In this blog I share some aspects of how I make money as a voice talent. But there’s one part of my profession I don’t advertise.
It’s my work as a coach.
Over the years I’ve helped lots of colleagues become more successful, and I feel they should take the credit. Not me.
Plus, I’m quite busy voicing projects and I don’t have a lot of time to coach. Frankly, I can make more money recording a three-minute script, than spending an hour giving someone advice.
But two years ago, things changed. I had my stroke, and it affected my vocal folds. My voice doesn’t last as long as it used to, and I can’t take on every project that’s offered to me.
Over time, my coaching hours increased, and I discovered that helping others can be much more satisfying than recording a pancake commercial.
Now, some coaches specialize in accent reduction. Others know all about audio books. I call myself a Visibility Coach because my strength lies in helping people stand out in a world filled with noise.
GETTING VOICE OVER JOBS
There are basically two approaches to finding more work:
– You can target and approach clients all day long by cold calling, by begging agents to send you gigs, and by auditioning online until you’re blue in the voice, or you can…
– Make those clients come to you by having a strong online presence through your website and social media
The second approach cuts out the middle man, and gives you the freedom to negotiate with clients on your turf and on your terms. Most people have tried the first method and they end up being frustrated, broke, and exhausted. Oddly enough, they’ve never spent much time trying the second method.
If you are one of those people and you’re wondering if coaching is for you, I have a question for you:
Can you pull yourself up by your bootstraps and make things better?
If you could, then why haven’t you? And if you haven’t, what’s holding you back?
You can always ask friends and family for advice, but what do they really know about the business you’re in? Do they know what it takes to put yourself out there, even if you don’t feel like selling yourself? Do they have the practical experience to figure out what’s keeping you from booking more jobs?
Do they have the right connections to improve your visibility in the field, without plastering your face all over the internet? Do they know anything about branding and marketing? You see, friends and family will always have an opinion, but they lack the objectivity, the skills, and the know-how to guide you.
That’s where I come in.
Twenty years ago, I came to the United States with two suitcases and a plastic bag. No one knew who I was, and I had no idea where to begin. But I did it anyway. Now I have a thriving business, happy clients, and over forty thousand people that subscribe to this blog. I speak at conferences, I give interviews, and I have written one of the more successful books on voice overs and freelancing.
One could say that I’ve figured a few things out about what it takes to do well in this ever-changing business. And I’m happy to share them with you. The Dutch are known for being very direct, and I am no sugar-coater. In fact, I am probably the person who will tell you what you don’t want to hear. If you can’t handle that, find a coach who will gladly massage your ego.
As your coach, I will be your greatest fan and cheerleader. I will hold you accountable for the actions you choose to take. If you want to talk the talk, you will have to walk the walk. I will help you plan a path, make connections, and teach you what I know. Not from boring books, but from international experience.
For instance, many European colleagues are wondering what it takes to break into the American market. It’s not easy, but it’s not impossible. I’ve done it. It’s all about talent, strategy, and connections. You bring the talent, and together we’ll focus on the rest.
My ultimate goal as a visibility coach is to make myself redundant. Your job is to do everything it takes to get to a point where you stand strong, and take full credit for your accomplishments.
We live in testing times. As the economy is crumbling and you’re not working as much as you’d like to, this is a good moment to dig in and make some changes. If you don’t, others will take this opportunity to develop a competitive advantage.
I believe you deserve to do well in the world. I believe you deserve to use the gifts that you’re developing to the best of your ability.
If any of this resonates with you, I hope you’ll get in touch. I have to warn you, though.
I don’t take on every student that seeks coaching. My time is just as valuable as yours, and I only work with those who are highly motivated and ready to do whatever it takes. You must be prepared to spend some serious time on whatever it is that needs to improve.
IT’S UP TO YOU
Please realize that I don’t have a magic wand to lead you to instant success. Coaching is not the same as making a prefab microwave meal. Coaching is more of a crockpot process. Each student has different strengths and weaknesses, and needs a different recipe.
One last thing. This is important.
As your coach, I cannot force you to do anything. I cannot make clients hire you on the spot, but I can teach you how to drive and navigate the road, so to speak. You, however, are in the driver’s seat, and you determine the destination.
Once you’re ready to get behind the wheel, please drop me a line. I’ll send you a copy of my Coaching Agreement to give you a better sense of my approach, and the required investment on your part.
To be honest with you, I’d rather read an article than listen to forty minutes of blah-blah-blah. I can scan an article or blog post in a short amount of time. I search for keywords, and skip the fluff. Done. On to the next one. I think I’m too impatient for most podcasts.
Since I wrote the story in 2015, the number of VO-related podcasts has increased considerably, and I have to admit that many of them are a joy to listen to.
I’ve been interviewed by a multitude of hosts, and my experience has always been very positive. Yet, there are only a handful of podcasts I regularly tune into, and they’re seldom about voice overs. Why?
I think It’s very important for a well-rounded VO (and I’m not talking about our waistline), to step outside of our blah blah bubble, and skip the talk about which microphone is best and how to get an agent. There’s a whole wide world out there filled with information and inspiration. Constant navel-gazing isn’t going to help us learn and grow as a human being.
This week, a Dutch podcast forum asked me about my experiences with podcasts. Do I have any faves, pet peeves, or tips?
This is what I wrote.
Let me start my story with a confession.
My roots are in radio.
That’s both a blessing and a curse. It means I can no longer listen to podcasts with an open, carefree mind. I listen the way a music critic listens to a concert. With super critical ears. Luckily I can turn the darn thing off as soon as I get bored.
In addition you should know that I’ve been a voice over for more than thirty years. This has made me allergic to badly written scripts, stupid slips of the tongue, loud, distracting breaths, and poorly recorded audio.
I’ve also made a living as a journalist, presenter, and media trainer. I know a little bit about interviewing guests. How to do it, and how not to do it.
All of the above means that many podcasts are just not my thing, even though I love the medium dearly. My favorite podcasts offer theater between the ears allowing my imagination to run wild. When I’m listening, I’m not distracted by flashing images on television which makes it easier to focus on the content.
I love the freedom podcasts give me. I usually listen when I have boring things to do like the dishes, yard work, house cleaning, long drives, or running on the treadmill. What do I listen to? Mostly radio shows.
This year marks my 20th anniversary of living and working in the USA. To stay connected to what’s happening in Holland (where I’m from), I listen to a show called Met het oog op morgen, (Keeping an eye on tomorrow). It’s a daily roundup of news, current affairs, and background stories.
