“I will give you my personal prediction on what will implode first: Blogs containing information that serves no one but the writer, and his/her inner circle without fact-checking.” Steven Lowell
The dust has finally settled.
Give it a few months, and last week’s discussion will rise out of the ashes and begin a new life somewhere else.
Same topic. Different voices, perhaps.
Steven’s remark about self-serving blogs and bloggers did make me think about my vision for Double Dutch. Believe it or not: I have one, and you can find it on the About & Contact page that no one ever reads. I know, because my analytics tell me exactly which pages attract most traffic. Here are the opening words:
DOUBLE DUTCH is a platform and playground for ideas, dialogue and discourse about things personal and professional related but not limited to voice-overs and freelancing.
That covers pretty much everything, doesn’t it? Now, let me also tell you what it is not.
This blog is not some grand podium built to glorify my personal accomplishments or to sell Mr. Strikwerda’s amazing pipes. Why would anyone want to read about that? Not me!
If you’re interested in the technical side of voiceovers, you have to look elsewhere too. Although I’m fascinated with the tools of the trade, I am not a gearhead or audio specialist. I don’t receive free products from companies, take them out of the box, dangle them in front of a camera and post it as a “review”.
It’s true, I did write a series about building my voice-over booth on a budget, but I did not seek or receive any compensation for mentioning products, manufacturers or stores.
This blog is not a source of fair and unbiased industry news either.
In essence, Double Dutch is nothing but a blog revolving around one man and his ideas and experiences, and a bunch of friends who like to chime in, every once in a while. If you’re looking for objective, investigative journalism, you’ve come to the wrong place.
Just like a lot of other stuff you’ll read online or in the papers, my articles are usually a mix of subjective opinion based on personal selection and interpretation of data. If you’d like to fact-check my sources, all you need to do is click on a few links, embedded in the articles.
Nobody has to agree with anything I write. My readers are intelligent enough to understand that it would be foolish to generalize my personal stories and turn them into an overall verdict on the issue at hand.
I don’t consider myself to be an authority or expert. My opinion is one of many, and one quick look at Bob Souer’s blog roll will tell you that I’m certainly not the only blogger in this voiceover town. Of course I’m tickled to see that some people seem to care about what I have to say, but that’s as far as it goes.
I strive to inform, I attempt to entertain and yes… I also like to rock the boat every once in a while. As a voiceover professional, it is my job to be outspoken. I don’t feel comfortable standing on the sidelines.
Unlike Steven Lowell, I am not a paid spokesperson for a company. I don’t pretend to proclaim and promote an objective, universal truth. This is my personal platform and I can be as passionate and opinionated as I want. I represent no one but myself.
So, why do I take a day out of every week to write this blog?
The short answer: Because I feel like it.
The moment it becomes just another chore, I will stop and take up billiards or Bingo.
Here’s another reason: I love to write and I think I have something to say that -at times- is moderately insightful and interesting. At least, that’s what my readers keep on telling me.
As you may know, most of my stories start out as simple Notes to Self. The series about building a voice-over studio is a perfect example.
It took me many months before I was ready to start building my own studio. During that time, I had compiled a wealth of information and I thought it might be useful to share it with you. Now it’s available as a booklet and most of the proceeds go to a very good cause. Sharing is important to me.
Over the years, I have benefited so much from the kindness, knowledge and insights of friends and colleagues. I wouldn’t be where I am today, had it not been for their advice and encouragement. In a way, I am repaying my debt to them by publishing this blog.
Thanks to Double Dutch, I’ve also made countless new friends from all corners of this planet. Many of them won’t publicly comment on my articles, but each and every week they email me with questions and observations.
As far as the future goes, I’m branching out. Most of you already know that I write on all things international for Internet Voice Coach. I also conduct interviews with colleagues across the globe.
Recently, I started recording three-minute vignettes for the International Freelancers Academy on building your business. There’s also a book on the way.
I’m not telling you this to impress you. Frankly, my dear, I don’t give a damn if you think this is impressive or not. The fact is, I love my work and I love writing about it.
