Career

Debunking Bottom Feeders

by Paul Strikwerda in Articles, Book, Career, Freelancing, Money Matters 15 Comments

Something strange is happening in the voice-over world, and it scares me.

I know of no other profession where colleagues (and I use the word loosely) denigrate other colleagues simply because they’re advocating for decent rates.

Those who favor higher fees are regularly labeled as greedy, unrealistic, elitist, old school, or as misguided union members.

Since when did it become uncool to want to make more money, or at least earn a living wage?

Is it bad for business? Would it tarnish our reputation? What are people afraid of?

Some voice-overs who operate on the lower end of the scale have even come forward to proudly defend why they’re charging next to nothing. People like Rebecca Schwab, who confessed in a blog post that bloggers like me sometimes make her feel like “a voice over fraud.”

She goes on to describe her method of breaking into the voice-over business: by selling her services at rock bottom prices. In another blog post Rebecca writes:

“Whether or not I was “undercutting” anyone was the last thing on my mind. It was simply a matter of economics.”

I’m not going to copy and paste her articles here, but I think Rebecca* needs to learn a thing or two about economics and collegiality.

The frightening thing is that she’s not alone. If you frequent certain Facebook voice-over groups, you’ll notice that even some moderators have become very defensive when the subject of rates comes up. What’s even worse, you can’t argue with these people because they will kick you out of a group if you try to start a dialogue about money.

So, rather than get into a discussion with people who are unwilling to listen, let me give you my take on some of the arguments that are being used to defend, excuse, or justify low rates. Even though we’re talking about voice-over services, you’ll find the same type of reasoning when other freelance rates are discussed.

Let’s start with something I hear almost every day:

1. There will always be a high end and a low end of the market. Accept it and move on.

That’s a given, and it’s not addressing the real issue. We all know that there’s a market for KIA and Rolls-Royce. The point is: how low is the KIA dealer willing to go to make a sale? Is he prepared to sell his cars at a loss, just to get his business going? How long can he keep that up before he goes bankrupt? It’s not a way to get loyal customers either. Next time, they’ll just buy from someone who’s willing to go even lower.

Bottom line: You need to cover your costs, and then factor in a profit. Once you get clients hooked on cheap fees, they will never pay full price again.

2. You may lose money on every sale, but you’ll make it up in volume!

That’s like buying ten melons for a dollar each, and then selling 12 for 10 bucks. Does that make any sense? No matter how many KIAs a dealer sells, if he sells them below cost, he’s not making any money. A small business owner once said: “Sales numbers feed egos. Profits feed families.”

It’s not how much you sell, but how much money you get to keep that matters. Business is a game of margins, not volume. Bargain airlines tried making money on volume. Guess what? They’re gone! Would you rather do less for more, or more for less?

3. Purchase decisions are primarily based on price.

If that’s the case, Mr. Client, I will send you your order in two years, okay? I’ll also make sure that it will fall apart in two weeks, and you won’t be getting your money back. Don’t bother calling me, because I just closed our customer service department.

Most people do not buy on price alone. They will talk about price, but what they really mean is that you haven’t offered enough value to justify paying the price you’re asking.

There’s this cartoon with a picture of a brother and sister each with their own lemonade stand side by side. The brother’s lemonade stand reads “Lemonade 25 cents.” The sister’s lemonade stand reads:

Lemonade 50 cents (clean water).

Do you want your service to be known for being the cheapest on the market, or for high quality? Competing on price is a losing battle.

Lawrence Steinmetz and William Brooks are the authors of How to sell at margins higher than your competitors. Winning every sale at full price, rate or fee. They say:

“If you want to earn a solid living in sales, you need to remember that you are going to face a consistent challenge to hang on to a higher price, because you will always find yourself competing with a fool who is going broke cutting prices.”

The key is adding value. If you don’t offer exceptional value, then your product or service becomes just another commodity. People buy commodities on price. If you’re just another web designer, voice-over artist, or car dealership, you’re in trouble.

Value means: offering more at a higher price.

4. Price does not influence the perception of a product.

If that were the case, why are people prepared to pay thousands of dollars for a Rolex, instead of buying a $50 Seiko? Most watchmakers agree that the Seiko is the better time piece.

Let’s talk about brain surgery. Why don’t people go to the cheapest surgeon in the area? Because low prices make people think he isn’t any good. Price makes a statement. Cheap = cheap. What does your rate tell the world about what you think you’re worth?

5. Some clients just can’t afford paying higher rates. I cannot change that.

How do you know they can’t pay you a better rate? Buyers lie in order to get you to lower your price. It’s the oldest trick in the book. If they could get it from someone else at a better price, why are they still talking to you?

Stop making excuses for those who don’t respect you enough to pay you a decent fee. Unless you’ve seen their balance sheet, you don’t know what they can or cannot afford.

Know your bottom line. Add value. Don’t compromise so easily. Negotiate. Dare to say NO to a bad deal. Study the art of making the sale. It’s part of being a pro.

6. I don’t set the rates. The market does.

So, what you’re saying is that you don’t take responsibility for your prices? They are forced upon you at gunpoint? You’re just a helpless leaf in the wind?

Let me put it bluntly: The market doesn’t determine your price. Your client doesn’t set your fee. YOU do.

It’s just very convenient to tell the world that you don’t have any influence over your rate. If you can’t control it, you can’t change it. You’re a victim of circumstance. End of story. Now go feel sorry for yourself.

Market trends are the result of millions of individual decisions. Decisions you and I make, each and every day. Change the decisions, and you change the trends.

Price-cutting is a self-inflicted wound. Should you decide that $5 for an eight paragraph voice-over script is fair compensation, so be it. Contract law states that parties must agree to enter into a contract freely, and must be of sound mind.

I’m not saying that you should ignore the competition or forget about the rate cards that are floating in cyberspace. It’s up to you if you want to look at Odesk, freelancer.com, or the $100 voices.com minimum rate, and decide that that’s what “the market” is willing to pay. After all, the only thing the client cares about is price, right?

Or you could decide to look at union rates, and make those the basis of your pricing structure.

Why not talk to a few agents? If you’re any good, they might want to represent you. They will fight for a decent rate because if you do well, they will do well.

7. I’m not a sales person. I’m an artist. I don’t know how to negotiate.

No, you’re a wimp, and you need a firm kick in the pants! Nobody is forcing you to be a full-time freelancer. But if you tell the world you are doing this to make a living, it automatically means that you’re the head of the sales department, whether you like it or not. Lawrence Steinmetz has this to add:

“The first thing you have to understand is that the selling price is a function of your ability to sell and nothing else.”

