Freelancing

Has VDC Gone Too Far?

by Paul Strikwerda in Articles, Freelancing, Money Matters, Pay-to-Play Leave a comment

Before I come back to Monday’s story about voices dot com’s changed Terms of Service, I have a word for my many subscribers.

Until now, I’ve used a service called Feedburner to enable people to subscribe to this blog. Google stopped supporting this service quite some time ago, but it was still operational.

As of today I have retired Feedburner, and replaced it with a simple subscription system provided by Jetpack.

What I did not do is automatically transfer thousands of Feedburner subscribers to the new system. That may not seem such a smart move, because I’d stand to lose many subscribers. However, I feel I cannot just move your private information over from one system to another without your permission. That choice has to be yours, not mine.

If you feel this blog offers enough value, I ask you to please go to the top right-hand part of this page and resubscribe using the new system. You will receive a short email asking you to confirm your choice. Mind you: you can always unsubscribe if my musings are no longer relevant or interesting to you.

I will weep in silence, but eventually I’ll get over it.

LOSING YOUR INTELLECTUAL PROPERTY RIGHTS

With that said, let’s move on to my friends at voices dot com (VDC). Every member past and present has received an email notification saying:

“As part of our regular updates, we’re making a few changes to our Terms of Service to reflect new features, clarify our policies related to file ownership and improve your experience on Voices.com.”

As I reported on Monday (a day before VDC made the announcement) CEO David Ciccarelli had decided that, in order to “improve your experiences on Voices.com,” it would be best to hand complete ownership of your finished work over to VDC.

As soon as your audio has been uploaded, VDC can do with it whatever it wants. Once the client has paid in full, that ownership is transferred to the client.

The following is from the new VDC Terms of Service (TOS):

6. Non-Union Work Product: With respect to non-union voice work produced by Talent for a Client in connection with a Services Agreement or an accepted Job Posting (“Non-Union Work Product”), immediately upon the transfer, transmission, submission or upload of Non-Union Work Product through the Site, or otherwise through a Service, Talent: (i) transfers, assigns and conveys to Voices.com, all right, title and interest (including without limitation copyright) in and to such Non-Union Work Product (including without limitation sound recordings, performances, compositions, musical works and other copyrighted content included therein) that Talent has agreed to provide the Client (via Voices.com) in the applicable Job Posting, Services Agreement or other agreement between Talent and Client; (ii) waives all moral rights (and all other rights of a like nature) that Talent may have in such Non-Union Work Product in favour of the applicable Client (and any third party authorized by the Client to use such Non-Union Work Product); and (iii) agrees to execute any and all such further documents as Voices.com may request to confirm and/or give full effect to Voices.com and/or the applicable Client’s rights hereunder.

Without limiting the generality of the foregoing, Voices.com (including its assignees or licensees) may use Non-Union Work Product in accordance with the applicable Job Posting, Services Agreement or other agreement between Talent and Client without restriction and without any rights of approval by Talent. Upon payment in full by the Client, Voices.com grants to Client all right, title and interest (including without limitation copyright) that Talent has agreed to provide the Client (via Voices.com) in and to the applicable Non-Union Work in the applicable Job Posting, Services Agreement or other agreement between Talent and Client, which for greater certainty will be limited and subject to any purposes, intent, scope and restrictions (including, if applicable, category of use, market size and time period) set out in the applicable Job Posting, Services Agreement or other agreement between Talent and Client. In the event the applicable Services or Job Posting does not specify such limits nor usage restrictions, a full buy-out of the Non-Union Work Product is assigned.

A BIG DEAL

Why is this even an issue? Our colleague Chris Thorn comments:

“If Burt’s Bagel Shop (of course I am making this up) wishes to pay me X number of dollars to voice an advertisement for them, frankly, I’m all for it. I’ve done him a service, he has compensated me, and we both live happily ever after. That I do or do not own the intellectual property rights to that 30 seconds of Emmy quality audio troubles me not. What on earth am I going to do with the property other than sell it to Burt who has already purchased it.

Most of us don’t play with the “big boys”. Here is where we carve out our niche and put food in our belly’s, that I don’t have the intellectual property rights to Burt’s Bagels ad, Sally’s Fine Nails Internet Explainer Video voice over, or Junk City’s benefits presentation audio troubles me very, very little. Signed, An Unconcerned Voice Actor”

First of all, the right to ownership of your intellectual property is in the US Constitution. Apparently, you need a Dutch voice talent to point that out. Just because a third party is paying for your voice over recording, doesn’t mean they own those rights, UNLESS you agree to signing those rights over in a work for hire agreement made prior to you starting the job. That’s how it’s done.

It’s not for a company like VDC to automatically give that right away using a Terms of Service Agreement most members won’t even read.

Secondly, if a company wants exclusivity, THEY PAY FOR IT.

UK Colleague Marcus Hutton explains:

“The level of exposure matters. And in your fee there should always be an exclusivity element built in. Heavy association with one product will naturally take similar products off the table (who wants to use the same voice that a rival uses?). If you go and work for Betty’s Bagel shop then Bert won’t be using you again and bang goes you client relationship.

Even if your job is is officially non exclusively licensed, a rival client would be very peed off if they made the connection. Unofficially, radio stations ( as an example) who do not pay exclusivity fees just won’t use you for a competing product. And how on earth can you negotiate a fee with Bert’s Bagel Shop in the first place if you don’t know what the usage will be ? In Europe that’s now illegal under the new copyright directive. Clients can be fined for providing insufficient information.”

He continues:

“A study by the IP department of a major UK university on voice overs licensing, and unfair practises by P2P platforms is underway, and the first part of their research was published earlier in the year. There is more to come specifically on the legality of P2P licensing and how it varies between the US and Europe and what part the WIPO (World Intellectual Property Organization)can play in making things fairer. Jurisdiction will be a hot topic.”

Click here to access this study. Here’s one of the conclusions:

“In a two-part analysis, this study demonstrates that online peer-to-peer recruitment platforms defeat the framework of intellectual property (copyright and performers’ rights) on a global scale.

The results of the survey show that: online peer-to-peer recruitment platforms are perceived very negatively by voice-over performers; the use of written contracts, summarizing the key aspects of a transaction is extremely rare; and, there is a critical lack of awareness of intellectual property rights within voice-over performers paired with a perceived lack of representation by unions or organizations to defend and advance their rights.”

The author (R) and Rob Sciglimpaglia

LEGAL OPINION

As (voice) actor, attorney and the author of Voice Over Legal, Robert Sciglimpaglia said on Monday:

Talent should think long and hard about waiving their intellectual property rights through a buried term in a terms of service agreement on a website. The end client may ask the talent to sign a work for hire, but it’s an open question for me whether TOS is an enforceable work for hire.”

And by the way, what would you, Chris Thorn, do when VDC uses the explainer video for Sally’s Fine Nails as a national commercial, or uses it for years past what you contracted for? How are you going to stop them from doing that if you have no more ownership of your work?

Unlike you, I did not make these examples up. These are actual cases that were litigated and reported by VDC members. Or how about when they use your work to create an AI database to do who knows how many jobs that you could have done to put food in your belly? It’s no secret that VDC has a partnership with AI company VocaliD.

YOUR INPUT

Ciccarelli explains how this change in TOS came about:

“We listened to your feedback via online forums and our customer advisory group. We consulted industry experts, our board of directors and finally, our legal counsel.”

If you’re a VDC member, were you asked to weigh in on this decision that impacts your livelihood? Did you give VDC feedback, begging them to please take away your intellectual property rights to make the poor clients happy?

Only a fool or an extremely naive beginner would do that.

I have many connections in the voice over world, and as far as I can tell, no voice talent was ever consulted.

Once again, VDC is pulling a fast one, screwing the talent it depends on to make millions.

What else is new?

Voiceoverist extraordinaire Philip Banks has this to say to VDC:

“Dear Dave, Steph and all you lovely Voice Devils Canada. A client, not you, will pay me for the reasonable use of my work. My performance was, is and will remain my property. YOU, dearest Dave, Steph and the lovely Voice Devils Canada take an annual fee from me and an undetermined percentage of my income, MY INCOME, derived from your site. That’s it.

 “In order to improve service” as used in your T&Cs is like greasing my wallet in order to improve the service I get from Quentin the local pickpocket.”

 

Paul Strikwerda ©nethervoice

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Voices Dot Com is Giving Your Rights Away

by Paul Strikwerda in Articles, Freelancing, Internet, Money Matters, Pay-to-Play 4 Comments

I just received an email from Michelle Melski, the new communications manager at Voices Dot Com (VDC).

