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The Copyright Trolls Are Coming After You

by Paul Strikwerda in Articles, Internet, Money Matters, Social Media 19 Comments

TrollSome years ago, digital marketing firm The Content Factory got an unpleasant surprise in the mail.

A lawyer summoned them to pay $8,000 in penalties for alleged copyright infringement. Why?

Well, one of their professional bloggers wrote a story about bargain hunting in Omaha, and used a photo of Nebraska. It wasn’t a great picture, and the article didn’t get much exposure, but that was beside the point.

The Content Factory did not obtain permission from the rights holder to use the image, and that was the problem. A very expensive problem!

What would you do if you were in their shoes? Take the photo down and apologize, hoping that would be the end of it? That sounds reasonable, right?

Forget that.

ENTER THE TROLLS

The enforcement of copyright is a billion dollar business. Companies like Masterfile and CEG TEK litigate against corporations, individuals, and small businesses who have intentionally or unintentionally used images without having obtained a license.

These companies (and individual lawyers) are commonly known as “copyright trolls.” They have sophisticated computer programs that search the web 24/7 to find copyrighted works that are used without authorization. They’re not only going after pictures. They’re also targeting illegal downloads of any kind, such as video games, music, porn, and movies.

Once they’ve secured the names and contact information of the people accused of infringement, the trolls will send out “litigation settlement” demand letters. These letters threaten defendants with costly lawsuits.

Of course the suit can go away, but only if you pay promptly. The longer you wait, the higher the amount you will be sued for. And if proven guilty, you’ll pay attorney fees too.

Now, is this blatant extortion of vulnerable people who simply made an honest mistake, or are these trolls in business to protect the rights holders?

I think it’s a bit of both.

According to copyright.gov:

copyright infringement occurs when a copyrighted work is reproduced, distributed, performed, publicly displayed, or made into a derivative work without the permission of the copyright owner.”

Let’s say you’re a professional photographer, and your portfolio is on the web. You own the rights to these pictures, and you make a living selling them. Now, somewhere in a different state, a web designer is doing a Google image search for a website he’s building. He stumbles across one of your pictures, he takes a screenshot, and decides to use it. 

In that moment you as the owner, lose value, because you could have sold the use of that image to the web designer. Under the law, you can claim monetary damages for financial losses, and for additional profits the infringer earned from using your photo.

That seems fair, doesn’t it? But copyright issues aren’t always cut and dried.

FAIR USE

Under certain circumstances people are allowed the unlicensed use of copyright-protected works. It’s because of a legal doctrine called “Fair Use.” For instance, making braille copies or audio recordings of books for the blind is considered “fair use.” Recording a TV show on your DVR, is also considered “fair use,” as long as it’s for private viewing.

The U.S. Copyright Act of 1976 allows the reproduction of authored works for the purpose of “criticism, comment, news reporting, teaching …, scholarship, or research.” There is a four-part Fair Use test based on the following factors:

1. The purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purposes;

2. The nature of the copyrighted work;

3. The amount and substantiality of the portion used in relation to the copyrighted work as a whole; and

4. The effect of the use upon the potential market for, or value of, the copyrighted work

For instance, using short quotations or excerpts from published books authored by others, is “fair use.” Courts do evaluate fair use claims on a case-by-case basis.

PUBLIC DOMAIN

But what about if something is in the “public domain”? The public domain refers to creative materials that are not protected by intellectual property laws such as copyright, trademark, or patent laws. These works may be used freely, and without permission.

There are four common ways that works arrive in the public domain:

  • the copyright has expired
  • the copyright owner failed to follow copyright renewal rules
  • the copyright owner deliberately placed it in the public domain, known as “dedication,” or
  • copyright law does not protect this type of work.

 

CREATIVE COMMONS

Creative Commons (CC), is an American nonprofit organization designed to foster the public domain, and it helps copyright owners dedicate their works to the public domain.

It provides free legal tools that give everyone from individual “user generated content” creators to major companies and institutions a standardized way to pre-clear usage rights to creative work they own the copyright to. CC licenses allow people to change their copyright terms from the default of “all rights reserved” to “some rights reserved.”

If you’re an artist, student, educator, scientist, or other creator looking for content that you can freely and legally use, there is a giant pool of CC-licensed creativity available. There are many millions of works – from songs and videos to scientific and academic content – that you can use under the terms of the CC copyright licenses.

WHAT THIS MEANS FOR YOU

First and foremost: it is your obligation to make sure that you have permission from the rights owner to use his or her images on your website, on your blog, and for your social media posts. This includes all the logos of companies you ever did voice-overs for!

Trademark owners might actually sue you for “dilution” of a trademark,” because your use might (in their opinion) lessen the uniqueness of the logo, and tarnish the brand’s reputation.

If your demos have music, make sure it is properly licensed. Copyright your own sound files if necessary, to secure payment, and to protect usage. And by the way, as long as your client has not paid you for your audio, you own it!

Attorney, actor, producer, and voice artist Robert Sciglimpaglia advises VO’s to trademark their brand, company name, website, slogans, and tag lines.

YOUR HOMEWORK

So, here’s what you should do.

Go over all the images on your website, your blog, and the ones you use on social media, and immediately delete the ones you have been using without permission. If in doubt: take them out!

Replace them with pictures from a subscription site like Shutterstock, from Creative Commons, Wikimedia Commons, or with pictures you took yourself.

Check the music and videos on your site, and get permission from the owners to use them.

Go to http://copyright.gov, and read up on copyright law. Learn about the difference between a trademark and a service mark, and click here to find out what you need to know to register a trademark. When you’re ready to register, hire an attorney like Rob to guide you through the process.

BEING SUED

Should you ever get sued over copyright infringement, know that the goal of most trolls is to obtain a settlement. They don’t want to bring their lawsuit to trial because they would have to prove the allegations. The only reason they even mention court, is to scare the living daylights out of you, hoping you will settle.

The website fightcopyrightrolls.com (a great resource in the public domain) warns:

“In order to increase settlement rate, trolls resort to lies. They conceal important information from the Court. They make unrealistic and unnecessary threats to defendants. They grossly overstate the damages to copyright holders caused by infringement.”

Get legal representation, and go over your options.

NEBRASKA

So what happened with the case of The Content Factory that had to pay thousands of dollars for the unauthorized use of one lousy photo? They hired a lawyer who negotiated a settlement. Instead of having to pay $8,000, they ended up paying $3,000 in penalties.

