Nethervoice Blog

Dealing With Your Deepest Insecurities

by Paul Strikwerda in Articles, Career, Freelancing, Personal, Promotion, Social Media 4 Comments
Caitriona Balfe

Caitriona Balfe

What’s the biggest social media mistake you can make?

It’s this: not using social media to your advantage.

What’s the second biggest blunder?

Mistaking social for selling.

One of my older students admitted that she was intimidated by social media.

“Paul,” she said, “I don’t know where to begin, what to do, or how to do it. A year ago I didn’t even own a smartphone. Now I’m supposed to be on it all the time. I hate talking about myself. Bragging about my accomplishments makes me uncomfortable. I’ve never taken a selfie in my life, and I don’t even know why people would be interested in me.”

“That’s perfect,” I replied. “You know why? Because it’s not about people being interested in you. It’s about you being interested in people. Being on social media is about making connections. The best way to do that is by interacting with people you’re genuinely interested in as a person, not as a prospect.

In the beginning, you don’t even have to post anything. Simply start by liking things you like, and by making some friends you have a connection with. Giving other people sincere compliments is a lost art, and visiting places like Facebook are ideal to rekindle that art.

When people share milestones, congratulate them. When they feel down in the dumps, let them know you’re thinking of them. When they have a question you know part of the answer to, share it with them. The key is to be a helper. Not a complainer.”

Two weeks later we had our next session, and I asked: “How’s that social media thing going?” She smiled and said: “Well, I took your advice to heart, and something unexpected happened.”

“What’s that?” I asked.

“When I reached out to people, they actually wanted to connect with me.”

“You sound surprised,” I said. “Why is that?”

“To be honest, I didn’t expect people to be interested in me.”

“That tells me more about how you think about yourself,” I responded. “Let me ask you this. Do you believe clients could be interested in what you have to offer?”

She took a deep breath, sighed, and said: “Maybe.”

“That doesn’t sound very convincing,” I said. “Before you convince a client you are right for a role, you have to convince yourself. A competent voice without confidence isn’t going to win auditions. We’ve got to work on that.”

“I thought social media wasn’t about getting clients,” she answered.

“You’re right,” I said, “but in our business, it’s sometimes more important who you know, than what you know. I get many of my voice-over jobs through referrals from colleagues who have never seen me in real life, but they know about me because we connected. People will never refer someone they don’t know or don’t like.”

“So, what you are saying is that selling should never be the purpose of social media, but it could be a nice side effect?”

“Right! The point is that you want people to get to know you, but not in a salesy, “pick me” kind of way. That’s one of the reasons why I tell a lot of stories in my blog. I’m not selling. I’m just telling stories. You see, you can always argue with an opinion, but you can’t argue with an anecdote, because…. it’s just fiction. People forget facts, but they will remember a good story.”
 
“But what if people don’t like your stories or your opinions?” my student asked. “Don’t you have a problem?”
 
“If that’s the case, I don’t have a problem, but my readers do!” I said, jokingly. “Listen, I do not post on social media or write a blog to get some kind of validation or recognition. I’m not looking to make enemies either, but I’ve learned that you can’t please everyone without betraying yourself.
 
Although I’m proud to have so many subscribers, I’m not writing to gain thousands of followers. Making a thought-provoking contribution to my community is much more important than increasing the number of visitors to my website.

Here’s the point though: these things seem to go hand in hand. As long as I have interesting stuff to say, people seem to be interested in me. This does help my Google ranking and that’s not something you can buy. It’s something you have to earn.”
 
“Do you see any downsides to using social media?” my student wanted to know.
 
“Seriouly, it’s a monster waiting to be fed,” I said. “And it’s always hungry for more. Being on Facebook, Instagram, Twitter, LinkedIn, Pinterest and what not, will eat up your time without much to show for. Our society favors instant gratification, but making a dent on social media takes time. It’s for those who are patient, persistent and consistent
 
If you have low self-esteem, and you have a deep need to be accepted, social media can be a cruel place. My friend’s daughter came home in a terrible mood because her latest Instagram post only got twenty-five likes. To her, it felt like the end of the world because she thought she had lost the popularity contest.