She writes:

“After conversations with customers and industry stakeholders it became obvious that we needed to clarify our Terms of Service, particularly around the ownership of files. 

Our terms of service will be updated tomorrow (11/12/’19 PS) to reflect that voice talent own the demos they are uploading to the website and that the clients own the finished work. Our CEO will blog about it in more detail on our website tomorrow, but I wanted to give you a heads up because I know that it matters to you.”

In his blog, VDC CEO David Ciccarelli writes:

“As always, voice talent are the owners of their demo materials. Voices.com holds ‘non-exclusive’ rights to host and promote these files through our website and mobile applications.

Additionally, clients own the final files for the work that they have paid to have completed on Voices.com. Ownership and usage of final files is determined by what’s written in the job posting, service agreement or other agreement between the talent and the clients.”

(…)

“I trust that you’ll see our commitment to providing a valuable service that is governed by policies designed to protect our community.”

To some this may not seem like a big deal, but in my understanding an independent contractor owns the intellectual property (IP) rights to his or her creation, in this case an audio recording.

Unless the talent explicitly waives those rights, the client does not own the finished voice recording. The client only pays for limited usage of the work. It’s very much like a professional photographer keeping ownership of the negatives while the client pays for limited use of those negatives.

Only if you have a written contract in place (a so-called work for hire agreement) that was agreed upon before the job began, stating that the intellectual property belongs to the client, the freelancer loses his or her rights. If there’s no written agreement, the IP remains with the voice talent.

Mind you: just because the client paid you for your work does not mean he or she automatically owns the intellectual property rights.

The big question is: are the VDC Terms of Service (TOS) the same as a work for hire agreement

I checked in with screen actor and voice talent Robert Sciglimpaglia. Rob’s also an attorney and the author of Voice Over Legal. He said:

“This issue will need to be tested by the Courts, and talent should think long and hard about waiving their intellectual property rights through a buried term in a terms of service agreement on a website.” Rob continues:

“The talent owns the recording unless they sign a work for hire agreement. Does the TOS meet the terms for a valid work for hire agreement? In order for it to be challenged properly I would recommend talent register the work as a sound recording with the US Copyright office just prior to submitting to VDC. The end client may ask the talent to sign a work for hire, but it’s an open question for me whether TOS is an enforceable work for hire.”

Rob writes in his book:

“Voice talent are most certainly hired to do most voice over jobs as “work for hire,” meaning that whoever hires the voice talent is retaining the right to copyright the finished product with the talent’s voice on it. This is normal and customary in the business.”

Here’s my take on it. 

As freelancer, I am free to set my own terms and conditions when working with my clients. I can negotiate my rate, in part based on intended usage of the audio, precisely because I own the intellectual property rights to my recordings. Why would I want to give those rights away?

Has VDC asked any of their talents if they agree that content created by the talent for a third party belongs to that party, simply because VDC claims their Terms of Service trump intellectual property laws?

And if you’re giving something away, shouldn’t you get something in return?

I asked VDC’s Michelle Melski:

“Does this mean that all VDC members effectively agree to a full buyout in perpetuity? If so, how will this be reflected in the rates?”

Her response:

“As always, clients are only able to use the files for the specifications laid out in the Job Posting, Services Agreement, or other agreement between Talent and Client. Our CEO will outline this in more detail on our blog tomorrow (11/12/’19 PS).”

What guarantees does the talent have that clients owning the finished work will stick to those agreements? How is VDC going to monitor and enforce that? And will VDC rates go up in exchange for talent giving up up their intellectual property rights? And should you really have to register your work with the US copyrights office at $35 a pop, every time you land a job on VDC? Is the client really willing to wait until your voice over is officially registered?

As Rob Sciglimpaglia notes in Voice Over Legal:

“The copyright is effective on receipt by the Copyright Office, and you will receive your registration certificate in four to five months. Because of this time delay, it’s advisable to send the material by either certified mail (return receipt requested), or courier (such as FedEx or UPS).”

The following screenshot provided by VDC outlines the specifications a client must list when posting a job for a voice talent at VDC. Michelle Melski says the rate is adjusted based on the parameters of the job. 

Just remember that transparency has always been lacking at VDC, and since I’m no longer a member I cannot tell you if rates have actually gone up.

This whole relinquishing your rights thing is clearly a move that benefits clients and not the talent VDC says it represents. What community is VDC actually protecting?

It’s no wonder why so many smart voice actors have left this company, and why VDC is no longer welcome at conferences like VO Atlanta.

So, will this be the final straw for you, or are you okay with VDC giving away your rights to please their cheap clients?

Paul Strikwerda ©nethervoice

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I’m Looking For Voice Talent!

by Paul Strikwerda in Articles, Career, Freelancing, Promotion 4 Comments

museum audio tourDo you want to hear my formula for voice over success?

Number one: There is no formula. Just talent and hard work.

Number two: It’s getting the basics right. Consistently.

Number three: Learn from the best and distinguish yourself from the rest.

Number four: Make it easy to hire you and easy to work with you.

I was reminded of those last points as I got involved in the casting of a project for a Spanish client. He asked if I could help him find a few Dutch female voices for an hour-long museum tour

Easy, right?

But where to start?

With so much talent, I had to find a way to separate the wheat from the chaff, knowing that my recommendations would also reflect on me. In my role as voice seeker I came up with a couple of principles that are so obvious that they’re often overlooked. Here’s number one:

People are more likely to suggest and hire people they know and can relate to

The longer I am in this business, the more I’m reminded that connections are the key to a sustainable career. If you don’t have a long-term strategy to cultivate these connections, you’re going to have a hard time.

Why are connections so important? It comes down to the most valuable commodity in our volatile line of work: trust

“But I don’t know anyone in the business,” said a newcomer. “I’ll never be able to break in.”

“Then make some friends!” I said. “With social media it’s never been easier. Don’t wait for others to take the initiative. Start reaching out!”

A year or so ago, I became more active in a Facebook group for Dutch talent. I rekindled old connections, and began making new ones. I received friend requests, and asked people to befriend me.

Some colleagues were predominantly interested in how I could help them land big American clients, and I understand that. Others were also interested in me as a person, and they offered their help. 

From the moment I started my life as a freelancer, I’ve learned to pick out the ME-people from the WE-people.

The ME-people ask: What can you do for ME?” They are mainly interested in getting

The WE- people ask: “What can I do for YOU?” They are mainly interested in giving

You’ll notice the same thing when people discuss the merits of going to voice over conferences. Some want to know: “What’s in it for me? Will I get my money’s worth?” Others ask: “How can I contribute? What can I do to help?” 

I’m very much drawn to the WE-crowd. The ones who want to cooperate. Those are the people I am likely to recommend. 

So, if you want me to put in a good word for you, become a go-giver instead of a go-getter!

Here’s the second thing I value when recommending fellow voice talent:

Make it easy to find you, and to get relevant information about you

When I started searching among the members of the Dutch voice over group, I noticed that many still use a personal profile instead of a professional Facebook page to highlight their voice over work.

If you do this too, this means that I, as a voice seeker am looking at your family photos where you pose in a tiny bikini holding a beer stein looking tipsy. I see your political postings, and the slightly weird way you interact with your friends.

Like it or not, I form an opinion which may or may not be favorable. If it comes down to you and another talent, and I don’t happen to like your political affiliation or your love of lager, you’re out. 

What also surprised me was that a good number of talents didn’t have any contact info in the About-section. Not even a link to their website! You want me to recommend you for a job, but you won’t tell me how to reach you or check out your demos? I’m a busy guy and I don’t have time to track you down. 

Your most critical information has to be one click away.

Number three:

Your demos need to reflect the totality of your talent

You can have the most amazing art work on your website and a wonderful bio, but if you post three demos and they all sound the same, you are selling yourself short. Very few voice overs can make a living being a one-trick pony. No one wants to come to a restaurant where the cook can only make three dishes.

So, if you wish to be a working voice talent, I want to hear you narrate some audio books, teach me a lesson through eLearning, sell me a product or a service, give me a guided tour of a museum, and act out a few video game characters. Show me your range.

Don’t only post your overproduced, expensive demos with all the bells and whistles. Clients want to know how you sound in your home studio with your own equipment. Unsweetened. In heavenly mono.

Eighty percent of the website demos I listened to for my Spanish client could not be downloaded. That’s another stumbling block. First I had to find the website. Then I couldn’t find a demo that didn’t sound salesy. On top of that there was nothing to download and send to the client.

