keep on learning or you fall behind," he says. "A job in education requires that you not fall behind. "I first worked as a technical director in an educational institution in 1975," says Donald. "It was at SUNY at Cortland, where I worked for over seven years. I acquired the job through an interview and contacts I had made while a student at SUNY Oswego. Members of the Department of Theater were instrumental in my getting that job. In 1982, for a number of reasons, it became apparent that it was time to move on and I applied for and got the job as Technical Director at the Binghamton University Department of Theatre. ''Theater (as in its related fields such as television, movies, theme parks, etc.) constantly creates new challenges. Perhaps it is the ever-changing nature of the performance arts that has attracted me to the field. I particularly like the fact that in live theater what we create exists in a moment in time and then is gone. Only the memory remains. "I have always been an individual who 'tinkers'one who takes things apart to see what makes them work. When I was growing up, my father had a home workshop and there was always a project underway. Several additions to our house, building this, repairing thatwe were always working on continued

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continued something with a variety of tools. Before getting into theater, I worked several summers as a maintenance worker at my high school and later worked at a number of summer youth programs and playgrounds. "Initially my college major was educational communication and I joined the theater group (Blackfriars) solely for social purposes. The group consisted of people who worked with tools, met regularly, and had access to a well-equipped shop. The fact that I was involved in theater was, initially, of no consequence to me. One summer, several of my friends from Black-friars were working on a summer stock job and offered me a position. Since I had no other plans, I went along. This became my first experience with summer stockin 1973 at the Cortland Repertory Theater. It was also not a very positive onecontaining unfair work hours with unreasonable expectations for pathetic pay. But when all was said and done, I had really enjoyed myself and felt that this was something I could do for a lifetime. "Today, my job is a little bit country, a little bit rock and roll. The technical director is responsible for the safe and accurate construction, installation, overseeing, and removal of all the productions the Department of Theater produces. A typical day begins about 9:00 A.M. and ends around 5:30 P.M. I may have to lecture in a class and would most definitely have to supervise a number of students in the scene shop from 10:00 A.M. to noon and 1:00 P.M. until 5:00 P.M. On any given day at any given time I may have between five and twenty students in the shop. It all depends on the day and the classes being offered. During the normal work hours I personally do very little hands-on building of the scenery. I generally try to set up two mornings each week when the shop is kept closed to students until 1:00 so I can work on special projects or build a specific unit that requires a higher skill level than is available with my current students. "When students are in the shop I generally supervise their work and instruct them in tool procedures, safety, and construction techniques. Most of the students working in the scene shop are novices with little or no experience when they first continued

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continued arrive at the start of a semester. And, of course, beginners require more supervision than more experienced workers. (I currently have one assistant to help supervisea scenic artist who is also a skilled carpenter.) One of the reoccurring problems is that some students are willing to watch while a few perform the actual tasks. Those who are nervous of the tools or the task require more one-on-one time to bring them along. Over the years I've found the extra time given to specific students to help them over their fears has paid off many times over. Realistically though, there is an element of danger in all of this. The tools are sharp and powerful, and someone could easily get hurt. Fortunately, very few have in my twenty-seven years in the field. "There is also danger in the fact that we work in theaters that have grids up to sixty-five feet high. We work off ladders, vertical lifts, and cherry pickers. We fly scenery that can weigh just pounds or tons. We build scenery with moving wagons, slipstages, and turntables; then have students act, crew, install, and dismantle the sets. "What I have to do varies from show to show and designer to designer. Sometimes I get complete working drawings, sometimes I have to draft construction drawings. Some shows have straightforward sets from stock unitsothers must be completely built from scratch. For some shows there are complex rigging requirements, others require only simple constructions. "Here's what a typical day might include: Drafting Ordering supplies Tool upkeep and maintenance Meetings Production related Department business University business Lecturing to classes continued

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continued Supervising work-study students Supervising graduate assistants Supervising students in shop Supervising students in theater Loading-in a set Working on a set "There is always an inflexible deadline and the tendency to cut corners. My job is to make sure the production remains on schedule, everyone works safely, everyone works carefully, that the corners being cut are not diminishing quality or safety, and that no one gets hurt. "All of that saidI enjoy coming to work. I enjoy interacting with most of my coworkers and students. I like the fact that what we're doing each day is a little different from what we did the day before and from what we'll do tomorrow. I like working in the scene shop. I enjoy the challenges I have to meet to solve the problems of each show. I enjoy working with the rigging systemrigging shows. I feel extremely good about our students who go out and succeed in their chosen professions and hope perhaps, to some extent, I have assisted them on their journey. If that is so, then maybe I have repaid those who helped me on my journey. As some of my students go out and enter the same profession as I, we become references for each other, a support network that entwines us and our other contacts. Working on the shows becomes an important memory of college, and I enjoy being a part of that. After all, live theater should be an important memory in the minds of those involved in itcast, crew, and audience. "Pace yourself, there is a lot of burnout in this field," advises Donald. "Be sure you enjoy all of thisit is a lot of work. Don't expect to get rich, the pay isn't great and the rewards are mostly personal. Don't let the job rule your personal lifeand be sure you have a life outside the job. Don't ever forget that many people's safety and lives (both literally and figuratively) are in your handsdon't succumb to the pressure to do something unsafe. It is a great job, just don't let it control your existence. I'm still enjoying the ride.''

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MEET JANA O'KEEFE BAZZONI, ASSOCIATE PROFESSOR OF SPEECH Jana O'Keefe Bazzoni is an Associate Professor of Speech at Baruch College in New York, New York. She earned her Bachelor of Arts, Master of Arts and Ph.D. in theatre from CUNY. She started teaching in 1975; at Baruch in 1980 (part time); full time since 1985. "I like learning and helping others and the variety, plus the various aspects of performance. Teaching combines these interests. When I began to study theater, at the age of ten, it was as a performer; later I became interested in directing, later still, in history and criticism. I have combined the teaching of speech communication, including business and intercultural communication, with research and writing in drama and theater. "Although I do not at the moment teach specific theater courses, I do utilize my practical training in teaching performance techniques to students of communication, for interpersonal, public, and electronic communication venues. "Part of my day is spent in the classroomtwo or three days a week. This is challenging and energizing, sometimes very rewarding and fulfilling, other times frustrating. Other parts of my job are administrative, managing advisement meetings with students, interviewing new majors, coordinating student internships, attending meetings, interacting with faculty in other departments, etc. These are less public and exciting aspects of my daily grind but are equally challenging and never-ending. "What I like most about the job is my relative freedom to function independently, to change my courses and office management methods to suit the needs of students, current climates, and course content. I enjoy facilitating class discussions and managing the classroom in such a way that students become responsible for their own learning. ''What I like least is grading and the occasional problem of student misbehavior, for example dealing with someone who plagiarizes. "I would advise people who want to teach, to analyze why it is they think they want to enter this field and then decide whether they want to teach at the college and university level. continued

