Double Dutch

It all started with a short article on his company blog entitled:

“A Quick Guide To Selecting The Right Voice Talent”.

The author, Chris Johnson, is co-Founder of Simplifilm, a young company specializing in “Hollywood-style Explanation videos”. They’ll have to make a video to explain what that means, but Simplifilm says it uses animation and storytelling to demo software applications.

This does not come cheap. Back in July, the company was running a “Grand Opening Sale” offering “3 minutes of broadcast quality demo movie work for $20,000. That’s 40% off the going rate.” You do the math.

Before he became a filmmaker, Chris was Finance Director at Robert Owens for Ohio Attorney General 2008, and he worked as a loan specialist at First Ohio Home Finance.

Thanks to his financial background, Chris seems to know the value of a voiceover, and he’s not basing it on anecdotal evidence. This is how he starts his blog:

“Did you know that the right voice can make a 35% difference in conversion rate? We replaced a voice track in a video – and made no other changes, and the conversion rate went from 2.5% to 3.8% on cold traffic. (Cold traffic is people that are mostly strangers that are coming in via search engines and social media).”

I’m not sure how “2.5% to 3.8% on cold traffic” leads to a “35% percent difference,” but Johnson is definitely on to something.

VOICEOVER CONVERSION
This is not the first time a video company noticed a correlation between the choice of voice and website conversion.

The conversion rate is the percentage of website visitors taking a desired action. It often refers to the number of shoppers turning into buyers. Depending on the size of a company, even a small increase in conversion could mean a significant rise in profits.

San Diego-based Fireclick monitors conversion rates. If you want to get a better idea of industry averages, the Fireclick index will provide some insight.

For software, it averages about 2% per year, with a cart abandonment rate of 75%. That means that three quarters of online software shoppers never become buyers! Could selecting the right voice really change that?

In 2009, Ginger software asked video optimization firm EyeView to develop an introductory video for their homepage to increase the number of visitors that would actually download their software.

EyeView ran a test: 50% of the global audience saw the video with a British voice-over, and 50% saw it with an American voice. Globally, the British voice-over was 4% more effective. For US audiences, the conversion rate for the British accent was 5.5% higher than the American one.

Eyeview:

“The Brits didn’t have it all their own way. In India, the American accent was 12% more effective at converting visitors. But the most surprising statistic of all came when we looked at the comparative performance of the two accents in the UK.

For audiences watching the video in the UK, the voiceover with the American accent was 8% more effective at making visitors download Ginger’s software than the British accent, representing a significant swing away from the global trend.”

Simplifilm’s Chris Johnson confirms:

“The right voice is key to converting video watchers into new customers. When you get the right voice, it breathes life into your video productions, and you should take the time it takes to select and respect your voice talent.”

Please remember that, next time you’re tempted to low-ball yet another voiceover project!

With voice talent having such a tremendous impact on conversion, how much does Simplifilm pay per production? Bear in mind that they charge about $33,000 for a 3-minute video. Johnson:

“Generally, productions are around a couple hundred dollars. We’re not going to lord over them or dangle money like some jerk, we want to do business, be respectful and move on.”

FINDING THE PERFECT PIPES
Now, wouldn’t it be interesting to know where Chris finds the right voices? According to his article, two talents work for him on a regular basis and he tells his readers:

“If -for some reason – you need to find someone outside of your network (…) you can start with Voice123.”

Voice Coach and talent Mark Avery read the blog and responded:

“Unfortunately, many producers and end-users of voice talent have gone to the “discount superstore” mentality of hiring voices for their projects, and the results often show themselves in low conversion rates.”

Of course I had to put my two cents in. Thinking back to my interview with Bodalgo’s Armin Hierstetter, I wrote:

“Chris, most online voice casting services will accept anyone with a credit card, talent not required. It’s not unusual for voice-seekers to receive over 100 auditions for a simple project. Imagine how long it will take you to listen to all these mediocre submissions…”

These turned out to be prophetic words. That same week, Chris joined the Voice Over Professionals group on LinkedIn, and this is how he introduced himself:

“Howdy, guys, I’m new to the group. I’m a production company doing software stories. We’re looking for a stable of 4-6 males and 4-6 females for future work.”

OPEN THE FLOODGATES
You can imagine what happened next. I’ll let Chris tell the story:

“So, when I asked for submissions here – and other places – they started trickling in. Then the floodgates opened.

Last count was 400+ and I have seen no slowdown… both here, from another couple of sources.
I’m surprised because I (hopefully) didn’t represent myself as being too “giant.” I caused 400+ auditions for what will amount to $5,000 or so in fees annually – at most.

Now, how do I read through ‘em all? I put everyone in a spreadsheet, but what’s next? How do I sort people out? I need say 8 voices. If I take 5 minutes per x 500 voices, that’s 2500 minutes.

