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 Goodt-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.
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:
Local Business or place
Company
Organization or institution
Brand or product
Artist, band, or public figure
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!
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.
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.
If 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 mailinglist 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:
See – You need visual evidence (e.g. You have to watch them do their work)
Hear – You need to hear them (e.g. listen to their demo)
Read – You need to read about them (e.g. a review, an endorsement, a website)
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?
A number of times – e.g. Three or four times
Automatic – You always give someone the benefit of the doubt
Consistent – You’re never really convinced
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:
Internal – No matter what anyone says about her, only you can tell whether or not she’s any good
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.
What’s the biggest social media mistake you can make?
It’s this: not using social media to your advantage.
What’s the second biggest blunder?
Mistaking social for selling.
One of my older students admitted that she was intimidated by social media.
“Paul,” she said, “I don’t know where to begin, what to do, or how to do it. A year ago I didn’t even own a smartphone. Now I’m supposed to be on it all the time. I hate talking about myself. Bragging about my accomplishments makes me uncomfortable. I’ve never taken a selfie in my life, and I don’t even know why people would be interested in me.”
“That’s perfect,” I replied. “You know why? Because it’s not about people being interested in you. It’s about you being interested in people. Being on social media is about making connections. The best way to do that is by interacting with people you’re genuinely interested in as a person, not as a prospect.
In the beginning, you don’t even have to post anything. Simply start by liking things you like, and by making some friends you have a connection with. Giving other people sincere compliments is a lost art, and visiting places like Facebook are ideal to rekindle that art.
When people share milestones, congratulate them. When they feel down in the dumps, let them know you’re thinking of them. When they have a question you know part of the answer to, share it with them. The key is to be a helper. Not a complainer.”
Two weeks later we had our next session, and I asked: “How’s that social media thing going?” She smiled and said: “Well, I took your advice to heart, and something unexpected happened.”
“What’s that?” I asked.
“When I reached out to people, they actually wanted to connect with me.”
“You sound surprised,” I said. “Why is that?”
“To be honest, I didn’t expect people to be interested in me.”
“That tells me more about how you think about yourself,” I responded. “Let me ask you this. Do you believe clients could be interested in what you have to offer?”
She took a deep breath, sighed, and said: “Maybe.”
“That doesn’t sound very convincing,” I said. “Before you convince a client you are right for a role, you have to convince yourself. A competent voice without confidence isn’t going to win auditions. We’ve got to work on that.”
“I thought social media wasn’t about getting clients,” she answered.
“You’re right,” I said, “but in our business, it’s sometimes more important who you know, than what you know. I get many of my voice-over jobs through referrals from colleagues who have never seen me in real life, but they know about me because we connected. People will never refer someone they don’t know or don’t like.”
“So, what you are saying is that selling should never be the purpose of social media, but it could be a nice side effect?”
“Right! The point is that you want people to get to know you, but not in a salesy, “pick me” kind of way. That’s one of the reasons why I tell a lot of stories in my blog. I’m not selling. I’m just telling stories. You see, you can always argue with an opinion, but you can’t argue with an anecdote, because…. it’s just fiction. People forget facts, but they will remember a good story.” “But what if people don’t like your stories or your opinions?” my student asked. “Don’t you have a problem?” “If that’s the case, I don’t have a problem, but my readers do!” I said, jokingly. “Listen, I do not post on social media or write a blog to get some kind of validation or recognition. I’m not looking to make enemies either, but I’ve learned that you can’t please everyone without betraying yourself. Although I’m proud to have so many subscribers, I’m not writing to gain thousands of followers. Making a thought-provoking contribution to my community is much more important than increasing the number of visitors to my website.
