Promotion

The New Nethervoice

by Paul Strikwerda in Articles, Internet, Promotion, Social Media 88 Comments

the old layout

Surprise!

No more brown, blue and green.

Gone are the windmills in the background.

Good old Double Dutch had to make way for the new Nethervoice. It might take some time to get used to, but believe me: it was inevitable. Let me tell you why.

If you have your own domain, do you know how many visitors come to your website in a day or a week; how they found your site; what they were looking at during their visit and for how long they stayed before going somewhere else?

If you don’t, you are in trouble. It’s like owning a store and having no idea how many customers come in and what they’re interested in. You cannot manage what you don’t measure.

As I was going over the Google Analytics stats for nethervoice.com, I had an epiphany. It turned out that in the last six months over 50% of my visitors had used a mobile device to access my website.

With millions and millions of tablets and smart phones sold, that was not exactly a revelation. My epiphany came when I realized that my site was never designed with mobile devices in mind.

DRIVING BUSINESS AWAY

Nethervoice.com looked okay on a 20″ monitor, but on an iPhone it was dreadful. Important information was cut off, buttons had disappeared and it was very user-unfriendly. No wonder my bounce rate was way too high.

Unknowingly and unintentionally, I was driving most of my visitors (= potential clients) away!

Now, do you know what your site looks like on an iPad or an Android?

Would you like to know?

Why don’t you visit this site right now and type your url into the test field. You can select “width only” or “device sizes” to find out what others see when they look at your website using a mobile device. If you’re on a desktop, make sure you enlarge the screen all the way to the right to reveal the iPad Landscape setting.  

In my case the conclusion was crystal-clear: I would have to build a new site from the ground up. These were my criteria:

  • It had to be mobile responsive to allow my site to automatically change layouts according to the visitor’s screen size, whether on a desktop, smartphone or tablet
  • I wanted to maintain it myself
  • It had to have a sleek, professional look
  • It had to represent who I am and what I stand for
  • I wanted to open an online store and make my demos downloadable

 

My content management system (CMS) of choice would be WordPress. Because my old Double Dutch blog was WordPress-based, I already knew how easy it was to create pages with little or no knowledge of html code. If you’ve never worked with WordPress, here’s what you should know.

The look and functionality of a WordPress site is determined by a template called a theme. Right now there are thousands of themes available, but not all of them are mobile responsive. Most themes can be customized to your suit your needs and reflect your style.

Some templates are specifically designed for bloggers, photographers, restaurants, bands et cetera. Many themes are free, but premium themes cost anywhere between $35 and $100.

The theme you’re looking at right now is called ProMotion. Try changing the screen size manually and see what happens. You’ll notice that the layout changes but that the content remains visible.

EASY DOES IT

The functionality of a theme can be enhanced by plugins and widgets. For instance, the Subscribe box in the upper right-hand corner of this blog and the list of Popular Posts are both plugins. Once installed, they can simply be dragged and dropped to the sidebar as a widget. No programming experience necessary. Because this is open source software, you can choose from a database of more than 18,000 plugins!

The WordPress platform itself, as well as the themes and plugins, are regularly updated. When an update becomes available, it can usually be installed by clicking a button. It’s that easy. If you’ve ever worked with a more traditional CMS, this is like going from a stick shift to an automatic. And since I’m not a computer geek, I prefer automatic.

ENTER THE EXPERT

I do know my limitations, and to make sure the transition would be smooth, I asked Joe Davis to give me a hand. Joe knows WordPress inside out, and he recently helped Dan Lenard, the Home Studio Master, with his new site. It was particularly important to me that my entire archive of blog posts would migrate seamlessly. 

Before my new site went “live,” Joe uploaded the theme to his server and put the main building blocks in place. That way I could see what the site would look like as we worked on the individual pages. It’s almost like writing a book: you go through several drafts before coming out with a finished product.

I asked Joe about the biggest hurdle he had to overcome in this migration project. This is what he said:

When working with someone like you Paul, who has such a good understanding of what a website can do and brings out that functionality with plugins, it can be a challenge to make sure they all play nice with each other. The more plugins you have, the greater the risk of a conflict between some of them.

You work a lot with the WordPress content management system. What are the advantages of WordPress as opposed to the more traditional CMS systems?

This may come as a surprise to some of your readers but although WordPress started out as a blogging system, it has turned into the world’s most popular CMS. WordPress is a very fast, easy to use, robust framework to build a site in. With the enormous list of plugins available you can add almost any functionality you are looking for. The way themes are handled by WordPress also provides lots of flexibility for the creative folks among us.

With WordPress, web design seems to have become a lot simpler. But not everything is as easy as it seems. What are some of the things you recommend people get help with?

It depends on what the goal of the website is, but generally I would say the areas that people need the most help with are theme/layout design if they are creating a new design and Search Engine Optimization (SEO). On site SEO can be the difference between a great website that nobody sees and a great website that needs a new welcome mat because so many people have stopped by.

What basic mistakes do you see when you visit websites?

Everyone wants their website to be attractive but it is also important to remember why people are on your site. They are looking for something and that should be as painless an experience as possible. Many times I see websites that have huge beautiful headers with lots of pretty graphics. The problem is users have to scroll in order to see the content and must do so on every page. To add that extra step in order to get to the meat and potatoes, on a platform like the Internet where people decide if they are going to stay or leave within seconds, is not a gamble I’m willing to take. Other common mistakes include poor usability, content disorganization and lack of SEO.

Your main job has to do with SEO. Any tips for the uninitiated to improve their SEO?

There is so much you can do, but you will be ahead of most if you remember these life basics that apply just as much online.

If you are interesting, people will come talk to you! Content, content, content! If you don’t have good content, the search engines won’t give you much attention and humans won’t either.

Speak their language! What does someone do with a magazine they pick up that is in another language? Usually nothing because they can’t understand it (or maybe just look at the pretty pictures) but either way the text is lost. Often people will put important keywords that they want to rank well for… in an image. This is a big mistake. Be very careful what you put in graphics. Search engines can’t read anything that’s in an image and will ignore it.

You are associated with who you pal around with! Relevant inbound links are critical. Regarding linking up: Pretend you are looking for a date. Make sure that person is from nice folks with similar interests. If you are a voice actor don’t have your buddy with the real estate company link to you unless the page he links from has content directly related to your field. A link from an audio production house will have a much better result.

Where can people best reach you?

Well, let’s practice a little SEO here. Please visit us for more information about Voice Over Websites and Marketing. See what we did there? We created a relevant inbound link with relevant anchor text to a special page I created solely devoted to voice over that opens in a new window. And you linked to a relevant page which is good for your site. Everyone wins!

Meanwhile, why don’t you do some site-seeing and let me know what you think of the New Nethervoice. Your feedback is much anticipated and appreciated!

Paul Strikwerda ©nethervoice

We could all use more clients, but where to find them? Next up, I’ll  offers you a counterintuitive strategy: stay under the radar!

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Raising money for your business

by Paul Strikwerda in Articles, Freelancing, Internet, Money Matters, Pay-to-Play, Promotion, Social Media 2 Comments

So, you have this amazing idea for a new service, a movie, a video game or a CD. Your plans are in place. Your team is ready. What’s the one thing you need to make it happen?

Money!

One way to get your hands on a chunk of startup cash is to pitch your idea to investors. A few years ago, Priscilla Groves and James Kennedy did just that. They went on the TV show Dragon’s Den, to raise cash for their budding business called “Piehole,” an online voice casting service.

Did they get the money they asked for? Find out for yourself:

Audio book publisher Karen Wolfer had a different idea. She used crowdfunding to pay for the spoken version of “Safe Harbor,” by Radclyffe. You can find her project on Kickstarter.com.

