Teen Guide to Getting Started in the Arts 9780313016752, 9780313313929

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TEEN GUIDE TO

Getting Started in the Arts

TEEN GUIDE TO

Getting Started in the Arts

Carol L. Ritzenthaler

GREENWOOD PRESS Westport, Connecticut • London

Library of Congress Cataloging-in-Publication Data Ritzenthaler, Carol L., 1952– Teen guide to getting started in the arts / Carol L. Ritzenthaler. p. cm. Includes bibliographical references and index. ISBN 0–313–31392–X (alk. paper) 1. Arts—Vocational guidance—United States. 2. Teenagers—Vocational guidance—United States. I. Title. NX503.R58 2002 700'.23'73—dc21 00–052151 British Library Cataloguing in Publication Data is available. Copyright  2002 by Carol L. Ritzenthaler All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 00–052151 ISBN: 0–313–31392–X First published in 2002 Greenwood Press, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.greenwood.com Printed in the United States of America TM

The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984). 10 9 8 7 6 5 4 3 2 1 Copyright Acknowledgments The author and the publisher gratefully acknowledge permission for use of the following material: Excerpts from Lisa Cote, “Five Golden Rules for Writing,” 1997. http://www. artofwritingzine.com. Reprinted with permission of Lisa Cote. Excerpts from interviews by the author with Roger Beck, Karen Bell, Michael Kelly Bruce, Jennifer M. Holdren, Michael Miller, Kristy Shannon, and Dianna M. Lindsay. Reprinted with permission of the interviewee.

To my family— my husband, Phil, and sons, Shawn and Andy, for their love, support, and encouragement. And to my dad, who was always there for me.

Contents

Acknowledgments

ix

1. Introduction

1

2. To Be an Actor, a Filmmaker, or in Theater

5

3. To Be an Architect

35

4. To Be an Artist

53

5. To Be a Dancer

75

6. To Be a Singer or Musician

91

7. To Be a Photographer

111

8. To Be a Writer

133

Index

163

Acknowledgments

While researching countless resources for this book and interviewing many professionals in their respective fields, it became clear that information for teens and parents on careers in the arts was often difficult to locate, dated, and inaccurate. My goal was to synthesize information and resources into a “one-stop-shopping” guide for teens as well as parents, teachers, librarians, and others as a starting point in their quest for more information about careers in the fine and performing arts. All the professionals I interviewed have been very supportive and were more than willing to spend time answering all of my questions and reviewing the text. Special thanks are also extended to Dr. Dianna Lindsay, Principal, Worthington Kilbourne High School, Worthington, Ohio, for her support of this project. I extend many thanks to the following “masters” for their support and encouragement, for I have learned from each of them as well: • Roger Beck, Technology Education Teacher, Worthington Kilbourne High School, Worthington, Ohio. • Karen Bell, Chair, Department of Dance, The Ohio State University, Columbus, Ohio. • Michael Kelly Bruce, Associate Dean for the College of the Arts, The Ohio State University, Columbus, Ohio. • Jennifer M. Holdren, Project Coordinator, Fanning/Howey Associates, Inc., Dublin, Ohio. • Michael Miller, Composer, Columbus, Ohio.

x

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Acknowledgments

• Kristy Shannon, Language Arts Teacher, McCord Middle School, Worthington, Ohio. Many thanks to Lisa Cote for granting permission to reprint her article “Five Golden Rules for Writers.” Lisa is a Canadian poet and fiction writer whose work has appeared in several literary journals in the United States and Canada. She also works as a freelance copy editor and web publisher. Ms. Cote currently lives in Seattle, Washington, with her husband, Stephen Foster, and her two Scottish terriers. The credit and vision for Teen Guide to Getting Started in the Arts belongs to my editor, Debby Adams of Greenwood Publishing. She had the foresight to realize how much value there would be in a book that could help teens focus on career development in the fine and performing arts at an age when guidance in selecting a profession is so critical. Our teens will soon be the graduates of tomorrow, and the choices they make need to be informed ones, as their decisions can affect them for years to come.

1 Introduction

The purpose behind this book is to give teens an edge and a jump-start in their career—to help them focus on a goal and provide them with steps they can take toward fulfilling it. In addition, recognizing that teens need a support network to guide them, parents, teachers, mentors, friends, and family all look for some advice on how they might be able to help. Sometimes it’s enough just to let teens know that you’re there to support them. Sometimes a gentle nudge and sound advice are what they really need. It is important for teens to talk to others about their career aspirations. Asking questions and gathering information can help them form a clear idea on what it would really be like to pursue a career in the working world. Believe it or not, sometimes parents don’t have all the answers. We all need to network with other people to find the guidance our teens are reaching out for. Each chapter focuses on one of the fine or performing arts and addresses the essential skills teens need to have or work toward to become successful. Each is written as a stand-alone unit, so it is not necessary to read the entire book if only one of the arts is of interest to you. Suggestions are offered on how parents can support the efforts of their son or daughter. In addition to classroom activities, teachers have avenues available by which they can help connect students to resources within the community. Fine and performing arts teachers often have close ties to local organizations that arrange, sponsor, or host community events. Through these connections, teachers have opportunities to get students directly involved in community activities, or can refer students to various members of the community for extended learning opportunities, in addition to arranging

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 Teen Guide to Getting Started in the Arts

meaningful class visits and field trips. Also, many teens have a variety of extracurricular activities to choose from at school that can help them enhance skills or develop new ones. Each chapter also lists resources for getting started which are intended to help teens (and others) get started in their search for more information. All websites were viable at the time of publication. If you have difficulty locating a resource, your local library may be able to obtain the item you need through its Interlibrary Loan service, a mechanism by which libraries share resources. There’s also a special section on contests and related opportunities that give teens a chance to challenge themselves and that may open up avenues for them to work with other professionals and masters. Go forward with confidence, and remember, “Every achievement was once impossible!” (author unknown).

A Message for Teens Whatever career path you choose, you improve your chances of success if you focus your energy on becoming as well prepared as you possibly can. The first step is to research the career that interests you. Read about it. Talk to people about it, including a career counselor. Find out whether your career choice requires a college degree, or whether an apprenticeship program or other training would be a better alternative. Ask some of the professional organizations in your field of interest for information about careers and who to contact for an information interview. Your research will give you insight into how others prepared for their career and a glimpse of what employers are looking for. It may also give you a lead on summer jobs that could provide valuable experience. It’s all about choices. Don’t wait for an opportunity to come to you. Instead, look for ways to build success—one step at a time.

Resources One of the greatest initiatives under way to advocate the arts in education for everyone at all grade levels is the Getty Center for Education in the Arts. This organization works through the National PTA to inform parents about how the arts can enrich education. The Getty Center for Education in the Arts is dedicated to enhancing the quality and status of arts education in the nation’s schools as a means of

Introduction

 3

providing children with the skills and knowledge they need to achieve their greatest potential. While the arts teach unique ways of understanding the world and developing children’s abilities, such a[s] critical thinking and problem-solving skills, they also provide schools with important tools to build excellent learning environments in a number of ways: • The arts enhance learning in other subjects, such as math, science, geography, language and history by reinforcing ideas and expanding concepts taught; • The arts contribute to understanding among different peoples, helping students to learn about other cultures by objectively studying their art, music, dance and legends; • The arts facilitate students’ success with technology because information processing in most new technologies is based on graphic and visual understanding; • The arts have developed new methods of assessing student academic performance that help schools determine the level of students’ achievement beyond standard written tests. (National PTA, 1999)

Elizabeth Murfee, in Eloquent Evidence, Arts at the Core of Learning, also provides a wonderful resource that cites major research over the last several years that would be of interest to anyone looking for reasons why support for the arts is so essential to the education curriculum. Copies can be obtained from the National Assembly of State Arts Agencies, 1010 Vermont Avenue NW, Washington, DC 20005. Arts in education are beginning to be referred to as the “fourth R,” and after reading Murfee’s publication the reason is obvious. A growing number of individuals and organizations are recognizing their value and now support the fourth R.

Works Cited Murfee, Elizabeth. Eloquent Evidence: Arts at the Core of Learning. Washington, DC: National Assembly for the Arts Agencies. http://www.artsedge. kennedycenter.org / professional_resources / advocacy / ediv / p7.html. 8 September 2000. National PTA. Getty Center for Education in the Arts. 1999. ARTeffects, October 1994. http://www.pta.org/programs/arts/smart/gettyctr.html. 8 September 2000.

2 To Be an Actor, a Filmmaker, or in Theater

Quite often when one thinks of a career in acting, the superstars of television or the big screen quickly come to mind, as do the famous producers and directors. Some of the names we know through their work on the big screen may have actually started their career in theater, and many continue to do both. The main difference between acting for film and in the theater is that film actors perform in front of a camera, scenes may be shot out of sequence, and the performances are recorded so that they can be edited and played over and over again. Theater actors perform for a live audience, and each show is a production number. Despite these differences, careers in film and the theater have enough in common to warrant discussing them in the same chapter. One day you may make a choice to concentrate on a single field or to combine the two, as many others have done. According to the Occupational Outlook Handbook, through the year 2008 the growth in the number of actors, directors, and producers will be above the average for all job categories largely due to the demand for American productions from foreign countries (United States, Department of Labor, 1999). Everyone cautions that movie-making is a difficult business to break into because of the extreme competition, but be patient. It takes time, a lot of hard work, dedication, and passion to succeed. “The film and video industry provides opportunities in movies (featurelength films for theaters as well as made-for-TV movies), broadcast television (including networks, local stations, and cable systems), television commercials, educational television programs, and documentaries. Each of these categories is an entire industry in its own right, and yet the skills

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 Teen Guide to Getting Started in the Arts

required in one can be applied to any of the others” (Ito, p. 55). The terms “film” and “video” are often used interchangeably. The medium for each is different, but with recent technological advances in video cameras and equipment, and the ease of use and portability, video is becoming the preferred choice. The technique used in film and video is essentially the same. Creating a film is a group effort that relies on directors, producers, actors, editors, sound technicians, costume designers, and many others. The film industry requires such a range of talent that experience carries as much weight, if not more, than traditional schooling. Every film has a director whose job is to pull everything together. The director works with the producer, the writers, the cast, and the crew to shoot the film. Every detail of making the film involves the actors and actresses, costume designers, makeup artists, lighting, sound, and technicians, music set designers, and still others. If you have watched the list of credits roll by at the end of a movie, you can begin to appreciate all the work, cooperation, and talent that go into the making of a film. Everyone has a responsibility and a role to fill, however small it may seem. The careers in film are just as diverse. The director decides what should be seen on camera at any given moment. This involves deciding where everyone needs to be on stage and where the equipment and props should be, in addition to how the lighting and sound need to be adjusted, to create the desired effect and get the best shot possible. Storyboarding is a skill that is very important for beginning directors to develop in previsualizing their shots and sets. The storyboard is a series of drawings, sometimes animations, illustrating the flow of a story in pictures. It helps lay out how a script will be shot, demonstrating camera angles and character movement. While the director may delegate responsibility for the storyboard to someone else associated with the production, it is an essential element that has many uses from set design, to costumes, to placement of props and development of special effects. Directors are responsible for virtually everything on and off the screen, from storyboarding to working with the technical crews on sound and lighting, to shooting the scene and then editing the film. They usually rely on assistant directors and a production manager who are responsible for arranging the shooting schedule and making sure that the cast and equipment are in place and positioned correctly. In addition, they handle the paperwork and financial aspects of making the film. Producers obtain and review the screenplays or scripts, and hire the director and cast along with other personnel. They negotiate contracts and coordinate the work of the entire staff, and are responsible for the size of the project, the budget, and the financing of a production.

To Be an Actor, a Filmmaker, or in Theater

 7

Art directors coordinate everything “physical” about the film. They create the set and film locations. They work with the director and producers to set budgets and schedules and then plan the construction of the sets, collaborating with carpenters, painters, costume designers, and props people along with integrating the special effects. The cinematographer, sometimes referred to as the director of photography, has to decide which cameras to use, the kind of lighting needed, and the camera angles. The job of actually shooting the film is the responsibility of the camera operator, who uses special motion picture cameras. Although similar to a still camera in terms of lighting and other photographic techniques, a motion picture camera is much faster, taking pictures at a rate of 24 frames per second. Other members of the lighting crew are responsible for making sure that the cameras are set up to get the correct angles for each film shot, adjusting lighting, and moving cranes for the camera and operator. The film editor is involved in all phases of film production. Before production gets under way, the editor meets with the producers to find out what the film is about. If it is a feature-length film, the editor needs to understand the story line. If it is an advertisement, the editor must be familiar with the product the film is designed to sell. Understanding the objectives of the film helps the editor determine the best approach to take to accurately represent the story or script. Since motion pictures are usually filmed out of sequence, the film editor needs to choose the best scenes and then put them in proper order, as the script requires. The film editor also works with the sound editor and music editor to synchronize film with voice and sound tracks. Production assistants, usually called “P.A.s” or “runners,” basically run from place to place doing errands or anything else necessary to help the crew. Sometimes they work with one department, and at other times they may float among various departments. They have a wide variety of errands to run, including getting donuts, delivering scripts, making phone calls, copying, typing, escorting members of the cast, and locating props and whatever else is necessary. Production assistant is an entry-level position, but one that is quite desirable for someone just starting out in the film industry. P.A. jobs provide valuable learning experiences and give novices a chance to make important contacts. “Once an individual gets a foot in the door as a production assistant, the opportunities and possibilities are endless” (Field, p. 192). Some production assistants work full time for a production company; others freelance and continually look for new projects. Producing a movie or film is unlike many other occupations because

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 Teen Guide to Getting Started in the Arts

assignments are always project-driven and often short-term. The work may last for several weeks or a few months, involving one production or several episodes. For this reason, who and what you know and what you have done lately are extremely important. In the movie business, reputation, word of mouth, and networking are vital to success. Every television show has a producer whose responsibilities vary depending on the station. Some work on daily programs such as newscasts and talk shows. Others work on weekly shows, mini-series, or special events broadcasting. Producers have total responsibility for a program from its inception to the actual airing, including finding scripts, writers, and special guests, choosing locations, determining formats, and directing promotion activities. As in filmmaking, a television production assistant helps out with whatever is needed either in the studio or on location. In this entry-level position with its variety of responsibilities, one can learn about all aspects of television production. The P.A. may check a script for accuracy, assist with research, type production schedules, gather materials used during production, set up the teleprompter, and help to schedule guests or cast roles. Camera operators work both in the studio and on location and are often responsible for more than one video camera. They film program rehearsals, actual programs, or interviews to be used in future broadcasts. Camera operators need to be able to make quick decisions, as unexpected developments in a story may need to be captured on film. They also need to be able to get to a location on a moment’s notice to film a live broadcast as the situation warrants. Due to the spontaneity of the work and the important role they play in the production of a broadcast, camera operators need to be very comfortable with their equipment, lighting, framing, exposure, and every other facet of photography. Floor managers coordinate the director’s instructions for the cast and crew. They are responsible for making sure that the set is ready and that the cast is prepared for filming. They see that everyone is in the correct position, makeup has been done, and microphones are in place. During the actual production, the floor manager follows the script and cues the performers so they know how much time they have and when to begin a segment. When the production has been completed, the set needs to be disassembled and all equipment needs to be put away, and the floor manager has the responsibility for coordinating this effort. Location scouts are primarily responsible for finding and securing a location from which to shoot a film. Sometimes the location scout meets with the production team to learn about the story or segment and details that are important in selecting a site for filming. For some projects, it may

To Be an Actor, a Filmmaker, or in Theater

 9

be necessary to rent a location, and the location scout has a critical job in finding one that meets the necessary specifications. Once a good location is found, the scout needs to get approval from the property owners for the production company to film. This may require negotiating a rental price and then selecting a date to shoot. Once everything has been agreed upon, the location scout has to obtain releases from the property owners and secure any necessary permits from the local, state, or federal government. Casting directors for both film and television decide what type of actors are needed for specific productions and then place casting calls to find interested people. They need to match the look, the voice, and the personality of the actor to the role. After the casting director has chosen a few of the best suited for each role, the actors audition for the director or producer, who will make the final decision on who gets the part. Negotiating the contract and salary is the responsibility of the casting director. Everyone in the cast needs to dress appropriately for the production, whether for film or television. The costume designer’s job is to ensure that this is done. Costume designers need to be familiar with the script and get a feel for the characters, the roles they play, and the time period of the film so that the costumes are appropriate. They frequently visit museums and conduct research in libraries, using books, magazines, and other materials to accurately reproduce costumes for a given time period. On some occasions, it may be necessary to rent clothing from a costume shop. At other times costumes need to be designed from scratch. The costume designer sketches a design, chooses the appropriate fabric and color, and perhaps makes a sample and has someone model it. The costume designer gets the director’s approval before the costumes are made. Then work begins on the costumes, which need to be fitted and adjusted after they are made. In some situations, such as for a contemporary television show or film, the clothing actors wear can be purchased from a department store. Occasionally cast members may use clothing from their own wardrobes. In either case, the attire needs to be approved by the costume designer so that it is appropriate for the production. In addition, costumes cannot be too tight or too restrictive, as the cast members need to be able to move freely. Filming usually requires bright lighting that tends to wash out skin tones and exaggerate flaws. In addition, heat from the lamps may cause actors to perspire heavily. Makeup artists are essential in television for news programs, talk shows, and other productions. Their job is to ensure

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 Teen Guide to Getting Started in the Arts

that everyone looks as natural as possible. Special makeup may be required to portray a character in a certain way or to create illusions such as scars, wounds, artificial features, and other characteristics. It may also be necessary to make an actor look older or younger or even change form to reflect what happens in the script. Different makeup is often required for different scenes. All those involved in the production of a film are able to use their creative talents because the screenwriter or scriptwriter has given them material to work with. To some, the script is the most vital aspect of the film. George Malko, a veteran screenwriter, teleplay writer, novelist, offBroadway playwright, and short story writer, points out that a story can be told in many different ways. Television generally is better for telling stories about characters and how they interact, while feature films are usually better for telling about largerthan-life events. For instance, you’d use television to show a family surviving a flood, but a feature film to show the flood’s hitting a town. Television is a better medium for docudramas, because it’s much more personal. The docudrama can be about big events, like hijacking or natural disasters. But drama based on documentary truth must be reduced in size to be accessible at a more personal level. (Bone, pp. 37–38)

Screenplays tell the reader what movies are going to be about. Some are written with the hope that the idea will sell and be made into a movie. Others are written at the request of a producer who has an idea for a film. Screenplays are written in such a way that the visuals, not the dialog, tell the story. The screenplay includes notes on where and how the characters move, and breaks up paragraphs into shots to convey exactly how the action is supposed to happen. For example, is the character supposed to fall fast, or do a slow, tumbling fall? How should characters show anger or other emotions? Alex Epstein advises beginning screenwriters to write only what they can see and hear. (See his other enormously helpful tips online at http://modigliani.brandx.net/user/musofire/screenwriting.html.) After you have finished writing a screenplay, read it out loud and ask others to proofread it and review it for its overall effect. They will be able to look at it objectively and make recommendations to refine it. After you have rewritten it, you can register your screenplay with the Writers Guild of America, which will give your work a registration number that will protect it from plagiarism. First-time screenwriters need to concentrate on creating a visual description of how the characters should act as well as what is going on in the background that impacts the scene. The actors and directors will

To Be an Actor, a Filmmaker, or in Theater

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decide how a line should be read. Directors will also determine how scenes are numbered, camera angles or movements, and scene transitions. After the screenplay has been sold, the producers, directors, editors, and others with a role in producing the film are free to make changes as needed. Without actors, film and theater would not exist. Directors look for the best actor for a given role, usually holding auditions that involve reading a set of lines or improvisational acting. Open call auditions not only give you good experience, but also might help you land a part. They are often advertised in local newspapers and are used for commercials, television programs, movies, or theater. If you aspire to be a film actor, it is recommended that you work with an agent. Many actors enlist the help of an agent to locate parts suitable for them and who will send them to the appropriate auditions. Some studios prefer to work through an agent, as this signals that the actor has a resume´ and acting experience. You need to provide the agent with a resume´ of your acting experience and a headshot. The headshot is a black and white photo taken by a professional photographer of the head and face only. Some roles require certain physical characteristics, and in this case the headshot helps the agent match you with an upcoming audition. Those who choose not to work with an agent will undoubtedly spend a lot of time going from one casting office to another looking for work. Actors for both film and theater work hard studying the characters they portray. They immerse themselves in the script, studying each scene and attempting to communicate what the screenwriter and producer envisioned. They need to give a convincing performance and make the character believable. This often involves studying dialects or accents and taking voice lessons to work on intonation and projection. Body language and movement are also important in interpreting the script. Occasionally actors have an opportunity to meet and study with the person they will portray. For example, Tom Hanks, an honored actor and an Academy Award winner, is one example of an actor who immerses himself in the character of the role he will represent. Film actors rehearse small segments one at a time. Filming is usually for a specific scene. In situations that require the use of special effects, the actor may be required to perform in front of a blue or green screen.

What Parents Can Do If your teenager has expressed interest in any aspect of the film industry, do everything possible to provide him or her with a broad range of ex-

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periences. Teens can audition for parts in community or church plays or productions sponsored by local arts councils. If you know that a theater company will be coming to your town to do a series of productions. Contact it in advance and ask if your child could help, either for wages or as a volunteer. Companies usually leave a contact name and phone number with the community arts agency. This would give your son or daughter a lot of experience and a chance to see how a production actually develops from start to finish. There may also be opportunities to intern for productions through the local arts council or to participate in film festivals. Encourage your children to talk about their interests. Take them to the library and encourage them to read books and magazines related to their field of interest. Summers are often a good time for families to visit the set of a film production. If your teenager is interested in television, arrange a visit to a local studio where they can observe what the work is like and perhaps interview people at the station. It may also be possible to arrange a summer internship with the station. Attend plays with your son or daughter. After the performance, encourage your child to talk to cast members about his or her interest in auditioning for plays. Find out how to get information about auditions for future plays, and encourage your child to go to as many auditions as possible to get experience performing in front of others. The more they audition, the more comfortable they will be with the process. Another way to nurture talent is by taking specialized classes, many of which are offered in the summer. This gives teens a chance to concentrate on developing specific skills and to focus on formal training. Constant study and practice are essential for both film and theater. Speech and diction lessons may be needed for the stage, radio, or film. Regional accents can limit the range of roles an actor hopes to audition for. Because actors need to have poise and confidence in front of an audience, modeling, singing, and dance lessons may also be helpful. By taking classes they can get constructive feedback about their work from people in the industry. There are various sources of information about classes and workshops. Some are advertised in the newspaper, through community arts councils, or on bulletin boards in the library or state arts agencies. High schools, community arts centers, museums, and colleges may offer classes as well, and often send out special announcements. Some classes are free; others require payment. Encourage your son or daughter to keep a journal about any classes, workshops, or other related experiences. Keeping a record of special techniques that work well and making notes about the things that didn’t go

To Be an Actor, a Filmmaker, or in Theater

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quite so well, will help them evaluate their own skills to determine what they need to learn more about to be successful in the film industry. Even if they are not directly involved in a certain aspect of the production, they can learn much by observing how others deal with situations that come up.

What Schools and Teachers Can Do Schools can provide many creative outlets and a range of diversified experiences for students interested in a career in the entertainment business. Language arts offer opportunities to do creative writing, including writing screenplays. For example, teachers could have students write a script for a future episode of one of their favorite shows. This assignment would give them experience in editing and refining the script as well. It could turn into a project useful in obtaining work with a production studio. Perhaps the script could be entered in a screenwriting contest. If your high school offers students the opportunity to produce a news show about the school and its activities, this is a terrific way to get experience with filming and all the related details that go into making a production. Even students interested in producing and directing rather than acting should participate in the drama club and high school plays whenever possible. Knowing what it’s like to audition for and act a part is extremely useful for producers and directors. It can help them anticipate the needs and expectations of the actors, enhancing their ability to deal effectively with them. Schools can also assist students with career planning by providing opportunities for shadowing. Students decide what type of work or career field they would like to explore and then make arrangements through parents, neighbors, or others, to spend a day at work with someone in the field of their choice. The school sets aside a full day for this opportunity. The experience gives students a glimpse of the working world and lets them see what a typical workday is like. For many aspects of film production, acquiring the necessary skills is vital. Students need to look for opportunities to learn as much as possible about all aspects of making a production. As suggested earlier, they might try to obtain work, either paid or volunteer, at a local television station or with the local arts council. They need to pick up a camera and practice filming anything and everything, then review and edit their own work. Teachers can make contacts with local production companies and obtain permission for students to film a production. This gives students experi-

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 Teen Guide to Getting Started in the Arts

ence editing and critiquing their own work and obtaining feedback from others involved in the production as well. Martha Moon, a freelance filmmaker, recommends getting experience in the field by interning at a local production company or public broadcasting station. Consider working on small, independent films to build up your resume´, then move on to bigger film companies. Aspiring actors need to become involved in the drama club at their school and to take part in school productions. Many plays are written especially for the teen actor. Janet Litherland and Sue McAnally recommend attempting a Broadway musical. Working on a complex production has many benefits. It • • • •

Builds (and in many cases establishes) personal confidence Teaches cooperation and teamwork Demands commitment and responsibility Provides a sense of accomplishment unlike any other. (1996, p. 21)

Before the audition, read the play and prepare for the part. Decide on a role to play and study the character. Practice the lines and try different voice intonations to find one that fits the role and the character. During the audition process, don’t be shy. Speak loud enough to be heard and make gestures meaningful. If the audition for a role doesn’t go as well as you had hoped, don’t despair. Become involved in the production in another way. Several groups of individuals work together to put on a stage production. Skilled craftsmen, costume designers, lighting technicians, set designers, and musicians are an integral part of the success of each production. In the meantime, practice your acting skills to prepare for your next audition. Remember, getting a job in the film industry is about who you know and what you know. Taking any kind of job in the industry, or even volunteering, may be the best way to get your foot in the door. Creativity, communication skills, and organizational skills are essential. A college degree is generally not required, but it can be useful. Attending film school or college is worth considering. Colleges and film schools allow you to immerse yourself in the classes and often provide experiences that might otherwise be difficult to obtain. They also give you contacts through which you may be able to jump-start your career. You need to consider every opportunity to learn about the field along with any new technologies. Jonathan Wolf, Executive Vice President of the American Film Market Association, notes “Keeping ahead of the technology curve is essential to success. . . . Those who are on the cutting

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edge of the art are those who are best briefed on what’s available to them in terms of tools” (Siminski, 2000). Digital video, the explosion of the Internet, and an expanding foreign market will have an obvious influence on the film industry, affecting the tools used to create, produce, edit, distribute, and market films.

Works Cited Bone, Jan. Opportunities in Film Careers. 1997. Revised by Kathy Siebel. VGM Opportunities Series. Lincolnwood, IL: VGM Career Horizons. Epstein, Alex. Crafty Screenwriting; Some Screenwriting Do’s and Don’ts for Beginners, and Some More In-Depth Thoughts for Fellow Scribes. 1999. http://modigliani.brandx.net/user/musofire/screenwriting.html. 17 August 2000. Field, Shelly. 100 Best Careers in Entertainment. 1995. New York: Macmillan. Ito, Dee. The School of Visual Arts Guide to Careers. 1987. New York: School of Visual Arts Press. Litherland, Janet, and Sue McAnally. Broadway Costumes on a Budget: Big Time Ideas for Amateur Producers. 1996. Colorado Springs: Meriwether Publishing. Siminski, Julian. The New Millennium in AFM Moviemaking. 2000. Empire Productions and Publishing. http://www.empire-pov.com/afm.htm. 4 August 2000. United States, Department of Labor, Bureau of Labor Statistics. Occupational Outlook Handbook, 2000–2001. 1999. Indianapolis: JIST Works, 554 pp. (ISBN: 1–56370–677–6; 1–56370–676–8).

Resources for Filmmaking and Theater Productions Benson, Samuel, Ed. The Producer’s Masterguide: The International Production Manual for Motion Pictures, Broadcast Television, Commercials. . . . 17th Ed. 1996. New York: Producer’s Masterguide (ISBN: 0–93574–415–0). $125.00. Contains information about laws and unions in the film industry. Callan, K. Directing Your Directing Career: A Support Book and Agent Guide for Directors, 2nd Ed. 2000. Studio City, CA: Sweden Press 300 pp. (ISBN: 1–87835–511–2). $18.95. The author discusses all the stages of getting a directing career started. Careers in Focus. Arts and Entertainment, 2nd Ed. 1999. Chicago: Ferguson Publishing Co., 188 pp. (ISBN: 0–89434–293–2). $14.50. Information on 22 careers in the arts including educational requirements, getting started and advancing, employment outlook, and more.

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Crisp, Mike, Ed. The Practical Director, 2nd Ed. 1996. Newton, MA: Focal Press, 205 pp. (ISBN: 0–24051–448–3). $34.95. Loaded with practical concerns of filmmaking for both the newcomer and professional. Elin, Larry. Designing and Developing Multimedia: A Practical Guide for the Producer, Director, and Writer. 2000. Needham Heights, MA: Allyn & Bacon, 400 pp. (ISBN: 0–20531–427–9). $53.33. A comprehensive and practical skills-oriented book for the producer, director, and writer of multimedia. Film Producers, Studios, Agents, and Casting Directors Guide, 7th Ed. 2000. Los Angeles: Lone Eagle Publishing Co., 650 pp. (ISBN: 1–58065–007–4). $75.00. The most complete and comprehensive book about film producers and contact information; cross-referenced by film titles and producers. Fitzsimmons, April. Breaking & Entering: Land Your First Job in Film Production. 1997. Los Angeles: Lone Eagle Publishing Co., 160 pp. (ISBN: 0–94372– 891–6). $17.95. An extremely valuable tool for anyone entering a career in film production; filled with a lot of advice and common sense on learning the ropes. Hart, John. The Art of the Storyboard: Storyboarding for Film, TV, and Animation. 1999. Woburn, MA: Focal Press, 223 pp. (ISBN: 0–24080–329–9). $23.96. Intended for beginners. The author shows how to use storyboards to communicate how certain sets and special effects are supposed to look in the film as a way to illustrate the concept in the script. Hunnisett, Jean. Period Costume for Stage & Screen; Patterns for Women’s Dress, Medieval–1500. Illustrated by Kathryn Turner. 1996. Studio City, CA: Player’s Press, 186 pp. (ISBN: 0–99734–653–7). $50.00. Designing costumes appropriate for the historical period is essential for both film and theater. Illustrations are provided along with tips on selecting fabrics and colors as well as patterns for making the costumes. Hurtes, Hettie L. Back Stage Guide to Casting Directors, 2nd Ed. 1998. New York: Back Stage Books, 198 pp. (ISBN: 0–82308–806–5). $18.95. A guide to understanding how the casting process works. Ionazzi, Daniel A. The Stagecraft Handbook. 1996. Cincinnati: Betterway Books, 208 pp. (ISBN: 1–55870–404–3). $18.39. An excellent guide to good construction for the stage and scenery. James, Thurston. The What, Where, When of Theater Props: An Illustrated Chronology from Arrowheads to Video Games, 2nd Rev. Ed. 2000. Studio City, CA: Player’s Press, 208 pp. (ISBN: 0–88734–935–8). $30.00. Truly a fascinating and essential book! James shares his years of research from his work as a shop carpenter, scenic artist, lighting designer, and technical director to guide others in the movie and theater business in selecting objects and designing a set appropriate for the time period in the script. Katz, Steven D. Film Directing Shot by Shot: Visualizing from Concept to Screen. 1991. Studio City, CA: Michael Weise Productions, 371 pp. (ISBN: 0– 94118–810–8). $26.95. An excellent book on classic film directing for

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both the professional and the amateur. Katz includes in-depth coverage of production design, storyboarding, flow of shots, camera angles, and much more. Keane, Christopher. How to Write a Selling Screenplay: A Step-by-step Approach to Developing Your Story and Writing Your Screenplay by One of Today’s Most Successful Screenwriters and Teachers. 1998. New York: Broadway Books, 308 pp. (ISBN: 0–76790–071–5). $14.00. A step-by-step guide to the entire process of writing and selling a screenplay. Kelly, Karin, and Tom Edgar. Film School Confidential: The Insider’s Guide to Film Schools. 1997. New York: Berkeley Publishing Group, 224 pp. (ISBN: 0– 39952–339–1). $13.95. The definitive guide to film schools around the country. Includes tips on how to choose the right school, getting into programs, and what to expect from the school. Langham, Josephine. Lights, Camera, Action! Working in Film, Television and Video. 2nd Ed. 1997. London: British Film Institute (ISBN: 0–85170– 573–1). $19.95. The author offers a practical guide to getting into the film industry and the reality of working in film and TV. Mascelli, Joseph V. The Five C’s of Cinematography: Motion Picture Filming Techniques. 1998. Los Angeles: Silman-James Press, 252 pp. (ISBN: 1–87950– 541–X). $29.95. A great introduction to filmmaking that not only tells how to do things, but why they should be done. Emphasis is on technique rather than technology, and illustrations are well done. McHugh, Kenna. Breaking into Film: Making Your Career Search a Blockbuster. 1998. Princeton, NJ: Peterson’s Guides, 190 pp. (ISBN: 0–76890–123– 5). $14.95. A practical book on how to find an internship on a movie set and break into the movie-making industry. Noronha, Shonan. Opportunities in Television and Video Careers. 1998. Lincolnwood, IL: VGM Career Horizons, 141 pp. (ISBN: 0–84422–308–5). $14.95. This comprehensive resource for information about careers in television and video production includes skills needed along with resources that provide additional information. Peithman, Stephen, and Neil Offen, Eds. The Stage Directions Guide to Auditions. 1999. Portsmouth, NH: Heinemann, 144 pp. (ISBN: 0–32500–083–2). $13.95. This book addresses the needs of both actors who are auditioning and directors who are conducting the auditions. Peithman, Stephen, and Neil Offen, Eds. Stage Directions Guide to Directing. 1999. Portsmouth, NH: Heinemann, 144 pp. (ISBN: 0–32500–112–X). $12.95. Loaded with information for directors on how to make their directing more effective. Peithman, Stephen, and Neil Offen, Eds. The Stage Directions Guide to Getting and Keeping Your Audience. 1999. Portsmouth, NH: Heinemann, 144 pp. (ISBN: 0–32500–113–8). $13.95. A compilation of articles from Stage Directions magazine explains the steps community theater professionals need to take to attract and retain subscribers.

