Money Matters

Debunking Bottom Feeders

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

3. Purchase decisions are primarily based on price.

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

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

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

Lemonade 50 cents (clean water).

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

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

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

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

Value means: offering more at a higher price.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

However…

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

Paul Strikwerda ©nethervoice

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

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

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Are Clients Walking All Over You?

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

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

Some of these lessons came easy. Others were excruciating.

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

1. How to deal with conflict.

2. How to stand up for myself.

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

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

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

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

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

A LOSING STRATEGY

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

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

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

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

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

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

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

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

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

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

MR. DOORMAT

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

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

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

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

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

PUSHING MY BUTTONS

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

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

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

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

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

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

Just like that!

I was stunned.

I looked in the mirror and thought:

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

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

BOUNDARIES

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

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

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

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

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

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

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

NEW RESPECT

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

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

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

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

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

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

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

After all, the guy still owes me money!

Paul Strikwerda ©nethervoice

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

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Stop Selling Yourself Short

by Paul Strikwerda in Articles, Career, Freelancing, Money Matters 10 Comments

Famous Dave’s Signature Spicy Pickle SpearsA while ago it happened again.

One of my contacts sent me the following message:

“Paul, my client would like you to voice two animations. Both advertise the same product on the same platform, but each one appeals to a different audience. Both scripts are no longer than 125 words. Normally we’d pay you €250 per video, but the client was wondering if you’d record both videos for €250. After all, these things are very short, and this is for the same product on the same platform. Another option would be to offer the client a $150 discount. Let me know how you’d like to proceed.”

What do you think I should do? Should I voice these two videos for €250 or $350? Should I charge the full €500, or even more?

Well, the answer depends on your pricing strategy, and on how you position yourself in the market place.

Let me explain.

A TALE OF TWO PICKLES

In front of me I have two 24 ounce jars filled with pickle spears. One is a store brand retailing for about two dollars. The other is a jar of Famous Dave’s Signature Spicy Pickle Spears, selling for about five bucks. Both jars contain the same basic ingredient: crunchy cucumbers immersed in an acidic solution.

Why would people pay five dollars instead of two, for ten to twelve pickles, you may ask. The answer is simple. Dave’s spears are distinctly different. His spicy cucumbers tingle your tongue with a signature blend of sweet and heat. They are addictively delicious.

Last weekend I was entertaining guests, and I served Dave’s pickles without telling them. I just put them on a plate. After the first guest took a bite his whole face lit up and he said: “Wow, where did you get these pickles? They are incredible!” Two minutes later everyone in the room was crunching away, and wanted to know where they could buy these special spears.

Yesterday I talked to one of my friends who was with us that evening, and he said: “I had so much fun last weekend. And by the way… those pickles were amazing!”

So, let me ask you this:

Would you rather be an ordinary pickle, or one of Famous Dave’s Spicy Spears?

MAKE A CHOICE

Are you a dime a dozen, or do you have something unique to offer? If you fall into the last category, in what way do you distinguish yourself, and how do you convey that to your clients? You see, believing that you’re special doesn’t get you anywhere. You need to prove it.

Famous Dave is a smart guy. He knows he’s got something awesome going, and that’s why he’s not competing on price. He is competing on added value. Added value can be defined as “an improvement or addition to a product or service that makes it worth more.”

As a voice-over, you add value to a video, a computer game, an ad campaign, an e-Learning program, a bestseller, or a major brand. The right voice can bring credibility and authenticity to a message. That alone can be worth millions of dollars, and advertising agencies know it.

You will never see those millions, but I happen to think that you deserve to be well compensated for your contribution. That will only happen if and when YOU value what you have to offer in terms of your expertise, and your experience.

PRICE LIKE A PRO

One way to convince a client that what you’re offering is valuable, is by using the link between price and professionalism. I’ve said it before, and I’ll say it again: Your rate is more than a number. It is a powerful statement. It says: This is what I believe I’m worth. It is also a way to prequalify your clients.

My rate sheet tells them: I take my job seriously. Lowballers better stay away. Quality clients are welcome. I will treat you with respect, and I will do the best job I can.

Like Famous Dave, I know that what I have to offer is different. My English has a European quality that adds a special flavor to a script. Those who like that flavor have no reason to haggle.

WHY COMPROMISE?

Now, let’s discuss that discount I talked about in the beginning of this blog post. Here’s my take on reducing a fee.

1. Discounts are for people who compete on price only, and for clients for whom price is the determining factor.

Here’s a hint: price is rarely the sole determining factor in a purchasing decision.

If clients would buy based on price alone, it would be perfectly fine to take months to send them a poorly made product, right? They wouldn’t dare to complain because you were the cheapest.

2. But Paul, didn’t the client say that these two jobs combined would be no more than 250 words? Why not give in a little?

Well, there are two hidden assumptions behind that argument. One: This job is something I could record in a heartbeat. Two: Clients pay me for my time. Both assumptions are false.

We all know that most clients have no idea how long it takes to deliver any length of finished audio. Secondly, I don’t charge clients for my time. They pay for my talent, my skills, and for my experience. They pay me for the added value I bring to their production.

3. If I were an on-camera actor, and I’d be featured in two videos targeting different audiences, wouldn’t I get paid in full for both? Then why should a voice actor accept a huge pay cut? Does that make any sense? Just because we’re invisible, doesn’t mean people should take advantage of us.