Here’s the point though: these things seem to go hand in hand. As long as I have interesting stuff to say, people seem to be interested in me. This does help my Google ranking and that’s not something you can buy. It’s something you have to earn.” “Do you see any downsides to using social media?” my student wanted to know. “Seriouly, it’s a monster waiting to be fed,” I said. “And it’s always hungry for more. Being on Facebook, Instagram, Twitter, LinkedIn, Pinterest and what not, will eat up your time without much to show for. Our society favors instant gratification, but making a dent on social media takes time. It’s for those who are patient, persistent and consistent. If you have low self-esteem, and you have a deep need to be accepted, social media can be a cruel place. My friend’s daughter came home in a terrible mood because her latest Instagram post only got twenty-five likes. To her, it felt like the end of the world because she thought she had lost the popularity contest.
My student looked at me, and sighed: “Children… they’re so vulnerable and impressionable.”
“Almost as much as voice actors…” I said. “Now, listen… when you’re ready to put yourself out there as a creative professional such as a voice-over, it’s probably best to lose these three things: – your desire to please – your need for praise, and – your urge to compare Comparing yourself to other, more experienced talent, will make you as miserable as the characters in a Victor Hugo novel. Please compare yourself to yourself and be happy for those who seem to be doing well. Remember that on social media people are trying to show their best, socially acceptable selves, and not necessarily their true selves. The need to be praised makes you dependent on the approval of others. I hate to break it to you, but that approval is something you have no influence over. Of course you want to do well, but you want to do it for the music. Not for the applause.”
I opened my iPad to an Irish Times interview with Outlander leading lady Caitriona Balfe. She recalls a valuable lesson she learned from an LA acting coach. He was…
“talking about releasing and destroying the need of whatever ‘it’ is. Whether you’re going to go in and audition, and you’re so nervous because you want people to like what you’re about to do: release and destroy the need to be liked.”
The Times continued:
Balfe learned to give herself permission to let go of those things that tie us all in knots, to move on from feelings. “It’s something so simple and so silly, but it works for a myriad of reasons. Whatever it is … just to walk away, to let go of that.”
My student nodded and I went on…
“In my mind, the desire to please has us focused on the wrong things. People-pleasers are constantly wondering: How am I doing? Am I messing up? Will they like me? I, I, I… Me, Me, Me…
As (voice) actors it is our mission to serve the script. We are a conduit. Our body is a vessel to communicate meaning. It’s not about “I hope they like me.” That’s a needy, egocentric approach. If we do our job well, our performance allows the audience to emotionally and intellectually connect with the text.
When a voice actor is struggling, I often wonder:
Are they self-conscious, or content-conscious?
It’s usually the former, and as long as they’re too busy dealing with their insecurities, they’ll never be able to immerse themselves in their read or in their role.”
“I think I understand what you mean,” said my student. “But how do I get there?”
“The way I see it, there are at least two elements that will take you there. One is preparedness. It’s the ultimate antidote to nerves. Good practise will prepare you. Once you know what to do, you can focus on being in the moment and getting the job done to the best of your abilities. It’s the difference between playing notes and making music. To make music, you need to know the score.
“What’s the second element?” asked my student.
“It is conviction. It’s having faith in your talent and your abilities. It’s something I can’t teach you, but it comes a lot easier when you’re well-prepared. In her interview, Caitriona Balfe put it like this:
“(…) a lot of it is just having the f***ing balls and grit to stick around and be persistent in the face of a lot of rejection. But I think that also comes from having a belief that if [there is] something you love to do so much, something that feels that it comes naturally, that in some way it has to be what you’re meant to do.”
My student’s face lit up like a Christmas tree. I continued:
“As your coach, it’s not for me to tell you what you’re meant to do. That’s for you to know, but I do know this.
If there’s enough of a voice-over fire burning inside of you, you stand a decent chance of having a long, rewarding career.
And you know what?
I’ll be the first one on social media to follow you, and cheer you on!”
I usually don’t allow guest posts on my website, but today I am making an exception for Hugh Edwards, CEO & Founder of Gravy for the Brain.
The issue of sliding voice-over rates is pressing and seemed impossible to solve.