As a former newscaster I’m always on the lookout for people who can interpret what’s going on in the world today. I want to know what motivated this person to make that statement, and what the implications are. That’s why I often tune in to the Brian Leher Show on WNYC, a New York City-based public radio station. Brian is a progressive interviewer who has an uncanny ability to ask pointed questions in a friendly and respectful way.
When I want to know more about art, literature, and music, I turn to Fresh Air, a legendary talk show with Terry Gross. Terry is considered a national treasure in the US, and for good reason. She’s been on national radio since 1975, and her show can be heard all over the United States. She’s known for her empathic, intelligent way of interviewing her guests.
For philosophy and science I listen to Radiolab with Jad Abumrad and Robert Krulwich. Jad composes the experimental music which is like a running commentary on the theme of the show. Apart from interviews with people such as neurologist Oliver Sacks, conversations between the hosts are also part of the program. Radiolab is exquisitely immersive and never fails to make me think.
PROBLEMS WITH PODCASTS
There are very few “real” podcasts (as opposed to regular radio shows) I can listen to without cringing. Usually, that’s because of three things:
1. Amateurs “playing radio.”
Bad audio quality is the first clue. The recording space is often too noisy, everyone is miles away from the microphone, and guests are mumbling their answers. After hearing the first twenty seconds I ask myself: “What on earth am I listening to?”
Podcast producers who actually know what they’re doing realize that they have to compete with “real” radio programs. Award-winning podcasts have a team of researchers, editors, script writers, and sound engineers that take their job seriously.
In the next few years the difference between hobbyists and professionals making podcasts will increase dramatically. The consumer will have even more to choose from, and won’t have to settle for kitchen table productions.
2. Hosts that are overly self-involved.
Podcasts seem to attract people that like to hear themselves talk, but who have very little to say. I’m thinking of the unfunny folks who believe they’re God’s gift to comedy, and who have trouble getting to the point. I call them “self-arousers” because the sound of their own voice makes them horny as hell.
The best interviewers don’t make themselves the star of the show but focus on the guests. They don’t stick to a list of pre-cooked questions. They listen carefully to the answers and follow up. This is not an easy thing to do. You’ve got to get people talking, you’ve got to learn to keep your mouth shut, and you have to jump in at the right moment with the right questions.
3. Weak content
Before you read the next line I’d like you to do a quick experiment while recording yourself. Choose a topic you’re interested in at the moment. Have a stopwatch ready, and when you press START, talk for one minute straight offering relevant information. No hesitations, no filler words, and no ums.
Ready. Set. GO!
Most people who do this experiment notice how hard it is to fill just one minute fluently, while keeping the audience engaged as they’re trying to make sense.
I often tell my students:
“If you want people to be interested, you have to be interesting. Your topics and your guests have to be interesting.”
Too many podcasts are of the category “much ado about nothing,” hosted by lazy, self-absorbed hosts that allow their guests to yammer on and on and on.
If you’re reading producing podcasts, you know it requires quite an investment to produce an outstanding show on a weekly basis. That’s why it is almost impossible to listen to your own shows with impartiality. It’s also the reason I recommend you get yourself a feedback group of people who know what they’re talking about. Do not ask family and friends who will love everything you say and do, no matter what.
You need the critical ears of those who will tell you what you don’t like to hear.
My 3-hour X-session Boosting Your Business with a Blog at VO Atlanta is now on sale. I’ll teach you all the blogging secrets that made the Nethervoice blog one of the most widely read VO blogs in the business, and my website the number one individual VO site on the web. Only 12 seats available! Click here to sign up.
In Philipsburg, NJ, the town across the river from where I live, a familiar ritual is taking place as we speak.
A shopping mall is closing.
Built in 1989, the Philipsburg Mall once featured one hundred stores and a four thousand-space parking lot. Today, this enclosed, 577,000-square-foot concrete structure is almost empty, and ready for the wrecking ball.
It’s part of what the experts have coined the “retail apocalypse.” Studies show roughly one in four malls across the USA are expected to close by 2022. This week, Macy’s announced the closure of twenty-eight locations. Pier 1 Imports said recently it would be closing nearly half of its stores.
Overall, 2019 was a terrible year for US retailers. Coresight Research announced 9,302 store closings, and that’s a 59% jump from 2018. In fact, it’s the highest number since they began tracking data in 2012.
To explain this phenomenon, the same experts point to a trend they call the Amazoning of America. It’s the idea that malls and individual retailers are being pushed out of business by online giants like Amazon Prime and Alibaba.
Others are pointing to a changing economy where the middle class that used to shop at stores like Sears, Bon Ton, and Macy’s is struggling and is looking for cheaper alternatives.
The people who have trouble making ends meet now shop at the Dollar Store. After opening 900 stores in 2018, Dollar General opened 975 stores in 2019, making it the top retail company in terms of expansion. Discount chains like Dollar Tree, Family Dollar, Aldi and Five Below were in the top five for opening stores in 2019.
Yes folks, the U.S. economy is doing better than ever before!
To counter lower revenues and high rents, regular retailers purposely understaff their stores, and stock less or older merchandise, leading to a poor shopping experience. Good luck trying to get help in a department store these days.
With this in mind, it’s easy and convenient to point fingers at the economy and Amazon for the retail apocalypse. We don’t control Amazon, and we have no influence over something as abstract as “the economy.” If you can’t control it, you cannot change it.
Or can you?
Someone in my neighborhood was complaining about all the distribution centers being built in my region, the Lehigh Valley in Pennsylvania. “They take up farmland, they lead to an increase in truck traffic damaging our roads, and they’re just plain ugly,” the man said. “I blame Jeff Bezos!”
But what if Bezos wouldn’t have as many customers? Would he still be renovating his $23 million Washington mansion with 11 bedrooms and 25 bathrooms? What would happen if all of us would start shopping locally again, instead of online? Would developers still be building all those distribution centers?
The way I see it, we as consumers have tremendous influence on our economy. The way we spend money is our superpower to bring about positive and negative change.
It is our behavior that is killing shopping malls, bankrupting family businesses, and is giving the Five Below’s of the world billion dollar profits while their cheap Chinese trinkets are polluting the planet with plastic.
We choose the behavior, and we are responsible for the consequences.