Since launching in April 2009, Kickstarter has successfully funded more than 20 thousand projects backed by 1.8 million people who raised over 200 million dollars.

The idea is simple. Once your project is approved, you post it on the site and you list how much you’d like to raise within a certain time frame. Visitors to the site can pledge a dollar amount and in return they receive a reward.

If the project succeeds in reaching its funding goal, all backers’ credit cards are charged when time expires. If the project falls short, no one is charged.

SUCCESS STORIES

Winning projects don’t get to keep all the money raised. 3-5% goes to Amazon Payments for processing the donations and 5% goes to Kickstarter.

Video game developer Double Fine Productions surprised everybody in 2012. They were shooting for a 400 thousand dollar investment. Within 24 hours they had received over 1 million. An hour before it closed, the project had reached the 3 million dollar level.

Entrepreneur Eric Migicovsky outdid them. He created Pebble, a futuristic watch that syncs with Android or iPhone apps. Migicovsky raised over 10 million dollars!

Compared to them, Karen Wolfer was asking for a modest $4,700. Why did she decide to raise funds using Kickstarter? Karen Wolfer:

“With Kickstarter, the money is collected before the recording project is started. Fees can be paid for narrators, sound engineers and materials up front. And by involving fans of the story or of the narrator, it becomes a form of pre-advertising for the finished book. Social media is utilized in a big way, so buzz is created from the first stage of an audio book’s life.”

You need a minimum $4,700 for this project to get the green light. Is this your entire production budget, and if not, what does it cover?

“Yes, this is my entire production budget. It will cover travel expenses for the actresses (Diane Gaidry) we signed to do the book, her fees, the sound engineer fees, and a new pre-amp we need.”

How do you reach potential backers?

“Social media: Facebook, Twitter, emails. Lots of them!”

Your company, Dog Ear Audio specializes in lesbian literature. What has been the response, so far?

“Pretty darn good! There is a passionate fan base for these stories, and Dog Ear Audio is the only audio publisher serving this niche market. The biggest surprise so far is the dollar amounts being pledged. We’ve had more pledges over the $100 amount, than we’ve had of the expected $5 and $10 amounts. The biggest pledge was a whopping $500 from folks in the Australian Outback! That floored me. But it also showed me there is a hunger for these books.

All the money is coming from fans of the author our narrator, and of course, we also have fans of Dog Ear Audio’s other titles. They have been very loyal customers. We’ve had pledges from the aforementioned Outback of Australia, the UK, and all over the US. I wrote to my brother about donating, but have not heard back from him. If he doesn’t help, boy, is he in trouble.” 😉

What will happen if you don’t reach your goal on June 1st. Will “Safe Harbor” still be recorded?

“Lol…I won’t let that happen now that we are so close. There are still lots of people to meet and share our project with. It’s all a matter of finding those ‘friends’ and groups that this story would appeal to. It is very much like any sales campaign, only the sales work is done first. You get paid first, and then you create the product.

The great thing is, there are still sales to be made after the book is published through the normal sales pathways. But to further answer your question, yes, I would still record “Safe Harbor” because I believe in this project so much, and I know the fan base is there.”

Based on your experience with Kickstarter, will you be using it again?

“Absolutely. The site is so beautifully organized. It is easy to create your project, all the answers are there to help you with the process, and I love the energy the creators of Kickstarter put into all their communications. Someone has put a lot of thought into the entire process.

A huge side benefit to launching a project this way, is that you can measure the likely success rate of your book, or any project, before you invest considerable time and money into that work. I have seen some projects receive no money, so maybe that idea needs to be revamped or even abandoned. But the person now knows that there may not be a market for that idea without having invested a lot of their own money.

Or, it may be that person needs to hone up on their social media skills. That can make or break a project, too. And as you see with Kickstarter, if a project does not receive full funding, no money is collected from donors. It is safe for anyone pledging.

I understand that it helps if a person donates to other projects before they launch their own. It is a form of ‘payback karma’; you help me, I help you, not only in donations, but in advertising of a project. I have ‘liked’ other projects that are similar to mine, and they have done the same to me, so the social networking is wonderful. Sooooo, if anyone needs a place to start, I would greatly appreciate any help from this voice-over community toward our goal.

One last detail. We are donating a percentage of any monies collected to the Safe Harbor Prison Dog rescue in Lansing KS. There are more details on this on our Kickstarter page. Again, it is in the spirit of paying it forward, and sharing the abundance that is out there.”

RISKS & RETURNS

Karen reached her goal three weeks before the deadline plus and extra $1,000. It doesn’t always work out that way. In 2011, 46% of the projects posted on Kickstarter were successful. In 2010 the success rate was 43%.

Let’s assume a project reaches its minimum limit. Who will hold the fundraiser accountable to live up to his or her promises? Kickstarter writes:

“It is the responsibility of the project creator to fulfill the promises of their project. Kickstarter reviews projects to ensure they do not violate the Project Guidelines, however Kickstarter does not investigate a creator’s ability to complete their project. (…) At the end of the day, use your internet street smarts.

Pledges to Kickstarter projects are generally not tax-deductible and if you live outside of the United States, the site will tell you that you might “experience a problem trying to pledge.”

Then there’s the fact that the success of a Kickstarter campaign heavily depends on word of mouth. It’s the number of backers that determines what gets funded and not necessarily the quality of what’s being offered. It’s a popularity contest.

If we would leave it to public opinion, the paintings of Thomas Kinkade would now be in the Museum of Modern Art. Indie artists looking for funding might think twice about seeking support for their work on Kickstarter.

Last but not least, funding Kickstarter projects is not an investment. You might get a T-shirt out of it, or some public recognition from an author, but that’s it.

What if Eric Migicovsky’s Pebble watch becomes a huge hit? We know that Kickstarter and Amazon together take about ten percent of his 10 million dollars raised.

If you have pledged $99, all you get is a watch. Okay, it’s a very cool watch, but still…

Would you back or post a project on Kickstarter?

Paul Strikwerda ©nethervoice

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The Wheat and the Chaff

by Paul Strikwerda in Articles, Career, International, Promotion 62 Comments

SaVoA, the Society of Accredited Voice Over Artists has imploded.

Six members of the executive board resigned in April of 2012, citing irreconcilable differences between them and SaVoA’s founding father.

On hearing the news, I was stirred but certainly not shaken. To me, the real news was how the worldwide voice-over community responded. The overall reaction can be summarized in two words:

“So what?”

Of course a few inner circle members -sorry, make that “certificate holders”– reacted as expected by telling their version of the break-up. And yet again, thousands of voice actors answered silently in unison and said:

“Who cares?”

If a tree falls in a forest and no one is around to hear it, does it make a sound?

You see, in the five years of its existence, SaVoA managed to attract and accredit a whopping 170 people, and it never became the organization it set out to be. Instead, it was regarded by some as an old-boys network.

The idea was to bring together a group of voice artists who had proven to their peers that they could provide “vocally and technically proficient, broadcast-quality voice over services” and who would “conduct business in such a way that it enhances the profession as a whole.”

Apart from a few discounts on trainings and gear, accredited members received a SaVoA certificate and a seal that could be displayed on websites and business cards. Like the Good Housekeeping seal, it was meant to reassure prospective clients that they were about to hire an established, highly qualified voice talent.

Upon seeing the seal, most clients said:

“What the heck is that? Just because some unknown body has accredited you, doesn’t mean you’re a good fit for the job. Let me hear your demo. You’re a voice-over. Words speak louder than actions.”

