Since I got into acting after college and started auditioning, over 35 years ago, my strategy was to avoid the monolgue books and seek out material that I could be pretty sure no one else was going to bring to an audition. These included monologues from less produced plays, like Shakespeare's Troilus & Cressida, Richard II and Coriolanus, Lorca's Blood Wedding, O'Neill's The Great God Brown, Georg Büchner's Danton's Death, Don DeLillo's The Day Room, Tom Stoppard's The Real Inspector Hound, a couple from David Mamet's Goldberg Street and one from a Plautus comedy, whose name escapes me. Additionally, I gleaned material from New Yorker articles and a couple of books by Connie Fletcher that were a collection of anonymous comments from police officers she interviewed, like Studs Terkel did with American workers, titled What Cops Know and Pure Cop. And finally, there was one of the Devil's monologues from Dostoevsky's massive novel, The Brothers Karamozov. (A friend of mine shot it in the hallway of the building where I was living at the time, in 2010: https://www.youtube.com/watch?v=K7i5pvIsfaU )
Later, in the 2000s, when I got more involved with new play development, meeting many playwrights and reading a plethora of scripts, I would use monologues by local writers I befriended, showcasing their work as well as mine. Again, it's something different from the parade of done-to-death monologues I'm sure casting directors are tired of hearing. Here's one that's under two minutes that I shot in my apartment, a few years ago: https://www.youtube.com/watch?v=emJBsyoiXr8
