Before You Hit Submit: How to Set Yourself Up for Contract Success

Contracts can launch your career — or leave you burned out. In this episode, I’ll share the three questions every performer should ask before hitting “submit,” plus stories and strategies to help you choose wisely, protect your body, and set yourself up for a long, thriving career.

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Transcript

Speaker 0:02

Welcome to the Artist Behind the Art, the podcast that lifts the curtain on what it takes to thrive as a professional performer. I'm your host, Jennifer Pierce, artist coach, creative strategist and lifelong advocate for performers or ready to go from unsure to unforgettable, whether you're a circus artist, dancer, or singer, navigating auditions, building your brand or crafting acts that actually get the Yes. This show is your insider pass. I'll be bringing you candid conversations, industry insights, and real world tools to help you get castable confident and creatively aligned. This is where the gatekeeping ends and your journey to thriving in the industry begins. Let's dive in. Hey guys, welcome to the Artists Behind the Art, and today we are talking long-term contracts. And over the next three episodes, I'm gonna be breaking down strategies that's gonna help you, assess whether a contract. Is right for you at this moment, whether you need to build capacity or whether it's just a hard pass after you evaluate everything that's going to be going into it. And this episode is for anyone that is just starting out, but there are gonna be some awesome little tips in there that if you've been doing contracts for years, I think you're gonna still find some value. All right guys. Have you ever felt like you've given everything to your act? Only to realize that if you were expected to perform it multiple times, you could not sustain it? That's what we're here to prevent today, and making sure that. Not only are you going to have a great time that it's a sustainable contract because I want for everyone to be able to play the long game, to have a full career and to enjoy it. And what you put in that submission, that's so important because that's potentially what casting is going to expect you to deliver on stage every single night. And I've been there so I know how that feels. for me. Contract work was one of the best parts of my career. Some things that I really valued was having a consistent place to live. I didn't enjoy moving around. Being on a bus was not my jam. I loved being able to save money and for me, the biggest was to be able to do what I love and travel. But here's the flip side. Every contract comes with unspoken realities, and I want you to be able to plan ahead so you don't risk burnout or injury. So I'm breaking this down into actionable strategies. Let's dive in to the first of three right now. how we are gonna evaluate if a contract is the right fit for us. And I think there's three different components that go into whether a contract is a good fit. I think you have to consider the lifestyle that the contract brings. The act, what you're actually performing, what you're doing, what your role is, and then also your capacity and how well your body is going to handle the load and are you prepared for it. So those are three different lenses we're gonna be looking through today that. you can go back to this episode when you're evaluating whether a contract is a good fit for you or not, and I think it's gonna be able to help you make great decisions. So let's chat all things life during the contract. I really think that it's important that we look at the travel aspects, Where are you gonna be getting your food from? What does rehearsals look like? do you have the option of travel? How are you getting places? So when we look at all of these different components, we can ask ourselves honestly, if this fits into how we see ourselves. Living life long term. Now, I always want you to challenge yourself and if that is, something that maybe is not a preference right now because your exposure to it has not really, given you an honest, Portrayal of if you're gonna like it or not. I think taking every contract as it is and saying, I'm gonna go into it for its experience and learn from it and let that life kind of lesson teach me whether it's a good fit or not is, is something that everyone should really challenge themself to do. But know thyself. I think it's so important. If you know that you, like to be anchored to having a consistent place to live, then I think maybe that's a good starting place to seek work. because every contract it comes with its lifestyle. And the question I want you to ask yourself is, what is this really going to feel like for you? Day to day, is it a bus ride? Followed by, wherever you are, dropped off, finding food, getting back in, setting up, doing a rehearsal and doing shows. maybe you're in that town for a few nights. if that is the case, does your body bounce back quickly from the travel or does that take a lot out of you? So if you can picture yourself living that routine. You feel energized, then I think that's amazing. Then definitely go for that opportunity. But if you feel that that consistent schedule is going to be draining, then that's something that you're gonna want to really take a look into and say, is this a really good decision? For me, or you know, I really don't know, but I'm gonna do all of my prep to make sure that that experience is successful. Like, how am I gonna rest on the bus? Do I need a neck pillow? These are all like, it sounds silly, but that neck pillow may be the difference between having an amazing experiencing getting rest on the bus between shows and really feeling like it is something that is an uncomfortable experience. So I think it's important to look at the realities, but also the perks. are you in new cities? Are you gonna have a day off somewhere that you know you have never been to? Is there like a place that is on your bucket list that you cannot wait? To go to, and that is going to be a stop on the contract. Those are all, amazing opportunities. but there's also the things that if you're rehearsing and you're going to these places, sometimes the reality is you're not going to have the time to be able to see those places. But remember, we're there for the performing. So always keep that at the center of your mind that you are. Yes, we want to evaluate the life, style that we're gonna be living, but we're also going to go there for the amazing stages and audiences and the cast and that we're gonna have these amazing experiences. I. So the perks definitely are something to keep in mind and I can remember that. one contract, we were about to have a really intensive rehearsal schedule and it was like 10 days of it was gonna be a lot. And we were about to do an Atlantic crossing and we were stopping in Bermuda. And we, as a cast, we came together and said. Hey, can we have two hours just to be able to get off the ship, step into town, grab a coffee, see something new? And they came back and they were like, no, sorry guys. Full dress rehearsal. And you know, we all understood that the, the demands of the production came first, and that was the reality. So here's what I want you to think about. The research is your first line of defense of knowing what life and reality is really gonna look like. So the things that I want you to think of resources are, can you talk to artists who have done it before? Can you find out information? About the schedule and about the show load. how does the company treat its performers? Is one of the most valuable questions that you can ask someone. Do they provide food? If you have a tight window in between shows? Or are you going to need to plan ahead and figure that out for yourself? All of these things go into knowing, how to set yourself up for success in a