Monologues - Monologues are generally used to get into acting classes and some theatre companies, and also to audition for representatives. I personally do not like them because the only things they really show me are that you can memorize lines and that you can tell a story (which, of course, is essential for an actor). What monologues cannot show me is the wonderful communication and chemistry between two or more actors. That, to me, is the most important element to gauge an actor's level of talent. But monologues are still required in many areas of the industry, so you will need at least two contemporary contrasting monologues, and one or two classical monologues if you are concentrating in that area. These should each be NO MORE than two to three minutes long. Pick monologues of characters that are close to the age range that you can realistically play, and when I say contrasting, I DON'T mean two monologues at the opposite emotional extremes from one another (like "happy" and "sad"). Contrasting in this case means showing two DIFFERENT emotions, i.e. loss, love, anger, manic, depressed, elated, sorrow, fear, confusion, frustration - get the picture? Many actors choose a comic monologue and a dramatic monologue; if you are not good at comedy I would expect you to have two contrasting dramatic monologues. I recommend you get a coach, teacher, or a professional to assist you in directing your monologue (not blocking or staging it, but directing your emotional "beats"). Especially if you are new to the business, you would be doing yourself a disservice to use a monologue without direction. After all, what is an actor without a director? Just an improv artist! Think about it.

Sides - Sides are generally used in film, TV and theatre. They are sections of dialogue extracted from the actual project for which you are auditioning. They are given to the actor at the audition, or sometimes several days before in order to prepare for the audition. I recommend familiarizing yourself thoroughly with the sides - not necessarily memorizing them but knowing them well enough to keep your head up and not buried in the pages. Like monologues, coaching should be considered if the material is difficult, or if the material is too vague to come up with any concrete character choices, or if it is a major audition (for a lead in a TV series or film, or Broadway show, etc.).

WHERE CAN I FIND MATERIAL?

There are hundreds of published books with monologues in them for men and women with varying degrees of emotion. Check them out at the library or The Drama Book Store. Another way to find monologues is through novels, TV shows, Film and even magazines. I've had clients even write their own. Remember, there is a lot of freedom with a monologue because it is taken out of the context of its home, i.e., the play or the film. So, you can be more flexible as to the source of your monologue. Just make sure it's meaningful, it's different and it shows you off incredibly well. Don't play it safe.
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