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continued If their choice is for this level, they must be prepared to undergo rigorous training in a discipline and to learn about teaching, doing research and publishing entirely on their own. They must begin early to network, to find mentors who are appropriate for the discipline and their career path, and to do research, write, and find publishing outlets that their peers will find suitable. "Finally, I would advise people to realize that the college and university culture is an organizational environment like any other and that they must learn the 'rules' of the culture in order to strategically communicate and flourish within it, both as classroom teachers and as productive scholars and members of the university community." MEET STEVE SCHRUM, LECTURER Steve Schrum is a lecturer at Penn State University at Hazleton, Pennsylvania. He earned his Bachelor of Arts in theater from Temple University in Philadelphia, his Master of Arts from Ohio State University in Columbus, and his A.B.D. in directing from the UC Berkeley, Berkeley, California. "In high school, I became interested in film and started doing films with Super 8 (film). When I went to college as a communications major, I wanted to become a TV/video director, but also did radio and theater along with the way. Somewhere along the line, I decided that I liked working in theater better. Part of it was working with actors over a longer period of time, rather than a quickie rehearsal before putting someone in front of a camera. Also, I preferred the live aspect of the performance, getting immediate feedback from the audience and using that to fuel the performance. As the years continue, I prefer the whole idea of collaboration with actors and designers who can take my basic ideas and flush them out to make more of them than any of us working alone could have created. "I am always busy, since teaching always requires somethingpreparation for class, upgrading my presentations (in which I use considerable multimedia), getting ready for rehearsals. And the workload varies from busy to extremely continued

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continued busy during the semester. The busiest time is tech into production, since I am generally working full time on getting the show ready while still teaching class. "A typical day starts with checking e-mail from students (I have them turn in assignments via email), preparing for class (which is a quick rehearsal of the day's events), and teaching. In the evening, I have rehearsals for the productions. On days that I don't teach, I am either doing planning for the show or working on the software for my next class presentationor doing any of the many outside projects that I juggle constantly. "Hours a week vary, but I often put in ten hours a day, five days a week on average doing workrelated thingsand that's for a part-time, underpaid lecturer. "What I like most about my work is that, first of all, I am working and am doing not only what I was trained to do but what I enjoy mostdirecting and teaching (the latter also being an opportunity for performing for me). I also have a chance to direct whatever I want, which is great, and I have a measure of freedom to develop projects that bring computers and theater together. The university provides me with the hardware and software needed to do what I like to do. The things I like the least are my part-time salary (per credit hour taught and not really a salary) and the fact that I work hard on the productions and yet many people don't bother coming to the shows. However, the things I like the most outweigh the negatives. "I would advise that candidates for this career do as much production work as you can in as many areas as you can to get as much practical experience as possible. For the academics, read as many plays as possible and try to make connections between everything. And don't let the 'semestersized lumps' (as someone once called them) of theater history be all you knowdo as much extra reading as possible to provide yourself with as extensive and comprehensive knowledge of theater as possible."

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Chapter Fourteen Path 5: Other Theater Careers The absorption of the ideas by the characters, the dramatic or comic force which the characters give to the ideas. Henry Becque Add the following careers to your arsenal of possible occupations for theater majors: drama therapist; playwright; screenwriter; radio and television announcer, broadcaster, or DJ; drama or theater critic. Definition of the Career Path Drama Therapist Drama and other creative therapists usually work closely with a consultation team of medical professionals to treat and rehabilitate people with physical, mental, and emotional disabilities. Using the creative processes inherent in drama, therapists conduct individual or group sessions to determine the underlying causes of some problems and to help patients achieve therapeutic goals. This type of therapy has proven to be effective in treating a variety of conditions including Alzheimer's, eating disorders, mental retardation, autism, and substance abuse and has also shown promise in working with the speech and hearing impaired. Possible Employers Possible employers for drama therapists might be hospitals, clinics, rehabilitation centers, children's homes, schools, and nursing homes.

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Working Conditions Most drama therapists work a forty-hour, five-day-a-week schedule with the possibility of overtime. The number of patients under a therapist's care at any one time depends on the specific employment setting. Some therapists maintain service contracts with several facilities. Many choose to be self-employed and work with patients in their own studios, building a private caseload of patients through consultation with a medical or rehabilitation team. Drama therapists spend much of their time in pleasant recreation or activity rooms in clinical or community settings. They may be required to travel to various locations, completing record-keeping tasks and meeting with other professionals to discuss the progress of a client. Training and Qualifications A master's degree and certification are usually required. This career requires paid work experience in addition to a clinical internship. Drama therapists must have artistic ability, an understanding and appreciation for theater, a good sense of humor, patience, tact, stamina, and the ability to build rapport with others. They must also adapt easily to changing circumstances, be able to handle disappointments, and display creativity, imagination, enthusiasm, and energy. Earnings Salaries and benefits vary according to educational background, experience, and geographical location. If employed full time, drama therapists usually receive health insurance, pension plans, paid holidays, and vacations. (Those who are selfemployed are responsible for providing their own benefits.) Some employers may provide tuition assistance for further study. Average salaries are listed below: Starting$20,000 to $30,000 per year With experience$25,000 to $40,000 per year Administration/management$35,000 to $50,000 per year Government (GS 7 to GS 13)$27,000 to $50,000 per year (GS 7 = bachelor's degree, GS 9 = master's, GS 11 = supervisory, GS 13 = management)

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Career Outlook Drama therapy as a career is growing very rapidly, and many new positions are created each year, though total numbers are still small. Job openings in facilities such as nursing homes should continue to gain in numbers as the elderly population grows. As a result of an increase in managed care facilities, chronic pain clinics and cancer care facilities are also beginning to hire therapists. Professional Association American Society of Group Psychotherapy and Psychodrama (ASGPP) 6728 Old McLean Drive McLean, VA 22001 Playwright Casting Notice The Search for a Playwright We are a new, energetic, working theater company based in New York City. With two shows in rehearsal for the New York Ribbon Festival, a play-reading series in the works, and the workshopping of a screenplay, we have been very busy. But more important than any of this is that we are searching for our next project! If you are a playwright and want to see your work produced in the big city, then please get in contact with us. We read every play in the hopes that it will be "the one." We are accepting scripts by mail only. Please send your submissions to: Triple Puppy Group, 345 87th Street, Suite 4B, New York, NY. We look forward to hearing from you soon! Playwrights write original plays, such as tragedies, comedies, or dramas, or adapt themes from fictional, historical, or narrative sources for dramatic presentation. Sometimes an individual writes a play and then attempts to locate a producer to finance it and put it into production. In other cases, a producer may have an idea and retain a playwright to develop the script. In order for the playwright to write a script, he or she first develops an idea for a story. The individual must then tell the story. There are many areas