As long as I still have music in me, I will continue to sing my songs.
And if people think it’s just a bunch of blah-blah, they’ll find other blogs to read, and Double Dutch will eventually implode.
After much use, even the sharpest knives get dull.
Can a voice-over pro ever take time off?
Do you have to be available 24/7?
Is it okay to shut down your business for a few weeks of R & R?
Will your facebook fans unfriend you?
Will your Twitter followers desert you?
Will your voice-overworked agent ever talk to you again?
Let me answer these questions with a question:
What won’t happen if you don’t do it?
BALANCING ACT
I am a big believer in a balanced lifestyle. As a European living in the States (the number 1 “no vacation nation“), I see a lot of people around me who are absolutely addicted to their jobs. Modern technology has made it easier than ever to stay connected and become a burned-out, boss-pleasing slave laborer.
Excuse me. Have we forgotten our history?
On January 31st, 1865, The U.S. House of Representatives passed the 13th Amendment to the Constitution, abolishing slavery in the United States. It read:
“Neither slavery nor involuntary servitude… shall exist within the United States, or any place subject to their jurisdiction.”
I guess the keyword is involuntary servitude.
We are free people, living in a free country who earned the right to free themselves of any free time. Instead, we have chosen “voluntary servitude”.
Now, that’s what I call progress in a society built upon the principles of “Life, liberty, and the pursuit of happiness!”
But let’s put the cynicism and sarcasm aside for a moment. If you’re pursuing happiness as a full-time freelancer, you are in charge of your own destiny. You set your own hours. You determine your own rates. You’re the only one who can call it a day and shout from the roof tops:
Give me a break!
You’re self-employed. You embody your service. Literally. If you don’t take care of yourself, no one else will. If you don’t guard your boundaries carefully, good people with the best of intentions will step on them and leave you depleted.
TRAPPED & TIRED
A few weeks ago, I was asked to do a presentation in front of hundreds of people. Prior to that, there was a reception and -of course- you can’t have a reception without background music. It’s a known fact that most musicians aren’t capable of staying in the background. No matter the crowd, they have to be LOUD.
I knew that if I were to schmooze prior to my presentation, I would have no voice left, even though my vocal cords are well trained.
As they say: “If you schmooze, you lose.”
Besides, the next day I was going to New York for a recording session and my voice had to be in top-shape in order to sell well.
So, I was left with a choice. Either slip something into the drinks of the band that would have them running to the restroom in a matter of minutes… or hide myself from the crowd until it was time to go on stage.
The first option was obviously more entertaining, but I ended up hiding in the basement. Unfortunately, an overzealous janitor came down, turned off the lights and kicked the door shut, leaving me trapped.
This is where cell phones can save the day. I called the organizer of the event:
“Hi, it’s Paul.”
“Paul, where are you? We’ve been looking all over for you!”
“I am trapped in the basement. It is dark in here. Rats are nibbling on my feet. Please rescue me!”
That day, instead of being a voice-over, I became a voice-under.
I think you get my point.
In order to give your all, you sometimes have to get away from it all. But avoid being locked up.
GO AWAY
Now, in an ideal world you would just pack your bags and go where no one can reach you. But what to do when you’re waiting for that all-important callback or that once-in-a-lifetime chance to audition for something you can’t afford to refuse?
In that case, you need to take some gear on the road and improvise. Rather than spending a few hours going over all the options, I suggest you read Harlan Hogan and Jeffrey Fischer’s classic Voice Actor’s Guide to Recording at Home and on the Road. It’s jampacked with practical information and I highly recommend it to anyone remotely interested in a voice-over career.
Here’s what I take along on my travels:
a laptop
a microphone
a CEntrance MicPort Pro
earplug-sized headphones
A MicPort Pro is a nifty mini audio interface/preamplifier that plugs directly into your microphone. On the other side there’s a USB cable that plugs into your computer. In other words: this device can turn any microphone into a USB mic. It has phantom power, a headphone jack and two knobs for setting the record level and the headphone volume.