Many colleagues responded the same way. Why would an experienced talent even need to be accredited? Paul Payton:

“My accreditation is 24 years in the VO business, 22 without a back-up job, working with great clients including many who bring me repeat business. If a certificate works for someone, great; for me, every check I cash is an accreditation. Color me grateful.”

Others like Todd Schick questioned SaVoA’s technical standards:

“How good are standards that can be easily faked? What good is legal gobbledygook to a consumer who hired a SaVoA talent, only to find out that they didn’t have a phone patch, the editing was horrible, the sound sucked because they had a -40dB noise floor… and couldn’t work after 5 pm EST because they had a day job?”

The SaVoA certificate still hangs on Danish voice talent Jacob Ekström‘s wall. Even though SaVoA as we know it is no more, he believes it’s useful to set standards.

“Certification in general is not a new thing, and in an industry like ours where clueless noobs armed with a $20 RadioShack microphone can build a website and/or sign up to a p2p-site and think they can compete with VO-veterans with $10.000 studios, it certainly could be an asset to voice seekers with limited time to listen through 500+ auditions or demos. But alas, not if they don’t know what it means, and I guess this is where SaVoA failed.”

“As a well-established talent you can always argue “Sheesh, why would I need this, a $75 badge on my website isn’t going to get me more gigs anyway!” – and that’s true. But for the remaining 90% of us, just maybe it could. Mind you, the original idea was NOT to build a “boys club” – it was to make the industry better, not only for our clients, but more importantly for ourselves.

Having a SaVoA badge on your website should be something everyone should want to strive for, not because it looks good, but because it means you’re serious and you want your clients to know. And yes, we all know you don’t need a $75 badge to actually be serious, but all the $20 microphone guys who clutter the p2p-sites do not, and, apparently, neither does the industry. And that’s why I feel it’s a damn shame SaVoA never made an impact.”

Audio producer, script writer and voice actor Matt Forrest has a different take on the viability of a professional organization for voice actors:

“Unless the standards or code are adopted by an organized group (like a union or SaVoA) and used – and promoted – for the benefit of its members, I’m not sure what good any of it would do. Being individual contractors, we all know how we want to treat our customers and our craft, but getting everyone to abide by them would be like trying to herd cats.”

Dan LenardDan Lenard is one of the former members of SaVoA’s executive board. He strongly believes the voice-over community has to have a SaVoA type of organization:

“We have common needs. We need to come together in an organized manner to harness this energy that has created this unique virtual community, and work together to deal with the unique marketing, legal and technical issues involved, along with the socially isolating nature of our trade.”

OUT OF THE ASHES

Together with other ex-SaVoA directors, Dan has been building a new and more transparent voice-over organization, modeled after a Trade Association. It was incorporated on April 25th 2012, and it was launched a day later. It’s called the World-Voices organization. Lenard explains:

“It’s an organization founded and funded by businesses that operate in a specific industry. An industry trade association participates in public relations activities such as advertising, education, and publishing, but its main focus is collaboration between businesses, or standardization. Many associations are non-profit organizations governed by bylaws and directed by officers who are also actual voting “members” of the association, not just certificate of Accreditation holders.

This is a model that makes sense for us, the independently based freelance voice artist, here and now. To have an individual competitive advantage we need to have agreed standards of business to strive for. Marketing wise, legally and because of the new territory of being able to produce quality audio at home, Accreditation of technical skills based on the reality of today’s digital marketplace, not outdated, obsolete broadcasting standards.”

Founding Executive Vice President, Dave Courvoisier says:

“Our founders are Dustin Ebaugh, Dan Lenard, Chris Mezzolesta, Robert Sciglimpaglia, Andy Bowyer, “Kat” Keesling, and myself. All are SaVoa ex-patriates. With certain obstacles out of our way, we’ve been able to organize, conceptualize, implement, and carry-out an amazing array of technical, foundational, and legal collaborations in just a matter of days.

The newly established World-Voices Organization will actively work to promote certified members to potential voice seekers through its website and in an aggressive marketing campaign. Materials explaining a proposed structure will be posted on our website.”

And what do I make of this?

If teachers, lawyers, roofers and even DJ’s see value in building a business organization with a code of conduct and professional standards, I see no reason why voice-overs should not follow in their footsteps.

I am in favor of defining criteria for excellence and ethical behavior. It’s important to create programs that will further our field and promote professionalism. Let’s show the outside world what being a voice-over pro entails!

We have a vibrant, supportive and growing community. It’s time to take ourselves and our line of work seriously. If we don’t, no one else will and we’ll forever be known as a bunch of bickering amateuristic blabbermouths.

We need and deserve this professional organization for ourselves, and to help the outside world separate the wheat from the chaff.

Now, to make sure that good people with good intentions will fail, you and I will only have to do one thing:

NOTHING

It’s very easy to stand on the sidelines and ridicule, criticize and discourage the efforts of a few. It takes no commitment whatsoever. It’s safe, it’s lame and it’s lazy.

I’d like you to consider this.

SaVoA did not fail to grow because the founder had no vision. The fact that SaVoA wasn’t thriving cannot be blamed on directors supposedly sitting on their behinds. Most of them worked their butts off!

The way I see it, SaVoA failed because part of the voice-over community paid lip service to the organization (VO’s are good at that), but never invested in it. The other part looked at it from a distance and said:

“Whatever”

Existing members did not succeed in making the organization relevant. Some of them adopted a wait-and-see attitude and vented their frustration that nothing was happening.

THE FUTURE

Many will look at World-Voices and ask themselves this question:

“What will I get out of it?”

Those who are primarily focused on themselves ask that question all the time. If that is going to be your approach, I predict that this new association of voice over professionals will die a quick death.

This is not going to be a ME-ME-ME organization. This is a WE-organization, working to benefit our entire community and beyond.

I challenge you to ask this question instead:

“What can I do to make World-Voices relevant, strong and successful?”

If you want to make it matter, you have to be involved.

Otherwise, another tree will soon fall in the forest without a sound.

Paul Strikwerda ©nethervoice
We have a new internet sensation: a 14 year-old kid who sounds like a movie trailer man. Could your ability to sound like someone else help or hurt your career? That’s the topic of my next blog post

 

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Why Your Website Stinks

by Paul Strikwerda in Articles, Internet, Journalism & Media, Promotion 18 Comments

Are you happy with your website?

Does it represent who you are and what you do?

Does it convert visitors into customers?

How do you know?

My very first website was based on a rather generic template, and to tell you the truth: it was just okay, and “just okay” doesn’t cut it. That’s why I had to rebuild it from the ground up (more about that in “The New Nethervoice“).

It turns out that I’m not the only one.

Whether you’re redesigning or starting from scratch, there are some important do’s and don’ts you have to keep in mind.

Read the rest of this story in my new book. Click on the cover to access the website and get a sneak peek. Use the buttons to buy the book.

Making Money In Your PJs cover

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It’s Only Your Image

by Paul Strikwerda in Articles, Journalism & Media, Promotion 2 Comments

“I don’t care about looks. They just have to take me as I am. And if they don’t like it, that’s their problem, not mine.”

My piano-playing friend whom we met in the second installment of this media training, was at it again. He was getting ready for another interview and he decided to wear an old shirt that had a stain and desperately needed ironing.

I said to him:

“Just look at you. Your shirt is dirty. Your nails are filthy. You haven’t had a haircut in months and it might be nice to wear some deodorant for a change. Is this the best you can do for a TV show with an audience of three million?”

“Give me a break, Mr. Clean!” he said. “You’re not my mother. They’ve invited me for my music and not for my dashing looks.”

“Just think about that for a moment,” I said. “Picture yourself in a studio with the camera zooming in as you’re playing a romantic piece. Do you really feel that we should see a close-up of your dirty nails; hair sticking out of your ears and nose and that beer stain on the cuff of your shirt… in crystal-clear HD? Wouldn’t that be a bit distracting, if not repulsive?