contract and if it is something for you. But also keep in mind, even after all the research, there's gonna be surprises. And that's why flexibility isn't optional. It's essential, and it's just going to help you have an amazing contract. moving on to number two, your act. And this is so important because this is where the drain on your body consistently is going to be. So let me ask you this. Think of an act that you are either presently performing, creating, or something that you have had on stage for the long term, and you can really run it through This filter is that act not just impressive, but sustainable. And here's something I've learned, if you promise casting something in your submiss. They're going to expect you to deliver it night after night, month after month with consistent performance quality. So when you are thinking of choreographing an act for a show for a submission, instead of asking what's the highest level skills and combos that I can put in to ensure that I get the contract, I want you to pause and think, because what I see is a lot of artists build their submissions around skills that are impressive. But it's not sustainable. And ultimately casting wants you to be able to show up night after night, be able to give a high quality performance, stay healthy, and they want you to be happy too. So make sure that when you are building that act that you ask if this is something that you are gonna be asking a lot of for your body. Or is it something that's in your wheelhouse that you feel really great about expressing to the audience? It really fits in with the music, with the character. The real question is what can you perform at a high level with impact and keep delivering without risk of injury? Because remember, we're playing the long game. You're not building an act for one contract. That act is something that is going to make lasting impact on you, and you are building something for a career. All right. Our last one is your capacity. How many shows will you perform in a day? Two, three. Now let's multiply that across weeks. And then months and it could add up to be a lot. So I want you to pause and really think about this. If I had to start that schedule tomorrow, would my body be ready? Because it might be something that you need to start looking at that, okay, I have an act that I really love. I think it's sustainable, but two or three times a day may not be where I am yet. So that's something that we want to build and be able to train because there's a big difference between performing occasionally and training and then suddenly being full-time, high demand schedule. And here's the key. When your contract starts, you want your body to be able to be ready to adapt, not feel like you're starting at a deficit. So if you're going in and you're learning choreography to be able to tie the acts together, and then you're running your act, and then you're taking a break and coming in and doing a full. Show run. You wanna make sure that you're able to show up and show that you are gonna be the artist. That over time is gonna consistently deliver a show that connects and go, wow, this person is solid and we want them to work for us. Time after time. So if you are saying, yikes, I have a fantastic act. I have high level skills, but I don't know if my capacity is at a place where over the long haul I'm gonna be able to do this and for it to be sustainable. If we were training together, this is what I would propose that you would do. So I would definitely dedicate. A time because we wanna make sure that, again, we have our season of performing. And then we do have our rest time. And if you are going to try to raise your capacity, try to find a few weeks that you can really build this up. And if you can go into the studio and have a two or three hour window where you can run your act, take a break, and maybe do some other conditioning, and then from there, run your act two more times. You're gonna then see how fatigued your body gets. What is the recovery time in between running the ax And something else that you can do is you can then add that extra pressure on yourself after you go, okay, this is sustainable two or three times in a row over a longer period of time with obviously adequate breaks and some rest and water and hydration and protein, and everything that needs to go into that success. But then I want you to start pushing yourself, and I want you to do a run of your act when you're already a little fatigued so your body learns. Is this really truly gonna be something that's sustainable and is gonna show up for me when it really counts? And then also in this time period, look at the other factors that you have in your life, but take recovery seriously. Your water, your sleep, your food. What you do or what you don't do in your downtime is as Im part of, important part of your training and it's something that you wanna have as a resource that is kind of your automatic go-to when you are in. Times where you have heavy rehearsals or a heavy show load, and something to keep in mind that when you go into rehearsals that are demanding, you are gonna always have a building phase. There's always going to be those times where you're going to ask yourself Yikes. This is really hard. But the goal is for that process to feel like a challenge that you can rise to not like you're drowning and it's not attainable. So by raising your capacity when you are at home, if you're an up and coming artist, is something that I would say, talk to your instructors and build this into your training. So then that way when you are submitting, you are submitting with. The confidence that you are gonna be able to show up and, get hired again. 'cause that's, that's the name of the game guys. And, this ties directly into injury prevention. And I want to push you guys here and don't skip this step because if you don't have a physical therapist in your corner, now is the time. And I get it. It is a. Huge investment, but it is investment in you. They are the people that are gonna be on your team, that are going to investigate into where your weaknesses are, where any muscular imbalances are, and any risks that you'd miss on your own that maybe will have you second guess whether, a consistent ask of your body and a skill is a smart plan. So protecting your career is worth the investment, and this is gonna be what's gonna keep you in the game long term and the bonuses. All of these exercises and everything that you are going to learn, they're gonna double up as your warmups and things that are gonna keep you safe and healthy during your contract, and they're gonna help you activate the right muscles when you are. They're under load and demand, and you're gonna be able to show up as your best when it. Counts. So you guys, I want you to have a long, healthy career. So that step is non-negotiable. So find a PT that you trust and you, feel like that they are part of your team that is gonna help you have a long and successful career. So let's recap. Before you hit submit, I would love for you to sit and ask yourself. These three questions, what will life really look like during this contract? And am I ready to adapt? Is my act sustainable? And can I deliver it consistently, not once. And number three, do I have the capacity and the injury prevention plan to handle what's ahead? And if you can say yes to those three, you are not set up to survive a contract, you are gonna kill it, and it's gonna be amazing experience. All right guys, so in the next episode, we are diving into how to fill your time in ways that are gonna keep you sane, and we are gonna talk about some things that you probably haven't even thought about yet. So thank you so much for listening. And remember, you already have what it takes. The question is, are you going to prove it to yourself? Until next time, show up big and own the stage.