Internet

Who’s Afraid Of Decent Rates?

by Paul Strikwerda in Articles, Freelancing, International, Internet, Money Matters, Pay-to-Play 34 Comments

AfraidNewsflash!

The great rate debate is still going strong.

I’ve been writing about the erosion of voice-over rates for years, and every day, clients and colleagues are arguing privately and publicly about the value of our voices.

One thing is certain: that value keeps going down. Talk is getting cheaper and cheaper.

What’s going on?

Let’s begin with our clients. It’s so easy to blame clients for this downward trend, because they’re the ones paying us. However, I think it’s time to cut them some slack. So many of them are small players in a big, international market. Because that market is unregulated, and there are no universal prices, they have a hard time figuring out how much they can expect to pay for our services. That’s not really their fault.

A majority of voice-overs do not list their rates, hoping clients will contact them and ask for a quote. Those quotes may differ greatly because we need to take so many variables into account, and frankly, many of us don’t always know what to charge. Go to a VO Facebook group on any given day, and you’ll find someone asking for advice on price.

TURNING A PROFIT

Because I run my own business, I completely understand that my clients want to keep their costs low, and their revenue up. If you can get great service at a great price, why pay a penny more? I also understand that there’s a link between what you pay and what you get, no matter what industry you’re in. It’s foolish to expect top quality at a bargain-basement price, unless you’re benefitting from a liquidation sale.

These days, everyone’s online, and that complicates matters. It may seem that we’re all operating on a level playing field (the world wide web), which is not the case. It is anything but level, but try explaining that to an imaginary photographer in Latvia, who needs a few English voices for a website he’s launching. He’s offering $20 for 5 minutes of VO, which he believes is perfectly reasonable because he’s hired local talent at that price. He wants to know:

Why should I pay $250 for a 5-minute voice-over, if Olga in Riga is willing to do it for $20?

I told him: “Your job posting tells me that you’re looking for voice-overs with an authentic British accent. If Olga can pull that off, why not hire her? The reason you’re posting your job overseas is that ’20-dollar Olga’ has no idea what she’s doing. Her accent is clearly from Latvia, and not from London. And because it’s cold in the Baltics, she’s probably using a Snowball microphone, guaranteed to give that crap amateur sound the Fiverr crowd is so proud of. You pay for professionalism, or lack thereof.”

The photographer responds:

I understand that it might be hard for me to find a native British voice-over in my neck of the woods, but that still doesn’t explain the huge difference in rates. $250 for five minutes? I think people are just greedy.

I said: “Location makes a big difference. Let me give you an example. Why does a Big Mac cost $7.80 in Norway, and only $1.62 in India? Why doesn’t McDonalds charge the same price for the same product, regardless of the location? Because the price of a Big Mac is a reflection of its local production and delivery cost, the cost of advertising, and what the local market will bear.

The cost of living is much higher in Norway, and consequently, people make more. According to the CIA, the 2016 per capita income in Norway was $69,300 and in India it was $6,700. If I were a Norwegian voice-over artist and I would charge Indian prices, I wouldn’t be able to make a living. That has nothing to do with greed.

As a freelancer, you have to price for profit wherever you’re located, because that’s where you’re buying your Big Mac. It’s where you pay your bills, and your taxes. That’s why a UK talent charges more than someone in Latvia, or in India.

ONGOING ADDED VALUE

And let’s remember that a voice-over is not some hamburger you order at the drive-through. Every Big Mac should pretty much taste the same, no matter where you order it. It’s generic. Once it has been consumed, it has served its purpose.

Every voice is unique, and every voice-over artist brings special talents and experience to the table. Once recorded, that commercial, trailer, or eLearning course can be played again and again, adding value every time someone’s listening. That’s worth something. 

Last but not least, just because you’re paying $250, doesn’t mean the voice-over always gets $250. Some online casting companies like Canada-based voices dot com, pocket a considerable amount without telling you or the talent. If you want to talk about greed, talk about that!”

THE TROUBLE WITH COLLEAGUES

The Latvian photographer still doesn’t understand why he can’t hire a UK talent for $20. However, in my experience it’s much easier to talk sense into some clients, than to reason with certain colleagues (and I use the term colleagues loosely, because they’re acting anything but collegial). Most of my clients know how to run a for-profit business, but so many ‘colleagues’ seem to be clueless. They don’t know the difference between “selling,” and “selling out.”

Every time the issue of reasonable rates comes up, there are always voices saying:

“Who are you to tell me what I should charge? It’s a free country, and I can charge whatever I want!”

Yes, and I can sell my Subaru Outback any time for $300, but does that make any sense whatsoever? Why should I settle for a handout if the market value of my car is at least $3,000? How stupid do I have to be to practically give my car away to the lowest bidder?

By the way, this whole free country argument is a load of bull, used by imbeciles to defend all kinds of idiotic practices. Here’s the thing:

Just because you can, doesn’t mean you must, or that it’s wise. 

“But who cares if I sell my voice for five bucks? Mind your own business! I’m not telling you what to charge. My bottom line doesn’t affect yours.”

Is that really so? What would happen if half of all car owners would decide to sell their vehicles way below value? Tell me that has zero impact on the used car market!

If what’s happening at the bottom of the VO-market does not affect the rest, why aren’t voice-over fees at least keeping up with the rate of inflation? Why are rates across the board in a steady decline?