Any idiot can cave in at the first sign of buyer resistance, and offer a price cut. That’s not selling. That’s being lazy and fearful. It’s a sign that you don’t believe in the value of your product or service. Clients always pick up on that, and it will cost you dearly.

Being extraordinarily talented in what you do, doesn’t guarantee instant success. Life might have dealt you a pretty good hand, but if you don’t know how to play the game, even the best cards are useless. We all know starving geniuses.

The way I see it, you have two choices. You either learn the rules and become good at playing the game, or you stay out of it. Remember: experience is the slowest teacher.

8. Low-end rates do not affect high-end rates.

If that were the case, why aren’t rates going up, instead of down? Why have so many auditions turned into a bidding war? Actor, writer and producer J.S. Gilbert:

“While it’s not being broadcast, I’m seeing people I know who have made six-figure+ incomes at voice-over for years now, looking at incomes that are fractions of what they were a few years ago.”

I understand that we’ll never get back to the golden days of Don LaFontaine (a.k.a. “The Voice of G-d”) and his limo. Thanks to the internet, the rise in home studios, and online job boards, clients no longer have to book union talent at union rates through an agent. Talk has become a lot cheaper.

As Gilbert pointed out to me, a job that used to cost the client $1000, is now offered at $250. But why pay $250 if some fool is willing to do it for $25?

As I said before, once clients are taught they can get it for less, why should they pay a penny more? Give me one reason why this trend does not impact today’s prices, and has never done so in the past.

9. But I’m just getting started. I can’t possibly ask full price.

Some beginners admitted to me that they’ve offered their services for free, just to be able to build a portfolio. Mind you: they were not talking about doing stuff for charity.

I think a freebie only makes sense if you have something else to sell. That’s why a baker hands out samples, and that’s why my custom demos are free of charge. But if you’re giving 500 dollars worth of services away for free, you’re not only creating expectations, you’re in fact saying: “This is what I think my work is worth.” Meanwhile, you’re robbing a colleague of the chance to make five hundred bucks.

Jason Fried is the co-founder and President of software solution provider Basecamp. He recommends you practice charging a reasonable rate from day one. But what he said next was a real eye-opener to me:

“It’s very safe to charge low rates, because you don’t have to prove anything. But as soon as you charge a customer a good price, it gives them the power to demand something from you, such as good quality and great service. Those are the types of pressures you want on you as a small business owner. You want to be forced to be good. Charging for something forces you to be good.”

10. I don’t need to make a full-time income. It’s only a hobby.

If it’s only a hobby, then why are you advertising yourself as a voice-over professional? I play the piano, but I don’t market myself as a concert pianist.

If you enjoy reading to other people, go volunteer at your local children’s hospital or elder care facility. You will probably get more appreciation for doing this, than for anything you’ve ever done before.

Most talents I know are only freelancing part-time, because they’re still building what they hope will become a full-time business. A part-time teacher only gets paid less because she puts in fewer hours. Does a part-time cab driver fix the meter so he can drive you around at half-price? So, why should you offer your services at bottom dollar?

Oh… I see. Your partner has a steady job, and the money you make doing the occasional voice-over doesn’t have to pay the mortgage, right?

Guess what? In this economy there’s no such thing as a steady job anymore. What would happen if your partner gets laid off and you become the sole breadwinner? Can your beer money pay the bills? Do you really think you could raise your rates to make ends meet?

Price buyers are the first to look elsewhere. They don’t care about your personal situation. They care about cutting costs. But stop thinking about your own situation for a moment.

There are people who depend on doing this for a living right now, and they think your price dumping is nothing but unfair competition. I must admit: you’re quite talented, and by charging these low rates you are making it harder and harder for them to justify their fees.

I think it’s time for you to think about the bigger picture.

Asking for a reasonable rate is not about shameless greed or about becoming filthy rich and famous. This is about being able to provide for your family; being able to send your kids to college, and save some money for a rainy day.

Your voice could help sell millions of dollars worth of product. It can introduce people to brilliant books that enrich their lives. Your voice can be the voice of a mentor, teaching valuable skills to e-learners across the globe. Your voice can inform, entertain, sell, and assist. Surely, that must be worth something?

However…

Those who fail to build value, have nothing left but to compete on price.

Paul Strikwerda ©nethervoice

*since the publication of this article, Rebecca’s blog posts are no longer available

PS Be sweet. Please retweet!

PPS The above article is an excerpt from my book “Making Money In Your PJs, Freelancing For Voice-Overs And Other Solopreneurs.” Click on one of the buttons below to get your copy.

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Are Clients Walking All Over You?

by Paul Strikwerda in Articles, Career, Freelancing, Money Matters, Personal 18 Comments

As a freelancer, I’ve had to learn many lessons.

Some of these lessons came easy. Others were excruciating.

Out of all the things I picked up along the way, these two were perhaps the hardest:

1. How to deal with conflict.

2. How to stand up for myself.

I grew up in a very protective environment, and was taught never to raise my voice. The main philosophy in our house was this:

Most people have good intentions. If you treat them with kindness and understanding, they will treat you in a similar way.

So, when my best friend asked if he could borrow some money, I immediately gave it to him. I think I was eight years old at that time, and I had earned a few bucks by helping out around the house. “You’ll get it back tomorrow,” he said, and I totally believed him.

Of course he never returned a penny, and I couldn’t figure out why. Was it something I had said? Was it something I had done? You see, that was one of my patterns. Whenever something negative would happen to me, I started questioning myself.

This made it harder for me to confront my friend and ask for my money. Part of me didn’t want to risk losing him as my best buddy. Part of me was just too scared to challenge him. “Don’t cause conflicts,” said that little voice in the back of my head that sounded very much like my mother. “People might not like you when you start arguing with them.”

A LOSING STRATEGY

I have to tell you right now: this approach didn’t work for me as a child, and it didn’t work for me as an adult. It left me with no backbone, and it made me vulnerable. Yet, when I started my own business, I did everything I could to avoid conflict by becoming a people-pleaser.

If you’re offering a professional service like I do, that’s not necessarily a bad thing. You want your clients to be happy, and their wish is your command, but there are limits. I found it very hard to say “No,” even when clients made unreasonable demands.

“Could you cancel all your plans and come to our studio for an audition tomorrow? Let’s make it nine o’ clock.”

The next day I cursed rush hour traffic on my way to New York for a cattle call in some obscure basement. I would spend half a day on the highway, and a small fortune in parking fees to audition for a $250 job. It was madness.