My student looked at me, and sighed: “Children… they’re so vulnerable and impressionable.”

“Almost as much as voice actors…” I said.
 
“Now, listen… when you’re ready to put yourself out there as a creative professional such as a voice-over, it’s probably best to lose these three things:
 
– your desire to please
 
– your need for praise, and
 
– your urge to compare
 
Comparing yourself to other, more experienced talent, will make you as miserable as the characters in a Victor Hugo novel. Please compare yourself to yourself and be happy for those who seem to be doing well. Remember that on social media people are trying to show their best, socially acceptable selves, and not necessarily their true selves. 
 
The need to be praised makes you dependent on the approval of others. I hate to break it to you, but that approval is something you have no influence over. Of course you want to do well, but you want to do it for the music. Not for the applause.”

I opened my iPad to an Irish Times interview with Outlander leading lady Caitriona Balfe. She recalls a valuable lesson she learned from an LA acting coach. He was…

“talking about releasing and destroying the need of whatever ‘it’ is. Whether you’re going to go in and audition, and you’re so nervous because you want people to like what you’re about to do: release and destroy the need to be liked.”

The Times continued:

Balfe learned to give herself permission to let go of those things that tie us all in knots, to move on from feelings. “It’s something so simple and so silly, but it works for a myriad of reasons. Whatever it is … just to walk away, to let go of that.”

My student nodded and I went on…

“In my mind, the desire to please has us focused on the wrong things. People-pleasers are constantly wondering: How am I doing? Am I messing up? Will they like me? I, I, I… Me, Me, Me…

As (voice) actors it is our mission to serve the script. We are a conduit. Our body is a vessel to communicate meaning. It’s not about “I hope they like me.” That’s a needy, egocentric approach. If we do our job well, our performance allows the audience to emotionally and intellectually connect with the text.

When a voice actor is struggling, I often wonder:

Are they self-conscious, or content-conscious?

It’s usually the former, and as long as they’re too busy dealing with their insecurities, they’ll never be able to immerse themselves in their read or in their role.”

“I think I understand what you mean,” said my student. “But how do I get there?”

“The way I see it, there are at least two elements that will take you there. One is preparedness. It’s the ultimate antidote to nerves. Good practise will prepare you. Once you know what to do, you can focus on being in the moment and getting the job done to the best of your abilities. It’s the difference between playing notes and making music. To make music, you need to know the score.

“What’s the second element?” asked my student.

“It is conviction. It’s having faith in your talent and your abilities. It’s something I can’t teach you, but it comes a lot easier when you’re well-prepared. In her interview, Caitriona Balfe put it like this:

“(…) a lot of it is just having the f***ing balls and grit to stick around and be persistent in the face of a lot of rejection. But I think that also comes from having a belief that if [there is] something you love to do so much, something that feels that it comes naturally, that in some way it has to be what you’re meant to do.”

My student’s face lit up like a Christmas tree. I continued:

“As your coach, it’s not for me to tell you what you’re meant to do. That’s for you to know, but I do know this.

If there’s enough of a voice-over fire burning inside of you, you stand a decent chance of having a long, rewarding career.

And you know what?

I’ll be the first one on social media to follow you, and cheer you on!”

Paul Strikwerda ©nethervoice

PS If you want to know how Caitriona uses social media, read the last paragraph of her interview.

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Paul goes Podcasting

by Paul Strikwerda in Articles, Career, Freelancing, Journalism & Media, Personal, Promotion, Studio 2 Comments

pro audio podcast logoThis week saw the release of a podcast I recorded with the Pro Audio Suite team.

I don’t have time to listen to a lot of podcasts myself, but this is one I rarely miss, because the hosts know what they are talking about.

They are also good listeners, as I found out when I was a guest on their show.