Or 42 hours JUST listening to voices. I’m not doing that.”

At this point I started to jump for joy, thanking Simplifilm’s founder for the perfect example. This is exactly why most Pay to Plays will eventually implode. Do you get my drift?

Some of my clients have worked with voice casting sites for a while, and they’re starting to realize how expensive “going cheap” can be. Think about it!

How long does it take to find a quality needle in a huge haystack made of scrap metal?

Let’s look at the numbers.

Of course it’s unusual to get 500 auditions for one job, so why not assume that Chris Johnson has to weed through (only!) 100 demos. If he spends 5 minutes on each talent (as he just wrote), this will still take him eight and a half hours!

Imagine being in Chris’s shoes. Should he hire someone to do the dirty work for him and weed through hours and hours of audio? That person needs to be paid too.

If Chris is lucky, his hired help might find the perfect voice among the first 20 contenders. However, my clients concur with Armin Hierstetter that the overall level of entries is usually way below the mark. They’re forced to listen to a deluge of demos before they finally spot the right voice at the right price. What an expensive way to find cheap talent!

Critics might say that I am exaggerating the situation just to make a point. Voice seekers don’t listen to that many demos. Or do they?

In their Client Experience Report Winter 2011, Voices.com states:

“(…) it often surprises talent that the majority of clients review all their auditions. I say majority as that includes those who reviewed “all of the auditions” (45%) plus those who reviewed “50-100 auditions” (8%).”

A while ago I noticed that so many voices.com projects were still listed as open after many, many months. Could one of the reasons be that the client simply gave up after listening to 30 mediocre auditions?

Fortunately, there is an easy solution.

Some of my clients find it much more cost-effective and less time-consuming to hand their project to an agent and let him or her select four or five voices that can all deliver the goods. Clients might end up paying union rates and agent fees, but in the end they’re saving time, trouble and money.

Bye-bye Pay to Play, and thanks for the memories!

THE BABBLE BUBBLE
Online casting services have grown exponentially in the past five years. Fast growing companies often fall victim to their own success. Quality and customer service are compromised and sacrificed in favor of rapid expansion as they’re chasing after the big bucks.

It is no secret that more and more (pseudo)voice actors are joining Pay to Plays. That means that more dogs are fighting over the same bare bones. The chances of landing a decent job at a decent rate decline rapidly.

Here’s my prediction. At some point in the near future, there is no point in joining such a service anymore. It’s not worth it.

Saturation leads to annihilation. Bubbles burst. Cheaply made balloons will pop first.

What’s left is just hot air.

Try fitting that in a 3-minute video demo!

Chris Johnson, here’s a word to the wise:

If you need new talent, call an agent.

Don’t ask for any names of agencies, though.

You might get a list of … about 500!

Paul Strikwerda ©2011
www.nethervoice.com

Technorati Tags: Armin Hierstetter, Bodalgo, Chris Johnson, conversion rate, Double Dutch, Double Dutch Blog, Dutch voice actor, explanation videos, EyeView, Fireclick, Fireclick index, Ginger Software, LinkedIn, Mark Avery, Nethervoice, Paul Strikwerda, Pay to Plays, Pay-to-Play, Simplifilm, voice over professionals, voice-over, voice123.com, voiceover, voiceover agent, voices.com, voices.com client experience report

“I’m being offered $200 to record a 120-thousand word audio book. Do you think that’s a fair rate?”

“A client wants me to voice a movie trailer for $150. Should I do it?”

Not a day goes by without someone asking these types of questions on Facebook, LinkedIn and now on Google+ (the latest way to go around in circles).

Sometimes I stick my neck out and I respond to these questions; especially when I get sentimental and remember the early days of my career.

I was young and unafraid and incredibly ignorant. Back then there was no Internet. Picking brains became my specialty.

On other days I’m not so sappy, as I remember the kind words of my business coach:

“If you’re a Pro, you know what you’re worth. If you’re not, go do you your own homework! You won’t learn a thing if I hand you everything on a silver platter.”

He was right.

These days, getting info has never been easier. Search Google for voiceover rates. You’ll get about 1,370,000 results in 0.15 seconds. How’s that for starters?

MONEY TALKS
Bringing up rates usually spells trouble. Talent likes them to go up; clients love paying less. Where to begin?

The Freemarketeers will tell you to leave everything up to the unregulated forces of supply and demand. After all, it worked well for subprime mortgages, didn’t it? The Interventionists fear a free fall for all. They want rates to be regulated.

Unfortunately, it’s not that black-and-white. Voice-Over rates reflect many variables, and -unless you belong to a union or you have an agent- it can be tough to put a price on your pipes.