A MATTER OF TRUST

4. The client promised that both videos would be for the same platform, but how can I trust a claim made by someone I’ve never worked with? Clients will tell you anything to bring your price down. What guarantees do I have that these two videos won’t end up on different platforms? Who’s going to check that?

5. In the beginning of a relationship with a new client you set the parameters. If you accept a certain fee for whatever reason, that becomes your going rate. Don’t blame it on the client. That’s what you’ve trained them to expect.

So, the next time you ask for more money, don’t be surprised if your client comes back with: “But last week you did a similar job for X amount of dollars. Why should we pay you a penny extra?” And you know what? They’re right!

6. If you accept doing two jobs for the price of one (or even less), you’ve just stabbed your colleagues in the back. We are not independent contractors. We’re interdependent contractors. We are connected. A going rate is nothing but the prevailing market price. Every individual pricing decision -big or small- impacts that market. Before you know it, you’re contributing to a downward trend.

RATE REDUCTION

Having said that, here’s where I’m willing to give a discount:

A. When a client commits to a long-term working relationship, and a high volume of jobs.

B. As an incentive for a client to pay in full upon receipt of the invoice.

Some colleagues are in the bad habit of giving discounts to all charities, but I make that determination on a case-by-case basis. More about voice-overs and charities in my article “Work For Free For Charity?

STICK TO YOUR GUNS

Listen carefully. You don’t have to agree with me when it comes to discounts. In fact, you don’t have to agree with anything I’m saying in this blog. It’s just my opinion. But if you haven’t thought about your value, your pricing, and about your position on discounts, simple questions like the one from my contact can get you in a pickle.

I decided to charge full price for those two animations, and I told my contact why. Taking a stance means taking a risk, and I ended up losing the animation job to a colleague who was willing to do it for less. But the story doesn’t end there.

Two weeks later my contact called me again. Working with the cheaper voice-over had left a bitter taste in the mouth of the client, and they wanted me to step in.

“At full price?,” I asked.

“At full price,” he said.

Being cheap often costs more, but some people have to learn that lesson the hard way. Don’t be one of them.

That day I went to the post office to send my contact a small thank you gift.

“Does this parcel contain anything fragile, liquid, perishable, or potentially hazardous, including lithium batteries and perfume?” the woman behind the counter wanted to know.

“Yes it does,” I said.

“What’s in it?” she asked.

“It’s a jar of Famous Dave’s Signature Spicy Pickle Spears!”

“Oh, those are the best,” she said. “Not cheap, but so worth it!”

Paul Strikwerda ©nethervoice

PS Be sweet. Please subscribe &retweet!

PPS The word ‘pickle‘ comes from the Dutch word ‘pekel,’ meaning ‘something piquant,’ and originally referred to a spiced, salted vinegar that was used as a preservative (source.) You should know that I am in no way compensated to promote Famous Dave’s delicious pickles.

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Act Like A Pro

by Paul Strikwerda in Articles, Career, Money Matters, Social Media Comments Off on Act Like A Pro

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Did You Miss Me?

by Paul Strikwerda in Articles, Career, Freelancing, International, Internet, Journalism & Media, Money Matters, Pay-to-Play, Promotion, Social Media 10 Comments

Paul Strikwerda self-portraitWise men say that one way to spot the difference between cultures, is by looking at how separate societies approach the concept of work.

As someone who has lived and worked in both Europe and in the United States, I feel comfortable making the following generalization:

In Europe, most people work to live.

In the Unites States, most people live to work.

By “most” I mean more than half.

Here’s the thing: I’ve never had more time off than during the thirty-six years I lived in the Netherlands. I was able to travel the world at a relaxed pace, and recharge my batteries. I had enough time to pursue one or two hobbies, and have a rich and balanced social life.

Once I became a U.S citizen, I learned that most people in America see even a short vacation as a luxury and not as a necessity. The odd American planning a trip outside of the country has one thing on his mind: how can I see and do as many things in as little time as possible? Kids are overscheduled by stressed parents working two jobs, and one of those jobs is to pay for daycare. 

I fully realize that I’m brushing with broad strokes, but what’s the end result of these two attitudes?

Countries where people work less like Ireland, Norway and Belgium, are more productive than the United States. In the most productive country on earth, Luxembourg, people work an average of 29 hours a week. On average, Americans put in 33.6 hours a week, only to rank fifth in the OECD list of most productive countries.

These findings support one of the conclusions of a story I wrote this year entitled “Are You Wasting Your Time Going Nowhere Fast?(click on the title to access the article)It’s a blog post about the difference between being busy and being productive. In it, I offer suggestions to increase your productivity as well as your bottom line, that will actually cost less time!

THE RAT RACE

No matter where you live, running the rat race can be pretty stressful. Some of my voice-over students get stressed out when they have to go into a studio to record. In “Don’t Drive Yourself Crazy,” I describe how you can keep that stress under control.

One of my most popular blog posts this year was “The One Thing That Will Improve Your Voice Acting Immediately.” What do you think it could be? Warm-ups? Tongue twisters? Sufficient hydration? No. No, and No! The other blog post that got a lot of attention was “The Vital Voice-Over Skill We Never Talk About.” It’s something that isn’t taught in voice-over school, and yet it could make or break your career.

Now, I have a question for you. If I were an investor on a show like Shark Tank or Dragons’ Den, and you came to me with a pitch to back your business, what would I be looking for? Enthusiasm? A unique product? The answer may surprise you. Read about it in “Would you Survive The Shark Tank?” 