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that must be considered. Will it be a comedy, mystery, thriller, or musical? Who will the characters be? What will they be like? What will the setting be? How will the story be told? What conflicts will the characters be involved in? What will the resolutions be? What will the climax of the play be? How will it end? When a playwright creates a story, it must be written in a specific form for the theater. The script must be written in dialogue. Generally, a script indicates the dialogue that a character is supposed to speak. The lines are next to or under the individual character's name. The playwright must also include settings of scenes, settings' descriptions, and movements that a particular character must make. The playwright's job is generally not completed even after the script is finished. A producer may ask the playwright to make changes at any time. On occasion, the producer may also request that the playwright be present at rehearsals so that additional changes can be made at that time. Since playwrights often work by themselves, their day-to-day existence can become quite lonely. However, most prominent playwrights feel that seeing their ideas, stories, and innermost thoughts presented for all to see is enough to keep them going through the preliminary stages of creating something new. Casting Notice Lawrence Theatre 14 Ballroom Street, Buffalo, NY. Dramaturg: Les Wilson. Produces four full-length, ten to fifteen short plays per year. Submit complete manuscript. Reports in six months. Buys first production rights. Pays 8 percent royalty plus travel and accommodations for opening. Needs: "Theatrical" work as opposed to mainstream television. Tips: Sees a trend toward women's issues.

Possible Employers As noted previously, playwrights can write a script on speculation in hopes of finding a producer to finance the show. Others are lucky enough to have a producer contact them to write a script.

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There are more opportunities in this field in culturally active cities. An aspiring playwright can look for a job as a playwright in residence at a repertory, community, or school theater. Individuals might also submit their scripts to producers who have not yet made a name for themselves, but are also trying to break into the business. Playwrights may also submit their scripts to community theaters, college theaters, and experimental theaters. These kinds of groups are often looking for new plays to present. While many who want to can write a play, not everyone can create a good play and have it successfully produced. In all, there are not a large number of available jobs writing plays. Instead, most people striving to become successful playwrights have other jobs and write in their spare time. Related Occupations Novel writer Article writer Magazine writer

Screenwriter

Working Conditions Playwrights usually spend their time writing in an office or wherever they are most comfortable creating. The career, for the most part, is a solitary one. Training and Qualifications While college will not guarantee success to a playwright, it is often useful. Colleges offering majors in theater, theater arts, scriptwriting, or acting often have programs where aspiring playwrights can have their plays worked on, further developed, and produced at the school. This offers playwrights opportunities and experiences others might not have. Seminars, courses, and workshops in all facets of writing, including scriptwriting as well as stage, theater, and acting, will be helpful in honing skills. Start getting the knowledge and experience you need by reading. Spend time on play anthologies so that you can get a feel for how characters are molded, layer by layer, word by word. Attend every show you can, whether local or Broadway production. Don't take rejection of your work personally. Keep writing. Perseverance is absolute. The more writing experience a playwright can garner, the better. Writing skills and techniques need to be polished. Playwrights should have an excellent command of the English language and an ability to write dialogue effec-

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tively. They need to be creative and exciting and have the ability to bring stories to life. These could also be in the form of short stories, novels, or articles in magazine and newspapers. Entering writing contests (particularly playwriting contests) is an excellent way of getting noticed. And often these contests offer a staged reading or full production as their prize. Playwrights must also be capable of marketing their plays. Once they are finished, it's wise to have them bound and copyrighted at the Copyright Office of the Library of Congress. You can learn more about a career as a playwright by contacting the New Dramatists. This group can offer professional and business guidance in addition to offering a number of internship programs. Earnings There are a number of ways for a playwright to earn money. Individuals can write a script and then sell it outright for an agreed-upon sum of money. They might also accept what is known as an option payment on a script. An option gives a producer the rights to the script for a specific period of time. During this period, the producer attempts to locate financing. If financing is obtained, the producer negotiates for the rights to use the script. Each time the script is performed, the playwright will then receive a royalty. This is similar to the way songwriters are paid for tunes they have written. Some playwrights have never earned a penny for their work, and others have earned millions over a period of many years. Career Outlook Only a small percentage of playwrights are able to sustain themselves full time in this career. However, there are a number of people who are able to get their plays produced by smaller community theaters and are waiting for reviews to build them a solid enough reputation to take them to writing off-Broadway plays and then to Broadway plays. The competition in this area is fierce, as it is for theater in general. Professional Associations New Dramatists 424 W. 44th Street New York, NY 10003

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Screenwriter A screenwriter creates scripts designed for entertainment, education, training, and sales. Themes may be chosen by the screenwriters themselves (more common in television) or may emanate from a theme assigned by a producer or director (more common in films). Every show or movie you see is written by someone in the form of a script. There are screenwriting courses, both in college and in other educational facilities, that will help you learn the craft of writing for television or film. There are also a number of books that will help guide you in the "rules" of format and structure in writing for television or film. Samuel French at 7623 Sunset Blvd., Hollywood, CA 90046 (213-876-0570) offers several how-to books and reference items pertaining to this topic. Screenwriting is an art, a craft, and a business. Possible Employers If you already have a script written, you might want to send it to an agent. Before doing so, you would need to compose a cover letter telling him or her that you are interested in writing for television and would like representation. Indicate that you are enclosing a sample script. If the agent is interested in you, he or she will try to secure writing positions for you on various shows. To deal with television and motion picture people, you usually need to have an agent first. Sometimes writers write alonesometimes they collaborate with one or more fellow writers. Working Conditions Freelance writers can choose when and where to write. However, if you are lucky enough to find work and do not reside in Hollywood or New York City, you may need to travel before and after the production. Relocation is even a possibility. Because there are also long periods of inactivity while trying to get projects chosen by studio executives or directors, most screenwriters have a second job in order to meet the cost of living. Training and Qualifications There are no set educational requirements for screenwriters. A college degree is desirable, especially one in theater or liberal arts which exposes the students

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to a wide range of subjects. Screenwriters must be able to create believable characters and build a story. They must possess a range of technical skills such as writing dialogue, creating plots, and doing research. Word processing and computer skills are also necessary. Screenwriters must be persistent, patient, imaginative, creative, and skilled in negotiation techniques. They must also have the ability to tell a good story and possess expertise in verbal and written communications. Earnings Earnings for screenwriters depend on contract negotiations. Some writers receive a percentage of box office receipts. Here are some average figures for those in the field: Beginner screenplay writer with treatment$54,000 Established screenplay writer$600,000 Two-hour television movie script$47,000 Staff writer (for guaranteed number of weeks)$4,860 per week Career Outlook There is intense competition in the television and motion picture industries. As cable television expands, new opportunities may emerge. Television networks continue to need new episodes for long-running series. Demand should increase slightly in the next decade, but the number of screenwriters is growing at a faster rate. Writers will also find opportunities with advertising agencies, educational training, and training video production houses. Radio and Television Announcers, Broadcasters, and DJs Radio and television audiences enjoy getting to know radio and television announcers. Often called disc jockeys, since they may select and play recorded music, radio announcers often discuss local and world issues in a ''talk" show forum; interview guests; and present news, weather, commercials, and sports. In some cases, they may research, write their own scripts, compose news stories, and create commercial copy. Where written copy is not used, "ad-libbing" is widely implemented. They may also be called upon to operate the control board and sell commercial time to advertisers. Announcers must demonstrate split-second timing, and they often work irregular hourstwo factors that may cause stress. However, most announcers