The camera lens is a magnifying glass. It makes everything look bigger (including your ego). I guarantee you: When you watch that interview on TV, you’ll notice things about yourself you’ve never seen before.

I recently saw a show featuring one of my voice-over colleagues, and after the first five seconds I said to my wife: “This guy’s a radio man.”

“How can you tell?” she asked.

“For starters, look at his hands,” I said. “He’s scratching his head. He’s touching his face. He’s playing with his coffee mug. He acts as if nobody’s watching, and I bet you anything he has no clue he’s doing it. This guy is used to being in a radio studio where nobody but the engineer can see him.”

Then I asked my wife: “Tell me what he just said.”

She paused for a moment and drew a blank.

“Why can’t you remember?” I asked.

“I guess I was distracted by what he was doing,” she said. “The guy can’t sit still and he looks nervous.”

“That’s exactly my point,” I responded. “It might seem silly, but most people don’t realize that television is a visual medium and that pictures always overpower words.

THE REVELATION

When I teach a media training, I usually tape the first interview of the day and play it back without sound so my students can focus on their body language. Most of them are shocked by what they see.

Then we tape the interview again, and this time they look like a deer staring in the headlights of a fast approaching Mack truck. They’re frozen stiff. That’s not good either.

Unless you’re a trained actor or presenter, most of us are not so great at being natural in unnatural situations, and we have no sense of how we come across. That’s why training is so important. People need to learn to sit still and make smaller, purposeful movements that emphasize the points they’re making. If a movement doesn’t add anything, it distracts from the story.”

JUDGING A BOOK

My piano playing friend finally stopped me and said: “I don’t want to be judged based on my looks or on my moves. I want to be taken seriously as a musician and I’m not going to sell out to the media. It’s all so superficial. All I want is to make music and reach people through my art.”

“Precisely!” I said. “And that’s why you have to learn to use the media instead of complaining that they’re using you. The media are nothing but an instrument and you have to know how to play it.

Understand that everything about you sends a message, including the way you look. First impressions matter. In a way, an interview is like an audition for thousands, if not millions of people. You want to show your best and most professional self.

“What are you really saying?” asked my friend.

“Just because you wear comfortable clothes in your home studio doesn’t mean you should show up in your favorite jeans and a T-shirt that says “Who’s Your Daddy?

It’s time to think of yourself as a brand. Every brand has an image. If you’re on camera looking ungroomed and sloppy, what impression do you think the viewers will get of you? If you constantly shift in your seat or play with a pen, what are you telling them?

YOU’RE A MOUTHPIECE

There’s one more thing to consider. As a recording artist, it’s not all about you. You also represent your label.

You know I’m a voice-over artist. This means that I am literally the spokesperson for a product, a company or the voice of an author of a book I just narrated. Because my voice is associated with something or someone else, it matters how I present myself. Take my word for it:

It’s not only important that you look good. It’s important that you make others look good (including your host).

You want to come across as an entertaining, informed guest; someone the viewers can relate to; someone they might want to hire or buy from.

Remember the purpose of the interview. It’s a means to an end. In your case, you’re selling CD’s and seats in the concert halls you’re playing in. Your talent keeps a lot of people employed. Do you still think you can show up in that stained old shirt or should I call in the team of “What Not To wear?

OVERDOING IT

My friend looked at me with a grin on his face as if he suddenly had an idea. He walked back to his bedroom to get changed.

Before he reached the door I said:

“Now, do me a favor will you? Don’t go overboard and show up in your tails. Save those for Carnegie Hall. Clean up. Get a haircut and a close shave. Dress business-casual if you like, but whatever you decide to do: make sure your clothes are relatively new, clean and ironed. Wear matching socks and polish your shoes. Don’t cut any corners but don’t overdo it either.

Some people panic and buy a three piece suit, even if they never wear a suit. During the show it’s obvious they feel like a dressed-up monkey performing tricks on TV.

I’ve seen women overdose on make-up and jewelry, sporting a “hairstylist special” held together with tons of hairspray. Just because you’re on TV doesn’t mean you have to dress up like a Christmas tree or show more cleavage. It doesn’t make you look more intelligent.

Again, the idea is to reinforce your message and not to distract from it. Simplicity and sophistication often go hand in hand. Less is more”

“That’s what I think when I hear you talking,” said my friend when he came back down.

“Get off your behind. We’re going clothes shopping. You and Me. Now!”

*              *              *              *              *

As we picked out an appropriate outfit, I had some time to give my friend a few last tips before he was ready to go on TV:

  • Turn your cell phone off before you go on the air. Better yet: don’t bring it with you into the studio.
  • Leave your watch with your cell phone. You don’t want the camera to catch you while you look at the time during an interview.
  • Take time to focus before it’s your turn to be interviewed. Go over your main talking points and remember your sound bites.
  • Never chew gum. It makes you look like a cow.
  • Apply a bit of lip balm before the interview, as long as it’s not glossy.
  • Be well-hydrated, but don’t drink a whole bottle right before going live. It could make the next ten minutes extremely uncomfortable.
  • Even though a TV studio might seem intimidating, act as if you belong there and focus on your message.
  • While on air, don’t say things like: “I never knew your studio was this big,” or “It certainly takes a lot of people to produce a show like this.” You want to come across as a pro.
  • Keep the magic of orchestrated spontaneity alive. The audience needs to feel that things are happening right there and then. They don’t need to know what is going on behind the scenes. Don’t say: “As I was just saying to one of your producers,” or “This is what I told the girl who did the pre-interview.”
  • In the world of television, the only moment that matters is the moment you’re on the air.
  • Forget the cameras. Talk to the interviewers. They are the windows to your audience. Have a normal conversation with them under artificial circumstances.
  • Don’t take it as a bad omen if the host acts distracted or disinterested. She’s probably not even listening to you but to the instructions in her earpiece.
  • Don’t expect your hosts to know the ins and outs of your topic. In the worst case scenario, they just read lines off the teleprompter pretending to be knowledgeable.
  • Be an active listener and show interest in other guests, if you happen to share the spotlight with them.
  • Never ever stare straight into the camera. Ignore it.
  • Don’t try to be funny. You either are or you’re not.
  • Be ready to illustrate your points with short anecdotes. Pick examples people can relate to; stories that paint a picture and evoke an emotional response.
  • Tell a story as if you’re telling it for the first time. For your audience, it is the first time they’re hearing it.
  • Avoid jargon, abbreviations and name dropping (unless you can reasonably assume people know whom you’re talking about).
  • Professional blindness will most certainly prevent you from knowing what is jargon and what isn’t. That’s why you need training!
  • If the interviewer asks you to keep your answer short, do it. Otherwise you’ll be cut off.
  • Be gracious. Don’t protest after the fact if the five minutes that were promised to you were reduced to two because of breaking news. It’s up to you to roll with the punches and make the best of every second you’re in the hot seat.

 

And finally…

  • Practice, practice, practice!

 

Paul Strikwerda ©nethervoice

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Mastering the Media

by Paul Strikwerda in Internet, Journalism & Media, Promotion Comments Off on Mastering the Media

In the first installment of this mini media training, I wrote about what piques the interest of the press. We talked about the fact that landing an interview is not a goal in and of itself, but a means to an end. Then we discussed the importance of crafting a core message.

Part 2 was all about dealing with journalists and how to handle tricky questions. At this point you might think you’re ready for reporters who will happily hold your feet to the fire.

Not so fast. You might get burned!

First, let me ask you this:

Should you always say YES to every interview request?