What makes this podcast different from other podcasts? It’s produced like you were listening to a real radio show.

As you will hear, we cover a lot of ground in this interview, and I’m inviting you to be a butterfly on our wall.

Click here to listen.

Paul Strikwerda ©nethervoice

 

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How To Fix Sliding Voice-Over Rates

by Paul Strikwerda in Articles, Career, Freelancing, International, Money Matters, Pay-to-Play 12 Comments

Peter Dickson (l) and Hugh Edwards (r)

I usually don’t allow guest posts on my website, but today I am making an exception for Hugh Edwards, CEO & Founder of Gravy for the Brain.

The issue of sliding voice-over rates is pressing and seemed impossible to solve.

The folks at Gravy for the Brain came up with a brilliant, no-cost solution that can make a huge difference in the lives of those who talk for a living.

Click on this link to read Hugh’s article.

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VO Atlanta 2019: The Lost Album

by Paul Strikwerda in Articles, Journalism & Media, Personal, VO Atlanta 14 Comments

Dutch clog slippersFor many voice-overs, the 2019 edition of VO Atlanta was unforgettable. The cameraderie, the learning opportunities, the emotions, it was all a bit overwhelming. 

But, life goes on, and memories start to fade. There are new gatherings to go to, new projects to voice, and new memories to be made.

Thinking back to my time at VO Atlanta 2019, it was the year I had to stay under the radar. Still recovering from a stroke, I needed to keep away from the crowds and preserve energy for my presentations. 

Still, I managed to take a few snapshots here and there, and I filed those photos away until I found them again the other day.

Watching the slideshow you’re about to see brought back many precious moments. Whether you were at VO Atlanta, or you’re thinking of going in 2020, I’m sure you’ll recognize some familiar faces. A big thank you to Jon Ciano for taking the pictures of my Stinky Sock Breakout Session.

Be sure to watch the photos on full-screen in HD.

Enjoy!

VO Atlanta 2020 will be held from March 26-29. The theme is “Envision.” If you can’t wait that long, sign up for the Summer Intensive, a training weekend with Kay Bess, Joe Cipriano, and Cliff Zellman. Dates: August 16 – 17.

Paul Strikwerda ©nethervoice

PS After watching the slide show some people  asked me what camera and lens I use. It’s a Sony a5100 mirrorless camera, with a Sony SELP18105G 18-105mm f/4.0 G OSS lens.

 

 

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Peanuts and Monkeys

by Paul Strikwerda in Articles, Career, Freelancing, Money Matters, Promotion 5 Comments

Peanut & MonkeyI don’t know about you, but I’m astonished at the growing number of people responding to no-budget and low-budget voice-over jobs. It had me wonder:

Who are they? What drives them? How do we make them stop?

Some colleagues suggested I shouldn’t take these lowballers seriously. They’re ignorant hobbyists at best, and their actions have no impact on us professionals.

I disagree.

BEING WORTHLESS

It’s insulting and upsetting when both client and talent find the contribution of a voice-over of so little value that no money changes hands. Meanwhile, the copywriter and sound engineer get paid, the animator receives a check, and the guy who hired them to create an ad campaign has a full-time position with benefits.

What’s wrong with this picture?

If the company is too cheap to pay a pro, why don’t they ask Keith from accounting to do the voice-over? Why do they have to post a job in a Facebook group for voice-overs? It’s simple: because they know that Keith in accounting is a klutz, and there’s always a hopeless hopeful VO with a sliver of talent who’s willing to do it for nothing.

I’m sorry, but I’ve worked too long and too hard to be giving my voice away. Even if I were getting my feet wet, I’d have enough respect for myself and my colleagues to insist on being paid good money for good work.

So, why are some budding voice-overs willing to work for free? Beginning plumbers don’t do that. Newly graduated chefs don’t put a zero dollar menu together. Young teachers make less, but they get paid for doing their job. What makes us voice-overs so special that we deserve not to be paid?