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feel that becoming known by the public and performing interesting, creative work makes it all worthwhile. Possible Job Titles News announcer Broadcaster Commentator

Radio announcer

DJ

Television announcer

Related Occupations A solid background in public speaking is the common thread that ties all of these careers together. Other positions that require these skills include salespeople, teachers, actors, voice-over specialists, public speakers, interpreters, and public relations specialists. Training and Qualifications Students can begin to prepare for this type of work by spending time in campus radio or TV facilities and at commercial stations. Some regular or cable stations offer internships, co-op work programs, apprentice programs, or scholarships. All of these are excellent and valued avenues to pursue. Excellent experience can also be acquired in part-time and/or summer jobs in the field, and through public speaking or debate. You will need to have a voice that is well perceived by listeners. Taped auditions are usually required by employers to determine how well an individual performs, particularly in front of the camera. You can expect to begin your career in an entry-level position, such as production assistant, secretary, researcher, or field reporter. Those who show promise may be elevated to an on-air opportunity, but this is not likely to happen too quickly. Announcers generally begin their careers on small stations in small cities, moving to larger stations and perhaps larger cities as they gain experience. Those entering this field should realize that relocation may be crucial to career advancement.

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Announcers at smaller radio stations often operate transmitters, so a Federal Combinations Commission (FCC) restricted radio telephone operator permit may be required. Earnings There is a wide range of salaries in this field. In general, television pays better than radio, commercial broadcasting pays more than noncommercial, and larger stations pay more than smaller ones (two to three times more, in the case of television). A survey conducted by the National Association of Broadcasters and the Broadcast Cable Financial Management Association revealed a median salary of $17,000 per year for experienced radio announcers, $17,700 for news announcers. Career Outlook The number of people employed as announcers is expected to increase at the average level through the year 2005. This is due, in part, to the continued expansion of cable television systems. Competition, however, will be keen. Chances for employment, especially for those new to the field, are better at smaller stations, where the pay is lower. Drama or Theater Critic Critics, in general, can seriously affect whether a play or other comedy or dramatic event will meet with real successfinancial and otherwise. Drama critics are assigned the responsibility of viewing plays and writing their opinions of the performances. Training and Qualifications Newspapers, magazines, Web sites and other forms of communication may employ drama critics. To begin, contact a local publication and ask them if you can review a dramatic event (even if you won't get paid for it). You need to begin to build "clips" (published articles). This is the way you may be able to work your way up to paid assignments, larger newspapers or magazines, or other types of publications.

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Don't expect this to be a nine-to-five job. Drama critics may work evening and weekend hours and be faced with difficult deadlines. Earnings Though earnings will vary according to the location of the job, the following represent average salaries: Local newspaper, writing reviews$15,000 minimum per year Local newspaper, with experience$20,000 to $25,000 per year Major publication$17,500 to $100,000 per year Career Outlook It is fairly easy to do this kind of work on a part-time basis and difficult to find positions on a full-time basis. Other Careers In Theater If none of the careers described in the book appealed to you, other possibilities that theater majors might consider are singer, dancer, choreographer, stunt performer, model, mime, magician, or puppeteer. Whatever you decidegood luck!

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APPENDIX A COURSE DESCRIPTIONS The following is a description of many of the courses included in the Theatre program at the University of Illinois, Urbana-Champaign. 100. Practicum, I Practical work in acting and theatre management, and the design, construction, and handling of scenery, lighting, sound, properties, costumes, and makeup for public performance. Forty hours of production activity to be arranged for each credit hour. Prerequisite: Consent of instructor for non-theatre majors. 1 to 3 hours. May be repeated to a maximum of 12 hours. 109. Dramatic Analysis Introduction to the study of plays for theatre practitioners employing analytical methods and plays from modern theatre. Requires paper of project assignments for each play. Prerequisite: Consent of instructor for non-theatre majors. 3 hours. 110. Literature of the Modern Theatre Introduction to the principal modes of dramatic expression from about 1870 to the present day. Prerequisite: Completion of campus Composition I general education requirement and Theatre 109 or consent of instructor. 3 hours.

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120. Basic Theatre Practice Scenecraft Introduction to stage scenecraft techniques: basic carpentry, rigging, scene painting, and technical drawing. Practical experience on related productions required. Prerequisite: For non-theatre majors, consent of instructor. 3 hours 121. Basic Theatre Practice Costume Technology Introduction to stage costume design and technology approach to design, basic costume skills, and craft techniques. Practical experience on related productions required. Prerequisite: For non-theatre majors, consent of instructor. 2 hours. 122. Basic Theatre Lighting Technology Introduction to stage lighting design and practice approach to lighting design, basic lighting technology, light plots, and instrument schedules. Practical experience on related productions required. Prerequisite: For non-theatre majors, consent of instructor. 2 hours. 123. Basic Theatre Practice Makeup Introduction to stage makeup techniques: basic makeup painting, practice in corrective aging, and character makeup and introduction to creating facial hair and wigs. Practical experience on related productions required. Prerequisite: For nontheatre majors. consent of instructor. 2 hours. 125. Graphic Skills Introduction to drawing, drafting, and model building for the theatre. Drawing and drafting supplies are required. Prerequisite: For non-theatre majors, consent of instructor. 3 hours 170. Fundamentals of Acting Same as Speech Communication 161. Study of the methods of acting, with emphasis on basic acting techniques: role of character in relation to play as a whole, the internal and emotional values of the play, and their interpretation by means of voice and action. 3 hours. 175. Improvisation in Acting Exploration and communication of experience through speech and action on the stage. Prerequisite: Theatre 170. 3 hours.