Most people are flattered when the media shows interest. Why waste a good opportunity to generate some publicity, right? Well, that remains to be seen.

Compare an interview request to a job offer. Would you take any offer that comes your way, before even knowing what it’s about and whether or not you can handle it? I certainly hope not. In this phase, you need to be the one asking the questions. It shows you’re a pro.

Here’s what you minimally need to know and why:

How did they hear about you?

This should give you an idea of why they want to talk to you in the first place. Secondly, it tells you something about the effectiveness of your media campaign. Did they get your press release? Were they following you on Twitter? Have they read your blog? Did someone recommend you?

Is the interview for radio or television? Will it appear online or in print?

A different medium requires a different strategy and preparation.

We live in the age of the iPad and enriched, mixed media. Just because they’re booking you for a radio program, doesn’t mean you won’t be on television. Some stations broadcast their radio shows live on TV during the day. Newspapers have online editions that feature video.

Find out beforehand what the deal is. You don’t want to be dressed for comfort in a sloppy T-shirt and an old pair of jeans when a photographer shows up for a glamour shoot you forgot to ask about.

Which network, program, show, website, paper or magazine?

If you know the outlet, do you wish to be associated with it? Does the network or magazine have a particular political or religious affiliation? Are you comfortable with that? Are you hoping to reach a new audience? Are you ready to defend your views?

A lawyer appeared on what he thought would be a show about the legal aspects of divorce. He ended up being grilled by a minister-turned-radio host about why he was “helping the devil break up marriages.”

A freelance writer was invited to talk about her novel featuring two gay characters. Ninety percent of the questions were about her personal life and views on same sex marriage. She left the studio saying: “I wish I had known. Why didn’t anybody tell me this wasn’t going to be about my book?”

Which segment of the program/show or which section in the paper will you appear in?

A professional photographer had just opened a new studio in town. A reporter stopped by and asked a few questions. To his dismay, the photographer found his interview under the “Hobby” section of the local paper.

A voice-over talent gave an interview about his work and discovered his story in the business section under the heading: “Ten easy ways to make money in a bad economy.”

If you’ve never heard of the show, site or paper that has requested an interview, ask for a detailed description and do your own research.

It’s simple: watch the show, read the paper and visit the website to see what you’re getting yourself into. Good journalists do their homework, so why shouldn’t you?

Don’t complain afterwards that you didn’t know what was waiting for you. Nobody will ever force you to say “yes” to an interview (unless it’s in your contract).

Ask about the audience/readers and its reach: numbers, demographics and distribution.

Being interviewed often means walking a fine line between explaining something in terms most people will understand, without treating them like toddlers. There’s no need to dumb your story down, but you don’t want to go over people’s heads either.

I’m sure you’ve seen experts that seem to live in their own little bubble, totally unaware of the fact that the rest of the world has no clue what they’re talking about. They’re using jargon without realizing it is jargon, or abbreviations no one’s ever heard of.

For my non-voice-over friends, what do you think the following means:

“As I was hooking my shotgun up to my pre, I noticed that I shouldn’t speak off-axis because of the tight pick-up pattern this Sennheiser has. One of my SaVoA friends had warned me about it.”

I beg your pardon?

Can you speak English please?

Now, had this been an interview for a voice-over in crowd, you’d probably get away with it, although too many people still don’t know what SaVoA stands for. As for the rest of the world… you would have lost your listeners in the first five seconds and they’re already surfing for a better channel.

The key is to avoid technical language and to customize your content. If you do that, the audience will get the feeling that you’re talking directly to them (which is what you should be doing anyway). It’s a way to create rapport.

The following question is an interviewer’s favorite:

“Can you give me an example?”

This is a perfect opportunity to customize your content because you can pick something your audience can relate to.

Let’s assume you design websites and you’d love to get some more clients. The answer to the question: “So, what kinds of websites have you designed?” depends on your audience.

If you’re doing a show about business, you’ll highlight your corporate sites. If the audience is more artsy, you’ll pick sites you’ve designed for various artists.

Is the interview taped or live?

If you’re not familiar with differences in format, you might say: “It shouldn’t really matter. My story is my story.”

Those who have experienced the stress of a live radio or television broadcast know otherwise.

Personally, I love live. It’s a very different energy. People are on the edge of their seats, creating carefully orchestrated spontaneity. Time is always ticking. Every minute needs to be accounted for.

“We have 19 seconds till the end of the commercial break. Everybody stand by. We’re live in three, two, one….”

Live is exciting. Live can be stressful. What if you mess up? Forget retakes!

Some people believe you have less control when you’re going live. I disagree. Why? Because live cannot be edited.

When you’re on, you’re on, and you can take charge of the airwaves. If you don’t like where the interview is going, build a bridge (see part 2) and get to your core message as soon as you can.

Every minute you spend on what you want to say, means less time for what the interviewer wants to hear (unless you’re on the same page). At some point he’ll run out of time. The shorter the interview, the more important this becomes.

Compare this to the long, prerecorded interview. If your Grand Inquisitor thinks you’re not giving him a straight answer, he’ll simply go back to the question until you’ve answered it to his satisfaction. If he doesn’t like what he hears, he can cut it or shorten it, citing editorial freedom. He can summarize your position in his words, not yours.

Here’s the flip side of that coin. Because you’re not live, you can stop the tape at any time. If you don’t like the answer you’ve just given, you can start over. Do you need to look up some info? Go ahead.

As a reporter, I often had to ask people to pick it up from the start because they had given me a lengthy answer and I only had time for a soundbite.

If you’re new at this, see if you can do your first interviews semi-live. Just go for it it as if you’re on the air, even though it’s prerecorded. It’s good practice. If you manage to do everything in one take, you’re done. If you happen to get stuck, you just pick it up from there.

How long is the actual interview? How much air time do I get?

These are two very different things. Just because you have been recording for an hour, doesn’t mean you’ll be on the air for an hour. I hate to say it, but most people aren’t that interesting and most interviewers aren’t that good. On top of that, most of us are not interested in listening to the same person go on and on and on for sixty minutes.

We’ve been conditioned to the never-ending interruption of the commercial break. Attention spans are getting shorter. We have too much to do and not enough time. I’m surprised you’re still reading this!

If the magic doesn’t happen in the first sixty seconds, we move on, unless what we read, see or hear really speaks to us.

If you have trouble getting to the point in real life, you’ll be in trouble during an interview when the pressure’s on. Don’t worry. These things can be fixed. That’s why media trainers make a very decent living.

So, find out how much time you have to get your message across and prepare for your interview using the accordion model. An accordion expands and contracts. Think of what you want to talk about as an accordion.

If you have less time, you use the short version, but always be ready to expand. Let’s say you expect to be on air for five minutes. What if the next guest gets stuck in traffic and can’t make it to the studio? All of a sudden you’ve doubled your time. Make sure you don’t run out of material!

Unfortunately, the opposite is true too. You were promised a four-minute segment and then some breaking news cuts your time in half. In that case you better be ready to cut to the chase!

By the way, don’t ever trust your sense of timing. In my media trainings I always give my students thirty seconds to introduce themselves and mention one interesting fact we should know about them. Their intro is timed. Some people go on for three minutes before I cut them off and then they tell me: “Wow… that was really thirty seconds? It went by so fast!”

What are your questions?

I saved the most obvious for last because we tend to overlook the obvious. I have interviewed thousands of people and I can’t tell you how many of them simply said YES to my interview request, not knowing what I wanted to ask them. It has to do with human nature.

Deep down inside we all long for attention and acknowledgement; for someone who truly listens. Getting in the papers, on radio or on TV must mean we matter!

But if you don’t know what they want to know, how do you know you want to be on their show?