WE NEED EACH OTHER

In the grand scheme of things you may feel insignificant, and believe that your choices only influence your bottom line. But hundreds of these individual choices send a message, and thousands create a trend clever clients have picked up on. 

To put it differently: if you really believe that one, individual decision has no impact on the overall outcome, then there’s no reason to live in a democracy. You might as well move to North-Korea. But since you’re still here, and (I hope) you vote, you must believe that you can make a difference.

Your choice of what to charge makes a difference. It impacts our professional community, and the families that depend on it. 

You can either cheapen our profession and our community, or enrich it. You can build it up, or tear it down.

You can price like a predator, or like a professional. 

Or are you afraid to charge a decent rate? Are you afraid the client will reject you?

Are you not convinced that what you have to offer can command a fair price?

If that’s the case, here’s a suggestion: perhaps you should find another job.

A certain Pay to Play call center in Canada might be hiring very soon.

Paul Strikwerda ©nethervoice

PS Be sweet: Subscribe & Retweet

PPS Below you’ll find links to some of the other articles I’ve written about rates and pricing

Send to Kindle


Competitions Are Not My Thing, And Yet They Are

by Paul Strikwerda in Articles, Career, International, Internet, Journalism & Media, Promotion 14 Comments

A Tale of Kat and Dog, A Holland Cool MovieCompetitions and Awards.

If you’ve been following this blog for a few years, you know I feel rather ambivalent about those things.

When I expressed my opinion about the Voice Arts™ Awards a few years ago, people took it personally. In the aftermath of the article, I received some very nasty emails, and quite a few colleagues unfriended me.

All of us survived the turmoil, and it appears the Voice Arts™ Awards are here to stay. Once again, colleagues will pay a non-refundable entry fee of up to $150 per entry to nominate themselves ($199 if you’re a company) in different categories.

Just so you know, all submissions become the property of SOVAS™, “to be used at its discretion, for the production of the ceremony.” SOVAS™ is the Society of Voice Arts and Sciences™.

If a category attracts fewer than four entries, “the organizer reserves the right to withdraw that category from the competition.” The participating entrant “will receive a credit towards future entry fees. No cash refund will be given.”

PAYING FOR YOUR PRIZE

If you’re thinking of entering any type of competition, you need to consider at least three things:

– Is the entry fee proportionate to the prize?

– Is the cost of entering worth the odds? 

– Does the prize give a credit worth having? 

Let’s start with the numbers. Winners of a Voice Arts™ Award can order an Award Certificate for $43, an Award Plaque Certificate for $160, and an Award statue for $346 (amounts include a handling fee, but there’s no mention of shipping costs).

Let’s say you’re competing with two entries, and you win. If you go for the statues, you’ll spend almost $1,000 ($150 + $150 + $346 + $346), plus food, lodging, and transportation. You may even lose some money because you’re not available to work while going to the ceremony. 

Ask yourself: Is that money well-spent, or would it be better for your business to use these funds to have someone design a new website? You could also spend it on coaching, on demo production, or on a marketing campaign. Would that ultimately give you a better return on investment?

IN THE SPOTLIGHT

To be fair, organizing these awards takes time and costs money. Sponsors can only cover so much. Yet, I don’t think a voice actor’s wealth should be an arbiter of talent. Why, then, must it function as a barrier? Why not lower the entry fees, and offer prizes people don’t have to pay for themselves, such as gear, representation, and coaching sessions?

I don’t think a voice actor’s wealth should be an arbiter of talent. Why, then, must it function as a barrier?

Now, the organizers hope to convince you that there’s more to winning than a walnut wood plaque, or a shiny statue. Your extraordinary talent will be publicly recognized in a business that’s built on invisible voices. 

The question is: Do we really need a competition to get recognition?

Some people who know our industry really well, feel we do. It’s not enough to be outstanding. You need to stand out. And if there’s no podium, why not create one? Whether you like competitions or not, it’s a given that winning a prestigious prize has never hurt a career. Others say that real stars don’t need a spotlight to shine. 

Here’s what I would like to know: will short-term recognition have a long-lasting effect? Could it increase someone’s market value? And who’s paying attention? Are we just throwing a party for ourselves, or will these awards generate publicity outside of what I call the babble bubble?

I’m not going to answer these questions for you, by the way. It’s your money, and I won’t tell you how to spend it. What I will tell you is this:

I’M A WINNER!

Much to my surprise, two projects I voiced were recently nominated for an award. Full disclosure: I didn’t submit myself, and I did not pay an entry fee. The only plaque I get, will be removed by a dental hygienist. 

A documentary I was part of, received the Audience Choice Award at the French Télé-Loisirs Web Program Festival in March. It’s a project for the European Space Agency, in which I play the role of an astronaut, documenting his life aboard a space station. Be sure to click on the English flag to hear my version: http://cnes-xch.lesitevideo.net/enmicropesanteur/

Then this message appeared on my Facebook timeline:

A Webby Award is an award for excellence on the Internet, presented annually by The International Academy of Digital Arts and Sciences (IADAS). That’s a judging body composed of over two thousand industry experts and innovators. The New York Times called the awards “The Internet’s highest honor.”

Two winners are selected in each category, one by IADAS members, and one by the public who cast their votes during Webby People’s Voice voting. Last year, the Webby Awards received over 13,000 entries from more than 65 countries.