So… after all that subtle product placement, let’s get back to the original question: Can you take off for a period of time without ruining your career?
Here’s an experiment you should do at home:
Fill up your watering can to the brim and start watering your plants. Keep on watering and watering and watering… until there’s no more water left.
I don’t have to tell you that -in order for those plants to grow- you need to water them regularly. An empty watering can is useless. The moral of the story:
You can’t give what you don’t have.
Now, why is that so easy to understand when it comes to our plants, and why are we surprised that “We the People,” are so stressed, so drained and left without an ounce of creativity?
Take my advice and get lost! Recharge your batteries. Discover that you have significant others in your life who’d love to get to know you. It can’t be all work and no play… Your job is just a means to an end.
TAKING TIME OFF
Be sure to let your voice casting sites and agents know that you’ll be gone for a particular period of time. If you must, bring your gear, but promise yourself that you will only do what is absolutely essential. Otherwise, you’ll get sucked into obsessive email checking, incessant instant messaging and frantic Facebooking.
Only use your cell phone when you’re stuck in a basement and someone’s thrown away the key.
When you come back from your well-deserved vacation, notice how refreshed, alert and full of energy you are.
People can see it in your face. They hear it in your voice.
PS This article first appeared in the international section of Internet Voice Coach, a voice-coaching community dedicated to people finding and refining their voice.
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.
Spice it up
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.
I have a confession to make. Since June of this year, I’ve been leading a double life. Only a select group of readers has been aware of my secret activities. Today, I decided it was time to reveal my hidden identity and share what you have been missing all these months. So, what’s the deal?
In May, Internet Voice Coach (IVC) founder David Rosenthal asked me to join his team as a regular contributor on ‘all things international’. Since then, I have been publishing an article about the industry every other week, as well as interviews with movers and shakers in different parts of the world.
Because IVC is a subscription site ($99 for a year), I wanted to give non-members a better idea of the kind of things you will find on Internet Voice Coach, such as my interview with actress Claire Dodin. Enjoy!
The French Connection…
When Claire Dodin was about seven years old, her mother built a theater in the attic of their apartment. Claire and her sister started putting on plays for her friends. Claire: “It was such a happy time, and I decided I’d just have to play for the rest of my life!”
Fast-forward a few years, and you’ll find that Claire is as much at home in front of a camera as she is behind a mic. Born and raised in France, this actress, model, singer and voice-over talent moved to the UK before she made Los Angeles her home.
Bi-lingual, multi-talented and exceptionally professional, Claire has done well for herself. Her story is one of dedication, discipline and of following your dreams.
PS Let’s pretend that I’m a client and your agent had 30 seconds to describe Claire Dodin to me. How would your agent “sell” you?
CD I guess he would say that I’m versatile; I can handle pretty much anything, and can do several character voices including children’s voices. He’d probably tell you that I’ve voiced several jobs for Disney and the X-Box 360, and that I usually don’t need a lot of takes to please the clients. That’s why everyone wants to work with me again.
PS Percentagewise, how much of your career is taken up by voice-over work?
CD In the acting business things are always changing and moving. There can be months when all I do is voice-overs, and months when I’m shooting film after film and I don’t have much time for voice-overs. This always makes me sad because I have to pass on really fun jobs. There simply isn’t enough time to do everything. I have to turn down so much work, mainly due to lack of availability.
I would say that on average, voice-overs represent about 70% of my income and maybe 30% of my time. It always makes me laugh that it costs more to get only my voice, than to have me on camera!
Having said that, it can happen that a week goes by and there’s nothing; not one job offer. Then I start thinking that it’s all over and that I will never work again! It’s the nature of being self-employed. Nothing is ever set in stone. No one is ever entirely safe. You’re fashionable one week; the week after you’re not.
That’s why it’s so important that we value ourselves and feel an inner sense of security, and not let our job define who we are. Otherwise it becomes impossible to handle the stress. Luckily, a job always seems to come along when I need it.