Overwhelmed?

Remember what I said in part one? The biggest beginner’s mistake is to underestimate what it takes to be interviewed. This is not some normal conversation. It’s more of a purposeful presentation disguised as a normal conversation…. with possibly millions of people watching over your shoulder.

So, have you thought about how to present yourself on television? Should you just be yourself or get all dressed up for the occasion?

Next time we’ll talk about the importance of image!

Paul Strikwerda ©nethervoice

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Managing Your Message

by Paul Strikwerda in Articles, Journalism & Media, Promotion 9 Comments

This is part 2 of Face the Press without Stress. You can read the 1st part by clicking here.

“That guy was a complete idiot,” said one of my friends, a classical pianist. He had just been interviewed by a major newspaper about his latest CD, and he was not a happy camper. Steam was coming out of his nostrils.

“This so-called journalist knew absolutely nothing about music,” he fumed. “He asked the most basic questions and I don’t think he could tell the difference between a Steinway and a Clavinova. Worst of all, he didn’t seem to care. Within ten minutes he was off to his next assignment, leaving me with that bloody photographer.”

“I’m going to write to his paper,” he continued angrily. “Next time they should send someone who knows what he’s doing, instead of wasting my time with a nitwit.”

The following day I opened the paper, hoping to find the interview. It was easy to spot. It featured a blown-up photo of my friend staring straight into the camera, looking perpetually peeved. Would anyone buy a CD from a guy who looked that annoyed, I wondered? Pictures are powerful, and first impressions can become lasting impressions in a split-second. Then I read the interview.

What I had feared, had happened: my friend -who really is a wonderful and talented artist- came across as an arrogant bastard. Had I not known him personally, I would have nominated him for the Most Arrogant Artist of the Year Award. One thing was certain: this story wasn’t going to sell a whole lot of CD’s.

When we talked about the fiasco afterwards, I told him:

“I know you’re weren’t happy with the journalist. Keep one thing in mind. You and I are lucky. We have chosen a profession we’re passionate about. We pour our heart and soul into our work. Most people -including your reporter- don’t have that privilege. For them their job is just their job. Besides…

Journalists aren’t paid to care. They’re paid to share.

In fact, in order to tell a story objectively, they need to keep a professional distance. A photographer wouldn’t be able to do his job if he’d stop and help every hungry child in front of his lens. A political reporter wouldn’t be ready to ask penetrating questions if he were afraid to hurt the fragile ego of the person he was interviewing.

Just as it’s better for a surgeon not to get emotionally attached to the opened up patient in the operating theater, reporters must dissociate themselves from their stories and subjects. It’s nothing personal. Remember this:

It isn’t a journalist’s job to be knowledgeable or interested. It is your job to be informed and interesting.

The expert reporter is an endangered species. Dwindling advertising revenues means cutbacks in the newsroom. There are fewer people to cover more stories. Specialists have become generalists in order to survive. There is not enough time for proper research, and almost no budget for in-depth analysis or investigative reporting.

If you’re lucky, your next interview could be conducted by someone who loves what you do for a living, but don’t be surprised if that person is more into heavy metal or chess. Ultimately, that shouldn’t matter. A good story is a good story and you, my friend, have to hand it to him (or her). Here’s why.

You’re not talking to the journalist. You’re reaching out to the audience.

Just as you’re not telling your story to a microphone and you’re not posing to make the camera happy, an interviewer is merely a conduit. He represents all the readers, viewers and listeners you’re really talking to, when you’re being interviewed.

In a strange way, it’s better for you if he doesn’t seem to be too interested or knowledgeable, because most people scanning the pages or flipping the channels aren’t either. But if you manage to draw that interviewer into your story, chances are the audience will follow. Unfortunately, it cuts both ways.

So, no matter how obnoxious and superficial your interviewer may seem, always remember whom you’re talking to. A morning show host might ask basic questions because that’s all his viewers want to know. He might not even listen to your answer because he’s getting instructions in his ear prompter. That’s why it’s up to you to…

Take charge and get your message across in spite of the interviewer.

If you don’t remember everything I’m telling you, please remember this point. Too many people take on a passive role when being interviewed. They prepare to answer questions they think are interesting and essential, and complain afterwards that those questions were never asked. Or worse, they don’t prepare at all and just go with the flow.

You’re not a victim. You have a say in what you put out into the world. Literally. And you won’t get many chances to reach so many people at once, so you better make the most of it

Think about it this way. You know infinitely more about the subject than your interviewer ever will. If you’d only stick to what your interviewer knows or wants to know, you’ll never get beyond the surface. Here’s what you do to manage your message.

Use questions as a springboard to tell what needs to be told.

Often, reporters will throw something at you and it’s not what you want to talk about. The trick is to build a bridge between what’s being asked and what you really want to say.

Let’s pretend for a moment that I’m being interviewed about my voice-over business. Here’s the question:

“Do you think celebrities doing voice-overs are spoiling it for the rest of you?”

Here’s one way to respond:

“Not really. There’s plenty of work for everyone. The author of my latest audio book chose my voice because I am not a celebrity.”

You see how that works? In two sentences you have shifted the focus from talking about other people to talking about your new book. Here are a few more bridges.

That’s an interesting observation. Before I get that, there’s something you need to know…”

“Thanks for bringing that up. Here’s what’s happening…”

“I understand where you’re coming from. I get that question all the time. What many people don’t realize is…”

Now, I’m not suggesting that you entirely evade the issue at hand like a seasoned politician. I recommend you use the issue to redirect the conversation to get your point across. If you don’t do that, you could spend an entire segment talking about Jeff Bridges and Morgan Freeman instead of promoting your new project.

You don’t have to agree with or pretend to understand everything the interviewer is saying.

That’s another sign of a passive attitude. You can’t answer a question you don’t really understand. Yet, because some people are easily intimidated by members of the press, they hate to admit that they have no clue what the interviewer is asking. To make matters worse, they start imagining what the interviewer could have meant and start answering that.

It’s okay to ask:

“Could you repeat the question, please? I didn’t quite get that.”

Beware of overt or covert assumptions.

As we’ve seen in the question about celebrities, interviewers often won’t ask a straight question but begin with a statement. A few examples:

“It is a well-know fact that people make a lot of money doing voice-overs. Now, let me ask you this…”

“Many believe this is easy money, and I’d like to know how you got into this business.”

“We all know that voice-overs can make a comfortable living, and what I am interested in is…”

It’s very tempting to answer the question following the statement, but before you do, ask yourself if you agree with the assumption. If you don’t, you must challenge it before you answer the question. Otherwise the audience is left with the impression that you concur. Here’s another one.

Watch out for suggestive, leading questions.

In order to win the ratings war, editors and producers all over the world are searching for the extraordinary, the grotesque, the shocking and the violent. The tens of thousands of planes that take off and land safely every day are not news, but the one that crashes is.

Journalists are trained to look for controversy and if there is none, to push the envelope and stir the pot. Suggestive questions are like a loaded weapon.

Think of a question as a laser beam, zooming in on a very small area. If it’s specific, it will direct your thoughts into one direction, excluding everything else. What do the following questions require you to focus on?

“How bad are things really in your business?

Sometimes things can get really nasty, don’t they? Give me an example.”

“What’s the worst thing that could happen?”

“What do you dislike more than anything else?”

“Tell me about your client from hell.”

Take a deep breath before you answer those questions, and ask yourself: Do I really want to go there? Do I want to dwell on the negative or highlight the positive?

How’s this for an answer:

“No matter what kind of work you do, there are always things that are not so great and there are things that totally make your day. As a matter of fact, one of my clients called me yesterday…” and then you share a positive story.

You might not control the question, but you can always control the answer!

