The essential handbook for actors—a modern classic—now regularly updated to reflect the latest show-business trends Since its original publication, Acting as a Business has earned a reputation as an indispensable tool for working and aspiring actors. Avoiding the usual advice about persistence and luck, Brian O’Neil provides clear-cut guidelines that will give actors a solid knowledge of the business behind their art. It’s packed with practical information—on everything from what to say in a cover letter to where to stand when performing in an agent’s office—including: -- Tactics for getting an agent, including preparing for the interview -- How to research who will be casting what—and whether there is a role for you—well in advance -- Examples of correspondence to agents and casting directors for both beginning and advanced professionals -- A detailed analysis of the current trend of paying to meet industry personnel -- How to communicate effectively with an agent or personal manager -- Creative ways to use the internet and social media O’Neil regularly updates Acting as a Business (most recently in 2025) to keep up with the latest show-business trends, making this a reference no actor should be without. "O'Neil shares his business savvy in this slim, practical-minded actor's guide that covers everything from approaching agents to assembling resumes." -- Entertainment Weekly Brian O'Neil is a former talent agent and personal manager who has represented actors for theater, film, television, commercials, and radio.  As a talent representative, he was responsible for the career guidance and professional placement for hundreds of actors.  Brian is the founder of Acting as a Business, a one-on-one career-consultation and career-coaching service for actors.  He is a frequent guest-lecturer at some of the nation's finest acting-training programs including the Yale School of Drama and the Juilliard School. 1 From Stage to Screen Recently, I was invited to address the graduating class of a top conservatory training program for actors in New York City. I asked the group to give a few minutes of thought to where they would like to see themselves professionally in five years’ time. Then I asked for a show of hands from all those who were thinking in terms of “film.” Every hand in the group, except one, shot up. The one holdout responded “theater and film.” Prior to the above-mentioned speaking engagement, I was a guest at another well-known acting training program, also in New York City, where I posed the same question to a theater full of young acting students. And got essentially the same response—mostly “film,” several “television,” and only a few “theater.” In the past, an actor seeking a career in film or television usually ventured west to Hollywood while the actor pursuing work in the theater migrated to New York. The westward trek is still made, but it has become equally true that most young actors who come to New York are also eyeing careers in film or television. This has become the ultimate goal, or dream, for most of the actors with whom I come in contact. Why this change? One major contribution to the powerful lure of the film and television industry is a now decentralized theater scene, which makes it necessary for most actors to accept often low-paying out-of-town engagements if they are to be employed in the theater at all. Yet, despite the hardships, there is still probably no better way for the New York actor who seeks a career in film or television to give this dream a chance than to strive for the highest quality visibility possible in the theater. With models and actors possessed of model-caliber looks, child actors, teenage actors, and actors still youthful enough to convincingly portray teenage characters comprising the main exceptions, the overwhelming majority of film and television careers born out of New York are of actors who have first been seen on the stage. Why is this so? Mainly, for two reasons: visibility and credibility. First, let’s talk about visibility. When a play opens on or off-Broadway and receives good notices, it is the actors in this play whom the film and television industries—such as they exist in New York—see. Literally. A big part of the jobs of those who cast is to be aware of which actors are being praised for their performances, and to see their work. In turn, it is these actors who are often requested to audition for, and then frequently land, roles in film and television productions that are being cast in New York. This is especially true in television, where there is a continual demand for new and ongoing programming. Not only does New York now boast several hit prime-time series of its own, but there is also pilot season—the bulk of which takes place in the first four months of the year. It is at this time when Hollywood casting executives visiting the east are able to see the New York talent pool. From this talent pool, a number of actors will be