The Content Factory concludes

“Had we been a smaller company and didn’t think to negotiate a settlement, we could’ve been put out of business. To be honest, had this happened within the first few months of starting the company, we would’ve probably closed up shop and run back to living one-third of our lives in cubicles, where it’s safe and there’s always health insurance.”

Don’t assume this won’t happen to you.

One of our colleagues is being sued as we speak over a lousy photo he put in his blog, and had forgotten about.

You have been warned!

Paul Strikwerda ©nethervoice

PS Many thanks to Rob Sciglimpaglia for bringing matters of copyright and infringement to my attention, and for allowing me to use some of the information from his talk at VO Atlanta 2017. Rob is the author of Voice Over Legal, a must-have book for every voice actor. Click here to order a copy. 

Image credit: EFF (Own work) [CC BY 3.0 us (http://creativecommons.org/licenses/by/3.0/us/deed.en)], via Wikimedia Commons


VO’s Unfair, so, Grow a Pair!

by Paul Strikwerda in Articles, Career, Freelancing, Personal 16 Comments

Two pears

The other day it happened again.

In mid-session, I gave one of my voice-over students a simple script for a cold read. I thought he’d be excited to try something new, but this is what he said:

“You’re giving me this now? Are you trying to trick me? You gave me zero time to practice and get ready. I don’t think that’s fair.”

“Wow, I wasn’t expecting that response,” I said. “You’ve grown so much in the last few weeks, I thought you’d be up for a challenge. Maybe we should use this as a teaching moment?”

He agreed.

“First off, just as there is no crying in baseball, there is no fair in voice-overs, or in any freelance job for that matter.”

“What do you mean?” my student asked.

“Let me give you a few examples.

Yesterday, some A-list actor made fifteen grand for saying three lines in a 30-second commercial. Today, a VO-colleague got a nineteen hundred dollar check for narrating a lengthy novel that took her a month to record, and two weeks to edit. Is that fair?

How about this one:

A voice-over veteran auditioned for ten jobs a day for four weeks straight, and landed none of them. Meanwhile, a newbie walked up to a microphone, yelling a few words and hit the jackpot because some producer thought he sounded “raw and authentic.”

Here’s another one:

A fellow voice actor had been recording eLearning programs for the same company for six years at the same rate. His work was consistent, and he never missed a deadline. He came to think of himself as the go-to voice of that company. So, when year seven came around, he raised his rates a little, in line with the increased cost of living.

He never heard from the company again.

Is that fair?

Now, here’s something that happened to me.

A few weeks ago I auditioned for a very prestigious job that would have paid the mortgage for at least six months. At the end, it was between me and another person. Why didn’t I get the job? The reason was simple: the client preferred a female voice.

“Tell me,” I asked my student, “do you think that’s fair?”

He made a noise suggesting a lightbulb was slowly coming on in his head, so I continued…

“The idea of “fair” presupposes that there’s some grand equalizing principle at work in the world that gives equal opportunities to people with similar education, abilities, and experience.

Well, wouldn’t that be nice?

In many ways we may be equals, but that doesn’t mean we’re equal, or that we’re treated as such. What do I mean by that?

In a highly subjective and personal business as ours, things like training and experience count for something, but they will never get you hired. The fact that you’ve taken a few voice-over classes, and you’ve been knocking on doors for a few years, entitles you to… nothing.

The only guarantee I can give you, is that there are no guarantees.

No matter how hard or how long some people study, they’ll never become the next Albert Einstein, Yo-Yo Ma, or Don LaFontaine.

That’s not unfair. It is what it is.

On paper you may be the most experienced voice talent in the room, but a casting director isn’t listening for your resume or seniority. She needs to make her client happy, and the client wants someone who sounds just like his grandfather selling cattle in Kansas during the Great Depression.

Oh… but the specs didn’t say that, right? How unfair!

That’s because the client didn’t know he was looking for that voice until he listened to the top ten auditions.

My student let out a despondent sigh.

“That’s why the audition was a “cattle call,” I joked.

“But seriously, the only “fair” thing about this situation is that to most people in the middle, this crazy business is equally unfair. With “people in the middle” I mean the vast majority of voice-overs who aren’t making millions voicing The Simpsons, but who aren’t new to the business either.

I call them “the Nobodies.”

It may sound derogatory, but I don’t mean it that way. I mean it literally. Not figuratively.

Voice actors get hired for the way they move their lips; not for the way they move their hips. We’re not in the game for our glamorous looks, but for the way we sound. You and I… we are a no-body. Personally, that makes me very happy because slobs like me still stand a chance.

“But what about things like merit,” my student wanted to know. “Isn’t winning something like an Audie, or a Voice Arts™ Award going to open certain doors? That would be fair, wouldn’t it? I mean, winning a prize makes people more in-demand, right?”

“It’s a definite maybe. Let me explain.

Even though audio books have become increasingly popular, most people still think of a German car when they hear the word Audie. Secondly, I’m not sure clients will hire you on the spot because you won some gold-plated statuette they’ve never heard of. Accolades may be well-deserved, but they’re only worth their weight if they mean something to people outside the cheering in-crowd.

Even Oscar winners need to audition again and again, unless a part is especially written for them. That’s not necessarily a bad thing. It keeps people sharp and humble.”

I took a long sip of water, and formed my next thought.

“Then there’s this weird phenomenon in our business that’s hard to prove. Let’s pretend people actually know about your reputation as a prize-winning narrator. They might not consider you for their next project because they assume you’ve become too expensive. Do you think that’s fair?

I once thought I could convince a client to hire me by telling them about the famous brands I had worked with in the past. Big mistake! The software giant I was auditioning for, ruled me out once they heard a close competitor had used my voice in 2015. This is what I also learned:

Most clients aren’t very interested in what you did for others, years ago. They want to know one thing:

What can you do for ME, today?

I’m not saying accolades aren’t awesome, but as the Dutch soccer star Johan Cruyff used to say:

“Every advantage has its disadvantage.”

That’s unfair too, but here’s the ugly truth:

In an unregulated business, those in power, and those with the deepest pockets get to determine what is fair.

“Pardon me, but that’s depressing,” said my student. “First of all, you’re giving me a lecture instead of a lesson. Secondly, I thought you were supposed to encourage me. Now I don’t even know if I want to be a voice-over anymore.”

“Language is a wonderful thing,” I said. “Especially if you like to play with words. To the ear, there’s almost no difference between “the termination,” and “determination.” The choice is yours.

If you want to end this, it’s going to be the termination of something promising. If -on the other hand- you really, really want to become a successful voice-over, allow what I’ve just said to strengthen your determination.