A TYPICAL JOB OFFER

To get some perspective, let’s pick a real gig that was just posted on Facebook. The job is for a “nonprofit small low power Christian radio station” and was described as follows:

“A concept piece mentioning a new name and slogan along with some catchphrases. It’s like a sizzle reel in tv terms. Unpaid but appreciated.”

Someone who wants this job responds (and I’m not going to pick on the grammar):

“I could use the exposure and experience being new to professional.”

Just imagine all the exposure a small nonprofit low power Christian radio station can bring! I think you’ll need the intervention of a higher power to make all that exposure work to your benefit.

Speaking of exposure, try going to a restaurant telling the owner: “I’m not going to pay you today, but I’ll make sure to say nice things about you on Instagram.” Unless you’re Kim Kardashian, Paris Hilton, or Kylie Jenner, I don’t think you’ll be getting very far.

As someone who has been using his voice professionally since he was seventeen, I can tell you that, unless you’re a flasher, exposure is highly overrated. It doesn’t pay the rent and it can’t feed your family. It’s a transparent trick to make you believe you’re getting something in exchange for volunteering your services.

Some high-profile jobs may give you limited exposure, but these jobs usually go to A-list celebs and come with a nice paycheck. Keep in mind that voice-overs are the Invisibles of the industry. By definition, our role is mainly supportive (the exception being audiobook narration which I think is underpaid). We have to make up our own awards shows in order to get some recognition… from our peers.

So, if you’re looking for exposure, you’ve chosen the wrong profession. Don Lafontaine was arguably the most famous voice-over artist of his time, but very few people knew who he was until he appeared as a sidekick in a Geiko television commercial. Notice that he’s introduced as “that announcer guy from the movies.”

WHAT EXPERIENCE?

Will working for free give you the experience needed to book more paid jobs? It totally depends on the experience. I vividly remember an angry young conductor kicked out of a competition. He wanted to know why he hadn’t made it to the next round. He told the jury: “Compared to all the other contestants I’ve had much more experience. Why are you letting me go?” The chairman of the jury told him: “Your experience must not have been very good.”

Some experiences simply don’t translate. Just because you’ve worked as an announcer for a radio station or you were a teacher or a minister doesn’t mean you have the chops to be a successful voice-over. Having extensive experience as a voice talent doesn’t necessarily get me hired. Most clients aren’t interested in what I’ve done for other people in the past. They want to know:

What can you do for me today?

Will experience help you finally land an agent? Agents get interested once they know you can make them money. Doing jobs for free tells them you’re desperate instead of marketable. In my opinion, the experience you need as a budding voice-over is the experience of working with a good coach who’s not afraid to say what you don’t want to hear.

BEING A PROFESSIONAL

Let’s get back to the reason one of our colleagues thought he’d be a good fit for that no-budget Christian radio station job. He wrote:

“I could use the exposure and experience being new to professional.”

We’ve covered exposure and experience. Let’s get to the “professional” aspect. According to one dictionary, a professional is “engaged in a specified activity as one’s main paid occupation rather than as a pastime.”

So, if you’re doing something professionally, it can’t be a hobby, and you have to get paid. In addition, voice-overs are small business owners. The IRS says:

“A trade or business is generally an activity carried on for a livelihood or in good faith to make a profit.”

In other words:

WORKING FOR FREE IS UNPROFESSIONAL

A GOOD CAUSE

But what about working for charities? Don’t they at least deserve a discount? Before I get into that, let me be clear: the VO jobs I see posted in Facebook groups are sometimes for nonprofits but not for charities. Every charity is a nonprofit, but not every nonprofit is a charity.

As professionals we have to stop making assumptions about how much we believe a potential client can or cannot afford. They’re not going to tell us so we will never know. Just because it’s a nonprofit or a charity, doesn’t mean there’s no budget for PR. I know because organizations like Charity Navigator keep track of how much of a charity’s budget goes to fundraising campaigns.