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176. Relationships in Acting Behavior in stage performance explored on the basis of the actor's relationship with self, with objects, and with other players; emphasizes analysis of playscript to discover action, environment, and relationships. Prerequisite: Theatre 175 or consent of instructor. 3 hours. 177. Acting: The Author, the Play, and the Role Beginning scne work with special emphasis on analysis of plays, roles, characterization, and application of skills learned through improvisation and relationships in acting. Prerequisite: Theatre 176. 3 hours. 178. Introduction to Theatre Arts Same as Speech Communication 178. Introduction to models of theatre production, including approaches to playwriting, acting, design, directing, theatre history, minority theatre, plays by women, and the integration of these elements in theatrical production. Lectures, discussions, and attendance at three Illinois Repertory Theatre productions are required. 3 hours. 179. Acting Voice Fundamentals of voice and speech production. Deals with the fundamental elements involved in vocal production and good clear speech. Through exercise, the vocal and speech mechanisms are developed and applied to the delivery of text. Prerequisite: For non-theatre majors, consent of instructor. 2 hours. 181. Group Oral Interpretation of Literature Same as Seech Communication 142. See Speech Communication 142. 182. Acting Movement Basic physical training for expressive body awareness and dynamics. Prerequisite: Theatre 175 or consent of instructor. 2 hours. 210. Stage Electronics A laboratory course to familiarize the beginning theatre student with current wiring practices and control techniques related to theatrical electronic control systems. 3 hours.

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223. Stage Mechanics, I Studies traditional materials, techniques, and processes used in executing scenery for the theatre. Prerequisite: Theatre 120 or consent of instructor. 4 hours. 224. Stage Mechanics, II Examines newly accepted and developing techniques, processes, and materials used in construction and rigging stage scenery. Prerequisite: Theatre 223. 4 hours. 225. Scene Design, I Projects and lectures addressing basic technical and aesthetic skills of scene design. 3 hours. 227. Senior Projects in Design, I Professional studio and independent projects for student designers specializing in stage scenery, lighting, or costume design. Prerequisite: Consent of instructor. 6 hours 228. Senior Projects in Design, II Continuation of Theatre 227. Prerequisite: Theatre 227. 6 hours. 230. Technical Direction Studies in theatre production organization and technical direction. 3 hours. 231. Introduction to Stage Lighting A studio course analyzing current lighting practices and equipment by means of production-oriented assignments. 3 hours. 232. Advanced Lighting Design Lighting design for the proscenium arena and thrust stage. Prerequisite: Theatre 231 or consent of instructor. 3 hours. 233. Stage Drafting Drafting for scenery construction and rigging. Prerequisite: Theatre 125. 4 hours.

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242. Introduction to Costuming Introduction and practice of basic fabrication sewing, craft, dyeing, and patterning skills required to construct and accessorize period theatrical costumes. 3 hours. 253. Acting Studio, I Acting in twentieth-century plays. Concentrated training in American dialects and development of movement skills and mask characterization. A performance is given at the end of the semester. 1 to 8 hours. Students must register for all sections to receive credit. 254. Acting Studio, II Development of the actor's skills for music theatre through the study of dance for actors, movement for the stage, body alignment and awareness. Continued vocal training, emphasizing singing, and analysis and performance of British and American musical materials. A performance is given at the end of the semester. Prerequisite: Theatre 253. 1 to 8 hours. Students must register for all sections to receive credit. 255. Acting Studio, III Major emphasis on acting in Shakespearean and other Elizabethan drama: training in stage combat, sword, and rapier; concentration on speech for Shakespeare and the classical stage. A performance is given at the end of the semester. Prerequisite: Theatre 254. 1 to 8 hours. Students must register for all sections to receive credit. 256. Acting Studio, IV Study of the techniques of acting for the camera: scenes are recorded on audiovisual tape; special topics include speech for the microphone and unarmed combat for the stage. A performance is given at the end of the semester. Prerequisite: Theatre 255. 1 to 8 hours. Students must register for all sections to receive credit. 263. Theatre of the Black Experience Surveys the Black Theatre Movement's history and literature and studies dramatic works focused on the black experience through the rehearsal and performance of representative works of black dramatists. 3 hours. May be repeated to a maximum of 9 hours.

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281. Directing Script Preparation Same as Speech Communication 255. Methods of script analysis and the development of production concepts; explorative projects culminating in the readying of a script for rehearsal. Prerequisite: Theatre 170 or consent of instructor. 3 hours. 291. Individual Topics Individual projects and problems. Prerequisite: Consent of instructor. 2 hours. 300. Practicum, II Advanced practical work in acting and theatre management: the design, construction, and handling of scenery, lighting, sound, properties, costumes, and makeup for public performance. Prerequisite: For non-theatre majors, consent of instructor. 1 to 3 hours or 1/4 or 1/2 unit. May be repeated to a total of 12 hours or 2 units. 310. Theatre Planning and Programming Studies recent theatre architecture and theatre renovations, examining the programming process, the stage forms, the merits of various stage technological systems, and the related business, audience, and production facilities of a theatre center. 3 hours or 1 unit. 312. Theatre Dance Same as Dance 312. See Dance 312. 322. Scene Design for Nonmajors Lectures and projects investigating aesthetic and mechanical problems of designing scenery for the stage; no prior experience required. Prerequisite: Consent of instructor. 3 hours or 1 unit. 323. Stage Mechanics, III Study in advanced scenery methods and materials, including advanced woodworking, plastic-craft, and rigging. Prerequisite: Theatre 223 and 224, or consent of instructor. 4 hours or 1 unit. 324. Stage Mechanics, IV Advanced study in the design and construction of moving scenic elements. Prerequisite: Theatre 323 or consent of instructor. 2 hours or 1/2 unit.

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325. Advanced Scene Design, I Advanced problems in scenic design for non-proscenium theaters (Section A) and television, film, and industrial design (Section B). Prerequisite: Theatre 226 or consent of instructor. 4 hours. May be repeated to a maximum of 8 hours; cannot repeat a section already taken. 326. Advanced Design, II Advanced problems in scenic design for period and style plays (Section A) and development of professional portfolio (Section B). Prerequisite: Theatre 325 or consent of instructor. 4 hours. May be repeated to a maximum of 8 hours; cannot repeat a section already taken. 330. Theatre Sound Technology An exploration of audio production techniques and equipment, as related to theatre sound. Related topics include acoustics, electronics, and music. Prerequisite: Junior standing or M.F.A. design major, or consent of instructor. 3 hours or 3/4 unit. 331. Sound Design An introduction to sound reproduction, recording, and basic systems design as applied to the modern theatre. Prerequisite: Theatre 330. 3 hours or 3/4 unit. 332. Stage Management Studies the principles and the craft of production stage management. Prerequisite: Sophomore standing in a theatre curriculum or consent of instructor. 4 hours or 1 unit. 334. Video Lighting and Production Study and practical application of basic television techniques with primary emphasis on lighting. Trips will be made to local television stations as well as to major studios in Chicago to meet with lighting directors. Cost of field trips will be paid by student. Prerequisite: Theatre 231 and 232. 3 hours or 3/4 unit. 335. Lighting for the Musical Stage Emphasis on lighting for musicals, opera, and music concerts. Field trips will be made to area productions. Cost of field trips will be paid by student. Prerequisite: Theatre 231 and 232, or equivalent. 3 hours or 1 unit.

