13 Getting Work

Generally, past students have wanted to focus a lot of our time in class on how to get work when they graduate. This makes sense, but again just a reminder that working in the current structure doesn’t mean it has to be the structure you want to keep. So, although most of this chapter is compiled from folks’ experience in that model, it is changing.

Obviously getting work implies that you have the training and skills to be ready to do the work, so the focus of this chapter is about how you book the gigs that your training has prepared you to undertake.

More specifics for each focus area are listed with each track, but below are some general bits of advice on both what to do and qualities you need to cultivate. These were pulled from  from interviews, surveys, and experience.

WHAT TO DO

• • Keep getting your name out there and stay on people’s radar
  • Make your own work, apply for grants and learn how to write grants; doing the thing and getting people to see it is more effective than talking about your work
  • Invite people to your work, even while you’re still in school, not just Artistic Directors or Directors but playwrights who might then use you in the workshop of their next play
  • Go out and meet people; go to opening nights, artist/community events
  • Get into festivals
  • Continue to work with those you click with as collaborators
  • Volunteer, get into theatres, see things, introduce yourself, send those e-mails
  • Find out as much as you can about what is going to happen in the room so you can be prepared

• • Be bold, tenacious, confident; pitch yourself for things you may not yet be qualified for
  • Move around in an organization and say yes to opportunities to join committees, boards…
  • Show interest in theatre, see theatre even if you want to work on the administrative side of theatre

• • Reach out for help and build a colleague network or get mentors
  • See shows and if you like them stay after to talk to the artists about how they did it
  • Get on mailing lists
  • Understand not just the job but the organization

• • Demonstrate range (put volunteer work on your resume even if not theatre related)
  • Your cover letter needs to stand out, do the research, tell a story that demonstrates your interest in the job but also your writing capacity through accuracy and comprehension
  • Be interested, invested and curious about the world – the real world.

• • Be imaginative in getting yourself out there, not just relying on submitting for generals and waiting for the call
  • Reach out and ask those hiring what they are looking for
  • Connect and make a relationship

• • Bring energy
  • Keep training and learning; a lot of professional organizations offer workshops and seminars and webinars

• • Get used to hearing no without giving up
  • Keep applying/submitting; don’t leave things to chance and be ready to hustle
  • Find ways to build up your resume; do internships, assistantships, apprentice…
  • Attend panels, be there to listen to conversations and keep a journal
  • Try to be in the right place at the right time either to meet people or to be on hand when someone might be needed to assist
  • Find ways to get feedback

QUALITIES and SKILLS

• • Talent and enthusiasm will be rewarded
  • Demonstrate a sincere desire to learn and work collaboratively
  • Develop strong written communication skills

• • Nurture a detail-oriented mind, ability to plan and set/achieve goals/deadlines
  • Practice flexibility with shifting priorities
  • Develop creative thinking and problem solving
  • Trust yourself, don’t waste time in doubt
  • Learn to talk up your achievements, without being annoying

• • Be adaptable
  • Be innovative
  • Be personable and make relationships
  • Have passion, get excited about things
  • Practice persistence, with a sense of humour, and don’t take it personally

• • Do not be afraid to ask questions
  • Be professional, meaning having specialized training, a body of work, actively practicing your art form, committed to devoting time to the work
  • Practice discretion and be careful of gossip

• • Be kind, generous, empathetic, and compassionate

• • Always be grateful; thank-you’s go along way, as do cards and e-mails of appreciation
  • Address conflict before it builds

See more advice, resources, and tips in the survey results.

Networking

Networking was one of the key skills highlighted in the graduate survey we conducted. To many this is a scary word, we aren’t all extroverts and we aren’t all good at small talk. I know when my batteries are low, I personally avoid networking situations as I find they take a lot of energy. To others networking is a dirty word that feels a bit smarmy with perceptions of false interactions. The notion of hustling can turn many off. I’ve had encounters with a few who were working a bit too hard to push their agenda.

However, if we think about it more as building relationships in a holistic way, then the positive results can overshadow the negative connotations. It is important as an artist or arts worker to connect and find contacts who can provide you with information, advice, and share opportunities. Remember, if folks don’t know you are out there then they can’t offer you opportunities. It might also help to think about it as being mutually beneficial, as building a community, rather than going into it trying to just advance your own career. You do have something valuable to offer to others as well. Finally, rest assured that it does get easier the more you do it.