MISTAKES AND FAILURES

Eighty percent of new businesses survive past their first year. However, half of all businesses no longer exist after five years. That’s a scary statistic, isn’t it? In “The Secret To Not Getting Hired,” I’ve summed up all the reasons why clients aren’t interested in working with you. Oddly enough, I also invite you to embrace failure as a way to grow personally and professionally. You can read about that in “Why I Want You To Fail.”

In “Being Wrong About Being Right,” I describe one of the biggest mistakes I made in 2017, and what I learned from it.

When you’re just starting out as a voice-over, it is so easy to make simple errors. Many of my VO-students tell me: “If only I had known…” I tell them: “If only you had read my blog!” The story about “The Seven Worst Mistakes Beginner Voice-Overs Make,” is a good start.

If there’s one thing I have learned in this unpredictable business, it is that success is by no means guaranteed. You can work your tail off and record audition after audition, only to face rejection, time after time. It’s frustrating, and that’s why I say: “VO’s Unfair, so, Grow a Pair!”

ATTITUDE ADJUSTMENT

Sometimes, people are their own worst enemies because they’re unconsciously sabotaging their success. In that case they might need a major attitude adjustment, such as the one I describe in What Are You Waiting For?and Be bold. Be brave. Be you.

Sometimes, you are not the problem, though. You’re just dealing with a terrible customer. Mine was named Elvis, and he was “My Worst Client Ever.”

Attracting clients has always been a major theme of this blog. In “The Key To Promoting Your Business,” I reveal what’s fundamentally wrong with the way many voice-overs (and other freelancers) market themselves, and what they can do about it.

Social media should play an important role in any marketing strategy, but you have to know how to play the game to get tangible results.

Facebook can be particularly tricky, and so many colleagues are still violating the terms of service. Because of it, they could be kicked off the platform. If that’s something you wish to avoid, please read “Facebook: Why You May Be Doing It All Wrong.” One thing you need to be particularly careful with, is posting pictures online. If you don’t do it right, “The Copyright Trolls Are Coming After You.”

2017 marked the year I finally took Nethervoice to Instagram. In “Help, I’m on Instagram. Now what?I talk about this experiment, and why I believe you should also give this platform a try. Let me also name a few things you should avoid in the new year.

STAY AWAY

Number one my list is spending too much money! It’s so easy to write check after check hoping it will benefit your business. Quite often, it’s better to save and make wise investments. In Becoming A Frugal Freelancer I’ll tell you how. This story alone could save you hundreds of dollars, pounds, or euro each year. 

Number two of things to avoid is working for low rates. In “Who’s Afraid of Decent Rates,” I urge you to stop blaming one specific group for the ongoing erosion of voice-over rates. You’ll be surprised to learn which group that is.

Number three has to do with the big rotten apple of the voice-over industry, known as Voices dot com (VDC). In their continuous effort to try to dominate the VO-market, VDC bought Voicebank with borrowed money, and it is rapidly turning well-paid union jobs into cheap managed projects. Read all about it in “A Deal With The Devil.” My question to you is:

“Are you part of the problem, or part of the solution?” 

As long as you keep investing in a company that does not have your best interest at heart, you keep that company in business. That’s why I’m telling you: “It’s Time To Choose.” Are you in or are you out?

NAMECALLING

The 2017 story that caused quite a stir on social media was “Divided We Stand.” Actually, it was an afterthought about a certain VO Awards show that prompted one commentator to label me a “racist.” Some of my critics thought this person went too far and said so in public. Others kept their mouth tightly shut. To me, that was more hurtful than the ridiculous slander itself. Einstein once said:

“If I were to remain silent, I’d be guilty of complicity.”

In the follow-up article “Paying the Piper,” I take on my critics, and I present ideas to make future award shows better and more relevant. 

SQUARE ONE

The last two stories I want to highlight bring us back to the beginning. It’s about our approach to work. A week or so ago, my colleague Paul Stefano posted on Facebook:

“Anybody else finding it hard to just stop during the holidays? Still frantically checking email for auditions, looking at casting sites and generally running at 90 mph. It’s as if all the energy it takes to do this business on a daily basis makes it really hard to hit the brakes!”

I responded:

“Auditions will keep coming in. Always. But precious moments with friends and family will never come back. If we don’t give ourselves the opportunity to enjoy these wonderful times, what are we really working for?”

Working harder and longer doesn’t mean we’ll be more productive. In fact, this blog was born when I dared to step away from my work for a while. I describe what happened in “Feeding Your Soul.” Little did I know that this blog would eventually attract an audience of 39K subscribers and counting!

READING LIST

If you do feel that your voice has earned a rest, and you wish to catch up on some reading, I warmly invite you to look at The Concise (and incomplete) Voice-Over Book List,” I compiled this year. As an author I will be adding another book to that list in 2018. What are your big plans for the new year?

For now I want to thank you for all your emails, questions, and comments. I hope to meet you in person at VO Atlanta in March where I’ll be doing a presentation, a panel discussion, and a break-out session.

May the new year bring you all the fulfillment and success you so deserve!

Paul Strikwerda ©nethervoice

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The Concise (and incomplete) Voice-Over Book List

by Paul Strikwerda in Articles, Book, Career, Freelancing, Journalism & Media, Money Matters, Social Media 4 Comments

Man reading bookStop reading my blog!

Well… at least for a week or so. Then I expect you back where you belong. But let me ask you this:

When is the last time you read a book? A real book?