The folks at Gravy for the Brain came up with a brilliant, no-cost solution that can make a huge difference in the lives of those who talk for a living.
I don’t know about you, but I’m astonished at the growing number of people responding to no-budget and low-budget voice-over jobs. It had me wonder:
Who are they? What drives them? How do we make them stop?
Some colleagues suggested I shouldn’t take these lowballers seriously. They’re ignorant hobbyists at best, and their actions have no impact on us professionals.
I disagree.
BEING WORTHLESS
It’s insulting and upsetting when both client and talent find the contribution of a voice-over of so little value that no money changes hands. Meanwhile, the copywriter and sound engineer get paid, the animator receives a check, and the guy who hired them to create an ad campaign has a full-time position with benefits.
What’s wrong with this picture?
If the company is too cheap to pay a pro, why don’t they ask Keith from accounting to do the voice-over? Why do they have to post a job in a Facebook group for voice-overs? It’s simple: because they know that Keith in accounting is a klutz, and there’s always a hopeless hopeful VO with a sliver of talent who’s willing to do it for nothing.
I’m sorry, but I’ve worked too long and too hard to be giving my voice away. Even if I were getting my feet wet, I’d have enough respect for myself and my colleagues to insist on being paid good money for good work.
So, why are some budding voice-overs willing to work for free? Beginning plumbers don’t do that. Newly graduated chefs don’t put a zero dollar menu together. Young teachers make less, but they get paid for doing their job. What makes us voice-overs so special that we deserve not to be paid?
A TYPICAL JOB OFFER
To get some perspective, let’s pick a real gig that was just posted on Facebook. The job is for a “nonprofit small low power Christian radio station” and was described as follows:
“A concept piece mentioning a new name and slogan along with some catchphrases. It’s like a sizzle reel in tv terms. Unpaid but appreciated.”
Someone who wants this job responds (and I’m not going to pick on the grammar):
“I could use the exposure and experience being new to professional.”
Just imagine all the exposure a small nonprofit low power Christian radio station can bring! I think you’ll need the intervention of a higher power to make all that exposure work to your benefit.
Speaking of exposure, try going to a restaurant telling the owner: “I’m not going to pay you today, but I’ll make sure to say nice things about you on Instagram.” Unless you’re Kim Kardashian, Paris Hilton, or Kylie Jenner, I don’t think you’ll be getting very far.
As someone who has been using his voice professionally since he was seventeen, I can tell you that, unless you’re a flasher, exposure is highly overrated. It doesn’t pay the rent and it can’t feed your family. It’s a transparent trick to make you believe you’re getting something in exchange for volunteering your services.
Some high-profile jobs may give you limited exposure, but these jobs usually go to A-list celebs and come with a nice paycheck. Keep in mind that voice-overs are the Invisibles of the industry. By definition, our role is mainly supportive (the exception being audiobook narration which I think is underpaid). We have to make up our own awards shows in order to get some recognition… from our peers.
So, if you’re looking for exposure, you’ve chosen the wrong profession. Don Lafontaine was arguably the most famous voice-over artist of his time, but very few people knew who he was until he appeared as a sidekick in a Geiko television commercial. Notice that he’s introduced as “that announcer guy from the movies.”
WHAT EXPERIENCE?
Will working for free give you the experience needed to book more paid jobs? It totally depends on the experience. I vividly remember an angry young conductor kicked out of a competition. He wanted to know why he hadn’t made it to the next round. He told the jury: “Compared to all the other contestants I’ve had much more experience. Why are you letting me go?” The chairman of the jury told him: “Your experience must not have been very good.”
Some experiences simply don’t translate. Just because you’ve worked as an announcer for a radio station or you were a teacher or a minister doesn’t mean you have the chops to be a successful voice-over. Having extensive experience as a voice talent doesn’t necessarily get me hired. Most clients aren’t interested in what I’ve done for other people in the past. They want to know:
What can you do for me today?