Enter a parade of Pay to Plays. You pay for the privilege of being offered the opportunity to audition and bid for projects (together with thousands of other privileged colleagues). Here’s the catch.

As a member, you often have to subject yourself to an agreed price range per project deemed reasonable by that site. Whether or not you choose to accept that range depends on your personal Price Floor.

A Price Floor is a point below which a product or service should not be sold, or else you’d incur a loss. I bet you anything that most people reading these words right now, have no clue what their price floor actually is.

Be honest. Do you?

A EUROPEAN PERSPECTIVE
If you’ve visited my blog before, you know that I have written about U.S.-based voice casting sites and their perceived influence on dwindling voice-over rates.

On January 8th, 2008, a new player entered the market: Bodalgo. Based in Germany, Bodalgo is the brain child of a man who once had a very boring job as the deputy editor of Penthouse: Armin Hierstetter.

Armin’s no dummy.

He studied the existing P2P’s carefully, as he set out to take the good and improve the bad to create something beautiful. Unlike similar sites, Bodalgo is available in German, Spanish, Italian and English (American and British).

Now, if you think that you can buy your way into Bodalgo, you are wrong. No matter the credit limit on your Visa Card, if you sound like crap, you can’t join the club.

Bodalgo caters to clients from all over the world, but because it’s based in Bavaria, it’s a gateway to the European voice-over market. This brings me back to rates. How does Bodalgo compare to its American counterparts?

I (PS) decided to check in with the boss: Armin Hierstetter (AH). Here’s a transcript of the interview:

PS I just saw a project posted on your site in the 100-250 USD range. It made me think: Is Bodalgo going in the direction of its American counterparts, or did I miss something? Has $100 always been the minimum?

AH In USD the minimum range starts at 100 dollars (the Euro has a 50 to 150 minimum range as – for example – a local radio spot in Germany is usually 50 to 55 Euro).

If jobs are posted that are budgeted too low (intentionally or not), Bodalgo contacts the voice-seeker suggesting what we believe is a fair rate. Sometimes the voice-seeker sees our point and is willing to raise the budget, sometimes not. If the voice-seeker does not agree on increasing the budget, the job simply does not get posted. Period.

Of course, we hear many times:

“What? You want me to pay 250 USD for a job that is done in five minutes? You must be insane, you [censored]“

Well, depending on my mood, I sometimes try to explain why voiceovers cost what they cost (knowing that with these types of folks it really does not help at all in most cases), or I simply press the delete button and go on with whatever I am doing.

PS Bodalgo’s been in business for a few years now. What’s your overall take on how voice-over rates are established and where they are going?

AH There are many factors when it comes to rates. Here are few of them (this is by no means meant to be a complete list):

Your voice:

1. Experience
2. Skills
3. Uniqueness (most important if you ask me)

Your studio:

1. Equipment
2. Recording skills

Other factors:

1. Currencies
2. Inflation

I see a link between equipment becoming more powerful yet more affordable, and declining voice-over rates. Let me share three trends with you:

1. The costs for your own studio are coming down, so you can make this beneficial for your clients as well;

2. Because many talents build their own studios, there is much more competition which also leads to lower prices. That’s how the market works.

PS Sorry to interrupt, but clients are saving money due to the increase in home studios. No longer do they need to pay for studio time, an audio engineer/editor and a director.

It is my impression that these savings are simply pocketed and not passed on to the voice talent. In the end, we end up doing more for less. Shouldn’t this give us some leverage to raise our rates?

AH I fully understand that voice-seekers already save a lot of money because they’re used to getting the finished audio from the talent without paying for a studio.

I want to be honest with you. I really think that’s one of the biggest mistakes talents have made for a very long time: They did not charge properly for the studio work, only for the rate as a talent. It will be VERY difficult to change this to an approach where talent charges their normal rate plus editing costs;

3. More and more people of the type “My friends all tell me I should host a radio show,” buy a Shure SM58 microphone and think that their laptop recording is god’s gift to the audio world. Untrained amateurs seem to flood the market.

What’s worse, there are many voice-seekers out there that listen to crap demos thinking they are actually good, because they don’t have a proper recording at hand to compare.

But one thing is for sure: Bodalgo will never start to accept amateurs. Yes, there are a few talents with Bodalgo that have just slipped through the net that might not have passed if I had been pickier the day I activated their accounts. Still, the level of Bodalgo’s talent is much, much, much higher than with any other Pay2Play site that we’ve come across.

PS What’s your advice on how to best play the game? Everybody loves to win an audition, but not at any rate. Do you expect voice-over rates to go up any time soon?

AH If you ask me, the reasons why rates should go up are purely to be seen in costs of living. If those prices would be stable, I’d say it’s fair to assume that our rates would stay stable as well.