Who is playing hard to get?

Eventually, I did get my demos, but most of them didn’t have the talent name in the audio file. They just said something like “Audio tour 2019.” Why is that a problem?

Imagine having to cast this job, and out of twenty to thirty samples you find your top three. The problem is, you don’t know which talent recorded which demo because it’s not listed in the title. Now you have to spend more time finding the name that goes with the voice. 

Let’s move on to number four:

Be responsive, ask the right questions, and follow the instructions

If you’ve ever had to hire voices, you know that you can weed out seventy percent of talent because:

  • the audio quality is terrible
  • deadlines are ignored
  • talent makes the wrong assumptions
  • talent can’t follow simple directions, and is
  • unable to interpret the script

 

So, which talent gets hired? The talent that’s capable, available, and affordable. If you can’t deliver on all three fronts, you’re gone.

At the beginning of my day I approached ten voice talents. By the end of the afternoon seven got back to me. Out of those seven, five asked questions about the job. Three offered to record a custom demo.

In order to put in an educated quote for this audio guide, you need to know:

  • the length of the script
  • does the client want finished, fully edited audio that is separated, or is it okay to send in one file
  • what’s the budget
  • does that include retakes

 

Since the script was still being translated, I couldn’t give the talent a text, but at the end of the day, four sent me a sample of audio tours they had recorded in the past. The remaining three had found a few paragraphs of a real audio tour and sent that in.

Full marks for everyone!

The quotes I received for an hour of finished audio were between €850 and €2500. The cheaper talent sounded just as professional as the more expensive talent.

Now, it took me a few hours of communicating with my colleagues and my client to get the right information to the right people. I was only helping out, remember? 

Do I have any idea who will get hired?

Call me cynical, but based on my experience, here’s what I predict.

The client will thank me for my efforts and post the job on Voice123 or on that other online casting auction house, the one in Canada…

…where they will find some sucker who is willing to do the job for $250 or less, claiming he has to “feed his family.”

No questions asked.

And thus, our business will slowly go to pieces. One lousy job at a time.

The end.

Paul Strikwerda ©nethervoice

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PPS One of my Dutch students just got signed by a major US agent!

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Have I Got News For You!

by Paul Strikwerda in Articles, Book, Career, Dutch, Freelancing, International, Personal, Promotion, VO Atlanta 30 Comments

Paul Strikwerda

If you’re a follower of this blog you’re probably wondering why you keep seeing stories in some strange European language. Frankly, it started as a one-off thing for my Dutch friends and colleagues.

Because I’ve been away from home for twenty years, most people had no idea what had happened to me. I literally disappeared off the map when I left the Netherlands with my entire life packed up in two suitcases and a plastic bag.

Yes, people… I am one of those immigrants who came to your country in search of a better life, ready to steal your jobs and marry your women. You better watch out!

A DUTCH TREAT

Anyway, I wanted to let my fellow-Netherlanders know what I’d been up to since I left my motherland, and that’s why I started writing in Dutch. I had to talk myself into it though, because I wasn’t sure if I still had it in me. Most of my thoughts are in English, I speak English all day long, and ninety percent of what I read and write is in English. I didn’t want to make a fool of myself penning pieces in Denglish.

After my first Dutch article was published, it became clear I had no reason to be worried. Over three hundred people read the story of my exodus and liked it. I didn’t think there were even three hundred voice actors in Holland. Better still, people wanted me to keep on writing, and that’s what I did. So far, there are six chapters and there’s more to come. 

Now, here’s the thing. I have no way to ensure that my Dutch stories will only go to my Dutch subscribers. So, if English is your preferred language I hope you will do me a favor. Just ignore the blog posts in Dutch and wait for a new English story on Thursday. If you’re Dutch, you are in luck because you get two articles for the price of one!

CHANGING COURSE

With that out of the way I’d like to share some news with you. I am in the process of realigning my business with new and exciting plans that are in part based on what I am physically and mentally able to accomplish. You probably remember that the stroke I had in March of last year has forced me to seriously slow down and rethink my priorities.

My mind would love to continue as if nothing has happened, but my body disagrees. A permanent tremor in one of my vocal folds limits the time I am able to record voice-overs. My voice tires much faster, and no amount of vocal exercises has changed that. Mind you: this does not mean I can’t do any recordings.

As I speak, I am learning to do more with less. Fortunately, my clients and my agents completely understand, so they’re not sending me 600-page novels, or auditions for video games that require dying a thousand agonizing deaths.

KEEPING MY PRESENCE

Just because my vocal folds are taking a bit of a back seat doesn’t mean I have lost my voice completely. In Holland we say: “Onkruid vergaat niet,” meaning “Weeds don’t die.” I can assure you that I will continue to have a voice in our community.

At VO Atlanta (March 26 – 29, 2020), I’ll be leading a 3-hour workshop called Boosting Your Business with a Blog, and I’ll do a presentation on The Incredible Power of Language.

I am working on a second book, and I will continue to write this blog with a double dose of truthiness and snarcasm. If things go according to plan, 50% of my business is going to be devoted to content creation, 20% to speaking, and 30% to helping others succeed.

Here’s an example of that last category. Some of my Dutch colleagues want to spread their professional wings, and try their luck abroad. These folks need a tour guide who’s been there and done that.

In the coming months I’ll be coaching some of Holland’s top-tier talent and taking them to VO Atlanta. I’d like you to get to know them, and that’s why I’ll be interviewing each one of them for this blog. Stay tuned, these folks will knock your socks off!

ONLINE ACTIVITIES

All of the above means that I have to have a website that reflects this shift in focus. That’s why I am working with the splendid team at voiceactorwebsites on a complete overhaul of the Nethervoice site. According to Joe Davis who heads voiceactorwebsites, Nethervoice.com is already the number one individual voice-over site on the interweb, and I am going to strengthen that position even more.

Expect a site that truly showcases my writings, featuring a clean, sophisticated design, and a new, simpler way to subscribe. Of course it is going to load super fast and it’s 100% mobile-friendly. Because I’m pretty picky, all of this is going to take a while to accomplish, but it will be worth waiting for!

Thanks for your continued support and patience during this time of transition.

It means the world to me!

Tot de volgende keer.

Till next time!

Paul Strikwerda ©nethervoice

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Who wants to be an Emcee?

by Paul Strikwerda in Articles, Career, Freelancing, Personal 8 Comments

The author as emcee. Click photo to watch video.

It all started when I was still working in radio and television. I’d been a roaming reporter, a producer, a news anchor, and a presenter. I knew people, and people knew me. What’s more, they trusted me.

One day I got a call from a symposium organizer who wanted to know if I’d be interested in moderating a debate they were organizing. I happened to be available, so I said yes. That two-hour gig made me more money than an entire week on the radio. More importantly, I had so much fun doing it!

The audience seemed to respond well, and one gig led to another, and another. Then a local theater needed an emcee for a gala, and thought I’d be a good fit. A week later I was introducing speakers and performers on a huge stage.

ESCAPING THE STUDIO

What I loved about it was the opportunity to escape from the studio, and be in front of a live audience that responded immediately to what I was saying and doing. That rarely happens in radio (or in voice-overs). Even when taping a TV show, the audience is warmed up ahead of time by some sad comedian, and told when to applaud. There’s nothing spontaneous about it.

As the emcee, I got to set the tone and the energy for whatever event I was involved in, and it brought the extrovert out in me. Eventually, this hosting thing became a nice side hustle and I got more requests than I could handle. I reacted by raising my fee, but that had the opposite effect. Because I was more expensive I became more in demand. Remember that when you’re negotiating your next VO gig!

The truth is, I’m not sure I was that good, but I soon discovered that there simply weren’t too many people who had the guts to address a large crowd. Most folks would probably pee in their pants at the idea of being in the limelight.

As a minister’s son I had had years of practice being in front of the congregation reading from scripture or doing a nativity play. Unknowingly, the Dutch Reformed Church had prepared me for becoming a master of ceremonies.

THE BIGGEST HURDLE

Being an event host is a bit like doing voice-overs: it seems easy until you actually have to do it. Here’s why:

It’s tough to be natural in an unnatural situation.

Most people become extremely self-conscious. They don’t know how to hold their hands, they can’t control their voice, and suddenly the words that come out of their mouths sound silly and insincere.

Now imagine doing all of that on stage, with lots of strangers watching your every move. Are you having fun yet?

So, depending on your mental makeup, this could either be a nightmare scenario or an interesting career opportunity for you. We all know that freelance income fluctuates, and since you’re already using your voice to make a living, why not add some public speaking to your repertoire?