As long as people don’t get that and blame outside factors for unwanted changes, we won’t be able to solve the climate crisis, the increase in racism, gun violence, and a whole string of other worrisome developments in our society.
To bring it back to my line of work… many of my voice over colleagues are complaining about rates getting lower, and clients getting cheaper. They blame the free market for their woes.
“It’s what the marketplace dictates,” they say. “A job that used to pay $2500, now pays $250. I can’t change that. A bird in the hand is worth two in the bush.”
I strongly disagree. Getting paid $250 for a $2500 job is the result of your inability to make an appealing value proposition to your client, and your ineptitude to negotiate a decent deal. It reeks of desperation and a lack of professionalism.
Just as the success of Amazon (and all its consequences) is the result of millions of individual purchase decisions, the lowering of our rates is the result of thousands of freelancers deciding to settle for less. No one is forcing them, and yet it sends a clear signal to our clients:
“This is what I believe this job is worth. Why pay a penny more?”
Look, I get that there’s a market for the Dollar Store, but why not leave that market to the freakin’ freelancers you find on Fiverr? They obviously can’t compete on value, so they can only compete on price. Let them dabble as they babble pretending to be a pro.
In this new year I challenge you to decide who your clients are going to be. The cheapskates who are the most demanding and demeaning, or the ones who value and respect you professionally and financially? This means drawing a line in the sand by being clear about what you no longer wish to accept for yourself and your community of colleagues.
It may also mean raising your standards as well as your rates, because clients with bigger budgets expect you to give them their money’s worth. This is where the small shop owner beats the strip mall and the online retailer.
A DIFFERENT TOWN
Across the bridge from Philipsburg, lies the town of Easton, PA. It’s where I live. Easton is a town that warmly welcomes entrepreneurs. We don’t have a retail apocalypse. We have a retail resurgence!
Every month we celebrate the opening of new stores, businesses, and restaurants. People who are sick and tired of skyrocketing New York rents are coming to Easton. For what they’re paying for a tiny NYC apartment, they can buy a historic home or a penthouse overlooking the Delaware river.
The Easton Business Association is a free organization where all members help each other succeed. Together with the Easton Main Street Initiative, shop keepers, restaurant owners, and service providers come up with events that bring thousands of people to the downtown area. Every fourth Friday there’s Easton Out Loud with music, food, drinks, games, and activities for the whole family.
You won’t find big box stores in downtown Easton. Instead, you’ll find flower shops, bakeries, gift shops, antique stores, vintage clothes shops, art galleries, independent book stores, cafés, pubs, restaurants, and breweries. And did I mention a fabulous Farmers’ Market?
Festivals such as Bacon Fest, Heritage Day, the Zucchini 500 races, and the Peace Candle Lighting bring huge crowds to Easton. All these events are sponsored by local companies and are run by an army of enthusiastic volunteers of all ages.
In my town you will find unique things made by local artists and artisans you won’t be able to buy on Amazon or even Etsy. When I needed a set of walking poles, Adam (the owner of the Easton Outdoor Company), took over an hour to make sure I picked the right pair, and he taught me how to use them. That’s not an experience you can get online or even at Dick’s Sporting Goods.
COMMUNITY & CONNECTION
What Easton offers more than anything, is a sense of community and belonging that has disappeared from so many towns and cities. It comes from store owners who care about their business and their customers. From people who take pride in what they produce. From people who don’t see new stores as their competition, but as an opportunity to work together to attract more business. After all, visitors like having more choice.
Now, remember that all these stores exist and flourish in the age of Amazon. They don’t compete on price. They compete on giving the customer high-quality and often unique products, pies they can taste, flowers they can smell, and clothes they can try on. These shops offer stellar customer service, and an experience that makes you feel you’re among friends. These ingredients are the warm and fuzzies you’ll never get from a website, no matter how sophisticated or cheap it may be.
So, in 2020 I want you to stop whining about sliding rates, and focus on how you are going to give your customers an experience they will always remember and are happy to pay for. Let me give you one hint:
You’ll never be able to distinguish yourself as long as you’re part of someone else’s store charging someone else’s prices.
Their roof. Their rules.
The shop owners at the dying Philipsburg Mall noticed that the Real Estate Investment Trust that owned the property treated them as commodities. They didn’t innovate and invest to bring back customers. Right now, the roof is leaking, repairs aren’t being made, and the parking lot is filled with potholes.
Some people believe the owners are driving the mall into functional obsolescence. The land under the mall, however, has value.
It’s perfect for yet another ugly distribution center.
Mark my words: the next decade is going to be BIG!
There will be more opportunities for professional voice actors than ever before. Take a quick look at the trends.
In 2019, video game revenue has again surpassed the total global box office for the film industry. The prediction is that it will increase by about 9.6% to generate 152.1 billion USD.
Streaming services are investing heavily in the production of original content. The audio book market keeps on growing exponentially (audiobook revenue in 2018 grew by 24.5 percent and totaled USD $940 million). The eLearning industry is expected to grow beyond USD 300 billion by 2025.
With the number of self-professed voice-overs increasing year after year, the question is not:
“Will there be enough work for everybody?” The question is: “Who is in the best position to take advantage of the growth in our line of work?”
The answer is simple: those who are best prepared to meet the demands of the market will dominate it. So, the real question becomes: How do you prepare for the future?
Abraham Lincoln, who was a skilled woodcutter before becoming president of the United States, famously said:
“If I had six hours to chop down a tree, I’d spend the first four hours sharpening the axe.”
For VO’s this translates to at least four things:
Continuing education, but not only with the help of voice over coaches. I’m talking about taking acting and improv classes, singing lessons, and even language training. In other words, start improving your skills to make yourself more versatile and marketable. But that’s only the beginning;
On top of that I highly recommend you learn how to properly run a freelance business. This means knowing how to manage your finances, learning how to develop your brand, and coming up with innovative ways to position yourself. It involves making meaningful connections, and presenting yourself as a unique solution to a specific problem;
Third, you must invest in equipment and in a recording environment that will make you look and sound like the pro you profess to be;
And lastly, you need to learn how to manage yourself. If you can’t take the pressure and uncertainty of being a freelancer, the constant stream of rejections, and so-called colleagues trying to undercut you at every corner, please find another job.
FOREVER AND EVER
Looking at this list you may wonder: won’t this take years and years to accomplish? It may, but it depends on your approach, your finances, and on the time you give yourself. The people who make the least progress are those who are trying to figure this out on their own. They kid themselves by believing that you can find everything you need online, and for free.