With financial markets facing the issues they face at the moment, including all the effects like higher inflation, increased costs for energy, food, rent etcetera, I think that we’ll see rates rising over the next years to cover the rising living expenses.

PS Inflation correction keeps rates at the same level. Talent won’t be making more just because the number on a check is higher. If we wish to increase the amount of money coming in, we need to compensate for the rise in the cost of living, and add e.g. 10% to whatever we’re charging.

AH Well, U.S.-based talent benefits from the weak dollar when paid in Euros by Euro-Zone clients. The opposite is true for Euro-Zone-Talent paid in USD. U.S. clients will not accept higher USD prices just because of exchange rates. It’s really just bad luck for us Euro-Talents. And – if you ask me – the U.S.-Dollar will become much weaker over the next months and years (but that’s a different topic).

So, to cut a long story short: Yes, I see higher rates over the next years. But this is only because everything else will go up in price as well.

PS So, how can we best prepare for the tough years that are ahead of us?

AH 1. If you have not done so already, invest in your own studio.

2. Buy the good stuff (like Neumann or Brauner for mics, for example) as it will serve you well many, many years. Personally, I would no longer waste money on analog equipment. I would solely buy digital stuff (like the TLM 103 D from Neumann).

PS Quality equipment is essential, but owning a state of the art camera does not make one a top-notch photographer.

AH I do appreciate that a cool mic does not make a great voice talent, but this is not where I am coming from at all. I am just a firm believer that successful talent simply needs both: A well-trained voice and great equipment to deliver high-quality audio. There are too many Samsung USB mics out there in my opinion.

I know, of course, that those top shelf brands are pricey. But when you look at what you (and your client) get for the money – it turns out to be an excellent investment.

3. LEARN HOW TO RECORD PROPERLY!!! It’s really, really, really (I mean it) horrible to hear how bad, bad, bad many of the auditions are recorded (hiss, bad miking, bad levelling, bad everything). Use proper headphones to proof-listen your recordings and be super critical about the work you deliver. [Armin insisted this should be printed in bold]

PS Can Bodalgo keep both voice-seekers and voice talent equally happy, or is that impossible?

AH That’s easy: Our main goal is to attract more and more voice-seekers that post sanely budgeted jobs. We want to provide them with the easiest solution available to find high-quality talent without paying any commission. That way, both sides will win.

PS Herzlichen Dank, Armin.

You can reach Armin at armin@bodalgo.com. He is planning to do regular screen casts/vlogs in German and in English, and pass on his take on topics relevant to voice talent.

Paul Strikwerda © 2011
www.nethervoice.com

Technorati Tags: Armin Hierstetter, Bodalgo, Brauner microphones, Double Dutch Blog, Dutch voice talent, Euro-zone, inflation correction, minimum voiceover rates, Nethervoice, Neumann, Neumann TLM 103D, Paul Strikwerda, Pay-to-Play, price floor, Shure, Shure SM 58, subprime mortgage, TLM 103 D, voice casting, voice casting site, voice-over, voice-over audition, voice-over rates, voiceover, voiceover rates

It’s time to tackle one of the most frustrating issues in the voice-over business.

It’s particularly frustrating because in all the years that I have been a VO-pro, I have seen little or no change. Voice-seekers are just not getting it and voice talents are putting up with it like meek sheep.

Before I tell you what the issue is, imagine for a moment, being lead into a pitch dark room. In this room -so you are told- you will find a dart board, but it could be anywhere.

You are given no more than one dart and one instruction: you must hit the bull’s eye. If you don’t, you won’t be given a second chance and all your time and energy is wasted. Questions are out of the question. You are on your own.

Let me ask you this:

How great do you think your chances are to hit that bull’s eye?

Pretty slim, don’t you think?

And yet, day in day out, hundreds of people audition for voiceover jobs of which they have just as little information as someone playing darts in the dark. It’s a risky undertaking. Someone might get hurt. But no one seems to care.

OUR BEST SHOT
How are we expected to give it our best shot if we have little or no clue where the target is and what it looks like? Without a clear destination and a detailed map, it’s almost inevitable to get lost.

And by the way, do you know who the worst offenders are? The people looking for international voices!

Take your typical voice-over job listing. With a little bit of luck it will tell you what it’s for: a video, eLearning, a commercial. If you’re even luckier, it will ask for a specific gender and age range. Now comes the tricky part: language.

For the sake of the argument I will focus on English, but what I have to say also applies to Spanish, Arabic and many other languages.

What goes through your mind when you see that a voice-seeker only lists “English”?

Could they be looking for a talent from Calcutta or for a voice-over from down-under? Should I send an English demo with a touch of Dutch, or would they prefer her Majesty’s English?

And here’s the latest trend: “Neutral English.”

What the heck is “Neutral English”? Where is it spoken? Is there a Rosetta Stone training I could take?