Of course we are looking for genuine communication, but it doesn’t hurt to think in advance about how you might introduce yourself or questions you would like to ask when meeting potential colleagues, collaborators, and folks who might hire you. A bit of preparation and forethought can avoid nerves and that “duh” moment after which we kick ourselves for not saying the right thing and missing an opportunity to connect.

Activity: Who would you most like to meet at a networking event or opening night? How would you introduce yourself? What would you like to ask them about their work?

Many suggest writing out a personal pitch. To avoid sounding like you’ve memorized a speech, you might just want to think about what it is you want to share about yourself. What is the outcome you want? How can you engage in a relationship-building by opening up a conversation and listening to what others have to offer?

Submissions

Almost everyone will have to submit something at some point, whether it is just a cover letter and resume, a grant application, a script, or portfolio. Submitting is basically providing something to be considered by others.

Activity: What have you submitted before? Was it successfully received?

• • CALLS FOR SUBMISSIONS are when a specific request is put out seeking applications. This might include calls for:
    • Festivals
    • Playwrights to submit scripts
    • Artist Portfolios
    • Exhibits
    • For Auditions
    • Job Applications
    • Competitions

• • Finding Calls
    • https://artists.ca/submissions/index
    • Professional Associations (e.g. Calls for submissions – Creative Manitoba and Artsboard | PACT)
    • Arts Councils (e.g. Winnipeg Arts Billboard)
    • Facebook Groups
    • Many communities have an on-line distribution list
    • Mailing lists for theatres and arts organizations

Again, we will cover some specifics under the various tracks, but here are some general considerations.

• • Do
    • Provide all the information requested in a clear way
    • Be aware of who your reader is and write for them
    • Title all digital files with your name and the item (e.g. Jane Smith Resume)
    • Include page numbers and a footer with information (e.g. Jane Smith Resume page 1)
    • Include contact information!!! (I once wanted to contact a playwright to program their work but they didn’t have their contact info on their script or cover letter.)
    • Have someone else review your submission for typos
    • Use active writing
    • Tell a story

• • Don’t
    • Assume anything
    • Make it hard for the reader to find the necessary information
    • Go over the word/character limit if one is provided
    • Submit something rife with spelling and grammatical errors
    • Make it so fancy that it is hard to read (this applies to both font type but also using overly flowery or academic language)
    • Submit something if you know it does not fit the criteria
    • Leave out elements that are requested

• • Common Mistakes
    • Not fitting what is being requested in terms of content, length, format and other parameters provided
    • Late for deadline
    • Ignoring the way you were asked to send materials in

• • Specifically, for Letters of Inquiry, when you aren’t replying to a call, but trying to introduce yourself and find out how to submit:
    • Start with your strongest pitch. Make sure they will keep reading.
    • Be clear about what you need and why? Why are you reaching out? Need to have a call to action.
    • Be specific.
    • Be professional.
    • Share your dream and why it is a fit with them
  • Cover Letter
    • Introduce yourself and/or the project and why it is a fit for what/who you are submitting it to
    • Keep it brief but respond to the what and why
    • Highlight any key elements that they should be aware of in regards to what is included
    •  Make a brief pitch
    • Outline what you are including with your submission and why – list attachments
    • Clearly lay it all out
    • Clearly state how they can contact you for more information and include contact information
    • Use proper paragraph and sentence structure
    • Make sure it includes a call to action – do you want to book a meeting, get a response, have them come see your work…

• • Pitch/Proposal
    • A proposal is essentially a long pitch to sell your project, product or concept
    • Have a clear structure with a paragraph for each idea
    • Start strong
    • If they have provided questions or criteria, directly respond to each
    • White space is good, so don’t jam in a bunch of information if it makes it harder to read
    • What story are you trying to tell?
    • What is your call to action?
    • Paint a picture that clearly outlines the who, what, where, when and why

• • Synopses
    • You use synopses for many different reasons:
      • grant applications
      • selling tickets
      • getting literary managers to request the full script to read
      • on the backs of books
      • on line
    • Err on the side of brevity
    • Make it active
    • Short sentences with clear ideas

Activity: Find a few synopses of plays or projects. Look on theatre company websites, playwrights’ websites or even the back of scripted plays. Which stand-out to you and why?

While many of your submissions will be in written format, it is also important to prepare for oral submissions. As noted under networking you don’t want to sound rehearsed, but you do want to be prepared. How would you discuss your project or yourself in-person? Are you able to share a synopsis off the top of your head without rambling on?