Why have we never heard of those trying to teach themselves how to drive a car or swim, using distance learning? Because they have crashed and drowned! If you think you can reinvent the wheel, be my guest. I think it’s much faster to learn from those who already are where you want to be. That’s precisely where conferences come in.
A conference is a safe and exciting place where you meet colleagues and experts who have struggled with the same things you are struggling with at the moment. It’s a place where you can help and inspire others who are stuck in their careers. And if you’re looking for a personal coach, you get the opportunity to experience a number of experts and see who might be a good fit for you.
A voice over conference is the perfect place to start sharpening that axe of yours.
BACK TO LONDON
I’ll be going to VO Atlanta in March, and I’m totally tickled to tell you that I am coming to London in May 2020! The ONE VOICE CONFERENCE where I will be speaking, takes place from May 7th – 10th and is put together by the team behind Gravy For The Brain. I spoke with organizer Hugh Edwards, and asked him:
This is the third Voice One Conference. What have you learned since the first gatherings?
“Well, we are very big on customer feedback, each year we’ve done exit surveys and we’ve really listened to what has been fed back to us. We genuinely try and improve the conference in any way we can. One of the key changes we’ve made this year is that we are completely focussing the conference on professional voiceover, pro VO’s and pro VO standards.
Most conferences cater for a spread, i.e., beginner, intermediate and advanced content, but this often leads to a lack of content for the pros – this year we are doing an about face on that. My theory is that if you aim for 100% professional content, everyone is going to learn something useful and new, and you don’t alienate any section of your audience.
The second big change is that this year I’ve dropped the idea of genre-based content. What I mean by that is that with years 1 and 2 we had a genre list – audiobooks, IVR, corporate etc – and we filled all the speaker slots based on fulfilling that list.
You’ve been to VO conferences in the USA like VO Atlanta. What’s the difference in the way Americans and Brits approach these events? In what way is the atmosphere different?
“Well, the heart of the voice artists in both countries, and Canada, Mexico, France, Australia etc are fundamentally the same. They all have the same hopes and dreams, needs and wants. The love of the industry is a common love that runs throughout everyone I meet in the industry. I think the attitudes are a little different though.
The brits tend to say outright and to people’s faces that they don’t think something is right, and the Americans seem slightly more reserved, will make their judgements and just not buy that person’s product, or that companies offering etc.
That isn’t to say that the American audience is in anyway less passionate, just that we all have different ways of expressing it. The Americans are much louder with whooping, hollering and dancing, the brits less so – but again, it’s not any less enthusiasm or passion – just different expressions!”
I sometimes feel that in the US, voice talent suffers from an inferiority complex. Voice-overs are invisible and don’t get the recognition they wish to get, artistically and financially. Is this something you recognize in the UK? If so, how can an event like One Voice help change the perception VO’s have of themselves, and the perception of the public?
“I wouldn’t agree that VO’s have an inferiority complex generally – in fact they often get the best of both worlds in that they get to work with the big productions but can still walk down the street un-hassled! But the public perception of VO around the world is growing daily.
One Voice, and Gravy For The Brain definitely help change the public perception of voiceover, both in education and (with things like the One Voice Awards) in celebration. The more opportunities given to shout about their craft, the more the public takes an interest. Some VO artists are becoming household names in the UK and the USA and the industry is changing at a rapid pace.”
Looking back at the past two events, what has been your most gratifying experience?
“This is actually easier to answer than you might think! One Voice is a little like the analogy of the duck swimming on a lake; calm, serene and in control on the surface (which is what the public sees) and feet paddling like crazy under the surface (which is what our fantastic team is doing behind the scenes to make everything smooth and enjoyable for the delegates).
The amount of work that goes into the conference before the event is absolutely huge, from dress rehearsals, to coding, to awards and submissions, to speaker bookings, you name it, the team does it – and it’s right that the public never needs to know.
So what’s my most gratifying experience? I stand at the bar at the end of the day and I look around at all the VO’s and speakers gathered together – and all I see is smiles, and happiness, community and mutual respect. Seeing everyone being so happy after all the work, all the late nights and all the hours involved makes me as happy as I can be.”
These conferences cost a lot of money to organize and that’s one of the reasons you have corporate sponsors. How do you give your sponsors what they want without exposing the attendees to aggressive sales pitches?
“Yep – it’s a good point, and not all conferences get this right. I think one of the reasons for this is that virtually no other conference owner is also a sponsor at other conferences, whereas Gravy For The Brain has sponsored almost all the VO conference in the world in the last two years. We see what works for us, and when, as sponsors we are disappointed – we know what works for us and when we feel we are getting value, and when we feel neglected.
But it’s also worth saying that it’s a little sycophantic to presume that it’s an us (VO’s) and them (sponsors) scenario – in fact, it’s a completely symbiotic relationship; the sponsors are generally providing products or services that we love and need as a community, and although it’s a business, we’re all in this together.
When it comes to sponsor talks, we’re quite strict on not allowing sponsors to do sales pitches – that’s not the best use of their time at all – and instead we fixed the whole ‘expo area’ idea, which is done so wrong in so many other conferences – if you have to have a ‘room’ for the sponsors, by default delegates have to make a conscious effort to visit so attendance is always low.
At One Voice the expo area is the connection space between all the presentation rooms, so we have a constant flow of traffic for the exhibitors. Because of this the sponsors have no need to use their talk to be the only time they can pitch to the voices – they’re just integrated into the conference as a whole.”
Talent that’s on the fence about going, usually has a few questions about the conference:
– Is this suitable for beginners?
“Yes, all levels. As I mentioned earlier, we’re now presenting content for the professional, which means that all levels are going to learn as much as we can provide for them.”
– Will I get lost in the crowd?
“No. The fire limit for One Voice is 350 people, which in reality means 300 voice artists. It’s a lovely intimate space and has a real family feel to it!”
– Will it get me more work?
“Well, anyone – conference owners, trainers, coaches, whoever who says that their product is going to get you more work, is a liar, or at best misguided. What we are doing is helping you make connections and network, and giving you education and tools for you to be able to do this for yourself…and in that way, yes absolutely!
VO is a long game and no one is going to do this for you – it takes hard work and dedication, but One Voice is the best networking opportunity, an amazing centre of excellence in education and the most value-for-money conference you can attend in the UK.”
meeting Mark Graue
– Will I have the opportunity to meet face to face with presenters?