ASK MR. BODALGO
I asked Armin Hierstetter to weigh in on the issue. He’s the boss at Bodalgo, an online voice-over casting site. He’s actually a funny man… for a German, that is. He said jokingly:

“Neutral English” is spoken in “Neutristan,”

and he continued:

“Seriously: Many times clients do not care from where exactly the English is coming from (US, UK, South Africa, Australia). Still, they want a native speaker who – in an ideal world – makes it difficult to judge where exactly she/he is coming from. That’s what a client means by Neutral English.

A casting labeled “Neutral English” will go out to all matching talents that have one of the following as one of their mother tongues: American English, British English, Australian English, South African English etcetera.”

Although I understand what Armin is trying to say, I still don’t get it. To me, it sounds like a contradiction in terms to -on one hand- ask for a native speaker, but to request that one shouldn’t be able to tell exactly where he/she is coming from.

First off, an accent is nothing but a way of pronouncing a language. Accent specialist Pamela Vanderway defines it as: ‘Characteristic Pronunciation‘. It is therefore impossible to speak without an accent. No one is neutral.

Secondly, from a marketing and branding perspective, why would someone want ‘neutral’? Neutral is like cooking without salt and spices; it’s like painting without colors or the equivalent of annoying Muzak in the elevator. Neutral is boring.

THE MESSAGE AND THE MESSENGER
An accent can have a huge impact on how a message is perceived. The choice of voice can be just as important as a company logo or the look of an on-camera actor. It can dramatically increase sales and improve conversion rates. That’s why car companies hire A-list actors such as Jeff Bridges and Robert Downey Jr. to do their voice-overs.

It’s not up to me to teach advertisers or communication managers how to do their job, but to have no voice or accent preference seems to be counter-intuitive.

Third, by opening an audition up to ALL English speakers, the voice-seekers are creating more work for themselves. Theoretically, they are opening the door to auditions from Mumbai, Sidney, Houston, Johannesburg, Amsterdam, Glasgow, Dublin etcetera. Is that really what they want?

Wouldn’t it be much easier and more efficient to specifically describe the voice type, the accent and the read they need? It’s like giving voice actors a map to reach their destination. Why not switch on the light? Otherwise, we’ll end up taking shots in the dark, hoping for the best.

So, here’s the 64 thousand dollar question:

How do you approach an audition for a Neutral English speaker?

In the ideal world, you’d talk to your client and find out what they really want. That’s business 101. Never assume. Always ask. Here are a few “double-nots”:

• Don’t assume that they don’t want an American accent if the commercial is released in the UK;
• Don’t assume that you should not use your British accent if the video is for the U.S. market. Most Americans love British accents. Some even think it makes you sound smarter;
• Don’t assume that making assumptions is going to lead to anything.

If you’re in a position to have a real conversation with your client (what a concept!), ask what it is that they’ll be listening for. Get specifics.

Sometimes clients will tell you: “I really like the voice of Ricky Gervais or John Cleese or David Attenborough. Could you try to get close to that?”

Unfortunately, online voice casting sites explicitly forbid you to contact a voice-seeker directly. So, here are three audition strategies that might just work for you if you’re not sure which way to go with neutral English:

1. MORE = MORE: Record multiple versions of the script using different accents and send it as one file. Give yourself a second chance to make a first impression!

2. ALL OR NOTHING: Make a bold choice, rather than focusing on neutralizing your accent. Make your demo absolutely unforgettable. Clients don’t always know what they want until they hear it. That’s how I shop for clothes. I have no idea what I’m looking for until I see exactly what I want.

3. BLEND IN: Create your own version of ‘neutral’ by blending various accents in your merry voice-over mixer. Rather than giving your clients tulips, you hand them a bouquet of different flowers. I sometimes call my particular accent “Northern European English”.

I can already hear some of you saying: “That’s great advice but does it really work?”

Of course it works, and most of the time it doesn’t.

I once auditioned for a job that -surprise, surprise- came with very detailed instructions. In other words: I knew exactly what to aim for, and my always brutally honest agent said I’d “nailed neutral”.

However, in spite of my intergalactic talent, the client didn’t pick me. A month later I actually heard the commercial I had auditioned for and my jaw dropped to the floor.

The voice they had chosen didn’t sound like the voice they had asked for at all. It couldn’t be more different. The colleague that was chosen for this very lucrative ad had tried the ALL OR NOTHING approach and ended up a winner.

Life is unfair.

Then I remembered the wise words of Internet Voice Coach David Rosenthal. He said:

“It’s not about rejection. It’s all about selection.”

That’s typical David. He always knows how to make me feel better about not feeling very good.

Here’s the thing: sometimes ‘neutral’ leads to nothing. So, take a risk. Get out of your comfort zone. Do something that is embarrassingly silly. Who cares? It’s between you and your mic.