PS Speaking of voice-over projects, what are you most proud of and why?
CD There are quite a few jobs I’m very proud of like the French-speaking FisherPrice cuddly bear who says things like “I love you, hug me…”. Just thinking about it makes me smile. It’s the cutest thing ever! Or being on the Statue of Liberty tour in New York and being in the gardens of Versailles in Paris. I just love that my voice is over there! Next I want to be at the Taj Mahal!
But the job I’m the most proud of right now is my Zombiepodcast in which I’m a series regular. It’s called “We’re Alive” and I play Riley. The scripts are fabulous and the production quality amazing. It’s an honor to be part of it.
We have reached over 600,000 downloads with the first season! We’ve won the Gold Ogle Award 2010, the Communicator Award 2010 and we were a finalist for the Parsec Award 2010. The episode submitted for these, is one that is centered around my character, which makes me even happier! The second season has begun, and it’s free to listen to, so catch up with the episodes now!
PS Let’s talk about accent. Some people believe that -in order to make it as a foreign actor in another country- you need to get rid of your accent. Others believe your accent is what sets you apart. Where do you stand?
CD Well, I am not able to put on a convincing British or American accent, so I don’t even try. I believe clients would go for native speakers anyway, so it really doesn’t matter. When I get hired for an English job, they want my accent, because it sets me apart from everyone else. Sometimes they want a stronger French accent, which I can tone up or down. Sometimes, they just want a very clear English accent with a hint of French.
Accents are great, as long as the diction is excellent and people can understand it. That’s where many foreign voices fail: they are not clear enough. I only started booking work in English regularly, after years of working at speaking more clearly. It’s not as easy as it sounds.
PS Does another accent come naturally to you, or do you have to work with a coach to get it right?
CD I do work with a coach for accent reduction when a part requires it, but it is never for voice acting, always for on-camera. In the voice-over world, if they want a British voice, they’ll hire a British voice. Nowadays, it’s so easy to get a native speaker.
Accents do not come naturally to me. It’s very difficult if you were not immersed in foreign sounds as a child. In France, all TV programs and most films are dubbed. I pretty much never heard English sounds before moving to England. It’s different in other countries like Sweden or The Netherlands. That’s why the Swedes and the Dutch are usually much better at accents than French people.
PS Do Europeans have an advantage over Americans when it comes to foreign languages and accents?
CD Being European in America is certainly an advantage because there are fewer of us, and Americans love European accents. If you are an American in America, there are hundreds of other people who sound exactly like you, so it’s harder.
This is where personality is incredibly important, because in reality, there is only one of each of us. And we hear so much that we need to sound like this or this… In truth, what will make you book the job is YOU; your quirkiness, your own little things that most people are trying to get rid of. Keep them (but use the correct techniques)!
Being French in a foreign country has absolutely made my career. I was working as an on-camera actress in the UK, and people found me because they needed a French voice and couldn’t get one.
That’s how I landed my first jobs. Then I thought that maybe I should get an agent, so I sent samples of the jobs I had done. I didn’t have a demo at the time, and pretty much all the agents wanted to sign me and I started booking national jobs straight away. I think I recorded my first demo a couple of years later. I was very lucky. To this day, jobs still come to me. I don’t have to work very hard at getting them. I am in a very fortunate position. There isn’t much competition.
PS You have lived and worked in the UK and now you’re in LA. These days, we’re all connected via the Internet. Does location matter anymore?
CD Unfortunately, location still matters a lot. I’m hoping that clients will get used to ISDN, but today, most major clients want to meet up with the voices at the studio. This means that by moving to LA, I’ve lost most of the work I was getting in London. When I go back there for a week, suddenly I’ve got bookings every day in London studios. They haven’t forgotten me, but they want me there in person.
It’s the same in France, I know several people who would hire me regularly, but they want me in the studio in Paris. I imagine that it is the same for Los Angeles and New York.
