nethervoice

Is Your Client Driving You Crazy?

by Paul Strikwerda in Articles, Career, Freelancing 1 Comment
David Ogilvy

David Ogilvy

After last week’s story about bad clients, one reader wanted to know:

“Have you ever fired a client, and why? I have one customer who is driving me nuts, but I can’t afford to lose his business.”

First of all, that’s a horrible position to be in. Many freelancers choose to run their own business because they don’t want to depend on someone or something else. Having big spenders as clients may seem fantastic, but if you’re not careful, you end up being in their pocket, and they start pulling all the shots. 

David Ogilvy, the famous advertising guru, took great care in selecting his clients. That concept alone was revolutionary. If you’re a service provider, don’t clients choose you? Isn’t that how the game is played? Not in Ogilvy’s world. 

Ogilvy and his partner would turn down about sixty clients every year, and this was one of their rules:

“Never work for a client so big you can’t afford to lose them.”

They once turned down Ford because the iconic motor company would represent half of their total billing. 

So, to get back to my reader’s question: be selective in whom you want to work with, even if you’re just starting out. Don’t put all your eggs in one or two baskets. It makes you overly dependent, and very vulnerable. If that one big client pulls out, you’re toast. 

Have I ever fired a client? I sure have, and I’m happy I did. It wasn’t all about money. In fact, in many cases money had little to do with it. 

Here are a few clients I gladly gave the sack:

THE DICTATOR

Here’s the client who thinks he owns you twenty-four seven. He always knows best; he’s overly demanding, disrespectful, and never satisfied. These people are impossible to please. The more you try, the less you succeed.

Working for dictators made me hate myself and my job. I did everything I could to avoid contact with them because it was emotionally draining. No money in the world could make up for how lousy I felt working for these bullies. 

THE VIOLATOR

Some clients act as if the rules don’t apply to them. Even with a written agreement in place, they try to bend and break it as fast as they can: “Sorry, we can’t pay you within thirty days. We’ll cut a check as soon as the end-client pays us.” 

“Did the agreement say that we have to pay you even if we don’t use your recording? Well, that’s just too bad. We have switched gears, and don’t need your voice-over anymore.”

When you continue working for a client who is not paying your bill, you are sending the message that you are not worth the fee you charge. 

THE  CHEAPSKATE 

Stay away from clients with great ideas and no budget, and the ones that try to nickel-and-dime you from the get-go. I once fired a long-time client of mine that was locked into old rates. When I increased my fees across the board, she insisted I make an exception “for old times sake.” 

While it may seem like a “nice” gesture, deals like that hold your business back. Time spent on these small-budget clients prevents you from spending that time working for a client who respects your rate. Ogilvy was right when he said:

“Only work for clients who want you to make a profit.” 

THE UNETHICAL

When thinking of your clients, ask yourself these two questions:

“Do they sell a product or service I can be proud of?”

“Will I be able to do my very best work?”

Whether you’re a copywriter, a graphic designer, or a voice-over, you will be professionally associated with a product or service you helped promote. Your reputation is always on the line.

An advertising agency I had worked with in the past, asked me to voice a commercial for one of the world’s worst weed killers. I politely declined, and they understood. My voice is for hire, but my integrity is not for sale. 

It’s up to you where you draw the line, but I would never want to be involved in something illegal, or help sell something I’m morally against. 

THE UNPROFESSIONAL

Some clients are completely unorganized and in over their heads. One day they want one thing. The next day all has changed. It’s something you find out once you start working with them. As a freelancer, you’re used to juggling many plates, but you’re not getting paid to help your clients juggle theirs. 

Sometimes clients become overly friendly. They start calling at night with some lame excuse. It turns out: they just want to talk about a personal issue, or they start gossiping about a colleague they’ve worked with. Before you know it, they’ll be asking you favors because of the perceived friendship. 

Take my word: keep things clean, and have clear boundaries. It’s painful to have to fire these clients, because you know they’ll start gossiping about you to the next professional they cling to. But if you give in because you want to be nice, they’ll suck up your time and tire you out.

THE HIDDEN MESSAGE

All the clients I just described have a few things in common: They keep you from growing your business. They drag you away from your goals. They also appear on your path as your teachers.

People who don’t respect you, are giving you a chance to learn to respect yourself.

People who distract you, are showing you the importance of being focused.

People who don’t pay you, are testing what you think of the value of your work.

People who are trying to manipulate your feelings, are helping you grow a pair. 

Now, if you are bound by a contract I’m not suggesting you break your word and fire these clients. Rather than cutting them loose, you’ve got to cut your losses, fulfill your obligation, and learn from the situation.

But should these clients contact you again for a project, respectfully decline their offer. All they would do is take the fun out of your job. And as Ogilvy said:

“Where people aren’t having any fun, they seldom produce good work.”

Paul Strikwerda ©nethervoice

PS Be sweet. Please retweet.


Are You in Bed with a Bad Client?

by Paul Strikwerda in Articles, Career 8 Comments

I’m not going to waste any time introducing today’s topic.

Here’s what I want you to do.

Read the statements below, and tell me if any of them sound familiar.

“I’ll put in a good word for you.”

“I will keep you in mind.”

“Next time we will definitely call you.”

“One of the best auditions of the day. Unfortunately…”

“I loved your take on the script, but the client had final say.”

“Don’t worry if you don’t get the job. It’s still great practice, isn’t it?”

“I wish we could pay you more but my hands are tied.”

“This may very well lead to more work.”

“You were this close to nailing it.”

“You’re so experienced. This will only take you ten minutes.”

“I will pay you as soon as I receive the files.”

“We don’t need a contract. We do this all the time.”

“If we decide to use it, you will get paid.”

“We have someone who is willing to do it at half your rate.”

“We’re a charity. Can you do this for free?”

“It’s such great exposure!”

“We ended up not using your work. Sorry.”

“Nice try, but it’s not what we wanted.”

“We got somebody internal to do it instead.”

“Apologies for not getting back to you earlier. We had to cancel the project.”

“We decided to go a different route with another talent.”

“We had to change the script drastically. You wouldn’t mind recording a new version for us, would you?”

“Trust us. Everything is going to be fine.”

Whether you’re a voice-over, a graphic designer, or a copywriter, I’m 99% sure that at some point in your freelance career some client from hell fed you a few of these lines. Combined with a certain tonality and body language, they all spell the same two-letter expletive:

B S

You just know that when people say “I will keep you in mind,” you will never hear from them again. Ever. The person who said “I wish we could pay you more,” is laughing all the way to the bank because he just saved his boss a boatload of money by hiring a wimp. And when someone says “Trust us. Everything is going to be fine,” he or she is waving a big fat red flag in your face.

Tell me you’re not surprised. Please.

You see, while playing in the sandbox at kindergarten, you should have learned your lesson: not every kid is playing nice. And when these kids grow up, they’re even worse. Why? Because experience has taught them that they can get away with almost anything, and get rich while doing it (no, I’m not talking about the presidential race here).