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Peithman, Stephen, and Neil Offen, Eds. The Stage Directions Guide to Publicity. 1999. Portsmouth, NH: Heinemann, 144 pp. (ISBN: 0–32500–082–4). $11.16. Keys to attracting audiences for regional or community theaters that lack agents or large advertising budgets. Press, Skip. Writer’s Guide to Hollywood Producers, Directors, and Screenwriter’s Agents, 1999–2000: Who They Are! What They Want! And How to Win Them Over! 1998. Rocklin, CA: Prima Publishers, 432 pp. (ISBN: 0– 76151–484–8). $23.00. This is a one-stop resource listings hundreds of producers, directors, and agents, with detailed summaries of what they’re looking for and how they can be contacted, as well as tips on script formatting and more for all screenwriters. Rodgers, James W., and Wanda C. Rodgers. Play Director’s Survival Kit: A Complete Step-by-Step Guide to Producing Theater in Any School or Community Setting. 1997. West Nyack, NY: Center for Applied Research in Education, 286 pp. (ISBN: 0–87628–862–X). $29.95. This is a fantastic book for anyone who is directing for the first time or who could use a little more organization in taking the production from start to finish. Schmidt, Rick. Feature Filmmaking at Used-Car Prices: How to Write, Produce, Direct, Shoot, Edit, and Promote a Feature-Length Movie for Less than $15,000, 3rd Ed. 2000. New York: Penguin, USA, 412 pp. (ISBN: 0– 14029–184–9). $16.95. A useful and relevant step-by-step how-to book on creating a film. Includes sections on using digital video technology and Internet resources. Squire, Jason E., Ed. The Movie Business Book, 2nd Ed. 1992. Englewood Cliffs, NJ: Fireside, 479 pp. (ISBN: 0–67175–095–X). $15.00. Producers, distributors, and agents offer their views on how the motion picture industry works. Wachowski, Andy, Larry Wachowski, Steve Skiroce, et al., Eds. The Art of the Matrix. 2000. New York: Newmarket Press, 488 pp. (ISBN: 1–55704– 405–8). $60.00. This one-of-a-kind book was created to show the planning that went into making of The Matrix and includes the script, artwork, and commentaries from the artists. Weston, Judith. Directing Actors: Creating Memorable Performances for Film and Television. 1996. Studio City, CA: Michael Wiese Productions (ISBN: 0–94118–824–8). $26.95. This book is for both actors and directors. Weston explores the director/actor relationship and gives explicit acting advice and tools that directors can use to get the best performance from an actor. Wiese, Michael. The Independent Film & Videomaker’s Guide, 2nd Ed. 1998. Studio City, CA: Michael Wiese Productions, 488 pp. (ISBN: 0–94118–857– 4). $29.95. The author shares insider’s tips to help filmmakers avoid the pitfalls of show business.

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Resources for Film and Television Actors Barr, Tony, Eric Stephan Kline, and Edward Asner. Acting for the Camera, Rev. Ed. 1997. HarperCollins, 384 pp. (ISBN: 0–06092–819–0). $14.00. Essential reading for all actors for film and theater, as the principles outlined can be applied to both. Black, David, and Eli Wallach. The Actor’s Audition. 1990. New York: Vintage Books, 107 pp. (ISBN: 0–67973–228–4). $11.00. A practical hands-on guide that covers every aspect of the auditioning process. Blount, Tricia, Ed. Screen and Stage 2001: The National Casting Guide. 2000. Westport, CT: Peter Glenn SCB Publications, 200 pp. (ISBN: 0–87314– 155–5). $22.95. A comprehensive guide with useful strategies for actors interested in beginning a career in the performing arts. Blumenfeld, Robert. Accents: A Manual for Actors, 2nd Ed. 1999. New York: Limelight Editions, 320 pp. (ISBN: 0–87910–269–1). $22.50. A very useful resource for anyone who needs to study accents. Includes sounds, stress, pitch, mouth/tongue positions, and a CD to help illustrate the techniques. Buzzell, Linda. How to Make It in Hollywood: All the Right Moves, 2nd Ed. 1996. New York: Harper Perennial Library, 416 pp. (ISBN: 0–06273–243–9). $15.00. Recommended by many as the ultimate guide for breaking into the entertainment industry and making all the right moves. Buzzell provides advice on how to network and how to market yourself, and discusses business skills that are important for careers in the entertainment industry. Caruso, Sandra, and Susan Kosoff. The Young Actor’s Book of Improvisation: Dramatic Situations from Shakespeare to Spielberg: Ages 12–16. 1998. Portsmouth, NH: Heinemann, 259 pp. (ISBN: 0–32500–049–2). $22.95. A terrific resource for learning the art of improvisation. Chambers, Cullen G. Back to One: The Movie Extras Guidebook, The Millennium Edition. 2000. Beverly Hills, CA: Back to One Publications, 320 pp. (ISBN: 0–96245–774–4). $19.95. This is a book for all actors and extras. The author gives hints, tips, and prerequisites for the aspiring actor as well as names, addresses, and phone numbers of just about all the extra casting agencies in Los Angeles. Clark, Elaine. There’s Money Where Your Mouth Is: An Insider’s Guide to a Career in Voice-Overs, Enlarged 2nd Ed. 2000. New York: Back Stage Books, 240 pp. (ISBN: 0–82307–702–0). $16.95. Voices are increasingly in demand for commercials, cartoon characters, and other spots. This book gives advice on self-promotion and business matters as well as explaining vocal modulation and breathing techniques, how to make a demo CD, and more. Fridell, Squire. Acting in Television Commercials for Fun and Profit. Fully updated

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3rd Ed. 1987. Illustrated by Barry Geller. New York: Crown. (ISBN: 0– 51788–437–2). $15.00. A fun and informative guide for anyone breaking into the acting business. Hunt, Gordon. How to Audition: For TV, Movies, Commercials, Plays, and Musicals, 2nd Ed. 1995. New York: HarperPerennial, 323 pp. (ISBN: 0– 06273–286–2). $15.00. A great resource for anyone who aspires to become an actor. Kanner, Ellie, Paul G. Bens, and Paul G. Bens, Jr. Next! An Actor’s Guide to Auditioning. 1997. Los Angeles: Lone Eagle Publishing, 161 pp. (ISBN: 0–94372–871–1). $19.95. A very useful guide to the process of auditioning for the casting director and for the actor. Kidwell, Kelly Ford, and Ruth Devorin. Your Kid Ought to Be in Pictures: A HowTo Guide for Would-Be Child Actors and Their Parents. 1997. Los Angeles: Lone Eagle Publishing, 261 pp. (ISBN: 0–94372–890–8). $16.95. A great resource for aspiring young actors and parents. Takes a realistic look at what to expect and do along with what not to expect and what not to do. Langham, Josephine. Lights, Camera, Action! Working in Film, Television, and Video, 2nd Ed. 1996. London: British Film Institute, 230 pp. (ISBN: 0– 85170–573–1). $19.95. The author offers insight into the education and training needed for jobs in the film industry, examines the stages of production and the variety of jobs available within film. Lewis, M. K., and Rosemary R. Lewis. Your Film Acting Career: How to Break into the Movies and TV and Survive in Hollywood, 4th Rev. Ed. 1998. Santa Monica, CA: Gorham House Publications, 296 pp. (ISBN: 0–92914– 902–5). $17.95. Great advice for those trying to learn the ropes of the acting business. Mayfield, Katherine. Acting A to Z: The Young Person’s Guide to a Stage or Screen Career. 1998. New York: Back Stage Books, 136 pp. (ISBN: 0–82308– 801–4). $16.95. Realistic and practical advice for anyone interested in a career in acting. McHugh, Kenna. Breaking into Film: Making Your Career Search a Blockbuster. 1999. Princeton, NJ: Peterson’s Guides, 185 pp. (ISBN: 0–76890–123– 5). $14.95. The author provides tips on how to find internships, network, and break into the movie-making business. Newhouse, Miriam, and Peter Messaline. The Actor’s Survival Kit, 3rd Ed. 1999. Toronto: Simon & Pierre Publishing, 220 pp. (ISBN: 0–88924–278–X). $19.99. The authors address issues including the art of auditioning, online casting, musicals, and more. Parke, Lawrence. The Film Actor’s Complete Career Guide. 1992. Hollywood, CA: Acting World Books, 292 pp. (ISBN: 0–96152–889–3). $24.95. A comprehensive resource for aspiring actors getting started in their career. Saint Nicholas, Michael. An Actor’s Guide—Your First Year in Hollywood, Rev. Ed. 2000. New York: Allworth Press, 272 pp. (ISBN: 1–58115–058–X).

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$18.95. A terrific resource for any aspiring actor that includes a wealth of information on how to break into the acting business and succeed in Hollywood. Searle, Judith. Getting the Part: Thirty-Three Professional Casting Directors Tell You How to Get in Theater, Films, Commercials, and TV, Rev. Ed. 1995. New York: Limelight Editions, 367 pp. (ISBN: 0–87910–194–6). $18.95. Includes tips on how to act and get the director’s attention. Also tells what not to do. See, Joan. Acting in Commercials: A Guide to Auditioning and Performing on Camera, 2nd Ed. 1998. New York: Watson-Guptill Publications, 192 pp. (ISBN: 0–82308–802–2). $16.95. How to succeed in TV commercials and make them believable. Includes tips on how to overcome the most common traps. Tucker, Patrick. Secrets of Screen Acting. 1994. New York: Routledge, 222 pp. (ISBN: 0–87830–042–2). $19.99. Tucker provides a step-by-step guide to effective screen acting for beginners and professionals alike, illustrating the differences between acting for the stage and for the screen.

Resources for Theater Actors Beard, Jocelyn A. The Ultimate Audition Book: 222 Monologues 2 Minutes and Under. 1997. Lyme, NH: Smith & Kraus. (ISBN: 1–57525–066–7). $19.95. A collection of well-chosen short monologues representing a mix of material types including comic/dramatic, classic/contemporary, and more. Berry, Cicely, and Trevor Nunn. The Actor and the Text. Rev. Ed. 1999. Applause Acting Series. New York: Applause Theatre Book Publishers, 288 pp. (ISBN: 1–55783–138–6). $16.95. The authors present the idea of studying the text of the play rather than the action, focusing on the language and words used. Black, David, and Eli Wallach. The Actor’s Audition. 1990. New York: Vintage Books, 107 pp. (ISBN: 0–67973–228–4). $11.00. A practical hands-on guide that covers every aspect of the auditioning process. Callan, K. How to Sell Yourself as an Actor, 3rd Ed. 1996. Studio City, CA: Sweden Press, 250 pp. (ISBN: 1–87835–510–4). $17.95. An all-inclusive guide for beginning actors that addresses everything from getting started to auditioning to doing your own negotiations. Charles, Jill, Ed. Directory of Theatre Training Programs: 1999–2001, 7th Edition. 1999. Dorset, VT: Theatre Directories, 264 pp. (ISBN: 0–93391–945– X). $28.95. This directory lists over 400 programs, mostly in the United States, and gives details on tuition, curriculum, connections with professional theaters, and the program’s training philosophy. Updated every two years. The 6th edition is current through 1999.

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Eaker, Sherry, Ed. The Back Stage Handbook for Performing Artists: The How-To and Who-To Contact Reference for Actors, Singers, and Dancers, Revised and Enlarged 3rd Ed. 1995. New York: Back Stage Books, 304 pp. (ISBN: 0–82307–599–0). $18.95. Tips on how to contact agents and break into almost any aspect of show business. Includes a list of addresses to write to for agents, casting directors, and auditions. Finburgh, Nina, and Anne McArthur. Hot Tips for Cold Readings: Some Do’s and Don’ts for Actors at Auditions. 1993. Newbury, VI: Smith & Kraus, 65 pp. (ISBN: 1–88039–950–4). $8.95. A humorous book with tips for actors on how to audition. Hagen, Uta. A Challenge for the Actor. 1991. New York: Scribner, 309 pp. (ISBN: 0–68419–040–0). $26.00. Provides exercises to help actors physically prepare for the character they will portray as well as other useful information. Henry, Mari Lyn, and Lynne Rogers. How to Be a Working Actor: The Insider’s Guide to Finding Jobs in Theater, Film, and Television, Enlarged 4th Ed. 2000. New York: Back Stage Books, 367 pp. (ISBN: 0–82308–894–4). $18.95. A very practical guide to help actors promote themselves with an online picture, resume´, and video clips. Also gives interviewing and auditioning tips. Hooks, Ed. The Audition Book, Revised & Enlarged Ed. 1996. New York: Back Stage Books, 208 pp. (ISBN: 0–8230–8302–0). $16.95. A very open, honest, and inspiring book with advice on landing acting jobs. Explains how to prepare for auditions and specific audition requirements. Kehret, Peg. Acting Natural: Monologs, Dialogs, and Playlets for Teens. 1992. Colorado Springs, CO: Meriwether Publications, 240 pp. (ISBN: 0–91626– 084–4). $14.95. Short scripts that reflect the experiences and feelings of teens. Kennedy, Mimi. Taken to the Stage: The Education of an Actress. 1996. Lyme, NH: Smith & Kraus, 264 pp. (ISBN: 1–57525–024–1). $24.95. An autobiography of an American stage and screen actor that provides insights about breaking into theater. Kidwell, Kelly Ford and Ruth Devorin. Your Kid Ought to Be in Pictures: A HowTo Guide for Would-Be Child Actors and Their Parents. 1997. Los Angeles, CA: Lone Eagle Publishing Company, 261 pp. (ISBN: 0–94372–890–8). Paperback, $16.95. A great resource for aspiring young actors and parents that takes a realistic look at what to expect and do along with what not to expect and what not to do. Kotler, Philip, and Joanne Scheff. Standing Room Only: Strategies for Marketing the Performing Arts. 1997. Boston, MA: Harvard Business School Press, 576 pp. (ISBN: 0–87584–737–4). $60.00. The authors offer an in-depth guide to the marketing side of a production. They discuss how to increase funding, attract and build audiences, and other aspects of the business side of theater management. Mattson, Katinka, Ed. The Working Actor: A Guide to the Profession. 1993. New

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York: Viking Penguin, 189 pp. (ISBN: 0–14014–433–1). $12.00. Information on education, training, auditioning, screen testing, and more. Mayfield, Katherine. Smart Actors, Foolish Choices: A Self-Help Guide to Coping with the Emotional Stresses of the Business. 1996. New York: Back Stage Books, 176 pp. (ISBN: 0–82308–424–8). $16.95. A book that deals with the emotional side of acting that addresses anxiety, fear, and rejection. Mayleas, Ruth. Theater Artist’s Resource: The Watson-Guptill Guide to Workshops, Conferences, Artists’ Colonies, and Academic Programs. New York: WatsonGuptill, 192 pp. (ISBN: 0–8230–7655–5). $19.95. An excellent guide to schools, grants, fellowships, internships, and job opportunities in the theater for aspiring actors, directors, designers, and playwrights. Music, Dance & Theater Scholarships: A Complete Guide. 1995. Cleveland, OH: Conway Greene Publishing Co., 493 pp. (ISBN: 1–88466–907–7). $20.95. Includes college and professional programs that offer individual scholarships and awards including application requirements and more. Oliver, Donald. How to Audition for the Musical Theatre: A Step-By-Step Guide to Effective Preparation (Career Development Book), Rev. 2nd Ed. 1995. Lyme, NH: Smith & Kraus, 141 pp. (ISBN: 1–88039–958–X). $11.95. A complete and insightful guide to understanding and mastering the auditioning process. Peterson, Lenka, and Dan O’Connor. Kids Take the Stage: Helping Young People Discover the Creative Outlet of Theater. Foreword by Paul Newman. 1997. New York: Back Stage Books, 192 pp. (ISBN: 0–8230–7742–X). $16.95. Step-by-step activities for adults on how to teach and direct plays with children. Covers everything from the basics of acting to mounting and staging a production. It includes plenty of child-friendly sample scenes and relaxation techniques for kids. Perfect for established children’s theater groups as well as churches, schools, and camps. Peterson’s Professional Degree Programs in the Visual and Performing Arts, 2001 (Annual), 6th Ed. 2000. Lawrenceville, NJ: Peterson’s, 627 pp. (ISBN: 0–76890–442–0). $26.95. Includes information on accredited U.S. colleges and universities that offer programs in art, music, theater, and dance. Plunkett, Jack W. Plunkett’s Entertainment and Media Industry Almanac, 2000– 2001: The Complete Guide to America’s Publishing, Broadcasting and Entertainment Business. 2000. Houston, TX: Plunkett Research, 574 pp. (ISBN: 1–89177–514–6). $179.99. Profiles leading firms in film, radio, TV, cable, multimedia, magazines, books, newspapers and on-line publishing along with an overview of trends affecting the entertainment business. Rideout, Nigel. First Steps Towards an Acting Career, 2nd Ed. 1995. London: Black, 142 pp. (ISBN: 0–71364–130–4). $13.95. Vocational guidance for a career in acting. Simonson, Robert. Role of a Lifetime: Four Professional Actors and How They Built Their Careers. 1999. New York: Back Stage Books, 176 pp. (ISBN: 0– 8230–7832–9). $16.95. Four actors describe how they made it into show

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business. Their decisions, sacrifices, successes, and determination serve to guide aspiring actors. Stanislavski, Konstantin. An Actor Prepares. Translated by Elizabeth Reynolds Hapgood. 1989. New York: Routledge, 313 pp. (ISBN: 0–87830–983–7). $18.99. This is the first book in the Stanislavski trilogy that is considered a classic by many. Exercises in the book are recommended for the stage and work well in rehearsals. Summer Theater Directory. Annual. Dorset, VT: American Theater Works. $16.95. http://www.theatredirectories.com. Published annually in December, this resource includes theater companies, theme parks, and cruise lines that offer employment opportunities in acting, design, production, and management. Also includes summer theater training programs.

Contests

America’s Best Writing Competition The Writers’ Foundation 3936 South Semoran Boulevard #368 Orlando, Fl 32822 Phone: 407–894–9001 Open to anyone interested in writing screenplays, TV dramas, or sitcoms. Art Deadlines List Website: http://www.artdeadlineslist.com This monthly e-mail newsletter for artists, art educators, and art students of all ages lists art contests and competitions, art scholarships and grants, juried exhibitions, art jobs, and internships. Available online only, it is an excellent resource for those interested in the fields of art, acting, architecture, film, photography, and writing, and could open the door to a variety of opportunities. Austin Film Festival Competition Films Austin Film Festival 1604 Nueces Austin, TX 78701 Phone: 800–310–3378 or 512–478–4795 Website: http://www.austinfilmfestival.org The Austin Film Festival is dedicated to recognizing the importance of the writer in the development of filmmaking. It encourages participation from all individuals interested in filmmaking and nurtures their

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creativity through panels, workshops, classes, and competitions. Entry forms and rules for the competition are available by mail as well as through the main websites. For a Film Competition entry form visit http: //www.austinfilmfestival.org/Film_Comp_Entry_Form.htm and for the Screenplay Competition entry form see http://www.austinfilmfestival.org/ ScreenCompEntryForm.htm.

The Hollywood (Opus Magnum) Book Manuscript Discovery Awards 433 N. Camden Drive, Suite 600 Beverly Hills, CA 90210 Phone: 310–288–1881 Website: http://www.screenwriters.com/ccs/index.html Information and application forms can be obtained by sending a selfaddressed stamped envelope to the address above and are available online at http://www.screenwriters.com/hn/awards/CCSapplication.html as well. The Nicholl Fellowships The Academy of Motion Picture Arts and Sciences 8949 Wilshire Boulevard Beverly Hills, CA 90212 Phone: 310–247–3000 Website: http://www.oscars.org/nicholl/index.html An international competition open to screenwriters who have not earned more than $5,000 writing for film or television. Screenwriting Contests Directory Website: http://www.moviebytes.com/directory.cfm Screenwriters will be thrilled with this site. It’s all here! This is a very well organized and comprehensive resource. Writer’s Digest Annual Writing Competition Dept. MB 1507 Dana Avenue Cincinnati, OH 45207 Phone: 513–531–2690 Website: http://www.writersdigest.com/catalog/2000wdcontest_text.html Categories include memoirs, personal essays, feature articles, short stories, inspirational writing, children’s fiction, poetry, stage play scripts, and

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television and movie scripts. Contest rules and entry forms can be requested and are also available online.

The Writers Network Screenplay & Fiction Competition The Writers Network 289 S. Robertson Boulevard, Suite 465 Beverly Hills, CA 90211 Phone: 800–646–3896 Website: http://www.fadeinmag.com/Contests/ScreenComp2.htm Designed to give new and talented writers across the country the chance to pursue a career in film, television, or screen writing. Other Opportunities

The Chesterfield Film Company 1158 26th Street, PMB 544 Santa Monica, CA 90403 Phone: 213–683–3977 Website: http://www.chesterfield-co.com/html/online_institute.html The Chesterfield On-line Institute offers writing courses and production resources—a virtual community intended as a tuition-based, online counterpart of the Writers Film Project Fellowship in Los Angeles. Through the institute, screenwriters living anywhere in the world can participate in a writing education modeled on the program designed at Steven Spielberg’s Amblin Entertainment. This opportunity offers fiction, theater, and film writers the opportunity to begin a career in screenwriting. Those chosen to participate receive a stipend, participate in a yearlong fellowship, write two feature-length screenplays, develop their scripts with the advice and guidance of professional screenwriters and executive mentors, and develop industry contacts with writers, agents, and producers. The WFP was originated by Steven Spielberg at Amblin Entertainment and developed with Kathy Kennedy, Frank Marshall, and Jonathan Zimbert at the Kennedy/Marshall Company. Walt Disney Studios’ Fellowship Program Fellowship Program Director The Walt Disney Studios 500 S. Buena Vista Street Burbank, CA 91521–1735 Phone: 818–560–6894 Website: http://members.tripod.com/~disfel/index.html

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Offers fellowships in the feature film and television areas. Open to all writers.

Professional Associations

Academy of Motion Picture Arts and Science 8949 Wilshire Boulevard Beverly Hills, CA 90211–1972 Phone: 310–247–3000 Website: http://www.oscars.org An organization dedicated to reorganizing the outstanding achievements of those in the motion picture and film industry. Academy of Television Arts & Sciences 5220 Lankershim Boulevard North Hollywood, CA 91601–3109 Phone: 818–754–2800 Website: http://emmys.org/ Membership is open to those persons who are or who have been actively engaged in work related to the making or distribution of a film or TV production. American Association of Community Theatre 8402 BriarWood Circle Lago Vista, TX 78645 Phone: 512–267–0711 Website: http://www.aact.org/ Provides expertise, assistance, and support to community theaters throughout the United States. American Association of Producers 6363 Sunset Boulevard, 9th Floor Hollywood, CA 90028 Phone: 323–467–2340 An organization that supports and represents professionals in film and television. American Cinema Editors 4416 Finley Avenue Los Angeles, CA 90027

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Phone: 213–850–2900 Website: http://www.ace-filmeditors.org/ An honorary society of film editors dedicated to the advancement of the profession.

American Film Institute P.O. Box 27999 2021 North Western Avenue Los Angeles, CA 90027 Phone: 213–856–7600 Website: http://www.afionline.org Dedicated to advancing and preserving the art of the moving image. Association of Independent Feature Film Producers (AIFFP) P.O. Box 38755 Hollywood, CA 90038 Phone: 323–417–5111 Website: http://www.aiffp.org/ An organization dedicated to the business of independent filmmaking. Austin Film Festival 1604 Nueces Austin, TX 78701 Phone: 800–310–3378 or 512–478–4795 Website: http://www.austinfilm.com/film Dedicated to the writer and focused on nurturing talents of the young. Broadcast Education Association 1771 N Street, NW Washington, DC 20036–2891 Phone: 202–429–5335 Website: http://www.nab.org Casting Society of America 606 N. Larchmont Boulevard Suite 4-B Los Angeles, CA 90004–1309 Phone: 323–463–1925 Website: http://www.castingsociety.com/ Membership is restricted to those who have at least two years “online” credit as a casting director. New members must be sponsored by two current members of the society.

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Directors Guild of America (DGA) 7920 Sunset Boulevard Los Angeles, CA 90046 Phone: 310–289–2000 Website: http://www.dga.org Negotiates agreements for members. Motion Picture Association of America (MPAA) 15503 Ventura Boulevard Encino, California 91436 Phone: 818–995–6600 Website: http://mpaa.org/home.htm An organization that is both the voice and an advocate of the American motion picture, home video and television industries. Producers Guild of America 400 South Beverly Drive Beverly Hills, CA 90212 Phone: 310–557–0807 Website: http://www.producersguildonline.com/about/ A resource for professional producers in the motion picture and television industries that addresses all aspects of production. Set Decorators’ Society of America (SDSA) Pacific Design Center 8687 Melrose Avenue, Suite MB28 Los Angeles, CA 90069 Website: http://www.setdecorators.org/ A non-profit organization dedicated to the support and promotion of excellence in the set-decorating profession. Stage Directors and Choreographers Foundation 1501 Broadway, Suite 1701 New York, NY 10036 Phone: 212–302–5359 Website: http://www.ssdc.org/foundation/ An educational organization that promotes and develops the art and craft of stage directors and choreographers.

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Magazines & Newsletters

American Cinematographer American Society of Cinematographers P.O. Box 2230 Hollywood, CA 90078 Phone: 213–969–4333 Topics cover film and video production. American Film The American Film Institute 3 East 54th Street New York, NY 10022 American Theatre Theatre Communications Group 355 Lexington Avenue New York, NY 10017 Phone: 212–697–5230 Contains news and features for those interested in professional theater. Backstage B.P.I. Communications 1515 Broadway, 14th Floor New York, NY 10036 Lists open calls and auditions for theater, film, television, and Broadway. Also publishes articles related to the acting field. Boxoffice Magazine 155 South El Molino Avenue, Suite 100 Pasadena, CA 91101 Phone: 626–396–0250 Website: http://www.boxoffice.com/ Includes reviews, interviews, and articles covering the film industry. Broadcast Engineering Intertec Publishing Corp. 9800 Metcalf Overland Park, KS 66212–2215

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Creative Screenwriting 6404 Hollywood Boulevard, Suite 415 Los Angeles, CA 90028 Phone: 323–957–1406 Website: http://www.creativescreenwriting.com Articles are written by professionals in the industry for those interested in studying screenwriting. FILMMAKER 110 West 57th Street New York, NY 10019–3319 Phone: 212–581–8080 Website: http://www.filmmakermagazine.com A magazine dedicated to independent film making. Independent Film and Video Monthly 304 Hudson St., 6th Floor New York, NY 10013 Phone: 212–807–1400 Website: http://www.indypress.org/nstand/MAG_I-M/indyfilm.html A monthly national magazine devoted to independent film and video production containing articles, interviews, profiles, festival listings, and more. The New York Screenwriter Monthly 655 Fulton Street #276 Brooklyn, NY 11217 Phone: 800–418–5637 Website: http://www.nyscreenwriter.com Includes interviews with successful screenwriters, agents, and producers that provide a wealth of information and tips for those getting started in the film industry, along with screenplay contests, seminars, product reviews and more. The “Annual Screenwriter’s Guide,” included free with a subscription, provides a list of agencies, production companies, and more helpful tips on writing effective query letters and submitting your script. Premier Hachette Publications, Inc. 1633 Broadway New York, NY 10168–0002

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Scenario: The Magazine of Screenwriting Art 3200 Tower Oaks Boulevard Rockville, MD 20852 Phone: 800–222–2654 Website: http://www.scenariomag.com/subscribe/info.html Publishes the text of current box office hits and hard-to-find classic scripts from decades past, followed by interviews with their authors about the work. Screen Oxford University Press/Oxford Journals Walton Street Oxford OX2 6DP England Scr(i)pt 5638 Sweet Air Road Baldwin, MD 21013–0007 Phone: 888–287–0932 Website: http://www.scriptmag.com/pages/index.htm Informative articles on screenwriting. Theatre Crafts Magazine Theatre Crafts International 32 W. 18th Street New York, NY 10011 Phone: 212–229–2965 For lighting, sound, and production designers. Variety Variety, Inc. 249 W. 17th St. New York, NY 10011 Video Week Warren Publishing Inc. 2115 Ward Court NW Washington, DC 20037 Videography Miller Freeman PSN Inc. 2 Park Avenue, 18th Floor

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New York, NY 10016 Website: http://www.vidy.com Covers professional video production, technology, and applications.

Videomaker Magazine Box 4591 Chico, CA 95927 Website: http://www.videomaker.com Reviews the use of Camcorders, desktop video, lighting, editing, and audio production for novice and expert videographers.

3 To Be an Architect

If you like to make models and enjoy building things or sketching, you may want to consider an architectural career. The sheer enjoyment of sketching structures and building things is the hallmark of the teen who wants to be an architect. Architecture is both an art and a science. Design skills, mathematical and technical skills, and creativity, along with an eye for detail, are essential elements of the trade. Since building is a practical application of art, opinion varies widely on whether architecture is an art form or not. Although many consider architecture a science, and a field of study that stands on its own, it is so diversified that it transcends the boundaries of other occupations. Architecture is truly a craft and an area of specialization that has developed over the ages as the needs of civilization have changed. Wherever we go, we are surrounded by architecture. Because architects design buildings and other structures to fit specific purposes, architecture is a functional art. They also integrate concepts of shape, form, perspective, and pattern into their designs. Some architects specialize in certain types of structures, and their work can be identified by the overall effect achieved. There are many opportunities for specialization within the field, including landscape architecture, interior design, civil engineering, architectural engineering, and industrial architecture. Generally speaking, you need to do three things before you can become a practicing architect: (1) earn a bachelor’s or master’s degree from an accredited school of architecture; (2) undergo a three-year internship; and (3) pass all sections of a licensing exam. According to the American

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Institute of Architects, the course of study for an architect will help you develop: • The skills to define and address complex problems. • The concern for cultural issues such as the environment and lack of affordable housing. • The ability to work with information and ideas that are specific in some instances but speculative in others. • The communication of ideas and the desire to turn these ideas into reality. (FutureScan Careers for Teens, Planning for Architecture School) Architecture programs receive accreditation from the National Architectural Accrediting Board (NAAB). Some schools offer undergraduate degrees in architecture, but not all are accredited. Each state architectural registration board sets its own standards, and a non-NAAB-accredited program may meet the educational requirement for licensing in some states (United States, Department of Labor, 2000 p. 99). The course of study for a bachelor of architecture degree is generally five years. Some schools offer a master’s degree in architecture, which may be required for certain specialties. According to Jennifer M. Holdren, Project Coordinator for Fanning/Howey Associates, Inc., “If a student obtains a degree in architecture from a school that is not accredited, and chooses not to go on for a master’s degree, they cannot become a registered architect and their career would level off. They would be considered more as part of the production staff and would not be placed in charge of projects” (2000). She also notes that the schools with the best programs offer co-ops, cooperative working agreements that have been set up between schools and local businesses in which the business agrees to allow students in a particular academic program to work alongside professionals. The students either learn by watching or are asked to help the company with certain tasks. These programs are designed to give students a feel for what the work environment is like in the profession they have selected. They also help students see how their classroom learning transfers to the actual work environment and expose them to new opportunities that they may not have had a chance to explore. Co-ops offer students an excellent way to get experience. In addition, they help students build their resume´ and teach them how to market themselves. A list of accredited schools of architecture is available from the Association of Collegiate Schools of Architecture (ACSA). Copies of its “Guide to Architecture Schools” can be obtained by sending a check for $19.95 plus $3.00 shipping and han-

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dling to: ACSA; 1735 New York Avenue, NW; Washington, DC 20006. The current list of accredited schools is also available online through the ACSA website at http://www.acsa-arch.org/schools/fullmembers.html. A three-year internship is the second requirement for an architectural license. New college graduates usually begin working in an architectural firm and prepare architectural drawings or do research on building codes and materials. A lot of time may also be spent in meetings with clients to discuss, plan, and revise projects. With experience, some may move onto supervisory positions and eventually become partners in the firm or set up their own business. An internship provides a period of extended education and specialized training in the specific field of practice that is not usually available in the academic setting. Firms participating in internship programs are responsible for providing the training opportunities central to the purpose of the internship. In turn, the intern, working under the close supervision of a licensed architect, is expected to perform professional services to gain an understanding of how the firm practices architecture. Interns keep a daily log documenting the type of projects they have worked on during their internship. Also during this time, interns can begin to study for the Architect Registration Exam (A.R.E.), which consists of nine separate exams. Each has six multiple-choice questions and three design-oriented questions related to everything that has been studied in the architecture curriculum. Study guides, review courses, discussion groups, and sample questions are available from various sources. Upon passage of all nine exams, students of architecture receive their license to practice.

Landscape Architecture Landscape architects work with the exterior design and plans that include surroundings of houses, office buildings, public parks, shopping malls, golf courses, residential apartment complexes, and many other facilities. They plan the location of buildings, roads, and walkways as well as the arrangement and choice of flowers, shrubs, and trees. Landscape architects also study the environmental impact of planned site construction, endeavoring to disrupt the environment as little as possible. They also take into account any local, state, or federal regulations protecting wetlands or historic buildings that may affect or alter the overall project. Landscape architects who work for government agencies do site and landscape work for government buildings, offices, and other public lands like the national parks and forests. Some are also involved in the resto-

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ration of degraded land such as mines and landfills. Depending on the scope of the project, landscape architects may plan the entire site, including the location of buildings, grading, storm water management, and construction, as well as coordinating design teams, construction crews, and other contractors. They spend a lot of time doing research, creating plans and designs, and preparing models and cost estimates in addition to meeting with clients about the proposed project. Mitchell Glass, a project manager for the Chicago Park District, offers this advice to students interested in landscape architecture: “Open your eyes to everything around you. See as many parks and places as you can in towns and cities, and think about what makes them great or what’s missing” (FutureScan Careers for Teens, Working as a Landscape Architect). A degree in landscape architecture, which takes four to five years to earn, is usually necessary for entry into the profession. Required college courses usually include surveying, landscape design and construction, landscape ecology, site design, and urban and regional planning. Other courses include history of landscape architecture, plant and soil science, geology, professional practice, and general management. Many programs are adding courses that address environmental issues as well. Most states require landscape architects to be licensed or registered. Licensing is based on the Landscape Architect Registration Examination (L.A.R.E.), which is sponsored by the Council of Landscape Architectural Registration Boards. Because state licensing requirements are not uniform, landscape architects may not find it easy to transfer their registration from one state to another. However, those who meet the national standards, obtain a degree from an accredited program, serve three years of internship under the supervision of a registered landscape architect, and pass the L.A.R.E can satisfy requirements in most states. Landscape architects need to focus on developing strong technical and communication skills and a knowledge of environmental codes and regulations.