“Since you’re a Dutch native speaker, could you check the translation of the script we sent you, just to make sure everything is the way it’s supposed to be?”

Unable to refuse, I would spend the next two hours proofing and correcting a horrible script that had been translated by stupid software. All of this for a cheap client who never said “please,” or “thank you,” and who expected me to do this at the drop of a hat, and for free.

“If I don’t do it, I might lose the job,” I told myself in those days.

Five minutes later, the phone would ring. It was one of my late-paying clients.

“Paul, we’re having some cashflow problems. Is it okay if we pay you in about… six weeks?”

“I’d rather get paid in six weeks than not being paid at all,” I said to myself, and I told the client not to worry. I was going to be the easiest freelancer they would ever work with!

MR. DOORMAT

Looking back, I had all sorts of people walk over me, and I found it increasingly difficult to put on a professional smile, and be okay with being treated like a dirty disposable doormat. Even though I began to resent being disrespected, there were three things I forgot.

1. Ultimately, my ultra-accommodating behavior gave me something I wanted: a way to avoid conflict. I would be seen as the amiable hired helper who always went above and beyond. Who wouldn’t want to work with me?

2. I wasn’t a powerless victim of those who took advantage of me. I was an active participant in the process by allowing people to walk all over me.

3. By behaving the way I did, I created certain expectations. I taught my clients how to treat me.

At the time, I didn’t see it that way. I saw myself as the always accommodating Mr. Nice Guy, smiling on the outside, but suffering in silence on the inside. It was only a matter of time before the last drop landed in the bucket.

PUSHING MY BUTTONS

I had finished recording a technical script for a high-maintenance, unorganized client who always needed everything yesterday. Even though I was swamped, I managed to meet his deadline. Two days later I was getting ready to go to a wedding, when he called me with some drastic changes to the script.

“Don’t blame me,” he said. “I don’t control the people I work for.”

He basically expected me to drop everything and help him out, and here’s the worst part: he wanted me to do it at no charge.

Already in my tuxedo, my frustration finally reached a boiling point, and I snapped at this man with an indignation that had been building up for years. I’ll tell you: when I was done, I felt so relieved!

My client, on the other hand, was speechless. Once he composed himself, he just said a few words:

“I wouldn’t want you to miss that wedding. We’ll go over everything tomorrow, and I’ll make sure you get paid for your time.”

Just like that!

I was stunned.

I looked in the mirror and thought:

“So, that’s what happens when you put your foot down!”

I later apologized to the client for losing my temper, and I thanked him for teaching me a valuable lesson.

BOUNDARIES

This all happened quite some time ago. Eventually, I came to realize that I had to set some professional boundaries. Now, if you’re going through the same things I experienced, you might wonder:

How do you know where these boundaries are? They’re pretty much invisible.

It’s simple, really. You know where your boundaries are by the amount of BS you’re willing to put up with in your life.

As long as you’re okay, no lines are crossed. But if someone or something makes you angry or upset, it’s probably a sign that your boundaries have been violated. You’re likely to find out during some kind of crisis. That’s when you discover who you are, and what’s important to you.

Over the years I have developed very strong boundaries when it comes to rates, professional standards, and the terms and conditions under which I am willing to work with a client or a student.

I no longer drive to New York if a job pays less than $500. My agents know that, and they understand. Most of them will ask a producer if it’s okay for me to send an MP3 audition, instead of making me go to a cattle call. Usually, that’s no problem either.

If clients want me to translate or proof a script, they’ll have to pay me to do it, and payment is expected within 30 days after the invoice is received. I’m happy to record changes to the script after the initial, approved text was recorded, but not for free.

NEW RESPECT

Did I lose a couple of clients because I refused to put up with their BS? Of course I did, but I was glad to get rid of them. Now here’s the kicker…

Because I was putting my foot down (ever so gently, of course), people started to respect me more.

As my self-confidence increased, their confidence in me increased as well. To my surprise I discovered that being clear about my boundaries lead to less conflict.

My rate was no longer seen as expensive, but as a sign of professionalism. These days, many clients are willing to do a lot to accommodate me, instead of the other way around.

All in all I’d say that standing up for myself has made me feel better about myself in general, and it has brought more clients to my business.

However, there’s one thing that keeps on bugging me.

Not long ago, the childhood friend I told you about in the beginning, found me on Facebook, and now he wants to connect. It’s been more than forty years since we last spoke, and I’m curious to find out how he is doing. However, I’m reluctant to honor his request.

After all, the guy still owes me money!

Paul Strikwerda ©nethervoice

PS Be sweet. Please retweet.

photo credit: la colérica e inmediata respuesta gestual via photopin (license)

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Getting In Our Own Way

by Paul Strikwerda in Articles, Career, Studio 4 Comments

There are two types of people who are very hard to teach.

Let me break it down for you.

The first group could care less about how the world sees them.

These people often have an exaggerated sense of self, or worse, a narcissistic personality disorder. They have a hard time registering social cues, and they’re not very open to feedback. Feedback makes them hostile and defensive because they always know better. And those who know better, don’t have an incentive to learn new things. Teaching them, is like trying to fill a cup that’s already full (of itself).

The second group is the opposite. These people care too much about how the world perceives them. They suffer from the “invisible audience phenomenon,” a sense that they’re always on stage, and that the world is watching them. Gentle feedback is often taken as harsh criticism. The fearful voice of low self-esteem tells them they might as well give up. Teaching these people is like trying to fill a bottomless cup.

Of course these are extremes, but I’m sure you know one or two people who fall into both categories. Perhaps even intimately. The origin of these behaviors has a lot to do with self-awareness. You know, that thing that is supposed to separate human beings from animals.

MIRROR, MIRROR

One way to detect the presence of self-awareness is to do the mirror test. When a dog sees his reflection in a mirror, he’ll think it’s another dog. When we see our reflection, we know we’re staring at ourselves.

If you’d let group one and two do the mirror test, here’s what you would find:

The first group looks into the mirror, and finds it irresistible. The second group can’t stand their own reflection. Group one is focused on self, and group two is (consciously or unconsciously) focused on what others might be thinking.

As a voice actor and coach, I sometimes deal with people who display various forms of narcissism and self-deprecation. Oddly enough, it’s not all bad. One thing I always keep in mind is that certain aspects of these behaviors are actually useful and necessary, if you wish to survive as a freelancer (and as a voice-over). Shall I explain?

GOOD AND BAD

Let’s start with being self-conscious. All of us have to have a sense of how we come across, and we need to be aware of how others respond to us to. How else will we learn socially acceptable behavior? It’s also good to realize that we’re far from perfect. It keeps the mind open, and our spirit humble.