Robin Williams, Eddie Murphy and Mike Meyers make millions doing voice-overs. Would they be where they are today, had they gone for ‘neutral’? I don’t even think they could pull that off. I wouldn’t pay ten bucks to hear them be boring and bland. That’s like going to a fancy bar and ordering tap water. It defeats the purpose.

So, if you happen to hire voices, I have a message for you:

We can read your script but we can’t read your mind.

Please be clear about what you want. Otherwise you’ll end up listening to 100 plus auditions that miss the mark and you have not only wasted your time, but the time of all those hard-working hopefuls that poured their hearts and souls into that audition.

If you’re a voice talent, do yourself a favor. Even if the script calls for ‘neutral,’ add some pizzazz to your demo. Kick it up a notch. Use some garlic and red pepper. Sprinkle it with emotion. Layer it with devotion. Record a few versions and send them all into the universe.

If it comes back to you, it’s yours.

If it doesn’t…

… respond to it as neutrally as you can.

Paul Strikwerda ©2011
www.nethervoice.com

PS Click here for more on so-called “Neutral English Accents”

PPS this story first appeared on Internet Voice Coach, the best online academy for those who use their voice professionally

Technorati Tags: Armin Hierstetter, Bodalgo, darts in the dark, David Attenborough, David Rosenthal, Eddie Murphy, Internet Voice Coach, Jeff Bridges, John Cleese, Mike Myers, Nethervoice, Neutral English, Neutral English accent, Pamela Vanderway, Paul Strikwerda, Ricky Gervais, Robert Downey Jr., Robin Williams, Rosetta Stone, voice-over, voiceover, voiceovers

No, I’m not going to tell you what it is just yet. Let me begin by asking you a simple question: Do words have power? When you think of it, aren’t they just letters in a certain order? Or are there words in our language that are so potent, that they have the potential to transform our life and our livelihood?

Now, before you think that I’ve gone all philosophical again instead of practical, just  STOP for a moment and think about it…

In the past few days I’ve asked some of my friends about words they feel have had (and still have) a profound impact on their professional lives. Here are some of the words they came up with:

As for me, the one word that has been my guiding light in the past 25 years as a freelancer, is neither grand nor deep. Yet, I believe it to be one of the most powerful words in our vocabulary. Without it, my career certainly wouldn’t be where it is today. It consists of two letters.

It is the word NO.

NO is the ultimate reflection of where I draw the line in life; the line between what I am willing to accept and what I must reject. Right now I can honestly say that I owe most of my success as an independent contractor to this word. It’s quite simple:

In order to give yourself a leg up, you sometimes have to put your foot down.

Today I am offering you seven suggestions for shaping your freelance career by using the power of what William Ury calls a “Positive No”.

1. SAY NO TO MOST FREELANCE JOBS
In this recession it seems that many freelancers function in survival mode and operate out of fear. They jump on every job opportunity that presents itself, because “you never know what tomorrow will bring”. They’re like a batsman who’s hitting at everything the pitcher’s throwing at him.

Although you might consider yourself to be a versatile voice-over pro, web designer or copywriter, even the famous Swiss Army knife has its limitations. It is humanly impossible to be everything to everyone. Like a batsman, you have to wait for the perfect moment where preparation meets opportunity, to hit that ball out of the park.

KNOW when to say NO. It’s early in the day as I am writing this article, but I’ve already said NO to at least fifteen jobs that didn’t meet my criteria. Why waste time applying for work I’m not totally qualified for?

I could get really ticked off by colleagues who subscribe to the “more is more strategy,” telling me: “It’s a numbers game. The more I try, the more chances I have to land a job.” Even though it might look that way sometimes, it is not a lottery. It is a business.

And why am I not ticked off? Well, we all have our life lessons to learn, and some people just prefer to learn things the hard way. And because they can’t…

2. SAY NO TO DIY
If you’re running your own business, it’s probably safe to say that you’re wearing many hats: CEO, CFO, COO, Head of HR, Advertising, Acquisition, Marketing, PR, IT, R & D, Quality Control, Social Media Manipulation… Are you tired yet? And guess who’s delivering the goods?

Just because you’re self-employed, doesn’t mean that you must do everything yourself. You shouldn’t, because you’ll burn out before you’ve even lit up the place.

KNOW your strengths. A realtor decided to shoot his own real estate video tours to save some money. As he was taking his shaky camera through a million dollar property, I could hear him do his own narration. The result was cheap, unprofessional and embarrassing. When he read my paper on video tours and voice-overs, he decided that he was not going to be the new host of House Hunters. Thank goodness for that!