Interior Design Interior designers work with the interior design of homes, public buildings, or offices. They are involved in the planning for new construction as well as facilities in need of renovation. They prepare drawings with specifications concerning the internal layout and placement of furniture, lighting, and other essential structures in accordance with federal, state, and local building codes. Their recommendations must also comply with the Americans with Disabilities Act (ADA) to meet standards for the

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disabled and elderly. An interior designer may work independently or for a design or architectural firm. Stores, hospitals, restaurants, and hotel chains may also have their own interior designers. Designers need to keep up-to-date with new ideas and influences that will affect the choice of furnishings and color schemes. They must be creative and imaginative and be able to communicate their ideas both visually and verbally. Jeff Smoler, the founder of J.E.S. Designs in Northbrook, Illinois, offers this advice on being an interior designer: “Clients can have a hard time visualizing things. We need to have tools to help them. These might be models or 3-D renderings. . . . Listening is very important. Often a client’s real meaning is between the lines. You need to understand what clients need whether they say it or not” (FutureScan Careers for Teens, Working as an Interior Designer). Smoler believes that photography should be a part of the regular interior design curriculum. Because visual appeal is central to the discipline, photographic skills would help promote the architect’s work. A college degree is almost always required for careers in interior design. The recommended course of study for a liberal arts education would include merchandising, business administration, marketing, and psychology, along with training in art. Computer-aided design (CAD) courses are extremely useful as well. The interior designer with computer skills will be able to prepare several versions of space designs and color schemes to help clients visualize and compare different solutions that the architect may offer. While licensing is not mandatory in all states, interior designers need to be knowledgeable about federal, state, and local codes along with the standards for toxicity and flammability for furniture and furnishings.

Civil Engineering Civil engineers design the infrastructure of a city, including roads, bridges, tunnels, and public utilities, based on plans presented by the urban planners who develop a broad overview of a city or region. A civil engineer may have a supervisory or administrative position, teach in a college or university, or work as a consultant. This is a very broad field with many specialties, including structural, urban planning, hydraulic, environmental, construction, transportation, highway, and geotechnical engineering. Beginning civil engineer positions usually require a bachelor’s degree in engineering from an accredited program. Some states require that civil engineers be registered. Registration requirements include a degree from

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an engineering program accredited by the Accreditation Board for Engineering and Technology (ABET), four years of relevant work experience, and a passing grade on two national examinations (Jackson Community College Information Center, Civil Engineer).

Architectural Engineering Architectural engineering combines knowledge from both the architectural and engineering environments. Architectural engineers integrate the aesthetic and creative aspects of architecture with the technical aspects of engineering and are usually experts in one of four areas: (1) the structural system, (2) the mechanical system, (3) the electrical and lighting system, or (4) the engineering and management of a construction project. The structural expert is responsible for the load and its force on the columns, joists, and cables within the structure. The architectural engineer who specializes in mechanical systems is concerned with the thermal conditions within the building—heating, air conditioning, and ventilating systems. Redirecting electrical power from the utility company’s lines and distributing it within a building requires an expertise in the fields of physics and electromagnetic energy. The architectural engineer who specializes in construction engineering and management coordinates the work of all specialists and is responsible for scheduling every aspect of the construction to make sure the project is completed within budget, safely, and on time. There are four steps to follow to become a registered professional engineer. The first step is to obtain a Bachelor of Science degree in architectural engineering from a college or university program accredited by ABET. The second step is to pass the Fundamentals of Engineering (FE) exam. The third step is to complete four years of apprenticeship under the supervision of a registered professional engineer. The final step is to pass the professional engineer (PE) exam. While some schools may offer a degree in architectural engineering, students graduating from a program that is not accredited are not permitted to take the PE exam and consequently are not eligible to become a registered architectural engineer (Belcher, 1996).

Industrial Architecture Those who design the work environments of factories, laboratories, hospitals, corporations, universities, and other institutions are known as

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industrial architects. To design structures that contribute to a smooth workflow, they need to understand the types of jobs and processes that go on within the company for which the work is being contracted. Sometimes the architectural firm will handle the construction work in addition to the building design, or the architect may serve as the team leader on a project, coordinating the work of engineers and contractors. An architect’s job is multifaceted and draws upon many skill areas. Architects need to be able to visualize a concept or idea for a structure and develop plans to help others understand the design. At the same time, they need to take into consideration such factors as spatial relationships, cost, safety, existing structures, historical value, and other elements that affect the design and function of a structure. They must also be able to make their plans fit the needs of the people they are working with and be able to communicate effectively. Many skills are necessary in order to accomplish all these separate tasks and wrap them into a project. High school students interested in pursuing a career in architecture need to take a variety of classes to help them develop broadly based design, creativity, and communication skills. The basic classes offered in high school provide much of the broad experience required for further study. Math skills help with visualizing a concept and structural design. They are also essential for calculating measurements, curves, and geometric balance. English and speech classes foster written and verbal communication skills that are important in presenting proposals to a group or individuals. The social sciences provide an understanding of humanity and the relationship between the economy, people, and society, which many be important in design concepts. Art and drawing classes focus on visually communicating concepts as well as aesthetics. A background in the hard sciences, such as physics, will help with the actual design of a project. Drafting classes focus on the design concepts of the structure itself. Stress loads, strong winds for high structures, and other environmental factors need to be considered as well. There are many areas of specialization in architecture. Those strong in math may focus on structural design, while those best at communications may build on a career as a project manager. Those who enjoy gardening and working with plants and their surroundings may choose to focus on landscape architecture. They would benefit from classes in botany and horticulture. It is also very important for you to acquire computer skills, both general and specialized. Word processing skills will be useful not only in general correspondence with clients, but also for project details, proposals, and presentations. In addition, those who choose to study architecture would

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do well to become familiar with graphics design programs such as AutoCad. These computer programs are often used in the design of a project and can save hours of work that would ordinarily be done by hand. A large part of an architect’s job is creating a visual representation of an idea. Graphics programs help illustrate the concept visually to the clients. Best of all build with your own hands, even if it is just to patch cracked plaster or fix a wobbly chair. . . . Read the how-to books, do the design. . . . Learn from your mistakes as well as your successes. (Allen and Goldberg, p. 117)

Many academic institutions offer programs for high school students so they can find out what it is like to be an architect. They can learn more about what an architects’ work entails. These programs have been initiated largely because “most entering students have a considerable number of misconceptions regarding both the study and practice of architecture. For some, the truth is disappointing; for others, exciting” (High School Preparation, 1997). ASCA publishes a list of such summer programs in Architecture Schools: Special Programs, which is available for $12.95 from ACSA, 1735 New York Avenue NW, Washington DC 20006. In addition to academic course work, look for opportunities to gain practical experience in the field you are interested in. A summer construction job is a very useful experience to the architectural student. Some communities offer Habitat for Humanity programs that would appeal to those who want to learn to build houses. Programs such as these offer students a chance to become involved in all phases of the project, from design, to planning, to construction and completion.

What Parents Can Do Encourage teens to talk about their interests. Help them find ways to expand their understanding of architecture and the variety of specializations within the field. Also, take them to the library and encourage them to read books and magazines on different aspects of architecture. Design magazines such as Architectural Digest: The International Magazine of Interior Design and Architecture are a great way to learn about the latest trends in design and about the field of architecture in general. One of the simplest things parents can do is to introduce their children to television programs that focus on some aspect of architecture. Several programs give in-depth and very interesting insight into the renovation

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of old homes or museums, and even explain how such structures were built. Another way to encourage their interest is to provide a space teenagers can use to build things and make models. Give them a variety of materials to work with so they can experiment with their physical properties and with such principles as strength, flexibility, and distribution of weight. Encourage them to start a portfolio showing the types of projects they have worked on. Sketches and drawings as well as photographs can be included to show the different phases or steps in a building project. Be sure to have them include awards and any other special recognition as part of their portfolio. Consider purchasing a set of Legos or Kapla blocks, invented by Tom van der Bruggen, of France. These are just two examples of the kinds of construction toys that are available for people of all ages. They not only stimulate creativity and imagination, but principles of physics, math, and architecture are implied as well. In addition, when you take family trips, suggest that your son or daughter make notes about the changes in the architecture from one region to another. Have them take photographs of the architectural elements they like. Encourage them to identify the differences in the styles, shapes, and materials used in construction. Also, involve your son or daughter in any remodeling plans you may be considering, beginning with the floor plan and including selection of materials and every other aspect of the project. (Abhau and Carunchio, 1999).

What Schools and Teachers Can Do Many schools offer career nights for students as an introduction to various occupations. They also provide opportunities for students to shadow someone in the field that interests them. Students decide what type of work they would like to explore and then make arrangements to spend a day at work with someone in the field. The experience gives students a glimpse of the working world and lets them see what a typical work day is like. Counselors have many resources available to assist students with career planning. However, since many counselors are overworked, students need to make an effort to seek them out and ask for specific advice. Teachers, especially those in special fields, can serve as resources as well. They may also direct students to individuals who may be looking for interns or who may have openings for summer jobs.

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Try also to look for a mentor you can turn to to give advice and guide you along your career path in the architectural field. Your mentor may also help you become acquainted with others in the profession, thereby giving you a starting point in establishing your own contacts. Having an entry point into the professional world can lead to chances to learn from others in the trade and connections for future employment. With the encouragement of the Ohio Department of Education, Roger Beck, the technology education teacher at Worthington Kilbourne High School in Columbus, Ohio, developed a one-of-a-kind senior-level program for students interested in architecture or other aspects of home construction. This unique experience, known as Home B.A.S.E., engages students in every aspect of building a home. The program provides homes for families who would not be able to afford one on their own. Students design the house, raise money, order the materials, and work with professionals and mentors to construct the house. Students have many opportunities to practice leadership and problem-solving skills as they make decisions about the project. Academic subjects are the same as in traditional classes, but the pace, teaching, and learning strategies are different as students apply their knowledge and skills in practical ways for the benefit of the community. Beck also encourages students to start a portfolio by taking photographs of about fifteen very different buildings and expanding on it by adding notes to describe the type of building and characteristics of the architectural design using the vocabulary of the profession. Look critically at the photographs and decide what you like and don’t like. Then, show them to other people and find out what they think. Getting feedback like this is similar to the experience of presenting ideas to clients and finding out what they like or don’t like about the plans. Mr. Beck also encourages students to “get the experience, even if it’s volunteer. If they want to be an architect, they better build! Be a laborer on a construction site or look for an internship in a related field. Take classes in woodworking and metalworking to get the feel of using various tools and working with different types of materials. Take art classes to learn how to apply the concepts of form and basic composition, and become literate in the field using the terminology that is relevant to the discipline. Immerse yourself in everything possible related to the field of architecture” (2000).

Works Cited Abhau, Marcy, and Pam Carunchio. Home Is Where the Architecture Is . . . 1999. http://whyy.org/aie/new-stuff/NEA_2.html. 25 August 2000.

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Allen, Edward, and Gale Beth Goldberg. Teach Yourself to Build. 1979. Cambridge, MA: MIT Press. American Society of Landscape Architects (ASLA). Landscape Architecture: Defining the Profession. 1999. http://www.alsa.org/. 25 August 2000. Beck, Roger. Personal interview with author in Worthington, Ohio, 24 July 2000. Belcher, M. Clay. What Is Architectural Engineering. 1996. http://www.arch. ukans.edu/wwwvl/whatarce.html. 25 August 2000. FutureScan Careers for Teens. Planning for Architecture School. 1998. Tramp Steamer Media, LLC. http://www.futurescan.com/architect/schools.html. 15 April 1999. FutureScan Careers for Teens. Working as a Landscape Architect. 1999. Tramp Steamer Media, LLC. http://www.futurescan.com/architect/landscape. html. 27 May 1999. FutureScan Careers for Teens. Working as an Interior Designer. 1998. Tramp Steamer Media, LLC. http://www.futurescan.com/architect/interior.html. 15 April 1999. High School Preparation. 1997. Association of Collegiate Schools of Architecture. http://www.acsa-arch.org/studentinfor/highschool_prep.html. 28 June 1999. Holdren, Jennifer M. Personal interview with author in Dublin, Ohio, 8 August 2000. Jackson Community College Information Center. Civil Engineer. N.d. http:// www.jackson.cc.mi.us/Career/Careers/Civil_engineer.html. 25 August 2000. United States, Department of Labor, Bureau of Labor Statistics. Occupational Outlook Handbook, 2000–2001. 2000. Indianapolis: JIST Works.

Resources for Getting Started AIE Structure Kit. Website: http://www.dca.net/ffa-phila/new-stuff/structure. A good resource for use in K–12 classrooms that includes 60 slides showing examples of buildings from around the world, and how they relate to the history and culture of different societies. Hands-on activities are also included to help students understand how these principles work. Butler, Robert Brown. Standard Handbook of Architectural Engineering: A Practical Manual for Architects, Engineers, Contractors and Related Professions and Occupations. 1998. New York: McGraw-Hill Text, 1120 pp. (ISBN: 0– 07913–692–3). $125.00. An excellent resource for professionals that provides solutions for architects faced with problems in structural, mechanical, electrical, lighting, and acoustical design. The only drawback is that the disk included is for P.C. computers and not the MacIntosh. Careers in Architecture Program. Website: http://www.aiaonline.com. Information about education and careers in architecture.

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Cyburbia: Planning and Architecture Internet Resource Center. Website: http:// cyburbia.ap.buffalo.edu/pairc/. A great site with links to resources in urban planning, architecture, and landscape architecture. Domel, August W., Jr. Basic Engineering Calculations for Contractors. 1996. New York: McGraw-Hill, 306 pp. (ISBN: 0–07018–002–4). $34.95. An indispensable tool for contractors, project managers, and other construction professionals. Complex engineering concepts and calculations are simplified and explained in nontechnical terms along with information on stresses, tolerances, and loads. A discussion of materials is included, along with codes, specifications, and recommendations. The Great Buildings Collection Online. Website: http://www.greatbuildings.com/ gbc/buildings.html. Includes illustrations, architectural drawings, 3-D models, and digital video clips of over 750 buildings from around the world and across history. Images and models are provided free to view or walk through. Hannebaum, LeRoy G. Landscape Design: A Practical Approach. 1998. Upper Saddle River, NJ: Prentice-Hall, 460 pp. (ISBN: 0–13163–230–2). $97.00. For landscape design and horticulture students, this text covers the basic principles of plantings and architecture along with chapters that discuss specific landscape problems. Haubenstock, Susan H., and David Joselit. Career Opportunities in Art, 3rd Ed. 2001. New York: Checkmark Books, 191 pp. (ISBN: 0–81604–246–2). $49.50. Career profiles for 80 different jobs in the art field give an overview of what the job is really like, salary range, and employment prospects. The appendix lists the names and addresses of trade, industrial, and vocational schools as well as colleges that offer art-related courses. Also includes information on art scholarships and a bibliography that lists important periodicals in the field. Hill, Richard. Designs and Their Consequences: Architecture and Aesthetics. 1999. New Haven, CT: Yale University Press, 288 pp. (ISBN: 0–30007–948– 6). $30.00. Practical issues related to building such as materials, labor, and more are included. Kevan Shaw Lighting Design. Website: http://www.webcom.com/spider/KRSLDWeb/KRSLD-Home.html. Lighting designer Kevan Shaw, internationally known for his work, provides many interesting articles on museum lighting, display lighting, and more. Machine Design Online. Website: http://www.machinedesign.com/. “The World Wide Web site dedicated to Design Engineering” offers a product locator, back issues of design and product newsletter, links to other design engineering sites, and information on shows and conferences. Mills, Criss B. Designing with Models: A Studio Guide to Making and Using Architectural Design Models. 2000. New York: John Wiley & Sons, 208 pp. (ISBN: 0–47134–589–X). $44.95. This is a complete guide to using models for presenting architectural designs. Includes an introduction to

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the equipment, materials, and model types as well as techniques for assembling and actually using the models. Nuttgens, Patrick J. The Story of Architecture, 2nd Ed. 1997. London: Phaidon Press, 352 pp. (ISBN: 0–71483–616–8). $24.95. A great photographical history of architecture in the modern world (15th–20th centuries). Pierceall, Gregory M. Residential Landscapes: Graphics, Planning and Design. 1994. Prospect Heights, IL: Waveland Press, 468 pp. (ISBN: 0–88133–788–9). $57.95. A guidebook for planning and designing residential landscapes. Ramsey, Charles George, and Harold Reeve Sleeper Architectural Graphic Standards, 10th Ed. Edited by John Ray Hoke. 2000. New York: John Wiley & Sons, 1072 pp. (ISBN: 0–47134–816–3). $250.00. Every architect knows the value of this book, and almost every architecture firm purchases it just to stay current. A CD-ROM is included: However, there is a substantial fee to use it. Reichold, Klaus, Bernhard Graf, and Christopher Wynne. Buildings that Changed the World. 1999. New York: Prestel, 192 pp. (ISBN: 3–79132–150–1). $29.95. A fascinating book for the history and study of architecture. Includes photographs. The Wright Web Guide. Website: http://www.cypgrp.com/flw/. A website that contains pictures of most of Frank Lloyd Wright’s works and designs as well as links to other Wright sites and other architecture links.

Contests

Architext Links Website: http://home.pacific.net.au/~morrisqc/architext/ A comprehensive resource for all kinds of architecture links that includes a special section for architectural competitions from a variety of venues. Art Deadlines List Website: http://www.artdeadlineslist.com/ This monthly e-mail newsletter for artists, art educators, and art students of all ages lists art contests and competitions, art scholarships and grants, juried exhibitions, art jobs, and internships. Available online only, this is an excellent resource for those interested in the fields of art, acting, architecture, film, photography, and writing, and could open the door to a variety of opportunities. Association of Collegiate Schools of Architecture 1735 New York Avenue, NW Washington, DC 20006

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Phone: 202–785–2324 Website: http://www.acsa-arch.org/ The Association of Collegiate Schools of Architecture hosts a variety of design competitions covering several areas within the field of architecture.

Competition Resource Guide Website: http://swhite.me.washington.edu/~me570/ecsel/ResGuide/ TABLES.form.html Contains information on competitions conducted by professional engineering societies, corporations, and government agencies. Most are aimed at students. Young Architects Forum Website: http://www.e-architect.com/pia/yaf/yaf.htm This organization holds an annual design competition for Habitat for Humanity. Professional Associations

Academy of Architecture Arts & Sciences Box 10662 Beverly Hills, CA 90213 Phone: 213–296–6226 Website: http://www.frank.org/academy.htm An organization dedicated to the advancement of architecture, building, construction, design, and engineering, including design competitions and awards programs. American Institute of Architects (AIA) 1735 New York Avenue Washington, DC 20006 Phone: 202–626–7300 Website: http://www.amerarchfoundation.com/ A professional organization for licensed and unlicensed architects which offers continuing education and training and sponsors educational programs with all schools. American Institute of Architecture Students (AIAS) Website: http://www.aiasnatl.org/ Gives students an opportunity to network with professionals.

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American Institute of Building Design 991 Post Road East Westport, CT 06880 Phone: 800–366–2423 Website: http://www.aibd.org/ An educational resource for building designers. Includes codes, ordinances, and more. American Society of Landscape Architects (ASLA) 636 Eye Street NW Washington, DC 20001–3736 Phone: 202–808–2444 Website: http://www.asla.org/asla/ Information on everything relevant to the profession, including building codes and standards, special events, new products, and much more. Association of Professional Landscape Designers 710 East Ogden Avenue, Suite 600 Naperville, Illinois 60563 Phone: 630–579–3268 Website: http://www.apld.com/ An organization devoted to the advance of landscape design as an independent profession. Society of American Registered Architects (SARA) 302 S. Broadway Tarrytown, NY 10591 Phone: 914–631–3600 Website: http://www.sara-national.org/ An organization for architects licensed and registered under the laws of the United States and its territories. Supports programs for students of architecture and sponsors an annual student design competition. Society of Architectural Historians 1365 North Astor Street Chicago, IL 60610 Phone: 312–573–1365 Website: http://www.sah.org/ An organization that promotes scholarly research in the field and the preservation of significant architectural monuments.

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Young Architects Forum 1735 New York Avenue, NW Washington, DC 20006 Phone: 202–626–7300 Website: http://www.e-architect.com/pia/yaf/yaf.htm The Young Architects Forum is a program of the AIA College of Fellows and is organized to address issues of particular importance to recently licensed architects (those registered up to ten years). Holds a design competition for Habitat for Humanity, as one of the goals of the organization is to strengthen the neighborhood as a safe and clean family environment.

Magazines & Newsletters for Architects

American Institute of Architects—AIArchitect American Institute of Architects Press 1735 New York Avenue NW Washington, DC 20006 Phone: 202–626–7300 Focus is on business and legislative trends and other information related to the profession. Architectural Digest Conde´ Nast Publications 6300 Wilshire Boulevard Los Angeles, CA 90048 Phone: 213–965–3700 Website: http://www.archdigest.com/ Articles focus on interior design, art, and antiques. Architectural Lighting One Penn Plaza New York, NY 10119–1198 Phone: 212–714–1300 Website: http://lightforum.com/archlight/index.html Of interest to anyone in the architecture industry involved in the design and specification of electrical lighting. Architectural Record McGraw-Hill, Inc. 2 Penn Plaza

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New York, NY 10121 Phone: 212–512–2000 Website: http://www.archrecord.com/ An incredible magazine packed with information on all aspects of architecture from safety to design issues and more.

Architecture Magazine P.O. Box 2063 Marion, OH 43305 Phone: 800–745–8922 Website: http://www.architecturemag.com/ A popular magazine supported in part by the AIA, it includes articles on architectural design, technology, and the profession in general as well as new product information, book reviews, and calendars of events. Architecture Students Magazine (ASC) Website: http://www.ascmagazine.com/ascmag/contents.html An online magazine for students and professionals with interviews, images, and articles. Building Magazine 360 Dupont Street Toronto, Ontario M5R 1V9 Phone: 416–966–9944 Website: http://www.building.ca/ Canada’s national news magazine focusing on issues of importance to the building development industry. The Civil Engineer Magazine Website: http://www.afcesa.af.mil/Publications/CEMag/default.html Specifically for Air Force civil engineers, this magazine has very practical articles on everything from emergency runway repairs and flood relief efforts to new safety programs. Design Architecture Website: http://www.designarchitecture.com/ An electronic journal of architecture and design on the Internet, updated daily.

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Industrial Fabrics Association International Website: http://www.ifai.com/ Everything related to fabrics and the needs of the interior designer. Landscape Architecture Magazine (LAM) Website: http://www.asla.org/ Everything for the landscape architect. Sprawl Website: http://noel.pd.org/topos/sprawl.html An online journal that covers issues related to information, communications, and transportation technologies in developing metropolitan centers. Traditional Building Magazine 69A Seventh Avenue Brooklyn, New York 11217 Phone: 718–636–0788 Website: http://www.traditional-building.com/ A catalog of suppliers for materials used in the restoration and renovation of older structures in addition to new construction in traditional styles.

4 To Be an Artist

Art by its very nature is a private activity, and at the same time, it is a form of expression and communication. Others might not understand your desire to be an artist and try to discourage you by warning that you can’t make a living at it. In spite of the horror stories about starving artists, if you enjoy art, like the freedom to express yourself, and believe that being an artist is the most important thing you could be, then follow that path! Art is a challenging career field because there is so much competition for jobs. It is very important to know what types of careers an artist has to choose from. Does your love of art point you in toward being a painter, a teacher, a graphics designer, or an illustrator? Have you thought about becoming a museum curator, or finding work in the gallery business? Are computer graphics and website design more to your liking? Is your interest in art mainly a hobby, or do you want to make a living from it? As you can see, there are many options open to you within the art field and many decisions to make. You will need to decide if you would like to work by yourself as a freelancer, work for a company, or perhaps teach art to high school, college, or adult students. Regardless of the career path you choose, you will need to focus your energy on becoming as well prepared as possible. Visual artists use a large variety of materials and media to communicate their ideas, thoughts, and feelings. They may use oils, watercolors, pencils, clay, wood, and other media. Visual artists generally fall into one of two categories—graphic artists and fine artists. Graphic artists generally apply their skills for commercial businesses for the purpose of advertising, de-

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sign, or publishing. Fine artists, such as painters, sculptors, and printmakers, generally create a work of art to express themselves in a particular medium. Cartoon artists and picture book illustrators use an imaginative sense of creativity to communicate the meaning behind words and can be either graphic artists or fine artists. They draw on a background in both the classical and fine arts, and their form of art is quite sophisticated. Generally speaking, if they use computer programs to enhance or refine their characters, they are considered by many to be graphic artists. Graphic artists use print, electronic, and film media to create art. They are usually involved in the design process for promotional displays and in the layout and design of magazines, newspapers, and other publications. Illustrators draw pictures for magazines, books, calendars, greeting cards, and much more. Some specialize in illustrations for medical and scientific publications or for teaching purposes. Fine artists generally work independently and may specialize in an art form. Their work may be displayed in galleries, or exhibited as part of a corporate collection. Community arts festivals are another place artists can display, as well as sell, their works of art. Their services may also be commissioned for special projects. Many artists need to work at another full-time job to be assured a steady income. Giles Lyon, a fine artist in Manhattan, believes that “having an art career is separate from being a good artist. You can be a great artist and not have a great career. And you can have a great career and not be a great artist. A lot of people go to graduate school for fine art to help them make connections and make some in-roads [sic] to the art world. The art world is a place where it’s hard to find mentors” (Paris, 1999). Training for visual artists varies depending upon the specialty. There is no right and wrong way to develop artistic skill. Any kind of art takes practice. While formal training is not absolutely necessary, it may be difficult to become skilled enough to make a living without some training. Art schools provide programs that focus on various art mediums, placing less emphasis on academic programs than art departments in colleges or universities. Those who want to teach art need to obtain a teaching certificate, and those interested in a management or administrative position, or in teaching at a college, need an advanced degree in fine arts or arts administration. The training for medical illustrators is more specifically defined. They must have both a demonstrated artistic ability and knowledge of the medical field, including anatomy, terminology, and surgical procedures. This type of knowledge can be acquired by combining art with premedical courses, followed by a master’s degree in medical illustration. According

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to the Occupational Outlook Handbook, the advanced degree is offered at only five accredited schools in the United States. Computers have given artists a new tool for creative expression. Artists are now able to change or enhance an image through graphic arts software programs, and their skills are highly valued, particularly for special effects in the motion picture industry. Star Wars and Titanic are just two popular movies that relied heavily on computer-generated images and effects. Another box office smash was Toy Story, which was done entirely with computer animation and graphics. Also, have you noticed how video games have changed over the last few years? Not only are they much more sophisticated, but the graphics design has improved as well in the characters, the action, and the movement, as if to draw the player into a world of virtual reality. Although many artists work alone in a studio, the work of art itself is a form of communication to be shared with others. Many groups of artists all over the country gather to talk about art and encourage one another. They also offer each other instruction, information, career assistance, and opportunities to exhibit and sell their work.

What Parents Can Do The most important thing you can do is support their artistic expression of creativity. A teenager who doodles should be encouraged to draw. In fact, one of the most appropriate gifts that parents and relatives can give an aspiring artists is art supplies appropriate to their area of interest— watercolors, paints, brushes, pencils, and sketch journals are some possibilities. Also give them books about artists they like to serve as a source of inspiration as they work toward their goal. Some people have a lot of creativity and a natural ability to draw, or paint, or mold things from clay. Others may need a little encouragement to pursue their talents. In either case, find ways to nurture their talent. Summers are often a good time to do this. Families can visit museums or art galleries on their way to a vacation spot, or spend time at a local arts festival. There may also be opportunities to volunteer at a museum, participate in an internship program, or help the local arts council prepare for an arts festival. Another way to nurture talent is through art classes, many of which are offered in the summer. Art classes give students a chance to concentrate on developing a particular skill or acquiring new techniques or skills.

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Classes can also be a source of constructive feedback as instructors or peers critique their work. Information about art classes and workshops is available from various sources. Some programs are advertised in the newspaper, through community arts councils, or on bulletin boards in the library or state arts agencies. High schools, community arts centers, museums, and colleges may offer classes as well and often send out special announcements. Some classes are exclusively for beginners, while others are mixed. In addition, both the American Artist and The Artist’s Magazine list workshops as a regular feature. Some classes are free or require payment of a small fee. Fee waivers or scholarships are sometimes available for more expensive classes. Encourage your son or daughter to keep a sketch journal for classes or workshops they participate in. They should record the name of the class and when it was held, and keep notes on the techniques and materials used along with their reaction to the class and the topics discussed for future reference. For instance, for a class on painting, it may be useful to note the brand of paint used so that it can be purchased at a later time. Notes for future projects could also be useful. There is wide variation in the way art classes are taught. Each instructor has his or her own style. Some teachers take a very proactive role and provide a considerable amount of instruction and even homework. Others walk around the students’ work areas, observing and offering comments. Still others give detailed critiques. If possible, observe an art class before enrolling your child. Do you like what the students are doing and the teacher’s style? If you find an art teacher your child really likes, you may want to consider arranging private lessons.

What Schools and Teachers Can Do According to Daniel Grant, “The trend in art classes, programs and schools over the past several decades has been to de-emphasize the technical—the how-to stuff—and elevate the conceptual” (Grant, p. 24). Many artists who teach today genuinely try to inspire creativity in young artists to make them aesthetically aware and encourage them to make art in their own way rather than by copying that of the teacher. There may be exceptions to this ideal, however, in classes where an artist is teaching a particular technique. Beginning artists are often inspired by the teacher and molded to conform to a certain style. This changes with time and experience. As the

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artist matures, friends often take the place of the teacher. Many artists find it easier to accept criticism and praise from their peers than from a teacher. The students build up a community among themselves through which they inspire and encourage one another. Raoul Dufy, a French painter and designer, summed it up best when he said, “What I wish to show when I paint is the way I see things with my eyes and in my heart” (quoted in Art Xpo, 1996). Youth Art Month (YAM) is a national program sponsored by the National Art Education Association, the National PTA (Parent Teacher Association), and the Art and Craft Materials Institute. It gives educators and community leaders an opportunity to promote knowledge and awareness of the importance of art. The program is designed to inform the public about the value of art in the lives of young people and to promote quality art programs in education. March is Youth Art Month, and each city and school system celebrates it differently. The theme for YAM 2000 was “Art—Think, Create and Connect.” To find out more about Youth Art Month, ask the art teacher at your school and also watch for announcements in the local newspaper. Another program held in schools across the nation each year is the Arts Recognition and Achievement Program for Students, sponsored by the National PTA. This organization encourages participation in its annual Reflections Program for students in preschool through grade 12. Students create and submit works of art in four areas: literature, musical composition, photography, and the visual arts (which includes drawing, painting, print making, and collage). Each year the program challenges students to create art that supports a particular theme, for example, “It would be really strange if . . .” and “I hold in my hand. . . .” The Reflections Program also encourages parents to recognize their children’s efforts and the creative process they go through to create a work of art. In addition to creating art, either as a hobby or as a business, you may wish to consider other related career paths, either as full-time employment or to supplement your income. Accomplished artists may consider working in a fine-art foundry, printing lithographs, or teaching art classes. Still others may work for local art galleries, give museum tours, or work as graphic designers. Requirements for teaching in the K–12 schools include a bachelor’s degree from a four-year college and a teaching certificate. Those who teach art in an academic setting would be expected to continue to produce and exhibit original art. As one begins to apply to art schools and colleges or to look for places to exhibit one’s work, the art portfolio becomes very critical. The items included can come from any art experience, both in and out of the school

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setting. If the portfolio is being created to send along with a college application, include a variety of works to illustrate the kinds of art you have studied. Contact the art department of each school you plan to apply to. Find out their specific requirements for submitting a portfolio, and follow their instructions exactly. Your portfolio is the most important tool for displaying your artistic abilities. According to Vic Bassman, the Fine Arts Department Chairman at Ladue Horton Watkins High School, “colleges look primarily to see how observant a student is and how well a student is able to articulate the form of something. Colleges also look for a student’s color sense, design sense, visual literacy, and creative abilities” (quoted in Glassberg, 1998). For those interested in going to college to pursue an education in the fine arts or a related arts field, a National Portfolio Day is held throughout the United States and Canada. This event gives students an opportunity to exhibit their work for college representatives, who review it and offer their critique. Students also have a chance to explain their artwork and how they developed their ideas. It is not a competition, and the exhibit can include works in progress. Dates and locations for the NPDA are available online at http://www.npda.org/info1.html. Be patient in developing your career as an artist. Take the time to get the training you feel you need, attend workshops, and enter competitions. Take slides and photographs of your artwork, or enlist the help of a professional photographer to do this. Continue to expand your portfolio, because it shows others what you can do. You will build your career gradually, so take every opportunity possible to gain exposure and recognition. Works Cited Art Xpo. Worldwide Art Xpo for Artists, Artworks and Galleries. 1996. http:// www.artxpo.com/quotes.html. 18 July 2000. Glassberg, Hope. Artistic Students Display Their Talents for College Applications— Students Build Art Portfolios as an Addition to College Applications. 1998. http://www.ladue.k12.mo.us/LHWHS/panorama/9811/artistic.htm. 18 July 2000. Grant, Daniel. How to Start and Succeed as an Artist. 1997. New York: Allworth Press. National Foundation for Advancement in the Arts. Dare to Be Discovered. http:// www.nfaa.org. 1 October 1999. National Portfolio Day Association. NPDA. http://www.npda.org. 28 June 1999. National PTA. National PTA Reflections Program—An Arts Recognition and Achievement Program for Students. 1999. http://www.pta.org/programs/arts/ reflections/reflect.html. 10 July 2000.

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Paris, Wendy. 1999. Job Q & A; Interview with Giles Lyon. http://midcareer. monster.com/quanda/lyon.html. 24 January 2000. Raphael, Cherene. Raising Artistic Children. 1997. Fullerton, CA: Pencil Press. United States, Department of Labor, Bureau of Labor Statistics. Occupational Outlook Handbook, 2000–2001. http://stats.bls.gov/oco/ocos092.htm. 11 January 2001.