The nominated video I’m featured in is called A Tale of Kat and Dog, A Holland Cool Movie. Thanks to the Edge Studio, I was cast to be the voice of a rather charming dog who takes the viewer on a whirlwind tour of Amsterdam, while chasing after a ball. There’s also a bit of romance in the air!

This 17-minute movie presented by the Holland Marketing Alliance, is up against companies like Squarespace, BMW, Samsung, and Nike. In May we’ll find out if the experts picked it as the winner, but the public has until Thursday, April 20th to vote online. If you’d like to take part in that process, click on this link.

Of course I’d be thrilled if you would show your support for The Tale of Kat and Dog, but don’t do it because you know me. Take a look at the five entries, and vote for the one you believe to be the best.

THE FINAL WORD

Meanwhile, I have a couple of auditions waiting for me. Those auditions are really mini-competitions we take part in every day. And who knows… one of them might lead to a project that turns out to be a prize-winning entry. But that can never be the goal. Just a nice bonus. 

I’ve said it before: I’m in this business for the music. Not for the applause, although I have to admit that every once in a while it is nice to hear: “Job well done!”

Will winning a Webby change my mind about competitions?

Will it catapult my modest career into the voice-over stratosphere? 

This is the only answer I can honestly give you:

“My jury is still out on that one!”

Paul Strikwerda ©nethervoice

PS Be sweet. Please subscribe & retweet!

Send to Kindle

Facebook: Why You May Be Doing It All Wrong

by Paul Strikwerda in Articles, Career, Freelancing, Internet, Journalism & Media, Personal, Promotion, Social Media 6 Comments

In a hurry?

Here’s a two-line summary of this blog post:

Are you still using your Facebook Profile to promote your services?

You need to stop that right now, and create a Facebook Page for your business.

Got it?

There are many reasons for doing that, and I’ll give you lots of carrots, but let’s start with a few sticks. Article 4.4 of the Facebook Terms of Service clearly states:

“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 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. Let’s say a client asks you to do a rush job, and you tell him you can’t fit it in. The client sees on Facebook that you’re taking the day off, and he wonders: “Why were you lying to me? Am I not important to you?”

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 boat. 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 quick background check. Because all the posts on her Facebook Profile were public, they discovered she was a Bernie Sanders 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?

FRIENDS OR COLLEAGUES

But what about fellow-voice talent? Coming back from the VO Atlanta conference, so many people I had met wanted to be my Facebook friend, and that’s very flattering. If you’re one of those people, you’ve received the following message:

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

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

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

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

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

Very professional, indeed!

WHAT’S A FRIEND ANYWAY

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

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

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

CREATING A BUSINESS PAGE

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

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

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

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

VALUABLE INSIGHTS

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

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

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

THE BIG QUESTION MARK

It’s usually the more senior coaching students who ask me:

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

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

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

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

Paul Strikwerda ©nethervoice

PS Be sweet: subscribe & retweet! 

Send to Kindle

The Copyright Trolls Are Coming After You

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

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

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

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

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

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

Forget that.

ENTER THE TROLLS

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

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

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

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

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

I think it’s a bit of both.

According to copyright.gov:

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

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

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

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

FAIR USE

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

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

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

2. The nature of the copyrighted work;

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

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

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

PUBLIC DOMAIN

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

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

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

 

CREATIVE COMMONS

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

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

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

WHAT THIS MEANS FOR YOU

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

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

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

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

YOUR HOMEWORK

So, here’s what you should do.

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

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

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

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

BEING SUED

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

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

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

Get legal representation, and go over your options.

NEBRASKA

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

The Content Factory concludes

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

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

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

You have been warned!

Paul Strikwerda ©nethervoice

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

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

Send to Kindle

Here’s What You’ve Missed

by Paul Strikwerda in Articles, Career, Freelancing, International, Internet, Journalism & Media, Money Matters, Personal, Promotion Leave a comment
Paul Strikwerda

The author

Happy New Year!

Today I want to start by thanking you for reading my blog. There’s so much content to choose from these days, and I am so glad you landed on this page.

Perhaps this is your first time, so: “Welcome!” Perhaps you’ve been here before. In that case I welcome you back with open arms.

One of the joys of being a blogger is the opportunity to connect with so many people from all over the world. This year I’ll be aiming for 40 thousand subscribers, which is unheard of in my particular niche: voice-overs. Then again, this blog is not just for professional speakers. It’s for all kinds of creative freelancers who struggle with things like finding work, dealing with difficult clients, and getting paid a decent amount.

If these topics interest you, I hope you’ll take a minute or so to subscribe. That way you’ll always know when I’ve written a new post. Just enter your email address in the upper right-hand corner. It will never be sold or used in any other commercial context. I promise!

WHAT DID YOU MISS

Now, we all lead pretty busy lives, and I completely understand that you might have missed a few stories from last year (especially if you’re new to this blog). That’s why I’m starting 2017 by giving you a quick overview of some of the topics I have covered (or uncovered). The headlines in blue are all hyperlinks, by the way. 

One of the things I write about frequently, is the road to success. Does luck play a part in it? Do you have to be at the right place at the right time? Read about it in “The Magnet, the Colander, and the Clay.” In “Secrets From Successful Voice-Overs” I share more top tips with you.

I’ve been freelancing for my entire professional life. Being a solopreneur is often fantastic, and sometimes frustrating. Do you want to know what my pet peeves are? Click here to find out. We might have a few in common!