These clients have two things in common. They were born with a silver tongue, and they’re masters at spotting and exploiting weakness.

Are you desperate to work? Your email will give you away. 

Are you too eager to please? Your voice will tell it all.

Are you just getting your feet wet? Your cheap rate speaks volumes.

Desperate doormat novices are easily manipulated. They’ll work just for the exposure. They’ll record a rewritten script for zero dollars. They’ll send the audio files, trusting that payment won’t be a problem.

Until they get burned, or they get smart.

One of my young colleagues just came to me with a sob story:

“I was so happy and proud that I booked my first big gig, and the client seemed so nice. He said he loved my voice, and he had total faith in me. I worked really hard to deliver the project on time, and I think I did a pretty good job.

Before I got started I asked the client: ‘Should we sign anything to make it official?’ I remember his exact words. He said: ‘Don’t you trust me? We do this all the time. There’s no need for a contract.’ When he said that, I felt kind of guilty. Why would I doubt him? He gave me a great opportunity, and I should be thankful.”

“When did this happen?” I asked.

“Six months ago,” my colleague answered.

“And did you get paid?”

“No,” said my colleague. “Once I had sent the audio files, the client disappeared. It’s a long story, but when I finally spoke to someone at the company he was working for, they said he got fired. No one knew anything about the project I had worked on. They said they didn’t owe me anything.”

Part of me wanted to feel sorry for my colleague, but the other part wanted to tell her:

“I know this totally sucks, but it’s not the client’s responsibility to teach you how to be a professional. You may feel that this guy took advantage of you, and he did. However, you allowed it to happen. You enabled that client to treat you poorly. 

This is no longer a hobby for you. You’re in business now, and you have to protect your business. The best way to do that, is to prevent problems from the outset. Don’t assume that everything will be alright, and that all people have the best and purest intentions. Clients run businesses too, and if they want to be successful, they must do two things:

  1. Minimize expenses
  2. Maximize profits

To them, you’re an expense. It’s not their fault if you don’t stand up for yourself and negotiate a decent fee. They’re not to blame if you’re okay with working without a contract. 

On one hand you are vulnerable. On the other hand you also have power. You have something the clients needs and wants. 

If anything, remember this:

A client cannot make you do anything you’re uncomfortable with. If you don’t like it, you renegotiate, or you walk away.

Before you do any work, both sides need to be clear about their expectations. Ideally, those expectations should be turned into a written agreement. Without such an agreement, you’ll have a hard time making a claim in court, should it come to that.

Before you sign on the dotted line, you have to fully understand what you are agreeing to. If you don’t, ask an expert to explain it to you.

One of the things you must be clear about, is payment. Let the client know that the work you have done is yours, until he pays for it. In other words: the right to use your work transfers upon full payment. Of course you need to define usage too. In case of voice-overs, are you talking about a full buyout, or is there a renewal fee?

Please understand that asking for a contract does not make you difficult to work with. A solid contract benefits both parties. Parties that are about to start an intimate relationship. A relationship that requires protection.”

Mike Monteiro from design firm Mule put it this way:

“Starting work without a contract, is like putting on a condom after taking a home pregnancy test. It is not going to help you at that point. You have lost any leverage you had.”

In summary: clients can make strange bedfellows.

Make sure you don’t end up feeling used. 

Watch the warning signs.

Listen to the language.

And don’t fall for all the two-letter expletives!

Paul Strikwerda ©nethervoice

PS Be sweet. Please retweet!

photo credit: CRASH via photopin (license)


The Cult of Kumbaya

by Paul Strikwerda in Articles, Career, Journalism & Media, Pay-to-Play, Promotion, Social Media 21 Comments

Screen Shot 2016-04-20 at 7.59.01 PMNot long ago, Adam Aron, the CEO of America’s biggest movie theater chain, had a brilliant idea. 

To attract a younger audience, he wanted to make his AMC theaters smartphone-friendly. If it were up to him, texting would be allowed, and he told Variety why:

“You can’t tell a 22-year-old to turn off their cellphone. That’s not how they live their life.”

Not everyone agreed. His remarks were immediately followed by a widespread backlash on social media. People complained left and right. Days later Aron responded:

“We have heard loud and clear that this is a concept our audience does not want. With your advice in hand, there will be NO TEXTING ALLOWED in any of the auditoriums at AMC Theatres. Not today, not tomorrow and not in the foreseeable future.”

I think Adam Aron is a smart guy. He had a bad idea. People protested. He listened, and he changed his mind. Good for him. Good for us. Unless you’re a millennial. 

CULTURE OF COMPLAINING

This story was just playing out as I was reading a short article by “Voice Whisperer™” Marice Tobias called “The Culture of Complaint: A black hole for Voice Talent and…the rest of us.

Tobias sets the tone in the first two paragraphs:

“Thanks to social media, attack television and brigades of haters running rampant across all platforms, complaining and criticizing has become the discourse du jour for this moment in time. It generates a lot of piling on and follow-up posts.

Problem is, running a continuous negative commentary is not only tedious and alienating, it can also cost you work and income while wearing the rest of us out!”

“Check your negativity at the door,” Tobias recommends. Clients don’t care for it. You only have so much energy. Use it to be in a more empowering, positive state of mind. 

DON’T BITE THE HAND

Part of me totally agrees with Tobias. We do seem to live in a culture of confrontation. Just look at social media or at the current political process. Civility, respect, and intelligent discourse are rare commodities. Facebook threads can easily escalate into shouting matches. Anonymous trolls push people’s buttons. The coarseness and narrow-mindedness of some exchanges is nauseating. 

The voice-over business is a people-business. Nobody wants to work with a jerk. Voice-overs are hired to read copy. Not to criticize it. The more positive interactions we have with our clients, the more likely it is that they will call us again. 

But that’s not all. 

The other part of me strongly believes that there’s a role for criticism. Constructive criticism, that is. Complaining for the sake of complaining is a waste of time and energy, but sometimes people have legitimate grievances and concerns. They’re not being negative. They just want things to change for the better. 

ROSE-COLORED GLASSES

As a blogger I can relate to that. I see the world through a colored lens, and not all I see is perfect and positive. 

One of the worrying things I have observed is what I call “The Cult of Kumbaya.” It’s a tendency to approach the tough business of voice-overs with naïve optimism, believing that most players act out of altruism and integrity. 

It is constantly fed by commercial propaganda, trying to paint a pretty picture of an unforgiving industry:

“Work from home in your spare time,” says the website. “We need audio book narrators now!”

“Become a member,” the Pay-to-Plays say. “Upload your demos, and start making money with your voice today!” 

“Let me be your mentor,” the voice coach boasts. “Give me a few sessions, and I will teach you the tricks of the trade.” 

LA-LA LAND

Then there are voice actors who will tell you that everything is hunky-dory. Whenever I criticize voice casting sites on this blog, they tell me that these companies have “revolutionized the business, and have generated thousands of jobs.” 