Secondly, as voice-over professionals working from our home studios, we often direct our own sessions. That requires the ability to recognize when we’re missing the mark, and when we’re hitting the nail on the head. If we want to deliver our best work, we need to be good evaluators of our performance. The more self-conscious we are, the easier this is.

The narcissist has an inflated sense of self. Obviously, that’s not helpful. However, any solopreneur can benefit from a healthy dose of self-confidence. You have to believe in yourself, and in your ability to attract clients. You may have incredible talent, but if you doubt that you can deliver, you’re sabotaging yourself.

The narcissist is able to recognize the good in him or herself. People who are shy and insecure find that hard to do. If you wish to have a successful career, you have to accept that you have something special to offer. Something that is worth paying for. You don’t need to be arrogant, but it helps to be audacious!

From an acting perspective, I think it is also useful to have the ability to imagine what it’s like to be a self-absorbed jerk, as well as an insecure mouse, and anything in between. The wider your emotional range, the greater your chance to land more demanding and interesting roles.

PARALYZED

Now, being overly self-conscious can have a paralyzing effect in everyday life, and in the recording studio. In fact, it’s one of the main reasons why some people have such a hard time sounding natural. They’re constantly over-analyzing what they’re doing, and usually not in a positive way. They’re busy thinking about how they will be perceived by others, and whether or not they can live up to certain expectations.

In a way, that microphone in front of them is like a camera. You’ve seen it happen. People are perfectly spontaneous, and they’re having a great time, until someone points a camera at them. All of a sudden they become very aware of themselves, and start acting in strange, stilted ways.

What’s really happening is this:

Without a camera pointing at them, most people focus on each other. They’re in the moment. In the flow of things. They act like no one’s watching. Naturally. As soon as a photographer or a cameraman comes in the picture, that changes. People start wondering: How does my hair look? Did I iron my shirt? Do I look fat in these clothes?

The same thing can happen in a studio. People are having a nice conversation. They’re animated and relaxed. Until the recording starts. All of a sudden the enthusiasm and the quiet confidence is gone. The voice becomes flat, and the text is not spoken but read. The narrator has become self-conscious.

In that moment, the focus on the script is replaced by the focus on self. That’s a shame, because as voice-over professionals, we get paid to let the script speak. In order to do that, we need to get out of our own way.

CAR TALK

I remember the day that Tom Magliozzi, one of the presenters of NPR’s Car Talk, died at the age of 77. For more than 25 years, Tom and his younger brother Ray entertained millions of people every week with car repair advice and comedic banter. People who didn’t care about cars, tuned in to Car Talk, if only to hear the brothers laugh.

What made these guys such a pleasure to listen to, was the fact that they talked to one another and their guests as if there were no microphones. In fact, the Magliozzi’s would be the first ones to admit that they knew nothing about radio. All they did, was be themselves. Their long-time producer Doug Berman told Terry Gross on NPR’s Fresh Air:

“What you heard on the show was absolutely them. And when you finish the show and went to get a cup of coffee it sounded the same, you know. I mean, the topics would change, but that’s what they did. They sat down and they enjoyed themselves and they found humor in whatever was around them. And they made each other laugh and they made us laugh. So it was not an effort to be funny about anything. That’s how they approached everything.”

FORGET THE MIC

Of course there’s a difference between doing a semi-live radio show and narrating a voice-over script, but I think many of us could benefit from forgetting that there’s a microphone in front of us. Just imagine there’s a dear friend or close relative to whom you’re telling a story. There is no audience. There are no critics. You have nothing to prove.

Imagine how freeing that would be!

Imagine what that would do to the way you sound!

From time to time you might slip into old behavior, and invite that inner voice to start critiquing you again. As soon as that happens, STOP, and bring your attention back to the text. Be script-conscious, instead of self-conscious. Let the focus be on the music, and not on the musician.

Instead of beating yourself up when you make a mistake, be soft on yourself. It’s no big deal. Correct it, and move on.

Eventually, you’ll notice a shift inside. A shift from that self-disparaging voice, to a self-accepting voice, to a self-respecting voice.

It’s something that’s almost impossible to teach.

It must be experienced.

Inside, and outside of your recording studio.

Are you ready for your lesson?

Paul Strikwerda ©nethervoice

PS Be sweet. Please retweet!

photo credit: gonzalo_ar via photopin cc

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5 Reasons Why You Should Never Become A Voice-Over

by Paul Strikwerda in Articles, Career, Freelancing, Pay-to-Play 106 Comments

“Millions of dollars paid out to voice actors globally.”
“Audition for your dream job now.”
“Instant access to amazing opportunities.”
“New job postings every day.”

It sure sounds tempting, doesn’t it? Especially when you’re young, idealistic, and impressionable. It’s the way online casting sites throw out their net, hoping that loquacious people will bite.

Well, bite they do, and day after day an ever-growing army of hopefuls is eagerly looking at their inbox, waiting for the next “amazing opportunity” to arrive. It comes at a price, though.

If you’re taking part in these online cattle calls, be ready to be milked!

Of course these casting sites won’t tell you that you have to spend between $349 and $399 per year to take part in a crapshoot. They’ll feed you success stories about people who claim to make a six-figure income by winning audition after audition. Anecdotal evidence always trumps independently verified numbers, right?

Believe me: People believe what they want to believe.

So, today I’m not going to give you the golden formula to online voice-over success. Sorry to break the news, but it does not exist. Instead, I will give you a few reasons why you probably should stay clear of this business. I’ll start with the most important one.

1. The world doesn’t need you.

Yes, you’ve heard me.

We have enough people talking into microphones, thank you very much. What this world needs is less talk and more action. We need teachers, doctors, nurses, and scientists. We need experts in conflict resolution; people who know how to fight global warming, and first responders to natural disasters.

If you want to make a real difference on this planet, don’t hide behind soundproof walls selling stuff no one needs. Get out there and start helping the poor, the homeless, and the ones without a voice. They need you more than Disney does.

2. There’s no money in voice-overs.

The cost of living goes up every year, while voice-over rates are in steady decline. That makes sense, doesn’t it? Even the union can’t stop it. Thanks to online casting services and ignorant amateurs, your voice has become a commodity, sold by the lowest bidder to the cheapest client.

VO has become a game of averages, and here’s how it works.

The bottom feeders choose lowball sites like Elance, Fiverr, and freelancer.com to sell their services for beer money. The top end of the market consists of A-list actors making millions voicing cartoons and commercials. If you’re average, you’re forever stuck in the middle. You have enough integrity to leave the crumbs to the idiots, but you won’t get the big gigs for the big money.