One of the recurring themes of this blog is me taking a critical look at the field I work in: voice-overs. In “Voice-Over’s Seven Deadly Sins” I explore manifestations of things like Lust, Gluttony, and Greed among voice actors. Not every colleague always appreciates what I have to say. In fact, some think I’m quite the curmudgeon. Read “Call Me Oscar” to find out if that’s really true. 

Another topic I like to write about is how to deal with setbacks. No path to success is ever smooth, and in “Turning Resistance Into results” I take you to my gym for a few unexpected tips. In “The Mistake You Don’t Want To Make” I discuss a list of things freelancers do to sabotage their success, and I tell you about the one thing you must do, to make it in this business.

GETTING PERSONAL

Beginning voice-overs often have to overcome a lack of confidence before they are comfortable selling their services. My story “Do Nice People Always Finish Last?” deals with that issue.

During the course of a year great things happen, and things that are absolutely horrible. When tragedy strikes, I don’t always feel like writing about microphones, challenging clients, or impossible scripts. I feel a need to get personal with my readers, and posts like “The Weight Of The World” elicit lots of responses. 

Not every reader knows that I was born, raised, and educated in the Netherlands. So, what’s it like for a Dutchman to live and work in the United States? You can read all about it in “Those Silly Americans.”

Because I bring a different and more European perspective to the table, some of my readers say that I usually “tell it like it is.” This attitude is appreciated by many, and criticized by some. In “The Cult of Kumbaya” I’ll tell you how I deal with my critics, and with criticism in general. “How I Handle Negative Comments” is another take on how I respond to feedback that is less than positive. If you’re in a business where rejection is the name of the game, I think you’re going to find these stories helpful.

Another theme I like to return to has to do with treating your business like a business. If you don’t do that, you’ll never have the success you’re hoping to have. “Are You In Bed With A Bad Client” tells you what to do when a client is taking you for a ride. In “Is Your Client Driving You Crazy” I write about the clients I gladly gave the sack.

IT’S ALL ABOUT COMMUNICATION

As voice actors we spend a lot of time in one place: our studio. Did you know it could be dangerous to do that? Just read “How Dangerous Is Your Voice-Over Studio” and you’ll find out about the hidden dangers in your recording space, and what you can do about it. 

Since I’m in the communication business, it won’t surprise you that I love blogging about communication. “Filling In The Blanks” deals with a strange habit many of us have that could cost us clients, as well as personal friends. “Don’t Ever Do This To A Client” is a warning about how not to conduct business, ever.

What I love about being a blogger is the interaction with my readers. Many of them respond in the comment section. Others send me emails. The question I get asked a lot is this: “Looking back, and knowing what you know now… what would you have done differently, and why?” Click here to read my answer.

One of the unexpected discoveries I made in the past few years is that this blog is also read by copywriters, freelance photographers, web designers, as well as producers, and potential clients. For them I wrote “How To Hire The Right Voice-Over.” Even if you provide VO-services yourself, you might want to check this one out to get a sense of what clients are really looking and listening for.

If you’ve been following me for a few years, you know I’m no big fan of the Pay-to-Play model. Now, here’s a fun fact. If I want to guarantee myself at least a thousand hits in one day, all I need to do is write about one of those Pay-to-Plays: Voices dot com. “Stop Bashing Voices.com” is a story for those who don’t like what “Voices” is doing, and yet renew their membership year after year.

SELLING YOURSELF

Marketing your services is one of the most important skills you must possess to have a flourishing freelance business. At times you need to educate clients new to voice-overs about the benefits of hiring a professional voice. One way to do that, is to contrast what you have to offer with examples of what I call “voice-overs gone wrong.” If you want to have a laugh and some heart-felt advice, click on “What Were They Thinking?

Another question some people ask me is where I find the inspiration to write a new blog every week. To be honest with you, I often look outside of my own professional bubble. Click here to find out why, and what we can learn from fellow-freelancers who are active in another field.

Many blogs in the blogosphere are highly topical. Writing about current events is fun, but here’s the problem: the content gets outdated rather quickly. I do blog about things that are in the news, but I do my very best to make something that is timely more timeless. A good example is my story about the presidential election in the U.S., and the question of ethics and morality in voice-overs. It’s called “Should We Shoot The Messenger?” It certainly got people talking.

Another example is my blog about Black Friday. Yes, Black Friday is the “hook,” but in reality this is a blog about why people buy, and how you -as a frugal freelancer- should spend your money. “The Most Important Question Of The Year” is another story about the business of being in business. If you want to get to the bottom line, please read it.

MOVING ON

There you have it. That’s my overview. What were your favorite stories?

Looking at the new year, here are 5 things you should stop doing in 2017, and in 2018, 2019, et cetera.

One thing I hope you’ll continue to do, is come back to this blog every once in a while, -better still- every Thursday. Leave some feedback for me. Let me know what you’d like me to write about. Share your experiences in the comment section.

If you enjoy my musings and think they’re helpful, share them with your friends and colleagues on social media. That always makes my day.

And remember: Subscribe to stay in the loop, and get the latest scoop.

Here’s to another fabulous year!

Paul Strikwerda ©nethervoice

PS Be sweet. Please retweet!