When I call out colleagues who are willing to work for next to nothing, I am told to mind my own business because it is a free market. It will all even out in the end. 

When I express doubts about certain awards shows or expensive industry conferences, colleagues get angry because I should be supportive of my own tribe and embrace new initiatives. 

Here’s the problem with this type of uncritical thinking: it’s either/or.

Criticizing someone or something is equated with being negative and unsupportive. The unspoken assumption being that supportive, positive people don’t complain or criticize. They don’t foul their own nest. 

Forgive me, but that’s utter hogwash. 

Every coach knows that they will have to critique a performance in order to support a student. Every journalist has to expose injustice to bring about a more just society. Every parent has to correct their child’s behavior, so s/he will grow up to become a decent human being. 

Secondly, no matter how good something or someone is, there’s always room for improvement. But we can’t improve without quality feedback.

SIMILAR OR DIFFERENT

Now, this world is basically filled with two kinds of people. One part of the population sorts for similarities. The other for differences. You need both on your team. 

Let’s say you have a bucket of pebbles that are painted blue. The person sorting for similarities will say:

“Look, all those pebbles are the same color!”

The person sorting for differences will say:

“Every pebble has a different shape and size.”

Both approaches are correct and perfectly fine. We need people in this world who spot patterns, and who can see the big picture. We need people to tell us when things are right. 

We also need people who can spot exceptions, and who can focus on details that are different. We need people who can tell us when things are wrong.

FACE THE FEEDBACK

I can handle critics. I can even deal with complainers, because they will tell me that texting in a movie theater is a bad idea. I’d rather hear the honest truth than foolish flatter.

The people I have a hard time with are the whiners. The contrarians. The know-it-alls. Their negativity can be draining. 

So, whenever I encounter criticism, I ask myself a few questions before I react. 

1. How does this relate to me?

If it’s not important, why get all worked up?

2. Who or what is the source?

Do I trust the source? Is the source influential and reliable? Why start a discussion with someone who clearly doesn’t know what he/she is talking about?

3. What is the context?

Nothing is ever said in isolation. To understand where someone’s coming from, we usually need more information than a tweet or quick comment can give us.

4. Is this a real issue or a cheap personal attack?

Some commentators just have a chip own their shoulder. Unfortunately, it’s not a chocolate chip. 

5. What is the complaint or criticism an example of?

That’s a good way to move away from specific examples and elevate the discussion to a higher level.

6. Does the complainer offer a solution?

If that’s the case, you know they’re not just in it to moan and groan.

7. What can I learn from this that is useful and positive?

Even if the criticism seems over the top and unjustified, there might be a lesson to be learned. 

ANCIENT WISDOM

So… are complaints and negative comments a “Black hole for Voice Talent… and the rest of us”?

It depends.

A great critique is never a burden or an attack. It is an opportunity to learn and grow. It is a gift. And speaking of gifts…

One of Buddha’s followers once approached him, and asked:

“Master, do you see that nasty man over there? He is always badmouthing me. I feel horrible. Please do something about it. Make him stop.”

Buddha looked at his student, and said:

“If someone gives you a gift, and you decide not to accept it,

to whom does the gift belong?”

Paul Strikwerda ©nethervoice

PS Be sweet. Please retweet!

photo credit: Caro pointing finger via photopin (license)



Those Silly Americans

by Paul Strikwerda in Articles, Career, International, Personal, Promotion 12 Comments

The authorHere’s a question I get asked a lot:

“What’s it like to be a Dutch voice-over, living and working in the United States?”

Who wants to know?

Mostly European colleagues, who either think I’m totally nuts, or who secretly want to do what I did and move to this land of milk, honey, and doughnuts. Some of them have strange ideas about what my life on this side of the pond is like.

I sometimes have to explain to them that “No, I don’t live in a McMansion; there’s no giant gas guzzler parked in my garage, and I can’t call a Hollywood studio and put in a good word for you.” In fact, this American life I am leading is pretty ordinary and rather unspectacular.

I don’t know what my existence would have been like had I stayed in Holland, but in my experience, setting up shop in the States has as many advantages as disadvantages. My colleague Jamie Muffet just wrote a great piece on that very topic for Backstage, and he had me thinking. 

In this day and age where all of us are part of a huge global network, does it really matter where we do our job? It’s just as easy for me to plug into a studio in Amsterdam, as it is to reach a recording facility in New York or Johannesburg. Even agents who used to insist I make a personal appearance, don’t mind if I send them an mp3 audition. Times have changed.

Although technology has made it easy to have an international presence, there’s something I must admit. It took me a good number of years to find my way here in Pennsylvania, and at times I still struggle to make sense of my surroundings and the culture I live in. Personally, and professionally. For instance, I had a hard time trying to figure out how to position myself as a voice for hire.

CONFUSION

From a marketing perspective, it is important that clients have a clear concept of who I am, and what I bring to the table as a talent. When I first came here, people were mainly confused, and I don’t blame them. I spoke with a distinct British accent (the one I was taught in school), and most Americans thought I was from the UK. It was both a good and a bad thing.

It was good because casting directors who didn’t know any better, often hired me to play the part of a stuffy English professor. I even did a voice-over promoting a Beatles jukebox musical on Broadway. I tell you: it was fun being a fake!

There was a downside to having this posh accent. I felt that people were judging me all the time. They either thought I was highly intelligent, or a pompous ass. Of course neither is true. I can’t say it helped me define my professional identity as a native Dutch speaker. Then there was something else I stumbled upon.

IGNORANCE

Even though the United States is supposed to be this big melting pot, I’ve learned that Americans struggle with languages and accents. Many of them have never left the country, and they are rarely exposed to different tongues and twangs, the way Europeans are. Thanks to a brilliant educational system, their sense of geography tends to be off too.

A few weeks ago an agent asked me to audition for a documentary, and she was convinced my accent would be perfect. “You’re Dutch. You should nail this one,” she said. The minute I got the script I saw it was about an old ship… from Denmark. “Well, Dutch and Danish are pretty much the same, aren’t they?” the agent stated.

Not really. And Copenhagen is not the capital of the Netherlands.

Another thing I’ve had to explain over and over again, is the difference between Dutch and Flemish. Flemish is a kind of Dutch, spoken in a specific part of Belgium. It’s as different from Dutch as British English is from American English. That means you shouldn’t hire a Dutchman to voice a commercial meant for viewers in Belgium. But most people in the States don’t know that.

I used to get very annoyed with these ignorant Americans, but having lived here for over ten years, I’ve come to realize that many of them don’t know what they don’t know. Instead of holding it against them, I do my best to educate casting directors and agents, without sounding like a European know-it-all. And quite often they are very grateful for my advice.

Here’s another thing I learned the hard way.

SELF-PROMOTION

Coming from a Calvinistic country where any form of self-aggrandizement is frowned upon, I found out that in America modesty isn’t always an asset. In fact, people like talking about themselves. A lot. If you don’t toot your own horn, who will?