Resources for Getting Started American Art Directory, 1999–2000, 57th Ed. 1999. New York: R. R. Bowker, 970 pp. (ISBN: 0–87217–133–7). $270.50. Lists art schools and art associations in the United States (by state and city) and worldwide. American Artist—Directory of Arts Schools and Workshops Issue. Annual. New York: BPI Communications. $3.50. Published each March, this directory includes art schools, summer schools, private art teachers, and other art workshops. Includes name, address, contact information, and details about the courses and whether scholarships are available to help with fees. Art in America—Annual Guide to Galleries, Museums, and Artists. Annual. New York: Brant Publications. $15.00. Published each August, this guide includes over 3,500 museums, galleries, and other display areas along with contact information and type of art exhibited. Briscoe, Mary Helen. Preparing Scientific Illustrations: A Guide to Better Posters, Presentations, and Publications, 2nd Ed. 1996. New York: Springer, 204 pp. (ISBN: 0–38794–581–4). $29.95. This is an informative guide to creating clear, effective, and attractive illustrations for lectures, posters, and journal articles or books. Brown, Clint, Ed. Artist to Artist: Inspiration and Advice from Visual Artists Past and Present. 1998. Corvallis, OR: Jackson Creek Press, 256 pp. (ISBN: 0– 94309–705–3; 0–94309–704–5). $24.95; $14.95. Lessons learned and inspiration from artists past and present. Carbonetti, Jeanne. The Tao of Watercolor: A Revolutionary Approach to the Practice of Painting. 1998. New York: Watson-Guptill Publications, 112 pp. (ISBN: 0–82305–057–2). $19.95. For those who enjoy using watercolors. The author focuses on the flow of watercolor itself and the way in which it directs the painting rather than on the actual drawing. “Cartoonists.” 1996. Chronicle Occupational Brief #W124506IC. Moravia, NY: Chronicle Guidance Publications. $2.25. Part of a larger set of career briefs that describes the working conditions, education, training and other factors related to the profession of a cartoon artist. Perfect for middle and high school students. “Commercial Artists.” Career Discovery Encyclopedia. 1993. Chicago: Ferguson Publishing Co. Part of a larger set that includes job duties, earnings, and

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education and training requirements related to the profession of a commercial artist. “Fine Artists.” 1996. Chronicle Occupational Brief, #W653506IC. Moravia, NY: Chronicle Guidance Publications, $2.25. Part of a larger set of career briefs that describes the working conditions, education, training and other factors related to the profession of fine artist. Perfect for middle and high school students. Goldfarb, Roz. Careers by Design: A Headhunter’s Secrets for Success and Survival in Graphic Design, 2nd Ed. 1997. New York: Allworth Press, 224 pp. (ISBN: 1–88055–957–9). $18.95. Graphic design, advertising, product design, exhibition design, and signage are some of the topics covered here. Graphic Artists Guild. Graphic Artists Guild Handbook: Pricing & Ethical Guidelines, 9th Ed. 1997. New York: Graphic Artists Guild, 313 pp. (ISBN: 0– 93210–209–3). $29.95. Contains information on buying and selling art, pricing surveys, contracts, and laws pertaining to the graphic arts industry. Hadden, Peggy. The Artist’s Guide to New Markets: Opportunities to Show and Sell Art Beyond Galleries. 1998. New York: Allworth Press, 237 pp. (ISBN: 1– 88055–975–7). $18.95. The author offers insight on how artists can build their careers with self-promotion techniques. Harrison, Hazel, Diana Craig, and Emma Biggs. The Encyclopedia of Watercolor Techniques. 1999. Rev. ed. Philadelphia, PA: Running Press, 192 pp. (ISBN: 0–76240–465–5). $24.95. This wonderful book shows how to master all the effects of using watercolors. The techniques are clearly explained and well illustrated. Haubenstock, Susan H., and David Joselit. Career Opportunities in Art, 3rd Ed. 2001. New York: Checkmark Books, 208 pp. (ISBN: 0–81604–245–4; 0– 81604–246–2). $49.50. Career profiles for 80 different jobs in the art field give an overview of what the job is really like, salary range, and employment prospects. The appendix lists names and addresses of trade, industrial, and vocational schools as well as colleges that offer art-related courses. Also includes information on art scholarships and a bibliography that lists important periodicals in the field. “Illustrators, Technical.” 1996. Chronicle Occupational Brief, #W653506IC. Moravia, NY: Chronicle Guidance Publications, $2.25. Part of a larger set that includes job duties, earnings, and education and training requirements related to the profession of an illustrator. Perfect for middle and high school students. Jeffri, Joan, Ed. The Painter Speaks: Artists Discuss Their Experiences and Careers. 1993. Westport, CT: Greenwood Publishing Group, 205 pp. (ISBN: 0– 31328–915–8). $59.95. Narrative interviews with emerging, established, and mature artists about their training, career choices, and development as artists. Kerlow, Isaac Victor. The Art of 3-D Computer Animation and Imaging, 2nd Ed. 2000. New York: John Wiley & Sons, 448 pp. (ISBN: 0–47136–004–X).

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$59.95. This book is an essential tool for anyone interested in visual effects production, computer games, and online interactive multimedia, as it provides step-by-step coverage of the entire process of creating a fully rendered 3-D computer still image or animation, from modeling and rendering to animation and composition. Lang, Cay. Taking the Leap: Building a Career as a Visual Artist. 1998. San Francisco, CA: Chronicle Books, 192 pp. (ISBN: 0–81181–815–2). $13.56. This practical and inspirational guide provides instruction on how to approach art galleries and the steps to becoming an exhibiting artist. “Painters and Sculptors.” In High School to Work: 150 Great Tech Prep Careers, Rev. Ed. 1998. Chicago: Ferguson Publishing Co., 634 pp. (ISBN: 0– 89434–225–8). $29.95. Training in vocational and technical careers along with the school-to-work transition is discussed in this publication. Parker, Jennifer. An Artist’s Resource Book. 1994. Los Angeles: Go Far Press, 194 pp. (ISBN: 0–96443–380–X). $19.95. A listing of over 300 national and international grants, awards, fellowships, residency programs, and facilities for visual artists. Professional Degree Programs in the Visual and Performing Arts, 2001, 6th Rev. Ed. 2000. Lawrenceville, NJ: Peterson’s, 627 pp. (ISBN: 0–76890–442–0). $26.95. This annual publication includes information on accredited U.S. colleges and universities that offer programs in art, music, theater, and dance. Reeves, Diane Lindsey. Career Ideas for Kids Who Like Art. Illustrated by Nancy Bond. 1998. New York: Facts on File, 176 pp. (ISBN: 0–81603–681–0). $18.95. Helpful for students who find it difficult to decide what career to pursue. Lists sets of skills needed for 15 careers in the arts and uses questions to help students discover what they might be good at based on their specific interests. Smith, Constance, and Allen Hollingsworth. Art Marketing 101: A Handbook for the Fine Artist, 2nd Ed. 1997. Penn Valley, CA: Art Networks, 328 pp. (ISBN: 0–94089–932–9). $24.95. This is definitely recommended for anyone who plans to make a living by selling his or her artwork. The authors deal with the basic economics of advertising and marketing (without an agent), building name recognition, and many other topics. Vitali, Julius. The Fine Artist’s Guide to Marketing and Self-Promotion: Innovative Techniques to Build Your Career as an Artist. 1997. New York: Allworth Press, 224 pp. (ISBN: 1–88055–935–8). $18.95. Vitali offers tips for making a successful career in art by using marketing and self-promotion techniques. Who’s Who in American Art 1999–2000, 23rd Ed. 1999. New York: R. R. Bowker, 1525 pp. (ISBN: 0–83796–303–6). $229.00. Biographies of over 11,000 people who contribute to the visual arts in the United States, Canada, and Mexico. Includes artists, administrators, historians, educators, lecturers, collectors, librarians, publishers, critics, consultants, and dealers.

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Groups and Associations for Visual Artists Note: Professional associations for visual artists do not intentionally exclude teens. The only exception to this may be certain groups that accept only professionals from the art industry.

Affiliated Woodcarvers Ltd. P.O. Box 10408 Bettendorf, IA 52722 Phone: 319–359–9684 For those interested in woodcarving as an art, not a craft. Conducts annual meetings, seminars, and competitions. American Association of Cartoon Artists 4101 Lake Boone Trail, Suite 201 Raleigh, NC 27607 Phone: 919–787–5181 Website: http://www.detnews.com/AAEC/AAEC.html For both professional and student cartoonists interested in the profession. American Craft Council (ACC) 72 Spring Street New York, NY 10012 Phone: 212–274–0630 Website: http://www.american-craft.org Promotes crafts using clay, fiber, glass, metal, wood, and other materials for craft fairs across the country. American Institute of Graphic Arts 164 5th Avenue New York, NY 10010 Phone: 212–807–1990 Website: http://www.nyc-arts.org/nyc-arts/name/name_by_borough/ manhattan/lower_a/amgraph.html For anyone in graphic arts. This organization sponsors exhibitions, competitions, publications, seminars, and educational activities. American Society of Artists P.O. Box 1326 Palatine, IL 60078

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Phone: 312–751–2500 Website: http://www.craftshowsusa.com/Promoters/ASA.html This organization maintains a referral, lecture and demonstration, and information service as well as sponsoring art and craft festivals.

American Society of Botanical Artists P.O. Box 943 Wading River, NY 11792–0943 Website: http://huntbot.andrew.cmu.edu/ASBA/ASBotArtists.html Open to anyone interested in botanical art. American Society of Portrait Artists (ASPA) 2781 Zelda Road Montgomery, AL 36106 Phone: 334–270–9020 Website: http://www.asopa.com A support group for portrait artists that also holds competitions. American Watercolor Society (AWS) 47 Fifth Avenue New York, NY 10003 Phone: 212–206–8986 Website: http://www.watercolor-online.com/AWS/ Promotes the art of watercolor. Sponsors conferences and traveling exhibitions, and awards scholarships. Furniture Society Box 18 Free Union, VA 22940 Phone: 804–973–1488 Website: http://www.avenue.org/Arts/Furniture For those interested in the art of furniture making. Glass Art Society (GAS) 1305 Fourth Avenue, Suite 711 Seattle, WA 98101 Phone: 206–382–1305 Website: http://www.glassart.org For glass artists, collectors, and curators interested in promoting the glass arts.

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Graphic Artists Guild (GAG) 90 John Street, Suite 403 New York, NY 10038–3202 Phone: 212–791–3400 Website: http://www.gag.org/ Promotes and protects the economic interests of all persons in the graphics arts industry. International Sculpture Center 401 N. Michigan Avenue, Suite 2200 Chicago, IL 60611 Phone: 312–257–6634 Website: http://www.sculpture.org Promotes the appreciation of sculpture, offers discounts on supplies, and sponsors conferences and other networking sessions. National Cartoonists Society P.O. Box 20267 Columbus Circle Station New York, NY 10023 Phone: 212–627–1550 Website: http://www.reuben.org/ For those interested in the art and promotion of cartooning. National Council on Education for the Ceramic Arts (NCECA) P.O. Box 158 Brandon, OR 97411 Phone: 503–347–4394 Website: http://www2.tamucc.edu/nceca/ Promotes education in the ceramic arts, sponsors meetings, demonstrations, and exhibits. Sculptors Guild The Soho Building 110 Greene Street New York, NY 10012 Phone: 212–431–5669 Website: http://www.sculptorsguild.org/ A group dedicated to providing free exhibition space for sculptors.

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Society of Illustrators (SI) 128 East 63rd Street New York, NY 10021 Phone: 212–838–2560 Website: http://www.societyillustrators.org/membership/membership. html A professional society of illustrators and art directors that sponsors contests and traveling exhibitions. Awards annual scholarships to students. Society of Publication Designers 60 East 42nd Street, Suite 721 New York, NY 10165–1416 Phone: 212–983–8585 Website: http://www.spd.org/ For art directors and others in the role of visual journalist and partner in the editorial process.

Magazines and Online Publications for Visual Artists that Accept Work from Teens

Merlyn’s Pen: Fiction, Essays, and Poems by America’s Teens P.O. Box 910 East Greenwich, RI 02818 Phone: 800–247–2027 Website: http://www.merlynspen.com A magazine for teens in grades 6–12 and for teachers as well. Includes stories, poems, and essays written by teens. Also available online through its website. The World Art Expo for Artists, Artworks and Galleries Website: http://www.artxpo.com/newsletter.html Accepts work from any artist, regardless of age. Lists artists by name and provides samples of their work. Also has a featured artist of the day. The World of Watercolor Website: http://worldofwatercolor.com/gallinfo.htm An online magazine for watercolor and acrylic artists that accepts work from the professional/instructor, nonprofessional, and student artist. There is no charge for students in grades K–12.

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Contests

Art Deadlines List Website: http://www.artdeadlineslist.com/ This monthly e-mail newsletter for artists, art educators, and art students of all ages lists art contests and competitions, art scholarships and grants, juried exhibitions, art jobs, and internships. Available online only, it is an excellent resource for those interested in the fields of art, acting, architecture, film, photography, and writing, and could open the door to a variety of opportunities. Creativenue Website: http://www.creativenue.com Monthly contests open to all artists and writers regardless of experience. Categories identified as “Kids-n-Teens” require parental permission to enter. Visual art entries include digital art, the traditional media of drawings, paintings, mixed media, or printmaking, and photography. The Society of Publication Designers Website: http://www.spd.org/original/competitions/competitions.html Sponsors an annual competition that includes design, illustration, and photography. This year’s categories were entertainment, sports, and travel. Contact the Society for specific entry information. Related Opportunities

National Foundation for Advancement in the Arts National Headquarters 800 Brickell Avenue, Suite 500 Miami, FL 33131 Phone: 800–970–2787 Provides information on the ARTS Recognition & Talent Search, for high school seniors who demonstrate excellence in dance, music, jazz, voice, theater, photography, visual arts, and writing. Professional Associations

American Institute of Graphic Arts (AIGA) 164 Fifth Avenue New York, NY 10010

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Phone: 212–807–1990 For graphics designers, art directors, illustrators, and others involved in the printing and graphics fields.

American Society of Botanical Artists P.O. Box 943 Wading River, NY 11792–0943 Intended for those interested in botanical art and history, this group promotes public awareness and appreciation for the art, develops educational programs, and holds competitions. American Society of Furniture Designers (ASFD) P.O. Box 2688 High Point, NC 27261 Phone: 910–576–1273 For professionals, teachers, students, and suppliers. This organization exists to promote the profession of furniture design and conducts educational courses for those planning to enter the field. American Society of Portrait Artists (ASPA) 2781 Zelda Road Montgomery, AL 36106 Phone: 334–270–9020 Artists exchange ideas and techniques through this association, which also holds competitions. Americans for the Arts/Institute for Community Development and the Arts 1000 Vermont Avenue, NW, 12th Floor Washington, DC 20005 Phone: 202–371–2830 Website: http://www.artsusa.org A national advocacy agency representing the interests of local arts agencies in the United States. It also publishes reports and studies and promotes arts and arts education. Association of Medical Illustrators 1819 Peachtree Street NE, Suite 712 Atlanta, GA 30309 Phone: 770–454–7933 Website: http://medical-illustrators.org/

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A group of professionals dedicated to the creation and delivery of accurate and aesthetic presentations of medical information to the healthcare community.

Black Gold Group 223 Parker Street, NE Washington, DC 20002 Phone: 202–667–0355 This group provides support and technical assistance to African American artists. Enabled Artists United (EAU) Box 178 Dobbins, CA 95935 Phone: 916–692–1581 Promotes partnerships between artists with and without disabilities, assists with the implementation of the Americans with Disabilities Act, and provides consultation on accessibility of art events and programs. Graphic Artists Guild (GAG) 90 John Street, Suite 403 New York, NY 10038 Phone: 800–500–2672 A union that protects the economic interests of its members. National Association of Schools of Art and Design (NASAD) 11250 Roger Bacon Drive, Suite 21 Reston, VA 20190 Phone: 703–437–0700 The accrediting agency for educational programs in the visual arts and design. Society of Illustrators (SI) 128 E. 63rd Street New York, NY 10021 Phone: 212–838–2560 A professional society for illustrators and art directors.

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Society of Publication Designers 60 E. 42nd Street New York, NY 10165 Phone: 212–983–8585 Website: http://www.spd.org/ Addresses all concerns of the trade. Visual Artists and Galleries Association 521 Fifth Avenue, Suite 800 New York, NY 10017 Phone: 212–806–0616 An organization that represents the rights of artists worldwide.

Magazines & Newsletters for Visual Artists

AIGA Journal of Graphic Design American Institute of Graphic Arts (AIGA) 164 5th Avenue New York, NY 10010 Phone: 212–807–1990 Includes association news, calendars of events, and book reviews. Available bimonthly and quarterly. American Artist BPI Communications, Inc. 1515 Broadway, 11th Floor New York, NY 10036 Phone: 800–745–8922 Website: http://www.arttalk.com/AmericanArtist/american-artist.htm An art and educational journal. American Craft American Craft Council 72 Spring Street New York, NY 10012 Phone: 212–274–0630 Website: http://www.craftcouncil.org/html/magazine/magazine.shtml Artist profiles and exhibition reviews are the principal features in each issue.

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Art and Artists Auction Guild 250 W. 57th Street New York, NY 10019 Phone: 212–582–5633 Art Bulletin College Art Association 275 Seventh Avenue New York, NY 10001 Phone: 212–691–1051 Art Business News Myers Publishing Co. Box 3123 Stamford, CT 06905 Phone: 203–356–1051 Art Calendar P.O. Box 1040 Sterling, VA 22066 Phone: 703–430–6610 Art Direction 10 E. 39th Street New York, NY 10016 Phone: 212–889–6500 Art Journal College Art Association 275 Seventh Avenue New York, NY 10001 Phone: 212–691–1051 Art Lovers Art American Society of Artists P.O. Box 1326 Palatine, IL 60078 Phone: 312–751–2500

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Art Now Gallery Guide Art Now, Inc. P.O. Box 888 Vineland, NJ 08360 Phone: 201–322–8333 Art Paper Visual Art Information Service, #206 2402 University Avenue West St. Paul, MN 55114 Phone: 612–645–5542 Art World Arts Review, Inc. 55 Wheatley Road Glen Head, NY 11545 Phone: 516–626–0914 The Artist’s Magazine 1507 Dana Avenue Cincinnati, OH 45207–1005 Phone: 513–531–2690 Website: http://artistsmagazine.com/ Its objective is to teach beginning, intermediate, and advanced artists how to paint and draw better, and how to sell their work professionally by guiding readers through the creative process step by step. ARTnews Magazine Art News Associates 48 W. 38th Street New York, NY 10018–6238 Phone: 212–398–1690 Art, trends, and more about international art. Arts & Crafts Magazine Website: http://www.enews.com For those who enjoy crafts of all kinds, this magazine includes a variety of projects, designs, how-to articles, and patterns. Arts Magazine 561 Broadway New York, NY 10012

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ARTWEEK P.O. Box 26340 San Jose, CA 95159–6340 Phone: 408–248–7555 Fairs and Festivals in the Northeast Arts Extension Service, Division of Continuing Education 604 Goodell University of Massachusetts Amherst, MA 01003 Phone: 413–545–2360 Fairs and Festivals in the Southeast Arts Extension Service, Division of Continuing Education 604 Goodell University of Massachusetts Amherst, MA 01003 Phone: 413–545–2360 FineArt Forum Website: http://www.fineartforum.org This resource is an online publication only and is intended to service and cover the entire fine and performing arts field while exploring the relationship between the arts, sciences, and technology. GAS Journal Glass Art Society 1305 Fourth Avenue, Suite 711 Seattle, WA 98101 Phone: 206–382–1305 Graphic Arts Monthly Cahners Publishing Co. 245 W. 17th Street New York, NY 10011 Phone: 212–463–6828

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For anyone interested in commercial printing and graphic arts, including digital technology.

Graphic Design: USA Kaye Publishing 1556 3rd Avenue, Suite 405 New York, NY 10128 Phone: 212–534–5500 Information on creating and producing advertising art. Journal of Aesthetics and Art Criticism 114 N. Murray Street Madison, WI 53715 Phone: 608–262–4952 Master Drawing 29 E. 36th Street New York, NY 10016 Phone: 212–685–0008 National Arts Guide 209 Lake Shore Drive Chicago, IL 60611 Phone: 312–642–9001 NCECA Journal National Council on Education for the Ceramic Arts P.O. Box 158 Bandon, OR 97411 Phone: 800–996–2322 The Portrait American Society of Portrait Artists P.O. Box 230216 Montgomery, AL 36123 Phone: 334–270–9020 The Portrait Signature American Society of Portrait Artists (ASPA) 2781 Zelda Road

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Montgomery, AL 36106 Phone: 334–270–9020

Sculpture International Sculpture Center 401 N. Michigan Avenue, Suite 2200 Chicago, IL 60611 Phone: 312–537–6634 2wice 2wice, Inc. 145 Central Park W. New York, NY 10023 Phone: 212–228–0540 For the visual and performing arts. Woman’s Art Journal 1711 Harris Road Philadelphia, PA 19118 Phone: 215–233–0639 Women in the Arts Newsletter 1175 York Avenue New York, NY 10021 Phone: 212–751–1915 World of Watercolor P.O. Box 292179 Los Angeles, CA 90029

5 To Be a Dancer

Dance is a very strenuous activity due to the physical demands on the body and the schedule of classes, rehearsals, and performances. Even so, a career as a professional dancer is a dream worth pursuing, if you really have the desire. There are those who may try to discourage you from following through, as they may have heard myths about what it is like to be a dancer. However, Daniel Nagrin, author of How to Dance Forever: Surviving Against the Odds, says it best when he reminds us, “With wisdom, knowledge of the body, a zest for life and canniness, one can dance forever” (1988, p. 16). Dancing is an exciting, vibrant, and creative form of art. Performed individually or with a group, the art of dance is a creative expression through the use of body movement. There are many dance forms to choose from, including classical ballet, folk, tap, jazz, and modern dance, along with variations that incorporate the basics of each of these styles, such as musical comedy, disco, and ice dancing. While some individuals decide to specialize, versatility is important as well because dance complements and enhances operas, musicals, shows made for television, music videos, and television commercials. Ballet is one of the oldest forms of dance and is also the foundation for other types of dance. According to Michael Harkavy, “Natural talent is the primary requisite for a career in dancing. The training process begins early and never stops” (1999, p. 271). However, some people have become good dancers through sheer perseverance and ambition. Although many children begin at the age of five, “nine is favored as a starting point for ballet so that the body gets accustomed to being in fine dancing form.

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Ballet is the best training for posture, developing of leg and foot, elevation, and jumping” (Denis, p. 6). According to Karen Bell, Chair of the Department of Dance at The Ohio State University, the optimal time to begin serious training in other forms is at age nine or ten. However, motivated students can begin training in their teens and still be very successful (2000). Dance is a good discipline for life. It helps students get organized, and teaches them to be on time, to balance schedules, and to think quickly. The organizational skills and creative thinking can even help with their schoolwork (Bell, 2000). Gifted students in dance may have an opportunity to attend a magnet school in the performing arts, where they can study with master teachers. Career magnet high schools concentrate on all aspects of the performing arts: theater, dance, music, and art. These schools generally offer highly specialized training with professionals, and the curriculum has state-ofthe art courses that are very rigorous. Students are prepared for college and for specific occupations based on the specialty of the particular school. To be considered for admission, students must pass an audition and must have acceptable attendance and academic achievement. A list of magnet schools is available from the department of education in each state. Dancers who have had opportunities to perform through competitions or recitals or at community festivals acquire a level of confidence that helps when they have to go through the audition process. Auditions are a very stressful time and can be quite frightening. Dancers may be tense because they are trying to give their best performance in hopes of being selected. Jane Donovan, in Good Guys Do Win, offers an inside view of the criteria often used to assess prospective dancers. She notes on her website that “being selected is usually about being the best person for the position and not always about being the best dancer” (2000). Choreographers often look for someone who is easy to work with, well prepared, highly motivated, and able to take instruction and criticism well. The “audition personality” is a key factor in the process in addition to actual performance skills. Until recently, dance was taught as part of physical education, but there is a growing emphasis on incorporating dance into the total educational curriculum. According to Overby, “Dance education programs include opportunities for the development of: • Critical thinking and analytical skills • Cooperation and teamwork

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Self-expression and self-esteem Organization and problem solving Cultural literacy; and Communicating emotions through movement.” (1992)

Michael Kelly Bruce, Associate Dean of the College of the Arts at The Ohio State University, and Karen Bell offer a strong word of caution to those involved in dance study. Many students whose training has been confined to ballet and/or jazz in the studio setting suffer from studio syndrome. While these two dance forms provide a great foundation for other styles, dancers need exposure to other, more modern-based programs as well (Bell, 2000; Bruce, 2000). According to Bruce, “If the study of ballet is not taken with the proper understanding, and if the focus of the training is more on style than on technique, it becomes an imposed style rather than a natural style” (2000). Students need exposure to modern dance techniques, aesthetics, and opportunities for improvisation, which will allow each individual endless creativity and innovation (Bell, 2000). Hara found that the spontaneity and joyful movement characteristic of young dancers are lost somewhere along the way because they get “trained out of us” (2000). Modern and improvisational techniques have unique qualities that are not taught in other dance forms and can inspire students to return to the joy of creative expression and to gain confidence in their expressive art form. Modern dance is a distinct art form of the twentieth century. While early training is important for any form of dance, modern dance does not require as many years of training. Not everyone comes from a purely dance background. Some have studied to become actors or worked hard to become gymnasts and decide to make the transition to dance. The skills they bring to dance as a result of this training will help them ease into and adapt to a new set of skills. “The possibilities are not limited if there is a talent and a drive” (Bruce, 2000). Regardless of the style chosen, dancers need to be self-motivated, self-disciplined, and dedicated in order to continually improve their skills and fitness. All dancers must be in excellent health. Dancing is physically demanding and requires long hours of practice, and while it is work, it is also fun and a great way to stay in shape. Dancers need strong feet, ankles, legs, and back. They also need good eyesight and hearing, along with good coordination, agility, and a sense of rhythm. A healthy approach to nutrition and good eating habits are essential for overall good health and fitness. Dancers regularly attend classes and practice several times a week. Pro-

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fessional dancers continue to take classes and practice in order to learn new dances and keep in shape. Lourdes Lopez, formerly a principal dancer with New York City Ballet, notes that “the purpose of a professional class is often very different from an advanced class: Professionals are not in class to learn how to do the steps, but to keep their bodies finely tuned” (quoted in Quilter, p. 41). Michael Vernon, a teacher and choreographer, thinks of himself more as a coach in professional dance classes. “My professional class is a little like a coaching class. It’s geared toward giving dancers style. When you have dancers with less knowledge, you have to show things more carefully. With professionals, you demonstrate once to the front and say, ‘Let’s go!’ ” (quoted in Quilter, p. 42). The dance company’s artistic director determines how often practices are held and how many shows the dance company will perform each year. The amount of time spent in class and in practice will depend on this schedule. The only way to learn how to dance is to do it. It’s not something you can learn from a book, although many well-illustrated texts showing the proper techniques and form can be extremely helpful. Look for opportunities to become involved in performing and body movement. Gymnastics, tumbling, and acting are some of the extracurricular activities that utilize skills similar to those used by dancers. Take every opportunity to perform for others. Become involved in theater productions, and audition for acting parts or specifically those that require dancing. If a nearby college or university has a dance program, it may offer summer or evening classes that are open to high school students. This is an excellent chance to find out what dance is like in an academic institution. The career of a dancer looks glamorous, but somewhere along the line, you’ll need to make a conscious decision about whether or not to pursue it as a career. Performing arts schools or conservatories are more narrowly focused in their curriculum emphasizing dance technique and performance. Most of those accepted are exceptional dancers with years of training or students who have attended a magnet school that provides training in the performing arts. As an alternative to attending a conservatory, a liberal arts program at a college or university is recommended for the majority of dancers. These programs provide a well-rounded education that includes both dance and academic coursework. Dance at a university program will include dance history, notation, composition, music, rhythmic analysis, choreography, movement analysis, and much more. The academic side of the curriculum will challenge and stretch you in ways that make it possible for you to grow as a person both in knowledge and experience. Rachel Bress, a recent student at Northwestern University, credits the balance she has achieved between academic and artistic life

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for shaping her dancing. As she said in an interview in Dance Spirit Magazine, “I have so many palettes to draw from. I’m influenced by friends who studied economics and physics, as well as by classes I took in history and child development. I appreciate that my dancing has a dimension that comes from outside my art world” (quoted in Bress, 2000). Bruce has this advice to offer prospective college students: “Before you pick a college, find out about the program ahead of time and go there. Make sure you see what the place is like and try to see classes in session or contact people ahead of time to arrange to watch a performance. This gives you a good idea of what you’ll be doing and what you’ll look like four years from now” (2000). There are related careers in dance some students may want to consider as an alternative to professional dancing, or even ones that they could pursue after completing a professional dance career. The transition to occupations as a choreographer, dance critic, dance instructor or teacher, dance notator, or dance therapist comes naturally because all of these professions require the knowledge and skills of a dancer. Those who desire to become dance teachers need a bachelor’s degree and teaching certificate from a four-year college or university. Prospective teachers need to take the required courses both in dance and education to become a dance teacher in addition to having the skills to demonstrate and teach techniques. Check with your state department of education for requirements for K–12 education. An arts education database that contains information on arts education, legislation, and policies in the various states is available online at http://www.ncsl.org/programs/arts/artsed/ artedhom.htm. It is searchable by topic and state. According to the American Dance Therapy Association, dance therapy is “the psychotherapeutic use of movement as a process that furthers the emotional, cognitive, social and physical integration of the individual. Dance/movement therapists . . . help their clients improve selfesteem and body image, develop effective communication skills and relationships, expand their movement vocabulary, gain insight into patterns of behavior, as well as create new options for coping with problems . . . using movement as the primary medium for observation, assessment, treatment and intervention.” (2000). To become a dance therapist, a liberal arts education and extensive dance experience are required, along with coursework in psychology. Training as a dance therapist is obtained at the graduate level in a program approved by the American Dance Therapy Association. Upon completion, the student receives a D.T.R. (Dance Therapist Registered) credential. It is possible to obtain this credential with a related master’s degree, specific dance therapy courses, and

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supervised internships. For further information about the certification, write to the American Dance Therapy Association (ADTA), 2000 Century Plaza, Suite 108, 10632 Little Patuxent Parkway, Columbia, Maryland 21044–3263.

What Parents Can Do In dance, training is everything. Recognize that your son or daughter will benefit from studying different dance forms, rather than exclusively studying ballet or jazz year after year. By experiencing other forms, they will broaden their opportunities for future growth and options. In addition, provide opportunities for them to study with different teachers. Staying with the same instructor or choreographer for years may be limiting because “if all you can do is what you’ve been doing, it can be difficult to widen your movement vocabulary” (Bruce, 2000). Also, create a dialog with your son or daughter about the field as an art form and all that it entails. Also, look for opportunities for teenagers to perform in community theater productions, community centers, in the schools, or in arts festivals. Encourage them to volunteer to teach a dance class in the summertime through the community arts agency. Outside the school setting, supplement their training with classes and workshops that will help them develop skills and learn new styles and techniques. Look for classes taught by different instructors, teachers, and dancers. Each will emphasize a different aspect of dance in their teaching. Some may concentrate more on footwork, and others may move a little too fast in teaching new steps and still others may incorporate more improvisation. Dance companies often hold summer training programs, and this is an excellent opportunity to get to know some professional dancers and to get extra training and experience. Occasionally participants in these programs are admitted to the dance company’s regular full-time training program. Dance companies can be contacted for information on internships and other training programs. Trade magazines such as Backstage, Variety, and Dance Spirit Magazine can be another useful source. Also, take your son or daughter to the library and encourage them to learn as much as possible about dance styles, techniques, choreography, and individual artists by reading or through videos. Learning about a given choreographer’s style would give dancers a feel for what he or she would look for in an audition. In addition, attend musicals, plays, ballets, contemporary dance performances, and stage productions as a family so

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that your son or daughter can watch others dance and perform. Dance festivals offer students an excellent opportunity to network with and learn from professionals by taking master classes. Participants learn new skills and receive constructive feedback about their performance. The American Dance Festival is particularly good for high school dancers. Jacob’s Pillow and the Bates Festival are popular as well.

What Schools and Teachers Can Do Schools can provide many creative outlets and a range of diversified experiences for students interested in a career in the arts. Students can perform in arts exhibitions at local schools and audition for parts in theater productions, especially those that require dancing. Another way schools can assist students with career planning is by providing opportunities for shadowing which allows students to be directly involved with their community and the career field they are interested in. Students make arrangements, through parents or perhaps a neighbor, to spend the day at work with someone in the field of their choice. The experience gives students a glimpse of the working world and lets them see what a typical work day is like. Someone interested in becoming a dancer might be able to spend a day with a local dance company or observe classes at a nearby university. Teachers can also help locate dance contests and festivals and encourage students to participate. The National Foundation for Advancement in the Arts sponsors the ARTS Recognition and Talent Search, a national program designed to identify, recognize, and encourage talented high school seniors ages 17 and 18 who are artists. This program is intended for those who demonstrate excellence in dance, music, jazz, voice, theater, photography, visual arts, and writing. Teachers are very influential in the development of the student as a dancer and as a person. Constructive feedback and opportunities for growth are essential for the success of the student.

Works Cited American Dance Therapy Association. Educational Information. 2000. http:// www.adta.org/education.html. 12 September 2000. Bell, Karen Ann. Personal interview with author in Columbus, Ohio. 22 August 2000.

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Bress, Joan. “The Non-Dance Major: Why You Don’t Have to Major in Dance to Make a Successful Career of It.” Dance Spirit Magazine, September 2000, pp. 103–107. Bruce, Michael Kelly. Personal interview with author in Columbus, Ohio. 31 August 2000. Denis, Paul. Opportunities in the Dance. 1989. Lincolnwood, IL: VGM Career Hoirzons. Donovan, Jane. Good Guys Do Win: When Is Perfect Technique Not Enough? http://www.danceart.com/t3d/goodguys.html. 12 September 2000. Hara, Kirstin Showalter. “Spontaneous Spirit: The Advantages of Teaching Modern Dance to Young Dancers.” Dance Teacher 22, no. 7 (2000): 30. Harkavy, Michael. 101 Careers: A Guide to the Fastest-Growing Opportunities, 2nd Ed. 1999. New York: John Wiley & Sons. Nagrin, Daniel. How to Dance Forever: Surviving Against the Odds. New York: Quill, 1988. National Foundation for Advancement in the Arts. Dare to Be Discovered. http:// www.nfaa.org. 1 October 1999. Overby, Lynnette Young. Status of Dance in Education. 1992. ERIC Digest, ED348368. http://www.ed.gov/databases/ERIC–Digests/ed348368.html. 25 August 2000. Quilter, Deborah. “Perfecting Professional Polish.” Dance Magazine, September 2000, pp. 41–43.

