How to Land Acting Work in Smaller Markets (And Why It’s More Accessible Than You Might Think)

Have you ever thought that real acting work is only found in big cities? Like you have to be in New York or LA to make it? I used to think that too. But my conversation with actor Aaron Marcus on the Acting Business Boot Camp podcast really shifted that perspective.

About Aaron Marcus
Aaron Marcus has been a full-time actor for over 40 years, with nearly 1,300 bookings across film, TV, commercials, and more. You might have seen his scene with Tom Hanks in the film A Man Called Otto. Aaron started his acting journey in a small market, with no connections and no clue how to break in. After figuring it out through trial and error, he dedicated himself to helping others avoid those same pitfalls. He’s led over 800 workshops on three continents and offers private virtual coaching sessions to share his hard-earned wisdom.

You can learn more about Aaron’s work, watch his free quick-tip videos, or sign up for his mailing list at howtoactandmodel.com.

The Reality of Smaller Markets
It’s easy to forget that acting isn’t only about movies and television. There’s a whole world of paid acting work in smaller markets that most people overlook: training videos, corporate films, industrials, standardized patient work at hospitals, even local commercials and role-playing jobs for law schools and agencies.

Aaron shared how he built up a steady income and impressive résumé by seizing these opportunities. And he’s proof that you don’t have to be in a major city to find consistent, paid work as an actor.

Finding These Hidden Opportunities
Aaron offered some practical insights that really stuck with me:

• Reach out to local businesses and small chains. These places need content to promote themselves—commercials, training videos, even social media content.

• Connect with teaching hospitals and medical schools in your area. Standardized patient work is fascinating and pays you to improvise as a patient to help train medical professionals.

• Contact advertising agencies nearby, not just the national ones. Local agencies need real people with authentic voices for regional commercials and corporate videos.

And maybe my favorite point: Aaron still believes in mailing hard copies of your materials. Yes, it’s old-fashioned. But it’s memorable. Most emails get deleted. A real letter can make an impression.

The Importance of Staying Connected
Aaron also talked about the value of looping in your agent, even when you book work yourself. It’s not about giving away part of your earnings. It’s about showing your agent that you’re proactive and working. It’s about nurturing relationships and building a sense of partnership.

A Reminder: There’s Work for Everyone
What struck me most in talking with Aaron was this simple truth: there’s work out there for everyone. You just have to know where to look and be willing to take action.

If you’re feeling stuck or discouraged by the idea that you have to be in a big city to book work, I hope this encourages you. You don’t. The opportunities are out there. They’re in your community. And often, the first step is just reaching out and asking who’s doing the hiring.

Until next time, remember: there’s work out there for everyone. Stay safe and treat yourself real well.

It’s Mandy Fisher here, your Voiceover actor and creative coach. Today I want to dive into something that’s been on my mind a lot: how the neuroscience of decision-making can help us as actors and creative professionals. Because we’re not just making choices in auditions or on stage. We’re making decisions every single day that shape our careers, relationships, and—let’s be real—our self-worth.

Let’s talk brain science for a sec. The prefrontal cortex? It’s the part of the brain handling complex thoughts and decisions, like our personal command center. Think of it like that alien in Men in Black—the one sitting up front, pulling the strings. Then there’s the hippocampus, which stores memories and helps us imagine what’s next. They’re constantly in conversation, helping us weigh options and see potential outcomes.

Understanding how these parts of the brain work together is powerful. It reminds us that strategic thinking isn’t just some abstract idea. It’s already woven into the way our brains work, whether we realize it or not.

I want to offer you a challenge. Pick one decision you’ve been dancing around—something big or small, doesn’t matter. Think about the risks, the rewards, and what those future scenarios might look like. Then go ahead and make the decision. After a week, check back in with yourself. How did it feel? What did you learn?

This exercise can help you see that you’re already more strategic than you give yourself credit for. It’s about bringing that awareness to the forefront, so you can start making choices with more clarity and intention.