I had to learn to be comfortable with my accomplishments, and speak and write about them openly. In Holland I would have been accused of bragging. Here people say: “Don’t be shy. It’s okay. You have every reason to be proud.”

When talking to a potential client or an interested agent in the U.S., I make sure to sell myself as best as I can. When I’m dealing with someone in Europe, I like to tone it down considerably.

Another thing I realized was that Americans tend to be quite informal. Before you know it, you’re on a first-name basis talking about your family with someone you barely know. It doesn’t necessarily mean that people who come across as friendly, want to be your friend. Give it a few weeks, and they might not even remember your name. Don’t take it personally. 

Things are gradually shifting in Europe, but unless a new client signs his or her emails with a first name, I err on the side of caution, and I’m much more formal.

FEELING LIKE A KING

So, what’s it like to be a Dutch voice-over in the United States? 

In the Netherlands we have a saying: “In the land of the blind, the guy with one eye is king.” As one of the very few native Dutch voice-overs in North-America, that’s often how I feel. I’m a small orange fish in a huge pond. In all the years I have lived here, my English accent has changed considerably. It’s no longer British, and it’s not entirely American either. As I explained to Jamie Muffet: 

“Demand for a Dutch narrator isn’t exactly overwhelming, and thanks to the Internet, my competition in Holland is only one click away. My real niche is in ‘neutral English’ voiceovers, meaning my accent is neither British nor American. It’s more of a European twang, and businesses wanting to increase their global appeal hire me because of my international sound.”

If that’s not shameless self-promotion, I don’t know what is…

On occasion I go back to the Netherlands to see friends and family. I walk around in this tiny country, and I comment on how everything is so close, and how small things are. It’s guaranteed to make my Dutch friends laugh out loud.

“Oh, Paul,” they say…

“stop being such a silly American!”

Paul Strikwerda ©nethervoice

PS Be sweet, Please retweet!


The Mistake You Don’t Want To Make

by Paul Strikwerda in Articles, Career, Freelancing 13 Comments

ThinkingIn his books and seminars, motivational speaker and coach Tony Robbins shares what he calls his Ultimate Success Formula.

It’s a deceptively simple five-step process:

1. Decide what you want.

2. Know your reasons why.

3. Take massive action. 

4. Notice what’s working or not. 

5. Change your approach until you achieve what your want.

I could easily write an entire blog post about setting specific goals, but today I want to talk about the third step of this formula: the necessity to take action.

LOUDER THAN WORDS

There’s a reason why Americans like using sports metaphors. Sports are all about energy and action. People bring their ‘A’ game, they step up to the plate, and knock it out of the park. I love that go-getter mentality, but as a coach and fellow-freelancer I think success is as much a result of the things we don’t do, as it is of the things we choose to do. 

Whether you take action or not, there will be consequences.

Comparing those who have made it in a highly competitive industry to those who have not, I see clear differences. Those who ultimately gave up, did that in part because they failed to act in crucial areas. Before I tell you what some of those areas are, I need to address the words “fail” and “failure,” because they are loaded. 

When I bluntly state that someone failed to do something, I merely mean they did not take a certain action. Consequently, they didn’t achieve a desired result. This does not make them a complete and utter failure as a human being.

VALUES AND MOTIVES

When people fail to do something we assumed to be of importance to them, it tells us two things. It tells us something about our personal values and work ethic, and it tells us something about the other person’s motivation.

Let’s say I give one of my students a certain task, and he or she keeps putting it off, or puts very little effort into it. In my experience this has little to do with a lack of time or laziness. Unless there’s an emergency, those who are truly dedicated will always find the time and the energy.

The real reason for the delay or the lack of enthusiasm has to do with motivation. Motivation is the fire that feeds the engine.

To find out what drives someone, here’s the question to ask: 

“Why is X, Y or Z important to you?”

If the “why” isn’t strong enough, people are more likely to slack off or give up. This often manifests itself in small things. Some people start showing a lack of attention to detail. Some will rush to get the job done. Others are easily distracted. Over time, this adds up, and it points to the fact that someone’s heart is not in it.

CARING FOR YOUR CAREER

I often compare a freelance career to tending a vegetable garden. A garden can’t be rushed. It needs to grow organically. If you don’t seed, water, or weed, you’ll never enjoy the fruits (and veggies) of your labor. 

If you don’t take good care of your garden, that’s easy to see, but what clues tell me you’re struggling as a freelancer?

I often see a failure to:

  • take the initiative
  • get out of the mindset of a hobbyist
  • set clear and realistic goals
  • have enough seed money to fund and grow your business
  • invest in a professional work space, (continued) training, and quality equipment 
  • define what makes you stand out from the rest
  • focus on finances
  • set decent rates
  • find multiple pipelines to generate job leads
  • build a professional network
  • follow up and follow through
  • have a long-term strategy
  • update your website and portfolio
  • check your work before sending it out
  • be active in social media
  • promote and market your business professionally
  • take good care of your body
  • surround yourself with supportive, knowledgeable, and nurturing people
  • be there for those who support you
  • be appreciative
  • be accountable
  • be patient and persistent
  • be flexible and open to feedback
  • realize your life is more than your job
  • learn from the things that go well, and from the things that don’t go so well

 

LIVE AND LEARN

That very last point takes us to the fourth step of Robbins’ Ultimate Success Formula: “Notice what’s working or not.”

Like Robbins, I will ask my students: Are you getting closer to your goal, or farther away? Are you taking advantage of the feedback you’re getting? 

It’s okay to make mistakes, but if you don’t learn from them, you’re likely to repeat old patterns. 

If you fail to learn, you learn to fail.

Now, in spite of what some people may tell you, there is no secret code that will open the magical door to unlimited freelance success. Success depends on so many factors, and not all of those factors can be influenced by you. But remember this: 

Life does not reward intentions. It rewards action.

The daily decisions you make or fail to make, will propel your career forward, or move it backward.

So, the next time you’re presented with a serious opportunity, carefully weigh your options, and take a hint from William Shakespeare by asking yourself:

“To do or not to do,

that is the question!”

Paul Strikwerda ©nethervoice

PS Be sweet. Please retweet!

photo credit: Eline via photopin (license)


The Weight Of The World

by Paul Strikwerda in Articles, Career, Journalism & Media, Personal 21 Comments

AtlasParis. Ankara. Istanbul. Brussels.

On some days this beautiful planet is so full of hatred and hardship that I feel guilty writing about such trivial things as “work.”

It sure is fun to blog about freelancing, marketing, and microphone technique, but I have to ask: “To what avail?”

Does it lead to a deeper understanding of the human psyche?

Does it tell us why young, radicalized men stuff their luggage with glass and nails, before they blow themselves and innocent others to bits and pieces?

Does it explain why so many people still believe that violence is the only way forward to further a cause?

As a blogger, shouldn’t I be writing about those issues, instead of talking about home studios, auditions, and online casting companies? 

Whenever I ask myself these questions, I have to remind myself of where I came from.