Please don’t be a chicken. You didn’t hire me to stick some feathers up your butt, so I could make some money off your dreams. That would be unethical. Just like that coach in the gym, you hired me to take you through a series of exercises designed to build your muscles, and give you a strong spine. You’re gonna need it!

And just like in the gym, change is a gradual process. Some days, your muscles might ache because of the resistance training. Sometimes, it might feel like you’ll never reach your ideal weight because you see other people getting fitter faster. But remember:

You’re on a personal path.

Those scary slim people you admire so much were born with different bodies, and different metabolisms. Some of them go to the gym every day of the week, and stay there for hours. Others like you can only afford to come twice a week for a 45-minute session.

You know what isn’t fair? Comparing yourself to others!

Compare yourself to yourself instead. So, here’s what I want you to do.

Forget the word fair.

Instead, focus on the word Prepare.

My goal is to help you be the best you can be at this moment in time, and to become even better in the future. Forget the silly randomness of this subjective business. You cannot control it. But one day soon, opportunity will knock on your door, and you’d better be ready! That’s the part you can control. Do you get that?”

My student made an affirmative noise. 

“Before we end this session, I want to give you one more piece of advice. I’ve known you for a while, and you’ve told me more than once that you’re a perfectionist. That mindset will hold you back, and that’s why you probably didn’t want to do the cold read I just gave you. Am I right? Were you afraid of making mistakes because I didn’t give you any time to look at the text?”

Reluctantly, my student agreed, and I went on:

“Please listen to this:

Be soft on yourself!

I strongly believe that living is learning. As human beings, I feel it is our job to evolve; to unearth and develop what we’re capable of, and to share those gifts with the world. 

To that effect, life offers us lessons. And unlike in voice-overs, life’s unscripted. You never know what it will throw at you next, so you have to be prepared to catch it while you can. Sometimes you need to improvise, and try things you’ve never done before. Sometimes you’ll get it right, and sometimes you won’t. As long as you keep on learning and growing, you’re doing great. This is what I want you to remember:

No matter how long you train, and how hard you work, you will never be perfect, and that’s perfectly fine. You want to know why? 

Because perfection has nowhere to grow.”

My student’s response was so quiet that I could almost hear the penny drop. Then I said:

“Let that sink in for a while, and let me know what you think, okay?”

“Fair enough,” said my student.

“Fair enough.”

Paul Strikwerda ©nethervoice

PS Be sweet. Please retweet!


The Big Secret To Audio Book Success

by Paul Strikwerda in Articles, Career 29 Comments

Jim Dale in "Barnum."Heroes and role models.

We all have people we admire because they inspire.

One of my heroes happens to be a dancer, singer-songwriter, comedian, stage and screen actor, as well as a first-rate audio book narrator.

Like me, he is a naturalized U.S. citizen. One of the songs he wrote the lyrics to, was nominated for an Oscar. He received five Tony Award nominations, and won one for Barnum. He also has two Grammy’s.

In July of 2014, aged 78, he finished a twelve week one-man show about his career at the Laura Pels Theater in New York called “Just Jim Dale.”

I’m sure you know Jim Dale as the narrator of the Harry Potter series in the U.S. (Stephen Fry narrated the UK version). For his voice work Dale received ten Audie Awards, and twenty-three Audio File Earphone Awards.

Dale previously held the record for creating and recording 134 different characters portrayed in Harry Potter and the Order of the Phoenix. The new record holder is Roy Dotrice -aged 91- with 224 voices for A Game of Thrones.

This is what the AudioFile magazine wrote about Dale:

“When J.K. Rowling has Hagrid boom, Dumbledore hum, and Aunt Marge belch, listeners can hear exactly what that sounds like, thanks to Jim Dale’s spellbinding narration. He gives voice to every wizard, muggle, house elf, goblin, giant, and hundreds of other characters who pass through Hogwarts, Hogsmeade, Diagon Alley, and the other magical environs of the Harry Potter series. He is a major part of why these fantastical volumes are among the top-selling audiobooks of all time.”

THE BIG SECRET

This begs the question: Is there a secret to Jim Dale’s mastery? Fortunately, he gave us the answer. Dale said:

“Good acting is consistency of performance.”

The ability to deliver the same quality over a period of time is one of those things that separates the professional from the pretender, whether it is in sports, music, the culinary arts or in (voice) acting.

If you want your performance to be credible, you have to be consistent.

This may seem obvious, but as in many things in life, it is easier said than done. Imagine having to come up with 134 different character voices, knowing that many of them will return in a series of seven books.

In a motion picture, these characters are portrayed by different actors. The audio book narrator is on his or her own, and has to create and recreate these characters accurately over a period of time. It’s a daunting task, and quite a responsibility.

In an article on authentic listening, Junko Yokota and Miriam Martinez said the following:

“The audiobook narrator plays a role similar to that of a translator of a book from one language to another. A good translator can make a big difference in the reading experience through word choice and passage interpretation; likewise, the audiobook narrator helps mediate the story for the listener by selecting what tone to take, what types of voices to give to characters, what to emphasize, and how to engage the listener.”

There’s a big difference between reading into a microphone, and telling a story. Great narrators like Jim Dale are storytellers who take you on a journey you never want to end. And by the way, this doesn’t only apply to audio books. Sometimes, a twenty-second script for a commercial is a short story in and of itself.

BEGINNER MISTAKES

These days, some voice-over coaches are trying to drum up business by telling prospective students that audio books and video games are booming. They are right. We’re living in the golden age of the spoken book, and successful video games make way more money than Oscar-winning movies.

Hordes of hopefuls sign up for voice-over classes because they believe they have the pipes casting directors are waiting for. Many of these beginners are making two big mistakes:

  1. They believe that in order to make it as an audio book narrator or in animation and video games, they have to be good at doing impressions.
  2. They think that being able to sing one song, makes them ready to perform an entire opera.

In the Documentary I Know That Voice, voice actor James Arnold Taylor had this to say:

“It’s not about ‘I can do Christopher Walken, I can do Johnny Depp, I can do Michael J. Fox.’ That’s great, but can you do ANYTHING as them? Can you stay in that voice for hours; scream in that voice for four hours?”

In other words: consistency is key. Consistency and stamina.

ARE YOU REALLY READY?

Like Jim Dale, you have to have the ability to stay in character, and then switch character and get back to the first character, while introducing a third. And you do this for hours at a time in a space smaller than a prison cell. Dale is usually in the studio from 10:30 am until 5:30 pm, recording twenty pages an hour for two weeks to record one book (source). This requires serious training, serious preparation, and serious self-care.