If you’re like me, you are so used to staring at poorly written scripts, and when you’re done, you turn to social media. That’s where you live your life in fleeting paragraphs, funny photos, shocking videos, and concise comments meant for people with the attention span of a peanut.

Here’s the good news: You don’t have to be one of those people! You’re much smarter than that. You can read entire chapters in one sitting. 

This week I challenge you to do what I ask of all my voice-over students: Deepen your knowledge. Broaden your horizons. Learn how to run a profitable freelance business. Be inspired by the pros. Find out how to free your voice, and how to build a home studio.

Go beyond the heartfelt but very limited advice you get on Facebook, Reddit, LinkedIn, or whatever platform you prefer. There’s so much to take in, and as a freelancer, you must take time to work ON your business, and not only IN your business. 

Below is your starter kit. It’s an incomplete collection of books covering many aspects of a voice-over career. Clicking on a title will magically take you to an online store. Should you order that title, this store will send a few pennies my way. I consider it my tip jar.

THE NETHERVOICE-OVER LIST OF BOOKS

The Wealthy Freelancer, 12 secrets to a great income and an enviable lifestyle by Steve Slaunwhite, Pete Savage, and Ed Gandia.

My So-Called Freelance Life: How to Survive and Thrive as a Creative Professional for Hire, by Michelle Goodman.

The Freelancer’s Bible: Everything You Need to Know to Have the Career of Your Dreams – On Your Terms, by Sara Horowitz and Toni Sciarra Pointer.

Become Your Own Boss in 12 Months: A Month-by-Month Guide to a Business that Works, by Melinda F. Emerson.

The Money Book for Freelancers, Part-Timers, and the Self-Employed: The Only Personal Finance System for People with Not-So-Regular Jobs, by Joseph D’Agnese and Denise Kieran.

Voiceover Achiever, Brand Your VO Career. Change Your Life, by Celia Siegel.

There’s Money Where Your Mouth Is: A Complete Insider’s Guide to Earning Income and Building a Career in Voice-Overs, by Elaine A. Clark.

Voice for Hire: Launch and Maintain a Lucrative Career in Voice-Overs, by Randy Thomas and Peter Rofé.

More Than Just A Voice: The REAL Secret to Voiceover Success, by Dave Courvoisier.

V-Oh!: Tips, Tricks, Tools and Techniques to Start and Sustain Your Voiceover Career, by Marc Cashman.

Voice-Over Voice Actor: What It’s Like Behind the Mic, by Yuri Lowenthal and Tara Platt.

The Art of Voice Acting: The Craft and Business of Performing for Voiceover, by James Alburger.
You Too Can Make Money In Voice Overs, by Sharon Brogden.
Step Up to the Mic: A Positive Approach to Succeeding in Voice-Overs, by Rodney Saulsberry.

Rodney Saulsberry’s Tongue Twisters and Vocal Warm-Ups: With Other Vocal-Care Tips, by Rodney Saulsberry.

You Can Bank On Your Voice: Your Guide to a Successful Career in Voice-Overs, by Rodney Saulsberry.

The Voice Over Actor’s Handbook: How to Analyze, Interpret, and Deliver Scripts, by John Burr.

Voice-Over for Animation, by Jean Ann Wright and M.J. Lallo.

My Life as a Ten Year Old Boy, by Nancy Cartwright.

Scenes for Actors and Voices, by Daws Butler.

Daws Butler, Characters Actor, by Ben Ohmart, and Joe Bevilacqua.

The Magic Behind the Voices: A Who’s Who of Cartoon Voice Actors, by Tim Lawson and Alisa Persons.

Did You Grow Up with Me, Too? – The Autobiography of June Foray. 

Mel Blanc: The Man of a Thousand Voices, by Ben Ohmart.

That’s Not All Folks, by Mel Blanc. 

VO: Tales and Techniques of a Voice-Over Actor, by Harlan Hogan.

Secrets of Voice-Over Success: Top Voice-Over Actors Reveal How They Did It, by Joan Baker.

Accents: A Manual for Actors– Revised and Expanded Edition, by Robert Blumenfeld.

The Actor Speaks: Voice and the Performer, by Patsy Rotenburg.

Freeing the Natural Voice: Imagery and Art in the Practice of Voice and Language, by Kristin Linklater.

Set Your Voice Free: How To Get The Singing Or Speaking Voice You Want, by Roger Love and Donna Frazier.

Patrick Fraley’s Complete Book of Voice Over Exercises, by Pat Fraley

Sound Advice: Voiceover from an Audio Engineer’s Perspective, by Dan Friedman.

Home Recording Studio: Build It Like the Pros, by Rod Gervais.

Acoustic Design for the Home Studio, by Mitch Gallagher.

Voice Over LEGAL, by Robert J. Sciglimpaglia Jr.

 

I could have added my own masterpiece, Making Money In Your PJ’s, to the list, but I’m too modest to even mention it. Besides, as a regular reader of this blog I fully expect you to have one or two copies on your bookshelf.

If you’d like to add other recommendations to my list, please mention them in the comments.

Now, stop reading this blog.

Find a quiet corner.

Gently attach a “Do Not Disturb” sign to your forehead, and start turning pages.

Enjoy!

Paul Strikwerda ©nethervoice

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Voice-Over Newbies: You Have Been Warned!

by Paul Strikwerda in Articles, Career, Freelancing, Gear, International, Internet, Money Matters, Studio 24 Comments

Today I’m going to jump right into the topic of this blog.