Before leaving the Netherlands, I worked as one of those stone-faced newscasters informing the world of yet another tragedy. On air, I asked countless experts about the roots of evil, and I grilled politicians about their ideas on how to fix a broken world.

Day after day I reported on endless suffering and strife, and I was part of the sensationalist “if it doesn’t bleed, it doesn’t lead” gang, that determines what is newsworthy and what isn’t. On sunnier days I would be searching for that snippet of positive news we could end our program with, to remind the listeners that not all people are perverts, rapists, or suicidal religious radicals. 

Don’t get me wrong: I loved the excitement and the adrenaline of the newsroom. It gave me a steady income, a certain status, and a sense of purpose. A democracy can only function when people are able to make smart decisions based on hard facts, and I was in the business of providing those facts. My radio station also gave me a unique opportunity to hold the feet of the famous to the fire.

Yet, one day, it all fell apart when I noticed myself caring less and less about the horror stories I was covering. In the beginning I would blame my lack of response on the need to “stay professional,” meaning detached from the raw emotions that are part and parcel of every human tragedy. I was supposed to stay as neutral as our network professed to be, and not get emotionally involved. But it came at a price. 

I gradually developed a tendency to disassociate myself from all kinds of feelings. Positive and negative. That invisible screen I was using to shield myself from sadness in the newsroom, had become like a second skin. It protected me, and it numbed me at the same time.

Over time, I came to a frightening realization:

I had lost one of the very few things that separates humans from animals: the ability to empathize.

I’d seen this happen to veteran journalists who were trying to cope with the crazy demands of their job. Some became chain smokers, heavy drinkers, and lifelong cynics. Others filed for divorce. It was not a road I wanted to travel.

One day, after covering yet another disaster, I just knew I had reached my limit. Years of reporting had done nothing to change the world. If anything, the world had gotten worse. All I wanted was to get out of broadcasting, and do something useful with my life. Something exhilarating. Something inspiring. Something uplifting.

When I finally left the poisonous bubble that was the newsroom, it took me a while to adjust to a new reality. A reality that wasn’t nearly as violent as I had thought it would be. Slowly but surely I discovered a world filled with kindness and good people. It was as if someone had opened the dark blinds that had been filtering the light from the windows for such a long time.

I came to realize that the news I had covered for all those years focused on the exceptions; on the grotesque and the extraordinary. The thousands of planes that land safely every day will never be on CNN. It’s the plane that crashes that ends up making headlines. And if you add all those headlines up, it’s easy to get the impression that this world is rotten to the core. But it’s a deliberate distortion of reality, contrived to kick up the ratings. 

Reality is so much better and less sensational than the networks want you to believe. For most of us it is reassuringly unspectacular and ordinary. It revolves around friends, family…. and work. Ultimately, there’s nothing wrong with wanting to blog about work, even when evil forces are trying to fill this world with fear.

The question remains: how do we respond to those who want to scare us by causing panic, pain, and suffering?

How do we deal with the fact that -to quote Harold Kushner- bad stuff happens to good people?

All of us have to come to terms with this in our own time and in our own way. Life and death are mysterious teachers.

Let me leave you with what I think.

The only way we can learn to live with darkness, is to focus on the light, and to become a reflection of that light.

Whether we realize it or not, all of us were born with the ability to shine. 

Once we start taking that to heart, perhaps we can begin making this place a better world.

In Paris. In Ankara. In Istanbul. In Brussels.

Everywhere.

Paul Strikwerda ©nethervoice

PS Be sweet. Please retweet.  


The Turning Point

by Paul Strikwerda in Articles, Career, Freelancing, Pay-to-Play, Personal 23 Comments

Newton's CradlePotentially, this could be my shortest blog post ever.

It’s the story of how I got from doing okay, to doing quite alright, professionally speaking. 

Almost every week I get emails from readers, asking me to reveal the big secret to my so-called success. 

Why “so-called success”?

Well, everything is perception, and perception is everything. 

Before I tell you about this secret, you should probably know a bit more about me. 

As a freelancer, I work in a highly competitive and increasingly crowded field: I’m a voice-over. I talk for a living. The other day I recorded an audio tour of a gorgeous area in the North of France. Today I’m pretending to be a medical doctor, telling physicians about the side effects of a new cancer drug. It’s a fun job with many pros and cons. 

As a player in the new gig economy I have a lot of freedom, no benefits, and very little protection. Weeks of underemployment are usually followed by a crazy busy period where I’m scrambling to finish every project I was hired to do on schedule. It’s feast or famine. 

A voice actor’s income can vary tremendously. Some twenty-second commercials bring in thousands of dollars, particularly if you’re an A-list celebrity, which I’m not. An hour of e-Learning or audio book narration may generate a few hundred bucks (before expenses and taxes). Most clients come and go. Very few stick around.

Although my work is not physically demanding, sitting still in a small, dark studio behind a microphone for hours and hours, isn’t exactly healthy. It’s also easy to feel socially isolated because my colleagues are all sitting in small, dark studios in different parts of the world. And I’ll be honest: at times the stress of being out of a job as soon as a project ends, can get to you. Work fluctuates, but bills keep coming. 

Even though I think I’m experienced and highly qualified, most of my days are dominated by the search for new clients, and by auditions. Every audition is a crapshoot. Like most of my colleagues, I try to read between the lines of vague specs and scripts, attempting to second-guess what the invisible client is hoping to hear. And most days I’m wrong, and someone else ends up getting the gig. 

Now, in spite of this sad story, I love what I do for a living, and I don’t think there’s anything else I’d rather do, career-wise. I’m not a good candidate for a 9 to 5 job. I can’t stand bosses who have risen to the level of their incompetence. I’ve had too many of them. I wouldn’t want to waste hours a day being stuck in rush hour traffic, just to make some corporation happy. I rejoice in the fact that I don’t have to go to endless staff meetings or mandated office parties. Been there. Done that. 

My accountant is also pleased because every year I make more money than the year before. There’s still no Lamborghini parked in my driveway, but I can live with that. And every time I book a new job, I realize that there are probably hundreds of hopefuls who are trying to figure out why the client picked that silly Dutch American with the European accent over them. 

I know… It baffles me too!

Taking all of that into account, how did I get from doing okay to doing quite alright?

Do I use a special microphone that turns my vocal folds into the Voice of G-d?

Are eager talent agents fighting to add me to their roster?

Am I friends with the movers and shakers of the voice-over industry?

I have to disappoint you. It has very little to do with all of the above. 

Sure, I use first-rate recording equipment. I have a number of great agents and a nice network of connections. But the thing that has made a real difference in my career is not something you can buy, and it has nothing to do with other people. So, what is it? 

It is a strong belief in the Law of Cause and Effect. The mechanism of action and reaction. Specifically, my preference to rather be at the cause-side of the equation, than at the effect. It boils down to this:

I see myself as the prime instigator of change in my life. Change through choice. 

I choose to be proactive (at cause) instead of reactive (at the effect). It’s the difference between sitting in the driver’s seat, and being a passenger. I like to hold the wheel and set the course. 