To make sure you’ll get asked back after your first engagement, I’m going to share some tips with you.

HOW TO BE AN AMAZING EMCEE

The number one question people always ask me is this:

“How do you curb your nerves?”

First, you’ve got to know that nerves are normal. They’re a sign that your mind and your body are awake, alert, and willing to do well. Welcome your butterflies and thank them for lifting up your level of energy and excitement. Athletes, actors, and musicians need that extra boost to take their performance to the next level. So do you!

Secondly, the best way to prevent nerves from paralyzing you, is preparation. The next question is: how do you prepare?

When I first started emceeing, I expected the organization that was hiring me to take care of every little detail. Because they knew what was happening, they expected me to know what was happening as well. They thought I’d just go on stage and start talking.

I soon learned that it was my job as host to get as many details about the event and the speakers as possible, at least a few weeks ahead of time. If the organization was unwilling or unable to provide that, I took that as a red flag and I declined the job.

This is also your first opportunity to establish your expertise and your authority by putting your foot down. Even though you don’t organize the event, once the show starts rolling, you will be seen as the person in charge, and you effectively are. At that point you don’t want people to challenge, distract, or confuse you.

So, what sort of information do you need?

GET THE FACTS

Before you even agree to do the job, find out as much as you can about the organization(s) involved. Would you be proud to be associated with them? Even though you have no formal ties with them, you will be seen as representing them on stage. Equally important is to know your audience. You don’t want to talk down to them, or go over their heads.

As you are preparing, dig up some fun facts about the company or charity behind the event, as well as the speakers and the entertainment. That way you’ll always have something to say in case you need to stall for time.

No matter how well-organized an event may be, speakers may arrive late, the band will need a few more minutes to set up, and the prize you were supposed to hand out might vanish. During those times you’ll be glad you have something to talk about.

Be sure you are in command of the basic facts: who will be speaking when, how to pronounce their names, and what their credentials and accomplishments are. In case of performers, get the names of the individual band members, find some career highlights, let the audience know where they can find their music, and where they’ll be performing next. 

Let me stress: don’t trust the organizers to give you all the info you need. Do some digging yourself. Being knowledgeable shows that you’re not just in it for the money. A professional emcee is genuinely interested in the event, the people, and the organizations that take part.

Here’s the thing: if you are interested and involved, you will sound interested and involved, and you are more likely to get the audience interested and involved. I’ve seen emcees that looked like they were only there to collect a paycheck. It’s boring, embarrassing, and insulting.

SPONSORS

These days, most events don’t happen without sponsors. These sponsors don’t throw money at an event just because they’re in a charitable mood. They expect something in return: publicity. Perhaps they’re also a vendor at the conference.

It is your job as an emcee to enthusiastically mention these sponsors multiple times during your time on stage. Be prepared to say something nice about them, and ask the audience to show their appreciation by giving them a round of applause. If the CEO’s of these sponsors are present, acknowledge and thank them as well.

Remember: people like to feel valued and appreciated. CEO’s want to look good in the public eye. If you treat them with respect and present their company or organization in a positive light, chances are that they’ll continue sponsoring the event in years to come. This will make you look good in the eyes of the organization that hired you, and the CEO’s might think of you to emcee their next corporate event. Win – win!

Speaking of those who hired you, even though you are the MASTER of ceremonies, you provide a SERVICE for which you’re getting paid. Act like the confident professional you are, and don’t bite the hand that feeds you. Don’t behave like a jerk or a diva, just because your face is on television, or all over YouTube.

No matter what happens, your job is to make the organization and the organizers look good. If they look good, you look good.

DISASTER STRIKES

If something goes wrong, don’t point it out. Unless the building catches fire, the audience doesn’t need to know. It’s up to you to distract and deflect. Buy time while the problem is being sorted out.

Now, in case of a real emergency, you may have to direct the audience to stay calm and head to the nearest exit. So, make sure you know where those exits are and what is expected of you in those situations. Lives may depend on it.

Another question people always ask is: “What should I wear?”

The short answer is to dress professionally and dress for the occasion. You don’t go to a gala in your jeans, and you don’t wear a tuxedo if you’re moderating an academic panel. If in doubt, ask the organization.

Whatever you wear, make sure it is clean, ironed, and it fits right. Bring some spare clothes in case someone spills a drink on you. And visit your hairdresser before the event. If you look good, you feel good, and you’ll shine on stage.

Realize that the harsh stage lights aren’t always kind to your complexion. In fact, they might make you look downright pale and sickly. To counteract that, always bring some powder foundation and apply it before you go on stage. This tip is for women AND men! Click here for a quick tutorial. You may want to consult with a makeup artist to find out which products are best for you.

Emceeing the Easton Farmers’ Market

TAKE YOUR TIME

This brings me to another point: give yourself enough time to get to the venue and prepare. Professionals are punctual. Require a parking pass or a reserved parking spot so you don’t waste time hunting for one.

Familiarize yourself with the stage and the equipment. Make friends with the sound engineer and do the soundcheck ahead of time. The words “Check, one, two, three,” followed by thumping on the microphone at the beginning of a show, are the sounds of an amateur.

Always bring a clipboard for your notes, or prepared 3 x 5 cards. Never write complete sentences but use keywords so you can speak semi-spontaneously instead of reading to the audience. When you read, you lose eye contact, and you disconnect from those in front of you.

If you’d like to put some personality into your presentations, avoid using clichés such as:

“Without further ado,”

“Sit back, relax, and enjoy the show.”

“Last but not least,” and 

“Boy, are we in for a good time.”

When speaking, make sure you face the audience. That seems to be a given, but I’ve seen quite a few emcees with their backs to the crowd as they were introducing the band behind them on stage.

Even though you may not see your audience very well because of the blinding lights, pretend you do. Let your eyes rest at various spots in the auditorium, including the balcony. This will give people the feeling that you connect with them, no matter where they are sitting.

HOW TO HANDLE THE AUDIENCE

Some jobs will require you to go into the audience to get some reactions or do short interviews. A few pointers:

Never drink any alcohol before, during, or after your gig.

Make sure your breath is fresh. Click here to find out what kind of mouth spray I use. 

Always hold on to your microphone. Once it’s taken from you, you have lost control of the situation.

Never embarrass people by making fun of their appearance or accent. You’re putting them on the spot, so please be respectful.

Be very careful with humor. It could easily backfire. I once cracked a joke about our mayor as I was introducing him, and he was not amused. Later on he called the organization that had asked me to emcee, and filed a complaint. In hindsight I had to agree with him. The joke wasn’t very funny and could easily be misinterpreted.

In doubt, err on the side of caution.

Having said that, no one likes an emcee who’s bone dry and dead serious. So, if you catch yourself saying something that makes the audience laugh, make a mental note. In the beginning of your emcee career, you’re like a comedian doing tryouts to find out what works and what doesn’t.

Here’s an example.

Sometimes you’ll be asked to hand out rewards or prizes to unsuspecting individuals. They walk up to the stage, overwhelmed and incredibly nervous. It’s your job to put them at ease so they’re able to give a short thank you speech. Quite often, these people will be crying their eyes out.

At that point I usually hand them a tissue saying: “Please take this tissue. I’ve only used it once.”

Somehow, that always gets a laugh from the audience and from the person crying. Once they start smiling, I know they’re ready for their acceptance speech.

TAKING CARE OF YOU

I’ve already mentioned the importance of your physical appearance. But there’s more. Being an emcee is a great responsibility that comes with a lot of pressure. You need to keep the show moving and make sure every element begins and ends on time. There are a lot of details to keep track of and people to please. And you have to do it all with a smile.

Some days you can’t wait to go on stage and do your thing. Other days you just want to stay home and relax. Then there are days when everything turns dark when a beloved pet, close friend, or family member ends up in the hospital or worse.

You’re bound by a contract, so the show must go on. Whether you like it or not.

Whatever is going on in your personal life, leave it at the door as soon as you walk in. You have been hired to support the event. Whatever support you need has to be put on hold.

I’ve been in situations where I’d wish I wouldn’t have to be on stage pretending everything is hunky-dory, but you know what? The distraction of being there, helping other people have a good time, helped me deal with my personal issues. For a few hours I could stop obsessing over a stressful situation and focus on the job I had to do. 

That too, is being a professional.

Two months after my stroke

SHOULD YOU DO IT?

If you feel that emceeing is something you could do, you’ve got to do it for the right reasons. For one, you are not the star of the show. You’re on stage to create a welcoming atmosphere in which all participants can shine. Your job is to make other people look good. Sometimes you’re their safety net. Sometimes you’re their cheerleader.

