| Myth One: Only pretty people or models can | | | | Wrong. If you only have a limited budget to spend |
| work on Soaps. Wrong. Soaps now hire all sizes, | | | | on training, go for the acting technique or scene |
| shapes, colors, ages. "Real" people are necessary | | | | study class with the best in the business. You can |
| to portray seventy-five percent of the roles daily | | | | always learn on- camera technique the first day |
| - nurses, policemen, attorneys, judges, doctors, | | | | on the set. It's easy. |
| boutique owners, journalists...the list goes on. | | | | ( i.e., an overly dramatic "bad" actor on stage will |
| Myth Two: Regional Accents (New York, | | | | be a bad actor in front of a camera. As an actor |
| Southern, Hispanic, etc) are acceptable. Wrong. | | | | just learn to be truthful and real in whatever |
| Only if the character is specifically from these | | | | media you plan to work). |
| areas, do you need this kind of accent. Otherwise | | | | Myth Seven: If you take a course from a Soap |
| it would place you out of the location of a Pine | | | | Opera Casting Director, an assistant Casting |
| Valley, Llanview, Springfield, etc. Get rid of the | | | | Director or a daytime executive, you'll get hired |
| accent if you want to work. | | | | on that show. Wrong. Not only do people still |
| Myth Three: If you do an extra job once, you'll | | | | believe this myth, but it's the major reason they |
| never get a contract part. | | | | sign up for courses with CD's. |
| Wrong. Just the opposite is true. If they get to | | | | Myth Eight: When you sign a three year contract, |
| know you, they will consider you for the recurring | | | | they have to pay you no matter what for three |
| and other larger roles. Use the opportunity as an | | | | years - you cannot be fired. Wrong. Networks |
| extra or "under-five" player to learn the system, | | | | have the option of writing you out with |
| network with the people who work on the show | | | | two-months, two-weeks, two-days or |
| daily and make some money. | | | | two-minutes notice. |
| Myth Four: Casting Directors hire you for major | | | | Myth Nine: You have to be in the union (AFTRA) |
| roles. Wrong. Casting Directors can only hire you | | | | to get a job or audition on a Soap Opera. Wrong. |
| for the day player, "under-five" and extra roles, | | | | Anyone who has training, a picture/resume and |
| but their input is important for the contract parts. | | | | the ability to do the work can be auditioned or |
| The final decision is up to an executive committee | | | | hired. |
| and eventually, the Executive Producer. | | | | Myth Ten: You have to have an agent to get a |
| Myth Five: Directors hire you. Wrong. Directors | | | | job on a Soap. Wrong. Eventually, if you're up for |
| are under contract just like actors. Unlike directors | | | | a contract role you'll need someone, an agent or |
| in the theater and film (who have the final say), | | | | lawyer, to negotiate your contract. And it will help |
| they have little or no input in the casting process | | | | to have an agent submit you for major contract |
| for Soap Operas. | | | | parts. But you can get extra, under-five, even |
| Myth Six: You don't need theater training, only | | | | day player and running parts on your own. |
| on-camera "Soap" training to do a Soap Opera. | | | | Happy Auditioning! |