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336. History of Decor Comparative survey of forms, motifs, and design from the Egyptian to the contemporary. Emphasis is on the relation between design for the stage and the cross-disciplinary influences in period form. The process of research for stage design is included. Prerequisite: Theatre 225 or consent of instructor. 3 hours or 1 unit. 337. Scene Painting Techniques Techniques and practice of scene painting; labtime required. Prerequisite: Consent of instructor. 2 hours or 1/2 unit. 338. Rendering Techniques for the Stage Perspective techniques for the stage, model building, developing the perspective sketch. Prerequisite: Consent of instructor. 2 hours or 1/2 unit. 339. Property Management and Design Principles of stage property design, planning, and management. Prerequisite: Theatre 120 or consent of instructor. 2 hours or 1/2 unit. 340. Lighting Design for Dance Survey of conceptual technique and practice of dance lighting; also nontraditional lighting problems including disco, rock, cabaret, and industrial shows. Prerequisite: Theatre 231 or 232, or equivalent. 4 hours or 1 unit. 341. Sketching for Lighting Design Development of sketching skills and techniques used to present and communicate lighting concepts in relation to stage productions. Emphasis placed upon quick sketches using pencils, colored pencils or charcoal, watercolors or pastels. Prerequisite: Theatre 231, 232, or consent of instructor. 3 hours or 1 unit. 342. Costume Patterning Methods of draping and drafting patterns for period theatrical costumes. 3 hours or 1 unit. 343. Costume Draping Development of patterns for theatrical costumes through advance draping techniques. Extensive lab work culminating in draping and constructing six

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complete period costumes. Attendance at ten professional fittings at the Krannert Center for the Performing Arts Costume Shop is required. Prerequisite: Theatre 342. 4 hours or 1 unit. 345. Costume History for the Stage, I Surveys theatrical costumes and fashion of major periods; emphasizes relationships to styles of art and dramaturgy, social milieu, and productive design. Prerequisite: Consent of instructor. 4 hours or 1 unit. 346. Costume History for the Stage, II Continuation of Theatre 345. Prerequisite: Theatre 345 or equivalent. 4 hours or 1 unit. 347. Costume Rendering Student course in costume rendering techniques; analysis of costume figure rendering of fabrics, exploration of various rendering media. Prerequisite: Consent of instructor. 3 hours or 1 unit. 348. Costume Fabrication Explores, through design projects, the appropriateness of various fabrics for specific costumes determined by historical accuracy, style, and constructabillity. Prerequisite: Theatre 345, 346, or consent of instructor. 4 hours or 1 unit. 350. Non-Western Theatre Production Focuses on the history and aesthetics of African Americans, Asian Americans, Latinos, and Native Americans through the study of plays/productions. Students will become familiar with over thirty major works. Numerous videos, including documentaries, actual productions, and interviews will also be utilized. Prerequisite: Introduction to Theatre or equivalent, or consent of instructor. 4 hours or 1 unit. 351. History of Theatre in Western Society, I Examines the role of theatre in western culture as a reflection of economic, political, and social forces from its prehistoric origins through the Renaissance. Prerequisite: One year of college dramatic literature and junior standing, or consent of instructor. 3 hours or 1 unit.

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352. History of Theatre in Western Society, II Examines the role of theatre in western culture as a reflection of economic, political, and social forces from the late Renaissance to the present. Prerequisite: One year of college dramatic literature and junior standing, or consent of instructor. 3 hours, or 1 unit. 353. Creative Dramatics for Children Study of the subject matter and techniques of creative dramatics for children with laboratory application. Prerequisite: Consent of instructor. 3 hours, or 1/2 or 1 unit. 354. Theatre for the Child Audience Study of the history, objectives, and techniques of play production for the child audience; laboratory application. 3 hours, or 1/2 or 1 unit. 355. History of the American Musical Theatre, I History of the American musical from its earliest forms including ballad opera, extravaganza, minstrelsy, and operetta, to the development of the modern musical of the early twentieth century. Prerequisite: Junior standing or consent of instructor. 4 hours or 1 unit. 356. History of the American Musical Theatre, II History of the American musical in the twentieth century, studied through the contribution of the major composers, lyricists, and director/choreographers. Prerequisite: Theatre 355 or consent of instructor. 4 hours or 1 unit.

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APPENDIX B ADDITIONAL RESOURCES The Best Towns in America Houghton Mifflin Co. 222 Berkeley Street Boston, MA 02166 Career Information Center MacMillan Publishing Group 866 Third Avenue New York, NY 10022 Careers Encyclopedia VGM Career Horizons NTC/Contemporary Publishing Group 4255 West Touhy Avenue Lincolnwood, IL 60646 Dictionary of Occupational Titles U.S. Department of Labor Employment and Training Administration Distributed by Associated Book Publishers, Inc. P.O. Box 5657 Scottsdale, AZ 86261 Directory of Directories Gale Research Inc. P.O. Box 33477 Detroit, MI 48232

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Effective Answers to Interview Questions (video) JIST Works, Inc. 720 North Park Avenue Indianapolis, IN 46202 The Handbook of Private Schools Porter Sargent Publishers, Inc. 11 Beacon Street, Suite 1400 Boston, MA 02108 How to Write a Winning Personal Statement for Graduate and Professional School Peterson's P.O. Box 2123 Princeton, NJ 08543 Index of Majors and Graduate Degrees College Board Publications P.O. Box 886 New York, NY 10101 National Center for Education Statistics America's Teachers: Profile of a Profession U.S. Department of Education Office of Educational Research and Improvement Washington, DC 20208 National Directory of Internships National Society for Internships and Experiential Education 3509 Haworth Drive, Suite 207 Raleigh, NC 27609 National Teacher Exam Educational Testing Service P.O. Box 6051 Princeton, NJ 08541 Occupational Outlook Handbook Occupational Outlook Quarterly U.S. Department of Labor Bureau of Labor Statistics Washington, DC 20212

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Peterson's Guide to Four-Year Colleges Peterson's Guide to Independent Secondary Schools Peterson's Guide to Two-Year Colleges Peterson's Guide to Graduate Study Peterson's Guides P.O. Box 2123 Princeton, NJ 08543 What Can I Do With a Major In... ? Abbott Press P.O. Box 433 Ridgefield, NJ 07657 Where the Jobs Are: A Comprehensive Directory of 1,200 Journals Listing Career Opportunities Garrett Park Press P.O. Box 190 Garrett Park, MD 20896