“Absolutely. it’s such a social event, and most of the presenters are there for the whole weekend. We’ve consistently found that our presenters are extremely generous with their time and their advice – they’re a great spirited and friendly bunch! The overriding word that comes back to me here is community – they are as much a part of it as you are, and their expertise and experience is arguably the most valuable part of the weekend.”
What’s new in 2020? Why should people who already have attended a conference come back?
“So I previously mentioned the refocusing on professional standards, education, and tuition. This extends through to all the areas of the conference, from talks, to workshops, the networking to the community and our sponsors. Almost all of our speakers this year were not speakers last year which is part of our ongoing commitment to provide value for money, freshness, and diversity in the content we are providing.
At the end of last year’s One Voice I polled the audience about our workshops and what people thought – we had a pretty polar split with those who loved them, and those who thought the content was great but that they were too short. So we listened, and this year we will be providing the one-hour workshops which are still free with your ticket, and also three-hour specialised workshops which will have an additional fee. It’s only fair that we pay the experts who are imparting their knowledge for a 3-hour period.
The One Voice Boat Party is back, because it was so hugely successful and fun last year – we just couldn’t resist doing it again!”
As I was conducting my interview, Hugh broke the news that Alexander Armstrong had agreed to become the second keynote speaker (Kate Robbins being the other one). Alexander is a well-know British voice actor, comedian, game show host, and singer. He also plays the title character in the new edition of Danger Mouse.
Back to my interview with Hugh. I wanted to know: Will you still have the Awards Gala?
“I’m glad you asked! Yes the One Voice Awards is growing from strength to strength and is becoming a genuine force for good in the VO community. Because of our ethical values and the truly locked nature of the judging system proving 100% absolute integrity, the One Voice Awards are seen as a wholly trusted and worthwhile thing. It’s also one heck of a fun night!
We have some very cool surprises up our sleeve this year too! Submissions will open in January – and for anyone who isn’t on our mailing list just head over to www.onevoiceconference.com and sign up to the newsletter – and further details will follow!
Bodalgo’s Armin Hierstetter
We’re running a super early bird at the moment which is 30% off the ticket price and lasts only up until Christmas Day. The price for the entire 4-day event (excluding the awards) at this discount is only £229 +tax (that’s about 300 USD) – which represents incredible value for money. Then we go into the Early bird for a few weeks in January and then normal ticket pricing after that.
We have negotiated an amazing hotel rate which includes breakfast, and of course lunches are included within the ticket price. One Voice Conference is the UK’s biggest and best VO conference for a reason – we really care about each and every one of our attendees – and we’d love to see everyone there for our third year!”
Many thanks to Hugh for taking the time to answer my questions, and frankly, for having me at One Voice.
From the many responses I get, I know there are quite a few fans of this blog in the UK as well as in the rest of Europe. I’d love to meet you at the One Voice Conference where I will be doing a one-hour presentation on how to increase your visibility, SEO, and professional reputation by blogging, followed by a thee-hour interactive workshop where we will dig in a lot deeper.
As you may know, my blog has propelled this website to becoming the number one individual VO website on the interweb. If you play your cards right, you could very well follow in my footsteps, and I’ll do whatever I can to get you there.
The older I get, the harder it is to give me something for the holidays.
For one, I have pretty much everything my heart desires and I don’t need to accumulate more stuff. Instead, I’d like to invest in memories, in people, and in experiences that enrich my life and the lives of others.
Those are the things that cannot be bought on Amazon or sold on eBay.
Yet, I don’t blame you if you keep a secret wish list under your pillow as you dream of new microphones, preamplifiers, and the latest and greatest headphones. At the same time, your friends and family members may be looking for some smaller ticket items to put under the Christmas tree or Hanukkah bush.
That’s where I come in!
For the past couple of weeks I’ve been collecting some voice-over gift ideas for people like me, who aren’t so easy to shop for.
Before I show you my list, you should know that by clicking on the images you will be transported to the virtual warehouse that is Amazon. This means a small portion of your purchase will go towards supporting this blog, since I am an Amazon affiliate.
I also encourage you to shop locally as much as you can, but you won’t find many of the items below on the shelves of your downtown retailers.
Let’s start by finding something for our noses!
I have mixed feelings about fragrances. On one hand, I’m no fan of natural body odor. On the other, an increasing number of people are allergic to perfumes and after-shaves. At my doctor’s office, there’s a sign asking patients not to wear any perfume when they come in for a visit.
I clearly remember a nauseating recording session in a booth that appeared to be sprayed with Old Spice from the previous VO. Please do your colleagues a favor and use an odorless deodorant before you come in to record.
If, in your private life, you’d like to be a bit more fragrant, here are two options to consider. I haven’t tested them, but I think the bottles look pretty cool!
The next package is more impressive and expensive. There’s even an unboxing video if you’re really interested.
The following fragrance is not for your body. This microphone-shaped contraption is meant to freshen up your car.
Coming back to personal hygiene, how about some soap on a rope? You can warm up your pipes as you take a long, hot shower.
Here’s one thing I’ve never understood. When you buy a nice microphone, it usually comes in a fancy box or case you’ll rarely use. However, there’s nothing to protect your mic once it’s in your studio. Dust and humidity are major enemies, so my $1750 microphone is hanging in an old sunglasses bag filled with Silica gel packets. There’s a more high-end solution, though.
My next item is a universal microphone protector and dust cover. It’s made from double-sided quilted nylon.
Another company offers a two-pack with custom embroidery included.
My recording studio is in the basement, and my wife’s office is on the first floor. She always knows when I’m in session because of my Harlan Hogan remote controlled recording sign.
Here’s another light for you. An “On The Air” night light. The plug can be rotated to accommodate outlets in any direction.
Then there’s fun voice-over attire. Here are a few examples of what you can find on Amazon.
Most VO’s are avid readers, and some of us -me included- also take up the pen. If you’d like to add to your collection of voice over books, I recommend you send your friends and family to my Concise (and Incomplete) Voice Over Book List on this blog.
If you’re a Manga fan, you’ll be delighted to know that Maki Minami has written a whole series about young voice-over artists. Here’s the cover of volume 1.
If your vocal folds are in need of some TLC, these Voice Lessons To Go by Ariella Vaccarino might be the thing you need.
GIFTS TO YOURSELF
Then there are gifts that aren’t really physical. They tend to be a bit more expensive, but they will definitely help you move your business forward.