If you’re new to the business and want to break into audio books, I dare you to record for even one hour straight, and find out how your voice feels at the end. Does it still sound the same? Could you continue for another hour, or are you exhausted; do your vocal folds feel raw, and do you need a few hours to recover? If so, you’re not ready to meet that 3-week deadline for this 700-page novel you just agreed to narrate at $100 per finished hour (a ridiculously low rate by the way).

THE VOICE BUILDER

Gary Cantona, the voice builder

Gary Catona

There’s a reason why some VO-pros like James Arnold Taylor study with Gary Catona. Catona calls himself the “voice builder,” and he has worked with Andrea Bocelli, Usher, Shakira, Shirley MacLaine, Tony Bennett, and many others. He approaches voice building as a sport, and encourages his students to train the voice like an athlete trains his muscles. 

You can read about his method in his book “A Revolution in Singing.” Gary also developed an iPhone/iPad Voice Building App ($4.99) with over twenty voice building sessions, exercises, and video demonstrations for singing and speaking voices.

A few years ago he did a talk at Google, and if you’re interested in his work and his philosophy, you can watch it on YouTube when you click this link. At 26:34 Catona answers a question from a voice-over artist in the audience. 

BUT THERE’S MORE..

Being consistent as a (voice) actor means more than being able to do marathon recording sessions, and staying in character(s). Pacing is important too. If you’re reading your lines too fast, the listener has no idea of what’s being said. If you’re too slow, the listeners’ mind will start to wander.

It also means being able to deliver audio files of consistent professional quality. People like Jim Dale go to a studio and work with an audio engineer, and perhaps a director. Most narrators do not have that luxury. They run a business out of a walk-in closet, hoping the dog next door won’t start to bark. They self-direct, self-record, and they edit every minute of every file. One hour of finished audio can take many hours to complete.

Dale realizes how much work goes into the production of an audio book. When Harry Potter and the Goblet of Fire came out, he told reporter Rochelle O’Gorman:

“The magic of the Harry Potter books is really in the hands of the editors and engineers. They take all the mistakes that I make – and I make thousands of them – and edit them out, and splice the tape reading into such a beautifully seamless production. They’re the geniuses; they’re the ones that we should applaud because nobody knows how much work they have to do.”

Credit where credit is due, but at the same time, Dale gave those engineers something magical to work with:

Constant, consistent brilliance.

And that’s why he is one of my heroes!

Paul Strikwerda ©nethervoice

PS When this story was first published, I received the following message from Jim Dale:

“So many thanks for the words you have written about me, truly embarrassing. I also wish to congratulate you on all your work in the narrating world, very impressive. I have also traveled through your website, really amazing. My thanks again for writing about me and my sincere best wishes in whatever you choose to become involved in next. Jim”

PS This is part 5 in my series on performance and script delivery. You can read part 1 by clicking on this link, and part 2 by clicking on this link. Click here for part 3. If you’d like to read part 4, please click here.


The Funniest Joke Of The Year

by Paul Strikwerda in Articles, Career, Journalism & Media 22 Comments
Tim Vine

Tim Vine

I love jokes.

Especially the ones that make me laugh.

Seriously!

Every year, the public at the Edinburgh Fringe Festival votes for the funniest joke of the year. Comedian Tim Vine was declared the 2014 winner with the one-liner:

“I decided to sell my Hoover…. well, it was just collecting dust.”

I don’t know about you, but when I read that joke, I had to chuckle a bit. That’s all. It wasn’t one of those tears in my eyes – I can’t stop laughing – rib-tickling moments. Why is that? If 2,000 people polled at the Festival thought this was the funniest joke, why am I barely laughing?

THE PROBLEM WITH SCRIPTS

The problem with that joke is the same a problem I encounter with many of the scripts I’m asked to voice. Well-written scripts aren’t meant to be read. They are meant to be spoken. Just like jokes.

I often compare the words in a script to musical notes. They’re dots on a piece of paper. Only when they’re played, you have the beginnings of music. And only when they’re played very well (and on a good instrument) do they have the potential to move you.

A great script can fall flat on its face due to a lackluster performance, but a great performer can still make magic out of a mediocre script. It has to do with that thing (voice) actors and comedians have in common with the Ob/Gyn’s and midwives of this world:

It’s all about the delivery.

Yeah, baby!

Now, those last two words might not make you smile, but when I hear them, I hear Mike Meyers say them as sixties-spy Austin Powers, and I have to laugh.

Delivery is the trademark of a pro. Done well, it sounds easy, but it’s not. And that’s what many hopefuls don’t yet get. 

Someone might have a resonant, pleasing voice, but as we all know, that’s not enough to have a career as a voice-over. Believing that having good pipes is all it takes, is the same thing as saying that you only need good looks to make it in Hollywood. As far as I can tell, only Tom Cruise pulled that one off.

Having the goods is one thing, but you have to know how to deliver. 

SHOW ME THE MONEY

So, the next question is: What makes a good delivery? What’s involved; can it be learned or does it come naturally?

I had to think about that when I listened back to a Terry Gross interview with Robin Williams for her show Fresh Air. At first, Williams manages to stay himself, but it doesn’t take him long to start doing all kinds of voices. The amazing thing is, Williams never sounds like someone pretending to be someone else. When he does an impression, he sounds like a completely different person. One thing was immediately clear: he’s a master of his instrument; a master of his voice.

Trained vocalists would immediately notice his use of voice placement. It’s a way for singers and actors to focus their sound into a particular area (head, mouth, chest or nose) with a specific resonance, coloring the sound. During the interview, I actually got the feeling that some of the characters Williams pulled out of his hat were sitting at different places at the table. I’m sure this also had to do with the way he worked the microphone.

If you listen to the entire interview, you’ll understand why he must have driven the sound engineer crazy…

Moving away from voice placement, what factors influence the way we come across, vocally?

If I were a college professor, I’d say: Human speech can be broken down into several basic elements, and each of these elements makes the way we sound unique, very much like a vocal fingerprint. Here they are:

  • Pitch: the degree of highness or lowness of our tone, as well as our vocal range and inflection
  • Tempo: the relative speed or slowness of the way we speak, and the way our speech flows
  • Volume: the relative loudness or softness of our voice
  • Timbre: the color and quality of a voice, e.g.  clear, nasal, raspy, breathy


COLORING OUR SOUND

These four elements can be affected consciously, and unconsciously. For instance, our health -or lack thereof- influences the way we sound. We all know that we don’t sound the same when we have a cold or suffer from a bad allergy. Our lifestyle may color our voice too. If you’re a heavy smoker or drinker, if you’re on a junk food diet, and if you’re not physically active, it will slowly change the sound of your voice. 