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INDEX A ABI/INFORM on Disc (CD-ROM), 54 Accomplishments on resume, 35 Activities section of resume, 37 Actors' Equity Association (AEA), 124, 125, 128 Aftra, 125 Agent, 175-76 Alliance of Canadian Cinema, Television and Radio Artists, 128 Alliance of Resident Theaters/New York, 128 Alumni, 66-67, 100-101 American Alliance for Theatre and Education, 128, 190, 192 American Federation of Teachers, 190, 192 American Federation of Television and Radio Artists (AFTRA), 124-125, 128 American Film Institute, 128 American Guild of Variery Artists (AVA), 128 American Society of Group Psychotherapy and Psychodrama (ASGPP), 208 American Theater Association (ATA), 129 American Theatre Works, Inc., 129, 149, 192 America's Corporate Families, 53 America's Teachers: Profile of a Profession, 228 Appearance, 79-80 Apprenticeship, 179 Aquino, Jennifer, 129-31 ARTSearch, 56 Assessment tools and tests, 78 file:///D|/Gigapedia/Theatre/8831__9780844247434__9780071397223__084424743X/files/page_230.html（第 1／2 页）2010-10-31 8:07:46

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Association for Communication Administration, 149 Association for School, College, and University, Staffing, Inc, 13 Association for Theatre in Higher Education, 190, 192 Association of Theatrical Press Agents and Managers, 179, 181 Associations, 68, 128-29, 149-50, 181, 192-93, 208, 211 Auditioning, 127-28, 174-75 B Bazzoni, Jana O'Keefe, 203-4 Behind the scenes, 139-172 career outlook, 149 case studies, 150-72 earnings, 147-48 employers, 145 job-finding strategy, 149 job titles, 140-44

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professional associations, 149-50 related occupations, 145 training and qualifications, 146-47 working conditions, 145-46 The Best Towns in America, 12, 227 Bookstore resources, 60 Box office manager, 176 Breakdown Services, 175 Broadcast Education Association, 150 Broadcast letter, 38-39 Broadcast technician, 144 Broadcaster, 213-15 Budget planning, 10-12 Business of theater, 173-86 career outlook, 180 career path, 173 case studies, 181-86 earnings, 179-80 job titles, 174-77 Business resources for networking, 58-59 C Canadian Actors Equity Association, 129 Capabilities section of resume, 37 The Career Guide: Dun's Employment Opportunities Directory, 53 Career Information Center, 50, 227 Career library resources, 60-62 Career research, 45-62

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Career self-management, 15 Career-specific directory, 54-55 Careers Encyclopedia, 50, 227 Carpenter and scenic artist, 143 Case studies in behind the scenes, 150-72 in performing, 129-38 in teaching, 193-205 in theater business, 181-86 Casting director, 174-75 The Casting Director's Directory, 181 College and University Personnel Association, 191 College curricula, 120-23, 217-26 College Placement Council Annual: A Guide to Employment Opportunities for College Graduates, 56 College Planning Quarterly, 191 College to Career: The Guide to job Opportunities, 50 Community Jobs, 56 Companies That Care, 54 Company manager, 176 Computerized job search service, 61 Cost-of-living index, 12 Costume designer, 142 Course descriptions, 217-26 Cover letter, 40-44 format, 41 guidelines, 42-44 as self-promotion tool, 70-71 Current Jobs for Graduates, 56 D file:///D|/Gigapedia/Theatre/8831__9780844247434__9780071397223__084424743X/files/page_231.html（第 2／3 页）2010-10-31 8:07:47

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Davis, Rick, 193-96 Diary, experiential, 16 Dictionary of Occupational Titles, 48, 50, 227 Director, 140-41 Directory, 54-57 career specific, 54-55 employer, 53-54 geographically based, 54 periodical and newspaper, 55-56 targeted job posting, 56-57 Directory of Directories, 227 Disc jockey (DJ), 213-15 Drama or theater critic, 215-16 Drama therapist, 206-8 E Earnings behind-the-scenes positions, 147-48 broadcasting, 215 drama or theater critic, 216 drama therapist, 207 performing, 124-26 playwright, 211 screenwriters, 213

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teaching, 191 theater business, 179-80 Economic needs, 4, 10-14 Education section of resume, 27, 35, 39 Electrician, 144 Employer directory, 53-54 finding, 52-62 information in interviewing process, 80 information resources, 52-62 networking with, 67-68 Employment agency, 59-60 Environmental Opportunities, 56 Equal Employment Opportunity Bimonthly, 12 Executive recruitment firm. See Employment agency Expenses worksheet, 10-11 Experience section of resume, 27-30, 35, 37 Experiential diary, 16-17, 78 F Federal Career Opportunities, 55 The Federal Jobs Digest, 55 Financial aid, 106 Follow-up, 86-90 on employment interview, 87-88 feedback from, 89-90 on graduate school applications, 106 on network contact, 88-89

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Foundation Grants to Individuals, 106 Functional resume, 33-35 G General manager, 176 General objective statement, 25-26 Goals, 4, 14-15 Graduate school, 96-107 acceptance/rejection, 106-7 application process, 103-6 choosing progam, 101-6 need for, 99-100 Guido, Donald W., 199-202 H Hairstylist and makeup artist, 142 Handbook for Business and Management Careers, VGM's, 50 The Handbook of Private Schools, 228 Heading of resume, 23 Hidden job market, 64 House manager, 176 How to Write a Winning Personal Statement for Graduate and Professional School, 106, 228 I Index of Majors and Graduate Degrees, 102, 228 Industry-focused objective, 26 Infomercial, 70-71 Information resources, 52-62 Infotrac CD-ROM Business Index, 54 Interest inventory, 47-48 International Theatrical Agencies Association (ITAA), 181

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Internship, 175, 181 Interviewing, 20, 76-85 content, 81-85 preparation, 77-80 J Job Bank series, 54 Job description, 50 Job Hotlines USA, 56 The Job Hunter, 56 Job offer, 91-95 comparing with others, 94-95 negotiating, 92-94 reneging on, 95 Job opening resources, 17 Job posting publication, 56-57 Job Seekers Guide to Private and Public Companies, 53 Job title, 46-51 directory, 47-49 Journal for self-assessment, 3, 19 K Keller, Wayne, 183-85

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Laporte, Jennifer, 185-86 League of American Theaters and Producers, 181 Library resources, 58 Lighting designer, 143 Lonergan, Michael, 166-67 Longer-term goals, 4, 14-15 M Matheson, Mike, 134-38 Million Dollar Directory: America's Leading Public and Private Companies, 53 Mitchell, Twyla, 164-66 Moody's, 53 Murphy, Gary, 181-83 N National Arts Jobbank, 129 National Ad Search, 55 National Association of Broadcasters Employment Clearinghouse, 150 National Association of Colleges and Employers, 191 National Association of Dramatic and Speech Arts, 192 National Association of Schools of Theater, 129, 150, 192 National Business Employment Weekly, 55 National Cable Television Association, 150 National Directory of lnternships, 228 National Education Association of the United States, 190, 192 National Job Bank, 54 National Teacher Exam, 228 Needs, 14 Negotiation of job offer, 92-94 file:///D|/Gigapedia/Theatre/8831__9780844247434__9780071397223__084424743X/files/page_233.html（第 1／3 页）2010-10-31 8:07:48