Activity: Take the impromptu networking to the next level by writing out a 1-minute Elevator Pitch for yourself. If you were to encounter someone that you wanted to work with in an elevator, how would you talk about the work that you do or your current project?

Interviews/Meetings

Networking and elevator pitches are often impromptu, with the intended outcome of a job interview or future meeting to further discuss working together. Once you get the meeting, preparation will calm nerves while also demonstrating your commitment, work ethic, and interest.

A few general Interview Tips:

• Stay on point
• Provide concise and clear answers
• Let your passion show
• Be prepared to talk about your strengths = brag
• Also prepare a weakness you can share = be honest
• Do your research so you can talk about their work and share what excites you about it
• Demonstrate your engagement by asking an informed question or two
• Say thank you!

Finally, getting hired is one thing but continuing to work is another. You need to make sure you are building a strong reputation for yourself to keep working with the same company, or to create good word of mouth so you can be hired over and over.

Getting work also needs to be balanced with your own health. Sometimes you need to assess if it is the right gig. Based on our interviews, consider saying no if:

• You are overworked, burnt-out, or already have too much on your plate
• If there is a scheduling conflict; no one can be in two places at once so you will let someone down
• It would be a detriment to health or mental health
• If it feels off – listen to your gut
• You’re being tokenized

• It would be traumatic without trauma-informed process
• Counter to your own morals, code, limits, values, non-negotiables
• If your work is being devalued – know your value, trust that you have something to contribute
• They didn’t budget enough for a fair wage, unless it is a passion project for you

• It means working with people who don’t listen
• It would make you miserable
• You talk to fellow professionals and they mention red flags; always good to get advice

• You cannot support the content; always read the script first and make sure you are comfortable with and ideally passionate about the content
• Those offering you work aren’t ethical or treat people poorly
• They won’t give you time before saying yes; you should be able to have time to consider

Bonus! Here are a few other common questions from students around employment prospects:

• Do you need a degree in theatre?
  As much as I shouldn’t say this, since I teach at a university, you don’t need a degree in most areas of theatre practice. However, you do need training and knowledge. It is just a matter of what is the best way for you to learn. Is a conservatory a better option? Are internships an option if a degree isn’t in the cards? In the interviews we did, there were several who did not do a degree in theatre but did spend a lot of time doing hands on learning. Most people doing the hiring will be looking at your training and your experience. If they know that a certain university program provides strong training, then having a degree from there can give you an advantage. Without recognized training, you will have to find other ways to demonstrate your abilities. Training can also provide you with important contacts from instructors to peers. They become your initial network and support system. Finally, there is also the reality of having a basic post-secondary education in case it does not work out. Many other jobs now see a bachelors’ degree as a basic pre-requisite.
• Should you train in the city where you want to work?
  There are advantages to building contacts, a network, and being seen in the community where you want to eventually live and work. This can shift based on demand. Right now, stage managers are needed desperately, so you can be hired in other geographic regions. You want to get the training that is right for you, and that might include it being where your support system is located. If you do go elsewhere to train and then come back you will simply need to work harder to let folks know what you can offer. Likewise, if you train in your home community but want to leave after to work in a different region, you’ll need to find a way to meet folks and become known in this new community. I’ve had many students head to other cities after graduation and I had contacts there I could connect them with. Take advantage of the reality that theatre across the country is a network that you can access. Your instructors, mentors, and peers may know folks in the region where you want to work.
• Is it effective to work your way up the ranks?
  Most of our interviewers spoke about this as part of their own development. Once you are in the door, it is easier to take advantage of opportunities. The downside is there have been times when you get pigeonholed and you have to demonstrate that you are capable of more than what you’ve become known for. For example, if you’ve been stage managing but really want to act, you’ll need to audition and prove yourself. Since stage managers are in greater demand, they may want to keep using you in this capacity. But, starting as an administrative assistant is a great way to work up to greater administrative responsibility as you prove yourself. Likewise, being in the box office means you are already on the payroll and on hand should they need someone to take on more responsibility.
• Do I need an agent?
  This is covered under the specific tracks as it mostly applies to actors, directors and playwrights. In general, you don’t need an agent in smaller cities and when you are first starting out.
• How do I pay the bills while pursuing theatre?
  Check out the Viable Alternatives track.

A few other Getting Work related resources:

Artist Producer Resource

Arts Unite