For $120 per year you can upgrade your WeTransfer account to a Pro version. This gets you your own WeTransfer URL and artwork, email transfers to up to 50 people, and you’ll receive 1TB of storage. This allows you to keep your transfers available for as long as you want. In the free version they get deleted after 7 days.
Why not make this the year year you finally become a member of the World Voices Organization? The new member application fee is $99 USD. You’ll get access to educational materials, WoVO mentors, and VoiceOver.biz, a site where you can post your profile and voice seekers can hire you. Those seekers are serious clients looking for vetted professionals. When you land a job, there’s no commission or agent fee.
Besides, you’ll be a member of an organization that develops and promotes best practices, as well as standards for ethical conduct and professional expertise as it relates to the voiceover industry, run by voice over talent for voice over talent.
Have you thought of giving yourself a ticket to VO Atlanta (March 26 – 29, 2020)? Join colleagues from over 44 states and 20 countries, and enjoy a selection of 200 scheduled session hours by the best in the business. Plus, you get to meet me!
For those who are wondering if VO Atlanta is worth attending, here’s a quick recap of this year’s conference.
Well, there you have it! My list of voice over inspired holiday gifts. There’s one thing you should know, though.
Nothing on this list comes even close to the gift you have given me throughout the years: your continued support for this blog and for me.
I am beyond grateful for your kindness and your willingness to spend some time with me, week after week.
It is truly something I am immensely thankful for.
I just received an email from Michelle Melski, the new communications manager at Voices Dot Com (VDC).
“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.”
“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?
“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?”
“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?
Armin Hierstetter, the brains behind online casting site BODALGO has launched a new site: voices.net.
It’s been months in the making, but do we really need another voice casting site?
Time for a quick interview.
1. What specifically prompted you to build voices.net?
It was a thought process over a couple of months. Online casting has not really evolved that much over the last decade. Sure, I tried to enhance bodalgo.com by adding bodalgoCall and bodalgoCRM, but the core functionality of all the usual suspects is still the same. So is the concept of all the ones that showed up in the last two years.
2. How does your approach and philosophy differ from other voice casting sites?
It’s not pay to play. And while other new sites to the industry claim that their online casting sites are neither, the reality is: They are. voices.net on the other hand will not take a single cent from the talents. It is the clients that need to pay in order to be able to use the service.
3. Why would they ever do that when they can cast talents online for free on so many other websites?
The major problem with most online casting websites: Way too many auditions for a job! And way too low quality of auditions in many cases (there are a few exceptions, though, bodalgo.combeing one of them, I would think). But the major downside: A client has always to wait for the auditions to shuffle in before they get a feeling what to expect. All the p2ps are centered around the audition process. The matching process is not precise enough by design, so many talents get job offers and have the feeling a lot of opportunities are coming through. And when all of them audition, only a fraction will be really relevant to the client’s needs. That’s an issue.
voices.netwill completely change that. Even before the audition process, a client can narrow down the selection of potential talents in a very, very sophisticated way that works in real time.
An example: Let’s say somebody is looking for a US English female voiceover for commercial. Also, they want a low pitched breathy voice that sounds mystical. With websites out there, they would have to post a job and hope for the best.
With voices.net, you will be able to first narrow down a selection of talents that exactly fit that description in a few seconds. And if after listening to a few demos you changed your mind and would rather listen to higher pitched demos, it is just a click away.
4. How is this possible?
1. All demos on voices.netare precisely tagged by the talents including language, gender, character and attributes (warm, confident, sexy, passionate, caring etc.). A talent can upload an unlimited number of demos. But: Each demo must only feature one specific recording. It is not allowed to mix different genres or different styles of a read in one demo as the tagging would not be accurate anymore. voices.netdoes a lot to educate the talents to follow those rules. In fact, I have pointed out quite in the face that breaking the rules will lead to the deletion of a profile. The quality expectations are really super high.
2. voices.net has artificial intelligence built in to determine the pitch of a talent. This is important, because you need to have the same standard across the board. Talents are asked to have a standard demo of their signature voice analyzed as a pitch reference which will be taken as a default value for every further demo uploaded. Of course, if you intentionally voiced a demo higher than your signature voice, you can adjust the pitch tagging manually.
This pre audition filter process takes less than a minute. By listening to most relevant demos, a client can then decide whether he wants to contact a single talent directly or invite a group of talents to audition. For the talent that means: In case of an audition you are not up against a few hundred but up against a pre-selected few.
Maybe it becomes also clear why it is therefore in the best interest of the talents to be as precise as possible when tagging the demos. If they are not, they will end up in the filter results with a group of other talents that are much more relevant. So they will not stand a chance. So you absolutely want to make sure that your tagging is spot on on order to be successful.
So why will clients pay for this? Because voices.netwill generate better results in a shorter amount of time.
5. The name of the site is obviously a nudge to a certain Canadian company that has cornered a huge segment of the market. Are you openly challenging them? Do you expect any legal challenges from voices.com since your sites have similar objectives, or has that been sorted out?
Do I challenge them? No. In my book, vcom is mainly a platform for amateurs and bottom feeders. And for companies that do not know that a huge chunk of their budget does not end up with the talents but in the pocket of vcom. voices.net is a completely different game.
Regarding the website name: voices.netand voices network are registered trademarks in the EU. But even if that would not be the case: According to the EUIPO (European Union Intellectual Property Office), “voices” by itself is a descriptive term that cannot be trademarked under EU regulation. If you choose a name like this, you simply have to accept that others might use it well. That’s not what I say, that’s what the trademark office says. Fair enough if you ask me.
6. Voices dot com has spent many years and millions of dollars on CEO and online advertising campaigns. Do you believe your David can beat Goliath at their own game and if yes, why?
First of all: Online advertising hardly works anymore when your objective is to find new clients (not talents). Reason is partly because those ads, for a few years now actually, are clicked more and more by talents looking for platforms they can book jobs from instead of clients looking for talents. Actually, it is the talents that kinda ruin the campaigns that are created to get them jobs in the first place. It’s a bit ironic.
But for voices.net, this will not be that of an issue. voices.nettargets top shelf clients that have very high expectations regarding quality. Those companies don’t google “hire voice talent” (which is far fewer searched for than some people think, by the way). Getting those clients excited about voices.netwill work best if you actually go to them and present the magic personally.