Don’t be fooled by voice-over veterans posting on Facebook how well they are doing. Some of them confided in me that they’re just keeping up appearances. No one wants to hire a loser, so you’ve got to tell the world you’re still an important player. Yay for social media! Everything people post is 100% true.

3. You are a social being.

Unless you enjoy going to expensive conferences to hear VoiceVIP’s talk about themselves and plug their books, you’re pretty much on your own in this business. I mean, who likes being locked up between the four carpeted walls of a 3.5’ by 3.5’ whisper box all day long?

You have no one to talk to but yourself, and you’ll never see a response from the people you’re supposedly entertaining. If acknowledgment is what you’re secretly longing for, go to a nursing home and read to the residents. Tell stories to kids in the cancer ward. It will make their day, and yours!

The sedentary lifestyle of a typical voice-over is unhealthy for the mind, body, and soul. If you’re an extrovert, you crave contact, and you thrive in the company of others. I can tell you right now that you will curse the day you decided to isolate yourself from the world, just so you could narrate some third-rate novel for a royalty share that doesn’t even pay this month’s water bill.

4. You’ll spend at least 80% of your time trying to get work, and 20% doing the work.

Voice-overs spend a lot of time being busy without being productive. How rewarding is that? Regardless of what voice casting sites want you to believe, most jobs you audition for will go to someone else, and you’ll never know why. Don’t you love it?

But what about agents, you may ask. Once you have an agent or two, things will get better, right?

No they won’t.

The pickings are slim, and these days, all the agents in North America will send the same Quilted Northern audition to every talent with a potty mouth. That really makes you feel part of an exclusive club, doesn’t it? (Quilted Northern is a type of bathroom tissue)

5. It may take many years before you see a return on your investment.

A voice-over career cannot be bought. It has to be conquered. Slowly.

You may think you’re going to be successful because of your unique sound. Dream on! The only way you’ll stand a chance is if you stop treating your pipe dream as a hobby. This means you’ve got to invest in professional gear and in a quiet place to record. Then you have to get yourself a few top-notch demos, plus a website to tell the world what you’re doing. And this is just the beginning.

Having all of that in place is no guarantee that you’ll make any money with your voice. Thousands of people all over the world are doing exactly what you do, and they are giving up within a year. The only money they’ll ever see is when they’re selling their stuff on eBay. At a loss.

When you really think about it, you have to be a fool to become a voice-over.

I was foolish enough to choose that as my career, and guess what?

I’ve never been happier!

Paul Strikwerda ©nethervoice

PS If you believe I’m being negative for no reason, you should read 5 awful things nobody tells you about being an actor. Then we’ll talk, okay?

photo credit: Sound Design: ADR Recording via photopin (license)

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Filling In The Blanks

by Paul Strikwerda in Articles, Career, Personal Leave a comment

“It’s too risky, too challenging, too expensive, and you’ll be very lonely”.

That’s what people told me when I announced that I was going to become self-employed. This was many, many moons ago.

I’m sure these folks meant well, but what struck me most was the fact that these self-appointed business coaches were all working in some nine to five job, making money for someone else. They had no clue what it would be like, to be one’s own boss. The idea alone probably terrified them. I say “probably” because I’m not sure.

What happened in these conversations was something that is universally human, and universally flawed: people projecting their own life experiences, values, beliefs, fears, and attitudes onto the life of someone else. Not hindered with practical experience or specific knowledge, they’ll tell you:

“I know precisely what you mean. I know exactly how you feel. I totally get it.”

The question is: Is that really true?

UNDERSTANDING AND BEING UNDERSTOOD

When you hear a seemingly innocent phrase such as “I know how you must be feeling right now,” let me tell you what is actually going on. With a few simple words, your friend, colleague, or family member has become a mind reader, and has managed to shift the conversation away from you and onto them. Hence the prominent use of the pronoun “I.”

They have taken what you wanted to talk about, and used it as an opportunity to refocus the conversation. Perhaps not on purpose, but they did it nevertheless.

By saying “I know exactly what you mean,” people are also comparing their personal situation to your unique circumstances, as if these two are equal. That is hardly ever the case. Even when situations seem very similar, they rarely are, and people respond to them in their own way. That’s what makes us so interesting, and at times unpredictable.

When people say things like “I know exactly how you feel,” most of us don’t make a big deal about it, unless it concerns something very personal, and there’s a need to be understood. Let me give you an example.

WALKING IN SOMEONE’S SHOES

You may know that my wife has multiple sclerosis. It’s a nasty disease which manifests itself in different ways on different days. One of the most common symptoms is fatigue. Fatigue is different from being tired. It is often described as an acute lack of energy; an unusual and utterly overwhelming whole-body tiredness not relieved by sleep, which prevents a person from functioning normally.

So, when my wife told one of her friends that she was exhausted, and the friend (who doesn’t have MS) responded by saying “I know exactly how you feel,” my wife said:

“Actually, I’m glad you don’t. I would not want to wish this on anybody.”

I remember going to an event where friends and family members were educated about multiple sclerosis. To give me a sense of what it might feel like to experience MS symptoms, a facilitator put weights on my legs which affected my sense of balance.

Blurred vision is another MS symptom, so they had me wear strange goggles that made the world around me look distorted. I could not read a simple text they asked me to read. Then I had to wear thick gloves, and I was instructed to unbutton my shirt, which was totally impossible.

I still remember the frustrating feeling of helplessness as I was wearing this weird outfit. The things I had come to rely upon: my sense of balance, my eyesight, and my sense of touch, were seriously affected. I needed the help of other people to get around and get things done, and I hated losing my independence. For a moment.

Luckily, after a while I could take all these gadgets off, but I tell you: I never looked at my wife in the same way. Never again would I tell her: “I know exactly how you feel.” Even after my limited MS symptom simulation I can’t say I know what it’s like to have an incurable chronic disease. And I hope I’ll never find out.

PERCEPTION AND PROJECTION

Now, this may be an extreme example, but extremes can make things clear. As a human being it is hard not to compare and project. We constantly have to make sense of the world around us, and we use our own experiences as a frame of reference. Based on that I have a few questions for you:

• How often are you aware that your perception is based on projection?

• How often do you really know what a client means or a what friend feels?

• What would happen if you’d stop filling in the blanks based on your model of the world?

It doesn’t matter if you’re in a personal or in a professional relationship. If you are using your own experience to interpret the world, you are severely limiting yourself, and you’re not doing the other person justice. You’re not even focused on the other person because you’re too busy working things out in your own head.