Will experience help you finally land an agent? Agents get interested once they know you can make them money. Doing jobs for free tells them you’re desperate instead of marketable. In my opinion, the experience you need as a budding voice-over is the experience of working with a good coach who’s not afraid to say what you don’t want to hear.
BEING A PROFESSIONAL
Let’s get back to the reason one of our colleagues thought he’d be a good fit for that no-budget Christian radio station job. He wrote:
“I could use the exposure and experience being new to professional.”
We’ve covered exposure and experience. Let’s get to the “professional” aspect. According to one dictionary, a professional is “engaged in a specified activity as one’s main paid occupation rather than as a pastime.”
So, if you’re doing something professionally, it can’t be a hobby, and you have to get paid. In addition, voice-overs are small business owners. The IRS says:
“A trade or business is generally an activity carried on for a livelihood or in good faith to make a profit.”
In other words:
WORKING FOR FREE IS UNPROFESSIONAL
A GOOD CAUSE
But what about working for charities? Don’t they at least deserve a discount? Before I get into that, let me be clear: the VO jobs I see posted in Facebook groups are sometimes for nonprofits but not for charities. Every charity is a nonprofit, but not every nonprofit is a charity.
As professionals we have to stop making assumptions about how much we believe a potential client can or cannot afford. They’re not going to tell us so we will never know. Just because it’s a nonprofit or a charity, doesn’t mean there’s no budget for PR. I know because organizations like Charity Navigator keep track of how much of a charity’s budget goes to fundraising campaigns.
Charities like the Cancer Survivors’ Fund, the Autism Spectrum Disorder Foundation, and the Kids Wish Network spend more than 50% of their budget on fundraising activities (source: click here). That isn’t necessarily a good thing, but don’t tell me all charities have no money and deserve a break.
Many CEO’s of charities make six-figure incomes. In 2015, the CEO of the Memorial Sloan Kettering Cancer Center made $3.6 million, and Wayne LaPierre who heads the nonprofit National Rifle Association was reported to make $4.6 million. These are extremes, but Charity Navigator says that among the charities they’ve evaluated, the average CEO salary is $150,000 (source: click here).
THERE’S A DIFFERENCE
What’s my point? Not every charity is created equal. Many are huge, professional organizations with big budgets for promotion. If there’s money to pay a CEO a decent salary, there is money to pay a voice-over a decent fee. Now, if you wish to support that charity because you connect with the cause, don’t discount your services. Make a tax-deductible donation after you get paid.
What baffles me most about those willing to work for (next to) nothing is the fact that they seem to be beginners. Perhaps I’m weird, but when I started out, I needed all the money I could get so I could invest in my career. I had to buy decent equipment, a good website, and I saved up to create a quiet recording space. Plus, I had to have a roof over my head and some food on the table.
I couldn’t afford to work for free, and I still can’t.
Here’s the thing most lowballers won’t admit: it takes real talent to book a top-dollar job, but it’s pretty easy to book a gig when you’re charging very little or nothing.
Once clients are used to your low rates they won’t be willing to pay you full price, and your colleagues will have a harder time negotiating a better deal. Why should clients pay more if they can get it for less (especially those for whom “good enough” is good enough).
Charging peanuts means you’ll never have the life you’re hoping for, and you’ll have less money to give to that charity you say you wish to support.
The moment you start charging a reasonable rate, you create expectations. You have something to prove. You tell the world:
“This is what this job is worth!
This is what I am worth, professionally speaking.”
If what you bring to the table has no added value, you’ve nothing left but to compete on price. But…
if you’re any good at what you do, people are willing to pay for it, and the benefit of hiring you outweighs the cost every single time.
After reading my last two articles, here’s what some of you wanted to know:
Do I make all this stuff up to scare newbies and make them look bad?
Before I address that, let’s explore the suggestion behind this question.
Number one: blaming the messenger is a cheap attempt to deflect attention from an unwelcome message. This is a tactic as old as mankind. If you feel you can’t win the argument, try to discredit the source, like:
“I’m uncomfortable with what Paul is saying, so I’ll accuse him of lying.”