People who share this belief are go-getters. They take the initiative. They take responsibility. 

People who prefer to be passengers are usually more passive. They tend to be finger pointers and complainers, who often see themselves as victims. They’ll sue McDonald’s for making them fat, or for serving coffee that’s too hot.

Here’s a question you can ask to determine where someone stands: 

“Do you like to let things happen, or make them happen?”

Of course I know we’re not omnipotent, and that certain things are beyond our grasp and control. My attitude only applies to the things I feel I can actually influence, and the person I can influence the easiest is… me. 

I control what I put in my body, I control the size of my portions, and I decide how much I exercise. I don’t blame the fast food industry for my expanding waistline. To bring it back to my profession: I don’t blame online casting sites when my voice-over career isn’t where I want it to be. Instead I ask myself what I can do to increase my skill level, to promote my services, and to attract more clients. 

Being “at cause” means being accountable for taking or not taking the necessary steps to achieve a specific goal. 

That’s why as a voice-over coach I never guarantee results. I tell my students:

“As your mentor I don’t have magical powers that will result in you booking jobs. I will give you tools, but it is up to you to use those tools effectively and appropriately. You are responsible for your own results.”

On a superficial level my proactive philosophy may seem a no-brainer, but it’s not. It is a lot easier to blame and complain than to take fate into your own hands. 

Being “at cause” means sticking your neck out. Taking risks. Doing the hard work. Making tough decisions. Going against the grain. 

It’s not an easy way out. Quite often, it’s an uneasy way in. 

The moment I decided to take charge of my career and be “at cause,” was a turning point in my life. The effects of that decision have brought me to where I am today. From being a spectator, to being an instigator. From doing okay, to doing quite alright.

And you know what?

You can apply this principle in any area, whether personal or professional. 

Now, if you’re still with me, you have noticed that this wasn’t the shortest blog post ever, and I apologize. 

I guess I could have condensed my message into three words:

Just 

Be

Cause.

Paul Strikwerda ©nethervoice

Be sweet. Please retweet!


Right On The Money

by Paul Strikwerda in Articles, Career, Freelancing, Money Matters 9 Comments

This is the conclusion of a 3-part series on how to price your services as a freelancer. Click here for part 1 and click here for part 2. 

When Max walked into the warm conference room, he saw two files on the table. On one if them he recognized the name of a competitor. The other portfolio had his name on it. He knew instantaneously what he was up against.

Only a few weeks ago, he had lost a contract to this rival because their bid had been 30 percent lower. Had he just made a big mistake by coming out here in the midst of a dangerous winter storm?

“John Jarvis,” said the CEO, as he walked in. “You must be Max. I’m afraid it’s just me today. I live a few blocks from the office and practically no else dared to come out in this terrible weather.”

Jarvis sat down and took a sip of his coffee.

“Max, when I heard that you were on your way, I only had one thought: This guy must either be totally crazy or totally committed. But looking back on how you’ve handled this opportunity so far, you don’t strike me as insane. On the contrary. You hit all the marks of someone we’d like to work with. All of them, but one.

First of all, you clearly know the value of personal connections. Not once did I receive a generic email or an automated answer to a question. It was clear from the start that you were the go-to person that would not work for us but with us.

You made an effort to get to know your client and his problems first, before coming up with a solution. You learned our language and you translated your ideas into terms we could easily understand and relate to.

Third:  you consistently showed us that you could meet all deadlines and manage a project efficiently, even though we were only in the beginning stages. As you know, delays are usually costly. Not once did we have to send you a reminder. In fact, you were the one following up with us!

Now, as you can see, we’ve narrowed our choice down to two offers. Both companies were invited to present their proposals today. Only one showed up. I shouldn’t tell you this, but we’ve had to chase the CEO of the other company down to get his final plans here on time. It was his secretary who sent a response. This morning I found out why.

I’ll be honest with you Max. Your rival made us a very tempting offer that was 35% below your estimate. It was much more in line with current market prices for your type of services. We’re not talking peanuts here, but about a significant amount of money. So, here’s my decision.

Max held his breath. He knew that he had done everything he could to win this contract, but he had been down this road before. There was a lot at stake.

The CEO picked his rival’s folder up from the table; looked at it for a few seconds and threw it in the trash can.

“Congratulations Max. Welcome aboard!”

He went on:

“In this business we don’t really care too much about resumes and infomercials, but we certainly do our homework. I know some of the other people you’ve worked with in the past, and I‘ve seen what you have done for them. Every penny spent on you was a fraction of what came back as a result of your involvement. As they say:

Quality will be remembered long after price is forgotten.

And do you know what impressed me most of all, Max? Not only are you committed and conscientious, you know what you bring to the table and how valuable your services are. At the end of the day, it wasn’t just your competence that sold me Max. It was your confidence.”

His startup coach had been right. Max remembered the day his mentor took out a big black marker and wrote on the flip chart:

A fair price is a price you believe in… plus twenty percent.

“I know you, Max,” his coach said. “As an entrepreneur, your greatest strength is your greatest weakness.”

“And what might that be?” asked Max, puzzled.

“You’re not motivated by money,” answered the coach.

“Let’s face it. You’re creative. You’re an artist. You want to contribute. One of the reasons you’re so good at what you do is the fact that you’re absolutely fascinated by it. It’s a magnificent obsession. You want to be the best you can be in your field. It’s that powerful internal drive that gets you up in the morning.

You don’t do what you do just to pay the bills. You do what you do because it matters and it is meaningful. To you, the ultimate reward is in the result, not in the remuneration.”

“Isn’t that a good thing?” Max wanted to know.

“Well, it’s what made Mark Zuckerberg the youngest billionaire in the history of mankind,” said his coach. “As far as we can tell, he wasn’t motivated by money when he came up with Facebook. Sir Richard Branson didn’t open up his record store to make millions. Steve Jobs co-founded Apple because he wanted to ‘make a dent in the universe’. Jobs once said:

“The only way to do great work is to love what you do. If you haven’t found it yet, keep looking. Don’t settle. As with all matters of the heart, you’ll know when you find it.”

The challenge is to channel that passion and turn it into a profitable product people want to buy.

Now, here’s another basic human need: the need for autonomy. Most people want to be able to direct their own destiny; make their own decisions and create their own future. In one word: they want to be FREE.

The most dissatisfied workers are the ones that are being told what to do. They have uninteresting, low-paying jobs and no hopes of ever escaping the rat race, other than winning the lottery.

In order to gain autonomy, having an interesting, purposeful job is not enough. Being able to contribute to something greater than yourself is nice but not enough. Without money -or with very little of it- we operate in survival mode, focused on taking care of our basic needs. Without money, we’re dependent, we struggle, and we’re stuck.

You might be the most promising painter of your generation, but you need money to buy canvas, brushes and paint. You need money to rent a studio and promote your art. You want to be able to take trainings and hone your skills. The better you become, the more you will require: more expensive canvas, better brushes and the highest quality paint… a bigger studio. Someone’s got to pay for that!