Will that be easy? No. Not at all. But every of those clients will have a healthy amount of jobs all the time, so if you get only a few dozens of the bigger ones on board, you already have a great base to work from. And because the talents do not pay a cent, I do not feel the pressure to find clients at all costs. It will take time, but I am sure that the path is right.
And if it fails: Nothing to lose for the talents except the time to create the most compelling profile on the planet.
7. Is the investment in voices.net coming out of your own pocket, or do you have any backers?
It comes out of my own pocket. Talking about it: I find it a bit amusing that there is one site out there at the moment that was basically created with membership fees paid upfront by the talents. That’s a pretty interesting stunt I have to say: Building a website and promoting it with no financial risk attached. If it does not work, it was not your money. Not sure though, how all those talents will feel about it when it does not work out¦
8. Who runs voices.net by the way? Is it just you or do you have a team?
Just me. It’s always just me, nobody loves me! [laughs]
9. The only way to measure the success of your new site is by the number of good paying jobs available. You already run an online voice casting site that is sometimes criticized for not offering as many opportunities as e.g. voice123. Shouldn’t you just focus on growing Bodalgo instead of dividing your time and energy between voices.net and your site selling vintage game consoles?
I think how I divide my time is completely my business. The numbers of bodalgo have been growing constantly for a decade now. Yes, there are fewer jobs than with the big “v’s”. On the other hand, the quality of the jobs is much higher. And the number of premium talents much lower. And the membership fee is much lower. Do I need to go on?
What’s more: Talents tell me time and time and time again that they convert many clients into returning clients. They can do so because bodalgo does not “own” the clients. So in a nutshell: bodalgo is doing fine and will continue to do so. And remember: If I present voices.netto new clients that are despite the compelling concept not willing to pay for online casting, there is still the option to promote bodalgo to them. So now I have two great products to bring to the market. I see that as an advantage for the talents, too.
10. Can any voice talent -experienced or inexperienced- sign up for voices.net? Do you have a limit as to how many voice actors you accept? What are your acceptance criteria?
No, absolutely not! The bar will be set extremely high. First, you need to be a pro. Second, your audio quality must scream awesomeness. And even if you are an experienced talent: That might not guarantee that your profile will make it in the end (maybe because of sub par audio quality, maybe because of incorrect tagging of demos, etc). The goal is to identify the best of the best talents available.
I know that this approach will not go down well with everybody, especially when they are rejected, but when you want to create something insanely great, there is no chance to be everybody’s darling at the same time. I hope the talents will understand that and rather work on their skills than blaming me for “playing god”.
11. Best scenario: five years from now, where do you see voices.net?
The go-to place when you are looking for the best voice over talents in the world. For agents, producers, ad agencies, enterprises, casting directors, you name it.
Many thanks, Armin, and best of luck with voices.net!
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?
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.
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.
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.
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!
Every couple of weeks I make the social media rounds on the various Facebook voice-over groups to see what’s new. The answer:
In fact, most of what’s going on is an endless regurgitation of familiar topics, and Me-Me-Me marketing we love wasting our time on: How much should I charge? Where can I find work? Will you critique my demo and my new website?
In an effort to nip these dreadfully boring and superfluous conversations in the bud, I’m going to cover some returning questions rapid-fire style, so we can all get on with our work.
I want to get started in voice-overs, but I have no experience, no equipment, and no money. Where do I begin?
Are you serious? You sound like the guy who wants to be an Uber driver, who doesn’t know how to drive, does not own a car, and has no money in the bank. How’s that going to work?
My two cents: Get a job. Put some money aside, and work with a coach to find out if you’re even remotely talented before you spend big bucks on a studio, gear, demos, and a website.
It sounds like I need a lot of money to break into this business. Why is it so expensive?
Compared to what? Ask a New York cab driver how much he paid for his medallion. What did the pianist pay for her Steinway? How much debt did your doctor take on to get her degree?
You can’t be invested without making an investment. If something is worth it, you’ve got to pay the price. And if you’re serious, you can equip your voice-over studio for under a thousand dollars. Click here to find out how.
I just got started as a voice-over. I’ve been auditioning for over three months and haven’t booked a single job. Nobody ever told me it was going to be this hard. I’ve got rent to pay.
Your coach should have prepared you for a harsh reality. Ninety percent of trained actors are out of work. The ones on the A-list get booked again and again. It’s not much different for voice actors. Your job is finding jobs. Over and over and over again. So, stop lurking on social media and start marketing yourself!
I signed up for several Pay-to-Plays. Posted my demos. Nothing’s happening. Is this a scam?
A P2P is the lazy way to get into this business. You pay your membership fees, you post a few homemade half-baked demos, you do a few lousy auditions with your crap equipment, and you expect magic to happen? Don’t blame the system. You are delusional.
My neighbor is driving me crazy with his mad dogs, his leaf blower, and his lawn mower. Right now I want to kill him.
Do you expect the world to stop just because you need to meet a deadline? You advertise yourself as a professional, yet you have no dedicated, isolated recording space. That’s a problem. Costs come before revenue. Stop moaning and get a double-walled booth. If you’re any good, it will pay for itself many times over.
This new client hasn’t paid me in months and won’t respond to my emails. Help!
Who have you been working for? Did you do your research to find out whom you’re dealing with? Did you watermark your audio? Did you ask to be paid upfront? Not every client can be trusted so you have to protect yourself. You either lawyer up and threaten legal action, or write the unpaid invoice off as a business loss. Remember: even if small claims court rules in your favor, it’s not going to collect your money. That’s on you.
I’m not making enough as a voice-over. What am I doing wrong?
You’re not alone! In this business, there is no guaranteed return on investment, and with what you’re charging, are you surprised you’re not making enough? It’s a self-inflicted wound. Low rates are the sign of a desperate amateur. Who wants to work with a desperate amateur?
Be better, not cheaper.
Sitting in front of a computer all day long is hurting my health. I hate it!
No one is forcing you to do anything that’s detrimental to your health. In order to take care of your clients, you have to take care of yourself. Exercise, do yoga, move around, choose a healthy diet. Sit up, hydrate, get a supportive chair, and a wrist rest. Don’t forget your emotional health. Surround yourself with supportive people. Get a life outside of your studio! Your work is just a means to an end.
Being a freelancer is hard work. I thought it would be fun to be my own boss, but I’m starting to change my mind.