Resources for Getting Started Chmelar, Robin D., and Sally S. Fitt. Diet for Dancers: A Complete Guide to Nutrition and Weight Control. 1995. Pennington, NJ: Princeton Book Co., 164 pp. (ISBN: 0–91662–289–4). $16.95. Offers guidelines for dancers on how to maintain a healthy weight and achieve a healthy lifestyle. Cooper, Iver. Action Stroke Dance Notation. 1997. Website: http://www. geocities.com/Broadway/Stage/2806/. 28 August 2000. An online guide that illustrates the dance notation system and the philosophy of the Action Stroke Dance Notation, along with the basic components of an ASDN dance score. Drill Team Exchange. Website: http://drillteamexchange.com/dancedrillcheer. htm. A comprehensive site for dance team, drill team, color guard, cheerleading, and dance groups. Feldman, Anita. Inside Tap: Technique and Improvisation for Today’s Tap Dancer. 1996. Pennington, NJ: Princeton Book Co., 219 pp. (ISBN: 0–87127– 199–0). $18.95. Includes the basics of tap along with in-depth explanations of rhythm, dynamics, syncopation, accents, practice exercises, and more.

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Fitt, Sally Sevey. Dance Kinesiology, 2nd Ed. 1996. New York: Schirmer Books, 485 pp. (ISBN: 0–02864–507–3). $50.95. The author discusses the physiology of dancers, prevention of dance injuries, applications of dance kinesiology, and other topics. Forster, Stephanie, Ed. Stern’s Directory 2001, 44th Ed. 2000. New York: Dance Magazine (ISBN: 0–93003–632–8). $70.00. Published annually, this is a complete directory for everything and everyone in the dance world. Includes contact information for performers and performing groups, merchandisers, study programs, festivals, and much more. Franklin, Eric. Dynamic Alignment Through Imagery. 1997. Champaign, IL: Human Kinetics, 301 pp. (ISBN: 0–87322–475–2). $24.95. Illustrations of exercises that show how to use imaging techniques to improve posture and alignment and to relieve tension. Gray, Acia M. The Souls of Your Feet—A Tap Dance Guidebook for Rhythm Explorers. 1998. Austin, TX: Grand Weaver’s Publishing, 186 pp. (ISBN: 0–96674–450–0). $14.95. This comprehensive resource for anyone interested in tap dance includes information on tap steps and rhythms, floors, shoes, and other topics. Hamilton, Linda H. Advice for Dancers: Emotional Counsel and Practical Strategies. 1998. San Francisco, CA: Jossey-Bass, 256 pp. (ISBN: 0–78794–043–7). $26.00. Primarily for ballet dancers. The author provides commonsense advice for dealing with the emotional struggles of the audition process along with other useful information. Hanna, Judith Lynne. Partnering Dance and Education: Intelligent Moves for Changing Times. 1999. Champaign, IL: Human Kinetics, 255 pp. (ISBN: 0– 88011–511–4). $41.75. Perfect for the dance teacher in academic and studio settings. Haubenstock, Susan H., and David Joselit. Career Opportunities in Art, 3rd Ed. 2001. New York: Checkmark Books, 208 pp. (ISBN: 0–8160–246–2). $49.50. Career profiles for 80 different jobs in the art field give an overview of what the job is really like, salary range, and employment prospects. The appendix lists names and addresses of trade, industrial, and vocational schools as well as colleges that offer art-related courses. Also includes information on art scholarships and a bibliography that lists important periodicals in the field. Jones, Mark. Dancer’s Resource: The Watson-Guptill Guide to Workshops, Conferences, Artists’ Colonies, and Academic Programs. 2000. New York: WatsonGuptill Publications, 192 pp. (ISBN: 0–82307–656–3). $19.95. Part of the “Getting Your Act Together” series, this is a guide to schools, grants, fellowships, and job opportunities for anyone interested in a career as a dancer or choreographer. Kraines, Minda Goodman, and Esther Pryor. Jump into Jazz: A Primer for the Beginning Jazz Dance Student, 3rd Ed. Illustrated by Kristin Mount. 1996.

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Mountain View, CA: Mayfield Publishing, 208 pp. (ISBN: 1–55934–549– 7). $15.95. A history of jazz along with advice on proper nutrition for dancers, classroom etiquette, injury prevention, and more. McGreevy-Nichols, Susan, and Helene Scheff. Building Dances: A Guide to Putting Movements Together. 1995. Champaign, IL: Human Kinetics, 128 pp. (ISBN: 0–87322–573–2). $28.00. Tips on moves for the dancer and choreographer. Phillips, Pat. Music, Dance and Theater Scholarships: A Complete Guide. 1995. Cleveland, OH: Conway Greene Pub. Co. 493 pp. (ISBN: 1–88466–907– 7) $20.95. Includes college and professional programs that offer individual scholarships and awards including application requirements and more. Professional Degree Programs in the Visual and Performing Arts, 2001, 6th Rev. Ed. 2000. Lawrenceville, N.J: Peterson’s, 627 pp. (ISBN: 0–76890–442–0). $26.95. This annual publication includes information on accredited U.S. colleges and universities that offer programs in art, music, theater, and dance. Schneer, Georgette. Movement Improvisation: In the Words of a Teacher and Her Students. 1994. Champaign, IL: Human Kinetics, 199 pp. (ISBN: 0– 87322–530–9). $22.00. Perfect for dance instructors and teachers. This book describes how to teach expressive movement, the many benefits of movement improvisation, the principles involved in teaching it, and the techniques used to stimulate it. Schrader, Constance A. A Sense of Dance: Exploring Your Movement Potential. 1997. Champaign, IL: Human Kinetics, 186 pp. (ISBN: 0–87322–476– 0). $24.95. The author approaches dance with an emphasis on selfawareness and creative self-expression through movement to instill confidence in the beginning student. Topaz, Muriel, and Carole J. Everett. Guide to Performing Arts Programs: Profiles of over 600 Colleges, High Schools, and Summer Programs. 1998. New York: Random House, 638 pp. (ISBN: 0–37575–095–9). $24.95. A guide to colleges, high schools, and summer programs in dance, drama, and music. Warren, Gretchen Ward. Classical Ballet Technique. 1990. Tampa: University of South Florida Press, 395 pp. (ISBN: 0–81300–945–6). $39.95. Includes photographs showing specific proper techniques along with photographs of common errors.

Contests

Applause Talent Presentations P.O. Box 13347 Hamilton, OH 45013 Phone: 513–844–6788 Website: http://www.applausetalent.com

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Categories: Acrobatics, tumbling, ballet, baton, character, clogging, drill/dance team, hip hop, jazz, lyrical, modern, novelty, open, pointe, pom pon, production, song and dance, tap, vocal.

Broadway Magic Dance & Talent Contest 351 N. Walnut Road, Suite 3 Turlock, CA 95380 Phone: 209–668–7969 Website: http://www.broadwaymagictalent.com/ Categories include tap, acrobatic, ballet, jazz, hip-hop, lyrical, baton, pom pon, cheerleading, vocal, song and dance, and others. Participants can be solo, duet/trio, small groups (4–9 dancers), large groups (10 or more dancers), and production (15 dancers minimum). More information and registration forms are available on the website. Competition Central Website: http://www.danceronline.com/htm/compcentnew/comp1.html A central site for information on performing arts dance competitions for children and young adults in the United States. Dance Champs 418 NW Briarcliff Court Kansas City, MO 64116 Phone: 816–452–1415 Website: http://www.dancechamps.com Categories: Acrobatics, ballet, character, clogging, jazz, lyrical, open, pom pon, pointe, song and dance, student choreography, tap, teacher spotlight, “just for fun.” Headliners Performing Arts Competition Headliners 350 Route 46 Rockaway, NJ 07866 Phone: 973–625–2355 Website: http://www.boroplaza.com/headliners Categories: Acrobatics, tumbling, ballet, baton, character, clogging, drill/dance team, hip hop, jazz, lyrical, modern, novelty, open, pointe, pom pon, production, song and dance, tap, vocal.

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Kids Artistic Revue 13440 Paramount Boulevard, Suite C South Gate, CA 90280 Phone: 562–602–6154 Website: http://www.dancekar.com/AboutKAR.html Categories: Acro-gymnastics, pom pon, tap, song and dance, lyrical, folk, ethnic, jazz, pointe, novelty, ballet, production, open. New York International Ballet Competition New York International Ballet Competition, Inc. 250 West 57th Street, Suite 1023 New York, NY 10107 Phone: 212–956–1520 Website: http://www.weblink.com/nyibc/ Categories: classical ballet. Related Opportunities

American Dance Awards American Dance Awards, Inc. P.O. Box 2150, Norton, MA 02766 Phone: 508–285–6650 Website: http://www.americandanceawards.com/welcome.htm Competitions for everyone from the newcomer to professionals in the jazz, tap, ballet1, pointe1, lyric, acro/gym2, clogging, song & dance5, modern, musical theatre/character, hip hop/funk, Adagio3, pom pon, Irish step, and open. Information and entry forms are available on the website. The ARTS Recognition & Talent Search National Foundation for Advancement in the Arts National Headquarters 800 Brickell Avenue, Suite 500 Miami, FL 33131 Phone: 800–970–2787 For high school seniors who demonstrate excellence in dance, music, jazz, voice, theater, photography, visual arts, and writing. Dance Teacher Magazine Lifestyle Ventures, LLC 250 W. 57th Street, Suite 420

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New York, NY 10107 Phone: 212–265–8890 Website: http://www.dance-teacher.com The May/June 2000 issue lists a schedule of auditions, competitions, conventions, seminars, and workshops. The list is also available online at http://www.dance-teacher.com/lvdt/articleDetail/0.1874.961.00.html.

National Dance Week Website: http://www.nationaldanceweek.org A series of dance events that includes master classes, video screenings, dance performances, choreography, and more. The Youth Arts Resource Initiative Website: http://www.artsusa.org/education/youtharts.html Youth Art Toolkits and Resource Packets have been distributed to about 300 organizations nationwide in an effort to broaden the impact of arts programs for at-risk youth. For information, contact Howard Spector, Vice President of Education, at [email protected].

Professional Associations

Amateur Tap Dancers Website: http://www.danceronline.com/dancerlinks/index4.html The association for adult amateur tap dancers who tap dance for fun. American Dance Guild (ADG) 31 W. 21st Street, 3rd Floor New York, NY 10018 Phone: 212–932–2789 Sponsors programs and a career counseling service for teachers, performers, historians, critics, writers, and students in ballet, modern dance, modern jazz dance, tap dance, and ethnological dance forms. American Dance Therapy Association (ADTA) 2000 Century Plaza, Suite 108 10632 Little Patuxent Parkway Columbia, MD 21044 Phone: 410–997–4040 Website: http://www.adta.org

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For anyone currently practicing dance therapy or interested in getting into the field, this association serves as a resource center and develops guidelines for educational programs.

Americans for the Arts 1000 Vermont Avenue NW 12th Floor Washington, DC 20005 Phone: 202–371–2830 Website: http://www.artsusa.org/education/ A national organization dedicated to making the arts more accessible to every adult and child in America. Dance Films Association, Inc. 48 West 21st Street, #907 New York, NY 10010 Phone: 212–727–0764 Website: http://www.dancefilmsassn.org An organization dedicated to both the dance and film community through the creation of shorts and features, documentaries, and instructional programs. Promotes excellence in dance films and video and public awareness through festivals, screenings, publications, grants, and workshops. Dance/U.S.A. 1156 15th St. NW, Suite 820 Washington, DC 20005 Phone: 202–833–1717 Website: http://www.artswire.org/Artswire/danceusa/home.html Dancers, dance companies, and others promote knowledge about and appreciation of dance through information sharing. National Association of Schools of Dance (NASD) 11250 Roger Bacon Drive, Suite 21 Reston, VA 20190 Phone: 703–437–0700 The accrediting agency for educational dance programs. National Dance Association (NDA) 1900 Association Drive Reston, VA 20191

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Phone: 703–476–3436 Website: http://www.aahperd.org/nda/nda-main.html This is a professional association for dance educators, choreographers, schools administrators, performers, and anyone else associated with dance/arts education. “To ensure that: (1) quality dance/arts education is available to all Americans regardless of age, sex, ability, interest, or culture; and (2) quality dance/arts education becomes a part of U.S. education for all children” (Maurer, Professional Careers Sourcebook, p. 948). Magazines & Newsletters for Dancers

American Dance American Dance Guild 31 W. 21st Street, 3rd Floor New York, NY 10010–6807 Phone: 212–627–3790 For anyone interested in dance, this publication includes news about schools, companies, and individuals and the activities of arts councils as well as dance reviews and association news. American Journal of Dance Therapy American Dance Therapy Association (ADTA) 2000 Century Plaza, Suite 108 Columbia, MD 21044 Phone: 410–997–4040 Professional issues, research and studies by practitioners of dance therapy. Dance Magazine 111 Myrtle St., Suite 203 Oakland, CA 94607 Phone: 510–839–6060 Website: http://www.dancemagazine.com A performing arts magazine that features all forms of dance and related interests. Dance Teacher Now Website: http://www.dance-teacher.com/ Practical information for anyone involved in dance education including sections on workshops, competitions, and auditions.

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Dance/U.S.A. Journal Dance/U.S.A. 1156 15th Street NW, Suite 820 Washington, DC 20005 Phone: 202–833–1717 Website: http://www.danceusa.org Features articles related to dance from leaders in the field, events, and more. Inside Country Dance Linda B. Woodworth P.O. Box 909 Laurel, MD 20725 Phone: 703–830–8315 Information on competitive and recreational country western and line dancing. Pointe Magazine Lifestyle Ventures LLC 250 West 57th Street, Suite 420 New York, NY 10107 Phone: 212–265–8890 Website: http://www.pointemagazine.com/index.shtml An international magazine for ballet dancers and serious ballet students. 2wice 2wice, Inc. 145 Central Park West Phone: 212–228–0540 New York, NY 10023 For anyone in the visual and performing arts.

6 To Be a Singer or Musician

Singers, composers, instrumentalists, and arrangers all make the musical notes come to life! It is a diverse field, but it is the universal language that blends and transcends cultures across generations. Music has always been an integral part of daily life throughout the world. Instruments like drums and bugles have been used in the military, song and instrumental accompaniments have been a part of concert performances and stage productions, and music has always played a major part in victory celebrations and other occasions such as weddings. Bands have always had a major role in ushering in New Year’s Day, holiday parades, and high school and college sports events; at other times they perform just for entertainment. Music commands our attention. It has the power to affect us psychologically, physiologically, and spiritually. It has the power to lift us up when we are down, and can help us get through each day. It brings us to our feet when we hear the National Anthem. We sit back and reflect when we hear a famous ballad, and we rejoice in celebration when we hear the melody to “Here Comes the Bride.” Music is one of the greatest gifts people can give one another. If you have a passion to play, sing, or write music, then this is your career path. It’s a bold step, as you will enter a very competitive business. Selfmotivation, persistence, and patience are essential characteristics for those who desire a career in music because the path to success rarely follows a straight line. For those with talent and determination, the creative possibilities are limitless, and the rewards are great. Use every opportunity to broaden and develop your skills. Learn as much as you can and immerse yourself in the field. Every experience will allow you to stretch and grow.

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Music is a skill-based profession, and keyboarding provides many core skills. The piano is the most popular instrument for learning keyboarding skills. In addition to piano, music students generally study another instrument as well. Training in all academic areas of music, including music theory, music history, orchestration, arrangement, harmony, counterpoint, and composition, is recommended for understanding how music is created, how all the instruments fit together, and how a particular piece is to be interpreted and played. Training also begins very early, usually between the ages of three and five. Voice lessons typically begin later as the voice begins to mature.

Singers Singers are classified according to their voice range (soprano, contralto, tenor, baritone, or bass) and are usually recognized by the type of music they sing, such as opera, rock, folk, R&B, rap, country and western, among others. You hear them everywhere—on the radio, on television, in the movies, in the theater, and in concerts. They perform individually or with others in large and small groups. Some participate on stage in musicals, or sing with bands, choirs, or orchestras, in nightclubs or concert halls. Regardless of the style, all spend hours studying and practicing. A singer’s instrument is the voice. Voice lessons are essential, even for the professional singer, because the voice continues to develop and grow. Students who want to pursue a career in singing require “a broad background in music and music theory, including piano lessons. Voice training may begin as early as high school” (Chronical Guidance Publications, 1999, p. 19) even though the voice is not fully mature. Singers also need a good sense of rhythm, range, pitch, and tone. Whether they will be performing solo or in a group, poise and a stage presence are essential to their success as well. For those who enjoy singing but don’t quite have the voice to win contests or become a recording star, there is another avenue open. Choruses for both men and women bring out the best in those who share the love of singing. The bonding among the members of the group, the synergy, and the blending of voices is truly remarkable.

Instrumentalists Instrumental musicians play a variety of instruments as soloists or as members of a musical group, orchestra, or band. Whether they play string,

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woodwind, brass or percussion instruments, most begin to take lessons at an early age, and then continue formal training at a college, university, or conservatory of music. Classical musicians play in orchestras and bands for opera, ballet, theater, chamber music, and concerts. Most practice daily to learn new pieces as well as to achieve precision, fluency, and clarity of tone. Popular musicians are generally part of a rock and roll, jazz, blues, or country-western group. They usually play more than one instrument and perform at concerts, dances, parties, weddings, restaurants, and nightclubs. Along with the poise and stage presence needed to perform for others with ease, instrumental musicians should have “a keen sense of pitch and rhythm, and good hearing. A good memory and the ability to concentrate are important” (Chronical Guidance Publications, 1997, p. 13). They study and rehearse the music both individually and as part of a group. Some transpose songs to another key, or improvise to create their own version. Many popular groups add sound effects using a synthesizer and other sound amplifiers. Students who want to be instrumental musicians should take classes in music history, appreciation, harmony, and theory. “Talent, persistence, and excellent mentors are the keys to becoming a good musician” (Princeton Review Online, 2000).

Composers and Songwriters Composers and songwriters create original music for everything from symphonies to popular music and jingles for commercials. They may write songs to perform themselves or supply material for recording artists. They create the theme, the melody, the harmony and countermelody, and sometimes the lyrics as well. Writing music generally requires a thorough knowledge of harmony and theory. Composers need to be familiar with the sounds, ranges, and capabilities of instruments, in addition to having skill in composition and arrangement. Some composers and songwriters set aside time each day for writing; others write when inspired by an idea or a feeling. Some write the music first, then try to write the perfect lyrics (Field, p. 195). It can be difficult to earn a living just by composing music, but there are funding sources through organizations that promote and encourage new composers. These include the American Society of Composers, Authors and Publishers (ASCAP) and Broadcast Music, Inc. (BMI), which awards grants to composers. The Musical American International Directory of the Performing Arts lists grants, awards, and competitions for composers. One of the best sources of income for composers is holding a teaching

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position at a college, university, or conservatory where creativity is encouraged and musicians are available to play new compositions. Composers also need a strong background in computer technology and the use of synthesizers, which can create sounds that might be difficult to test in compositions that call for large numbers or unique types of instruments. Synthesizers are also very useful for composers who lack easy access to a range of musicians who can play the music they have created. Sometimes composers arrange their own compositions; at other times the work is done by an arranger. Here are a few tips for aspiring composers:

1. Write as much as you can. . . . It helps develop the craft. 2. Try to find songwriting workshops. . . . [They provide] helpful advice, tips, and inspiration. 3. Protect your songs. . . . Copyrighting is best. 4. Do not get involved with any individual who wants you to pay to publish your songs. 5. Learn as much as possible about every aspect of the music business. 6. Try to get your songs listened to by as many people as possible. 7. Have persistence and perseverance. (Field, p. 197)

Arrangers An arranger takes a piece that has been written by a composer and adapts it to a performance. The arranger gives the composition a beginning, middle, and end and scores it to include modulations and variations. The arranger, sometimes called an orchestrator, also needs to know how to blend instruments together in order to achieve specific sounds and effects. When creating music for a film, composers write the main theme of a composition, and a lyricist writes the words to the piece. In some films, a team of songwriters works with a composer to create specific songs for the film. An arranger then decides how the music fits in with the film, synchronizing it with certain action elements to create a certain mood or to add to the total effect. An orchestra and conductor then score the composition for the individual instruments. The combination of talent involved makes “the movie come alive with music” (Gerardi, pp. 39).

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What Parents Can Do Each musician has his or her own set of talents. Parents should strive to nurture their child’s talent and creativity by seeking out the best teachers available. Music lessons are critical to skill development and growth, as well as for building self-confidence and the freedom to explore new sounds. Parents need to be attentive to the joy or frustration children experience during music lessons and watch for signals that it may be time to change instructors. Teachers who are not supportive of young musicians’ efforts and do not provide adequate or positive feedback may be stifling their creativity of discouraging them completely. According to Michael Miller, a composer, a good music teacher is one who is “persistent but patient, has a wide variety of knowledge about various instruments, has an open and inviting attitude, and gives positive feedback. It’s really important to enjoy what you’re doing” (2000). Make sure your teenager has adequate time to practice. Parents can help teens develop the discipline they will need and at the same time be supportive of their effort and commitment. Set aside some time each week for your son or daughter to play for you, and provide constructive feedback on their performance. Generally, a career in music begins by performing before an audience. Look for opportunities for them to perform for others and expand their repertoire. Churches and local theaters often need musicians or singers. Also contact a local arts council and learn about performance opportunities in your community. Ensemble groups and jam sessions provide excellent opportunities to play with others and to blend sounds of several instruments. If there is a college or university nearby, contact the music department for information on free concerts and festivals. Encourage teenagers to participate in youth symphonies, local arts festivals, and community concerts. Also, take them to the library and encourage them to study books on music theory and read biographies about other musicians. Encourage teens to take in as many musical experiences as possible, regardless of form. All music has value, and they can learn something from each one.

What Schools and Teachers Can Do Schools can provide many creative outlets and a range of diversified experiences for students interested in a music career. Many schools have

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marching bands and smaller ensembles such as jazz bands. Student theater productions may need musical accompaniment. Acting in school productions is another way musicians can work toward developing a stage presence and becoming comfortable performing with others. Students can also perform in arts exhibitions at local schools. Schools may also have talent shows or a day for the arts when anyone can demonstrate their art form. Another way schools assist students with career planning is by providing opportunities for shadowing, an experience that allows students to be directly involved with their community and the career field that interests them. Students make arrangements, through parents or others, to spend a day at work with someone in the field of their choice. The experience gives students a glimpse of the working world and lets them see what a typical work day is like. Those interested in a career in music might be able to arrange to spend a day with a professional in the industry such as a choral or band director, or observe classes at a nearby university. Students may take part in recitals or concerts to find out if they have what it takes to become performing musicians. Teachers can also help locate instrumental contests and festivals and encourage students to participate. Another program held in schools across the nation each year is the Arts Recognition and Achievement Program for Students, sponsored by the National PTA (Parent Teachers Association). This organization encourages participation in its annual Reflections Program for students in preschool through grade 12. Students create and submit works of art in four areas: literature, musical composition, photography, and the visual arts. Each year the program challenges students to create art that supports a particular theme. In the year 2000–2001, the theme will be “It would be really strange if . . .” and in 2001–2002, it will be “I hold in my hand . . .” The Reflections Program also encourages parents to recognize the efforts their children make and the creative process they go through. In addition, the American Composers Forum (ACF) has a pilot program for junior high and high school students called Composers in the Schools that is designed to develop their creative expression and music composition skills. Classes meet weekly with a composition teacher. (More information about this program can be obtained from Darcy Reynolds, Chapter Coordinator, by mail at P.O. Box 591107; San Francisco, CA 94159–1107. Phone: 415–386–9190. Fax: 415–751–1913. E-mail: [email protected]. Website: http://sfcomposersforum.org) Another effort designed to acquaint students with music-related careers is the GRAMMY in the Schools Program, which was developed by the

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GRAMMY Foundation. Another effort designed to acquaint students with music-related careers is the GRAMMY in the Schools Program, which was developed by the GRAMMY Foundation in cooperation with school districts. The event is held at universities nationwide, and gives the opportunity for professionals to share their knowledge and experiences on what it takes to succeed in a music career. Some time during high school, music students need to decide how serious they are about pursuing a career in music. If they choose to continue in the art, they need to decide whether they should attend a university or performing arts school that specializes in the discipline they wish to follow. If you are undecided about what you would like to do with a career in music, and have not yet settled on a specific discipline to study, then it is probably more advantageous to attend a liberal arts college or university rather than a conservatory. “Allison Ball, Dean of Enrollment Services at the New England Conservatory of Music in Boston, knows students are right for her institution when they demonstrate that they are all music all day and can’t imagine a future without it. Then she knows they have the kind of commitment and inner drive characteristic of conservatory students” (Thomas, 1998). Sometimes, however, highly specialized skills can be a hindrance, limiting one’s flexibility in the music business. Liberal arts colleges offer a well-rounded education that could provide the best foundation for a career in music. Look for a program of study where the instructors have practical performance expertise. This will enhance the instruction they provide as they combine their experiences and teaching skills and puts them in a good position to serve as a mentor, as well as a teacher, for those new to the profession. The program should also allow the student the opportunity to “work extensively in several genres while concentrating in one” (Freed, p. 35). Those who wish to become music teachers need to obtain a teaching certificate from a fouryear college or university. Students need to take the required courses in both music and education to become certified as well as having instrumental skills and voice and composition experience. Talent alone is not enough to be successful in the music business. You need to know how to market yourself and when to recognize an opportunity. Getting started in music is like any other business. It doesn’t just happen; you have to be motivated, have clear goals, and have a plan. Learn what it takes to market yourself. Find out what it takes to win a competition or get a job that will give you experience and exposure, and learn how to capitalize on it. Set up a plan that will meet your individual

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needs and move you toward your goals. Formulate your plan, “but make it flexible” (Gerardi, p. 4). Musicians often enlist the help of an agent to find and secure performing engagements and negotiate contracts. Other musicians prefer to make their own arrangements. If this is your preference, it is essential to get the necessary coursework and trustworthy advice about the business end of the business. Many people who start out in the performance side of the music field find that other careers in the industry attract them even more. Related careers include those dealing with the business side of the music industry as well as production, recording, publishing, or music education. Those with musical education and experience have much to offer the field, and have an edge over others who lack a musical background. While the classics, Big Bands, the fifties, rock, rhythm and blues, and country largely influence American music, new technologies spur creativity and continue to bring about new forms; the possibilities are endless.

Works Cited Chronicle Guidance Publications. Musicians, Instrumental. 1997. Career Brief 80. Moravia, NY: Chronicle Guidance Publications. Chronicle Guidance Publications. Singers. 1999. Career Brief 436. Moravia, NY: Chronicle Guidance Publications. Field, Shelly. Career Opportunities in the Music Industry, 4th Ed. 2000. New York: Checkmark Books. Freed, Gwendolyn. Musician’s Resource: The Watson-Guptill Guide to Workshops, Conferences, Artists’ Colonies, and Academic Programs. 1997. Getting Your Act Together Series. New York: Watson-Guptill Publications. Gerardi, Robert. Opportunities in Music Careers, 3rd Ed. Forward by Bill Taylor. 1997. VGM Opportunities Series. Chicago: VGM Career Horizons. Miller, Michael. Personal interview with author in Columbus, Ohio. 20 August 2000. National PTA. National PTA Reflections Program—An Arts Recognition and Achievement Program for Students. 1999. http://www.pta.org/programs/arts/ reflections/reflect.htm. 10 July 2000. Princeton Review Online. Musician Career Profile. 2000. Princeton Review Publishing, L.L.C. http://www.review.com/Career/templates/. 17 July 2000. Thomas, Charlotte. Traditional University or Specialty School—What’s the Best Way to Develop Your Talent? 1998. Peterson’s. http://www.petersons.com/ ugard/specialtyschools.html. 15 April 1999.

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Resources for Getting Started Baskerville, David. Music Business Handbook and Career Guide, 7th Ed. 2000. Thousand Oaks, CA: Sage Publications, 676 pp. (ISBN: 0–76191–667– 9). $39.95. Provides tips on breaking into various music industry careers. Braheny, John. The Craft and Business of Song Writing. 1995. Cincinnati, OH: Writer’s Digest Books, 322 pp. (ISBN: 0–89879–653–9). $21.99 Includes exercises and suggestions on how to get your creative juices flowing along with examples and explanations about types of rhyme, different types of formatting for verses and choruses, and much more. Clark, Clinton Shirley. Piano on the Net. http://www.pianonanny.com. 5 September 2000. Learn to read music and play the piano using this free online tutorial from Clinton Shirley Clark and the Art Department. Cooper, Helen. Basic Guide to How to Read Music. 1985. New York: Putnum, 80 pp. (ISBN: 0–39951–122–9). $8.95. Great for learning the basics of how to read music. Dean, Kelly. Jazz Essentials: ‘Nuts & Bolts’ Instruction for the Jazz and Pop Musician. Illustrated by Todd Harrison. 1997. Milwaukee, WI: Hal Leonard Publishing, 96 pp. (ISBN: 0–79354–254–5). $12.95. A logical, concise overview of the basics of music theory and much more. Everett, Carole J. The Performing Arts Major’s College Guide, 3rd Ed. 1998. New York: Macmillion 310 pp. (ISBN: 0–02861–913–7). $19.95. For those in dance, theater, and music. The author discusses what to expect in auditions, what not to do, what to wear, and a lot of other useful tips. Feldstein, Sandy. Practical Theory Complete: A Self-Instruction Music Theory Course. 1982. Sherman Oaks, CA: Alfred Publishing Co., 96 pp. (ISBN: 0–88284–225–0). $10.95. An excellent, concise music theory book. Garrett, Marty R. How You Can Break into the Music Business: Without Breaking Your Heart, Your Dream or Your Bank Account, Rev. Ed. 1996. Broken Arrow, OK: Lonesome Wind Corp., 295 pp. (ISBN: 1–88619–101–8). $49.95. For singers, songwriters, or bands, this guide provides step-by-step techniques for getting money to record and release major label quality CD albums. Hall, Tom T. The Songwriter’s Handbook. 1987. Nashville, TN: Rutledge Hill Press, 160 pp. (ISBN: 0–93439–540–3). $14.95. The author explains different ways to approach songwriting. Haubenstock, Susan H., and David Joselit. Career Opportunities in Art, 3rd Ed. 2001. New York: Checkmark Books, 208 pp. (ISBN: 0–81604–246–2). $49.50. Career profiles for 80 different jobs in the art field give an overview of what the job is really like, salary range, and employment prospects. The appendix lists names and addresses of trade, industrial, and vocational schools as well as colleges that offer art-related courses. Also

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includes information on art scholarships and a bibliography that lists important periodicals in the field. Horton, Tara, Ed. 2000 Song Writer’s Market: 1,600 Places to Market Your Songs. 1999. Cincinnati, OH: Writer’s Digest Books, 518 pp. (ISBN: 0–89879– 914–7). $23.99. Published annually, this is an excellent guide for songwriters, as it identifies the type of music each publisher handles, who the professional manager is, and other pertinent information about the music industry as it relates to songwriting. Johnson, Maurice. Build and Manage Your Music Career. 1999. Emeryville, CA: MixBooks, 180 pp. (ISBN: 0–87288–725–1). $24.95. Includes tips on building a band, quoting prices for your performances, working on prospects and clients, etiquette for performing, and a lot of other helpful advice. Koller, Fred. How to Pitch and Promote Your Songs, Rev. Ed. 1996. New York: Allworth Press, 192 pp. (ISBN: 1–88055–963–3). $18.95. Advice on how songwriters can succeed at getting their songs recorded. Krasilovsky, M. William, and Sidney Shemel, with contributions by John M. Gross. This Business of Music: The Definitive Guide to the Music Industry. 8th Ed. 2000. New York: Billboard Books, 576 pp. (ISBN: 0–82307–757– 8). $29.95. An essential tool that provides business information for all types of musical artists. The Musical America International Directory of the Performing Arts. 1999. Hightstown, NJ: Primed Information, 840 pp. (ISBN: 1–89113–105–2). $105.00. A sourcebook for the classical music industry. Nathan, Amy. The Young Musician’s Survival Guide: Tips from Teens and Pros. 2000. New York: Oxford University Press, 144 pp. (ISBN: 0–19512–611– 4). $18.95. A great tool for parents and students that provides advice for teen musicians on topics such as choosing an instrument, finding time to practice, handling performance jitters, and dealing with others in the band or orchestra. Newman, Sven, Ed. So . . . What Are You Doing After College? Real-Life Advice from People Who’ve Been There. 1995. New York: Henry Holt, 241 pp. (ISBN: 0–80503–467–6). $12.95. Essays on career choices including a section titled “Finding a Fit in the Music Industry.” Passman, Donald S. All You Need to Know About the Music Business, Rev. & Updated Ed. Illustrated by Randy Glass. 1997. New York: Simon & Schuster, 433 pp. (ISBN: 0–68483–600–9). $27.50. Insider’s tips and practical advice for negotiating the ins and outs of the music business. Plunkett, Jack W. Plunkett’s Entertainment and Media Industry Almanac: The Complete Guide to America’s Publishing, Broadcasting and Entertainment Business. 1998. Houston, TX: Plunkett Research (ISBN: 0–96382–686–7). $195.75. Professional Degree Programs in the Visual and Performing Arts, 2001, 6th Rev. Ed. 2000. Lawrenceville, NJ: Peterson’s, 627 pp. (ISBN: 0–76890–442–0).

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$26.95. This annual publication includes information on accredited U.S. colleges and universities that offer programs in art, music, theater, and dance.

