The defining questions in the minds of the audition committee: "Can we hire this person? Do we want to listen to him/her every day? Will the maestro go for this kind of playing?" Of course there are also those usual matters of sound quality, intonation, blendability, and musicianship. Those must all be givens, but are any stand-out qualities being communicated? In short, what will be their instinctive reaction upon hearing you? Deal or no deal?
Never mind the audition scenario. Let's visit your practice room. Would the committee want to offer you a nice contract based on what they heard outside your practice room today? Is your practice marketable? Will your notes sell? Or as Erich Kunzel asked a new young arranger on his first job, "Hey, kid. Are you any good?" (He was about to find out!)
Why not begin your next practice session with the mindset that all that you are about to play matters? You are being listened to and evaluated. Don't freak. Just enjoy why you're there. If you don't, they won't. Purify your notes and clean them up. Prime time may be nearer than you think. Very nice performances can happen in the practice building. Why not amaze your friends!