Of course there are many jobs we can do remotely, but they rarely are high end. I once did a six months national radio campaign for the UK, and the client was happy to do it via ISDN for each recording. This was an exception, and I think it was because it was for radio. In the UK, most radio ads are recorded via ISDN. But for TV, you have to be in the room with them. I did record the Versailles job at my LA studio though, so sometimes it can happen if they really want you.
PS How do you get work, these days?
CD The reality of the business is that most voice-over talents audition every day. I’m in a very different position. The vast majority of the work I do, comes from direct offers via my agents, or directly from existing clients or new clients through referral/reputation.
It may sound strange to American voice talents, but I did not audition for any of the national commercials I did, video games, TV documentaries, high profile jobs… That’s the way they do it in Europe: we get hired based on our demo or based on a recommendation from our agent or producers/sound engineers. I did however audition for the Fisher Price toys I voiced, but they paid me for the audition and then hired me. I also auditioned for the Versailles job, but they had specifically asked for me.
I think that the system works differently in America. Even established talents have to audition. That being said, I have many American clients that don’t ask me to audition either. I’m glad it works this way because I usually don’t have time to audition. When happen to I have spare time, I will record some open auditions, but this rarely leads to work (funny, no?). That’s the problem with open auditions: they don’t want You; they want A voice, and usually the cheapest one.
PS Do clients, agents, producers and directors have different expectations based on where they’re located? Do you approach an audition differently based on the country and culture?
CD Actually, everyone wants the best product at the best price as fast as possible pretty much everywhere. What may be different is the style of the voice-overs. For example, I find that promos and documentaries on US TV tend to have a “sensational” factor. In the UK they tend to be more casual/matter of fact. In France there’s also a distinctive sound for news or documentaries. The voice talent simply needs to adapt to the style of the country, but also to the medium and the client. Each job is different, which is part of the fun. For an audition, I try to find out as much as I can about the client and the target audience. That way, I can make a best guess as to what style is appropriate for the script.
PS This is a highly competitive business. Apart from talent and experience, what do you think is absolutely essential, in order to have an international voice-over career?
CDObviously, to have an international voice career it is essential to speak English, so you can communicate with clients anywhere (pretty much everyone will speak some English). Apart from that, you just need the same qualities that will make you a successful national talent, as well as a good marketing plan so people abroad know who you are.
The internet is an excellent medium, but it’s not essential. I know voice talents who have booked major international campaigns through their local agent. By local, I mean: one of the top agents in one of the top cities. It still seems difficult to book high profile work without one of these agents, and you can usually only sign with one of them if you live in one of the major cities. That would be Los Angeles or New York for America; London for the UK and Paris for France.
Of course there are rare exceptions. There are a few very successful voice talents who do not live in the major cities, but they used to live there at one point. They moved away, and kept their agents and clients thanks to an ISDN-line. I only know of one person who has always lived far away and who is hugely successful.
This will hopefully change in the future, as home studios are becoming as good as studios in the big cities. I think it will still take a while before major clients accept not meeting a voice talent in person. This is why Don LaFontaine had a limo, so he could quickly go from studio to studio to record several jobs a day. It would have been so much easier to have him in one studio and the other studios would connect via ISDN, but it didn’t work that way and he had to drive from place to place.
I wish things were different, but nowadays, the best jobs are still recorded in major studios in major cities.
PS What’s most overlooked by up and coming international talent?
CD Something that foreign voices often overlook is to have an English version of their website. I was once looking for an Italian voice, and all I could find were websites in Italian, which I don’t speak. Had they had an English version, I would have contacted them. But I couldn’t work out if they had a home studio etcetera.
Also, they should indicate their location on the website. I was looking to book voices to come to a London studio, and I didn’t know where they lived. I nearly booked a voice once; I was ready to pay for a ticket to Paris, when he told me he lived in a small town in France and it wasn’t possible to get to where he needed to be, fast enough.
Another voice that I thought was in London, turned out to have moved to Paris. So, keep the info on your website up to date. Location is a big one, not just for outside studio bookings, but so we know your time zone in case we want an ISDN booking or we need you for a rush job.