So, here’s your assignment of the day. Ask yourself: What is the number one thing in my business that:

1. Is an essential part of my job
2. I’m not good at
3. I hate to do
4. Takes up way too much time

Now ask yourself two questions:

- How much more productive would I be, if I would outsource this to an expert?
- How much more profitable would I be, if I would outsource this work, especially if I…

3. SAY NO TO LOW RATES
In a society where most of us still equate value and quality with price, low rates are the trademark of an amateur. This strategy might bring you a few short term gains, but you’ll end up a long-term loser.

If you need nine more reasons why you shouldn’t sell yourself short, read my article: The secret to landing any freelance job.

KNOW the value of your work and the effect of your pricing on your bottom line and on your market. Then take the next step and…

4. SAY NO TO LOW STANDARDS
The Greek philosopher Mediocrates gave us the Law of Averages:

“Average standards lead to average results”

Look around you. Despite all the self-help hoopla that is sold as the “psychology of excellence,” the best most can hope for is mediocrity. Otherwise, “average” wouldn’t be the most common denominator and Walmart would have no customers.

KNOW that as an independent contractor you have the privilege of not having to live by other people’s rules. Look at your role models. Did they achieve success by following other people’s standards, or by setting their own? Become a non-conformist. Be utterly un-average and totally inimitable. Be younique and…

5. SAY NO TO BLAME
The Law of Causality deals with the relationship between an event and the consequence of that event. This interplay of Cause and Effect is reflected in our language as in: “My business isn’t doing so well because….”

We all know people who aren’t where they want to be in life, and they’re absolutely convinced that it is someone else’s fault. If only all the other people on this planet would change, they’d be so much happier! Those are the folks who blame the fast food industry for the obesity crisis and the tobacco industry for turning them into helpless, brainwashed chain smokers.

Blame makes people lame and seemingly dependent on things they have little or no control over. Mind you, I am not denying the devastating role some external circumstances can play in someone’s life. Neither am I trying to guilt-trip people for having been dealt some terrible cards.

I am talking about people who –rather than take responsibility for the things they have control over, expect others to fix them for them. Those are the people who’d rather complain about something than do something about it.

KNOW the difference between making things happen and letting things happen. It’s fine to subscribe to an on-line job search service. However, if you adopt a wait-and-see approach and blame the website when you’re not landing gigs within a week, you’re giving them way too much credit and you have effectively disempowered yourself.

I firmly believe that we’re not helpless leaves in the wind. I believe that we can harness the power of the wind and adjust our sails by the virtue of the choices we make. One of those choices we can make is to…

6. SAY NO TO UNCONTROLLED SPENDING
Why did the New York Times write that “one of the world’s most successful photographers essentially pawned every snap of the shutter she had made or will make until her loans are paid off”?

The Times cited as one of the reasons, that Annie Leibovitz has had a “long history of less than careful financial dealings“.

In the ideal world, you always have a pipeline full of projects. In reality, work can come in waves. When you finally hit that freelance jackpot and you’re starting to make some serious money, nothing is more tempting than to go on a spending spree. After all, you deserve it, don’t you?

Yes, you totally deserve to reap the rewards of your labor, today, tomorrow…. and in a few months when that big project is done and the money is no more. It’s not fun to be brilliant but broke.

KNOW that when it rains it probably pours, and when it doesn’t, you must set money aside for… a rainy day. Your bills don’t care whether or not you were lucky to get a nice chunk of cash in June. There’s always July, August and -dare I mention it- the day you hope to retire.

The book “The Millionaire Next Door” is not about big spenders. It is about people like you and me who live well below their means. Those folks are likely to…

7. SAY NO TO TAKING INSTEAD OF GIVING
“What’s in it for me? I want it for free!” seems to be the mantra of the new millennium. This narrow focus on personal gain, often at the expense of others and our planet, is an egotistical and eco-destructive philosophy.

Yet, some self-styled entrepreneurs have made the following three words the cornerstone of their business: Gimme, gimme, gimme.

With the rise of social media, this new group of predators is all about ‘getting’ instead of ‘giving’. They want to befriend you in order to milk your network, so they can slam your contacts with overt or covert product- and self-promotion.

These vampires seldom contribute to a discussion, and when they do, it’s mainly to get their contact information in the comment field. They ask for referrals. They don’t give referrals. They want a sample of your work… and run away with it.

KNOW that the way to grow a freelance business is to become a contributor; by giving back. Over the years, countless people have given me their time and expertise free of charge, just because they wanted to help.

PAY IT FORWARD
The best way to honor the gifts they have given me, is by passing them on to someone else. That’s one of the reasons why I started this blog, and that’s why you might find me answering someone else’s questions on a networking site.

When you start paying it forward, amazing things will happen. Do you have time for three examples?