Look out for false choices and either/or scenarios.

News outlets often aim for the biggest market share to please the sponsors, and therefore cater to the lowest common denominator. In order to appeal to the army of couch potatoes that wants to be entertained instead of informed, simplification is the name of the game. Complicated stories are broken up into bite-sized pieces even my pet gerbil can digest. Thus, reality becomes a caricature.

A favorite technique is to reduce a colorful, complex world to a juxtaposition of right and wrong and black and white. Some networks have turned that into a dubious art form. But as you very well know, there usually are no easy answers. Watch the political shows and wait for it to happen:

“Senator, with all due respect: Do you want to socialize health care or leave it up to the American people to choose their own insurance plan?”

“Are you in favor of big government, or do you want to reduce Washington’s bureaucracy?”

“Should we bomb Iran or increase sanctions?”

“Please answer my next question with a simple yes or no.”

Let’s be clear. These aren’t questions. They are traps; false choices based on either/or scenarios. Remember, if you choose to answer the question as such, you implicitly agree with the options presented to you. Are you sure you want to go there?

If an interviewer tries to drag me into an is-it-this-or-that scenario, I often answer with YES. But usually, it isn’t A or B. Why can’t it be C or D or both? Watch this:

Interviewer: “As a voice-over, what do you enjoy doing most: audio books or commercials?”

You: “To tell you the truth, I love voicing video games. I think we have a clip of the one I just finished. I had such a blast creating the character of….”

You’re not falling for this false dilemma, and with the bridge technique, you use the question as a springboard to talk about things that are on your agenda. I do it all the time and I don’t even realize I’m doing it.

Is this something I am naturally good at or did I need training? (watch the question…)

Well, it’s a bit of both I guess, but it certainly helps to have been on the other side of the mic for many years. I know a few tricks of the trade, and I have lots more to share with you. So, if you’re up for it, I’ll continue our conversation next week.

Here’s are some of the things I’ll talk about: What do you need to know before the interview? Do you prepare differently for a taped and a live interview?

What do you think?

Paul Strikwerda ©nethervoice

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Face the Press without Stress

by Paul Strikwerda in Articles, Journalism & Media, Promotion 7 Comments

This is Part One of a mini media training for artists, authors, entrepreneurs and anyone getting ready to be questioned.

As long as you’re prepared, you have no reason to be scared!

There’s no publicity like FREE publicity, especially if you run a small business on a small budget.

Right now I’m the media manager and PR-advisor to “Music for MS,” a benefit concert organized by and featuring my wife.

It’s my job to drum up as much media interest for this event as possible, and fill up the venue in a few weeks, by word of mouth and other means.

Every glossy flyer or multicolored poster we would print or ad we’d have to buy, would mean less money for the cause (the National Multiple Sclerosis Society), so I’m not doing that. Instead, I’m mobilizing the local press and I’m using social media to reach out to the community. It saves tons of paper which makes it eco-friendly.

The official campaign began yesterday, and so far we’ve already landed two interviews. This is where things get serious. Anyone can write a glorious press release, but not everyone does well on radio, television or in the papers. I know what I’m talking about because I have trained hundreds of people to get ready to meet the press.

YOU ARE UNINTERESTING

One of the first things my students would always complain about is the focus of the media: Why do they only cover sensational stories? Why has the news become so superficial? Why don’t they come to me for a story? What they’re really saying is this: “Paul, you’re a journalist. I’m interesting and you should interview me!”

My knee-jerk response would be: “No you’re not, and why should I?” But of course I’d keep that to myself. Here’s what I’d say instead:

1. You have to have a hook to be heard.

If your name is Kim Kardashian or Paris Hilton, you don’t have to do anything special to attract the attention of millions. In fact, that would be your only accomplishment: being famous for being famous. Mere mortals such as you and me have to give the news media a good REASON why they’d want to come to us. A hook. Preferably with fresh bait.

News is the report of an event that is:

  • recent
  • unusual
  • previously unknown and
  • interesting and relevant to a great number of people

 

Let me add something to that definition: If there’s nobody to cover it, it’s not news. Fortunately or unfortunately, these days, all we need is one idiot with an iPhone.

Secondly, news is news if conglomerates like Rupert Murdoch’s News Corporation or Bertelsmann AG decide we should learn about it.

Third, news is news if the corporate sponsors (or other powers that be) feel it does not undermine their interests. (click here for an example)

Fourth: the more local the outlet, the lower the bar for what is deemed to be newsworthy.

Let’s assume you’re a voice-over professional hoping to attract some interest from the local papers. You’ve just completed another audio book. That’s something recent, but is it news?

Well, it depends on how unusual the book is and how many people would be interested in it. If we are talking about the audio version of Hitler’s secret diaries that were thought to be lost, you might have a story, but I don’t think this type of publicity would do your career any good. Which brings me to my next point.

2. You have to have a clear objective.

What do you ideally want to happen as a result of the media attention you hope to generate? Unless you’re hungry for recognition, an interview is just a means to an end.

In the case of my concert, the overall goal is to raise money and awareness for the fight to find a cure for Multiple Sclerosis, a chronic, mysterious and often misunderstood disease of the central nervous system. In order to accomplish that, I need as many people as possible to come to the concert. This gives me a way to measure the success of my campaign.

Please note: what you hope to accomplish and what the journalist wishes to accomplish, are usually two very different things!

If you don’t know what you want to get out of the interview, don’t do it. Just because you can, doesn’t mean you have to. It’s better to wait for the perfect opportunity than to waste a mediocre one.

If you do have an objective in mind, it’s time to go to the next step:

3. You have to craft a compelling core message.

If you could summarize what you’d like to get across in one or two sentences, what would it be? Let me put it in another way: If at the end of the interview people would only remember one thing, one powerful image or one great idea, what would you want that to be?

That should become the heart of your message, and it is your mission to get it across no matter what.

In the age of information overload, it is harder and harder to cut through the clutter and be heard. People scan the news and rarely look past the headlines or sound bites, so give them headlines and sound bites. You’ll survive.

I don’t care if you think it’s shallow or giving in to sensationalism. Should you get the chance to reach thousands, if not millions of people, don’t waste it by being boring. It’s regrettable to be forgettable.

A sound bite is usually not something you’ll come up with when the intimidating cameras are rolling and you’re staring into the hot, blinding studio lights. Do not count on your magic talent for improvisation. You can’t wing it.

4. You have to be prepared.

Well, well… isn’t that a given? Of course you need to give it some thought. Or is it better to be spontaneous and ‘in the moment’? You don’t want to look too rehearsed, do you?

Here’s my take on that.

One of the biggest mistakes I’ve seen people make is not preparing for an interview. They’ve literally said to me: “But I’m the expert. You can throw any question at me any time. I don’t need interview training.”

Just because you’re an expert doesn’t mean you’ll do well during an interview. Readers, listeners, viewers… they all hate pompous know-it-alls that talk over people’s heads.

I have seen great thinkers, captains of industry and even bishops nearly faint because they couldn’t handle the pressure of the simplest unexpected question.

They approached a 2-minute interview as if they were delivering a half-hour sermon, and when time was up, they had said nothing of significance. Of course they’d blame the network for not giving them enough air time.

Everyone who’s ever been interviewed will agree with me: When you’re in the hot seat, time as we know it does not exist. In the stress and excitement of the moment, people forget the simples of things such as their middle names and the phone number of the organization they’ve come to promote.

Here’s the good news: it doesn’t have to be that way. In the next installment I’ll tell you how to deal with tricky questions.

Paul Strikwerda ©nethervoice

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Exhibitionists, Voyeurs and Stalkers

by Paul Strikwerda in Articles, Internet, Journalism & Media, Promotion, Social Media 4 Comments

In the past these were dirty words for dirty people.