Whatever role you play, you’ve got to be genuinely involved and interested – even when the spotlight is not on you. I’ve seen emcees enthusiastically announce an act, and look completely disinterested and bored off-stage, even making faces at the performers. Things like that upset me more than I’d like to admit.

Good emcees are focused on others. Bad ones are focused on themselves.

Being an emcee is not for the shy. You’ve got to be

comfortable in front of a crowd

comfortable without a script

comfortable under pressure

comfortable dealing with strong personalities

comfortable thinking on your feet

comfortable being you

Now, it is often said that the last thing you leave people with, will be remembered most. So, after you have thanked the participants, the organization, and the audience for their involvement, you leave the stage and thank everyone who has helped you do your job, from the sound engineer, to the floor manager, to the girl who fixed your hair.

Be gracious and grateful. Even though you might feel exhausted and you want to jump in your car, take a few moments to show your appreciation. In our society this sometimes seems like a lost art. Let’s keep it alive!

With that, I want to thank you for reading what turned out to be a rather lengthy blog post.

I hope to see you on stage, some day soon!

Paul Strikwerda ©nethervoice

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Een Zinkend Schip

by Paul Strikwerda in Articles, Career, Dutch, Freelancing, Personal 2 Comments

Wat doe je als je merkt dat je op een zinkend schip zit? Laten we de boot SS Wereldomroep noemen.

Je hebt drie mogelijkheden:

1. Je geniet van de omgeving en hoopt dat alles weer goed komt;

2. je gaat in een reddingssloep van boord, of

3. je werkt extra hard om het vaartuig drijvende te houden.

Er is ook nog een vierde, meer radicale optie, en die werd gekozen door een beminnelijke collega met een lange staat van dienst. Hier is een hint: zijn werk was zijn leven.

Toen zijn baan werd wegbezuinigd sprong hij overboord en werd later teruggevonden, bungelend aan een brug.

De zachtaardige, stille man die altijd had gedacht dat hij onmisbaar was, was binnen een week vergeten.

Laat dat maar even bezinken.

MIJN GROTE KANS

De meeste mensen om mij heen dachten dat de ondergang van Radio Nederland nog niet zo’n vaart zou lopen. Ze genoten van hun omgeving en hoopten op betere tijden. Ikzelf koos voor optie drie, maar werkte achter de schermen hard aan nummer twee.

Stel dat Gerrit den Braber net zo enthousiast over mij zou zijn als Ilse Wessel. Wat voor deuren zou dat openen? Ik durfde haast niet te dromen. Zelfs mijn vrouw wist nog van niks. Eerst maar eens horen of ik een kans zou maken. Daarna zien we wel verder, was mijn redenering.

Het was 3 mei 1997. Ik lag na een late dienst nog wat uit te slapen toen mijn geliefde me een dampende kop koffie kwam brengen. “Alles goed?” vroeg ik.

“Ja hoor” zei ze. “Ik heb net even een wasje gedraaid en naar De Dingen van de Dag geluisterd.”

“Is er nog iets gebeurd in de wereld?” wilde ik weten.

in de Wereldomroep studio

“Jij zit ook altijd aan het nieuws te denken,” zei mijn vrouw met terechte frustratie.

“Ik weet het. Het is beroepsdeformatie. Ze betalen me om op de hoogte te blijven van al het wereldleed.”

“Over leed gesproken,” zei mijn vrouw. “Weet je wie er vannacht is overleden?”

“Geen idee,” zei ik. “Vertel.”

Gerrit den Braber.”

Ik verslikte me abrupt in de hete koffie en die spoot met een bruine straal over het witte dekbed.

“Het is maar goed dat ik net de was aan het doen ben,” reageerde mijn vrouw. “Ben jij okay? Je ziet eruit alsof jij een spook gezien hebt.”

“Ik denk dat ik net een teken van het universum heb gekregen,” antwoordde ik in shock. “Zeg… zullen we straks even praten over dat trainingsbedrijf waar we het al zo lang over hebben gehad? Iets zegt me dat de tijd rijp is om daar nu aan te beginnen.”

Het was mijn optie nummer twee.

PERSOONLIJKE GROEI

Het ambivalente van een freelance baan is dat het permanente onzekerheid koppelt aan een hoop vrijheid en verantwoordelijkheid. Hoe je daarmee omgaat is helemaal aan jou. De meeste mensen hebben baat bij voorspelbaarheid en structuur, en dat vinden huisbazen, banken en de belastingdienst wel zo prettig. Je weet elke maand precies wat er binnenkomt. Saai maar betrouwbaar. En zo achterhaald.

Soms denk ik dat ik als freelancer geboren ben, omdat ik altijd al alles zelf wilde doen. Ik kon slecht werken onder domme bazen die hun baan te danken hadden aan het Peter Principle. Je weet wel, de arrogante klunzen die waren bevorderd tot een positie waar ze te weinig voor in huis hadden. Daar liepen er in Hilversum te veel van rond. Keizers zonder kleren.

Als freelancer gebruikte ik mijn vrije tijd om trainingen te volgen op het gebied van persoonlijke groei en ontwikkeling. Ik kwam daarbij uit op NLP, maar niet bij het vuurlopen waar Tony Robbins-imitator Ratelband bekend door werd. Mijn tak van Neuro-Linguistisch Programmeren was minder hype en meer therapie. Ik was voortdurend op zoek naar “het probleem achter het probleem,” en naar het ontdekken van iemands ongekende vermogens

met NLP trainer Tad James

Toen mijn vrouw en ik in Nederland de Practitioner en Master Practitioner opleiding hadden afgerond, volgden wij in Costa Mesa (Californië) de trainersopleiding. Ons doel was om ooit samen cursussen te geven. We keerden een aantal zomers als assistent-trainers terug naar Amerika, en werden in Lancaster (Pennsylvania Dutch Country) ook nog opgeleid tot hypnotherapeut.

MEDIA MOE

Ik kon dit alles combineren met mijn omroepwerk, maar op het moment dat mijn eigen programma bij Radio Nederland de nek werd omgedraaid en mijn collega zelfmoord pleegde, bleef één zin maar door mijn hoofd spoken:

“Waar doe ik het in hemelsnaam toch allemaal voor?”

Bij de geëngageerde IKON had ik nog het idee dat ik de wrede wereld kon veranderen met reportages en interviews. Als mensen over al het onrecht in de samenleving horen, dan komen ze wel in actie, dacht ik naïef. Toch bleef de zeespiegel maar stijgen, bleven ploerten aan de macht, en werden mensen het meeleven en meelijden moe. 

Ze wilden afleiding en amusement. Bloot en spelen.

Voor mij was er maar één conclusie:

Educatie (al of niet via de media) leidt niet tot transformatie.

Als informatie echt tot gedragsverandering kon leiden, dan zou niemand meer te veel eten, kettingroken of roekeloos rijden. We weten tenslotte dat dat slecht voor ons is. Maar échte verandering komt van binnenuit, en NLP and hypnose waren manieren om dat binnenste naar buiten te krijgen.

SUCCES

met één van mijn studenten

Terugkijkend ben ik trots dat we ons trainingsinstituut binnen twee jaar op de kaart wisten te zetten. Onze eerste cursus had vijf deelnemers, de tweede tien, en het werden er meer en meer. Hoewel we het niet om het geld deden kwamen er mooie bedragen op onze bankrekening binnen, en dat maakte het voor mij makkelijk om Hilversum te verlaten. 

Bevrijd van de negativiteit en stress van het nieuws genoot ik er elke dag van om het beste uit mijn cursisten (en mezelf) te halen. Ik voelde me zo happy als het lachende mannetje op de Life is Good t-shirts!

Niets wees er nog op dat ik vlak voor de Kerst van 1999 huis en haard zou achterlaten om een nieuw leven te beginnen in een ver land waar ik eigenlijk niks mee had.

wordt vervolgd

Paul Strikwerda ©nethervoice

 

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Facebook: Why You May Be Doing It All Wrong

by Paul Strikwerda in Articles, Career, Freelancing, Internet, Journalism & Media, Personal, Promotion, Social Media 7 Comments

On July 31, Facebook will be updating the Terms of Service again. Why?

Because in their own words, they want to “better explain the rights people have when using our services.”

One thing that will not change is the distinction between Profiles and Pages. It’s something many colleagues still don’t seem to get. Here’s the deal:

You should never run your businesss from a personal profile. Always create a Facebook page for your business.