* A few months ago, Shelley Cryan, a brilliant freelance photographer and real estate videographer, asked for recommendations for a voice-over microphone on an on-line forum. I happened to read her request and gave her some suggestions. A few weeks later, Shelley asked me if I’d be interested in narrating one of her virtual home tours. I just completed my third narration for her.

* Earlier this year, master narrator John Pruden wrote an excellent article for VoiceoverXtra. After I had left a comment, John got in touch with me and we exchanged a few emails. Recently, he told me about an audio book project that might be a good fit because I’m a multi-linguist. He recommended me to the client and to cut a long story short: after an audition they offered me the job.

* In April, David Rosenthal -the enthusiastic driving force behind Internet Voice Coach- wrote me an email in which he told me how much he enjoyed my blog. Not so long ago he asked me if I would like to join his team of contributors at Internet Voice Coach as the “expert on all things international”. I couldn’t be happier!

Over the weekend, my IVC “department” opened its doors and it now features exclusive interviews with Bodalgo’s Armin Hierstetter and Arabic blogger/voice-over Mahmoud Taji (who recently published a free e-book called “The Modern Voiceoverist’s Guide to the Online Universe & Other Stories”).

I’m not telling you these things to impress you. I’m sharing these examples to impress upon you that wonderful and unexpected things can happen as a result of being attentive to opportunities to help and contribute.

TEST
One last thing. Should you choose to adopt these seven suggestions and become a no-sayer, expect to be tested! We live in a culture of YES and instant gratification. People don’t want to hear the word no. They’d rather cut off their no’s to spite their face. When they’re putting pressure on you to cave in, remember this:

The best students usually get the most challenging tests!

So, stick to the program and keep on saying “yes” to NO.

Paul Strikwerda © 2010
www.nethervoice.com

PS What are some of the things you have said NO to as a freelancer, and how has that worked out for you?

PPS What’s the number one question colleagues keep on asking me, and how do I answer it? Find out here!

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“It’s the best thing I ever did”

“A total waste of money”

Are you new to voice-overs? When you ask fellow vo-pros what they think of voice-over casting websites, you better be ready for a heated debate! Especially when you’re getting started in the business, you’re probably trying to figure out how to spend your money wisely.

Are these sites an easy ticket to success, or a waste of time, energy and cash? Here’s my take on it.

EXPECTATIONS
1. People tend to get disappointed because of unrealistic expectations and not necessarily because “the sites don’t work”. However -as we have seen with Facebook- dissatisfied members can join forces and demand certain changes. We all know that some voice-over sites are more open to feedback than others. Ultimately, sites that don’t listen to what their members are asking for, will pay the price.

LEADS
2. Never fully rely on vo-websites for leads. These voice search engines should just be one tool in an overall marketing and lead-generating strategy. Nothing less, but certainly nothing more.

Personally, I make sure to have various streams of income. That’s why I spend part of my time as a Dutch/German translator, and part of my time recording voice-overs. Sometimes I combine both when reading copy I just translated!

RESOURCE
3. For me, the value of these vo-sites is not only determined by the number of jobs they generate. Voices-com, for example, offers an amazing wealth of information, from podcasts to blogs to rate info. It helps beginners to hone their craft, and it gives established talents the opportunity to generously share what they have learned.

Here’s the good news: you don’t need to be a full-paying member to benefit from this cornucopia of resources.

These voice-over superstores also give us a chance to scope out the competition. In a world that’s getting smaller and smaller, it’s good to know what colleagues are up to.

There’s so much great talent out there, and it’s not getting any easier to carve out a niche. Being able to listen to what others do, has given me a better sense of how to position myself in this overcrowded market.

MONEY
4. Much of this discussion about these sites has been focused on the cost of membership. Especially in this economy, is it really a worthwhile investment? One of the questions we should also ask ourselves is this: how much money and time could we potentially save by joining these sites?

If you’re like me, you probably didn’t get into this business because you’re a marketing genius. How much hard-earned cash would we have to spend individually, to get even close to reaching the client base these sites tap into each and every day? Most of us would rather spend time in front of a microphone, than drumming up new business.

In part thanks to these sites, we can focus on what we do best! Let them make the connections, do the legwork and promote our skills. And at the end of the day, they can even make sure we get paid. What’s that worth to you?

QUESTIONS
5. Now, don’t think for a moment that I believe these sites are perfect. Far from it. I worry about “artificial intelligence” matching voices to certain projects, excluding others.

I’m very concerned about the bidding war by talents who are played off against one another, deflating our rates from within. And I’m skeptical about sending in a demo when I see that 100 other hopefuls have just done the same thing.

But at the end of the day, it all comes back to the person who stares at me when I look into the mirror. Instead of blaming outside factors for my success or lack thereof, I ask myself what I can do to stand out from the crowd.

Here’s the thing: that’s something no site can or will ever be able to give you!

Paul Strikwerda © 2009

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