The way you are built and your posture have an impact too, as well as your facial expressions. Try saying something serious with a huge grin on your face… Then there’s your emotional state. A sad person sounds very different from an angry or a happy person. Environmental factors may influence your voice too. If you live in a very dry or polluted climate, the way you sound will tell the tale.  

And finally, we should consider age. After a lifetime of talking, the vocal folds and surrounding tissue lose strength and elasticity, and our mucous membranes become thinner and drier. Over time, men’s voices become higher, and women’s voices will drop. We lose volume, endurance, and control. All of this and more will influence our delivery. 

Now, here’s the good news: even though we cannot stop the aging process, you can protect and strengthen your voice. That means investing in your health. A few tips:

  • Be critical of what you put into your body.
  • Avoid a sedentary lifestyle.
  • Get enough sleep.
  • Avoid screaming and whispering.
  • Breathe deeply, and from the diaphragm.
  • Use good posture.
  • Manage your stress level.
  • Take singing lessons.


When you do all that, you will start to notice a huge difference in your delivery because you gain more control over your instrument. That’s essential if you want to get to the next level: making music.

And that’s precisely what I’ll be talking about next week, so stay tuned!

Meanwhile, comedian Tim Vine told The Independent that his award-winning Hoover-joke wasn’t even his favorite joke of the show. Tim tells about two hundred one-liners in sixty minutes. 

Vine also won funniest joke in 2010. Here it is:

“I’ve just been on a once-in-a-lifetime holiday.

I’ll tell you what…

Never again.”

Rimshot!

Paul Strikwerda ©nethervoice 

PS Be sweet Please retweet!

PPS This is part 1 in a series on performance and script delivery. You can read part 2 “The worst acting advice ever,” and part 3 “How to be believable,” in the weeks to come. 


The Weight Of The World

by Paul Strikwerda in Articles, Career, Journalism & Media, Personal 22 Comments

AtlasParis. Ankara. Istanbul. Brussels.

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

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

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

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

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

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

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

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

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

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

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

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

Over time, I came to a frightening realization:

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

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

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

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

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

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

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

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

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

Let me leave you with what I think.

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

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

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

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

Everywhere.

Paul Strikwerda ©nethervoice

PS Be sweet. Please retweet.  


Call Me Oscar

by Paul Strikwerda in Articles, Career, Personal 19 Comments

Oscar the GrouchCurmudgeon.

I just love the sound of that word, don’t you?

Curmudgeon.

Linguists believe it dates back to the 1570s, but no one can tell for certain where it came from.

If you’re like me, and English is your second or third language, you might not even know that curmudgeon is used to describe a bad-tempered, difficult, cantankerous person. It’s the archetypal grouch: unpleasant, argumentative, stubborn, and unsociable.

A while ago I made a surprising discovery. I was talking to a colleague whom I had never met before, and near the end of our conversation she said to me:

“I can’t believe how nice you are. You’re not at all what I expected.”

“What did you expect?” I asked.

“Well, based on your blog I always thought you were this grumpy, super-serious, sourpuss kind of a guy. I mean, you’re always so critical of newbies, clients, and colleagues, and you don’t exactly mince words.”

“You thought I was a curmudgeon,” I interjected.

“Your words, not mine,” she said, “but to be honest, I had expected some cranky complainer. You’re not like that at all.”

Normally I don’t fall for flattery, but her comment made me smile. A little bit.

“In a previous life I used to teach self-help seminars,” I said, “and your observation reminds me of one of the main messages I impressed upon my students:

The meaning of your communication is the response you get.

It’s the idea that it doesn’t really matter what people write or say. The meaning comes from how listeners interpret and respond to what was written or said. Intentions -good or bad- are irrelevant.

My colleague looked puzzled.

“Let me give you an example,” I continued.

“Bono, the U2 frontman, was on a fact-finding mission in Africa. One of his hosts gave this long-winded, academic spiel on the origins of urban poverty and the rise of AIDS. At one point Bono had had enough. ‘Excuse me,’ he said. ‘I have no idea what you’re talking about.’

‘But I just explained it to you,’ said his host annoyed. ‘I was as clear as I could be. Perhaps this is going over your head. After all, you’re not an expert.’

‘Perhaps you should explain it better,’ answered Bono.

I looked at my colleague and said:

“The meaning of our communication is the response we get. This academic thought he was making himself perfectly clear, yet Bono’s response told him otherwise. Who was at fault here?

The way I see it, Bono was right. Now, let’s bring this back to you and me. I believe it is our responsibility to communicate a message in such a way that the other person will understand its true meaning. If that’s not the case, we need to explain ourselves in a different way until understanding is reached. 

Unfortunately, most of my teachers -whether in elementary or in high school- never got that concept. If a pupil didn’t comprehend something that was explained to them, they always blamed the “dumb” student.”

“And how is all of this connected to your blog?” asked my colleague.

“Perfect example,” I said. “Here I am… attempting to make a connection between my blog and your expectations of me as a person, and I fail miserably. So, let me try again.

Based on my blog, you thought I would be a certain way, correct? And as you admitted, I wasn’t like that at all. Is that your fault? Not really. Your initial impression was based on my writings. Your response was the meaning of my communication. So, I thank you for your feedback.”

I paused for a moment before I opened up.

“You know, I don’t really want to come across as the curmudgeon of the voice-over world. That’s not who I am. As you have noticed, I don’t take myself too seriously. I love most of my clients and colleagues, and I love what I do for a living. I also want to warn newbies before someone takes advantage of them. That’s one of the reasons why I started blogging.

I blog to provide an antidote to all those manipulative marketing messages telling gullible people what they want to hear. At least, that’s my intention.”

“Well, that comes across loud and clear,” said my colleague. “But perhaps you could sprinkle it with a bit of humor every now and then. Lighten up, and don’t be so preachy. I know your dad was a minister, but a blog is not a pulpit.”

“Amen to that,” I said. “Thank you again.” A few moments later, we parted ways.

Later that day I got a phone call.

“Hi, remember me?” asked my colleague. “I’ve been thinking about that conversation we had this morning, and I need to know something. Were you talking about yourself, or were you talking about me when you told that Bono story?”

“What do you mean?” I asked.

“Well, earlier on I had told you about the difficulties I had communicating with a client. I didn’t feel he understood me, and I blamed him for purposely missing the points I was trying to make. After you and I talked I did my best to see things from his perspective. I modified my approach and my tone in the last message I sent him. He just emailed me back, and I think we’re finally getting somewhere. Am I on the right track?”

