Thank you for selecting this book. I hope Monologues for Young Adults will become a valuable resource that you will refer to often throughout your acting career. My goal in writing this book is for you to find several monologues within its pages that you can relate to—and that will appear to have been written specifically with you in mind.

These monologues are gender-neutral and can be performed by actors of all backgrounds and ethnicities. They are inclusive rather than exclusive. Though this book is intended for actors in their twenties and thirties, it may also be applied to a broader age range. Younger and older actors should be able to find a suitable performance piece here too.

Monologues for Young Adults is the latest in a series of scene, monologue, and instructional books for actors of all ages —child, teen, college, and adult. The reason for this book series is twofold.

First, I believe that actors need a wide range of material to draw upon for professional auditions, class assignments, and weekly solo practice. The sixty original selections in this book should work equally well for each of these three performance scenarios. They are appropriate for both experienced actors and newcomers alike.

Additionally, it’s been a personal goal since 2014 to create acting scenes and monologues with uplifting messages, inspiring ideas, and thought-provoking life lessons woven throughout the scripts as subtext. I believe there’s a strong need for clean, family-friendly audition material with a positive, optimistic spin for actors of all ages—child, teen, and adult.

My Own Background and Experiences

I’ve been blessed to work on stage and screen in New York, Los Angeles, and many emerging markets throughout the United States for more than twenty years. I’ve been fortunate enough to perform lead and supporting roles in feature lms, network television, national commercials, theater, sketch comedy, hosting, music videos, corporate training films, and new media projects.

Along the way, I’ve also worked in a variety of positions behind the scenes. I’ve been privileged to assist in producing several feature films in Los Angeles and was a founding member of a successful theater company in New Orleans. In the process, I’ve participated in dozens of live casting sessions ... and often watched in astonishment as actors talked themselves out of roles they might otherwise have booked. I’ve cringed while watching actors talk themselves out of opportunities that might have changed the trajectory of their lives and careers.

A Common Trap for Actors

One of the most common ways in which actors sabotage themselves is by gravitating towards wildly inappropriate material in their monologue auditions. I have always believed this is a fundamental—but easily corrected—mistake. Monologues are used in our industry to level the playing field among actors. Monologues show producers and directors how well actors can present them- selves with material they’ve selected and rehearsed on their own. Monologues also give industry professionals an indication of the type of roles actors are drawn towards and wish to perform. Acting teachers and schools often refer to these as “representative roles.”

Many actors choose dark, dreary, depressing performance material. Many actors select monologues with violent overtones, inflammatory language, and inappropriate sexual content. Many actors, unfortunately, also seem to carry their own personal black cloud of gloom, pessimism, and negativity everywhere they go. I believe this stems from a desire to brand themselves as “serious, dramatic, edgy” actors who connect deeply with conflict-laden material. When they do so, however, these actors are essentially constructing a concrete wall between themselves and those in a position to hire them.

Actors who audition with dark, argumentative, mean-spirited monologues fail to consider the position of the people they’re auditioning for—those industry professionals in a position to hire us. Imagine being a casting director and having to listen to a seemingly endless series of angry, ranting, violent, and inappropriate monologues throughout an all-day-long casting session.

Casting directors, directors, producers, agents, and managers are as human as the rest of us—and can’t help but be affected by a barrage of negativity. I once asked a casting director how an actor I recommended had done in his audition. “He gave me a headache,” this casting director replied. “The last thing I needed that day was another angry screamer.”

A Solution for Actors

It makes far better sense, I believe, to set yourself apart as the actor who shows up for your audition carrying a sense of enthusiasm, hope, and optimism with you. Imagine setting yourself apart from the crowd by presenting yourself as a bright, shining light in a daylong procession of actors bringing anger, cynicism, narcissism, and darkness into the audition room.

This is a subtle “technique” that shows industry professionals you’re an actor who understands human nature—and is mature enough to be an effective team player in their production. This is exactly the type of actor producers, directors, and casting directors want to have on their sets. An important component of acting is human psychology—the ability to understand other peoples’ wants, needs, and motivations. Actors must remember that although we rehearse and perform monologues alone—we will be part of a larger production ensemble when we’re hired. Demonstrating an understanding of our role in this process— and empathy for our collaborators—is an excellent way to separate yourself from the crowd of angry actors auditioning for your role.

