Choose a monologue to which you personally relate on a deep level and that is age-appropriate for you. This will automatically give you a connection to the material that will work to your benefit in the audition.
Determine the following basic information about your character:
Who am I?
Where am I going?
What do I want (or, what is my objective)?
What is in the way of getting what I want?
How will I get what I want?
What are my relationships with those around me?
Once you have answered these questions, you can begin to make "actable choices" that will make your audition the one that stands out.
Break your monologue up into units or "beats." Each unit should be a separate thought.
Let's say your lines are, "You have a very pretty face. Let's go out for coffee. I'm sorry, that was very forward of me."
You should that up into separate thoughts like this: You have a very pretty face. // Let's go out for coffee. // I'm sorry, that was very forward of me.
Find an "active verb" for each unit. "Active verbs" are the ways by which you "fight for your objective," according to Joanna Merlin; they are "the 'how.'" Merlin says you must "identify your actions so that you have something to play throughout the whole scene; otherwise you may lose energy in the middle."
Active verbs work best when you do them physically in rehearsal, and then do them only "psychologically" once you have confirmed that you've made all of the correct verb choices. This is a great way to make your acting more visceral and less intellectual; and that is precisely what most casting directors want.
Examples of active verbs include "push," "pull," "arouse," "embrace" and "penetrate."
Using the sample line from Step 3, your choices might be:
(Uplift) You have a very pretty face. // (Pull) Let's go out for coffee. // (Conceal) I'm sorry, that was very forward of me.
Go through your monologue, unit by unit, making physical the choices you've made intellectually. Adjust verbs that do not work.
Cease to do your active verbs physically, and let them come out psychologically on your lines, the way they would in real life.
Spend as much additional time as needed to make sure you are completely comfortable with the lines and all of your acting choices.
Wake up at least two hours prior to your audition. Your voice may be thick upon waking, but two hours should give you time enough to warm it up enough so that it will be strong and resonant for your audition.
Review your monologue before you leave your home. Only go through it once or twice; if you go over your piece too many times, you will either begin to doubt your choices or the piece will go stale.
Bring at least two copies of your head shot and résumé to the audition with you in case there is more than one auditor. The easier you make their job, the better impression they will get of you.
Arrive at least 15 minutes prior to your scheduled audition time. This communicates eagerness and professionalism on your part, and it ensures that you will have time at the venue to do a quick warm-up before you are seen by the auditor(s).
Warm up before you go into the audition itself. Some auditors may ask you to make adjustments to your piece or demonstrate special skills, so make sure your voice, mind and body are limber and alert for any challenge. Stretch your limbs, face and mouth, do tongue twisters, do jumping jacks; do anything that will energize and focus you so that you can give your best performance.
Walk in with confidence and poise. Be sure that when you stop, you are standing in light rather than shadow.
Introduce yourself and your piece. For example:
"My name is Anne Smith, and my piece is from 'The Little Foxes' by Lillian Hellman."
The only exception to this rule is if your monologue is from a play by William Shakespeare; in this case, assume the casting director is familiar with the canon and does not need to be told who wrote "Romeo and Juliet."
Take a moment for yourself before you begin. Find a focus point straight in front of you to which to deliver your monologue. Avoid making eye contact with the casting director; it may throw both of you off.
Do not doubt any of your choices during your audition. Even if you miff a line, if you have enough confidence and your choices are strong, that will not matter.
Give yourself a beat at the end of your monologue to establish that it is over. Now say, "thank you," tell the casting director your name once more, and exit with as much poise as that with which you entered.