Send to Kindle

A Historic Year

by Paul Strikwerda in Articles, Career, Internet, Journalism & Media, Money Matters, Pay-to-Play 3 Comments

For many reasons, 2016 was a year for the history books.

Where shall I begin? 

Let’s start with the economy, stupid! The on-demand gig economy, to be exact.

If as a self-employed person you ever feel isolated, remember this: You are not alone!

A GROWING NUMBER

The freelance workforce in the U.S.grew from 53.7 to 55 million people this year, now representing 35% of workers. In 2020, this number is expected to go up to a whopping 50%. In other words: you are part of the new normal. That’s a good thing, and a bad thing. 

Right now, freelancers contribute an estimated $1 trillion annually in freelance earnings to the U.S. economy. Unfortunately, flex workers don’t enjoy the same benefits and protections as non-freelancers. Employers have turned regular, full-time jobs, into part-time, freelance jobs. That way they don’t have to contribute to health care, pension plans, and other benefits.

Because the freelance workforce is mostly unorganized and unprotected, it’s easy for employers to do whatever they want. According to the Freelancers Union, over 70% of their members have been cheated out of payments that they’ve earned, and are stiffed an average of $6,390 every year.

On that topic there is some good news that made 2016 a historic year. It’s something that has been mostly overlooked in voice-over circles, perhaps because it’s relevant to the 1.3 million freelancers in New York City. However, this news could eventually be the beginning of change in the rest of the country. 

FREELANCE ISN’T FREE

In October, the NYC Council unanimously passed a bill helping freelancers get paid on time and in full. On November 16th, Mayor de Blasio signed it into law, and it’s called the “Freelance Isn’t Free Act.” NYC is the first city in the nation to provide protections against non-payment for freelancers and independent contractors. 

Here’s how it works:

  • The law, which will apply to contracts of $800 and up, requires any company that hires a freelance worker to execute a simple written contract (it could be as simple as an e-mail), describing the work to be completed, the rate and method of payment, the date when payment is due, and basic contact information for both parties.  

  • Payment in full is required within 30 days of the completion of services or of the payment due date under the contract, whichever is later. Companies who fail to pay would face penalties, including double damages, attorney’s fees, and civil penalties.

  • Under the law, companies would be prohibited from retaliation against freelancers who seek to exercise their rights under this bill.

According to council member Brad Lander who worked closely with the Freelancers Union to write this bill…

“The NYC Department of Consumer Affairs will act as a navigator for freelancers facing nonpayment. DCA will provide model written contracts in multiple languages, accept complaints from freelancers, issue a “Notice of Complaint” to hiring parties that don’t pay, and make it easier for an aggrieved freelancer to bring charges to court”

He continues:

“Just 5% of freelancers take delinquent clients to court, in large part due to the very high cost of hiring an attorney, and the unlikelihood for that lawyer to take the case “on spec.” Those freelancers that do bring deadbeat clients to court are often subject to retaliation – an especially big problem for freelancers that work through agencies, or on an ongoing retainer.”

“By passing this law, NYC is helping to address a big gap in state and federal laws for protecting workers. The Freelance Isn’t Free Act can serve as a model for cities across the country to take action to protect the growing number of “gig economy” workers.”

And that’s precisely what I hope will happen. This law needs to become the norm in our nation so freelancers like you and me are protected from non-paying clients.

THE STRIKE GOES ON

The last thing that made 2016 a historic year is this: unionized voice actors appearing in video games went on strike against 11 employers. The sticking points are twofold: working conditions and the compensation method. I could easily devote an entire blog post to dig deeper into the issues, but instead I encourage you to click on this link to get a better idea of what’s going on.

This is the first time I feel SAG-AFTRA is taking voice actors seriously. For years, the unions have treated us as second and third-rate citizens. Now that certain video games make even more money than some Hollywood blockbusters, we finally matter. However, video game voice actors make up a small percentage of all unionized voice talent, and I want SAG-AFTRA to care just as much about the compensation and working conditions of other members.

Whatever the outcome of the strike may be, the agreement reached will send a signal to the entire industry, and will impact both union and non-union talent. Why is that? Well, technology is changing rapidly. More people watch content online, and the internet knows no borders. Traditional media markets that were used to determine rates are rapidly disappearing, and our pay needs to be up to par with this changing landscape.

CROSSING THE LINE

The strike is also testing our solidarity as a professional group. Will newcomers take advantage of the situation, and cross the (virtual) picket line? You may find it shocking that some colleagues will act as scabs, but to me this is an indicator of another trend: the deliberate weakening of the position of voice-overs from within. Every day a symbolic picket line is crossed by voice-overs that are taking jobs for less because…

“Some money is better than no money”

“I’m just getting my feet wet”

“It’s only a hobby.”

“The client said she couldn’t afford to pay more.”

“I’m an idiot and I only care about myself.”

I hope 2017 will be the year in which union and non-union voice actors will take a stand, just like their video game voicing colleagues. I’m not suggesting we go on strike, but we can refuse to work for clients that don’t take our craft seriously. In fact, we don’t take our craft seriously every time we allow a client to take advantage of us, financially or otherwise.

There are 55 million independent workers in the U.S., and our numbers are rapidly growing.

But if we don’t act now to protect our livelihood, voice-overs won’t be part of the increase.

And we only have ourselves to blame. 