No teasers. 

No anecdotes.

No mysterious introductions.

Right now I want to take a few minutes to talk about the pitfalls of a voice-over career. Now matter how many times you’ve dreamed about becoming the next Tom Kenny or Nancy Cartwright, you should never jump into the ocean if you don’t know how to swim. Too many hopefuls are drowning, and I don’t want you to be one of them. 

Here’s what you need to know.

NUMBER ONE

Most people tend to underestimate what it takes to become a full-time, for-profit voice-over. Why is that? Because the job of a true pro is to make it sound easy, spontaneous, and seamless. The best actors distinguish themselves by their ability to fool everyone into thinking that they’re not acting. Just because it sounds easy or looks easy, doesn’t mean it IS easy. 

So, pitfall number one is underestimating the difficulty of having to be natural in an unnatural situation. It requires a special ability to sound authentic even if you don’t believe a word of what you’re saying, as well as the skill to sound sincere, conversational, and real, as someone else is putting weird words into your mouth. To be honest: most people can’t do it.

NUMBER TWO

Pitfall number two is the technical aspect of this business. The number one reason most auditions get rejected is bad audio. You may have the perfect pipes for the job, but if you’re talking into a cheap microphone with a lot of self-noise, you lack basic microphone technique, and your recording space is not isolated and acoustically treated, you’re wasting your time. 

That expensive demo you just recorded in this great recording studio is worth nothing if you have no way of producing clean and professional audio recorded in your home. 

NUMBER THREE

Let’s boil it down to one word: professionalism. It’s easy to do this as a hobby, but as soon as you advertise yourself as a voice-over professional, things get serious. That label creates expectations, and rightly so. Clients hate it when they need to hold your hand. That’s not what they’re paying you for. 

As a pro you have to know how to run a freelance business with you being the CEO, the CFO, the head of marketing, advertising, and sales. You run the bookkeeping department, and you’re the audio engineer, as well as the featured talent. Plus, if you’re online, you’re running a global business!

Too many beginners are trying to figure things out on the fly, without any preparation or training. Why on earth would they do that? It’s asking for trouble. 

NUMBER FOUR

The next pitfall is a big one: money. You’ve got to spend money to make money, but you didn’t need me to tell you that.

While it is possible to get started as a VO with a simple recording set-up, please remember that you’re competing with people who have been doing this for years. These are people with a soundproof studio, a really nice microphone and preamp, and a website that attracts clients. It all adds up. On top of that, you have to stay afloat financially, while you are building your business. Your bank wants you to continue to pay your mortgage, and you do want to keep your health insurance, don’t you?

Secondly, while the cost of living goes up every year, voice-over rates have been going down at a dramatic degree. If you want to do this for a living, you can’t rely on doing the odd job here and there, unless you have a partner who can help you out, financially. You need to make sure that you have a consistent flow of projects coming your way, and that’s easier said than done – even for voice-overs. My advice: have a cash cushion that will help you stay afloat for… a few years.

Lastly, too many newbies quote or accept a job, even when they have no idea what to charge. Can you imagine a baker or a florist running her store that way? Clients love getting a bargain, but do you really want to contribute to the problem of sliding rates?

NUMBER FIVE

This is another big one: time. We live in an impatient world. Very few people experience overnight success. You can’t buy your way into a voice-over career. It needs to be earned. Slowly. The people who are at the top of their game are not the people that just started doing voice-overs. Most of them have been at it for years. 

VO is not a get rich quick – I can do this part-time scheme. The only people who can do this on the side are A-list actors who don’t depend on VO for a living. Ironically, they are the ones collecting all the awards.

Again, most people underestimate how long it may take before their voice can be the main source of revenue. For many, it will never happen. That’s not me being mean. That’s me warning you based on decades of experience, and on input from people like you. 

NUMBER SIX

Next on the list is increased competition. In case you hadn’t noticed, you’re not the only one who thinks he can do a mean Morgan Freeman impression, or talk like a movie trailer man. We have plenty of those folks in our ranks, and the role of Morgan Freeman is already taken by… Morgan Freeman. 

If you don’t have a specialty or a niche, it’s going to be tough to make your mark because you’re basically redundant. Technology has made it a lot cheaper an easier to get started. You don’t need to be close to a studio to do your work. That means that every frustrated teacher, every burned-out retail clerk, and every unemployed actor (which happens to be the majority) is now your competition.

But wait, there’s more. Much more!

NUMBER SEVEN

If you want to hear a number other things you should look out for, I invite you to listen to Jamie Muffett’s VO School Podcast

You’ll find it on SoundCloud, iTunes, Google Play, and a few other platforms. Jamie is producing and hosting this podcast in collaboration with Backstage Magazine

In the latest episode, agent Erik Sheppard and I talk candidly about the many schemes you shouldn’t fall for when starting in this business. 

Please join us, and don’t tell me I didn’t warn you!

Paul Strikwerda ©nethervoice

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Calling it Quits

by Paul Strikwerda in Articles, Career, Freelancing, Money Matters 21 Comments

There.

He said it.

And I happen to agree with him.

My agent Erik has a YouTube Channel every voice talent should watch and subscribe to. It’s called The Outspoken. Erik uses this channel to answer questions, and to expose all the BS that’s going on in the voice-over world. Let me tell you: he’s got his job cut out for him!