There are many reasons for doing that, and I’ll give you lots of carrots, but let’s start with a few sticks. The Facebook Terms of Service state:

“You will not use your personal timeline primarily for your own commercial gain, and will use a Facebook Page for such purposes.”

In other words, using a Profile for commercial activities is a violation of those Terms of Service, and Facebook can and will delete your Profile because of it. That’s what someone in my neighborhood found out when she tried to peddle her skin care pyramid scheme on a local Facebook group. Fellow-Facebookers reported her, and without warning she lost all her contacts, messages, pictures, and more.

PROFILE OR PAGE

To some people, the distinction between a Profile and a Page is a bit confusing, so here’s the bottom line.

A Facebook Profile is a personal, non-commercial account for individuals. It’s the way you connect with friends and family. It’s where you share your photos, videos, and life events. You can only have one Profile, and it’s managed by you. Only people you’ve added as a friend are able to see your posts, unless all your updates are public. For some mysterious reason Facebook allows you to have no more than 5,000 friends.

A Facebook Page is a business account for a company or organization. You can have many Pages, managed by multiple people. Your following is not limited by friend requests. Anyone who clicks the Like button receives your updates, and you can have an unlimited number of followers.

In order to create a Page, you first need to have a Profile. You can convert a Profile to a Page, but I don’t recommend it. First off, you only get one chance to do it. Secondly, the name on your personal account will become the Page’s name, which isn’t very smart. You want your Page to have the name of your business. Your Profile picture and cover photo will also be transferred, but it’s better for your brand to use your business pictures, instead of those silly summer vacation snapshots.

PROFESSIONAL OR PRIVATE

Before I discuss some of the features you can access once you have a Facebook Page, I want to tell you why I think it’s inappropriate to use a Profile to promote your business. It has to do with privacy, professionalism, and boundaries.

Number one: why would you give people you barely know access to your private life? Just because you exchanged business cards at a conference, doesn’t mean they should see you on your Timeline sporting a skimpy bathing suit at the Jersey shore, or drinking beer from a boot in Berlin.

The current U.S. administration may think it’s okay for Internet Service Providers to share our browsing history, financial information, health information, children’s information, social security number, and app usage. I strongly disagree.

I don’t want my private life to become publicly traded property. It’s literally none of other people’s business.

Call me old-fashioned, but I don’t like the fact that the lines between public and private are getting more blurry every day. I value my privacy. Online and offline. I don’t see the need to turn my life into some kind of reality show for the whole world to see. It’s not that interesting anyway.

CUSTOMERS OR FRIENDS

Some of my colleagues who are still using a Profile for their business, have accepted friend requests from clients without giving it any thought. To me, that’s shocking. I don’t think a client needs to know what’s going on in your life or mine. It can have serious consequences.

Let’s say a customer asks you to do a rush job, and you tell him you’re too busy to fit it in. Then he sees on Facebook that you’re taking the day off, and he wonders: “Why were you lying to me?”

It is unacceptable for an employer to ask about your general health and medical condition, so why share that information on social media? Let’s assume a client has a job for you, but you just posted that you’re a bit under the weather, so he hires someone else. Had he not known that you’re sick, he would have asked you, and you could have said: “I’m totally booked today, but I can do it tomorrow,” (if you think you’ll feel better by then).

A few more scenarios.

A client owes you money, and he sees on your Profile that you just bought a nice set of wheels. That client may think: “Oh, he’s got plenty of cash. He can wait to be paid.”

What if you tell your Facebook pals you’re struggling financially? Friends of mine just started a very public GoFundMe Campaign because their clunker car died, and they can’t afford to buy a new one. Desperate people are willing to work for less, and a client could abuse that situation to negotiate a lower rate.

One colleague became Facebook friends with the author of a series of books he was about to narrate. “He’s such a great guy,” my colleague said. “I’m honored he wanted to be friends with me.”

Well, when the writer saw on Facebook that my colleague was gay, he said he could no longer work with him, citing his faith. What a terrible way to lose a deal worth thousands of dollars!

A conservative think tank wanted to hire a voice-over for a number of ads, and they found a female talent with the perfect pipes. Just before they offered her the contract, they did a background check. Because all the posts on her Facebook Profile were public, they discovered she was an Elizabeth Warren supporter, and they called off the deal.

So, you have to ask yourself: should you really give the whole world access to your personal life? Is gaining a superficial Facebook friend worth the risk of losing a good client?

GENERATIONAL DIVIDE

Here’s an interesting trend. When I first brought this page/pofile thing up in my voice-over community, I got two kinds of responses. The older generation seemed to get this separation between private and professional spheres, as well as the need for reputation management.

The response of the younger generation boiled down to one word:

One girl wrote:

“This is a FREE country. I am who I am. If the client doesn’t like it, that’s their problem. I am building an online persona, and my followers like me just the way I am. They want a behind-the-scenes look into my life, and I ‘m gonna give it to them.”

To each his own, but as Dr. Phil keeps on reminding us: “If you choose the behavior, you choose the consequences.”

Those consequences can be quite serious. One of my agents just posted the following:

“It happened again. A huge project we had an opportunity with turned down loads of talent from many agencies for inappropriate social media including:

    • Lingerie posted on Social Media
    • Sexually Suggestive posts on Social Media
    • Profanity on Social Media
    • Political affiliations on Social Media
    • Politically Charged posts on Social Media
    • Inappropriate language on Social Media.

 

If you ever want to get in with a kid or family friendly network, your social media needs to be squeaky clean. Because if one parent sees that you post something inappropriate you can be in big trouble.”

Of course you can remove controversial content you posted after that wild night out, but when you need to do that, it’s usually too late. Know that it can take up to 90 days for deleted content to be removed from the system.

FRIENDS OR COLLEAGUES

Now, is it safe and okay to befriend fellow-voice talent on Facebook? As a popular blogger, many people want to be my Facebook friend, and that’s very flattering. If you’re one of those people, you’ve probably received the following message:

“Thank you for your friend request. I’m honored! This is my personal Facebook Profile which I’ve reserved for close friends and family members. It helps me separate my personal from my professional life.

If you’re interested in my work as a voice-over, and in developments in that field, please like my professional Page: https://www.facebook.com/nethervoice. That’s the best way to stay in touch with me. Thanks for understanding!”

In the beginning I thought people would hate me for blowing them off, but you know what the most common response to this message is?

“That makes so much sense. I should really do that too.”

But when I check in on a colleague a few weeks later, she is still promoting her business on a Facebook Profile, together with pictures of her cats, a couple of bible verses, and some crazy pop quizzes about celebrities and sex. 

Very professional, indeed!

WHAT’S A FRIEND ANYWAY

Sociologists have said lots of things about the way Facebook has hollowed out the notion of (online) friendship.

Yes, some of my Facebook friends happen to be colleagues, but not all colleagues are my friends. It takes a certain level of intimacy and bonding before I let people into that select circle. Most people who want to be friends, want to connect with me professionally anyway, so why bother them with pet pictures, or photos from lunch at the local eatery? That’s why I send them to my business Page. 

Sometimes, colleagues become contractors when they hire me for a job, making them my clients. That’s another reason to point them to my professional Page. Making this distinction has another advantage. Because I have fewer friends, it’s now easier to keep track of the lives of people I feel closer to, and Facebook is less of a time suck.

CREATING A BUSINESS PAGE

When you’re ready to create a Facebook Page, you have to pick a category based on the following options:

  1. Local Business or place
  2. Company
  3. Organization or institution
  4. Brand or product
  5. Artist, band, or public figure
  6. Cause or community

Once your business Page is set up, and you have at least 25 fans (or Likes), you should get a vanity URL. For instance, my Page is https://www.facebook.com/nethervoice/. This will make it much easier to find your page for those doing an internet search. Be sure your 180 x 180 pixel profile picture, and 828 x 315 pixel cover photo (the most important visual aspects of your Page), look good, and reflect your brand.

Last summer Facebook rolled out a new ad-free business layout, making it possible to add more prominent Calls to Action buttons to your Page. The seven calls to action available are: Book Now, Contact Us, Use App, Play Game, Shop Now, Sign Up, and Watch Video. Try my Contact Us Call to Action button, and see what happens.

VALUABLE INSIGHTS

A business Page also gives you an idea how your audience is responding, and how your Page is performing through Page Insights. Insights tell you which posts have the most engagement (videos and images rule!), and when your audience is on Facebook. You can use that information to increase traffic by creating content people respond to, and post it at strategic times. Jennifer Beese wrote an excellent article about Page Insights for Sprout Social.