Paul Strikwerda ©nethervoice

PS Be sweet. Please retweet.

photo credit: Shrieking Tree Anti-Torture Vigil – Week 18 via photopin (license)

Send to Kindle

How To Handle Negative Comments

by Paul Strikwerda in Articles, Career, Internet, Journalism & Media, Personal 10 Comments

cyberbullyingDon’t be shocked.

Sooner or later it is bound to happen, and you will ask yourself:

“Was it something I said, something I wrote, or something I did?”

It doesn’t really matter.

The truth is: you probably annoyed someone in some way, and they’re letting you have it.

Online. For the whole world to see.

You wonder: “What do I do? Do I ignore it? Should I retaliate?”

A DOUBLE-EDGED SWORD

Having an online presence is a blessing and a curse. It’s an opportunity to reach thousands of people instantaneously. Sane people, and insane people. Ideally, you don’t want your fans, readers, and potential clients to passively consume your content. You want people to react to what you’re posting. You want the “likes,” the retweets, the comments, and the thumbs up, don’t you? I know I do, and I’ll tell you why.

I purposely push the envelope from time to time, and stir the pot. I welcome and encourage a good discussion, because I want my readers to be moved in some way or another. I want them to be aware of the Emperors in our industry that aren’t wearing any clothes. I want people to think twice before they send their money to some demo mill, or to a casting website selling virtual cattle calls.

I know this doesn’t make me popular in some of the more established circles, but popularity has never been my goal. If anything, I want to empower my readers to become more professional, more business-savvy, and better equipped to run a profitable and ethical freelance business.

THE WIND AND THE TREES

In the Netherlands we have a saying that goes like this: “Hoge bomen vangen veel wind.” It means “Tall trees catch much wind.” In other words: if you choose to put yourself out there, things might get rough. You’re kind of asking for it. Let me give you an example.

You’re probably aware that I wrote a book called Making Money In Your PJs, Freelancing for voice-overs and other solopreneurs. It has an average of four and a half stars on Amazon. Not long ago I noticed that I got my first (and only) one-star review from Jack Dennis, a colleague. I can use Jack’s name, because he chose to identify himself at the end of his review which I appreciate. Here’s what he wrote:

“Don’t believe what you read. Paul is not well respected in the vo biz. In fact, quite the opposite. He has successfully offended many major league elite vo actors and their representatives. He is everything you shouldn’t be to become a major league talent. He embarrasses me and shames the art of voice over. He’s an author, coach and does vo. The basic formula for success is to learn from the best in their respective fields. You can learn nothing from Paul. He is pompous, arrogant and brings nothing positive to the table. He will only take your money and discourage you from going after your dream. This sounds like a nasty review it is. I’m tired of the vo wolves preying on those with a dream. If you want to have any success in the vo world, avoid people like this.”

While I didn’t enjoy reading these words, I do want to thank Jack for inspiring me to write about handling feedback. If you feel hurt, or angry about some of the negative comments you may have received, here’s what I’d like you to keep in mind:

1. Don’t take it personally.

I strongly feel that most comments reveal much more about the commentators, than about what or whom they’re trying to critique. In three words: Perception is projection.

I also think that ALL of us are looking at the world through dirty lenses. Our vision is colored by past experience, and by our values, our beliefs, and our expectations.

Some people feel big when they can make other people feel small. Some are jealous, narrow-minded, vindictive, or simply ill-informed. Some people thrive on creating conflict. Some fall for fake news. Some have been hurt, wronged, or disappointed, and they’ve become cynical, sad, or bitter bullies.

All of this resonates in the background, and influences how people perceive the world and respond to it. Sometimes it takes one small trigger that provides the spark that lights the fire. Some days, you might be that trigger, and you get some dirt thrown your way.

Mind you: I’m not justifying bad behavior. I’m just trying to put it into context.

One more thing.

A person is much more than his or her behavior. The behavior is just the tip of the iceberg. Just as we don’t like to be judged based on one thing we said or wrote, it would be unfair to judge the commentators based on a single, not so positive comment.

2. Substantive feedback is valuable.

It is really hard for most people to have an accurate sense of how they come across, in person, and especially in writing. As you’re reading these words, you can’t hear my tone of voice, and you don’t see my body language. Yet, most communication experts agree that tonality, facial expressions, and posture are way more revealing and honest than the words we speak. That’s why the written word is easily misunderstood (and why some of us use emoticons).

Quality feedback (emphasis on “quality”) is a precious gift. It’s a mirror that teaches us something about how we’re being perceived. It can be a confrontation with a part of ourselves we’re uncomfortable with. That’s why some people become very defensive. They take critique of one small aspect of how they come across, as an attack on their entire personality.

When someone has a few harsh words for me, this what I want to know:

– Is the feedback based on actual observations and facts, or on assumptions and interpretations?
– Is it specific, or does it consist of a bunch of generalizations?
– What is it, that the commentator is missing in order to truly understand me, and what do I need to do better, in order to be understood?

You see, I cannot change my critics. If they’re intent on cutting me down because they have some chip on their shoulder I know nothing about, I cannot help them. Frankly, it’s their problem. Not mine. I can only change myself. I can choose to ignore feedback that has no basis in reality, and to learn from feedback that’s fair. This brings me to the next point:

3. Ask yourself: Is the critique consistent and recurring?

Now, here’s where I start paying attention. If the same substantive feedback is coming back again and again, that’s like an alarm bell. Action needs to be taken. Jack’s one-star review may be annoying, but it doesn’t really worry me. Apparently, he has some bone to pick with me and/or the world, but his review is overshadowed by many positive comments from other readers…. which leads me to my next suggestion.