“I don’t think I have to answer that question,” I said. “You changed your communication, and you got a different response. Congratulations. You’re a fast learner!”

“And you’re a pretty good teacher,” she responded. Then she laughed.

“For a curmudgeon, that is…”

Paul Strikwerda ©nethervoice

PS Be Sweet. Please retweet!

photo credit: Oscar the Grouch via photopin (license)


Turning Resistance Into Results

by Paul Strikwerda in Articles, Career, Personal 9 Comments

push upEvery January I see them walk in.

The men and women who told themselves: “I can do this!”

They’re sporting brand new workout clothes, and are wearing fancy gym sneakers that have yet to be broken in. Water bottles in hand, they flock to the eight o’ clock spinning class lead by Helga, a platinum blonde transplant from Germany. Her voice is as muscular as her thighs.

As the newbies adjust their exercise bikes, the regulars look at each other knowingly. We’ve seen this sad ritual many times. Give it a few weeks, and it will all be over. 

BAILING OUT

February has barely begun, and half of the new recruits have already given up. “It wasn’t really my thing” they tell their friends with a faint smile. “But at least I tried, and that’s worth something, right?”

Luckily for them, they only paid for a trial membership. It’s the ultimate cop-out for those who can’t or won’t commit. How do I know?

A few years ago, I belonged to this group of dropouts, and I’m not proud of it. But last year I made a courageous comeback, and today I feel like I’m part of the LA Fitness furniture. To me, a gym workout is the ultimate stress-busting, fat-burning, energy-boosting experience. Here’s something else I discovered along the way.

The microcosm of the gym is a powerful metaphor for the real world. In fact, there are lots of parallels between my professional life as a voice-over, and what’s happening on the gym floor. Do you think this is a stretch? Let’s talk about machines!

1. The best equipment does not guarantee results. It’s how you use it that matters.

People hurt themselves on the gym floor all the time, because they don’t know how to use the equipment. They start lifting, pushing or pulling, without adjusting the machines first.

Willful ignorance leads to lack of results and could be damaging.

This is true in so many contexts. Whether you’re a professional photographer, a graphic designer, or a musician, you need good tools to get the job done. But owning a million-dollar violin means nothing if you don’t know how to play it well. 

In our tiny voice-over bubble, we love to talk gear. Some colleagues seem to be forever searching for the Holy Grail of microphones or preamps. What they’re currently using is perfectly fine, but somehow they think that getting that shiny new mic will give them a tremendous leg up over the competition. 

In my opinion, it’s much wiser to spend your money on a coach who can help you get the most out of your equipment and your performance. But how do you know which coach is right for you? 

2. Effective coaches are role models who practice what they preach.

Let me ask you a question. While you’re at the gym, would you want to be guided by an overweight, uninterested, uninspiring coach? 

Of course not!

I’m sorry to say that many “personal trainers” at my gym just seem to phone their sessions in. There’s no enthusiasm. No encouragement. No pride in the work they do. They’re merely going through the motions, counting the hours until their shift is over. Some seem way too young and inexperienced. That’s probably because they are.

The word “mentor” means “wise advisor.” It comes from the Greek noun “mentos” meaning “intent, purpose, spirit, and passion.” A great coach or mentor embodies all these notions. Wise people are much more than an experienced source of information. They know how to apply that information with purpose and with passion. And they’re not afraid to give you a hard time and hold you accountable for your progress, or lack thereof! Here’s why:

3. Resistance makes you stronger.

Fans of the diving board know that they need the resistance it offers to jump to the right height. In the gym, resistance training increases muscle strength by making the muscles work against a weight or force.  

If you’ve ever tried to get into shape, you know that you sometimes get to a point where you run up against the limits of what you believe is possible. Your body cries out: “no more,” and your mind tells you to quit. Those moments are critical. During those times you need to push through what feels uncomfortable in order to gain strength and grow. Otherwise you’ll always remain in your comfort zone and coast.

Success doesn’t come naturally to those who are always playing it safe. 

Now, as you’re reading these words, something in your personal or professional life may seem to work against you. This leaves you with a choice. You can see these moments as threats, or as opportunities. Obstacles can become stepping stones, although you might not directly see it that way. Here’s some good news.

At certain times you don’t necessarily need to feel discomfort to know it’s time to up your game and go to a higher level. Here’s my rule of thumb (and I use this in the gym as well):

If it becomes too easy, it’s time for a new challenge, and time to raise the bar.

There’s one last thing I learned from going to the gym:

4. Use others as your inspiration, but never as the measure of your success.

It’s human nature to contrast and compare. When I first entered the gym, I was a bit intimidated by all these lean bodies pumping iron. I wondered how long it would take me to get into shape. I had no desire to look like a bodybuilder, but I wouldn’t mind a bit more muscular definition, and a lower number on the scale.

Then I realized that these guys and gals were once just like me. Over time they developed a routine that worked for them, to get into the shape they wanted to be in. They made changes in their diet and lifestyle, and they had trainers who held them accountable.

Above all, they consistently kept coming, rain or shine. They used persistence and resistance in combination with the right equipment and the best mentors.

If they could do it, I could do it.

And I’ll tell you what:

If I can do it, you can do it!

There’s only one question:

How soon are you going to start?

Or will you be walking out the door within a month?

Paul Strikwerda ©nethervoice

PS Be sweet. Please retweet!

PPS Interested in working out? My colleague Rick Lance has published a series of “Fitness Tips from a 32 Year Fitness Novice.”
photo credit: Zac Aynsley Natural Fitness Models 1 via photopin (license)


A Controversial Year

by Paul Strikwerda in Articles, Career, Journalism & Media 28 Comments

DSC07271I don’t know about you, but 2015 is a year I will not easily forget.

For one, I saw the number of subscribers to this blog grow to over 36 thousand. That’s insane!

It didn’t happen by accident. How did I do it? Well, if you read this article, you will get a good sense of my strategy. 

Few things are more gratifying than knowing that you chose to take a few minutes each week to spend them in my company. Not only that, you have shared my stories with your friends and colleagues. You’ve discussed them online and offline, and you’ve reached out to me when one of my posts struck a chord. Thank you so much!

Now, we all lead busy lives, and I realize that throughout the year you might have missed a blog post here or there. That’s why -at the end of the year- I want to highlight a few stories that you may not have seen, or that have faded from your memory.