You might think it’s mundane, but one way we express how much we value things, is by putting a price on it. Rumor has it that super model Heidi Klum‘s legs are insured for $2.2 million, but one leg is insured for $200,000 less than the other because of a scar. 

What I’m trying to say is this: money is a means to a beginning. That beginning is called “autonomy.” As long as you lowball whatever it is you’re offering, you’re telling the world that you don’t believe that you’re worth a penny more. That’s not the road to independence. It’s a road to nowhere.

In 2008, Dara Torres became the first woman in history to swim in the Olympics past the age of 40 in her fifth Olympic games. On July 5th of that year, she qualified for the finals in the 50-meter freestyle breaking the American record. In the finals she broke that record for the ninth time, winning a silver medal, only one hundredth of a second behind the German girl who won the gold.

The hours and hours of resistance stretching and time in the pool played a huge part in this phenomenal achievement, but it didn’t win Dara the medal. She won because she believed she could do it

You might not operate this way, Max, but people tend to not value things that don’t cost them much. That alone should be reason enough never to devalue your talent.

If you want your business to grow, you’ve got to start thinking long-term. Today you might be offered a dream deal. But what about tomorrow and the day after tomorrow?

Not only do you need money to cover costs, you need it to invest, to expand, and to contribute. Passionate people have a tendency to be stuck in the now, absorbed in the moment. But even those who have reached the top will tell you that you need to think ahead if you want to stay ahead. If you want to manage your career, you have to learn how to manage your money.

“But what if a client can’t afford me?” asked Max.

“And how would you know they can’t afford you?” countered the coach.

“Well, because they’d tell me!”

“And you always believe what clients tell you?” asked the coach. “Oh please… The two oldest excuses in the book are not enough time and not enough money. Time is something all of us happen to have the same amount of. It’s how we choose to use our time that matters. Not having enough money is a comparative deletion: compared to what?

If you’re stuck in the middle of a snow storm and you absolutely need to be somewhere, are you going to nickel-and-dime the only driver who’s willing to take you to your destination? It boils down to this: what’s it worth to you? Does the added value or benefit outweigh the cost?

The more valuable your product or service and the greater the need for it, the more leverage you’ll have to name your price.

Listen to me Max. Never assume you know how much or how little a client can afford. You don’t. Do your homework instead. Ask questions. Make your offer as relevant as you can… not to you, but in the eyes of your client. Make it irresistible.

Think about all the objections they might throw at you. Be prepared to answer the most difficult question they could ever ask you. It may never come up, but if you have an answer to that question, you know you can handle anything else that comes your way. That’s how you prepare for negotiations!”

“Max, are you okay?” asked John Jarvis.

“For a moment it looked like you were lost in thought.”

“I guess I was processing what just happened,” said Max. “Thank you so much for choosing me. I couldn’t be happier!”

“Well, the feeling is mutual,” said Jarvis. If all of this works out -and I don’t see why it shouldn’t- we’re looking at long-term cooperation. And by the way, call me John.”

Max stood up from his chair.

“Can I ask you something, John?”

“Sure, Max. Shoot.”

“Just out of curiosity… you mentioned that my competitor didn’t hand in his plans on time, and he wasn’t here today. Any idea what happened?”

“I know what happened,” answered Jarvis.

“His secretary told me this morning that his company went under. Apparently, he had a tendency of over-promising and under-delivering. His work looked great on paper, but in reality, he couldn’t meet minimum quality standards. Because of his aggressive pricing, the money that was coming in wasn’t enough to keep the company afloat.”

Jarvis put on his winter coat and said:

“But let’s not worry about that, shall we? Let’s just say that Karma is alive and well in this country. More importantly, we need to get you home safely. I can’t afford to lose you at this stage of the game. We’re barely out of the gates. Let me call our driver. He’ll take you to a hotel near the airport. This storm is not going to last forever.”

“That won’t be necessary,” said Max. “There should be someone waiting for me outside.”

“You mean that black SUV in the parking lot?” asked Jarvis.

“Yep, that’s my driver,” replied Max. “His name is Anatoly but his friends call him Stoly.”

“That’s not your driver, Max,” said Jarvis.

“What do you mean?” asked Max.

Jarvis smiled as he opened the door. He shook Max’s hand and said:

“Don’t give that man any tips. I paid him a fortune. Stoly works for me!”

Paul Strikwerda ©nethervoice

PS Be sweet. Please retweet!


Taken For A Ride

by Paul Strikwerda in Articles, Freelancing, Money Matters 3 Comments

Stock tradersThis is the second part of a story about how to price your services as a freelancer.

Click here for part one.

The black SUV was slowly making its way through the worst winter storm on record.

“Anatoly, at your service,” said the driver as he reached out to shake Max’s hand. “But my friends call me Stoly. You know… like the vodka.”

“Pleased to meet you, Anatoly,” said Max. “Thanks for taking me to my presentation in this blizzard. I really appreciated it. One question, though: are you sure this is legal? I mean, don’t you need some sort of permit to drive people around like this?”

“What do you mean, permit?” replied Stoly. He sounded a bit agitated. “This is the Land of the Free and the Home of the Brave. Right now, I’m the only one brave enough to take you to your presentation in this snow storm. Do I need a permit? Give me a break! My parents didn’t leave the Red Square in order to deal with more red tape. All those rules and regulations are in place just so some pencil pusher can stick his nose into my business.”

Max had clearly hit a nerve. Anatoly went on with his rant:

“If there’s one thing responsible for the American Dream, it is the free market. We have a government for the people, by the people. I think it’s time for big government to start trusting those people to make the right decisions and not interfere in our lives. The entrepreneur is the backbone of the American economy. If we’d need a permit for every single thing we wanted to do, we’d never get anything done.”

Max remembered discussing the concept of a free market with his startup coach. The man was a genius. He could explain complicated concepts in simple terms. 

“Before we come to any conclusions,” said his mentor, “we really should identify what kind of market we are talking about, and what we mean by free. It’s so easy to speak in generalizations and pretend we understand one another. When we do, we usually don’t.

First of all, there is no such thing as a single market. Rather, it is made up of a great number of small markets, serving different segments of our economy.

Secondly, people talk about these markets all the time, as if they were solid, static entities we could take home and put on a shelf. In reality, these so-called markets are more like our health. They are the fluid result of many factors and influences, and they adapt and change constantly. They’re like living organisms. We are all part of those organisms, sometimes as buyers, and sometimes as sellers.

The cumulative result of millions of individual decisions is what makes these many markets move. Even one small decision has the potential to impact the whole. 

Now, some of these markets have become so complicated that humans alone can’t handle them anymore. Take the stock exchange. Most of today’s trading is no longer handled by shouting overachievers in weird blazers, but by computers. Does that make Wall street freer, or more dependent on whiz kids, software, and algorithms?”

Max said he had no idea.

“Let me ask you another question, Max.

Do you remember what happened on May 62010 at 2:45 PM?”

Max shook his head.