But here’s the thing: decision-making isn’t just about what’s outside of us. It’s also about what’s going on inside. I’m talking about those limiting beliefs. You know, the ones that say, “I’m not good enough,” or “There’s too much competition.” These thoughts show up for so many of us in the acting world.

These beliefs often come from past experiences, family dynamics, or even well-meaning but misguided advice. And they can really hold us back if we’re not paying attention.

So here’s another challenge. Name one limiting belief that’s been lurking in the background. Ask yourself: Is this really true? Where did it come from? Then see if you can reframe it into something more helpful. Like changing “I’m not good at public speaking” to “I can improve my public speaking with practice.”

Write it down. Repeat it to yourself. And take one small action that lines up with that new belief—like volunteering for a presentation or sharing your work with a trusted friend.

At the heart of all of this? It’s not just about making smart moves. It’s about making choices that feel authentic to you as an actor, as a creative, as a human. When you understand how your brain works, and when you let go of those old beliefs that no longer serve you, you start to make decisions that feel more like you.

So that’s my invitation: try these challenges. And if you do, I’d love to hear about it. Shoot me an email at mandy@actingbusinessbootcamp.com. I love hearing from actors who are ready to ditch the autopilot and start building careers that actually feel fulfilling.

If you know someone else who might need this gentle nudge, pass it along. Let’s keep this conversation going.

Join our Weekly Accountability Group for actors and get the kind of support that helps you keep growing, testing new ideas, and showing up for yourself. Two weeks free to see if it’s the right fit.

When we talk about acting tools, we usually mention headshots, reels, technique, or coaching. But punctuation?

Not so much.

And yet, punctuation—something you probably haven’t questioned since middle school—might be interfering with your most natural, honest performances.

You get a script. Maybe it’s commercial copy, maybe it’s a scene. And without realizing it, your brain starts obeying the punctuation.

Comma. Small pause.

Period. Full stop, drop your pitch.

Exclamation mark. Boost the energy, punch the line.

Your body responds to those tiny marks automatically. But here's the thing: those cues might not match what your character is actually feeling. They might even contradict the emotional truth of the scene.

If you’ve ever given a read that felt stiff, too “correct,” or like something was missing… this might be why.

Punctuation is meant to clarify meaning in writing. It’s useful when you're reading silently or trying to follow someone else’s train of thought.

But acting isn’t silent reading. It’s expression. It’s listening and responding. It’s emotional and often messy.

Here’s where things get interesting: studies show that your brain processes punctuation differently depending on the mark. Semicolons and dashes? They activate the left side of the brain. Exclamation points and periods? The right side. Each carries its own emotional weight. Each sends a signal, even if you don’t consciously register it.

Which means your delivery may be less about what you’re feeling… and more about how your brain is reacting to a comma.

As Mandy Fisher shared in this episode of the Acting Business Boot Camp podcast, one of the most helpful things you can do—especially for commercial reads—is to strip out the punctuation entirely.

Remove the commas. Take out the periods. Uncapitalize everything except brand names.

Why? Because when you stop being told where to pause or emphasize, you start making those choices from instinct. From character. From context.

It might feel strange at first, but that discomfort is exactly where more interesting, more connected performances begin.

Take 60 seconds of script. Could be anything—a monologue, a commercial, a scene.

Delete every piece of punctuation.

Then read it out loud.

Notice what your voice does. Notice how your pacing shifts. See what happens when you stop “reading” and start speaking.

You might stumble. You might feel a little out of control. But you’ll also find something new. A more honest rhythm. A stronger point of view. A version of the script that sounds less like a performance and more like a person.

Punctuation has a place. It can help with rhythm and intention. But if you’re performing with one eye on the commas, you’re probably holding back.

So ask yourself: are you punctuating for performance? Or are you speaking from presence?

You already have a voice that’s worth hearing. You don’t need grammar rules to make it powerful.

Let go. Experiment. Trust that you know how to connect without a period telling you when to stop.

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