If anything, this past year has been very emotional for me. There were times that I didn’t feel like going into my studio to record, and when I did, it was challenging to say the least. I wrote about it in Feeling Like A Fake

There were a few “firsts” in 2015. I believe I was the first voice-over who openly wrote about sex. If you’re curious about what I had to say, read The Confident Skills of a Sex God. I think I also was the first and perhaps the only VO who celebrated World Voice Day by writing two contributions.

The first post entitled Your Voice Your Life, was about vocal health. If you care about your instrument, it is a must-read! The second was The Window to the Soul, and it’s about a new area of research: emotional analytics. It’s all based on the notion that what we say is not as important as how we say it.

Like last year, I continued to rub many readers the wrong way. In fact, posts in which I vent my frustration usually end up being the most popular.

In March I became the most hated man among podcasters, when I published The Problem with Podcasting. After receiving some very nasty and mostly anonymous comments, I was forced to change my comment policy. Here’s a summary:

I no longer accept anonymous comments, or comments by people using a fictitious online identity. I want people to own up to what they’re saying, and not hide behind a made up character. Comments that are rude and disrespectful will be deleted immediately. You’ll find more about this in Poisonous Pens.

Another blog post that elicited some angry responses was 5 Reasons Why You Should Never Become A Voice Over. It was unfortunate that the angriest commentators forgot to read the last line. Skimming the text is not the same as reading it. In The Agony of Ignorance, I reveal some other traits I cannot stand.

People often get upset because I tend to say things that are perceived as being harsh and confrontational. One of those posts was The Message Very Few Want To Hear. Between you and me: I never ask my readers to agree with me, and I’m not intent on winning a popularity contest. I must admit: sugarcoating is not my strength.

One of the main goals in writing this blog, is to enhance professionalism in my line of work. In The Secret to Sustained Success, I discuss short-term versus long-term thinking, and the effect it can have on a career. In To Discount Or Not To Discount, I share what Famous Dave’s delicious pickles tell us about pricing strategy.

Are Clients Walking All Over You deals with the importance of setting professional boundaries, and in Sending The Wrong Signals I reveal one of the worst things you can do in customer service, and how you can turn it around.

Many more experienced readers want to know how they can get to the proverbial “next level.” If that speaks to you, please read 4 Ways to Get From Good to Great. You might also want to know The One Thing Every Client Is Listening For. Don’t get ahead of yourself, though, because Perfectionism Is A Trap!

And then there’s my biggest story of 2015. All my posts about Voices.com went viral this year, and the first one was Voices.com is Slapping Members in the Face, followed by Voices.com: Unethical and Greedy. Number three is called The Ciccarelli Circus.

To me, one of the biggest trends of 2015 was the fact that people were finally fed up with a pay-to-play system that didn’t give them a fair shot at landing jobs, and with a company that seemed to be double and triple dipping while cheapening the marketplace with low rates. Read Calling It As I See It, for other trends.

But if there was one piece that summed up my state of mind in 2015, it has to be Giving Up. It’s a new philosophy that I will continue to live by in 2016.

What I won’t give up, is this blog. As long as there’s still music inside of me, I will keep on singing with my Nethervoice.

May the new year bring you health, happiness, inspiration, satisfaction, and continued success!

Paul Strikwerda ©nethervoice

PS In case you hadn’t noticed, the text in blue is a hyperlink, taking you to the actual blog post. 


The Ciccarelli Circus

by Paul Strikwerda in Articles, International, Internet, Journalism & Media, Pay-to-Play 19 Comments

So, here’s the deal.

We all know that the CEO of Voices.com David Ciccarelli is on a charm offensive. He tried to do damage control by talking to fellow-Canadian Graeme Spicer of the Edge Studio. I don’t think that worked out so well.

The promised recording of the contentious interview was never released because (supposedly) the video version did not survive due to “technical problems.” Then Edge Studio and Mr. Spicer announced:

“We had every intention of releasing the recording of the event as originally stated. Unfortunately we are not in a position to post it at this time. I hope you understand our position, and that you will continue to support Edge Studio as we strive to advocate on behalf of voice actors.”

Some spoke of a falling out between “Edge” and “Voices.” Others suggested that possible legal action prevented Edge Studio from releasing the interview. Meanwhile, a SoundCloud copy of the interview has surfaced, and it is making the rounds on various VO Facebook groups.

Ciccarelli also did a webinar slash infomercial with Bill DeWees, in which DeWees solidified his reputation as Mr. Nice Guy. Some described the webinar as a “snooze fest”. Soon, the CEO of “Voices” will be on the Voice Over Cafe with Terry Daniel and company. I wonder: When will Ciccarelli be hosting Saturday Night Live?

But seriously, here’s the real question:

My blog post Voices.com: Unethical and Greedy? was published on September 3rd. Two months later Ciccarelli finally decides to tell us his side of the story. David, what were you waiting for? A Voice Arts™ Award for best Pay-to-Play?

VOICE TALENT HAS HAD ENOUGH

My guess is that he had hoped the turmoil would simply subside like it has always done. But he was wrong. This time, the voice-over community reacted like a ferocious pit bull. It just wouldn’t let go.

More and more people came forward with Voices dot com horror stories, and asked questions about the Ciccarelli way of doing business. Even voice-seeking clients started complaining, and experienced voice talent began to leave the site in droves.

Newsflash: Those with unpaid Voices-profiles are now asking to be removed from the site. Ouch! Something’s clearly wrong when people don’t even want your free service anymore. One of those talents is Mike Cooper. He told Voices dot com:

 “I see jobs for good money being intercepted by staff, with large percentages being creamed off the top – often without the client’s knowledge – and siphoned into the pockets of a company which I believe has become overly greedy. There is little or no transparency, and I no longer feel I want to be a part of that model.”

Connie Terwilliger was one of the original contributors to the Voiceover Experts podcasts on “Voices” back in 2007. This is what she asked Voices dot com to do:

“Please remove my two Voiceover Experts Podcasts from your library. I do not wish that my name be associated with Voices.com until such time that you recognize that your current business practices are simply not serving the professional voiceover community, nor helping the production community understand the value of the voiceover talent.

Frankly, you are acting as an “agent” and a casting director. Then you should act like one. Go ahead and charge a commission (the escrow fee) and even charge to coordinate large jobs (as long as you don’t undercut the rate to the talent in order to do so). 

However, since you are functioning as an agent, you should NOT be charging the talent a fee to be on the site.”

Connie’s podcasts have yet to be removed.