Contests

BMI Awards to Student Composers Broadcast Music, Inc. c/o Ralph N. Jackson, Director 320 W. 57th Street New York, NY 10019 Annual competition open to students of the Western Hemisphere who are under the age of 26. Awards are given for the best original vocal or instrumental composition. Concert Artists Guild Competition Concert Artists Guild 850 7th Avenue, Suite 1205 New York, NY 10019 Annual competition open to classical music artists in solo wind, solo brass, and chamber ensembles regardless of age and location. Musical America’s International Directory of the Performing Arts Primedia Information Inc. 10 Lake Drive Hightstown, NJ 08520–5397 Holds contests for those in the performing arts. Young Composers Award National Guild of Community Schools of the Arts P.O. Box 8018 Englewood, NJ 07631 Annual contest to encourage the composition of serious music. Open to students of the United States and Canada between the ages of 13 and 18. Young Concert Artists International Auditions Young Concert Artists, Inc. Mark Hayman, Auditions Coordinator

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250 West 57 Street New York, NY 10107 Phone: 212–307–6655 Website: http://www.yca.org/ Young Concert Artists, Inc. is a nonprofit organization dedicated to discovering and launching the careers of extraordinary musicians. The criteria are exceptional talent, virtuosity, artistic individuality, projection as a performer, and promise for a concert career. The musicians compete against a standard of excellence, not each other. Winners of the annual Young Concert Artists International Auditions are selected by a jury of distinguished musicians. There is no limit to the number of first prize winners each year, and the jury has the right to select none if none qualify. Young Concert Artists provides comprehensive and ongoing support and opportunities to the winners, including the booking of concert engagements, publicity, promotional materials, and career guidance at no cost until the artist is signed by commercial management. Competitions are open in 2000–2001 for piano, violin, viola, cello, string quartet, voice, flute, oboe, clarinet, trumpet, french horn, and guitar.

Related Opportunities

ARTS Recognition & Talent Search National Foundation for Advancement in the Arts National Headquarters 800 Brickell Avenue, Suite 500 Miami, FL 33131 Phone: 800–970–2787 Provides information on the ARTS Recognition & Talent Search, for high school seniors who demonstrate excellence in dance, music, jazz, voice, theater, photography, visual arts, and writing. GRAMMY in the Schools Program National Academy of Recording Arts and Science 3402 Pico Boulevard Santa Monica, CA 90405 Phone: 310–392–3777 Website: http://www.grammy.org/foundation/gits.html Dedicated to fostering music education and acquainting students with music-related careers.

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Professional Associations

Academy of Country Music 6255 Sunset Boulevard, #93 Hollywood, CA 90028 Phone: 213–462–2351 For anyone in the country music business. Talent contests, artist showcases, seminars, and more. American Federation of Musicians of the United States and Canada (AFM) 1501 Broadway, Suite 600 New York, NY 10036 Phone: 212–869–1330 The purpose of this organization is to provide legal assistance and job protection for those involved in contract disputes wage negotiations. American Guild of Musical Artists (AGMA) 1727 Broadway New York, NY 10019 Phone: 212–265–3687 American Guild of Organists (AGO) 475 Riverside Drive Suite 1260 New York, NY 10115 Phone: 212–870–2310 An organization for organists and choral directors that offers professional certification in organ playing, choral and instrumental training, and theory and general knowledge of music. American Music Center 20 West 26th Street, Suite 1001 New York, NY 10010 Phone: 212–366–5260 Website: http://www.amc.net/amc American Pianists Association (APA) Clowes Memorial Hall 4600 Sunset Avenue

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Indianapolis, IN 46208 Phone: 317–940–9945 Provides a jazz program and classical two-year fellowship/outreach program in support of careers for American pianists.

American Society of Composers, Authors and Publishers (ASCAP) One Lincoln Plaza New York, NY 10023 Phone: 212–621–6000 Website: http://www.ascap.com American Society of Music Arrangers and Composers P.O. Box 17840 Encino, CA 91416 American Symphony Orchestra League 1156 15th Street NW, Suite 800 Washington, DC 20005 Phone: 202–776–0212 This organization is open to anyone interested in symphony orchestras. It provides consulting services, sponsors seminars, and maintains a resource center. Broadcast Music, Inc. (BMI) 320 West 57th Street New York, NY 10019 Phone: 212–586–2000 Provides workshops and seminars for songwriters. Chamber Music America 305 7th Avenue New York, NY 10001 Phone: 212–242–2022 Promotes chamber music through grant programs, residencies, publications, and annual conferences. MENS: The National Association for Music Education 1806 Robert Fulton Drive Reston, VA 20191 Phone: 703–860–4000

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For music educators, administrators, supervisors, consultants, and music education majors in college.

Music Teachers National Association (MTNA) 441 Vine Street, Suite 505 Cincinnati, OH 45202 Phone: 513–421–1420 A professional organization of music teachers that promotes teaching, performance, composition, and scholarly research. National Academy of Songwriters (NAS) 6255 Sunset Boulevard, Suite 1023 Hollywood, CA 90028 Phone: 213–463–7178 Website: http://www.nassong.org An organization that offers workshops and other educational opportunities for those looking for a career in the music business, including concert management and promotion. National Association of Schools of Music (NASM) 11250 Roger Bacon Drive, Suite 21 Reston, VA 20190 Phone: 703–437–0700 The accrediting agency for music education programs. National Music Publishers Association 205 E. 42nd Street, 18th Floor New York, NY 10017 Phone: 212–370–5330 Songwriters Guild 1222 16th Avenue S., Suite 25 Nashville, TN 37212 Phone: 615–329–1782 Workshops and seminars for songwriters to assist them in the creative, administrative, and financial aspects of their work. Songwriter’s Guild of America (SGA) 1500 Harbor Boulevard Weehawken, NJ 07087–6732

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Phone: 201–867–7603 Website: http://www.songnews.org An organization that protects and represents songwriters in addition to providing workshops on all aspects of songwriting. Magazines & Newsletters for Musicians

American Music Teacher Music Teachers National Association (MTNA) 441 Vine Street, Suite 505 Cincinnati, OH 45202 Phone: 513–421–1420 Association news and information on American music, chamber music, aesthetics, composition, criticism, musicology, and performance. American Organist American Guild of Organists (AGO) 475 Riverside Drive, Suite 1260 New York, NY 10115 Phone: 212–870–2310 American Songwriter 42 Music Square West Nashville, TN 37203 A magazine for songwriters that includes news about the national music scene and other relevant articles for songwriters. Billboard 15115 Broadway New York, NY 10036 A weekly trade journal in the music industry that carries feature stories and reports signings and trends. Cambridge Opera Journal 40 W. 20th Street New York, NY 10011 Phone: 212–924–3900 The focus is on opera and related disciplines. Downbeat Maher Publications, Inc. 102 N. Haven Road

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Elmhurst, IL 60126 Phone: 630–941–2030 For the learning musician. .

Electronic Musician Intertec/Primedia 6400 Hollis Street, Suite 12 Emeryville, CA 94608 Phone: 510–653–3307 General Music Today MENS: The National Association for Music Education 1806 Robert Fulton Drive Reston, VA 20191 Phone: 703–860–4000 Jersey Jazz New Jersey Jazz Society P.O. Box 410 Brookside, NJ 07926 Phone: 201–543–2039 Topics focus on the performance, promotion, and preservation of jazz. Journal of Music Teacher Education MENS: The National Association for Music Education 1806 Robert Fulton Drive Reston, VA 20191 Phone: 703–860–4000 Journal of Music Theory Pedagogy University of Oklahoma Parrington Oval Norman, OK 73019 Phone: 405–325–3967 Emphasis is on the teaching of music theory in higher education. Keyboard Miller Freeman, Inc. 411 Borel Avenue, Suite 100 San Mateo, CA 94402 Product reviews, transcriptions of charts, and more for the serious keyboard player.

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Mix Magazine 6400 Hollis Street, Suite 12 Emeryville, CA 94608 Phone: 800–233–9604 An excellent source for information on who is doing what, and where, from the various recording studios. Music Educators Journal MENS: The National Association for Music Education 1806 Robert Fulton Drive Reston, VA 20191 Phone: 703–860–4000 Articles on music education in schools, book reviews, and announcements are included in this journal. Songwriter Musepaper P.O. Box 93759 Hollywood, CA 90093 Interviews along with other information on the craft and business of songwriting. Sounding Board American Composers Forum (ACF) 332 Minnesota Street NW, Suite E145 St. Paul, MN 55101–1300 Phone: 612–228–1407 Symphony American Symphony Orchestra League 1156 15th Street NW, Suite 800 Washington, DC 20005 Phone: 202–776–0212 News and articles for symphony orchestra managers, trustees, volunteers, and musicians. Teaching Music MENS: The National Association for Music Education 1806 Robert Fulton Drive Reston, VA 20191 Phone: 703–860–4000 Practical information for music educators.

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2wice 2wice, Inc. 145 Central Park New York, NY 10023 Phone: 212–228–0540 Devoted to the visual and performing arts.

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7 To Be a Photographer

Photography is an art that plays a very important part in our everyday lives. In a world where millions are illiterate, photography plays a vital role in communications. It is used by the print media, on television, and in commercials, print advertisements, instruction manuals, textbooks, magazines, and many other places. Photographs, in one form or another, leave a lasting impression on people. Advertisers are keenly aware of this attribute and use it persuasively and powerfully in the commercials and advertisements you see on television and in magazines. With careers in photography expected to grow by a third between now and 2005 (Cooke, 2000) there are many career paths for you to choose from. There will be an “increasing demand for quality visuals in all areas of communication and marketing, as well as research and development, education, and entertainment” (McLean, 1). Photographers need to understand the technology of cameras and how they operate, lighting, darkrooms, and special properties of films and papers. They use a variety of lenses, filters, and lighting to create just the right image. Common advice from those in the field is to pick up a camera, any camera, and just take pictures! Take as many as you can of as many different subjects as possible. This will help you become familiar with the effects of lighting, zooming, and so on. While there may be variations in specialized photographic equipment, the basic techniques are the same. Good photographers seem to have an eye for capturing just the right moment—one that might be a once-in-a-lifetime opportunity. Photography really is an art because of the skills and creativity that must be combined to get just the right image. Creation of the final print or image

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involves not only the subject, but color, light, texture, balance, symmetry, layout, and visual appeal as well. That being said, it is somewhat difficult to generalize about the field of photography because each area of specialty requires different training, its own set of skills, and a unique working environment. In addition, the field of photography is largely in a state of flux due to changing technology and in response to customer need. Become familiar with the range of career choices, then narrow your selection down to one or two that appeal to you.

What Parents Can Do Encourage teens to talk about their interests. Take them to the library and encourage them to read books and magazines about photography. Take trips to museums and other displays to view the work of different photographers and to become familiar with various photographic techniques and the effect they have on the subject. Encourage and support their efforts and enthusiasm. In addition, contact a local photographer you know or one recommended by friends or relatives to set up an informational interview. This would give your son or daughter an opportunity to ask questions about work in the profession and get an inside look at the business. It may also be possible for them to volunteer at a studio or work alongside a professional photographer. Keep an eye out for summer photography classes offered through the local library or other community groups that could help your son or daughter learn more camera skills and how to be a successful photographer. Encourage your teen to develop a portfolio of their photographs and to add items regularly. It may include a sample of each type of photography your child has done, or only the best pieces, as well as any awards or special recognitions. Such a portfolio can be used to show how a young person’s skills have matured over time.

What Schools and Teachers Can Do Teenagers are faced with new challenges as they begin to mature. While they may not be ready to think about going to college or what they want to do when they finish high school, it is important to begin to discuss and plan career choices. Many schools offer career nights to in-

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troduce students and parents to various occupations. Counselors have many resources available to assist students in career planning. Students need to seek out a counselor and ask for advice. Teachers can serve as resources for students as well. Another way for schools to assist students with career planning is to provide opportunities for shadowing. This allows students to be directly involved with their community and the career field in which they are interested. Students make arrangements, through parents or others, to spend the day at work with someone in the field of their choice. The experience gives students a glimpse of the working world and lets them see what a typical work day is like. Until the turn of the century, apprenticeship was the only dependable way to learn about photography. Today, with a teacher’s help, students may be able to take part in work-study assignments or internships, which may actually lead to a full-time job. Sometimes these opportunities are built into the curriculum. High schools that offer courses in photography and film developing may have established ties with a local newspaper, which will then accept students as interns, thereby giving them the chance to work alongside a professional. Internships offer an excellent opportunity to observe and learn by doing. If you are able to participate in such a program, learn as much as you can. It is helpful to get involved with a publication that requires the services of a photographer. The yearbook and student newspaper are two examples. Many schools have publishing centers that provide students with a wealth of practical experience and give them a chance to publish something they create. Teachers can use the publishing center to integrate classroom projects and support other subjects in the curriculum. Student photographs can be submitted to appropriate school publications, such as a newsletters, announcements, or yearbook features. Other contributions may be submitted to a community newspaper or other publications. Teachers can also help locate photography contests and encourage students to participate. One opportunity, sponsored by the National Foundation for Advancement in the Arts, is the ARTS Recognition and Talent Search, a national program designed to identify, recognize, and encourage talented high school seniors, ages 17 and 18, who are artists. This program is intended for those who demonstrate excellence in dance, music, jazz, voice, theater, photography, visual arts, and writing. Another activity in schools across the nation each year is the Arts Recognition and Achievement Program for Students, sponsored by the National PTA (Parent Teachers Association). This organization encourages participation in its annual Reflections Program for students in pre-

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school through grade 12. Students create and submit works of art in four areas: literature, musical composition, photography, and the visual arts. Each year the program challenges students to create art that supports a particular theme. The Reflections Program also encourages parents to recognize the efforts and creative process that their children go through to create a work of art.

Several career paths are open to aspiring photographers, depending on their area of specialization and the subject matter with which they prefer to work. Familiarize yourself the different fields and see if one appeals to you more than the others. If you have settled on one, investigate it further. Read about it, talk to teachers, and talk with others in the field. Their advice could prove invaluable in helping you make a decision about your career. A college degree is not that important for a career in photography except in specialty areas such as industrial or medical photography or photojournalism. In addition to the technical skills required for operating the camera, excellent color perception, creativity, and the ability to work well with clients are essential. On-the-job training is usually the best way to acquire the necessary skills. Many start as assistants and learn techniques for developing film, printing photos, and making enlargements. They also learn to adjust lighting, set up props, and assist with taking the pictures. There is no substitute for experience. Commercial photographers photograph inanimate objects or things, for example, images of construction, architecture, real estate, trade shows, fashion, displays, and so on. Commercial photography requires creativity and an artistic ability for making even mundane subjects interesting. The photographs may be used for publicity in advertising brochures, web pages, publications, catalogs and displays, or other purposes to suit a company’s needs. Commercial photographers are very much involved in sales, since their work deals with promoting the purchase of business products and services. Most jobs in commercial photography involve publication deadlines. Commercial photography is a highly competitive field. Commercial photographers are expected to give fast and dependable service, and must often be available at a moment’s notice. Opportunities within the field of commercial photography may be found in any organization that requires advertising or promotion of people, places, or things. The entertainment industry, performing arts organizations, record companies, theaters, and others promote shows, actors, events, and coming attractions. Fashion photography is big business in

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modeling agencies, fashion shows, the magazine industry, and department store catalogs. Industrial photographers often photograph complex technical equipment, models, or new designs for products in development. They also take photos for publicity and advertisement. A good industrial photographer has the ability to efficiently handle a variety of assignments, producing imaginative photographs that create interest. Depending on the type of business, commercial and industrial photographers may be required to travel. They may also need to work closely with other advertising staff, graphic designers, or printers depending on the nature and scope of the project. Photographers may also serve as consultants. Their advice may be sought on the best way to present a product for promotion, or they may advise on video films and commercials. News photographers, also called photojournalists, are generally employed by television stations, newspapers, or magazines. They photograph people, places, and newsworthy activities such as sporting, political, and community events. Others work independently as freelance photographers. News photographers may need to find ways to make everyday events appear interesting or exciting. They must act quickly as a story unfolds or takes an unexpected turn. Businesses that hire news photographers expect them to be competent in any situation. Given the variations in theme for which their photographic skills may be required, manners and social graces are also important. Art Evans sums it up well: “You need to know human nature, to understand what your subject may do next or what kind of picture your photo assignment editor is really asking for. You need to be resourceful, persistent, independent, quick thinking, visually alert, and extremely flexible” (p. 94). Students interested in newspaper photography generally follow a course of study in journalism or liberal arts. Journalism classes teach reporting and editing skills, which are important because photographers and photojournalists are responsible for seeing that the information in the stories and captions they write is accurate. Journalistic ethics are important as well. Photojournalism has been called “reporting with a camera,” as it is the image that expresses the heart of a story. The five W’s of journalism form the building blocks of any news story”: 1. Who. Get the names, addresses, and correct spellings for all individuals in the photo, as well as proper title such as Dr., Jr., or Sr. 2. What. Use present tense action verbs to describe the photo. 3. When. Photos of the actual events should be included rather than file photos to accompany a story.

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4. Where. This describes the setting for the photo or where the photo was taken. 5. Why. Addressing the question of “why” the photo was taken might help explain what is going on in the photograph. (McLean, p. 34) Freelance photographers have many opportunities open to them, as they are not bound to any one type of photography. They have a lot of freedom in setting their own schedule and in choosing the jobs they want to do. The primary responsibility of a photojournalist is to capture an event on film, or an emotion that was experienced, so the readers can see and feel what it was like to be there. Sometimes a photograph will tell the story. Sometimes they will work with a reporter to coordinate the photograph with the story. Other duties of the photojournalist will vary from newspaper to newspaper and may include developing and editing film, scanning their pictures into a computer, and adjusting the tone and color of the pictures using various software programs. They may do portrait sessions on one night, an advertising session the next day, and sell photos to a newspaper on another. Many, however, do choose to specialize “so that their self-marketing energies are spent getting well-known by the editors or buyers in that area. The better known you are, the more work comes your way” (McLean, p. 75). Medical photography is in great demand. However, usually only the larger hospitals or medical schools employ full-time medical photographers. Medical photographs are taken of specimens and used for teaching purposes, to document intensive care, for diagnosis, or to illustrate articles in medical publications. Photographs may be needed for research projects, presentations, or publications for medical schools, hospitals, or even pharmaceutical companies. Individuals in this field need to be familiar with medical terminology, anatomy, and physiology in order to communicate with doctors, teaching staff, and others in the profession. Portrait photography, or portraiture, is for those who enjoy working with people and have patience to handle the unexpected or the not so pleasant client. Much of the training in portrait photography is done on the job. Companies with contracts for school photographs, department store photographers, and other studios usually need assistants. A portrait photographer’s portfolio should include contact sheets showing the different poses, angles, lighting, and background used. Wedding photography and event photography are similar in that the photographer needs to be in the right place at the right time and anticipate the action. Other than photos that guests and clients pose for, there are usually special shots that are once-in-a-lifetime opportunities. Wed-

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ding photographers generally work with an assistant because there is so much going on and so many people to be aware of. Much of the work is spontaneous. Wedding photographers usually depend on a relative of the bride or groom to gather the appropriate people for special sittings and to identify key guests the family would like photographed. Whichever field you decide to pursue, you’ll need to think ahead about entering the job market. Your resume´ will help you land an interview and should include all of the training, work experiences, and skills you have to contribute to the profession. Memberships in professional organizations, a list of exhibits, articles about your work, and any other careerrelated information should be included. During an interview, you will also depend on a portfolio of your best work. Always ask for an opportunity to show it because it is your way to demonstrate your expertise, creativity, and the kind of photographic experiences you have had. Include work that shows your familiarity with the photographic skills needed for the job in question. Photographic laboratory work is closely related to photography. While they do not generally take photographs, photo lab technicians usually have an extensive knowledge of photography and the technology of cameras. They generally work in professional laboratories or photofinishing centers. Images can now be easily scanned into a computer for storage, manipulation, or retouching and then output onto film or video, or transferred to a website on the Internet. Photographers need to be proficient in the use of computers. Skill in word processing as well as using spreadsheets, graphics programs, and other software packages is a great asset. Basic courses in photography can be extremely helpful in acquiring and developing the skills photographers need. Workshops and seminars offer a unique opportunity to work with master photographers and get feedback from others. Camera and film manufacturers offer workshops that are usually open to beginners and professionals alike. They are also a way for Manufacturers to introduce new products or new equipment, such as digital cameras. Two publications that list such workshops are The Photographer’s Market and The Guide to Photography Workshops. Other opportunities, such as summer workshops for teens, are announced online through Photo Works at http://www.photoworksllc.com/workshops_summercamp.html and through The Guide to Photography, Film & Video Workshops at http://www.Shawguides.com/photoworkshops. It is also possible to participate in online courses or workshops. One example is the home-study outline developed by the New York Institute

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of Photography. The institute also offers tips for taking better pictures and announces contests on its website and by e-mail. You can contact the Institute through its website at http://www.nyip.com, by telephone at 212–867–8260, or at the following address: New York Institute of Photography, 211 East 43rd Street, Department WWW, New York, NY 10017. In Portrait of a Free-Lance Photographer, author Marci Cooke suggests beginning your photography career with an older model, manual camera, as it will force you to learn lighting and exposure techniques. She also recommends taking your camera everywhere you go. Keep a supply of film in your refrigerator, read about lighting and composition, and take a class or two (Cooke, 2000). Digital photography is emerging as the preferred medium for a photojournalist largely due to the ease and speed with which information and images can be downloaded and transferred. According to Johnson, Mayer and Schmidt, co-authors of Opportunities in Photography Careers, “You will progress faster in most areas of photography by being artistically inclined or having some art background. To go to the top, a photographer needs to know the basics of photography and something about bookkeeping, purchasing, electronics, optics, graphic reproduction, color, architecture, anatomy, lighting, advertising, public relations, and psychology, as well as knowledge of what is going on in the community, the nation, and the world” (p. 14). This sounds like quite a tall order, but it also presents a career that is both challenging and diversified. Many different kinds of photo contests are organized by all kinds of companies and other organizations. Some are open only to amateurs, others only to professional photographers, and others are open to all. Look for shows that have themes that match your style and interests. Go over the rules and criteria for entry. Every detail must be followed precisely, otherwise the entry may be disqualified. The format is important. Are slides or prints needed? What size prints should they be? Do they need to be mounted? Are black-and-white prints required, or is color acceptable? Sometimes you’ll need both. Some contests state on the entry form that photos will not be returned. Photographers from all disciplines echo the same advice—never, ever send negatives. You may want to make a second copy of the photographs you enter to ensure that you always have a print on hand. Keep track of which photos you send to each contest, since some contests hold winning material for a long period of time—perhaps up to a year. Many contests are annual events, whereas others are one-time only. You’ll find entry blanks and contest rules in magazines, at local art fairs,

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and even in newspapers. Local contests, sponsored by camera clubs, schools, newspapers, state fairs, or local companies, are a good bet for beginning photographers because they receive fewer entries than national or regional competitions. This does not mean that beginning photographers should not enter national contests. If you have an exceptional photograph that meets the criteria for a regional or national contests, by all means, go ahead and submit it. Some advantages of submitting work in local contests are that the judging may be done in public and you may be able to hear the judges critique each entry and give their reasons for acceptance and rejection. In exhibition contests, the winning photos are put on display for a period of time after the contest for even more people to see. Contests sponsored by private companies and organizations are generally for advertising or public relations purposes and usually center on a particular theme. Valuable prizes may be offered, and the winning photo is usually published in a magazine, calendar, or other promotion piece. Contests sponsored by magazines generally have a theme related to the magazine’s area of interest, and the number of entries reflects the size of their circulation. Contests sponsored by camera and film companies are usually open to anyone. Two publications that provide listings of photographic contests are Entry and Photographic Resource Newsletter. The more you enter, the more experience you gain. Your skills and confidence increase. If you are fortunate enough to win, you will begin to gain name recognition in the process. Even if you do not win a contest, you actually still come away a winner. You will have learned to complete an assignment and meet a deadline, you will have gained some exposure, and you will have a better idea what to expect next time. There is a note of caution, however. You need to know what rights the sponsor wants if your photo wins. Most of the time, the winning photos will be published for promotion or publicity. If more is expected, know what you are getting into and find out who retains the copyright on the winning photo. If you are asked to give up the rights to your work, make sure you understand what this really means, and make sure this is what you want to do. C. Elizabeth Vest, from About.com, offers the following tips for successful submissions to any contest: 1. Send only your best work. . . . 2. Label all slides and submit them in the format requested only. When your work is accepted, pay close attention to framing requirements. 3. The same thing goes for photos. Never send originals, and never exceed size requirements; that’s a sure way to be rejected. . . .

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4. Put your name, address and phone number in several places where it won’t be missed. Also, be sure you pick up your work by the deadline. Galleries invariably abdicate responsibility after that time. 5. If you enter a giant corporate contest in a national magazine or any large organization, be sure you know where to look for the list of winners. Contest sponsors are required to publish lists of winners and those who enter are expected to keep an eye on them (Vest, 1999). In some cases, if you don’t show up, you don’t get your prize. Besides entering contests, another way to obtain feedback about your work is to solicit comments from others in the field. One way to do this is through an online source that accepts submissions, such as PhotoCritique.net at http://www.photocritique.net/. Qiang Li developed this website as a forum for beginning and experienced photographers alike to post images to enjoy and critique. Displaying your images in this fashion is intended as a learning tool as well as for others to see. Li emphasizes that “a critique is not a putdown. Critical comments are meant to help you improve your work . . . [and should] be candid, critical, constructive, and friendly.” Ansel Adams describes it best when he said that “There are always two people in every picture: the photographer and the viewer” (Hoke, 2000).

Works Cited Cooke, Marci. Portrait of a Free-Lance Photographer. Career Exploration from The nextStep Magazine, May 25, 2000. http://www.nextstepmagazine.com/ Career_Exploration/. 23 May 2000. Evans, Art. Careers in Photography. 1992. Redondo Beach, CA: Photo Data Research. Hoke, Della. Artfully Speaking. N.d. http://www.serve.com/artcenter/quotes.html. 10 July 2000. JobProfiles.com. Background of Michael, a Photojournalist. 1998. JobProfiles.com. http://www.jobprofiles.com/artphotographer4.html. 6 August 1999. Johnson, Bervin, Robert E. Mayer, and Fred Schmidt. Opportunities in Photography Careers. Ed. Mark Rowh 1999. VGM Opportunities Series. Lincolnwood, IL: VGM Career Horizons (ISBN: 0–8442–6551–9; 0–8442– 6553–5). McLean, Cheryl. Careers for Shutterbugs and Other Candid Types. 1995. Lincoln, IL: VGM Career Horizons (ISBN: 0–8442–4112–1; 0–8442–4114–8).

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National PTA. National PTA Reflections Program—An Arts Recognition and Achievement Program for Students. 1999. http://www.pta.org/programs/arts/ reflections/reflect.htm. 10 July 2000. Vest, C. Elizabeth. Photography Contests. 1999. About.com. http:// amateurphoto.about.com/hobbies/amateurphoto/msub25.htm. 28 June 2000.

Resources for Getting Started American Society of Media Photographers. ASMP: Professional Business Practices in Photography, 5th ed. 1997. Cincinnati, OH: Writer’s Digest Books, 416 pp. (ISBN: 0–92762–914–3). $24.95. An informative and useful guide for learning about the business side of photography. Burian, Peter K. and Robert Caputo. National Geographic Photography Field Guide: Secrets to Making Great Pictures. 1999. Washington, DC: National Geographic Society, 352 pp. (ISBN: 0–79227–498–9). $24.95. An informative and comprehensive guide to field photography for beginners and professionals that focuses on the technical aspects of photography as well as composition. Careers in Focus. Arts and Entertainment. 1998. Chicago: Ferguson Publishing Co., 188 pp. (ISBN: 0–89434–245–2). $13.95. Information on 22 careers in the arts including educational requirements, getting started and advancing, employment outlook, and more. Collins, Sheldan. How to Photograph Works of Art. 1992. New York: Amphoto/ Watson-Guptill, 208 pp. (ISBN: 0–81744–019–4). $24.95. A technical, yet practical, guide to understanding photography. Delaney, Chuck. Photography Your Way. 2000. New York: Allworth Press, 256 pp. (ISBN: 1–58115–024–5). $18.95. A complete guide that covers all the essential need-to-know tips for anyone pursuing a career in photography. Giolas, John. How to Operate a Successful Photo Portrait Studio. 1999. Buffalo, NY: Amherst Media, 120 pp. (ISBN: 0–93626–269–9). $29.95. A practical guide that covers all aspects of running a portrait studio from buying equipment to marketing and promotion techniques. Grimm, Tom, and Michele Grimm. The Basic Book of Photography, 4th Ed. Illustrated by Cindy King, 1997. New York: Plume, 568 pp. (ISBN: 0–45227– 825–2). $19.95. One of the best and most comprehensive books for beginning photographers and professionals alike. Harris, Michael G. Professional Architectural Photography, 2nd Ed. 1998. Oxford: Focal Press, 192 pp. (ISBN: 0–24051–532–3). $32.95. This is a “must read” for anyone interested in architectural photography. Harris provides an informative and well-illustrated guide to photographing the interior and exterior of buildings.

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Harris, Michael G. Professional Interior Photography, 2nd Ed. 1998. Oxford: Focal Press, 192 pp. (ISBN: 0–24051–475–0). $32.95. The author provides details on the technique of interior photography and discusses cameras, lenses, lighting, composition, and much more. Haubenstock, Susan H., and David Joselit. Career Opportunities in Art, 3rd Ed. 2001. New York: Checkmark Books, 208 pp. (ISBN: 0–81604–246–2). $49.50. Career profiles for 80 different jobs in the art field give an overview of what the job is really like, salary range, and employment prospects. The appendix lists names and addresses of trade, industrial, and vocational schools as well as colleges that offer art-related courses. Also includes information on art scholarships and a bibliography that lists important periodicals in the field. Hicks, Roger, and Frances Schultz. Travel Photography: How to Research, Produce and Sell Great Travel Pictures. 1998. Oxford: Focal Press 192 pp. (ISBN: 0–24051–514–5). $29.95. The authors offer tips for planning a trip, including equipment and materials needed, along with notes on how to document and keep track of the shots you’ll take. Kodak. How to Take Good Pictures: A Photo Guide, Rev. Ed. 1995. New York: Ballantine Books, 192 pp. (ISBN: 0–34539–710–X). $14.00. Kodak identifies the top ten techniques for taking better pictures for the professional and beginner alike. Kopelow, Gerry. How to Photograph Buildings and Interiors, Rev. Ed. 1998. New York: Princeton Architectural Press. 200 pp. (ISBN: 1–56898–097–3). $29.95. This is a well-illustrated, practical guide written by an architectural photographer that anyone in the business of architecture would find extremely useful. Provides technical expertise for beginning photographers as well as those in the profession. Lane, Megan, Ed. 2000 Photographer’s Market: 2,000 Places to Sell Your Photographs. Cincinnati, OH: Writer’s Digest Books, 634 pp. (ISBN: 0–89879– 912–0). $24.99. This book is a great resource for every photographer. You’ll find advice on marketing tactics, and finding buyers. Also includes submission guidelines, contact information, pay rates, and more. Markow, Paul. Professional Secrets of Advertising Photography. 1999. New York: Amherst Media, 128 pp. (ISBN: 0–93626–279–6). $29.95. This illustrative guide to advertising photography covers special techniques essential to the field. Also gives advice on working with agencies, preparing a portfolio, and submitting bids. McGrath, Norman. Photographing Buildings Inside and Out, 2nd Ed. 1993. New York: Whitney Library of Design, 208 pp. (ISBN: 0–82304–016–X). $27.50. Written by one of the most prominent architectural photographers. McGrath discusses a variety of situations, using his own work to illustrate his points. Monteith, Ann. The Business of Wedding Photography. 1997. New York: Watson-

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Guptil Publications, 192 pp. (ISBN: 0–81743–617–0). $35.00. A comprehensive resource for setting up a wedding photography business. Penn, Irving. Irving Penn: A Career in Photography. Edited by Colin Westerbeck. 1997. Boston: Art Institute of Chicago in with Bulfinch Press/Little, Brown, 192 pp. (ISBN: 0–82122–459–X). $65.00. This hand-picked collection of Penn’s work provides a glimpse into his versatile and creative world of photography. Proulx, Matt. The Photographer’s Assistant Handbook. 2000. Oxford: Focal Press, 176 pp. (ISBN: 0–24080–413–9). $29.95. A great book for photographer’s assistants who want to break into the field. It identifies responsibilities and skills required and gives very useful tips. Reeves, Diane Lindsey, Career Ideas for Kids Who Like Art. Illustrated by Nancy Bond. 1998. New York Facts on File, 176 pp. (ISBN: 0–81603–681–0). $18.95. Helpful for students who have difficulty deciding what career to pursue. Lists sets of skills needed for 15 careers in the arts and uses questions to help students discover what they might be good at based on their specific interests. Schaefer, John Paul. The Ansel Adams Guide: Basic Techniques of Photography. 1998. Boston: Little, Brown, 400 pp. (ISBN: 0–82122–095–0). $60.00. Well-written and informative. Schaefer presents Ansel Adams’ views on the artistic, practical, and technical aspects of photography. Shaw, John. John Shaw’s Nature Photography Field Guide: Revised Edition of The Nature Photographer’s Complete Guide to Professional Field Techniques. 2000. New York: Amphoto Books, 160 pp. (ISBN: 0–81744–059–3). $24.95. An exceptional field guide for nature photographers, useful for beginners and professionals alike. Shaw shares how-to instructions on lenses, lighting, composition, closeups, and more. Shaw, John. Landscape Photography. 1994. New York Amphoto Books, 144 pp. (ISBN: 0–81743–710–X). $24.95. Shaw illustrates the basics of photography and discusses common problems and their solutions in landscape work. Sint, Steve. Steve Sint’s Tips, Tricks and Hints: 101 Secrets of a Professional Photographer. 1995. Rochester, NY: Silver Pixel Press, 160 pp. (ISBN: 1– 88340–318–9). $19.95. Popular Photography’s advice columnist offers tips for succeeding in the photography business. Snow, Andy. Location Photography Secrets: How to Get the Right Shot Every Time. 1994. Cincinnati, OH: Writer’s Digest Books, 135 pp. (ISBN: 0–89879– 652–0). $26.99. This is an amazing book. Snow offers many tips on how to get the right shot every time. Wexler, Ira. The Business of Commercial Photography. 1997. New York: Amphoto Books, 192 pp. (ISBN: 0–81743–612–X). $35.00. Deals with the business aspects of photography, from the practical issues of planning and setting up your business to getting work and managing assignments.

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Magazines and Online Publications That Accept Photographs from Teens Note: Most publications that accept photographs do not differentiate between teens and older photographers, although some accept submissions from professional photographers only. Those listed below, however, encourage the work of youth.