No job in the world is 100% fun all the time, no matter what some Instagram posts may tell you. What you see and what you hear – the end result, may sound and look like fun, but you don’t see the effort necessary to make it happen. If you do your job well, you make it seem effortless.
If your level of fun is the only criterium you use to evaluate your job, you’re never going to be satisfied.
Now, if you’re not happy with how things are going, know that nothing is going to change unless you change. Keep in mind that as long as you keep on blaming others for your misfortune, they have to be the ones that have to change in order for you to be happy.
That ain’t gonna happen.
Allow yourself to make mistakes. Allow others to make mistakes. You don’t have to spoon-feed every newbie begging for free advice. They’ll end up being lazy, ungrateful, and dependent.
Give yourself time to become good at what you do. Learn from the experts. Invest your earnings to further your career. Value what you have to offer and price accordingly.
And beginning today, start figuring out ways to get visitors to your web pages, instead of interacting on other people’s groups and sites, boosting their SEO.
“Name one of the most beautiful musical instruments on the planet.”
“What’s your favorite?”
When I ask people these questions, they’ll usually say something like “cello,” “piano,” “harp,” or “flute.”
Bagpipes, cowbells, and kazoos never seem to make it to the list, and I can understand that.
But much to my surprise, people tend to leave out my favorite instrument: the human voice. Why is that?
Even though many of us sing in the shower, somehow we don’t recognize our voice as an instrument. Is that why people usually take better care of their violin than of their vocal folds? Is that why many of us don’t know the first thing about voice strengthening, proper breathing, and voice protection?
I find that very strange, especially if you’re using your voice to make a living.
We spend years practicing scales and arpeggios on the piano. Teachers tell us how to breathe correctly when playing a clarinet or trumpet, and we make sure to have the right posture before we put that French horn to our lips. But when I ask my voice-over colleagues how they have trained their voices, I usually hear a long pause.
IGNORANCE OR CARELESSNESS?
The truth is simple. We fully expect professional singers, athletes, or dancers to get their bodies into shape, but we expect our voices to do whatever we want them to do at any given time for as long as we want, without preparation.
This includes dying a thousand different deaths in video games or animation, or narrating an audio book from 10:30 am to 5:30 pm, five days a week.
If you’re not properly trained, that’s not only impossible. It is also dangerous.
We fully expect professional singers, athletes, or dancers to get their bodies into shape, but we expect our voices to do whatever we want them to do without preparation.
I say to them: “The fact that you even believe that, tells me you’re not taking this seriously.”
“Nobody would dare to swim the English Channel without proper preparation, unless you’re suicidal. So, what makes you think you can just jump in when you barely got your feet wet?”
PICKING A PRO
The other day, a colleague was complaining that famous people were taking voice-over jobs away from not so famous people. “They’re already making a fortune,” he said. “Why do they have to cut a big piece from my pie? It just isn’t right.”
First off, it’s not his pie, and secondly, there’s a reason why well-known actors are paid good money to do voice-over work. It’s not only because they’re a celebrity, but because they spent years honing their craft.
They have learned to strengthen and control the muscles of the larynx. Not from a book or from some website, but from a professional.
“Real” actors realize that they use three-quarters of their bodies when they speak. They have learned how to move purposefully, and breathe properly: low and expansive. They know that good posture and deep breathing not only affect the voice. It makes them feel more centered, confident, and calm.
“Real” actors know the difference between a strong, resonant voice, and a loud voice. They know the difference between projecting and yelling. Their voices are flexible, and don’t diminish in quality during long sessions.
Because they’ve memorized their lines, these actors keep their heads up, which results in a more powerful and open sound. Many voice-overs glance down to read the script. This bends the neck and throat, and the voice sounds contorted, lower, and softer.
“Real” actors never start talking without a warm-up, they drink lots of water (6 to 8 glasses a day), and they stay in good physical shape. That means: regular exercise, a healthy diet, and plenty of rest. They avoid clearing their throat, screaming, whispering, and noisy places. And of course they don’t smoke.
Too many voice-overs are serial sitters, shallow breathers, and unhealthy eaters and drinkers. Most of them have never taken singing or dancing lessons, or seen an otolaryngologist.
Too many voice-overs are serial sitters, shallow breathers, and unhealthy eaters and drinkers.
Now, here’s a quick question for you:
How can you tell a voice talent just came back from a VO-conference?
Because they lost their voice!
If you’ve ever been to a WoVoCon, Faffcon, VO Atlanta,or other convention, you know I’m right. The unavoidable Karaoke is a killer! You’d never expect ballroom dancers to come back crippled from a contest, would you? So why would voice-overs abuse their vocal folds for a day or two? And why do most of them start taking care of their voices once something’s wrong?
It just doesn’t make any professional sense.
A DAY FOR THE VOICE
A change in behavior has to start with increased awareness.
April 16th is World Voice Day. It is the brain child of an international group of scientists, specialists, teachers, and artists who came together in 2012. One of the missions of World Voice Day is “to encourage men and women, young and old, to assess their vocal health, and take action to improve or maintain good voice habits.”
Trust me, that’s not as boring as it sounds. It’s also a day to celebrate the magic of the voice with over 300 events in more than 50 countries. Expect a series of talks and concerts, as well as videos about the many different facets of the voice. The 2019 motto is: “Be Kind With Your Voice.”
For more information on World Voice Day, and a list of all the activities, go to http://world-voice-day.org. The website will have info on live streams, on how to take care of your voice, warm up exercises, and educational videos from around the world. The World Voice Day Facebook page is also a good way to follow what’s going on hour by hour, on April 16th.
Your voice is unique. It’s instantaneously recognizable.
It’s the only one you were born with, and you don’t have to be a professional speaker to be nice to it.
The Dutch philosopher Erasmus was right when he said: “Prevention is better than cure.”
So, don’t wait until it’s too late. In fact, it is vital that you begin today! All the things you can do and must avoid are not only good for your voice. They will enhance your well-being across the board.
Be a pro and start taking better care of yourself. Sign up for singing lessons. Hydrate. Move those muscles. Warm up. Read out loud. Rest up. Use a microphone when speaking in public. Don’t whisper, or clear your throat. See a specialist when you’re in pain.
And please, do me one small favor.
Don’t leave a comment saying: “Great post, Paul. Thanks for the reminders.”
Reminders are rubbish. You file them away and forget.
If your voice becomes hoarse or raspy; if your voice feels raw, achy, or strained, or if it becomes an effort to talk after a while, I can tell you this:
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