Boosting posts is another way to increase your reach. You can boost a post when you create it, or after it’s been published. Simply click the Boost Post button, and you’ll be presented with some options. This is not a free service, by the way. The budget field allows you to select the amount you want to spend, or enter your own. 

Another thing a Facebook Page allows you to do (and a Profile won’t), is create ads. Facebook itself has written a step-by-step guide, and you might also want to check out this beginner’s guide from Hootsuite

THE BIG QUESTION MARK

My more senior coaching students will often ask me:

“Do I really need to be on Facebook? Isn’t it all a big waste of time?”

Facebook is too big to ignore. It’s the largest and most popular social network in the world, with over a billion and a half monthly active users, and over a billion daily active users. If Facebook were a country, it would be substantially bigger than China (source), and it continues to grow by 18% per year. According to Pew Research, 79% of internet users are on Facebook, and Forbes estimates that fifty million businesses are now using Facebook Pages.

In other words: this is a huge opportunity, because most of your (potential) customers are already using Facebook. If you were to pick one social media site for your marketing, skip Twitter and Instagram, and choose Facebook.

But please, do yourself a favor, and create a Page for your business today!

Paul Strikwerda ©nethervoice

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What’s Luck Got To Do With It?

by Paul Strikwerda in Articles, Career, Freelancing, Personal 14 Comments

One of my friends -let’s call him Tim- is stuck in a nine to five job he hates with every ounce of his being. He’s seriously overweight, so that’s a lot of hate.

I’ve tried to be helpful by being a considerate, patient listener, but last week it became clear to me that Tim is very invested in staying miserable.

It may sound twisted, but having something to hate means Tim can blame his misery on something he perceives as being out of his control. If he can’t control it, he can’t change it. That’s the idea.

Here’s my prediction: as long as Tim keeps blaming others for his woes, he’ll never be happy. For him to feel better, other people or “circumstances” would need to change, and that is unlikely to happen.

CREATING CHANGE

Between you and me, if I had a magic wand that could suddenly transform people into becoming moral, thoughtful, compassionate, selfless contributors to society, I’d go to every prison, school, addiction center… even the White House, and I would wave that wand.

The truth is that we cannot make other people do or believe what we think is in their best interest if they don’t see it that way. It’s the reason why countries are at war, marriages break up, friendships fail, and why psychotherapists are still in business.

I think Tim could benefit from seeing a therapist, but remember, he says there’s nothing wrong with him. The rest of the world just sucks. As you can imagine, Tim hasn’t been fun to hang around lately, especially since he’s added another poisonous emotion to his repertoire: resentment.

Not only does he hate his job, he also resents the fact that people like me love what we do for a living. Sorry Tim, but I make no apologies. I enjoy dealing with clients from the solitude of my home studio. I’m happy to use my voice to educate people about new medical treatments. I’m thrilled to help companies and organizations share their message with the world. I wish everyone had a job as fulfilling as mine.

GOOD FORTUNE

I’m not going to give up on Tim, though. He’s a good man going through a bad time. Been there. Done that. What rubs me the wrong way, however, is the thing he keeps on repeating every time we talk:

“Paul, you’re so lucky. You’re so lucky to have a job like that. I wish I was as lucky as you are.”

Tim is telling me something he’s not saying. He’s revealing how he believes the world works. It’s something I’ve heard many, many times when I tell people about the joys of doing voice-overs for a living.

Those who call me lucky don’t see my success as the result of hard work, but as the effect of good fortune. The gods must be smiling upon me as I count my lucky stars. I simply showed up at the right place at the right time with the right people, and everything fell into place. My goodness, what on earth did I do to deserve this?

This notion is strengthened by the fact that people who are good at what they do, make it seem easy. Look at famous athletes or musicians. If you make something look or sound effortless, it must mean that what you do requires little effort, education, experience, or talent.

HAVING A KNACK

Talent is another tricky one. It’s something you’re supposed to be born with, so: lucky you!

Let’s conveniently forget how long it takes to shape a diamond in the rough into a precious jewel. You’ve got to nurture nature. I’ve seen insanely talented people get nowhere because they’re lazy and arrogant. I’ve also seen moderately talented people make it big thanks to hard work and an attitude of humility.

To tell you the truth: professionally speaking (pun intended) I don’t feel lucky. I feel accomplished.

Me being where I am in my career is the result of carefully planned and executed steps that started way back when. It is the result of my choices and my actions. That’s where Tim and I differ.

Tim sees himself as a victim of circumstances. He feels he has no choice. I see myself as the creator of conditions that pave the way to success. In my mind, I always have a choice, as long as I am willing to learn, be flexible, and take action.

FEELING PRIVILEGED

Looking back at my life, I think there were only two things that have stacked the deck in my favor that made me extremely lucky:

The country of my birth, and what family I was born and raised in.

Those two elements are part of the tragic unfairness of life. We don’t get to choose where we’re born and into what family. But it does not have to define our destiny either. Getting a head start doesn’t mean we’ll beat everyone at the finish line. Some rich kids end up in the gutter and some poor kids run multi-million dollar companies. Who and what is to blame and why?

We can’t change where we were born, and from what gene pool we came into being. The rest is pretty much up to us if we choose to embrace that responsibility. That involves making a choice between cause and effect.

Do you wish to lead your life like Tim, who is letting things happen (effect), or do you want to be the one making things happen (cause)?

If you’re convinced things are randomly happening to you, Lady Luck is your best friend. If you believe you are the prime instigator of change in your life, preparedness is your best buddy.

ACTIONS AND RESULTS

After years and years on this planet, I have a feeling that things don’t just fall into our laps, although it may certainly seem that way. I believe that we -consciously and unconsciously- are putting things in motion by what we do and fail to do.

All these things lead up to one moment where preparedness meets opportunity. Not by chance but by choice. That opportunity leads to other opportunities, and to something we eventually call a career. Connect the dots backward, and you’ll see what I mean. And if you’re still not convinced, start reading (auto)biographies of people you admire.

If Tim wants to be happy, Tim needs to change. He needs to stop blaming his food for making him fat. He needs to stop blaming his boss for making him miserable. Tim needs to let go of his anger, and turn resentment into appreciation.

If he wants his life to change, he has to change.

Tim and I need to talk.

I’ll have that conversation with him tomorrow.

Wish me luck.

Paul Strikwerda ©nethervoice

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Does Money Make You Uncomfortable?

by Paul Strikwerda in Articles, Career, Freelancing, Money Matters 7 Comments

hamburger“Why are you so expensive?”

The question came out of nowhere. I was talking to a client about a job he wanted me to do, and he verbalized what many customers are thinking when they hire a voice-over:

“Why should I pay you over four hundred dollars for three measly minutes of audio? It’s outrageous!”

“Why are you so expensive?”

How would you react to that question? Would you start doubting yourself? Would you apologize for your fee? Would you say: “Well, if it’s too much, perhaps we can agree on a different amount?”

The truth is this: money makes many people uncomfortable. Especially those who have chosen to do what they love. Creatives like musicians, writers, photographers, and yes, voice-over artists. If you are fortunate enough to enjoy your dream job, the wonderful work itself should be rewarding enough, shouldn’t it?

For years, the Concertgebouw, Amsterdam’s Carnegie Hall, didn’t pay young musicians a penny for playing lunch concerts. Not even travel expenses were reimbursed. Meanwhile, the ushers, sound engineers, and other staff members making these concerts possible were receiving a salary. How could that happen?

The Concertgebouw said it was giving artists a unique opportunity to gain some experience and get exposure. The same reasoning was used by schools “hiring” musicians for educational concerts, by pubs, churches, charities, and even TV shows. This went on for years and years. Why?

Because the artists agreed to it, thus teaching clients how to treat them.

Many had to give up their dream career because exposure doesn’t pay the bills.

JUSTIFYING YOUR FEE

As a for-profit freelancer, you have to answer the question “Why are you so expensive?” on at least two levels. First, you owe yourself an explanation. Secondly, you have to explain it to your client.

Before you do that, you have to realize that most questions are based on unspoken assumptions. If you buy into these assumptions, you buy into the client’s way of thinking, which is not such a smart thing to do.

Let’s unpack.

The question “Why are you so expensive?” has three elements. WHY, YOU, and EXPENSIVE. The word WHY demands justification, immediately putting you on the defensive. Do you wish to go there?

Here’s the thing: if you are comfortable with your rates, there is no need to defend them. The moment you feel unsure about your prices (and your self-worth), you’re more likely to lower your fee at the first sign of resistance.