Or as they say in the East: “You cannot pour tea into a cup that is already full.”

A LEARNING EXPERIENCE

When I give a voice-over student a script and ask him or her to read it as if they were hired to be the narrator, I can predict what is going to happen. The student just starts reading the text. A few paragraphs later I ask them:

“How did you know to read it the way you did? How did you choose the tone, the tempo, the volume, and the accent?”

And most of the time they tell me: “I thought it would sound good this way. That’s all.”

Then I ask:

“Is this what the client wanted?”

“I have no idea,” the student answers. “It’s just a guess. How was I supposed to know?”

“Well, did you ask?” is my response.

And then the coin drops.

You can’t give a client what s/he wants to hear, if you have no clue what it is. You might think you have some idea, but that perception is based on your projection. It’s like asking a bartender to fix you a drink, and he just starts mixing something. Unless you asked to be surprised, you might not like what you are getting, let alone pay for it.

“Am I making any sense?” I asked my student.

“Absolutely,” she said. And then she added:

“Believe me… I know exactly what you mean.”

“Believe me,” I answered.

“You absolutely don’t.”

Paul Strikwerda ©nethervoice

PS Be sweet. Please retweet!

photo credit: via photopin (license)

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Is Your Client Driving You Crazy?

by Paul Strikwerda in Articles, Career, Freelancing 4 Comments

David Ogilvy

The other day, one of my readers wanted to know:

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

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

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

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

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

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

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

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

Here are a few clients I gladly gave the sack:

THE DICTATOR

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

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

THE VIOLATOR

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

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

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

THE CHEAPSKATE

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

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

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

THE UNETHICAL

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

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

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

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

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

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

THE UNPROFESSIONAL

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

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

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

THE HIDDEN MESSAGE

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

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

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

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

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

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

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

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

Paul Strikwerda ©nethervoice

PS Be sweet. Please retweet.

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Are You Suffering From Mike Fright?

by Paul Strikwerda in Articles, Career, Journalism & Media, Social Media 3 Comments

While listening to one of my favorite podcasts, Radiolab, I discovered an interesting fact.

Before legendary producer Allen Funt created Candid Camera, he experimented with a different show based on the same premise.

It was called The Candid Microphone, and it first aired on June 28th, 1947 on ABC Radio. Funt came up with the idea while producing radio shows for the armed forces at Camp Gruber.

One of the shows he worked on was called “The Gripe Booth.” Funt asked soldiers to come into his studio and talk about things that bothered them. Here’s what he found out.

During the pre-interview, most of his guests were at ease and happy to talk. But as soon as the red light went on (indicating that the recording had started), the soldiers became extremely nervous and tongue-tied. This phenomenon is called Mike Fright, and it doesn’t make for good radio.

Luckily, Funt found a way around it. He disconnected the red light, and started recording his guests secretly. He pretended to do a practice interview during which most soldiers were… themselves. And when it was time to do the real thing, he told them he already had what he needed. It was a great gimmick to get spontaneous reactions.

Funt knew he was onto something, and when the war was over, he pitched the idea to ABC, and The Candid Microphone was born.

FEAR THE MICROPHONE

It might not surprise you to hear that Mike Fright is a very common condition. Just as some people become very self-conscious as soon as they spot a camera, you’ll find that folks who are normally very eloquent, will freeze up when you put a microphone in front of their mouth.

It’s tough to be natural in an unnatural situation, even for professional communicators.

I’ve worked in radio since I was seventeen years old, and in that time I have seen veteran-broadcasters hyperventilate, and wipe the sweat of their foreheads before they were about to go on air. The live broadcasts were the worst, because there are no retakes when you go live.

Even though I believe the public doesn’t really mind that much when people mess up on air (who doesn’t like bloopers?), I’ve seen colleagues who were utterly devastated after they misspoke. I’ve often wondered why they would beat themselves up over something that’s entirely human, and here’s what I came up with:

Many of us want to be perceived as being perfect in public.

That’s why we select the best selfie, and use photo editing software before we post it on social media. We treat the world to the highlights of our life, and we don’t expose our darker side. We love sharing our successes, and we carefully hide our failures.

PRIVACY PROTECTION

I completely understand that, by the way. “The world” doesn’t need to know everything about us. We have to protect our privacy and our reputation. The way to do that, is to control and manipulate the message.

Cameras and microphones scare us because they create a situation we can’t predict or control (unless we call the shots). They have the power to expose the private, and make it public. That’s part of the success of a show like Candid Camera. People who don’t know they’re being filmed are much more fun to watch.

Audiences all over the world prefer spontaneous over studied. We want raw emotions instead of rehearsed responses. But there’s something we conveniently forget: in the media, there is no “reality.” At best (or at its worst -depending on your viewpoint), it is “enhanced reality.”

Allen Funt found out pretty quickly that reality in and of itself was pretty boring. That’s why he ended up putting normal people in abnormal situations to see how they would react. I’m sure it wasn’t all comedy gold, and much of the footage ended up on the editing floor.

THE VOICE-OVER STUDIO

In a way, our recording booth is part of the “enhanced reality.” It is an artificial setting that can be quite intimidating, especially to newcomers. Some of my students have admitted that they too are sometimes suffering from Mike Fright, especially during live recordings. Their perfectionism might be part of the problem. They want to do so well that they tense up, and become like the self-conscious soldiers in “The Gripe Booth.”

One of the techniques I use to relax my students, is taken straight out of Allen Funt’s book. As we prepare for the session, we go over the script a couple of times and have fun with it. Unadulterated fun.

What my students don’t know, is that everything is being recorded. In their perception, there is no microphone, there is no right or wrong, and there’s nothing to be afraid of. They’re “just” talking to me, and there is no pressure to perform.

That’s when the magic happens, because people start sounding like themselves. They’re by no means perfect, but perfection is never the goal. Perfection is a perverse illusion, anyway.

WINNING AUDITIONS

Now, don’t get me wrong. It’s not that I don’t want people to do their best. I just don’t want them to overdo it.

One of the reasons why some people aren’t winning auditions is because they sound over rehearsed. They focus too much on the microphone, and they forget to have fun. I will often ask them to position the mike above their head, practically out of sight. That way, it doesn’t distract. It’s one of those small changes that can make a big difference.

Sometimes I go bit further.

A few weeks ago, I asked one of my students to print out a life-size picture of a human ear, and tape it to her microphone.

“Why should I do that?” she asked puzzled.

“To remind you that you’re always talking to a person,” I said. “Not to a mike. It might look a bit eerie, but you’ll get used to it. I promise.”