Number two: why would I make stuff up? Every time I put myself out there as a blogger, I risk my reputation. The moment people would catch me in a falsehood, it’s game over. As a former journalist, I know for a fact that years of truth telling can be nullified by one stupid lie.
Once exposed, no one would ever want me to present at a conference, interview me for their podcast, read this blog, or buy my book. Clients that got wind of it might not want to work with me anymore.
Honestly, to lie would be a liability.
Lastly, why would I have to make things up if you can easily find them in open Facebook groups? If anything, social media is ideal for spotting public displays of ignorance. I’ve just combed through pages and pages of voice-over related nonsense to bring you the best of the worst. Before I get to that, here’s what you need to know.
You’re about to read literal quotes. I’m not paraphrasing anything, or correcting spelling. To protect the identity of the authors, I’m not going to name names. However, you should realize that this is my personal selection, specifically chosen to emphasize a few trends that worry me, namely:
1. Social media offer a seemingly equal playing field to pros and hobbyists. If you’re new to the business and you don’t know anybody, you can’t tell whom you can trust for advice. You might get solid information, or someone might be taking you for a ride.
2. Too many (amateur) doctors are prescribing cures before carefully diagnosing the patient, unhindered by a lack of common sense, knowledge, and experience. Anyone’s an expert, and quite often, the deaf are leading the blind. As usual, the quality of the info depends on the quality of the source.
3. Many Facebook groups have no barrier of entry, and any nobody can pretend to be somebody. I’ll say that again: any nobody can pretend to be somebody. Some critics claim that half of all Facebook accounts are fake. Ask yourself: do you know for sure that the Facebookers you’re chatting with are who they say they are?
In some groups, the people recruiting voices for their next project have started adding “must be 18+” because many of the submissions turned out to be from kids who were just fooling around.
4. There is no Facebook police, and too many group moderators are allowing anyone to say anything… they agree with. In my experience, it’s permitted to sing the praises of an unnamed, unethical, greedy P2P, but any criticism is quickly censored as “being negative.” In the same spirit, the moderator will allow rave reviews of newbie demos and websites (even when they’re crap), and will delete more honest assessments because they’re seen as “mean.”
An aspiring VO exclaimed:
“I’m going to leave this Facebook Group mainly because I’ve received nothing but negative comments since I’ve joined and I really only wanted to learn how to be successful and instead recieved so much hate.”
Thankfully, someone responded:
“I searched for your name and you’ve gotten one troll reply and about 30 helpful ones. It’s not hate if people don’t agree with you. It’s constructive criticism and at the end of the day only YOU choose what to take away or leave behind from any advice you get in life. If people keep taking things personally, then sorry but the VO business is not for you.”
As expected, people have lots of questions about breaking into the business. The scary thing is that so many Facebookers are ready to give advice without knowing anything about the person asking for it.
Let’s say you’re a car mechanic. Would you start working on a car before finding out what’s wrong with it? That’s pretty dumb, right? So, speaking of ways to get into the VO business, here’s what someone recommended:
“You have to move to los angeles to become an actor am i right regardless if how much fame or money you have or how many friends one gets in life? its easy for richard horvitz to be an actor if hes from there regardless how many friends he was with a pro actor or athlete right?”
That was particularly helpful, wasn’t it? Moving on to the next question:
“Been voicing anime since I was little but wanting to do it professionally; how to get started is my question.”
Here’s the answer:
“First creat a few demos”
Response:
“How to do that and not make it sound terrible?”
Answer:
“I think the first step is just put yourself out there, make your presence known so, maybe take some unpaid jobs first, build a report of people that will recommend you and go from there.”
Here’s another brilliant suggestion:
“First things’ first: got a good mic? then: record something and upload it to soundcloud.com then put url link here.”
Someone else chimes in:
“I was always told to reach out to radio stations. I’m friends with a few professional voice actors.”