“I’ll tell you!

The United States stock market crashed when the Dow Jones Industrial Average plunged about 900 points in the biggest one-day point decline in history. It was called the Flash Crash, and the Securities and Exchange Commission (SEC) blamed it on a computer algorithm used by a trader to determine how to execute a trade.

Within 13 minutes, some $40 stocks were selling for a penny a share, until a market circuit-breaker paused trading. Regulators later undid those bizarre trades, calling them ‘erroneous.’

On June 10th, 2010, the SEC approved rules that require the exchanges to pause trading in certain individual stocks if the price moves 10 percent or more in a five-minute period.

Let me ask you, Max: is that still a free and independent market, or are we talking about intervention in order to prevent shares from becoming worthless, courtesy of a computer glitch?”

Once again, Max was silent, as his mentor went on.

“Now, think about what fuels our economy: crude oil. An important benchmark for crude oil prices is a weighted average of prices for petroleum blends produced by the OPEC countries. OPEC constantly tries to influence that price by increasing and decreasing production. We all know what happened in 1973 when oil ministers agreed to an embargo.

Again I ask you: is this the famous free market people are always touting, or are prices kept at an artificial level and used as weapons in an effort to influence political decisions and certain economies? Think about what’s happening right now. 

Led by Saudi Arabia, OPEC decided in 2014 to wage a price war with low-cost producers in the U.S. and elsewhere in a bid to defend market share. Since oil prices began collapsing, oil companies have sacked hundreds of thousands of workers, and slashed investment budgets.

But there are other factors that influence how much or how little we pay at the pump.

The yearly maintenance of refineries influences gas prices. A blast caused by a few individuals at a pipeline in Nigeria can cause the price of petrol to explode at your local gas station. We might long for energy independence all we want, but for now we’re as interdependent as never before.

I guess what I am trying to say is this: because we’re so connected, markets are never completely free. Contrary to what some republican presidential candidates want us to believe, we’re not living on an island.”

“I understand all of that,” said Max. “But when people talk about the free market, don’t they typically refer to a market free from government intervention?”

“Here’s my take on government intervention, Max:

Too much of it is called dictatorship, and not enough of it leads to anarchy. You pick.”

He continued:

“I can’t tell you how many times the argument it’s a free market has been used to defend or excuse the most appalling working conditions and low wages on this planet. Just because humans were born with free will and have the power to exploit one another, doesn’t mean they should. Sometimes the administration has to step in to prevent the greedy from taking advantage of the needy. Is that big government overstepping its boundaries, or a matter of society upholding basic human rights?

One could argue that the institution of federal minimum wage is a form of intervention in the labor market. It started when government tried to control the explosion of sweat shops in manufacturing industries. The sweatshop owners were thought to have unfair bargaining power over their workers, and a minimum wage was proposed as a means to make them pay fairly.

Some might say that sweatshops are a thing of the past. Well, on a different but related note, tell me: What’s one of America’s favorite non-alcoholic beverages?”

“It must be coffee,” answered Max.

“Correct,” said his coach. “A few years ago, Starbucks finally started selling Fair Trade coffee, and for a good reason. We don’t always realize that agriculture workers in the coffee industry often toil in what has been described as ‘sweatshops in the fields.’ Many small coffee farmers in Africa and South America receive prices for their coffee that are less than the costs of production, forcing them into poverty and debt. To become Fair Trade certified, an importer must pay a minimum price per pound, allowing farmers and their families to make a living wage.

Laissez-faire economists might frown upon fair trade, but here’s the underlying question: whom is the market supposed to serve? Is this market some amoral, illusive, impersonal entity that cannot be influenced, or could the players in that market actually have an effect on how decent business is conducted?

Are people to serve the market (at any rate and at any cost), or do we want to have a market that serves the people? Should we intervene in that market by setting certain levels that are considered to be fair, humane, and reasonable, or should we leave the market alone?

Our economy is still recovering from the subprime mortgage crisis that was -in part- the result of an unregulated, greed-driven market that left so many homeless. Just because people were able to get a mortgage with no money down, doesn’t mean they should have.

Cars used to have no seat belts and smoking was allowed everywhere. Then the government stepped in to prevent intelligent people from doing stupid things. Yes it’s intervention, but for a good reason. 

My belief is that the ideal market -if we can even speak of such a thing- should serve the people. If a market leads to desperation exploitation, it becomes an issue of ethics, and adjustments should be made.

I realize that I’m painting a picture with broad strokes, Max, and you’re free to disagree. So, why don’t we bring this discussion back to rates? After all, that was what we were talking about. Here’s my question:

Would you rather be paid a fair rate, or a market price?”

*          *          *          *           *

As Stoly skillfully maneuvered his car through the snow storm, Max noticed something disturbing. In some boroughs the streets were much more accessible than in others. How could that be?

Suddenly, bright headlights appeared out of nowhere, and they moved straight toward their SUV.

“What the heck is that?” screamed Stoly as he quickly turned the wheel.

“That, my friend, is government intervention,” said Max, as a huge snow plow drove right past them. “Why aren’t they out in full force in every neighborhood?”

“It’s been a long winter,” replied Stoly. “Some municipalities started running out of funds, especially those that paid the drivers by the hour. They found out that if they paid the snow crews per amount of snow removed, a lot more got done in less time. The folks that got paid per hour took their time. It’s human nature. Plus, some of the lowest bidders turned out to have the worst equipment, and it took them forever to get the streets plowed. You get what you pay for.”

“When I was young, the whole neighborhood came together to clear the streets and sidewalks,” said Max. “It was actually fun, and we got to know one another. Senior citizens and others who were too weak to plow didn’t have to worry about a thing.”

“How about now?” Stoly asked.

“I’m afraid it’s every man for himself,” said Max. “People clear their own little bit of sidewalk and make sure others don’t park in their spot. There’s an eighty-year old woman on our block who can hardly leave her house, let alone clear her walkway. One day, two teenagers knocked on her door, offering to take care of the snow for her.

She was so happy that these young gentlemen were ready to do a good deed. That was before they told her that it would cost her ten bucks. She said to me that she could barely afford her medication, let alone ten dollars every time there was snow on the ground. But hey, it’s a free market!

Meanwhile, her next door neighbor has one of those gas snow blowers. He was clearing his own sidewalk when she asked him if he’d be willing to lend a hand. He said that he’d get to it, once he had taken his wife to the nail salon. Then he forgot all about his neighbor’s sidewalk, so I took care of it.”

Stoly’s SUV slowly made its way through town, until it stopped in front of an office building.

“This should be it,” said Max as he gathered his stuff. “Will you wait for me? I do need to get back to the airport.”

“If you insist,” said Stoly.

“Great,” said Max. “Would it be okay if I pay you on the way back?”

“What do you think?” asked Stoly with a big grin on his face. “You pay me now, my friend . This is the US of A…

There are no free rides.”

Paul Strikwerda ©nethervoice 

PS Next week I’ll bring you the final installment. Click here for part 3.


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