Soon after my request she said her Mike Fright was practically gone, and when I listened to one of her auditions, she sounded so much better!

To celebrate the achievement, I proposed to take a picture of her in the booth. “It has to be spontaneous,” I said. “So, I’m not going to tell you when I’m taking it.”

Even though she knew it was coming, my snapshot took her by surprise.

“Smile,” I joked.

“You’re on Candid Camera!”

PS Be Sweet. Please Retweet.

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Life’s Unfair. Get Used To It.

by Paul Strikwerda in Articles, Career, Personal 3 Comments

My Dad and Me

Jake was a model employee. He’d been with the same company for 45 years, and never missed a day. At his retirement party, he received a farewell gift: a trip for two to Aruba. It was something Jake and his wife had always dreamt of.

A week later, they were on their way to the airport. While going through security, Jake suddenly collapsed, and died of a heart attack.

Jenny was a model athlete: tall, muscular, and motivated. From the age of fifteen she’d won practically every triathlon she took part in. At her Olympic qualifier she crushed the national competition. Two more weeks, and she would be on her way to represent her country.

Friends threw her a farewell pool party. That night, Jenny slipped over an ice cube, and landed on the edge of the pool. With a broken tibia, she could kiss her Olympic dreams goodbye. She never reached her old level again.

A few years ago, Folkert, my father, was diagnosed with prostate cancer. One of his doctors told him he was in the final stages, and advised him to get his affairs in order.

My father began a breakthrough treatment to which he responded remarkably well. Instead of a few months, he was given a number of years. Then he started experiencing new symptoms, completely unrelated to his cancer. Before long he was diagnosed with ALS.

DO YOU HAVE THE ANSWER

What do you make of these stories? How do you respond? What can you possibly say to Folkert, Jenny, and to Jake’s wife?

Is there a satisfactory answer to the question why bad things happen to good people?

Some have tried to come up with something, as if knowing the answer would somehow soften the blow. It doesn’t work that way. In fact, I get very uncomfortable when people attempt to make a wrong right. On what authority are they speaking? What do they know that I don’t?

Please don’t tell me that “everything happens for a reason,” or that it’s “for the better.” Don’t tell me there is a G-d who orchestrates cruel things out of love for his unruly children. Don’t tell me that Jake, Jenny, and Folkert deserved their fate because of some colossal cosmic conspiracy we call karma.

It doesn’t help.

It only hurts.

Yet, in the back of most people’s minds is the belief that we reap what we sow. We get what we deserve. It’s at the heart of the American Dream. If you study, apply yourself, and work hard, you can go from foster care to self-made millionaire. That’s only fair, isn’t it? If you are a good person, good things will happen to you. Good boys get rewarded. Bad boys get punished.

But what about all those bad boys who end up on top? The higher you climb up the corporate ladder, the more selfish, cutthroat executives you’ll encounter. They didn’t get there by playing nice. In certain circles, success knows no mercy. It’s either eat or be eaten. Sharks in fancy suits walk all over gentle Mr. Goody two-shoes, the docile doormat.

WHAT ABOUT YOUR CAREER

A few days ago I had a serious conversation with one of my voice-over students. In the last twelve months, she had invested a nice chunk of change in her studio. She bought a great new mic, a lovely preamp, and even a new computer.

I believe in her, and more importantly, she believes in herself.

When we started our session, she sounded peeved.

“Paul,” she said, “Over the past couple of years I have worked my butt off. You know that. I promised myself to give this voice-over thing a good shot. When I listen back to some of my early recordings, I can tell that I have grown. And when I listen to what else is out there, I know I have something to offer. You said so yourself. But get this…

The other day I told one of my voice-over friends that I was going to audition for that commercial we talked about. I really poured everything you’ve taught me into that audition, and I sounded pretty good, if I say so myself. Guess who got the job? My friend! The one who has zero personality and zero experience. She even let me listen to her audition, and it was mediocre at best.

Be honest with me, Paul. Did I just waste years of my life? Should I sell my equipment? What good did all of that training do if I get beaten by a newbie? It’s so frustrating, and it makes me mad! How long do I have to wait for my big break?”

THE MYTH OF OVERNIGHT SUCCESS

When I heard her question, I had to think of actress Jenna Fischer. You probably know her as Pam from the American version of The Office. She always wanted to be an actor, and she eventually moved to Hollywood to pursue her dream. She fully expected to be working in movies within a year of coming to LA. It didn’t happen that way.

Jenna worked as a temp, she took acting and improv classes, and she borrowed money to make ends meet. At one point she had to wear a pair of shoes with a hole in them because she couldn’t afford anything else. It took her more than six long years before she finally got “discovered.”

Jenna Fischer is a perfect example of the adage that it can take years to become an overnight success. She knows from experience that the (voice) acting business is without guarantees, no matter how talented and motivated you are. When asked about it, she had this to say:

“This business is not fair. It is not like other businesses where if you show up, and work above and beyond everyone’s expectations, you are pretty much guaranteed to move up the ladder. I don’t know why it works out for some and not for others. And when you move here (Hollywood, P.S.) you have no idea which camp you are going to fall into.”

JUST BE FAIR

“Fair” is an interesting concept. Most dictionaries define it as “in accordance with the rules.” Most rules civil societies live by, are practical, logical, and even reasonable. They’re an example of cause-effect thinking: If A, then B. Without rules, life would be chaotic.

Most of us have unwritten rules that guide our hopes and expectations. To name a few: “If I train hard, and do my very best, I will be successful.” Or “If I live a healthy life, I will live a long life.”

Here’s the problem: those rules aren’t always reasonable, and they are rarely absolute. They only seem that way. What makes sense, and what seems right from our limited perspective, doesn’t necessarily happen. Kind, innocent people die young. Selfish bastards live to be a hundred. No explanation given.

Secondly: Most people don’t play by our rules. They might not even be aware of them. Perhaps they’re playing a different game altogether, and we don’t even see it. Many decisions that affect us, have nothing to do with us.

Third: Life isn’t logical. It’s not a matter of “If A, then B.” Usually, it’s: “If A, then D or Z.” People are emotional beings, and what they do isn’t cold and calculated. We forget. We make mistakes. We act impulsively, and break all the rules.

Last but not least: Even though we often think we are, we’re never one hundred percent in control. If we’re physically and mentally healthy, we can control our actions to a great extent, but we cannot control the outcome. Life consists of too many variables. Even perfectionists have to admit that…. at some point.

NOW WHAT?

So, where does this leave us?

Are we hopeless and helpless leaves in the winds of chance? Should we stop trying to accomplish things, simply because the outcome is uncertain, and likely to be unfair?