Slow Down Your Speech

When practicing and performing these monologues, keep in mind that many actors speak too fast. This is a classic beginners’ mistake. I’m always surprised when I see actors rushing to get through their scripts ... and then rushing to run out the door. Remember that whenever you’re performing a new monologue—it’s much newer for your audience. They’ve never heard it before. If you speak too fast, they can miss an important story point.

You will likely spend considerable time memorizing, practicing, establishing a sense of place, and putting yourself in the proper frame of mind for your monologue audition. Your listeners, however, are hearing these words for the very first time. You must allow directors, producers, casting directors, and audience members ample time to let your words and the storyline of the monologue presented sink in ... and then slowly begin to percolate in their minds.

Give the people you’re reading for enough time to listen, absorb, and react—just as you would with a scene partner in a two-character dialogue scene. Industry professionals often need a moment to stop, think, and evaluate your performance. They may be trying to think of an adjustment to give you based upon what they’ve just seen. If they don’t say anything right away, it’s usually a good sign. They may be trying to figure out where to place you in their project. Don’t interrupt producers and directors when they’re trying to figure out how to give you a job.

Tame Your Tongue

Besides talking too fast, many actors, unfortunately, talk too much. They talk too much. They talk too fast. They talk too loud. They talk at the wrong time. This is particularly true in the waiting room at auditions. There’s a great deal of truth in the old saying: “Silence can never be misquoted.”

I’ve known so many wonderful actors through the years who developed the bad habit of talking too much, talking too loud ... and talking about inappropriate topics. They simply could not control their mouths. They said the wrong thing at the wrong time to the wrong person. In the process, they talked themselves out of auditions, bookings, roles, representation, and future opportunities. I knew several brilliant actors who talked themselves right out of the business.

I believe it’s vitally important for actors to learn to tame our tongues and quiet those nagging little voices in our heads that speak to us all day long. In doing so, we learn to become our own best friends. We can talk ourselves into victory just as easily as we can talk ourselves into defeat. We must learn to become our most ardent supporters, our most enthusiastic cheerleaders, and the presidents of our very own fan clubs.

Avoid the bad habit of self-deprecating humor too. Don’t put yourself down. Don’t make jokes at your own expense. There’s always a kernel of truth in those negative comments ... even when we think we’re “just joking.” Don’t go through life fighting against yourself. Life is too short and the entertainment industry is far too competitive to second-guess yourself and beat yourself up for all your past mistakes and missteps.

When those negative little voices—our uninvited inner critics—start whispering in our ears, we’ve got to become highly skilled at tuning them out and changing the channel. This is a talent that is well worth developing. It will do you a world of good in every area of your life, both personal and professional.

Fear of Failure. Fear of Success.

The fear of failure is a very real concern in the entertainment industry—and every industry. It prevents people from doing their best by making them hold back. However, I’ve also seen many actors commit monumental acts of self-sabotage. These experiences have shown me that fear of success holds people back just as often as fear of failure. I’ve seen many actors show up for auditions who already appeared defeated before they even started to read.

I believe this is much more prevalent in the arts than in other industries primarily because we’re working in a qualitative—rather than quantitative—field. Unlike math, science, economics, and engineering, our industry is very subjective. In math, the answer to the problem is always the same. It doesn’t change depending upon our feelings. In show business, problem-solving is an entirely different process. The reasons why one actor is hired over another are sometimes difficult to identify and verbalize—even for the person doing the hiring.

On one occasion, I was in the room and heard a young casting director struggle to explain why a certain (and very gifted) actor didn’t get the part. His reading was excellent. His credits were solid. His audition skills were top-notch. He was represented by a well-respected agent. The casting director, exasperated, finally explained: “He’s just not the guy.”

While this can be maddening for the actor who is passed over, it’s a longtime reality of our industry. Why is one actor cast as the lead ... and the guy who looks just like him cast as his stand-in? It’s one of many questions that are difficult to answer in a subjective industry. There are many reasons outside our control why we don’t get the job. That’s a painful fact. I strongly believe, however, that there are also many times when those same intangible elements will work in our favor, rather than against us. I also believe it’s the actor’s responsibility to focus solely on the things we can control—and not obsess over all the elements that are out of our control. This brings us to another important point: getting into character.