My two cents? First of all, don’t move to LA yet. Get some training first and see if you have any talent. Secondly, don’t “creat” any demos if you haven’t demonstrated anything. Once you’re ready for those demos, hire a professional to create them with you. By the way, don’t put yourself out there (whatever that means) if you have no website, no sound samples, and no recording space. It’s like opening a shop with empty shelves. Lastly, stay out of radio stations. They’re breeding grounds for frustrated announcers.
Unsurprisingly, many questions on Facebook are about home studios and recording equipment. We’d rather spend hours debating the pros and cons of using a USB microphone, than talk about how to market our business. Here’s a selection:
Q. “What’s the best mic that I can buy for under $100?” A1. “Blue snowball is good.”
A. “You can get the whole set up for about $200 and it’s totally worth it. You can see my mic and interface recommendations at XYZ.com Also, I’m selling my condo.”
A2. “You should able to go into a music shop and ask them if you can test their mics.”
A3. “I started with a Rode NT USB. A simple noise reduction pass is all you need and the set up is a fraction of the cost of XLR if you’re starting out on a budget.”
A4. “The Kaotica Eyeball is the only thing you need. It turns anywhere you are into your own sound studio.”
Let me break that down for you. Forget snowballs. Blue balls are particularly painful. $200 is not going to get you all you need to compete. Please don’t test microphones on the noisy shop floor of your local Guitar Center. Try them out in your recording space. Invest in a condenser mic and soundproof your studio. A plugin isn’t going to keep out lawn mowers and leaf blowers.
New question:
Q. “I don’t have a studio. How do i record when the neighbors kids are so loud i can hear them with the window closed?”
A1. “Tell the kids to shut up.”
A2. “You could try to build a little pvc/moving blanket fort… it will help.”
A3. “Upturned mattress and blankets all over will get you where you need to be once you get as far away from the kiddies as possible. Then a blanket over your head with your mic.”
Mattresses and blankets may help tame the boom in the room, but you need to decouple walls and add mass to keep the outside sounds out. FYI that’s going to cost you a pretty penny, but a VO without a home studio is like an Uber driver without a car.
A few more booth questions:
“Does anyone else use their macbook webcam mic? Do you find that sometimes your audio is inconsistant when you record? Somedays I sound clear and crisp, others I sound like I’m talking in a tin can. (I’m using Garage band to record)”
“So, I’m planning on making a cheap diy mobile sound booth on a pallet, and I’m wondering if you guys have any tips on what the cheapest materials I could use.”
“I have used fibre egg crates for sound absorbing material, they work great.”
“So I have a square closet that has a lightbulb hanging from the ceiling. I would probably want to put some soundproof material under the door because that’s the only part I can think of that would need it. I know that a lot of people start out with using a closet because it’s usually the most natural soundproof room.”
“Mine booth is a decommissioned shower stall. I used $5 moving blankets on all 4 sides as well as top and floor. It sounds as good as any booth in Hollywood I’ve ever used.”
He continues:
“Moving blankets for the walls, ceiling, and floor if you have hard floors. Then toss a heavy blanket or comforter over the top moving blanket and put a heavy blanket up behind you. That’s as good as it gets without being a whisper room or studio bricks or something else nearly soundproof.”
Another person says:
“If you’re trying to keep it on the cheap, generic Walmart mattress toppers are between 1-2 inches thick and are usually around 10 bucks for a twin/full size mattress.”
What’s the common denominator? People trying to create something on the cheap. Here’s the thing: if you compromise on sound quality, you compromise your career. You don’t need to invest in a Bentley to travel from A to B, but you need a reliable means of transportation to get anywhere. And egg crates are just a fire hazard.
What surprised even me, are the number of “passion projects” peddled in Facebook groups. “Passion project” turns out to be a euphemism for unpaid slave labor. Here’s a sample:
“Hello everyone! I am in need of a few voice actors for my Sonic Boom Stop-Motion Episode 2 Project. This is NON PAID and I need the roles filled in as soon as possible!”