PS What do you tell people who think that voice-over work is easy money, and that basically anyone with a good voice could do this?
CD Ah, ah! It’s a tough question, I could probably write a book about it! Voice-over acting is an art and the voice is the tool. You might have a fabulous canvas, great paints and a brush, but how easy is it to paint something that will sell for a few hundreds or thousands of dollars and be exhibited in a museum? Hmmm… But if you work hard, learn skills and have talent, maybe you’ll make a living as a painter. Same thing for voice-overs. And a few gifted ones will make it to the top.
PS What technology can you not live without, and how has it helped you book clients?
CD The only technology I really need, is my computer for my emails and my phone so I can take bookings. That’s all. But, with my home studio I can record more jobs and make a better living. Some voice talents earn a lot more than I do, and don’t have one, so it’s not essential. However, other voice talents only work from home.
PS You work for clients on different continents in different time zones. On one hand you need to be accessible but on the other hand you can’t be available 24/7. How do you handle that?
CD Ah, ah! Another tough one! I don’t handle it; it’s a bit of a problem. I get called in the middle of the night (when I forget to switch the phone off), I wake up at 5am for an ISDN session and I sometimes record till midnight! I need to be better at saying “no” to clients and regulate my hours. But I’m weak when people are nice and need a favor. I try to schedule ISDN sessions with Europe starting at 8am, LA time. That’s the end of the day for them. It usually works.
PS How much did you map out your career? Did you follow a strict plan or is it more spontaneous, “go with the flow”?
CDAt first I just went with the flow: voice-overs came to me not once, not twice but many times. This is when I realized that I should pursue it. Somehow, people knew I had a gift for it, even before I knew it. Then I started buying equipment to record from home. When my agent asked me to, I upgraded my equipment. When clients asked me to, I got the ISDN. I guess I always go with the flow. I don’t force things, they just happen when they need to, but I’ve got my ears open and I’m listening to the signs that tell me in which direction I need to go to.
That said, when I do something, I don’t do it halfheartedly. When I made the decision to work from my home studio, I practiced a lot to learn how to use the equipment. I listened to other voices and took advice from many people. I took classes etcetera. It took me a long time before I was able to make a quality recording.
When I upgraded to ISDN, I asked an engineer to come and install it for me, and install my sound booth so the sound would be good enough. I also bought a Neumann microphone. What’s the point of connecting to another studio if your own sound isn’t as good?
So basically, every time the decision to go to the next step was made following the flow, but once the decision was made it was thought out and I followed a careful plan.
Being disciplined is absolutely essential if you work from home. It’s too easy to do something else if you don’t have a boss checking up on you, making sure that you are putting the hours in. You have to do it for yourself and be very organized. For me, one of the hardest things is to keep track of the jobs recorded, the invoices sent, the invoices paid/unpaid etc… I find the admin part the hardest.
When I get really busy, I forget to reply to emails that aren’t essential, like companies asking me to fill out forms and send demos for future jobs. Sometimes I struggle to find the time to send invoices. That’s not a good thing. Staying on top of the paperwork is not easy. I’m dreaming of the day I’ll be able to employ an assistant to do these things for me!
PS What’s the best advice anyone has ever given you in this business, and how has it helped you?
CD The best advice I was ever given, as far as performance is concerned, was:
“It’s not about you. It’s about the person you are talking to”.
This changed everything. I stopped watching and listening to myself. I stopped getting nervous and I became so much better.
The best business advice I was ever given, was to set up a website. I had no idea how important it was, until I did it, and it boosted my career immensely.
PS Many thanks Claire, and bonne chance!
TASTE TEST
As I said in the intro, this is just one of the many interviews, videos and articles you’ll find on Internet Voice Coach. IVC is not just a site for beginning or experienced voice actors. If you’re using your voice for a living and you want to learn how to use it effectively, you should check it out.