A week or so ago, Erik posted a video with no-nonsense advice for voice-over newbies and coaches. To coaches he had this to say:

“I feel it’s irresponsible in today’s market to bring in and encourage new talent.”

And for newbies he dropped this bombshell:

“Your chances of making it big are close to… nil.”

That’s not the message most people want to hear, and yet they have to hear it again and again until it sinks into their stubborn skulls. And if you don’t take Erik’s word for it, listen to what one of your colleagues had to say. He just wrote me this email:

“Paul, I know that you’re a good source for the up and up on voiceovers and was just wondering: are voiceover actors getting obsolete? I have been doing this for well over nine years now; had my ups and downs, but lately it’s been on the downside. I was used to making thousands of dollars on the side doing this, but now it’s virtually nothing, so now I’m trying to reignite my IT career once again. It’s not something that I really like, but I do have a degree in it. I like doing voiceovers a lot more, but it is very slim pickens now. Just wondering if you knew anything going on in the voiceover industry that might be happening with voice talent.”

Well, a lot is happening, and it ain’t all good.

So many talented, hard-working people are having a tough time right now. Don’t think we’re the only group of flex workers that has trouble in this fickle gig economy, though. Freelance photographers, graphic designers, copywriters, event planners, fitness trainers, independent music teachers, -even therapists in private practice are struggling to find clients, and make ends meet. Some of them are ready to pull the plug. The question is:

How do you know it is time to hang up your hat?

Different people have different reasons. For some it’s purely financial. Others have trouble keeping up with the changing nature of their business. So, what are some of the reasons for wanting or needing to call it quits?

Here’s a quick checklist:

You’re not booking enough jobs, and you’re running out of money.

You have no bites on Pay-to-Plays, and agents aren’t interested.

You don’t know how to distinguish yourself from the rest of the pack.

You can’t afford to invest in quality equipment and/or coaching, and you have no money to outsource the things you hate doing.

You find it tough to market yourself, and to sell your services. 

You have a hard time motivating yourself. You’re bored doing the same thing over and over again. There’s no challenge, and no room to grow, 

You’re stressed out by the uncertainty that comes with so-called freelance freedom.

You can’t organize or prioritize.

You need a lot of hand-holding and spoon-feeding.

You’re feeling isolated and lonely. You miss daily, in-person interaction with colleagues.

You want to leave your work at work, but you can’t keep your personal life separate from your professional life, and your family is suffering.

You’re working too much for too little. 

You want it all, and you want it NOW, but after three years things are not improving. 

You long for a job with regular hours & benefits, and a predictable income.

Here’s my rule of thumb. If you’ve checked off at least five boxes, you have some serious soul-searching to do. No one is forcing you to make this voice-over thing happen. But you’re the boss, and it’s up to you how long you want to keep going at it.

FACE THE FACTS

If I’m totally honest, I believe that some seventy to eighty percent of people calling themselves voice-over talent have no business being in this business. They’re not cut out for it. They have very few skills, and almost no talent. Their chances of making it big are close to nil. All they can do is compete on price, which will be their downfall.

Now, listen. If you’re part of this group, that doesn’t mean you’re a hopeless, horrible human being. You probably have other talents in other areas. As I said in my article 5 Reasons Why You Should Never Become a Voice-Over…

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

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

UNKIND WORDS

You may think that this sounds harsh, and that it doesn’t apply to you. After all, I don’t know you, and I don’t care about you. Well, that’s not necessarily so. I know too many naive hopefuls like you, who are being ripped off by unscrupulous characters and companies selling them a pipe dream that will never come true. I really don’t want you to fall for those expensive schemes. And get this…

If even pros with years of experience and an impressive portfolio have trouble booking jobs these days, you need to bring something very special to the table if you wish to compete at the highest level. You need to have a comfortable cash cushion to survive the first few years, and you must be strong and determined enough to withstand massive rejection.

If that’s you, then by all means: GO FOR IT! Prove Erik and me wrong!

You’ll become part of a select, supportive community of go-getters, risk takers, fast learners, and people who are sillier than the characters they’re paid to play. All of them have this in common:

At one point in their lives they made one of the most important decisions that propelled them to where they are now.

They decided to quit quitting.

If that’s something you know deep down you can do, you better fasten your seatbelt.

It’s going to be a crazy ride!

Paul Strikwerda ©nethervoice

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It’s Time To Choose

by Paul Strikwerda in Articles, Career, Money Matters, Pay-to-Play, Personal 8 Comments

Back in the Netherlands (where I was born), the fathers of my two best friends both worked in the same chemical plant.

I was eight or nine years old, so I wasn’t sure what the plant was producing. We did notice nasty clouds of yellow smoke coming from the chimney day and night. The stream behind the main building was smelly and bereft of life. My parents always warned me not to play there. 

Then, a local journalist, suspicious of what was going on, went undercover for a year, and with the help of an environmental group, he discovered that this plant was dumping dangerous chemicals left and right to save money. That money, by the way, went straight into the coffers of the two brothers who owned the plant.

The news of the pollution shocked and surprised the community, but it turned out that many employees knew all along what was going on. They said management had told them the dumping was necessary to keep the plant competitive, and that mother nature could handle it. 

How did the fathers of my friends respond? Very differently! One said that what this plant was doing was despicable, and he could no longer work for a factory that poisoned the environment for the sake of profit. So, he quit.