Getting into Character

Many actors had difficult upbringings—and that’s exactly what led them to become actors in the first place. Academy Award winner Gene Hackman noted that “Dysfunctional families have sired a number of pretty good actors.” Many actors explain that they were drawn to this business out of a desire to leave their old lives behind and become someone else, someone new, and (presumably) someone better. However, I believe this is a fundamental mistake in approaching our roles, scripts, and audition opportunities.

It’s important for actors to keep in mind that we’re never becoming different people or characters when we audition. Instead, in every role we approach, let’s try to imagine how we may portray idealized versions of ourselves in those identical circumstances. These idealized versions of ourselves might be described as the way we present ourselves to others on the best days of our lives. When playing villains, however, the idealized versions of ourselves may be defined by the ways we act out on the very worst days of our lives. It’s critical to remember, however, that we’re always representing distinct aspects of ourselves and our own personalities. Therefore, let’s try to imagine the best or worst versions of ourselves reacting truthfully to every new set of events and situations offered to us in each new script.

Each of us has multiple aspects of our own personality. Some aspects are good—generous, kindhearted, gracious, well-mannered, and heroic. Others are not so good. When we dig deep, we may recognize aspects of our personalities that are selfish, scheming, and manipulative. It’s human nature to see the world in “black or white,” “good or bad,” and “all or nothing” terms. In reality, though, we don’t live in a black and white world. We can more accurately describe the world with varying shades of gray. That’s why it’s so important not to criticize ourselves too much for past mistakes and errors in communication and judgment. Every mistake from our past is an experience we can now incorporate into the backstories of the characters we play on stage and screen.

We have all stumbled and made mistakes. We have underperformed in every different area of our lives. When we look back on those experiences objectively, we can see that those missteps occurred on days when we were not operating at our very best. The good news is that we’re not always going to be that way. We will have plenty of days in the future when we’re working at (or near) one hundred percent. As actors, we need to be keen observers of human nature, human experience, and human frailty. The times in life when we’ve stumbled or fallen can be extremely valuable to us. Our own negative experiences can serve as role models to guide us when portraying “less than ideal” (i.e. flawed or unsavory) characters.

The best way, I believe, to approach every new script and character is to ask yourself: “Which version of myself would be most effective for me in playing this role? What specifc past events from my own life—whether positive or negative—can I draw upon to help me breathe life into this character on stage or screen?”

This type of approach to our roles—and our careers—has the added benefit of developing solution-oriented thinking and problem-solving skills. These are vitally important skill sets for performing artists. We all need to be reminded from time to time of the power actors have to affect audiences and bring about positive change, growth, and forward movement in the world.

Reclaim Your Power

As actors, we need to reclaim our power. No matter what happens in the world politically, socially, or economically, there will always be a market for what we do. People will always look to the performing arts not only for entertainment—but also to help interpret and process events transpiring in the world around them. Audiences also look to film, television, theater, and music for the uplifting human connection that strong stories and performances have always provided.

In spite of this, many actors struggle internally with feelings of low self-esteem and self-worth. This is unfortunate (but understandable) given the day-to-day realities of the entertainment industry and its highly competitive nature. I’ve known so many wonderful actors through the years who quit the business because they were unable to handle the daily grind and frequent rejection. Harrison Ford, looking back on his long, successful mega-career, shared this same experience. “What I observed about my fellow actors,” Mr. Ford explained, “was that most gave up very easily.”

Possibility vs. Probability

That’s why it’s so important for us to focus on possibilities, rather than probabilities. When actors focus their attention on probabilities, they’re looking at the vast number of people auditioning for each new role. They’re looking at the relatively low percentage of people who are able to book substantial roles and build solid careers. They’re looking at the small number of people who are able to stay in the business through the years and through the decades—without becoming bitter, jaded, and damaged. With this type of focus, it’s very easy to become overwhelmed and demoralized.

When actors focus on possibilities, however, they open their minds up to the greater achievements available to all of us. If a well-known actor has accomplished something you admire, then that proves it’s possible for all of us. Success always leaves visible clues. Maybe we can all find encouragement in identifying the actors who have come from circumstances similar to our own— and have achieved incredible success.