You’ll find a line-up of voice talent, producers, agents, casting directors and other industry experts, sharing their insights with humor and enthusiasm. Members receive personalized feedback and audio sample evaluations. And -last but not least- if you’ve been enjoying this Double Dutch blog, you’ll find much more of me on IVC!
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:
Faith
Fear
Confidence
Creativity
Luck
Love
Play
Passion
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:
Is an essential part of my job
I’m not good at
I hate to do
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.
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.
Daniel Stern is known for his roles in films like “Hannah and her Sisters,” “City Slickers” and the first two “Home Alone” films. He’s also the narrator for the “The Wonder Years” and the voice of Dilbert in the animated TV series.
One day, Daniel got a script for a voice-over audition, and his mouth practically dropped to the floor when he read the specs:
“Must sound like Daniel Stern”
He’s thinking: “Piece of cake. This one’s in the bag!”
So, Stern goes to his booth; records a demo; sends it in…
…and doesn’t get the part!
Has that ever happened to you? Probably not, because your name is not Daniel Stern. However, we’re all too familiar with the story of that brilliant audition we did, that disappeared into nothingness and left us wondering:
“What just happened? I knew I nailed it. Why didn’t I get the part? Was it something I said?”
OVERCOMING REJECTION
There are two ways of dealing with this sad smack in the face:
1. Tell yourself: “Those ignorant producers don’t know talent even when it’s staring them in the face. By not selecting me, they have proven themselves unworthy of my God-given artistic gifts to this world. It’s their loss; not mine. Now, if you will excuse me, I’m late for my pedicure.”
or you could
2. Ask yourself: “What did I miss? Was there anything I could have done or should have done, to turn this audition from ‘good’ into ‘great’?”
Let’s be honest. All of us get stuck in a rut from time to time. Without prior warning, we lose our “magic touch,” our “MoVo”. That Money Voice that used to sell so well ain’t doin’ it no more. Does that mean your career is over? Of course not. It just means that it’s time to take a step back and get a second opinion.
You see, most of us aren’t as good as Baron von Munchausen, who reportedly pulled himself up from the swamp by his own hair. Sometimes, we need someone who’s not going to tell us what we want to hear, but what we need to hear.
We need a Dr. Phil who listens to people playing the same old tapes inside of their heads over and over again, and who will “tell-it-like-it-is”.
Or perhaps we want to go with someone with more hair, more flair and with more experience in the voice-over industry. Someone like David Rosenthal.
David is not only a top voice-over talent, actor and director with 25 years of experience; he’s also a sought-after voice coach and teacher. A few days ago, I had a chance to talk to him about his craft, his approach as a coach and about his latest endeavor: Internet Voice Coach.
ALL WORK, NO PLAY
Rosenthal: “I tell all my students that auditioning has to be one of the most enjoyable parts of their day. If you are worried about getting that job or needing to sound a particular way, then it will never happen, because then you’re judging yourself; you’re in your ‘work-mode’. The whole point is that people who truly know how to take life in the most optimistic and playful way, are priming themselves for being wonderful voice actors.
I feel that a lot of people getting into voice-overs have forgotten how to play as adults. All the actors in this industry that have created and sustained careers for 25, 30, 35 years, have done so, because they know how to play. They know how to roll with it; to be creative and imaginative and they’re never too hard on themselves.
This is another great secret: when you’re playing, nobody can judge you. You are free. You can’t judge play. It’s creative, in-the-moment stuff. It is attractive. It’s what keeps clients coming back to us as voice-over professionals, because we know how to bring that sense of play to life for their products. They know it’s magic.”
BIRTH OF AN IDEA
Rosenthal received his BA in Theatre, Anthropology, and English Lit. from Sarah Lawrence College. He studied acting in NYC at Herbert Bergoff Studios and in San Francisco with Richard Seyd. He is a regular voiceover talent for Sony, Nintendo, Sega and for commercial radio, with over 600 voice-over credits to his name. David teaches Spokesperson trainings, the Art of Voice Acting and he is a staff member of the Kids-On–Camera Acting School in the Bay area. He continues:
“Students would come up to me after class and say: ‘Dave, if there was any way that you could bottle this up -not just the lessons but the way you in which you teach them- and put it on the internet or on a DVD, I would buy it in a second.’ That stuck in my head. So I decided to take this particular philosophy that I have about this industry and our art, and present it to as many people as possible, in an extremely informative manner.”