I’ll tell you what I think we should do.

We should begin by skipping the question “Why.” “Why me, why this, why now?”

Asking “Why” is asking for a logical, reasonable explanation which you won’t always get. I hate to break it to you, but your rules, conscious or unconscious, don’t apply all the time.

My student did everything she could to win that audition. There was nothing she could have done to change the preference of the client.

Jenny missed the Olympics because she accidentally stepped on that ice cube. It wasn’t part of some devious celestial plan.

Jake had earned that dream vacation, but he died at the airport because his heart stopped working. Period.

My father did nothing to deserve ALS. There wasn’t anything he could have done to prevent it from affecting him. The question “fair or not fair” wasn’t going to change his condition. He had to learn to live with ALS, and he eventually chose to end life on his own terms.

One last thing, if I may.

Most people tend to contemplate the issue of fairness when they believe they’ve been wronged, tricked, or were denied something they felt entitled to. That’s when they will ask the question “Why?”

When things go really well, and life smiles upon us, we hardly ever ask the question “Why me, why this, why now?”

We take our good fortune for granted.

Think about it.

Is that really fair?

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Turning Resistance Into Results

by Paul Strikwerda in Articles, Career, Personal Leave a comment

Every 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?

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)

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Ten Lies Voice Overs Tell

by Paul Strikwerda in Articles, Career, Promotion, Social Media 7 Comments

How far would you go to get ahead in this game we call the voiceover market place?

Would you betray your pacifist principles and record a promotional video for land mines?

Would you flirt with the casting director?

Would you badmouth a colleague in the hopes of improving your odds?

As soon as money is involved, people are prepared to sell their dignity and self-respect to the highest bidder, and it’s Survival of the Slickest and every man for himself. Take no prisoners. After all, the economy sucks and it ain’t getting better any time soon. If it’s a choice between you and me, my friend, it better be me.

In an attempt to break into the business or simply stay afloat, people even start sinning against the Ninth Commandment: Thou Shalt Not Bear False Witness. What do they tell you in this business?

If you can’t make it, just fake it!

That’s why the almighty Internet is inundated with pretenders, posers, anonymous commentators and self-styled experts. In this day and age where the latest is the greatest, nobody bothers to fact-check anymore. It’s the ideal opportunity to be whoever you say you are. No questions asked. It’s in black and white. That means it’s reliable, right?

Now, don’t believe for one second that the people in our community are holier than the Pope. They are not. Some of them are spinning a world wide web of lies. Of course they don’t call it that. They see it as innocent embellishments of the truth. The means justify the ends. Meanwhile, they are walking around with their pants on fire.

Here’s my Top 10 of the most common lies people tell to get ahead as a voice talent:

1. Experience

Lie: “With years of experience under her belt, Carla can handle almost any project.”
Truth: Carla has been at it for five months; part-time, that is.

2. Training & Coaching

Lie: “Roger has studied with some of the world’s best coaches.”
Truth: He took an introductory course at the local community college.

3. Clients

Lie: “John has recorded voice-overs for some of the biggest names in business.”
Truth: John wishes he had recorded voice-overs for some of the biggest names in business.

4. Equipment

Lie: “Peter exclusively uses his trusted Neumann U87, arguably the best known and most widely used studio microphone in the world.”
Truth: Peter doesn’t even know how to correctly pronounce the name Neumann. He is the proud owner of a second-hand Chinese condenser he got off eBay for $65.

5. Home studio

Lie: “Heather records her voiceovers in her professional studio, guaranteeing you the highest audio quality possible.”
Truth: “Heather hides inside a bedroom closet and she has no idea why this mattress foam won’t keep the noise out. She wonders: Should I have used egg crates instead?”

6. Demos

Lie: It sounds like Thomas really voiced those national campaigns, doesn’t it?
Truth: The scripts were stolen from auditions that never worked out. An audio engineer friend helped him with the music.

7a. Languages and accents

Lie: “Jerome speaks Dutch and is available for your eLearning projects.”
Truth: Jerome was born, raised and educated in Flanders (Belgium) and speaks Flemish. Dutch and Flemish are just as related and just as different as American and British English. Substitute Dutch and Flemish for other languages and accents to expose other actors.

7b. Native speakers

Lie: “Maria was born and raised in Germany and speaks ‘Hochdeutsch’ or Standard German.”
Truth: Maria moved to the U.S. when she was seventeen and thirty years later, she stills lives in Dallas. Ever heard a German with a Texas twang?

8. Testimonials

Lie: “Jennifer was a delight to work with. Our company would not hesitate to hire her again.”
Truth: Jennifer never worked for “that company” and she is the author of this endorsement.

9. Head shots

Lie: We see a young, smiling face, staring confidently into the camera.
Truth: After ten years, Harry doesn’t look like his old headshot anymore. He’s become bitter and it shows. He also gained twenty pounds.

10. Believing that you won’t get caught

You see, people with real credentials have real experience and a real portfolio. They don’t have to hide behind vague descriptions and false advertising. The truth will always come out and when it does, it will damage a career that never was and probably never will be.

SPOTTING THE ROTTEN APPLE

You don’t have to be a detective to find the fakers. Liars usually do a great job exposing themselves. I was emailing one of my colleagues the other day, and he shared the following story with me:

“I’ve read your blogs regarding people that want to be a voiceover talent with interest. I have some ideas on people that are “posing” as voiceover talent and how to spot them immediately.
For example: a young lady recently posted on a LinkedIn forum complaining that she wasn’t being hired via sites like voices.com and how obviously the system was flawed, and that was the reason she wasn’t getting work.
I visited her website to find that (through the placement of national logos for Burger King and Nissan) she had implicated that she’d done voiceover work for national companies.
When I listened to her demo it was apparent that she had nowhere near the skill level of a national voice talent.
Furthermore – on her website there was a mention of a client that she claimed as her client, when in fact, it had been MY client for more than four years. A quick check with producers led me to find that this person had never worked with that company.
In short, she wasn’t getting work because she sucked as a “talent”. And yet, she couldn’t hear this, and was angry with the world because she wasn’t getting work.
What are these people thinking? Do they really believe they can fool an experienced producer or Creative Service Director?”

ACTORS ARE LIARS

People in our profession have a strange relationship with the truth. We get paid to pretend. The most convincing liars get the nicest paychecks, an Oscar and a star on Hollywood’s Walk of Fame.

However, true talent, trust and integrity are the cornerstones of a successful career.

Trust must be earned.

True talent and integrity can never be faked.

Ain’t that the truth?

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