National Endowment for the Arts 1100 Pennsylvania Avenue NW Washington, DC 20506 Phone: 202–682–5400 Website: http://www.arts.endow.gov The National Endowment for the Arts encourages all individuals to participate in and embrace the arts as a creative form of expression. It fosters community spirit, recognition of excellence, and artistic diversity. TeenInk P.O. Box 30 Newton, MA 02461 Phone: 617–964–6800 Published by the Young Authors Foundation, Inc., TeenInk is a national magazine featuring teen writing, information, art, photos, poetry, teen issues, and more. Teens submit photos to the “Art Gallery” section. Contests

Art Deadlines List Website: http://www.artdeadlineslist.com/ This is a monthly e-mail newsletter, available online only, for artists, art educators, and art students of all ages. It lists art contests and competitions, art scholarships and grants, juried exhibitions, art jobs, and internships. This is an excellent resource for anyone in the arts, especially those interested in art, acting, architecture, film, photography, and writing. Could open the door to a variety of opportunities. Creativenue Website: http://www.creativenue.com Monthly contests open to all artists and writers regardless of experience. Categories identified as “Kids-n-Teens” require parental permission

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to enter. Visual art entries include digital art, the traditional media of drawings, paintings, mixed media, or printmaking, as well as photography.

Shutterbug Photo Contests—2000 Website: http://www.shutterbug.net/community/contest.cfm Organized by month, Shutterbug provides a list of all kinds of photography contests for the year and includes pertinent information for submitting entries.

Related Opportunities

The Art Center School & Galleries 18 Artcraft Drive Mechanicsburg, PA 17055 Phone: 717–697–2072 Website: http://www.serve.com/artcenter A non-profit organization that offers art instruction, workshops, lectures, exhibits, and other visual arts-related activities. National Foundation for Advancement in the Arts National Headquarters 800 Brickell Avenue, Suite 500 Miami, FL 33131 Phone: 800–970–2787 Provides information on the ARTS Recognition & Talent Search, for high school seniors who demonstrate excellence in dance, music, jazz, voice, theater, photography, visual arts, and writing.

Professional Associations Note: Professional photography associations do not intentionally exclude teens. The only exception to this may be certain groups that accept only professionals from the photographic industry.

American Society of Media Photographers (ASMP) 14 Washington Road, Suite 502 Princeton Junction, NJ 08550 Phone: 609–799–8300 This is a professional society of freelance photographers who provide

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business information and promote ethics among photographers. They also hold educational programs and seminars.

American Society of Photographers (ASP) P.O. Box 319 Willimantic, CT 06226 Phone: 860–423–1402 Website: http://www.amsocofphotographers.com/ Dedicated to professional photography as a science and as an art. Associated Press 50 Rockefeller Plaza New York, NY 10020 Website: http://www.ap.org/index.html This is the oldest and largest news organization in the world, serving as a source of news, photos, graphics, audio, and video for news media worldwide. International Society of Fine Art Photographers (ISOFAP) P.O. Box 440735 Miami, FL 33144 Phone: 305–461–2770 Members promote the collecting, understanding, and publishing of fine art photography. They sponsor workshops, fine art exhibits, competitions, and educational programs. National Freelance Photographers Association P.O. Box 406 Solebury, PA 18963 National Press Photographers Association, Inc. (NPPA) 3200 Croasdaile Drive, Suite 306 Durham, NC 27705 Phone: 800–289–6772 Website: http://www.metalab.unc.edu/nppa/ For professional press photographers. North American Nature Photography Association 10200 West Forty-Fourth Avenue Wheat Ridge, CO 80033 Website: http://www.nppa.org/

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Dedicated to providing education and information to those interested in the field of nature photography.

Photographic Society of America, Inc. (PSA) 3000 United Founders Boulevard, Suite 103 Oklahoma City, OK 73112 Phone: 405–843–1437 Website: http://www.psa-photo.org For amateur and professional photographers in all fields of photography, including color slides, nature, pictorial prints, stereo (3-D), electronic photography, video/motion pictures, photojournalism, and travel photography. Professional Photographers of America, Inc. 229 Peachtree Street, NE Suite 2200 International Tower Atlanta, GA 30303 Phone: 404–522–8600 A non-profit organization that provides education, certification, competition, and other services to photographers. Wedding & Portrait Photographers International Box 2003 1312 Lincoln Boulevard Santa Monica, CA 90406 Phone: 304–451–0090 Website: http://www.wppi-online.com/ Provides information for members on latest wedding and portrait trends, technology updates, competitions, and more. White House News Photographers Association 7119 Ben Franklin Station Washington, DC 20044 Website: http://www.whnpa.org/ A news organization that provides coverage of the President, Congress, and major news events in Washington, DC and elsewhere around the world, in addition to educational opportunities and contests for professionals and high school students.

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Magazines & Newsletters for Photographers

Advertising Age 740 Rush Street Chicago, IL 60611 For advertising photographers. American Photo 1633 Broadway New York, NY 10019 A bimonthly magazine focusing on the artistic aspect of photography. Aperture 20 East 23rd Street New York, NY 10010 Phone: 212–505–5555 Website: http://www.aperture.org/ A magazine for photography and the related visual arts. Apogee Photo Website: http://www.apogeephoto.com General photography magazine on the Internet; features how-to articles and tips on buying cameras. ASMP Bulletin American Society of Media Photographers 14 Washington Road, Suite 502 Princeton Junction, NJ 08550–1033 Phone: 609–799–8300 Website: http://www.asmp.org/ This publication, which focuses on the business of professional photography, is one of the benefits of membership for the American Society of Media Photographers. The Commercial Image Cygnus Publishing, Inc. 445 Broad Hollow Road, Suite 21 Melville, NY 11747–3601 Phone: 516–845–2700 A magazine for commercial photographers.

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Darkroom & Creative Camera Techniques P.O. Box 48312 Niles, IL 60714 Phone: 708–965–0566 A how-to magazine for professional photographers and darkroom practitioners. Electronic Photography News 10915 Bonita Beach Road Bonita Springs, FL 33923 Phone: 941–992–4421 Website: http://www.photo-news.com/MainPages/epn.htm The latest information on digital imaging and electronic photography. Entry Box 7648 Ann Arbor, MI 48107 A newsletter published ten times a year that provides listings of photography contests. Modern Photographer 825 Seventh Avenue New York, NY 10019 PEI (Photo Electronic Imaging) Magazine 229 Peachtree Street NE, Suite 2200 International Tower Atlanta, GA 30303 Phone: 404–522–8600 Website: http://www.peimag.com/ All about digital imaging for beginners to professionals. Peterson’s Photographic Magazine 8490 Sunset Boulevard Los Angeles, CA 90069 A magazine for photographers that sponsors monthly contests and more. Photo/Design 1515 Broadway New York, NY 10036 Especially for photographers interested in advertising and design.

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Photo Techniques A Division of Preston Industries, Inc. 6600 W. Touhy Avenue Niles, IL 60714–4588 Phone: 847–647–2900 Website: http://www.phototechmag.com/ Technical focus. Features portfolios of different photographers each month and more. Photographic Resource Center Newsletter Boston University 602 Commonwealth Avenue Boston, MA 02215 A newsletter that provides lists of photographic contests, exhibits, workshops, and much more. Popular Photography 1633 Broadway New York, NY 10019 Especially written for amateur photographers. PP of A Today Professional Photographers of America 229 Peachtree Street NE, Suite 2200 Atlanta, GA 30303 Phone: 404–522–8600 A monthly publication for the association including a calendar of events. The Professional Photographer 229 Peachtree Street NE, Suite 2200 Atlanta, GA 30303 Phone: 404–522–8600 Centered around the business and artistic aspects of photography. Includes book reviews and new product information. The Rangefinder 1312 Lincoln Boulevard P.O. Box 1703 Santa Monica, CA 90404 Phone: 310–451–8506 Website: http://www.rangefinder-network.com/magazine/magazine.html

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For the professional photographer, this magazine focuses on business practices, techniques, and products.

Shutterbug 5211 S. Washington Avenue Titusville, FL 32780 Phone: 321–269–3212 Website: http://www.shutterbug.net Includes classifieds, product previews, test reports, tips, and much more. Studio Photography & Design Cygnus Publishing, Inc. 445 Broad Hollow Road Melville, NY 11747 Phone: 631–845–2700 Website: http://www.spdonline.com Includes articles on leading photographers and their imaging techniques, along with tips on lighting and posing. TeenInk P.O. Box 30 Newton, MA 02461 Phone: 617–964–6800 Published by the Young Authors Foundation, Inc., this is a national teen magazine featuring teen photos and other forms of art.

8 To Be a Writer

Learning to write actually began with the basic skills you acquired through years of practicing in school. It started with the development of a strong vocabulary, the construction of simple sentences, and finally the creation of several paragraphs that turned into papers or even short stories. You also learned other language skills, such as how to organize ideas into paragraphs and use correct punctuation. You then discovered how to look critically at your writing to edit, revise, and refine your work, and listened to suggestions from others. Though the process of writing may come easily now, only through years of practice have you acquired the basic skills of literature. According to Deborah Morris in Keys to Writing Success, “writing is easier, and a whole lot more fun, than most people think. . . . All you need are a few pointers to get you off to a good start” (2000). Many guides to grammar and usage are available, some of which are listed at the end of this chapter. Still, many of us often struggle with some of the basic grammar rules and use of punctuation. In an interview conducted by Diana Dobbs with Scott Rettberg, author of the About.com Guide for Authors, he suggests that young writers not worry about getting it right the first time. Word-processing programs can help with grammar and sentence structure, and he advises young writers to concentrate more on getting into the groove of writing. He also asks writers to consider the following points as they pursue their dream: “Who are your favorite authors? What is it that you really like about them? Is there something you can learn from their style?” (Dobbs, 2000). You may find that a favorite author’s techniques and style may help you deliver your piece much more easily.

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The audience you address will affect your choice of words and how you express your theme. If you choose to write books for children, your story lines and characters should be ones children can relate to and appreciate. If you want to appeal to a teenage audience, write about subjects that will interest them. It is not necessary to stick to one writing style or one audience. There are no limitations to what you’ll be able to do once you have made up your mind to do it. Keep focused on your goals and you will see results. Becoming a successful writer takes practice. Alan Goodman, creator of the Nickelodeon series The Mystery Files of Shelby Woo, says that young writers should “do anything to get published. . . . Everything is a step to another step, but the point is, getting published (even something small) gives you the opportunity to see what your work looks like in print, which always encourages you to write better!” (Goodman, 1996). “Publication increased my faith in my writing skills and encouraged me to pursue journalism,” says Lynya Floyd, a successful student author (Merlyn’s Pen, “Published in Their Teens,” 2000). She first published at the age of thirteen, graduated from Harvard University with an honors degree in English, has since written for the Associated Press, and is an editor at Glamour magazine. “Publication gives students a goal—and people to look up to,” claims Cynthia Cheung, another successful teen author. After her poem appeared in Merlyn’s Pen, Cynthia’s National Merit Scholarship essay led to her full tuition scholarship at the University of Oklahoma. One idea would be to start a journal in which to write about books you read. You could begin by recording your reaction to the story’s theme, how the characters were portrayed, and the author’s style. Gradually expand your journal writing to include your own experiences, perceptions, and reactions. Find different ways to describe things and look for words that are expressive and give depth to your writing. Journal writing allows you to express yourself, your thoughts, and your feelings in a free-flowing stream of words. “Write Away: A Journal Writing Tool Kit,” available from Whole Heart Publications, is one resource that will help you get started. It offers suggestions on how to begin journal writing and what to write about, and provides a lot of other tips on how to proceed. According to Sharon Kingen, a consultant for WriteDirections, writers can choose from eight different types of journal writing to get started. 1. The first is a diary. . . . Very private . . . to be read only by the writer. 2. The second is a writer’s notebook . . . notes of observations, quotes,

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comments, thoughts, etc. . . . rather sketchy, but they provide enough information for the writer to use later on. The third is a writing practice or rehearsal journal . . . experiment with mode, tone, audience and various subject matters . . . to develop flexibility with the language and use of words. The fourth type of journal is a discovery or free writing journal . . . write for a specific time on a specific subject. The fifth type is a project record . . . a log in which students keep track of work that they have done independently or in small groups . . . useful in helping students develop summarizing skills. The sixth type of journal is a learning log . . . forces students to summarize the main points and write questions for later discussion. The seventh type of journal writing is a dialogue journal. . . . A student writes and the teacher responds on a regular basis and they actually carry on a conversation on paper. The eighth style of journal writing is the textbook journal . . . students read and comment on the literature that the author wrote. (1998)

So exactly how do you get the experience and practice needed for writing? Take advantage of any opportunity that comes along in your community or local library to participate in writing groups. These groups are made up of people in your neighborhood who share a common interest in and enthusiasm for writing. They offer a way for writers to gather for inspiration and support, to exchange ideas, and to critique each other’s work. There are also online writing groups that anyone can join. Some are chat groups, while others are groups that correspond through e-mail. Writers on the Net (http://www.writers.com/groups.htm) currently hosts fiction, nonfiction, and poetry groups. The fiction group is divided into subcategories: general groups for support, feedback on work in progress, a critique-only group, a group for science fiction, fantasy, and experimental fiction, and a group especially for writers of mystery and suspense. Participation is free, and anyone can join by sending an e-mail to [email protected]. Specify which group you would like to join and you will receive an e-mail confirmation with details on correct protocol for submitting questions to the group and corresponding with other members. Some organizations provide resources and support groups online that

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are accessible using an Internet browser. Poets & Writers Online, available at http://www.pw.org/, is the online resource for poets and writers for the corresponding print publication Poets & Writers. This site provides news, resources, and links, along with a discussion area. It is a place for writers to share ideas and give each other advice. Also look for opportunities to take writing classes. Sometimes published writers and experienced writing teachers in the community offer classes and can serve as a resource for young writers. A writing class that beginners may find very helpful is offered online by Gloria Kempton through Writers on the Net. In her eight-week course, “Discovering Your Writing Niche,” Kempton, the author of five self-help books, explores various forms of writing. Furthermore, the course helps young writers find the type of writing they are best suited for, discover their passion for writing, keep themselves motivated, and identify the audience they want to write for. She offers many tips and suggestions to help young writers successfully manage their writing careers. High school and community newspapers can provide practical writing experiences. Look for opportunities to do research, check facts, and do copy editing. Take advantage of opportunities to conduct interviews to learn more about the publishing business. Your words, ideas, thoughts, and feelings can be communicated to your audience in many forms, so explore different media types—newsletters, magazines, newspapers, TV, radio, and film, to a name a few. They may open the door to another career related to the writing profession. As you go through school, there are classes that might help you develop and refine your skills as a writer. Language arts courses explore different types of literature and plot, theme, and characters in depth, both through classroom discussion and in written assignments. Intensive study in the classroom provides good exposure to various forms of literature, an analysis of the writers’ style, and other elements (such as character development) that are so important for beginning writers to grasp. When your written assignments are returned, take time to read the teacher’s comments, which usually provide constructive criticism and offer suggestions on how to further refine your work. If there are comments you are not sure about or do not understand, ask for clarification. Kristy Shannon, a language arts teacher at McCord Middle School in Worthington, Ohio, encourages students to try things out online and practice writing as much as possible. Several websites accept writing from students and offer advice and constructive criticism as well. She encourages students to “focus a little more on the editing process so

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they begin to refine their writing. In this way, they begin to learn about the real world of writing. As they go through the process of editing and revising, they begin to realize that even professional writers have editors” (2000). High school students interested in pursuing a career in writing would find courses in literature and creative writing most beneficial. Opportunities may also be available to work on the school newspaper or yearbook. Literary magazines, community newspapers, and radio stations may also have internships available through which you could practice writing, researching, and editing and at the same time learn more about publishing and broadcasting. It is also very important for students to acquire general computer skills, especially word processing. Familiarity with other publishing and graphics software packages is also useful for electronic publishing. Writers often work on collaborative projects with other people, so knowing how to share and exchange information and files electronically would be extremely helpful as well. Along with this, it is very important for students to acquire research skills such as narrowing a topic, finding and organizing information, and citing resources. Writing is an art that requires a lot of practice. As Will Greenway, author of “Dynamic Beginnings,” notes, “Sometimes, no matter how hard you try, your opening doesn’t move the story forward in the proper manner. This may not be a shortcoming in your writing ability, but a reflection of an improperly framed narrative” (2000). He offers this advice to get your story off to a good start: 1. Show the protagonist in focus . . . focus on the character’s emotional and physical details. . . . 2. Establish the protagonist[s] in context. . . . Are they outsiders? Insiders? Outcasts? 3. Offer a scene that reflects the overall book or story conflict. . . . Your first scene sets the tone for the rest of the book. . . . 4. Portray an evocative situation. Show the protagonist in a vivid . . . scene. . . . 5. Establish that the protagonist has something significant at stake. . . . conflict and the establishment of a personal take [are] essential to driving your story forward. . . . 6. Show the rules of the world at work. . . . start with the most plausible fantastic elements first. . . . 7. Introduce the story question (needs and desires). “Why me?”, “Will I ever

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be happy?”, “Why . . .”, etc. . . . and by the end of the story, answer it. . . . 8. Establish tone and peace. Your opening scene sets the overall mood of your material. . . . This is key. If the construction is well handled, every one of these points can be touched upon in a single scene. When you have integrated these points into the start of the story, you can feel safe that you have a solid beginning. . . . Give it a try; you should be pleased with the results. (Greenway, 2000)

The more you practice, the easier it becomes to find just the right words to use. Many people are willing to help you get started and to support your effort. Barbara Turner, an accomplished author, suggests getting into a critique group with other writers. “Listen to their advice, pay attention to how they use words and sentences in their own writing, and take their criticisms for what they are—attempts to make your writing better” (Turner, 2000). Also look for someone you can turn to as a mentor—someone who can give advice, review your writing with constructive criticism, and help you learn the ropes in the publishing environment. Merlyn’s Pen’s “Mentors in Writing Program” is an example of this type of support group. There is a charge for this service; however, financial aid is available to help defray the cost. An application form is available online at http://www.merlynspen.com/ or by contacting Merlyn’s Pen at 1 800– 247–2027. Mentors recognize the needs of new writers and can provide the kind of guidance and feedback you need to be successful and reach your full potential. A mentor can share valuable experience, which may save you time and aggravation. In effect, the mentor becomes a gateway to the resources and the profession. Another way to practice writing is by entering writing contests. Most contests allow students to enter on their own, but others require them to participate as part of a class. Scott Pendleton’s Ultimate Guide to Student Contests, Grades 7–12 organizes contests by broad categories and provides all the details necessary for entry.

What Parents Can Do Many parents read to very young children, but tend to read to them less as the children get older and learn to read for themselves. However,

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finding time to read together helps inspire children to understand and appreciate the value of the written word. This shared reading time can be used for pleasure, to explore a topic together, or to share bits and pieces of books you are reading silently, but together. Encourage teenagers to talk about their interests and discuss different styles of writing and genre. What is it that they like or dislike about each? Is there a style of writing that is “easy” for them? One that seems to flow naturally? This will help them narrow down the style of writing that they would like to develop. Help them investigate the different career choices that involve writing skills. Also, take them to the library and encourage them to read books. Consider giving gifts of books and writing journals as well. Help them to become involved in such activities as creative writing workshops or literary groups. Encourage and be supportive of their efforts and enthusiasm. The U.S. Department of Education offers parents the following suggestions to help children and teens learn to write well: Pointers for Parents • Provide a place. It’s important for a child to have a good place to write—a desk or table with a smooth, flat surface and good lighting. • Have the materials. Provide plenty of paper—lined and unlined—and things to write with, including pencils, pens, and crayons. • Allow time. Help your child spend time thinking about a writing project or exercise. Good writers do a great deal of thinking. Your child may dawdle, sharpen a pencil, get papers ready, or look up the spelling of a word. Be patient—your child may be thinking. • Respond. Do not respond to the ideas your child expresses verbally or in writing. Make it clear that you are interested in the true function of writing[,] which is to convey ideas. This means focusing on “what” the child has written, not “how” it was written. It’s usually wise to ignore minor errors, particularly at the stage when your child is just getting ideas together. • Don’t you write it! Don’t write a paper for your child that will be turned in as his/her work. Never rewrite a child’s work. Meeting a writing deadline, taking responsibility for the finished product, and feeling ownership of it are important parts of writing well. • Praise. Take a positive approach and say something good about your child’s writing. Is it accurate? Descriptive? Thoughtful? Interesting? Does it say something?

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Things to Do • Make it real. Your child needs to do real writing. It’s more important for the child to write a letter to a relative than it is to write a one-line note on a greeting card. Encourage the child to write to relatives and friends. Perhaps your child would enjoy corresponding with a pen pal. • Suggest note-taking. Encourage your child to take notes on trips or outings and to describe what (s)he saw. This could include a description of nature walks, a boat ride, a car trip, or other events that lend themselves to note-taking. • Brainstorm. Talk with your child as much as possible about his/her impressions and encourage the child to describe people and events to you. If the child’s description is especially accurate and colorful, say so. • Encourage keeping a journal. This is excellent writing practice as well as a good outlet for venting feelings. Encourage your child to write about things that happen at home and school, about people (s)he likes or dislikes and why, things to remember or things the child wants to do. Especially encourage your child to write about personal feelings—pleasures as well as disappointments. If the child wants to share the journal with you, read the entries and discuss them—especially the child’s ideas and perceptions. • Write together. Have your child help you with letters, even such routine ones as ordering items from an advertisement or writing to a business firm. This helps the child to see firsthand that writing is important to adults and truly useful. • Use games. There are numerous games and puzzles that help a child to increase vocabulary and make the child more fluent in speaking and writing. Remember, building a vocabulary builds confidence. Try crossword puzzles, word games, anagrams and cryptograms designed especially for children. Flash cards are good, too, and they’re easy to make at home. • Suggest making lists. Most children like to make lists just as they like to count. Encourage this. Making lists is good practice and helps a child to become more organized. Boys and girls might make lists of their records, tapes, baseball cards, dolls, furniture in a room, etc. They could include items they want. It’s also good practice to make lists of things to do, schoolwork, dates for tests, social events, and other reminders. • Encourage copying. If a child likes a particular song, suggest learning the words by writing them down—replaying the song on your stereo/tape player or jotting down the words whenever the song is played on a radio program. Also encourage copying favorite poems or quotations from books and plays. (United States, Department of Education, 1993)

Also, keep a watchful eye out for summer writing camps or classes for teenagers sponsored by the local library or other community groups that

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could provide opportunities to learn writing skills and how to be a successful writer. On a final note, encourage teens to add items regularly to a writing folder and to develop a portfolio of their writing. It may include a sample of each type of writing the student has done or only the best pieces, as well as awards and special recognitions. A portfolio can show how students’ writing has matured over time and the different types of writing they have done.

What Schools and Teachers Can Do Many schools offer career nights that students and parents can attend as an introduction to various occupations. Schools also assist with career planning by providing opportunities for shadowing, which gives students a chance to explore a career field that interests them. Students decide what type of work they would like to explore and then make arrangements to spend the day at work with someone in the field of their choice. The school sets aside a full day for this opportunity. Shadowing gives students a glimpse of the working world and lets them see what a typical work day is like. Teachers can also provide a collaborative classroom environment in which students offer one another positive, constructive criticism. Students could learn to edit the work of their peers and offer each other support, similar to what one would find in a writers’ group. Teachers can also help locate writing contests and encourage students to participate individually or as a class, which could help motivate those who are reluctant to contribute on their own. Another opportunity for students is through the National Foundation for Advancement in the Arts. The ARTS Recognition and Talent Search is a national program designed to identify, recognize, and encourage talented high school senior artists, ages 17 and 18. This program is intended for those who demonstrate excellence in dance, music, jazz, voice, theater, photography, visual arts, and writing. Many schools have publishing centers that give students a chance to share their writing with others. The publishing center also gives teachers a way to integrate classroom projects and to support other curriculum subjects. Items written by students can be submitted to the appropriate school publication, such as newsletters, announcements, or yearbooks. Other contributions may be submitted to community newspapers. Counselors have many resources available to assist students in career

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planning. Students should seek out the counselor and ask for advice. Teachers can serve as a resource for students as well. Several career paths are open to aspiring writers. Newspapers and broadcasters employ writers to prepare items based on information supplied by reporters or wire services. Columnists write columns or commentaries based on personal knowledge or experience. Editorial writers write commentaries reflecting the viewpoint of their publication to sway or influence public opinion. Copy writers create advertisements to promote the sale of goods and services. Knowledge of electronic publishing, graphics, and video production equipment is often required. Technical writers often work on operating manuals, assembly instructions, and technical reports. This work often requires a degree in a specialized field. However, it is possible to begin as a research assistant, editorial assistant, or trainee within a company and learn the skills of a technical writer on the job. Editors sometimes write, but most often review, rewrite, and edit the work of others. They are primarily responsible for the content of books, magazines, and newspapers and for making decisions about what may appeal to readers. They also assign topics and oversee the production of the publication. In small organizations, a single editor may do everything. However, in larger organizations, an executive editor oversees associate or assistant editors who are responsible for various parts of the publication or broadcast. In broadcasting companies, program directors have similar responsibilities. The Occupational Outlook Handbook states: Editors and program directors often have assistants, with the title of assistant editor, editorial assistant, copy editor, or production assistant. . . . They review copy for errors in grammar, punctuation, and editorial policy. They add and rearrange sentences to improve clarity or delete incorrect and unnecessary material. Editorial assistants do research for writers and verify facts, dates, and statistics. Assistants also may arrange page layouts of articles, photographs, and advertising or plan the use of tapes. They also may compose headlines, prepare copy for printing, and proofread printer’s galleys. Some editorial assistants read and evaluate manuscripts submitted by freelance writers or answer letters about published or broadcast material. (United States, Department of Labor, 1994–1995)

A college degree is highly recommended but not necessarily required. A degree in liberal arts, communications, journalism, and English are

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preferred majors. The goal is a well-rounded background that includes the study of history, literature, political science, social sciences, physical sciences, and the arts. Every writer approaches the art of writing from a different angle. Some find that they write best at certain times of the day. Some write on a set schedule to meet deadlines. Others write when they feel the urge to do so. Some prefer to work out of a home office, while others find that rented office space suits their needs better. They may have an assigned topic to work with, and or take the freelance approach in developing their own story. The notepad and pencil are always close at hand, as the writer may start with an idea, gather research, and interview people. Extensive notes will be useful when the author is ready to pull it all together. Selfdiscipline and organizational skills are important for all writers. It is very important for beginning writers to work with an agent who can help find a buyer and arrange a contract for their work. Check your local library for the latest editions of Writers Market or Literary Market Place to find agents who handle works in your genre, and write query letters to those who appear to specialize in the type of manuscript you hope to publish. A query letter describes the proposed or completed work to solicit interest from a buyer. According to Lisa Collier Cool, literary agent, a query letter sent to an agent pre-sells your work. It gets the agent interested in your idea. “A good query letter sent to the right editor will not only increase your chances of a sale—it’s also the most effective way to pre-sell your idea so you can write the book or article with the confidence of knowing it’s good, it’s wanted, it’s going to be paid for, and published” (Cool, 2001). A query letter sent to a publisher focuses on your writing, potential target audiences, and suggestions for sales and promotion of your work. Literary Market Place also provides explicit details on how to submit work to a publisher for consideration, including requirements on length format, and other matters. If the work you submit for consideration is not accepted, don’t get discouraged. Bob Schmalfeldt, a published author, offers this advice: I see each rejection as an opportunity. It does me no good to have a manuscript sitting on some editor’s desk if they’re not going to publish it. By rejecting my work, they’re allowing me to submit it somewhere else where it has a better chance of getting published. And occasionally, editors will make helpful comments. . . . THE most important thing to remember? Rejections are a sign of success! They mean you are on the way to getting published. . . . Never let the rejections get you down. Never let them tell

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you that you have nothing to offer. And never EVER let them convince you to stop writing. (1999)

In Five Golden Rules for Writers, Lisa Cote gives practical advice on what she has learned along the way about “becoming and remaining productive, creative, and content while traversing the writer’s path” (1997). Her “Golden Rules” are as follows: Golden Rule #1: Avoid dwelling on past work: get on with it. This may be the most important, and most difficult to follow of the Golden Rules. There is actually a subset of rules under this category, since there are many ways to “dwell” and many things to dwell on. Take heed, then, that thou shalt never: • Stop writing for a time because you received a discouraging rejection letter. Whether or not you’ve been published yet, mark a file folder “Acceptance Letters” and expect to fill it eventually. Your day will come. • Stop writing for a time because you’ve completed something or because you’ve had an acceptance. There is a tendency to relax, to say: “Ah, I’ve done it.” Savor the moment, sure; but don’t get overly lazy with your writing. Move on to your next project. • Reread every sentence, paragraph, etc. after you’ve just written it. Learn to disengage your “editor” self until the work is finished—you’ll be much more efficient and prolific this way.

Golden Rule #2: Accept rejection gleefully! Well, maybe not “gleefully.” But it is true: you can learn from rejections. Therefore: • Test your work on other writers you admire and listen to what they bring up, both the compliments and the criticisms. • If you receive a rejection letter that contains comments on why your piece was turned down, read it, file it, and think about it; decide if you should edit the work some more before sending it out again. Chances are if the editor took the time to write a note to you, they saw some kind of potential in your work—that’s the next best thing to being accepted! • Finally, remember that you must study your markets carefully, and be selective about what article, story, etc. you send to what publication. Rejection might simply indicate that you sent your work to the wrong place.

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Golden Rule #3: Keep track of everything . . . everything. If you are sending stuff out to editors, you must keep track of what you send, where you send it, and when you send it. • One good way to keep a log is to create a table, either with your word processor or by hand, with columns marked for; 1. Title of work or query; 2. Title of journal, magazine, etc. you sent to; 3. Date sent; 4. Date accepted or rejected (mark A or R, date); 5. Other places the work was sent. • Make sure not to leave out 5, since you don’t want to waste time resending a piece to somewhere it has been turned down. You might want to mark beside 2 how long you expect to wait for a reply, if you have this information. • Print off extra copies of your cover letters and keep them in a file with the submitted pieces attached. • You might also want to log how many hours you spend writing each day, week, etc., to help keep you honest. • Organize your correspondence, research materials, notes, and other important documents and keep them in handy portable file boxes.

Golden Rule #4: Write about what interests you. Everyone has heard the sermon about writing “what you know.” It’s good to keep in mind, however, that what you don’t yet know can be learned, through research or contact with other people. • As long as it interests you, it’s a topic worthy of pursuing. Go to the library and look it up; watch a documentary; conduct interviews with experts; listen to people’s stories, memories and impressions. Then write. • If it bores you silly, but you feel you should write about it because: (a) it’s a marketable subject/theme; (b) someone has asked you to write about it; (c) everyone else is writing about it; or (d) nobody else is writing about it—go ahead, if you’ll receive proper compensation for your boredom. If not, leave it alone. • If your subject excites you tremendously, but seems to bore everyone else, you can: write it anyway because it’s good for the soul; scour the publishing world for a suitable market, since there’s bound to be someone who shares your (possibly obscure) interest; or slant your article/story to suit a particular publication.

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Golden Rule #5: Stare at the wall; drink some coffee; scribble. You can substitute the ceiling, some tea, and doodling if you wish. As long as you get away from the work for a bit to relax, ponder, daydream, and pet the cat. “But that’s a waste of precious time,” you say. Not true. On the contrary: you can’t ignore this rule and expect to flourish as a writer. Why? Because “goofing off” actually serves to fuel your imagination and restock your creative resources. You can’t expect to function physically without sleep, right? Likewise, you can’t expect to function as a writer unless you occasionally . . . • Do other creative things, whether you’re “good” at them or not. Make a cartoon with stick figures. Try watercolors. Take a dance class. Improvise a song while you shower. • Move around. You’ll notice that your mind tends to go numb at about the same point your butt does: that’s your signal to get up and take a walk outside, wrestle with the kids, do Tai Chi, whatever. Just move. • Is there a character in your story who’s been giving you grief? Maybe you haven’t gotten to know her properly yet, or she you. Invite her to shuffle about your brain while you peel potatoes and ask her a few questions— you’ll be surprised at how agreeable she becomes. • Get out of the house! Or office. Cabin fever is a continuous occupational hazard for writers, but you don’t have to succumb: get together with friends, or simply be around other people in a public place. There you have them, the golden rules. . . . Without rules to live by, and goals to strive for, our art suffers—languishes from lack of discipline and drive. So buck up and commit the rules to memory, recite them once a day. And write, write, write! (Cote, 1997)

When a buyer expresses interest in publishing a work, the writer sends a manuscript for review. As the editing process begins, changes may be made to get the work ready for publication. If you are talented as a writer and an artist, Barbara Berger has some important advice to offer. These are her guidelines for submitting a proposal for a picture book as authorillustrator: • The manuscript of the story alone (in standard manuscript format) • A dummy of the entire book (32 pages for a standard picture book, showing text and sketches the way you envision them going together)

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• Two or three samples of finished art the way you envision doing it (but only send good color photocopies or digital prints, not originals) • A cover letter (brief and to the point) • A self-addressed stamped envelope (SASE) for the return of these materials. (Berger, 1999) Your work should show that you understand how to tell the story visually and that there is consistency with characterization throughout the book. There are many different mediums to use and many different styles of art. Berger offers this additional advice to aspiring writers and artists: Like a true ‘voice’ in writing, this quality in art cannot be contrived. It has to be genuine and honest. If you have this already, go for it! If you don’t yet, keep working and allow your own authentic voice, vision, style to develop. It is a rarity and strength. (1999)

If you are already an accomplished writer, what does it take to become a great writer? Virginia Graf states: Writers are readers! Most good novelists have done research before they write anything. Knowing background information about the setting and subjects of your story enhances your creative efforts. Marguerite Henry is a good example of someone who writes well and who provides a wealth of interesting information to her reader. She combines her creativity and research so well that she has received many distinctive awards. Read some of her books as models for your own writing. (Graf, 1999)

Did you know that some of the most famous authors began writing in their teens? Walt Whitman was editing a newspaper by the age of 19. His first collection of poetry, Leaves of Grass, was so scandalous for its time that he was fired from his job as a clerk at the U.S. Department of the Interior. Edgar Allan Poe, sometimes called the “father of American poetry,” published his first book, Tamerlane and Other Poems, at the age of 18. Ernest Hemingway wrote many poems and stories as a high school student. His first published story appeared in his high school literary magazine when he was just 16. Some of his famous works—A Farewell to Arms, For Whom the Bell Tolls, and The Old Man and the Sea—are part of the curriculum in many English classes today. Langston Hughes wrote his first poem for his eighth grade graduation. He also published poems in his high school magazine and edited the yearbook. His major works include “Shakespeare in Harlem” and “Montage of a Dream Deferred.” Syl-

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via Plath, primarily a poet, published the short story “And Summer Will Not Come Again” in Seventeen magazine before she was 18. The great writers of today echo a common word of advice—read. Read constantly and voraciously, not just in your genre, but in all areas of literature. This will help familiarize you with different types and styles of writing. You’ll get a sense of how various authors present facts, develop a plot, provide details for the setting, and analyze the characters. This will help you develop your own writing style and broaden your vocabulary to help you convey the images and emotions you want the reader to experience through your writing. It will also allow you to become more familiar with your audience—the type of reader who may be attracted to the genre you’d like to write in.