MONEY TALKS

Ciccarelli finally broke his silence, but don’t think for one minute that his recent interviews and articles were meant for you. The CEO of “Voices” needed to please two types of people: bankers and politicians.

Voices.com borrowed money, and received grants from the Canadian government to grow the business into a multinational. Lenders had to be reassured that everything was A-OK in London, Ontario. Politicians needed to know that their grant money was in the hands of a capable company, especially after the political landscape changed dramatically in October.

Susan Truppe, the conservative Canadian MP for London North Centre who handed “Voices” $900,000 in 2014, was badly beaten by a liberal candidate in the last election. Her successor, political scientist Peter Fragiskatos, might not be so generous. He actually wants small businesses to use crowdfunding to raise money and grow. Unfortunately, the crowd that is willing to fund “Voices” through membership fees seems to be shrinking day by day.

LOST LOVE

In anticipation of Ciccarelli’s appearances, colleagues have asked what I make of his campaign. To tell you the truth: it leaves me cold. My feelings for “Voices” are the same as my feelings for an ex-girlfriend. We had a good time for a while, but it’s over. We split up for a reason, and it’s pointless to try and change the other person when the relationship is dead. It’s hard enough when you’re together. 

Relationships that work have this in common: they are based on trust, and they meet the needs of both partners. Right now, it’s your turn to decide the following:

  1. Do I (still) trust Voices dot com, and
  2. Could a business relationship be mutually beneficial? 

I cannot answer those questions for you. What I can do, is give you information and opinion. In the past five years I have often blogged about Voices dot com, and I have written about them in my book. I think I’ve given “Voices” enough of my time, and part of me believes I could have spent that time in a more productive way. However, I must admit that it is thoroughly gratifying to see that more and more people are getting sick and tired of being milked by a greedy company that made double and triple dipping the new norm in online casting.

AMPLE AMBITION

A while ago, the website Success Harbor asked David Ciccarelli: “Where do you see “Voices” in the next 5 years, what is your ultimate goal?” This is part of his reply: 

“It comes down to this: we really do want to dominate the industry. Meaning, be that kind of dominant player for good but the one that everyone thinks voice-overs is synonymous with, like oh yeah, I go to voices.com for that. So that means speaking to every potential customer that’s out there, having every single voice talent that practices the art and craft of voice acting, they should be on the platform as well. It’s having that omnipresence is really what we’re aiming for.”

Right now, Ciccarelli is finding out that not everyone in the industry wants to help him achieve world domination.

In a time of increased global competition, the strength of a service is determined by the quality of what’s being offered. Voices dot com has to remember that the company is only as strong and valuable as the talent it has on tap. Without acrobats, contortionists, lion tamers, and clowns, a circus is just a tent. 

Ciccarelli will need to do a lot of juggling to convince people to pay in order to play under his roof. 

He’s certainly not going to charm his way back into my business. 

Paul Strikwerda ©nethervoice

PS Be sweet. Please retweet!

PPS Thanks to the inimitable Terry Daniel for the title suggestion.


Please don’t let me be misunderstood

by Paul Strikwerda in Articles, Career, Personal 7 Comments

ReflectionA few days ago, something happened to me that had never happened before.

At the end of Uncle Roy’s 10th annual VO-BBQ, a young colleague walked up to me and said:

“I wanted to thank you.

You are the reason why I am a voice-over today.”

“How so?” I asked, pleasantly surprised.

He said: “When I watched your video The Troublesome Truth about a Voice-Over Career, I just knew I had to become a voice actor. Since then I have worked very hard to launch my career, and I couldn’t be happier doing what I love to do. So, thank you!”

“I’m so glad to hear that,” I said, “but really… all the credit goes to you. You made this happen. Not me. I just put a video on YouTube.”

When I thought about this encounter the next day, it made me smile. So many people have seen the video, and quite a few commentators accused me of trying to kill their dreams by listing all the reasons why a voice-over career might not be for them. How dare I?

Now, here’s a guy who had the opposite response. After watching my video, he became more determined than ever to make it as a professional voice talent! It just goes to show that the same information can elicit an entirely different reaction, depending on the person who’s processing it.

This confirms one of my favorite sayings:

The world we see is a mirror of who we are.

If you are a glass-is-half-empty kind of person, you will always find evidence to support that idea. If you believe that the glass is always half full, you’ll find example after example to underpin that view. Our perception is mostly projection.

I also had to smile because I do love it when open-minded, talented people take advice to heart, and run with it.

You see, it’s so easy to look at a video, listen to a podcast or quickly scan a blog post, and immediately move on to something else. That’s today’s society. We go from one stimulus to the next. There’s no percolation time, allowing info to sink in. That’s a shame, because processing more information faster doesn’t make us any wiser. I believe it makes us more shallow and stressed. 

When we listen to someone making a point, we hardly ask ourselves the basic questions:

1. What is the speaker really saying? How much of it do I understand, and what is it that I don’t yet get?
2. What does this information mean to me? How is it relevant?
3. What should I do with it?

Why do we skip these questions?

For one, because many of us have lost the ability to be in the moment and truly listen. We’re so busy trying to come up with a response, that we don’t even hear what’s being said. Or, we assume we already know what the other person is going to say, and we respond to that. The better we know the person we’re talking to, the more frequently this happens.

It’s a relationship killer, and I’m not only talking about intimate relationships.

Whether you’re a voice actor or you do some other kind of freelance work, your level of success is deeply linked to the level in which you understand and respond to your client’s needs. That’s why I find it very challenging to work with clients who give little or no instructions.

It’s impossible to live up to unknown expectations. This is true in our professional, as well as in our personal lives. And because we make assumptions instead of asking questions, we get in trouble. 

The other day I was convinced I knew what a client wanted me to do. My job was to dub a Dutch actor in English, and the director had sent me a video clip of the guy I was supposed to emulate. So, I sent the director a recording of me mimicking the Dutchman to the best of my abilities.

The next day I got a request to redo the dub. “I only sent you the video so you could get a sense of the tempo,” the director said. “I don’t want you to imitate the man. I want you to sound like yourself.” So, once again I had been mind reading someone else’s intentions, and had missed the mark.

Because of experiences like these, I can’t blame those who leave strange and unusual comments on my Troublesome Truth video, or on this blog for that matter. I have to accept that once I release words and images into cyberspace, they will take on a life of their own, and people will interpret them any way they want.

Sometimes I am pleasantly surprised. Like the time this young colleague thanked me for my video.

And I realize that what he did with my message says a lot about him, and very little about me.

Enough said.

Paul Strikwerda ©nethervoice

photo credit: reflection via photopin (license)