Now these very same words can be used to describe the average social media addict.

We like strutting our stuff in public. We want the world to watch us. And we follow the fools who think that tweeting nonsense all day long makes them relevant.

8:05 AM. In line at Starbucks.

8:10 AM. Ordering a tall latte.

8:15 AM. Should have asked for a double shot of espresso.

8:18 AM. Back in my Mercedes. New Jersey Turnpike, here I come!

8:21 AM. In a car accident. Tweeting and drinking coffee don’t go well together.

9:33 AM. Thank goodness this hospital has a Starbucks.

We can laugh about it. We can cry about it, but things like tweeting and texting are changing the way we communicate. Even the way we dress.

If you don’t believe me, you should shop for winter gloves and count the pairs with holes in them or with special patches. Touchscreen gloves, that’s what they are called. Snowstorms, twisters and other natural disasters won’t prevent mankind from texting.

Every single day, two hundred trillion text messages are received in America alone (source). That’s more than an entire year’s worth of regular mail.

Nielsen reported that the average American teen sends 3,339 texts each month. That’s more than six per every hour they’re awake. The girls are beating the boys with 4,050 texts per month, (boys send an average of 2,539 texts). Mind you, these numbers are from 2010!

But it’s not just the kids. Go into any supermarket and count how many times you’ll hear a mother tell her stroller-toddler:

“Not now sweetie. Mommy’s texting.”

8:42 PM. At Trader Joe’s. Should I buy broccoli or cauliflower?

Thanks to all these very important messages, safety is no longer the number one reason for getting a phone. We just love being social, don’t we?

THE FACEBOOK REVOLUTION

In 2010, Facebook beat Google as the most visited site (if we leave out visits to Google-owned YouTube). A year later, Facebook’s U.S. advertising revenue of 2.2 billion dollars had surpassed that of both Google and Yahoo.

It is THE place to hang out and make new friends. It’s that wonderful platform where -in the midst of an economic crisis- everything is always A-Okay. No matter what happens, the show must go on  and we keep on dancing.

Smile people! Always beware of your brand. Heaven forbid we become real and share our fears and failures.

Occasionally, some Facebook friends will vent their frustrations, but overall, a happy-go-lucky attitude seems to be the norm: Do what you love and the money will follow. 🙂 Really?

Many Europeans consider this attitude to be “typically American.” They see the States as a country where people have a hard time accepting failure. We’d rather take a happy pill than deal with our problems. We’re certainly not going to share them on our Facebook Walls. We’ve turned those into advertorials and infomercials:

9:15 AM. Join me for an online seminar where I’ll teach you how not to waste your time on Facebook. Remember the early bird discount!

10:02 AM. Finished an amazing gig with an amazing director. Life is good. It’s great to be back in L.A.

11:46 AM. Jesus rocks! He guided me to book another gig for Playboy Enterprises. Praise the Lord.

11:47 AM. Deuteronomy 5:11

11:48 AM. John 8:7

11:49 AM. Broccoli or cauliflower?

1:15 PM. There’s a new article on the Nethervoice blog. Be the first one to read it before it appears on VoiceOverXtra.

Yep, Facebook is definitely a site we can’t live without. In fact, we need more of those online chatrooms. What did you just tell me? You’re not on Google+ yet? Boy, you’re missing out on something spectacular. It’s great for your business. The other day I saw a video of a dog. Man, that was funny. Every time his owner began playing the guitar, this dog started smiling. No kidding. I’ll send you the link.

3:30 PM. Wasted another 3 minutes watching a dog on YouTube. 

A WINDOW TO THE WORLD?

Look, I am not going to pooh-pooh social media again, but we should bury the idea that these sites are widening our world and increase interpersonal connections.

First of all, we don’t seem to know the difference between socializing and advertising. Socializing is all about connecting with others. Advertising is drawing attention to oneself in order to sell. If that becomes the main purpose of the interaction, it will turn people off. Sooner rather than later.

Secondly, people mainly interact with people they know or agree with. We block the rest and ban them from our circles. And if we don’t do it ourselves, algorithms will make sure that we see what we want to see and hear what we want to hear. Author and activist Eli Pariser calls this the “Filter Bubble.”

Based on our location and on what you and I have searched for and looked at in the past, certain websites (like Facebook) and search engines now use algorithms to predict and select what we’d be interested in right now. They call it “creating a personalized experience.”

YOUR WEB YOUR WAY

If you’re in the market for a new set of wheels and you’ve been browsing a few dealerships, chances are that you’ll be presented with car commercials instead of chewing gum ads. If you’re a fan of the current man in the White House and you keep track of his party’s politics, you won’t be exposed to Tea Party rhetoric. So far, so good, right?

Amazon and Netflix work the same way:

“If you liked this product or that movie, here’s what we recommend you check out next.”

I once made the mistake of tweeting about how much I love my memory foam mattress. Within the hour I was followed by three companies selling mattresses. I wanted to challenge them to a pillow fight.

But wait, there’s more!

If you and I were to enter the same keywords in Google, we would receive different results, based on past online behavior. You will get sites that are more in line with your interests and I will get sites that -according to the secret algorithm- will resonate more with things I prefer. Why is that so terrible?

DIVERSITY IS THE SPICE OF LIFE

I happen to think that it’s good to be exposed to different points of view. If I am only presented with an invisibly edited and uncontrollable stream of information that confirms my own bias, I lose something very important. Eli Pariser puts it this way:

“The Internet is showing us a world it thinks we want to see, but not necessarily what we need to see.”

We need to see how other people live and we need to hear what other people think. Intellectual discourse is part of a healthy democracy.

If we wish to promote peace, understanding and compassion in the world, we have to open ourselves up to other ideas, other traditions and the very things we don’t comprehend. Things that may make us uncomfortable. Otherwise, stupid stereotypes will go unchallenged and the people on this planet will never overcome their conflicts.

5:15 PM. More of the same is not only boring, it’s dangerous.

5:16 PM. I don’t want some geek at Google to tell me what’s relevant.

Knowledge empowers. Ignorance separates.

NOW WHAT?

It’s time to burst that filter bubble and give us control over the selection of sources of information. I don’t need Yahoo to determine what types of news stories will appear when I switch on my computer.

I want Facebook to be more about sharing and less about selling. I want parents to care more about their children than about their smart phones.

I want drivers to switch off their Blackberries and pay attention to the road. I want more people to be in the moment, instead of describing it on some electronic device.

That’s all great in theory, but here’s the question that’s been haunting me:

Will that ever happen or did we pass a point of no return?

5:24 PM. I am a practitioner of Positive Pessimism.

5:25 PM Hoping for the best. Expecting the worst.

Paul Strikwerda ©nethervoice

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Winning an Audition. Losing the Job.

by Paul Strikwerda in Articles, Career, Journalism & Media, Promotion, Social Media 13 Comments

She jokingly called her students “germ bags” and described school parents as “snobby” and “arrogant.”

On Facebook.

As a result, this Massachusetts math and science teacher lost her $92,636-a-year job.

A waitress at a pizza restaurant in uptown Charlotte was fired after making derogatory remarks about customers who’d made her work an hour past the end of her shift and only left a small tip.

On Twitter.

Comedian Gilbert Gottfried lost his job as the voice of the Aflac duck, after the insurance company found out he was tweeting “jokes” about the devastating tsunami in Japan.

Free speech is a wonderful thing, as long as you realize who’s listening. Big Brother is following you. He might even be a

Read the rest of this story in my new book. Click on the cover to access the website and get a sneak peek. Use the buttons to buy the book.

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