I am not advocating a Pollyanna attitude towards our careers —but it’s very important to give ourselves a pep talk now and then. I’ve heard motivational speakers tell us that we can do anything. Well, I don’t believe we can do anything—but I believe we can accomplish extraordinary things when we’re operating in the areas of our strongest gifting, interest, and dedication. For example, I’ve always enjoyed playing basketball. If I practice basketball for twelve hours a day, I know I’ll improve. I also know I’ll never be good enough to play in the NBA. If I put that same time and effort into acting and writing, however, my opportunities for success are multiplied a thousand-fold. In and out of the entertainment industry, I’ve seen people accomplish incredible things when they focus their attention on the areas in which they’re most qualified.

Remember this principle. In spite of the odds, it’s possible. We cheer for the underdog in movies, but very few people are willing to step into that underdog role in real life. Most people on Earth prefer to play it safe. This is understandable. It’s difficult to venture outside of our comfort zones. But major achievements usually don’t happen for us inside our comfort zones. Academy Award winner Angelina Jolie said it best: “If you don’t get out of the box you’ve been raised in, you won’t understand how much bigger the world is.”

The Best Reason to Persevere

I was hired several times to teach beginner acting classes for older adults—women and men in their sixties, seventies and eighties. Their personal stories were always the same. These senior citizens told me that they wanted to get started and pursue careers in show business when they were eighteen, nineteen, or twenty. Family, friends, co-workers, and romantic partners talked them out of it. They then gravitated towards other fields, settled down, and raised families. Along the way, they often asked themselves: “What if ?”

Fifty years later, they showed up in acting class wondering how their lives might have been different had they acted upon their youthful desires. Sometimes, the people closest to us can keep us from moving forward in life and achieving our maximum potential. Some of us may need to distance ourselves from well-meaning dream stealers and dream killers. Unfortunately, some of us may also have people in our inner circles that do not truly have our best interests at heart.

I’ve heard it said there are two types of pain in life: the pain of discipline and the pain of regret. I believe the best reason to pursue your show business dreams as a young adult is to save your future self fifty years of regret and unanswered questions. The years will pass no matter what you do. Don’t let them pass you with regrets.

The Best Reason to Quit

Besides teaching seniors, I’ve had the experience of teaching acting for younger ages: children, teens, and adults. As adults, it’s possible you’ll pursue an acting career enthusiastically for a time—and then recognize that show business is not the right career path for you. That’s okay. I’ve seen many talented actors make that decision.

Let me share one of my favorite teaching stories. I once had an eight-year-old acting student tell me: “I’d like to be in a movie if someone wants to put me in there, but I don’t want to memorize all these lines. That’s boring.” Obviously, acting was not the right choice for this youngster. Actors always have to memorize lines. That’s not going to change anytime soon, so I think it’s terrific when one of my classes (or books) helps people decide NOT to move forward with their acting careers.

I believe if you pursue this industry wholeheartedly—and then decide that it’s just not for you—then you’re very fortunate to have figured that out early in life. You can save yourself many regrets and “what if ’s” when you’re older. I believe the best reason to step away from this industry is that you’ve tried it, given it your all, and just don’t enjoy the lifestyle. There’s no shame in that. It’s nothing to be embarrassed about. The auditioning, uncertainty, and frequent rejection, quite honestly, are pretty tough for all of us––even star-name actors.

Your Next Step

I’ve always loved the expression: “Give it the old college try.” If you feel inspired to pursue an acting career, then I encourage you to take off the training wheels and chase your dream in earnest. Learn some new monologues. Get in a good class. Practice with a scene partner. Network with other actors. Build your credits with student films and community theater. Find an agent. Take a casting director workshop. Join a theater company. Get involved with a filmmaking group. Make your own short films. Write yourself a one-person show. There are a hundred things you can do to build your credits and your career without having to ask anyone’s permission. Along the way, you’ll gain valuable experience and figure out if this industry is right for you.

Logically, I think it makes good sense to throw yourself fully into the mix, and then decide if this is a place where you want to be. I’m not telling you it’s going to be easy. I’m telling you it’s going to be worth it. Success is never convenient. It takes courage, discipline, and a VERY thick skin to pursue your dream enthu- siastically while tuning out all the background noise around you.

I hope these monologues will resonate deeply with you and help you to reach the next level in your acting career. I wish you all the very best of happiness, health, and success in pursuing this worthy goal and wild adventure.

Stay strong.

Mike Kimmel

Los Angeles, California