When fellow-bloggers and writers ask me if and how they should respond to people like Jack, I tell them:

“Don’t.

Let others come to your defense.”

When others advocate on your behalf, it has a much stronger impact than when you speak up yourself. And if you’ve taken the time to develop a considerable following, people will jump in. I guarantee it.

4. How you respond to feedback, teaches you about you.

Just as most comments reveal a lot about the commentators, how you respond to those comments tells you something about yourself. If you’re a people-pleaser, you probably want to be liked, and you avoid conflict. A critical comment may feel like a slap in the face. 

A few words of advice:

– It is impossible to please everyone, all the time. It’s also unhealthy!

– You are not perfect, and you don’t have to be, to be liked and loved.

– Receiving feedback is different from being rejected. It’s information, and you decide what to do with it.

– Always consider the source of the feedback. You can’t reason with unreasonable people.

– You cannot control the comments, but you can control your response.

5. Comment carefully.

If you happen to have a sharp online tongue, bite it!

If you have something to say, don’t hide behind an anonymous online identity. Own your ideas. Be accountable. Only cowards operate in the dark.

Be aware of the incredible power of words. Using strong language to provoke a response is not a game. It is not funny. It is beyond rude, and it is dangerous. Cyberbullying has led to suicide.

Never respond when you’re angry or under the influence. Realize that what you say about others, says a lot about yourself. Do you want to be known as a considerate and kind person, or as a jackass?

Online comments have a long shelf life. Something you wrote in anger, might come up in searches years after it was written, and may even cost you a job.

If you have very strong feelings about a person’s opinion or actions, why not send him or her a private message? Be polite. Be thoughtful. Be reasonable.

As Patrick Stokes once said: “You are not entitled to your opinion. You are only entitled to what you can argue for.”

DEALING WITH NEGATIVITY

If you’re a fan of British television, you may have heard of Nadiya Hussain. She’s the most recent winner of The Great British Bake-Off on the BBC. Nadiya walked into the show wearing a headscarf, and became one of the most well-known Muslims in the UK. Now she stars in her own television series, she wrote a number of books, and she even baked a birthday cake for the Queen.

In a recent interview, Nadiya was asked:

Many Muslim women have to endure anti-Islamic slurs in the street – has that ever happened to you?

Here’s what she said: 

“From the moment I’ve worn my headscarf, that almost comes with the territory. I don’t feed negativity with negativity. I receive it with a smile and I say: “You know what? I don’t need to balance the scales.” For me that’s really important because my foremost and most important job is my children. I live in a lovely country. I don’t want my kids to grow up with a chip on their shoulder. Those negative people and those negative comments are the minority, and I don’t let that dictate how I live my life.”

I agree with Nadiya. Never sink to the level of the person you’re responding to. Don’t become what you despise. It’s a sure way to fan the flames, and it will stain your soul. 

Language can be used to help, heal, or hurt.

The choice is yours.

Paul Strikwerda ©nethervoice

PS Be sweet. Please retweet!

PPS Have you ever received nasty comments? How did you handle it?

Send to Kindle

How To Sell Your Voice Online

by Paul Strikwerda in Articles, Internet, Money Matters, Promotion 9 Comments

Dog with reading glassesExhausted from Black Friday?

Done with Cyber Monday? 

Or are you still shopping on Santa’s behalf?

I’m not one to stand in line for hours to get my hands on a doorbuster, but being the frugal Dutchman I am, I love a good deal. Most of those deals I find online, and I’m not the only one.

According to the website PracticalEcommerce, spending in actual stores fell 10 percent from last year on both Thanksgiving Day and Black Friday. Compared to 2014, online sales on Thanksgiving were up by 25%, by 14.3% on Black Friday, and by 16% on Cyber Monday. 

Here’s an interesting development: for the first time, mobile shopping trumped the desktop on Thanksgiving, with a 57% share. On Black Friday, 33.2% of all sales were mobile, and on Cyber Monday 27% of all shoppers used their smart phones and tablets to make a purchase.

This change does not only affect the big-box stores and supercenters. If you are selling your services online (like most voice-overs do), this affects you too. In what way?

  • If clients can’t easily find you online, you do not exist;
  • If your website is not optimized for smaller screens, you will lose business;
  • If your website doesn’t instill confidence, people will shop elsewhere.

 

CASE IN POINT

Let me tell you about one of my most recent online purchases, and what I learned from that experience. I didn’t buy a big-ticket item. It was a pair of reading glasses. You’ll be amazed how many businesses are trying to sell readers on the web. Like voice-overs, these readers come in all shapes and sizes, but they basically do the same thing. 

The big problem with buying glasses online, is that you can’t try them on. You can look at plenty of samples, but how do you know that a particular frame is the right fit? Voice-overs have the same challenge. You can present a prospect with many generic demos, but how does the client know that your take on the script will be a good fit?

Therein lies the first lesson:

Selling is about reassuring.

Prospective clients need to feel comfortable, before they’re ready to buy. Reassurance is actually critical in three phases of the sales process:

a. Before the sale

You have to convince the client that your product or service meets their specific needs, and that your asking price is worth paying; 

b. During the sale

A client needs to be reassured when buying your product, or when hiring you;

c. After the sale

You need to reassure the customer that he/she has made the right decision. That way, they’ll be thinking of you the next time they need a voice for a new project.