Works Cited Berger, Barbara Helen. Advice. 1999. http://bhberger.com/children/features/ pf_advice.html. 23 February, 2000. Cool, Lisa Collier. How to Write Irresistible Query Letters, An Easy-to-follow Guide to Writing Professional Queries that Produce Sales—for Articles and Nonfiction Books. 1987. The Writers’ Computer Store, LLC. http:// writerscomputer.com/cgi-bin/SoftCart.exe/?E⫹writers. 30 Jan 2001. Cote, Lisa. “Five Golden Rules for Writers.” 1997. http://www.artofwritingzine. com. 13 June 2000. Dobbs, Diana. Tips for Young Writers. 2000. http://teenwriting.about.com/teens/ teenwriting/library/weekly/aa073197.htm?terms⫽Rettberg. 30 Jan 2001. Goodman, Alan. “Screenwriting Tips.” For Young Writers. 1996. http://www. inkspot.com/joe/young/articles/ag.html. 10 August 1999. Graf, Virginia Lynch. Tips on Creative Writing. 1999. Vangar Publishers. http:// members.aol.com/vangarnews/tips.html. 23 February 2000. Greenway, Will. Dynamic Beginnings: Getting Your Story Off to a Great Start. 2000. http://www.inkspot.com/feature/greenway1.html. 14 June 2000. Kempton, Gloria. “Discovering Your Writing Niche.” Writers on the Net. 1999. http://www.writers.com/gloriakempton.htm. 4 April 2000. Kingen, Sharon. Journals. 1998. Write Environment, Inc. http://www. writeenvironment.com/Journals.html. 26 June 2000. Merlyn’s Pen. Published in Their Teens. Merlyn’s Pen: Fiction, Essays, and Poems by America’s Teens, Advertising Brochure. Spring/Fall 2000. Morris, Deborah S. Keys to Writing Success. 2000. Real Kids, Real Adventures. http: //www.realkids.com/keys.shtml. 23 February 2000. Schmalfeldt, Bob. “On Rejection.” Advice for Young Writers. 10 August 1999. http://www.inkspot.com/young/articles/advice.html

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Shannon, Kristy. Telephone interview with author. 12 June 2000. Turner, Barbara. Advice for Young Writers. 23 February 2000. http://www. inkspot.com/young/articles/advice.html. United States, Department of Education, Office of Educational Research and Improvement. Help Your Child Learn to Write Well. 1993. http://www.ed. gov/pubs/parents/Writing/. 12 June 2000. United States, Department of Labor, Bureau of Labor Statistics. Occupational Outlook Handbook, 1994–95. http://www.tripod.com/explore/jobs_ career/hot_jobs/gallery/writers.html. 6 August 1999.

Resources for Getting Started Allen, Roberta. Fast Fiction: Creating Fiction in Five Minutes. 1997. Cincinnati, OH: Story Press, 208 pp. (ISBN: 1–884–91027–0). $18.99. The author presents a teaching method in which students learn to create very short stories quickly and then expand them into longer stories or novels. Techniques help the beginning writer overcome writer’s block. Bebko, Anne R., John Alexander, and Richard Doucet. Language! Roots. 1998. Longmont, CA: Sopris West, 716 pp. (ISBN: 1–57035–136–8). $65.00. Great for teaching spelling through use of root words. Good for integrating spelling and writing into other subject areas. Bentley, Chantelle, Ed. 2001 Poet’s Market. 2000. Cincinnati, OH: Writer’s Digest Books, 608 pp. (ISBN: 0–89879–981–3). $23.99. A list of U.S. and Canadian poetry publishers. Includes conferences and contests. Bouton, Eldonna. Write Away: A Journal Writing Toolkit. 1999. San Luis Obispo, CA: Whole Heart Publications, 32 pp. (ISBN: 0–96703–842–1). $5.95. This is a very practical book that helps young writers begin and maintain the practice of journal writing. Buzzeo, Toni, and Jane Kurtz. Terrific Connections with Authors, Illustrators, and Storytellers: Real Space and Virtual Links 1999. Englewood, CO: Libraries Unlimited, 185 pp. (ISBN: 1–56308–744–8). $26.50. Toni Buzzeo, Media Specialist of the Year for the state of Maine in 1999, has compiled a unique resource for anyone planning author visits in person as well as through cyberspace. She offers ideas on making the encounters meaningful and integrating them with the curriculum. Daugherty, Greg, and Karen A. Moore. You Can Write for Magazines. 1999. Cincinnati, OH: Writer’s Digest Books, 128 pp. (ISBN: 0–898–79902–3). $12.99. This guide is packed with good information for the beginning freelance writer. Includes suggestions on interviewing skills, how to find markets, and how to write fillers and sidebars, along with the types of magazines most open to new writers. Dickerson, Donya, Ed. 2000 Guide to Literary Agents. 1999. Cincinnati, OH: Writer’s Digest Books, 962 pp. (ISBN: 0–76151–961–0). $22.36. A list of current literary and script agents.

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Fletcher, Ralph. Breathing In, Breathing Out: Keeping a Writer’s Notebook. 1998. Portsmouth, NH: Heinemann, 288 pp. (ISBN: 0–435–07227–7). $18.50. Ralph Fletcher describes the writer’s notebook, its purpose, how writers use it, and what makes it so special, as these are keys to a writer’s creativity. Gerard, Philip. Creative Nonfiction: Researching and Crafting Stories of Real Life. 1999. Cincinnati, OH: Writer’s Digest Books, 216 pp. (ISBN: 1–884– 91043–2). $14.99. This guide is aimed toward the nonfiction writer, with advice on researching and writing nonfiction stories. The author goes a step further by providing examples of what works and what does not. Gillis, Candida. Writing Outside the Lines: Developing Partnerships for Writing. 1997. Portsmouth, NH: Boynton/Cook Publishers, 155 pp. (ISBN: 0– 867–09422–2). $22.50. This book explains how to establish and run writing partnership programs with the community of writers outside the school. Helpful advice is included for establishing guidelines for locating community writers, informing parents and others, organizing and monitoring exchanges, and publishing writing. This unique concept shows how writers of all ages learn about and share writing styles, and support one another. Grant, Janet E. The Young Person’s Guide to Becoming a Writer: How to Develop Your Talent, Write Like a Pro—And Get Published! 1995. Minneapolis, MN: Free Spirit Publishing, 184 pp. (ISBN: 0–915–79390–3). $13.95. Available in paperback, this is a practical guide to starting and maintaining a writing career. Young adult readers are encouraged to discover their writing styles, explore new types of writing, experiment with different genres, and more. Greenway, Will. Dynamic Beginnings: Getting Your Story Off to a Great Start. 2000. http://www.inkspot.com/feature/greenway1.html. 14 June 2000. The title of this piece says a lot. Greenway provides some good questions for the writer to stimulate thinking about character development and how to deal with conflict. Haubenstock, Susan H., and David Joselit. Career Opportunities in Art, 3rd Ed. 2001. New York: Checkmark Books, 208 pp. (ISBN: 0–81604–246–2). $49.50. Career profiles for 80 different jobs in the art field give an overview of what the job is really like, salary range, and employment prospects. The appendix lists names and addresses of trade, industrial, and vocational schools as well as colleges that offer art-related courses. Also includes information on art scholarships and a bibliography that lists important periodicals in the field. Heard, Georgia. Writing Toward Home: Tales and Lessons to Find Your Way. 1995. Portsmouth, NH: Heinemann, 146 pp. (ISBN: 0–435–08124–1). $14.95. This book will make you want to write! The author provides practical advice on overcoming obstacles that all writers face at one time or an-

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other, including writer’s block, fear of rejection, and negative criticism. Also discusses how to become a risk taker and an acute observer. Henderson, Kathy. Market Guide for Young Writers: Where and How to Sell What You Write, 5th Ed. 1996. Cincinnati, OH: Writer’s Digest Books, 320 pp. (ISBN: 0–89879–721–7). $16.95. Gives all the basics of writing and preparing manuscripts for submission and provides advice about markets, tips, and other topics. Also included is a comprehensive listing of publishers who print the work of young writers. Hensley, Dennis E., and Holly G. Miller. Write on Target. 1995. Boston: The Writer, 155 pp. (ISBN: 0–871–16177–X). $12.95. The authors provide helpful advice for nonfiction writers that ranges from interviewing tips to explaining the different types of nonfiction writing. The last chapter gives advice on planning your writing career several years into the future. Herman, Jeff, and Jeff Manning. Writer’s Guide to Book Editors, Publishers, and Literary Agents, 2000–2001. 1999. Rocklin, CA: Prima Publishing, 962 pp. (ISBN: 0–76151–961–0). $27.95. Lists names and specific areas of interest for editors and book publishers. Holm, Kirsten, and Donya Dickerson, Eds. 2000 Writer’s Market: 8,000 Editors Who Buy What You Write. 1999. Cincinnati, OH: Writer’s Digest Books, 1112 pp. (ISBN: 0–89879–911–2). $27.99. Considered by many to be the “writer’s bible.” Up-to-date market information, insider interviews, tips from editors, and other valuable how-to information are included here. Kercheval, Jesse Lee. Building Fiction: How to Develop Plot and Structure. 1997. Cincinnati, OH: Story Press, 208 pp. (ISBN: 1–884–91028–9). $16.99. Tips, examples, and exercises to help beginning writers make sure their story is well developed, logical, and interesting. Kress, Nancy. Beginnings, Middles and Ends (Elements of Fiction Writing). 1999. Cincinnati, OH: Writer’s Digest Books, 149 pp. (ISBN: 0–898–79905– 8). $9.60. The author focuses on each part of the story and what it should contain. She includes tips on how to avoid common pitfalls and a checklist for writing successful endings. Kuroff, Barbara, and Tricia Waddell, Eds. 2000 Novel and Short Story Writer’s Market. 2000. Cincinnati, OH: Writer’s Digest Books, 678 pp. (ISBN: 0– 89879–934–1). $24.99. Contact information for book publishers and magazines, submission policies, and tips on preparing the manuscript are included in this popular resource. Literary Market Place, 2001. 2000. New Providence, NJ: R. R. Bowker, 1400 pp. (ISBN: 0–83524–345–1). $236.25. This is an annual publication that offers information on every aspect of the publishing business, including editing, typesetting, illustrating, printing, binding, and promotion. Publishers, agents, and agencies, associations, and distributors are just a few of the other items included here.

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Lukeman, Noah T. The First Five Pages: A Writer’s Guide to Staying Out of the Rejection Pile. 2000. New York: Simon & Schuster, 208 pp. (ISBN: 0– 684–85743–X). $8.80. Lukeman gives tips on how to identify and avoid bad writing, addressing the pitfalls and providing remedies for all kinds of errors. Lutovich, Diane, and Janis Fisher Chan. Just Commas: Nine Basic Rules to Master Comma Usage. 1999. San Anselmo, CA: Advanced Communications Designs, 96 pp. (ISBN: 0–96374–556–5). $10.95. Commas are one of the most misused punctuation marks. This guide helps clarify when to use commas through examples, explanations, and practice. Means, Beth, and Lindy Lindner. Teaching Writing in Middle School: Tips, Tricks, and Techniques. 1998. Greenwich, RI: Merlyn’s Pen, 209 pp. (ISBN: 1– 56308–562–3). $24.95. This is a wonderful resource for teachers that really helps students find meaning in their writing. Chapters provide handouts and activities that focus on deciding what to write about, doing the research, getting the words to flow, editing, and much more. Mirriam-Goldberg, Caryn, Elizabeth Verdick, and Darsi Dreyer. Write Where You Are: How to Use Writing to Make Sense of Your Life. A Guide for Teens. 1999. Minneapolis, MN: Free Spirit Pub., 224 pp. (ISBN: 1–575–42060– 0). $11.96. How-to tips on editing, connecting with other readers and writers through classes, readings, mentors, and groups, and getting published. Includes examples of writing by teens, advice and quotes from famous writers, and web resources. “I wrote this book as a way to give back to teens what was given to me as a teen writer—encouragement, focus, inspiration, direction, and most of all, possibilities for writing and life” (Caryn Mirriam-Goldberg). Murray, Donald M. Crafting a Life in Essay, Story, Poem. 1996. Portsmouth, NH: Boynton/Cook Publishers, 166 pp. (ISBN: 0–86709–403–6). $19.00. The author discusses the attitudes and skills that encourage writing as well as specific techniques for writing personal essays, fiction, and poetry. Also covers revision and editing skills along with ways to develop a writing community. Recommended for both students and teachers. O’Connor, Patricia T. Words Fail Me: What Everyone Who Writes Should Know About Writing. 1999. New York: Harcourt Brace, 230 pp. (ISBN: 0–151– 00371–8). $18.95. This book is for beginning writers who just can’t quite find the right words. Press, Skip. Writer’s Guide to Hollywood Producers, Directors, and Screenwriter’s Agents, 1999–2000: Who They Are! What They Want! And How to Win Them Over! 1998. Rocklin, CA: Prima Publishing, 432 pp. (ISBN: 0– 76151–484–8). $23.00. This is a one-stop resource for listings of hundreds of producers, directors, and agents, with detailed summaries of what they’re looking for and how they can be contacted, as well as tips on script formatting and other topics of interest to screenwriters.

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Preston, Elizabeth. Preparing Your Manuscript. 1994. Boston: The Writer, 113 pp. (ISBN: 0–87116–172–9). $12.00. This very useful book walks the writer through every aspect of preparing a manuscript for publication, from correcting grammar to formatting. Ross-Larson, Bruce. Edit Yourself: A Manual for Everyone Who Works with Words. 1996. New York: W. W. Norton, 109 pp. (ISBN: 0–39331–326–3). $11.95. This easy-to-use guidebook offers substitutes for common words and phrases that are often overused. Saloff, Jamie L. The Publishing Center: How to Create a Successful Publishing Center in Your School, Church, or Community Group. 1996. Portsmouth, NH: Beeline Books, 104 pp. (ISBN: 0–43508–134–9). $13.95. This book shows how to use a publishing center to achieve classroom goals as well as how to solicit and retain volunteers, manage costs, and assemble a book. Sebranek, Patrick, Verne Meyer, and Dave Kemper. Write Source 2000: A Guide to Writing, Thinking, and Learning. 3rd ed. 1999. Burlington, WI: D.C. Heath, 542 pp. (ISBN: 0–66938–624–3). $21.67. While written for middle school students, it is also appropriate for writers of other ages. This outstanding resource covers spelling rules, punctuation, grammar, paragraph structure, and more. Shuman, R. Baird. Resources for Writers: An Annotated Bibliography. 1992. Pasadena, CA: Salem Press, 167 pp. (ISBN: 0–89356–673–X). $42.00. Sources to consult for writers interested in publishing their work are provided for all types of writing and genres. Useful chapters are included on how to market a manuscript and where to find additional guidance and information. Tappley, William G. The Elements of Mystery Fiction: Writing a Modern Whodunit. 1995. Boston: The Writer, 132 pp. (ISBN: 0–871–16176–1). $12.00. This is the perfect guide for the beginning mystery writer. It focuses on all aspects of the mystery, including plot, character development, setting, and more. Wilber, Jessica. Totally Private and Personal: Journaling Ideas for Girls and Young Women. 1996. Minneapolis, MN: Free Spirit Publishing, 157 pp. (ISBN: 1–575–42005–8). $9.95. This is a great book! Jessica, a 17-year-old, gives a lot of tips on ways to get started keeping a journal and how to keep it going. She offers journaling ideas to help girls and young women be proud of what they are and suggests different kinds of journals to use.

Other Recommended Resources: Stories by Teen Authors from Merlyn’s Pen Kulpa, Kathryn, and R. James Stahl, Eds. Juniors: Fourteen Stories by Eleventh Grade Writers. Greenwich, RI: Merlyn’s Pen, 144 pp. (ISBN: 1–88642–

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707–0). $8.95. Teacher’s Guide: 32 pp., $9.95. A collection of different kinds of writing—realistic fiction, science fiction, fantasy, and nonfiction—embracing a variety of themes from school to family to responsibility. Kulpa, Kathryn, and R. James Stahl, Eds. Short Takes: Brief Personal Narratives and Other Works by American Teen Writers. Greenwich, RI: Merlyn’s Pen, 128 pp. (ISBN: 1–886427–00–3). $8.95. Teacher’s Guide: 32 pp., $9.95. Selected by the New York Public Library for its respected “Books for the Teen Age” list. The stories can be easily read and discussed in one class period. The index categorizes stories by their usefulness as writing models. Kulpa, Kathryn, and R. James Stahl, Eds. Something Like a Hero: Stories of Daring and Decision by American Teen Writers. Greenwich, RI: Merlyn’s Pen, 144 pp. (ISBN: 1–886427–03–8). $8.95. Teacher’s Guide: 32 pp., $9.95. All about heroes and heroism and life’s everyday challenges. Kulpa, Kathryn, and R. James Stahl, Eds. Taking Off: Coming-of-Age Stories by American Teen Writers. Greenwich, RI: Merlyn’s Pen, 144 pp. (ISBN: 1– 886427–02–X). $8.95. Teacher’s Guide: 32 pp., $9.95. Nominated by the American Library Association as a “Best Book for Young Adults” in 1996 and selected by the New York Public Library as a “Book for the Teen Age,” this is a compilation of 14 stories by teen authors that address this classic theme. Indexed by topic. Lord, Christine, and R. James Stahl, Eds. Sophomores: Tales of Reality, Conflict, and the Road by Tenth-Grade Writers. Greenwich, RI: Merlyn’s Pen, 128 pp. (ISBN: 1–886427–10–0). $8.95. Teacher’s Guide, 32 pp. $9.95. Stories about identity, family, friendship, and the universal search for meaning.

Groups and Associations For Young Writers

Center for Talented Youth Writing Tutorials Website: http://www.jhu.edu~gifted/writing/index.html Writing tutorials, contests, and employment opportunities. Young Authors Writing Club (YAWC) Website: http://www.angelfire.com/wi/yawe For writers aged 5–18. The Young Writers Club Website: http://www.cs.bilkent.edu.tr/~david/derya/ywc.html Contests, research projects, online writing, chat. Just fill out an online form to join the club.

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Magazines and Online Publications for Writers That Accept Work From Teens

Creative Kids: The National Voice for Kids P.O. Box 8813 Waco, TX 76714–8813 Phone: 800–998–2208 Website: http://www.prufrock.com/ Subscription: $19.95 per year A magazine for and by kids ages 8–14 that includes fun activities, stories, contests, poetry, and pen pals. The High School Writer Junior High Edition P.O. Box 718 Grand Rapids, MN 55744–0718 Phone: 218–326–8025 Inklings: Inkspot’s Newsletter for Writers Website: http://www.inkspot.com/inklings This is a free, biweekly newsletter available online as a web resource for writers. How-to tips, interviews, advice, and writing-related resources are included. Literary Times P.O. Box 516 Moultonboro, NH 03254 Phone: 603–476–5692 Website: http://www.tlt.com/tlt/tlt1.htm Subscription: $20.00 for 1 year (4 issues) Literary Times is a quarterly publication that includes how-to articles, author profiles, reviews, news, and more. Only a sample of the articles are included on its web site. Merlyn’s Pen: Fiction, Essays, and Poems by America’s Teens P.O. Box 910 East Greenwich, RI 02818 Phone: 800–247–2027 Website: http://www.merlynspen.com A magazine for teens in grades 6–12 and for teachers as well. Includes

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stories, poems, and essays written by teens. Also available online through its website.

nextStep Magazine The Next Step Magazine P.O. Box 405 Victor, NY 14564 Phone: 716–742–1260 Website: http://www.nextstepmagazine.com/ Subscription: $14.95 per year Available online (no charge) Intended to help students with their future. Publishes a wide range of articles that appeal to the needs and interests of teens and young adults. This magazine also encourages teens to submit short stories, poems, and editorials. Skipping Stones: A Multicultural Children’s Magazine P.O. Box 3939 Eugene, OR 97403–0939 Phone: 541–342–4956 Website: http://www.nonviolence.org/skipping Subscription: available at multiple-copy prices; i.e., two-copy subscription is $50 per year. A magazine that encourages exchange of experiences among children from different lands and backgrounds. Stone Soup: The Magazine by Young Writers and Artists P.O. Box 83 Santa Cruz, CA 95063 Phone: 800–447–4569 Website: http://www.stonesoup.com/ Stone Soup welcomes submissions by young people through age 13 and includes stories, poems, book reviews, and art. All contributors whose work is accepted for publication receive a certificate, two complimentary copies, and discounts on other purchases. In addition, contributors are paid. Teen Ink (formerly The 21st Century) Box 30 Newton, MA 02461

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Phone: 617–964–6800 Website: http://TeenInk.com Fiction, nonfiction, and poetry written entirely by and for teens.

Writer’s Digest 1507 Dama Avenue Cincinnati, OH 45207 Phone: 513–531–2222 Website: http://www.writersdigest.com/ Paper copy, 12 issues, $19.96 per year Part of F&W Publications, Writer’s Digest is one of the most popular magazines for writers. It provides informational and instructional tips for all genres, including market updates, guidelines for writing, and more. The Writer’s Slate P.O. Box 664 Ottawa, KS 66067 Phone: 785–242–0407 Website: http://www.writingconference.com/ Writers in grades K–12 can submit their poetry and prose. Contests

Academic Competitions for Gifted Students: A Resource Book for Parents and Teachers Tallent-Runnels, Mary K., and Ann C. Candler-Lotven Thousand Oaks, CA: Corwin Press, 1995. 232 pp. (ISBN: 0–80396–155–3). $65.95 This book will help with decisions about which contests to enter and how to prepare for them. Art Deadlines List Website: http://www.artdeadlineslist.com/ This monthly e-mail newsletter, for artists, art educators, and art students of all ages lists art contests and competitions, art scholarships and grants, juried exhibitions, art jobs, and internships. Available online only, it is an excellent resource for those interested in the fields of art, acting, architecture, film, photography, and writing, and could open the door to a variety of opportunities.

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Contests for Students: All You Need to Know to Enter and Win 600 Contests Snodgrass, Mary Ellen, Ed. Detroit: Gale Research, 1991. 519 pp. (ISBN: 0–81037–731–4). $45.00 Tips for entering contests. Inkspot’s Writers’ Classifieds Website: http://www.inkspot.com/classifieds/contests.html Inkspot http://www.inkspot.com devotes a special section of its website to a large variety of writing contests submitted by the contest organizers. Also provides valuable advice about entering contests and what to watch out for. Available online only. The Scholastic Art & Writing Awards 555 Broadway New York, NY 10012 Phone: 212–343–6493 Website: http://www.scholastic.com/artandwriting Students in grades 7–12 currently enrolled in a public or nonpublic school in the United States, Canada, or the U.S. territories, or in a U.S.sponsored school abroad are eligible to participate in the largest and most prestigious arts recognition program in the United States. Contact Scholastic in the early fall of each year by checking online at http:// www.scholastic.com/artandwriting, or through the address above, for information about the next year’s programs. The Ultimate Guide to Student Contests, Grades 7–12 Pendelton, Scott Pendleton City, NY: Walker & Co., 1997. 374 pp. (ISBN: 0–80277–512–8). $15.95 This comprehensive guide is arranged by writing categories and includes descriptions of each contest, sample, contact information, deadlines, and entry guidelines. The World’s Biggest Book of Writing Contests Kyle, Terry, Ed Sydney, Australia: Ultimate Media, 2001 Format: Electronic only (Adobe PDF) Website: http://www.ult-media.com/index99.htm

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Ultimate Media has compiled the world’s largest reference book of writing contest and writing competition information. Contests are organized as a yearly calendar (by contest deadline) so that you can timemanage your writing campaigns more effectively.

Related Opportunities

National Foundation for Advancement in the Arts National Headquarters 800 Brickell Avenue, Suite 500 Miami, FL 33131 Phone: 800–970–2787 Provides information on the ARTS Recognition & Talent Search, for high school seniors who demonstrate excellence in dance, music, jazz, voice, theater, photography, visual arts, and writing.

Professional Associations This is only a representative sample of the professional associations writers may be interested in joining depending on their interests and area of specialization.

The Academy of American Poets 584 Broadway, Suite 1208 New York, NY 10012–3250 Phone: 212–274–0343 Website: http://www.poets.org/index.cfm The Academy supports poets at all stages of their careers and sponsors programs nationally, such as National Poetry Month and a series of public readings and residencies. American Society of Journalists and Authors 1501 Broadway, Suite 302 New York, NY 10036 Phone: 212–997–0947 Website: http://www.asja.org/index.php3 An organization of freelance writers of magazine articles, trade books, and nonfiction writing.

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The Authors Guild 330 West 42nd Street, 29th Floor New York, NY 10036 Phone: 212–563–5904 Website: http://www.authorsguild.org/ This is the nation’s largest society of published authors. Advocates for fair compensation, free speech, and copyright protection. Community Writers Association (CWA) P.O. Box 12 Newport, RI 02840–0001 Website: http://www.communitywriters.org/ A community organization whose members include aspiring and professional writers, poets, editors, publishers, and literary agents. Fiction Writer’s Connection P.O. Box 72300 Albuquerque, NM 87195 Phone: 505–352–9490 Website: http://www.fictionwriters.com/fwc5lnks/html/contests.html This organization for new and experienced writers is dedicated to helping them learn the ropes of getting published. Mystery Writers of America 17 E. 47th Street, 6th Floor New York, NY 10017 Phone: 212–255–7005 A professional organization of mystery and crime writers in all categories: fiction, including adult novels, short stories, and young adult and juvenile fiction; screenplays, staged plays, radio plays, and TV; and nonfiction, including fact crime and critical/biographical work. National Writers Association 1450 S. Havana, Suite 424 Aurora, CO 80012 Phone: 303–751–7488 Website: http://www.nationalwriters.com/ A networking opportunity for writers, film producers, agents, and editors.

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Poetry Society of America 15 Gramercy Park New York, NY 10003 Phone: 212–254–9628 Website: http://www.poetrysociety.org/ An organization dedicated to promoting poetry through events, activities, awards, and links to resources. Poets & Writers, Inc. (P&W) 72 Spring Street New York, NY 10012 Phone: 212–226–3586 Website: http://www.pw.org/ This organization provides support and guidance to writers, assisting them with career information, ways to promote their work, and opportunities for professional advancement. Society of Children’s Book Writers and Illustrators P.O. Box 66296 Mar Vista Station Los Angeles, CA 90066 Phone: 818–347–2849 Website: http://scbwi.org For published or unpublished authors. Members receive a newsletter packed with information on both the creative and business aspects of writing. This society also compiles an annual list of publishers and what they are looking for and hosts national and regional conferences as well. Writers Guild of America—West 7000 West Third Street Los Angeles, CA 90048 Phone: 213–951–4000 Website: http://www.wga.org/ Valuable tools and information for writers from research links to writing tips and articles. Writers in the motion picture, broadcast, cable, and new technologies industries would find this site worthwhile. Members also contribute news, animation, nonfiction, and documentary programming.

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Magazines and Newsletters for Writers

The Art of Writing Website: http://www.artofwritingzine.com About writing, for writers. Byline P.O. Box 130596 Edmond, OK 73013–0001 Website: http://bylinemag.com/ This monthly magazine includes articles on the art of writing poetry, fiction, nonfiction, and children’s literature. It also publishes short stories and poetry in addition to a special feature for student writers. The Magazine Rack Website: http://www.magazine-rack.com/writing.html Links to home pages of major writing magazines. The Market List Website: http://www.marketlist.com/ A free online resource for writers, providing guidelines, day-to-day news, articles, interviews, and reviews. Poets and Writers Magazine Website: http://www.pw.org/ This bimonthy magazine is an excellent resource for writers. Writer’s Digest P.O. Box 2124 Harlan, IA 51593–2313 This is one of the leading magazines for writers. Each issue offers instruction, inspiration, and other information.

Index

Accreditation Board for Engineering and Technology (ABET), 40 Accredited school: of architecture, 35– 37; of engineering, 39–40 Acting, 5. See also Improvisational acting Actor, 5, 11 Agent, 11 American Dance Therapy Association, 79 Apprenticeship, 40, 113 Architect, 35 Architect Registration Exam (A.R.E.), 37 Architectural engineering, 35, 40 Architecture, 35; industrial, 35, 40; landscape, 35, 37–38; management, 40; and mechanical system, 40; and structural system, 40 Arranger, 91, 94 Art: classes, 55–56; directors (film), 7; portfolio, 57–58; schools, 54 Artist, 53 Arts Recognition and Achievement Program for Students, 57, 96, 113 ARTS Recognition and Talent Search, 81, 113, 141 Auditions, 11–12, 14, 76, 78

Ballet dancing, 75–77, 80 Body language, 11 Broadcast television, 5 Camera operator (film), 7, 8 Career planning, 43 Cartoon artist, 54 Casting director, 8 Choreographer, 76, 79–80 Cinematographer, 7 Civil engineering, 35, 39 Classical ballet, 75 Commercial photographer, 114 Community arts council, 12 Composer, 91, 93–94 Composers in the Schools program, 96 Computer-aided design (CAD), 39, 42 Computer graphics programs, 39, 42, 55 Conductor, 94 Conservatories, 78 Construction engineering, 39 Contests, 2, 24–26, 47–48, 66, 84–86, 101–102, 118–120, 124–125, 138, 157–159 Co-ops (architecture), 36

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Copy editor, 142 Costume designers, 6, 9, 14 Council of Landscape Architectural Registration Boards, 38 Creative writing, 13 Dance: classes, 77–78; company, 78, 80; education programs, 76, 79; festivals, 80; instructor, 79; modern, 75, 77; notator, 79; therapist, 79 Dancer, 75 Dance Therapist Registered (D.T.R.) credential, 79 Dancing: ballet, 75–77, 80; disco, 75; folk, 75; ice, 75; jazz, 75, 80; tap, 75. See also Modern dance Digital photography, 118 Digital video, 15 Director of photography (film), 7 Directors, 5; assistant, 6 Disco dancing, 75 Docudrama, 10 Drama club, 14 Editorial assistant, 142 Editors, 142 Electrical and lighting system, 40 Engineering: architectural, 35, 40; civil, 35, 39; construction, 39; environmental, 39; geotechnical, 39; highway, 39; hydraulic, 39; structural, 39; transportation, 39 Entertainment business, 13 Environmental engineering, 39 Fashion photography, 114 Film, 5, 6; actors, 5; editors, 6, 7; festival, 12; industry, 5, 14–15; school, 14; writers, 6 Filmmaker, 5, 13 Fine artist, 53–54 Fine arts, 1 Five Golden Rules for Writers, 144–146 Five W’s of journalism, 115–116

Floor manager, 8 Folk dancing, 75 Freelance artist, 53 Freelance photography, 116, 118 Fundamentals of Engineering (FE) exam, 40 Geotechnical engineering, 39 Getty Center for Education in the Arts, 2 GRAMMY in the Schools Program, 96–97 Graphic: artist, 53; designer, 53 Habitat for Humanity, 42 Headshot, 11 Highway engineering, 39 Home B.A.S.E., 44 Hydraulic engineering, 39 Ice dancing, 75 Illustrator, 53 Improvisational acting, 11 Industrial architecture, 35, 40 Industrial photography, 115 Instrumentalist, 92–93 Interior design, 35, 38–39 Internship: architecture, 37; television, 12; writing, 137 Jazz dancing, 75, 80 Journal writing, 134 Keyboarding, 92 Landscape Architect Registration Examination (L.A.R.E.), 38 Landscape architecture, 35, 37–38 Lighting technicians, 6, 7, 14 Location scout, 8 Magnet schools, 76, 78 Makeup artist, 6, 8 Medical illustrator, 54

Index Medical photography, 116 Mentor, 44, 138 Modern dance, 75, 77 Musician, 14, 91 Music lessons, 95

Query letter, 143

National Architectural Accrediting Board (NAAB), 36 National Foundation for Advancements in the Arts, 81 National Portfolio Day, 58 National PTA, 57 News photography, 115

School productions, 14 Screenplay, 6, 10, 13 Screenwriter, 10 Scriptwriter, 10 Sculptor, 54 Set designers, 6, 14 Shadowing, 13, 96 Singer, 91–92 Songwriter, 93–94 Sound editor, 7 Sound technicians, 6 Storyboarding, 6 Structural engineering, 39

Orchestrator, 94 Painter, 53, 54 Parents, 1, 11, 42–43, 55–56, 80, 95, 112, 138–141 Performing arts, 1 Performing arts schools, 78 Photographer: commercial, 114; digital, 118; fashion, 114; freelance, 116, 118; industrial, 115; medical, 116; news, 115; portrait, 116; wedding, 116 Photography, 111 Photojournalist, 115 Portfolio, 112 Portrait photography, 116 Printmaker, 53 Producers, 5 Production: assistant, 7; company, 12– 14; manager, 6 Professional associations, 27–29, 47– 48, 62–65, 66–69, 87–89, 103–106, 125–127, 154, 159–161 Professional engineer (PE) exam, 40

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Recitals, 96 Reflections Program, 57, 96 Resume, 11, 117

Talent show, 96 Tap dancing, 75 Teachers, 1, 13, 43, 81, 95, 112, 141 Technical writer, 142 Television, 10; production assistant, 8 Theater, 5; actors, 5 Transportation engineering, 39 Urban planning, 39 Video industry, 5 Visual artist, 53–54 Voice: intonation, 11; lessons, 11, 92; projection, 11 Wedding photography, 116 Writer, 133; technical, 142 Youth Art Month (YAM), 57

About the Author CAROL L. RITZENTHALER has worked almost twenty-five years in the library profession. She is currently an OCLC Services Coordinator with OHIONET.