ON-LINE VOICE COACHING
Rosenthal kept his word. A few weeks ago, he launched a brand new website called Internet Voice Coach (IVC). It’s an extensive on-line resource as well as a community that brings industry experts, trainers, students and voice-over veterans together. Rosenthal:
“The primary focus of the site is on PLAY. People often come to me saying: ‘Everyone tells me I have a real nice voice,’ and I tell them: That’s really wonderful but, when you talk about essential prerequisites for making it in this industry, a really nice voice is not one of them. It’s a great asset, but that, by itself, won’t cut it.
So, I started thinking of creating a website around the philosophy of play, but also having all the tools that are necessary to help people who are just getting started, as well as more specialized advice and tips for seasoned pros.
For instance, we have interviews with casting directors and we’re asking them: What are you looking for? Why did you hire me for this last job? What’s going on in the industry right now that people need to be aware of? What are some common mistakes that you hear in auditions?”
ACTING OUT
“When you go on the site, you don’t just see a bunch of people talking about the industry. You can watch me as I prepare for an audition, literally playing in front of you, messing up my face and my voice, joking around.”
Here’s David on keeping a voice consistent with a character:
DEMO CRITIQUE
Internet Voice Coach offers more than videos, how-to articles and interviews. Rosenthal:
“We have an incredible aspect to our site. It is something I do not believe any other site has out there in the voice-over world and that is: ongoing personal feedback.
When you become a yearly member, you will get 20 opportunities a year to send in a voice-over demo for an audition or practice files that you’re working on. You can send them as an MP3, and you’ll receive an MP3 from us, loaded with feedback.
The advantage to that over one-on-one phone coaching is that it’s very focused and it doesn’t cost $130. I’m trying to be conscious of people’s pocket books, and at the same time give them a tremendous opportunity to learn and grow (membership is $199 per year PS).
We also have monthly webinars. That means we’re live on video, and members can log in and join in. After we talk about a particular subject for about 45 minutes, we take questions.”
DREAM TEAM
IVC is David’s brainchild, but he teamed up with voice-over actor and coach Jason Klofstad, who happens to be the voice of Apple computer. His other partner is Mary Windishar, a broadcast producer for over 20 years (Oprah Winfrey Show); a voice and on-camera talent for over 15 years and a prominent spokesperson for women in the field of voice-overs.
Then there’s a whole list of regular contributors such as Elaine Clark, author of “There’s Money Where Your Mouth Is”.
David Rosenthal:
“The site is purposely called Internet Voice Coach and not Voice-Over Coach. It has modules on public speaking (featuring expert-in-residence Brian Collins) and articles on vocal health, overcoming rejection, marketing and much more.
Ultimately, IVC is a resource that isn’t just for learning the craft, but for staying on top of your craft. Had I had this site 25 years ago, I really would have been able to kick-start my career a lot faster. Why reinvent the wheel if you can learn from the best in the business?”
One of those people is actor Daniel Stern who was recently interviewed for the site.
He didn’t get the part, even though it his name written all over it.
I couldn’t help but wonder who eventually landed that gig.
Could it be… a certain David Rosenthal, perhaps?
SPECIAL OFFER
IVC offers a21-day trial membership for $1. It’s an excellent way to explore the site and find out how it can help you further your career! This will give you FULL ACCESS to the site. If you just like to poke around with limited access, please use this link.
PS I have joined the IVC team of contributors as a voice-over specialist on ‘all things international’. If you enjoy this blog, please join me on IVC for exclusive content and industry insights. Click on this link for a sample interview with actress Claire Dodin.
PPS All work but no play? My next blog is about the dangers of becoming a workaholic…
The dust has finally settled.
PS 