The other wasn’t happy about the pollution either, but said he needed to make a living. His family depended on his job, and he couldn’t afford to give it up. “Don’t make me feel guilty for staying,” he used to say to critics. “Do you want my family to starve? There’s no pride in poverty!”

While the father who quit went on to start his own business, the one who stayed died within a year. Doctors said his cancer was probably linked to the chemicals he had been dumping on a daily basis. 

A UNIVERSAL EXPERIENCE

This story of choices and the consequences of those choices is by no means unique. All over the world, at any hour of the day, good people do great work in bad organizations. They know the organization is bad, and yet they stay. Why? Because it pays the bills, and they have no other job lined up.

You see, the father who left the chemical plant had a small side business going on in his spare time. He had developed a line of biodegradable cleaning agents, and with the help of an investor he was able to launch his own brand which eventually became a household name. 

I was reminded of this saga after reading some of the responses to my last blog post entitled A Deal With The Devil, about voices dot com acquiring Voicebank. In it, I think I’m pretty clear:

It is time to choose sides.

Either, you’re part of the solution, or you’re part of the problem. As long as you keep investing in a company that does not have your best interest at heart, you keep that company in business. So, if you want voices dot com to stop poisoning the voice-over well while it is grabbing a larger share of the market, you have to act, and you have to act now. It’s in your own interest, and in the interest of your community. That is, if you feel part of that community.

Perhaps there’s the rub. 

To me the word collegial means “relating to, or involving shared responsibility, as among a group of colleagues.” It means standing up for common interests, and having each other’s backs. It refers to a friendly spirit of cooperation. As far as I’m concerned, we have a common goal:

To deliver the best service, to increase our standards, and to ensure that we’re getting paid a fair and decent rate.

BROTHER AGAINST BROTHER

Clients love to have us fight among ourselves, especially about what we charge. They’re trying to drive a wedge between those who sell their talent for less, and those who refuse to devalue what we have to offer. It’s up to us to play that game or not.

No matter where we stand, all VO Pros are small business owners, and it’s a no-brainer that the higher our rates, the more we make. The more we make, the more we can share and grow. So, it’s in our best interest to do whatever we can as a group and as individuals to educate clients and newcomers, and charge a decent rate for decent work so you and I can make a good living.

People have asked me to explain what I mean by a “decent rate,” and “making a good living.” That’s a good question.

My definition of a making good living is going to sound rather technical. It’s to make enough money to cover a family’s needs, to achieve financial independence while maintaining housing and food security, and have enough resources for health care, child care, education, transportation, savings, taxes, charitable giving, vacations, investments, and provisions for retirement or home purchases that build wealth, and ensure long-term financial security. A decent rate is a rate that allows you to realize these goals. 

Is that something you’re interested in? 

MIND YOUR OWN BUSINESS

You may believe it’s none of my business what you or other people charge, or to which Pay to Play you want to belong, but I believe it is everybody’s business, because we don’t operate in a vacuum. We’re all connected, whether we realize it or not. The movement of the markets is the result of many, many individual decisions. 

Some readers thought it was incredibly rude of me to suggest that someone who’s okay with doing low-budget jobs, finds another line of work. Well, I think it is rude to resort to predatory pricing to undercut the competition by cheapening the value of our services. People who are willing to work for less than minimum wage or in some cases for free just to get exposure, should seriously consider another career before going broke trying to break into the business. 

“But Paul, I can’t afford to leave voices dot com. I have to eat. My family has to eat.” 

Well, I’ve been freelancing for most of my life, and I’ve discovered that it doesn’t have to be either/or: either we starve asking for a decent rate, or we eat while charging a rate that’s not so great. It’s a false dilemma. It’s also bad business as a freelancer to make yourself dependent on one or two sources of income. You’re supposed to be an independent contractor!

Every time someone gets hired for a reasonable rate, they prove that clients are willing to pay good money for good work. It’s a matter of identifying one’s strengths, and targeting clients looking for someone with those strengths. If you’re not doing so well financially speaking, you might be looking and booking in the wrong places. But if you’re good at what you do, you compete on much more than price. You compete on added value!

Remember what I tell my clients?

My added value is always higher than my rate.

YOU DESERVE MORE

There’s no pride in settling for less than you deserve. If you feel you’re not getting paid what you’re worth, hire a coach to help you improve and grow your business. That’s where you should spend your money. Don’t spend it on a hefty membership fee that gives you the privilege of auditioning for low-paying jobs that may go out to hundreds if not thousands of other “privileged” members. 

Now, let’s be honest. If you feel that voices dot com rates are as fair as their business practices, I want you to explain why it would be beneficial to a freelancer to leave money on the table, and why it’s okay to play a part in the overall decline of voice-over rates. Explain to me why it is fine for a non transparent company like voices dot com to turn voice actors into a commodity, and keep most of the money for managing a job (whatever that means), and handling your payment. I dare you!

The people who decided to stay with “Voices,” have told me they are aware of what’s going on, and they don’t necessarily approve. If that’s the case, I challenge you to get a spine, raise your voice, and contact the CEO, David Ciccarelli. Tell him exactly how you feel, and give him a chance to respond. Companies can change course under pressure, and Ciccarelli knows that without voices, there is no voices dot com. Let’s see if the company you still trust, is trustworthy, and open to feedback.

Here’s what I’m wondering, though: Do you have the guts to speak your mind, or will you continue to whine about people who you think are trying to make you feel guilty (thereby making them the problem, and not voices dot com)?

