Don't take "no": professionals on how--and why--persistence pays off.

To achieve and sustain a fulfilling career as a dancer you need talent, technique, nerve, and determination. Learning how to push past the rejection and disappointment that undoubtedly lie ahead, dig deep inside and find your drive. Then put into practice the fine art of persistence. We asked dancers to share how they attained their dream jobs, and all of them had something to say about never giving up. They too suffered through countless auditions. One principal with American Ballet Theatre even took company class for a year before being offered a corps contract--not what she was hoping for. And another landed a seemingly perfect gig only to find out it wasn't a good match. Whatever their story, persistence was key. Master it and you'll be one step closer to a career in dance.

Audition as much as you can if you're just starting out. It's a skill. The more you do it, the easier it is. As a young choreographer in New York, Malinda Allen sends videos of her work to many dance companies. "I like to forget what I send," says Allen. "That way if I get something, it's a pleasant surprise."

Her determination led to her work being accepted into Dance Theater Workshop's Fresh Tracks showcase. "To even get an audition was a sheer act of will," says Allen, "I had to call a certain phone number at a certain time of day and basically everybody called in. I think I called maybe 20 times."

Persistence comes in handy even if you're an apprentice or have been dancing in a second company. While a charter member of Dallas Black Dance's second company, Katricia Eaglin set her eyes on the main group. She'd established herself and had an "in" with the management. Still her move to the main stage was anything but easy.

After three unsuccessful auditions, Eaglin's hopes were fading. "Not making it really hurt," says Eaglin. "They knew me. It seemed like it wasn't going to pan out but I knew DBD was where I belonged. Stylistically I fit." Eagan took her mentor's advice to stop counting auditions and keep dancing. "I decided if it took 20 auditions, fine," says Eaglin. Rather than repeat mistakes, she turned to DBD's artistic director, Ann Williams, for pointers. When the fourth audition rolled around, she got her contract.

Trying out more than once sometimes works. Positions in the company may have opened up, or your technique may have improved. But if you aren't getting work, it's time to self-evaluate. Ask yourself if you're right for the job. Does your style of dancing and technique match theirs? Is your body type within the range of their existing dancers? Turn to someone affiliated with the group if you aren't sure what's wrong.

Kay Mazzo, co-chairman of the faculty of the School of American Ballet, shares this advice with her students: "If you aren't taken, question if it's something you have control over," says Mazzo. If it is, try again. "If you can't change it," Mazzo says, "There's no use banging your head on the wall." Self-reflection saves you time.

Don't feel defeated if you have to change your course. You're allowing other opportunities a chance to manifest. Just ask postmodern dancer Katrina Thompson. "I auditioned for one company three times," says Thompson. Rather than face rejection again, Thompson asked a dancer in the troupe if it was worth continuing. The response wasn't reassuring. "It was probably not going to happen for me," she says. Rather than wallow, Thompson looked elsewhere. "I moved on," she says. That's when she found her dream job with the Trisha Brown Dance Company. The audition wasn't exactly a walk in the park. It took five grueling months of class before Thompson was offered an apprenticeship. It couldn't have happened at a better time. "The TBDC audition was going to be my last one," says Thompson. Success can come when you least expect it. Thompson's advice is, "Just keep doing it," she says. "Keep trying."

There is a company out there that suits you so do whatever it takes to find it. Elizabeth Farotte began her career with BalletMet in Columbus, Ohio. She didn't plan to audition for ODG/San Francisco--a modern company--but she's glad she did. "If you look around you'll find where you belong," says Farotte. "It's part of the process. I remember being told that there's a company for everyone and it's true. ODC is the place for me and I auditioned on a whim."

Even top level professionals benefit from the fine art of persistence. Irina Dvorovenko was offered a corps contract with ABT but felt it was a demotion. "I'd been a principal dancer already and to go down to a corps contract was difficult," says Dvorovenko. So she waited and took open classes for a year. "It was tough," she says. "But you have to be demanding and determined to prove who you are."

After time Dvorovenko accepted the corps contract but not without some heartache. "I was in tears," she says. Now a principal at ABT, Irina says determination got her through. "I have to work on it, but being persistent always pays off," says Dvorovenko. "It doesn't matter if you're a genius. It doesn't matter what position you are. Dancing without that drive is not so wise."

Wherever you are in your grand campaign through the dance world, remember your secret weapon is persistence. A fulfilling career is more likely for those who persevere. So if you feel blocked or frustrated, gather up your gumption, push through it, and keep going. "You have to give yourself the chance," says Mazzo. It won't be easy but you can do it!

Khara Hanlon is a freelance writer based in New York.