“I am currently in production of the first season of an all audio sketch comedy show. The project isn’t compensated however there are other benefits we will provide and avail to you if you are selected and interested.”
“I’m helping for casting for my mates unpaid Doctor Who Audio Series. (Unpaid) I am still looking for male voice actors for my Return to Wonderland motion comic book series.”
“Looking for a female VO for a Halo themed audio book. Project is unpaid currently as it is a copyrighted IP, but a copy of the completed work will given, and when it is live VO’s will be paid out first. The previous VO is having to be replaced due to some audio issues.”
“[Non-Paying] Any lady vocalists/singers interested in trying their hand providing vocals for original tunes?”
“Hey guys, need a voice actor for 4 roles. One for a robber, a female bank clerk (can also be voiced by male), and 2 male cops. Ill post the script below. This is a non paying gig, but may be a paying gig in the future.”
“Doing a freebie for a friend and was wondering if any of you would voice a short commercial? It’s for a “amateur” wrestling show. Its non paying I just need someone who wants to voice something for local tv.”
“Im looking for a few people to do some narrations for a youtube series. The Theme is Children’s Stories and I hope to make a fair few episodes of it so may have returning narrators. Unfortunately its unpaid but it will be able to bring out the budding little actors who are starting out in the art of voice acting as well as the pro’s that don’t mind doing it for a little fun.”
You’d be surprised how many people respond to these passion projects. The desperation to start yelling something into a microphone is real.
Here’s my rule of thumb: If you’re good enough to be hired, you’re good enough to be paid. Period. Working for exposure is something only strippers do. Someone commented:
“Chances are if they can’t afford to pay, they don’t have a big enough platform to offer significant exposure anyway. And if they do have some MASSIVE platform, they should be paying.”
Plus, you’ve barely started to get your feet wet, and you’re already teaching clients they can get something for nothing. This is a comment from one of those clients:
“As a content creator I can tell you all 99.9% of us would love to pay everyone we work with on every project. But if I spend all my budget on talent what am I to do about promoting my project? If one is getting into this field looking at it as a job then you’re doing it wrong. This is the business of independent contractors.”
In other words: freelancers can’t expect to be paid? Well, there’s a new concept!
There’s another myth out there, namely the myth that doing auditions is such great practice. It’s not. Here’s what I believe:
You practice to audition. You don’t audition to practice.
In order to get the job, you have to demonstrate that you can do the job. Some half-baked attempt is not going to work. It will leave the client with a bad taste in his mouth, and the next time he hears your voice he’ll move right on to another talent.
Oddly enough, those applying for unpaid jobs complain elsewhere that they have no money to move their career forward. Here’s one of them:
“So, as an aspiring voice actor myself, I have made one demo in the past but it wasn’t easily accessible. Now i’d like to make another one but I’d like some help.
Nevermind just found out 1100 bucks for the classes and then the demo. That’s aloooot of cash.”
Between you and me, that’s not a lot of cash for voice-over training and a demo. I would be very suspicious of anyone offering such a package for a little over a thousand bucks.
Finishing up, let me reiterate that it’s not my intention to shame anyone or make fun of anyone new to the voice-over business. You are very brave, and I am giving you these examples as a warning. Quite often, Facebook is the worst place to seek advice for those who don’t know what they don’t know.
Be smart, and do not allow yourself to be taken advantage of by people who prey on impressionable beginners.
Do your homework before asking any questions. Show the world that you’ve made an effort to find a solution before bothering the group. Don’t beg for jobs. Don’t comment on things you know very little about. Be open to feedback. Save up so you can invest in coaching, equipment, and a recording space. And above all: give yourself time to become good at what you want to do, and have fun.
I had fun responding to a Facebook question recently:
“I’m looking for a high soprano for an album I’m very close to finishing. It’s a various artists album, with some Asian and Celtic influences. Please PM me if interested.”
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