REASSURANCE

Let’s break this down a little bit by going back to my purchase. How did the online vendor manage to reassure me? Here’s how.

By listing the exact measurements of each frame, I could easily tell which pair of reading glasses would be a good fit for my rather big head, and which ones were not. All I had to do was pick a pair I liked, and look at the frame dimensions. 

Secondly, I needed some reassurance on the return policy. We’ve all ordered items that seemed great online, but when we tried them on, they looked ridiculous. So, I needed to be reassured that this vendor had a no-hassle return policy. 

The next thing the vendor had to do, was justify the price of the item. These days you can buy cheap readers at the grocery store. You can put them on there and then, and there are no shipping costs. So why even bother ordering them online?

Well, the vendor made two value propositions. Grocery store reading glasses can be boring and poorly made. These online readers were stylish and sturdy. On top of that, there were plenty of testimonials from satisfied customers telling me how great they looked, and how long these fashionable readers lasted. These reviews were very specific, and seemed genuine to me. Fake reviews are often generic and are suspect because of bad spelling and poor grammar.

Never underestimate the power of a testimonial. I’ve said it before and I will say it again:

Nothing you say about yourself will ever be as strong as what other people say about you.

Bottom line:

Once I was reassured, I was sold!

The question is: How could you apply this to the way you do business online? After all, you’re selling a service instead of special spectacles.

SELLING VOICES

Think of it this way: just as the vendor of reading glasses, you are offering a unique solution to a particular problem. How can a client determine whether or not you’ll be a good solution?

First of all, your website needs to impress, and your demos really have to shine. Secondly, you need to make it crystal clear that you can deliver a custom-demo based on a portion of the client’s script, within a matter of hours. This gives the client an opportunity to try on your voice. That’s reassurance number one.

Next, you have to let the client know what your retake policy is. Clients don’t want to be stuck with something they’re unhappy with. On the other hand, they can’t expect you to re-record ad infinitum at no cost to them. My approach is based on the three F’s: Fair, Firm and Flexible.

Fair: I’m not going to charge a client for my mistakes. Firm: I will charge a client if he wants me to record a new version of a script after the first version was approved and recorded. Flexible: I am willing to be more lenient toward an established client, especially if that client pays exceptionally well.

THE COST FACTOR

At this point we have to talk about price. Selling used to be all about people. In the online world, it is increasingly about price because there is no personal, face-to-face interaction. As I said in the beginning, more and more people are shopping online, which creates certain expectations. One of those expectations is that buyers will know how much they’re going to pay for what’s being offered.

Whether you like it or not, sooner or later you have to answer the question: How much is this going to cost me? May I suggest that you better answer that question sooner, before your shopper goes to a competitor who is open about rates.

Telling prospects how much something is going to cost, may be scary to you, but it is reassuring to those who are thinking of hiring you. It also weeds out the low-budget buyers. I know that it’s often impossible to break voice-over jobs down to the dime, but a ballpark figure or a price range will suffice. 

Lastly, like the vendor of reading glasses, you have to justify your rates. You have to answer the age-old questions: Why should I buy from you? What makes you so special? Those questions are easier asked than answered, and that’s probably why so many voice-over colleagues fail to come up with a solid value proposition. A value proposition is a promise of value to be delivered. It’s the number one reason a potential client should buy from you. 

If you’re struggling with these questions, let me give you a hint: You’re probably not the best person to answer them. You’re too familiar with yourself, and you’re likely to make too many assumptions. What you need to do, is find out how other people see you, and how they perceive the benefits of what you have to offer. Next, you have to translate these benefits into headlines, paragraphs, visuals, and audio.  

If you need an example of what I mean, take a look at my home page. It’s by no means perfect, but I think it gets the point across. What do you think my value proposition is? Is it easy to understand? Keep in mind that for most of my clients, English is a second language. Do I address basic questions and concerns? Do you see a testimonial?

NEXT TIME

So far, all I have talked about is ways to reassure the online client before the sale is made. Why is this so important? Well, reassurance leads to trust, and -trust me- people will never buy from someone they don’t trust. 

Next week we’re going to dig even deeper, and look at ways you can reassure buyers during and even after the sale. It’s an aspect of selling that is often overlooked, but it is crucial if you want to get return business from happy customers.

Now, one thing I am often asked as a blogger is this: How do you come up with this stuff?

The answer is simple.

It is based on years of experience as a freelancer, first in the Netherlands, and now in the United States. 

And remember: this blog post started with a pair of glasses and a bad pun. Brought to you at no cost whatsoever.

Oh, the things I’m willing to do for my readers…

Paul Strikwerda ©nethervoice

PS Be sweet. Please retweet!

photo credit: Dog Intelligence via photopin (license)

Send to Kindle

The Ciccarelli Circus

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

So, here’s the deal.

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

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

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

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

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

But seriously, here’s the real question:

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

VOICE TALENT HAS HAD ENOUGH

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

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

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

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

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

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

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

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

Connie’s podcasts have yet to be removed.

MONEY TALKS

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

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

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

LOST LOVE

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

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

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

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

AMPLE AMBITION

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

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

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

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

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

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

Paul Strikwerda ©nethervoice

PS Be sweet. Please retweet!

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

Send to Kindle