BACK TO HOLLAND

Meanwhile, the chemical plant in the Netherlands I was talking about denied the allegations, and tried to discredit the journalist who had exposed their practices. The government launched an independent investigation, and did indeed find that the chemical company had been poisoning the environment for years, putting an entire community at risk.

The company was ordered to pay a huge fine, clean up the polluted property, and change their production process. The brothers who owned the plant said they could not afford to do that, and when the government forced them to, they declared bankruptcy. Hundreds of people lost their jobs. 

Rumor has it that the two brothers moved to Switzerland, where they live a life of luxury.

Paul Strikwerda ©nethervoice

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A Deal With The Devil

by Paul Strikwerda in Articles, Career, Money Matters, Pay-to-Play 29 Comments

Thanks a lot VoiceBank. You just made a deal with the devil.

Yes, you desperately needed a facelift, and you needed more money to up your services. Your auditions had turned into cattle calls. But we trusted you. Our agents trusted you. And now you’ve betrayed us in the worst way by jumping into bed with the Ciccarelli’s

Selling VoiceBank wasn’t really “selling.” It was selling out.

Don’t tell me you didn’t know what you were doing. You knew about their business model, screwing talent at every corner, cheapening our noble profession. But you were horny for money, and you took whatever you could get. And thanks to the kind folks at Morgan Stanley Expansion Capital, I’m sure you got a pretty sum. 

By taking the cash, you have shown your true nature, VoiceBank. Likes attract. You even admitted it in the press release:

“From early meetings,” said VoiceBank CEO Jeff Hixon, “it was clear to me that our companies had much in common, including a similar vision for the future.”

And what might that future be?

* Strengthening an unethical, greedy middle man who charges a hefty membership fee (which will probably increase), and takes a 40 – 50% “management fee”?

* Bypassing agents who negotiate fair terms & fees for the talent they represent? Putting them out of business, perhaps?

* Turning more and more union jobs into non-union jobs?

* Speeding up the race to the bottom?

* Turning unique voice talent into a commodity?

Hixon continued:

“(…) this relationship with Voices.com will be an invaluable benefit for both Voicebank.net and our customers.”

One category is clearly missing in this statement, and it is telling. Hixon forgot to mention voice talent. You know, the people who put the “voices” in VoiceBank and voices dot com (VDC). These voices are outraged, stunned, and disgusted. They also know that one can do a lot with 18 million dollars of Morgan Stanley money, but one cannot buy quality or integrity. 

As a result of this acquisition, a hungry, hopeful mob of cheap, amateur talent will be released to clients and casting directors. Let’s see how much time a busy voice booker is willing to spend, listening to a never-ending stream of VDC crap auditions. Casting directors have already been bypassing VoiceBank, counting on agents to find the right voices. That’s not going to change now that the Canadians are in charge. 

AGENCIES

Let’s see how many agents will cut their ties with VoiceBank, and double their efforts to make the most of their network of connections. Here’s the thing: the value of VoiceBank lies in the agencies and their roster. Take away the agencies, and you take away the value of the acquisition. The exodus has already begun. 

In fact, nine agencies have just formed the VO AGENT ALLIANCE, pledging Fairness, Integrity, Confidentiality, Professionalism and Diligence. The VO Agent Alliance is actively expanding, and ready to speak with other agencies willing to stand up for our industry. The nine agencies are In Both Ears, Go Voices, Voice Talent Productions, Play Talent, Umberger Agency, DeSanti Talents Agency, Rockstar Entertainment, The Actors Group, and ta-da! Voiceworks.

UNION RESPONSE

Let’s find out what SAG-AFTRA’s response will be. Perhaps this is their chance to show the voice acting community that -at last- it is taken seriously. Their reaction came on August 23rd, and it was lame and late:

“This new consolidation is of interest to SAG-AFTRA considering it could potentially impact members in the future. We will be in regular conversation on the subject with members, talent agents and casting directors, along with VDC and Voicebank. If you have any questions, please email adsgounion@sagaftra.org.”

AND YOU

What can you as voice-over do? Talk to your agent(s), and express your concerns and your support. Tell them you don’t want to have anything to do with the new and deteriorated VoiceBank. Ask them to pull out, and move on. If you subscribe to the weekly workouts, call to cancel, and tell VoiceBank why. Donate the money you save to WoVo and GVAA.

If you still have a profile on voices dot com (whether it’s free or not), ask to be removed immediately. If you seek a solution, you can’t be part of the problem. As long as you keep investing in a company that does not have your best interest at heart, you keep that company in business. It’s that simple.

The bottom line is this:

Voices dot com may now own VoiceBank.net, but it does not own you or me.

As voice talent, we cannot control companies, clients, or colleagues. We can only control ourselves. I left VDC a long time ago, and I survived. I have never landed a job through VoiceBank, and I’m still here. I have quite a few amazing agents, but if I had to rely on them to make a living, I’d be out on the street.

At the end of the day, I am my best agent. No one will do more to further my career than the guy who stares back at me in the mirror. I know I don’t control the winds of change, but I know how to adjust my sales. And no, that’s not a typo.

Out in my neighborhood I just walked passed a majestic sunflower. It had taken months to grow from a small seed into a radiant explosion of yellow. But today, something had changed. 

The giant flower became top-heavy; too full of itself, and now it is bending its small neck toward the ground.

It became a victim of its own weight.

In a day or two, it will all be over.  

You can bank on that!

Paul Strikwerda ©nethervoice

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