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Network Contact Record, 69-70 Networking, 51, 63-75 beginning process, 71-75 inactivating, 75 questions, 73-74 record-keeping system, 68-70 New Dramatists, 211 Newspaper resource, 55-56 O Objective of resume, 23-25, 37 Occupational Outlook Handbook, 48, 50, 100, 125, 228 Occupational Outlook Quarterly, 228 Occupational Projections and Training Data, 48 The 100 Best Companies to Sell For, 54 The 100 Best Companies to Work for in America, 54 Opportunities in ... (VGM), 55 Opportunities in Nonprofit Organizations, 53 Outplacement firm, 60 P Palmer, David, 170-72 Parichy, Dennis, 158-63 Performing, 113-38 career outlook, 126 earnings, 124-26 employers, 117 job titles, 116 professional associations, 128-29 related occupations, 117-18

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strategy for finding job, 127-28 training and qualifications, 119-24 working conditions, 118-19 Periodical resources, 55-56 Personal traits, 3-8 inventory of, 6-7 Personal values, 4, 8-14 Peterson's Grants for Graduate Students, 106 Peterson's Guides to Graduate Study, 102 Peterson's Guides, 102, 106, 229 Placement firm. See Employment agency Places Rated Almanac, 12 Playwright, 208-11 associations, 211 earnings, 211 employers, 209-10

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related occupations, 210 training and qualifications, 210-11 Portfolio, 71 Position-focused objective, 26 Preferred skills, 18-19 Pre-read session, 175 Presswood, Randall, 150-55 Principles. See Values Producer, 174 Producer's session, 175 Professional affiliation, 32 Professional associations, 128-29, 149-50, 181, 192-93, 208, 211 networking with, 68 Professional Career Series (VGM), 54-55 Professional's Job Finder/Government Job Finder/Non-Profits Job Finder, 53 Property designer, 143 Public speaking, 214 Publicity, 177 Q Quinlan, Sheila, 156-58 R Radio and television announcer, 213-15 Reference books, 48-49 Reference section on resume, 35 Rehearsal, 114-15, 141 Relocation, 93 Researching for careers, 45-62 in networking process, 65 file:///D|/Gigapedia/Theatre/8831__9780844247434__9780071397223__084424743X/files/page_234.html（第 1／3 页）2010-10-31 8:07:49

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Resume, 22-40, 70-71, 78-79 action verbs inventory, 28-29 activity section, 32-33 accomplishments, 35 broadcast letter, 38-39 chronological, 23-33 functional, 33-35 problem solutions, 30-31 production of, 40 questions about, 31-33 references, 33 targeted, 36-37 Rigger, 144 S Salary, 4, 12 See also Earnings Schexnayder, Gonzo, 132-34 Schrum, Steve, 204-5 Screen Actors Guild (SAG), 124-125, 129 Screen Extras Guild (SEG), 124 Screenwriter, 212-13 Self-assessment, 2-21 in interviewing process, 77-78 in networking process, 65 when considering graduate school, 100-101 Self-promotion tools, 70-71 Set designer, 142 Shadowing, 51, 66 Simpson, Mark T., 167-69 file:///D|/Gigapedia/Theatre/8831__9780844247434__9780071397223__084424743X/files/page_234.html（第 2／3 页）2010-10-31 8:07:49

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Skill assessment, 5 Skill base, 5, 15-18 general vs. specific, 16-17 Skill worksheet, 16-17 Smith, Harris D., 196-99 Social & Behavioral Sciences Jobs Handbook, 55 Society of Stage Directors and Choreographers, 147 Sound designer, 143 Special effects specialist, 144 Stage director, 140-41 Stage manager, 141 Standard and Poor's Register of Corporations, 53 Summary of qualifications, 26 T Targeted resume, 35-37 Teaching, 187-205 career outlook, 191 career path, 187-86 case studies, 193-205 certification and unions, 190 earnings, 191 employers, 188-89 job-finding strategy, 191-92 job titles, 188

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related occupations, 189 training and qualifications, 189-90 working conditions, 189 Technical director, 141 Thank-you note, 87, 89 Theater teaching, 187-205 See also Teaching Theatre Communications Group (TCG), 129, 193 Theatre Education Association, 190, 193 Theatrical press agent, 177 Tone word, 71 Touring production manager, 176 Trade newspaper, 127 U Underdeveloped skills, 5, 19-20, 83-84 U.S. Department of Labor, Bureau of Labor Statistics, 48 U.S. Institute for Theater Design and Technology, 150 V Values, 4, 8-14 inventory, 8-9 VGM's Handbook for Business and Management Careers, 50 Video career resources, 57, 228 W Wall Street Journal, 55 Want ad, 49 Wardrobe supervisor, 144 What Can I Do With a Major In ...?, 229 file:///D|/Gigapedia/Theatre/8831__9780844247434__9780071397223__084424743X/files/page_235.html（第 1／2 页）2010-10-31 8:07:49

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Where the Jobs Are. A Comprehensive Directory of 1,200 Journals Listing Career Opportunities, 55, 229 Work setting, 50-51 Working conditions, 4, 8, 145-46, 178, 207, 210 World Chamber of Commerce Directory, 56 Y Y National Vacancy List, 56

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ABOUT THE AUTHOR Jan Goldberg's love for the printed page began well before her second birthday. Regular visits to the book bindery where her grandfather worked produced a magic combination of sights and smells that she carries with her to this day. Childhood was filled with composing poems and stories, reading books, and playing library. Elementary and high school included an assortment of contributions to school newspapers. While a full-time college student, Goldberg wrote extensively as part of her job responsibilities in the College of Business Administration at Roosevelt University in Chicago. After receiving a degree in elementary education, she was able to extend her love of reading and writing to her students. Goldberg has written extensively in the occupations area for General Learning Corporation's Career World Magazine, as well as for the many, career publications produced by CASS Communications. She has also contributed to a number of projects for educational publishers, including Scott Foresman, Addison-Wesley, and Camp Fire Boys and Girls. As a feature writer, Goldberg's work has appeared in Parenting Magazine, Today's Chicago Woman, Opportunity Magazine, Chicago Parent, Correspondent, Successful Student, Complete Woman, North Shore Magazine, and the Pioneer Press newspapers. In addition to Great Jobs for Theater Majors, she is the author of On the Job: Real People Working in Communications, Great Jobs for Music Majors, Great Jobs for Computer Science Majors, Careers for Courageous People, Careers in Journalism, Opportunities in Research and Development Careers, On the Job: Real People Working in Science, and Opportunities in Horticulture Careers, all published by VGM Career Horizons, an imprint of NTC/Contemporary Publishing Group.

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