In the beginning of my career, I was afraid to lose jobs because my fees might be perceived as too high. As soon as a customer uttered the magic words “we have a limited budget,” I believed them, and I lowered my price. Big mistake.

These days I know that there is no way of knowing how much a client -big or small- can or cannot afford. I do know that I cannot afford to work for low rates. Here’s the kicker: low fees are often seen as a sign of inexperience and amateurism. Charging less may actually result in not getting hired!

Bottom line: stop being so desperate. Have some dignity. If you are running a for-profit business you must be okay to walk away from a bad deal. Let others record that lengthy, self-published, shitty novel for $75 per finished hour thinking they have landed the deal of the century. You can’t convince stupid. Stupid has to learn from experience or repeat the same mistakes over and over again.

THE REAL DEAL

This brings me to the YOU in “Why are YOU so expensive?”

The question behind the question is: Compared to whom? The unspoken assumption is that there are others who are willing to do it for cheaper. That may be true, but you have to realize that the client is talking to you for a reason. You are not a dime a dozen. You sound like a million bucks and they know it.

Your voice is used by multinationals, world-famous brands, and well-known organizations. You need no hand-holding and no sound engineer to fix your audio. You’re easy to work with and you always meet your deadlines. That’s worth something. A lot, actually.

And if you’re a voice talent that’s just getting started, you know you have this fresh voice no one else has. You have a solid studio with decent equipment, and you’re a natural at making the words in the script dance off the page. You listen to your clients, and you give them what they need without an attitude. You may be new to the business, but you are a pro!

DEFINE EXPENSIVE

A wedding photographer I used to work with got this question all the time: “Why should we pay you a fortune for a few hours of your time?”

She learned that the first thing she had to overcome was the costumer’s ignorance about pricing and ignorance about what’s involved in doing the job. Most people had no idea of the going rate, so they had no way of telling whether someone was expensive or not. They just heard a number that seemed high. They made a mistake many beginning freelancers make:

Thinking that what you make is what you take home.

They did not realize that the fee for a photo shoot paid for professional cameras, lenses, lights, a shooting assistant, computers, editing software, a website, advertising, accountant’s fees, taxes, memberships of professional organizations, insurance, continuing education, a retirement plan, transportation, a photo studio, time spent looking for work, doing the books, editing photos, et cetera. Whatever is left has to pay for rent or mortgage, groceries, utilities, childcare, vacations, charitable donations, and many other expenses.

CLUELESS CUSTOMERS

Believe me: your clients have no clue about your cost of doing business, and they do not care.

However, if you don’t build these expenses into your fee, you will go broke. All the talent, skill and experience in the world is not going to save you if you’re not turning a profit.

So, the next time someone asks you “Why are you so expensive?” think twice before you answer.

Personally, I am comfortable with what I charge. I think it’s more than fair, and I deserve it.

When people ask me why I charge what I charge I tell them in a friendly but self-assured way:

“That’s my rate,” and I leave it at that. And you know what? Nine out of ten times, they accept it, and that’s understandable.

I mean, I don’t go into a restaurant challenging the chef why he charges $35 for the main course.

It’s simple.

If I don’t want to pay that much, I should eat somewhere else.

There’s fine dining, there’s fast food, and anything in between.

What are you cooking up for your clients?

Paul Strikwerda ©nethervoice

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Do You Want To Scratch My Back?

by Paul Strikwerda in Articles, Career, Freelancing, Money Matters, Personal, Promotion Leave a comment

handshake with moneyIf you’ve been active as a voice-over long enough, you know one thing:

Finding a job usually takes much longer than doing a job.

It stinks, doesn’t it?

Let’s be honest. We all love doing the work, but we hate getting the work. That’s why we’re willing to pay online companies good money to send us leads. Every morning we simply open our inbox, and there they are: golden opportunities that are sent out to hundreds, if not thousands of hopefuls just like you. Welcome to the land where $249 a pop is the new normal!

FYI: if you can book five jobs out of a hundred auditions, you deserve a spot in my Hall of Fame. Just remember that no one is paying you for those ninety-five unsuccessful auditions that took hours and hours to record. But auditioning is such great practice, isn’t it? You’re definitely getting better at not being selected.

THE WAY TO GET WORK

What else can you do to get clients? If you like bothering people who don’t want to hear from you, try cold calling. Especially in winter. I know how much you love being interrupted at work or at the dinner table by some stranger, so why not do it yourself?

You could also build or buy a mailing list and start emailing people unwanted newsletters touting your accomplishments. No one has ever done that before, right? That’s why the spam folder was invented.

Perhaps an agent could jump start your career. Agents know people who know people. And they’ll only take you on board once you’ve landed the jobs you were hoping to get through them. Isn’t that ironic?

So, how about this? Your colleagues have contacts. Lots of them. Why not ask your VO friends to recommend and refer you to their clients? It doesn’t cost you anything, and sharing is caring! You don’t even have to be polite about it. Just ask. We’re all in the same boat.

PS If colleagues refuse to refer you, you can always raid their LinkedIn connections and Facebook friends, and spam them asking for help. Make sure to sound like a desperate dabbler.

You may shake your head in disbelief, but that’s how pretty much every week I am approached by people I don’t know, looking for jobs I don’t have. Yesterday, I received a short email from a colleague offering me 10% of whatever she will make, if she lands a job based on my referral. This could be a goldmine, people!

A MORAL MAZE

Not so fast!

There is a good reason why professionals like lawyers, realtors, accountants, and therapists have adopted codes of conduct, specifically prohibiting them from taking payment for referrals. It is considered to be unethical.

Look at the definition of bribery:

“An act implying money or gift given that alters the behavior of the recipient”

Do you really think you can buy my opinion and influence my behavior by offering me a bounty? Is that how you think I operate? Give me one reason why I shouldn’t feel insulted!

If I were motivated by money, I wouldn’t even be in the voice-over business. Take it from me: You will never do your best work for the love of money. Your best work is always a labor of love and never the result of greed.

Here’s my bottom line:

A referral needs to be earned, not bought.

I owe a huge part of my business success to unsollicited referrals, and I am frequently asked to recommend colleagues. For those recommendations I get paid handsomely.

Before I tell you what I receive in return, you must know that I take my referrals very seriously. You see, the fact that I will recommend a specific person reveals as much about me as it does about the person in question.

One can usually judge someone by the company he or she keeps. When you pass the name of a colleague on to someone else, you put your reputation on the line. So, how do you go about it?

A REFERRAL STRATEGY

For starters, never refer a person you don’t know. When you’re thinking of recommending someone, I want to ask you the following question:

How do you know that this person is good at their work?

I’ll give you four options to choose from:

  1. See – You need visual evidence (e.g. You have to watch them do their work)
  2. Hear – You need to hear them (e.g. listen to their demo)
  3. Read – You need to read about them (e.g. a review, an endorsement, a website)
  4. Do – You have to work with them to get a feel for how good they are

The answer to the question “How do I know that someone is good at their work?” is called a Convincer Strategy, and depending on the context, most people will have more than one answer.

My next question is:

How often does a person have to demonstrate that they’re good at what they do, before you are convinced?

  1. A number of times – e.g. Three or four times
  2. Automatic – You always give someone the benefit of the doubt
  3. Consistent – You’re never really convinced
  4. Period of time – It usually takes e.g. a week, a month or longer before you can tell if someone’s really good

The last thing you need to be aware of is your frame of reference:

  1. Internal – No matter what anyone says about her, only you can tell whether or not she’s any good
  2. External – A source you trust recommended her, and that’s good enough for you

It’s quite common for people to have an internal frame of reference with an external check, or the other way around. If your frame of reference is completely internal, no one will ever be able to convince you of anything. If it’s completely external, your opinion will be totally dependent on what others have to say.

By the way, we all use the above criteria in different situations, but most of us are not aware that we do.

REWARDING REFERRALS

Referring people can be very rewarding. It’s an essential part of being in business and staying in business, as long as you do it for the right reasons.

Let’s say you landed a gig as a result of my recommendation. In that case I demand that you pay me back… by doing the best job you can possibly do. As one of my teachers used to say:

“If you look good, I look good, so you better make me look good!”

Secondly, don’t send me any money or gift cards. You booked the job because you ticked all the right boxes, and you deserve it. I don’t take any credit (or cash) for that.

And please, if you insist I deserve a percentage of your fee, take your ten percent and give it to a worthy cause.

Pay it forward.

That’s the key to making the right referrals!

Paul Strikwerda ©nethervoice

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