Charities like the Cancer Survivors’ Fund, the Autism Spectrum Disorder Foundation, and the Kids Wish Network spend more than 50% of their budget on fundraising activities (source: click here). That isn’t necessarily a good thing, but don’t tell me all charities have no money and deserve a break.

Many CEO’s of charities make six-figure incomes. In 2015, the CEO of the Memorial Sloan Kettering Cancer Center made $3.6 million, and Wayne LaPierre who heads the nonprofit National Rifle Association was reported to make $4.6 million. These are extremes, but Charity Navigator says that among the charities they’ve evaluated, the average CEO salary is $150,000 (source: click here).

THERE’S A DIFFERENCE

What’s my point? Not every charity is created equal. Many are huge, professional organizations with big budgets for promotion. If there’s money to pay a CEO a decent salary, there is money to pay a voice-over a decent fee. Now, if you wish to support that charity because you connect with the cause, don’t discount your services. Make a tax-deductible donation after you get paid.

What baffles me most about those willing to work for (next to) nothing is the fact that they seem to be beginners. Perhaps I’m weird, but when I started out, I needed all the money I could get so I could invest in my career. I had to buy decent equipment, a good website, and I saved up to create a quiet recording space. Plus, I had to have a roof over my head and some food on the table.

I couldn’t afford to work for free, and I still can’t.

Here’s the thing most lowballers won’t admit: it takes real talent to book a top-dollar job, but it’s pretty easy to book a gig when you’re charging very little or nothing.

Once clients are used to your low rates they won’t be willing to pay you full price, and your colleagues will have a harder time negotiating a better deal. Why should clients pay more if they can get it for less (especially those for whom “good enough” is good enough).

Charging peanuts means you’ll never have the life you’re hoping for, and you’ll have less money to give to that charity you say you wish to support.

The moment you start charging a reasonable rate, you create expectations. You have something to prove. You tell the world:

“This is what this job is worth!

This is what I am worth, professionally speaking.”

If what you bring to the table has no added value, you’ve nothing left but to compete on price. But…

if you’re any good at what you do, people are willing to pay for it, and the benefit of hiring you outweighs the cost every single time.

Even monkeys can figure that out.

Paul Strikwerda ©nethervoice

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The Deaf Leading the Blind

by Paul Strikwerda in Articles, Career, Freelancing, Gear, Personal, Social Media, Studio 6 Comments

Blindfolded archerAfter reading my last two articles, here’s what some of you wanted to know:

Do I make all this stuff up to scare newbies and make them look bad?

Before I address that, let’s explore the suggestion behind this question.

Number one: blaming the messenger is a cheap attempt to deflect attention from an unwelcome message. This is a tactic as old as mankind. If you feel you can’t win the argument, try to discredit the source, like:

“I’m uncomfortable with what Paul is saying, so I’ll accuse him of lying.”

Number two: why would I make stuff up? Every time I put myself out there as a blogger, I risk my reputation. The moment people would catch me in a falsehood, it’s game over. As a former journalist, I know for a fact that years of truth telling can be nullified by one stupid lie.

Once exposed, no one would ever want me to present at a conference, interview me for their podcast, read this blog, or buy my book. Clients that got wind of it might not want to work with me anymore.

Honestly, to lie would be a liability.

Lastly, why would I have to make things up if you can easily find them in open Facebook groups? If anything, social media is ideal for spotting public displays of ignorance. I’ve just combed through pages and pages of voice-over related nonsense to bring you the best of the worst. Before I get to that, here’s what you need to know.

You’re about to read literal quotes. I’m not paraphrasing anything, or correcting spelling. To protect the identity of the authors, I’m not going to name names. However, you should realize that this is my personal selection, specifically chosen to emphasize a few trends that worry me, namely:

1. Social media offer a seemingly equal playing field to pros and hobbyists. If you’re new to the business and you don’t know anybody, you can’t tell whom you can trust for advice. You might get solid information, or someone might be taking you for a ride.

2. Too many (amateur) doctors are prescribing cures before carefully diagnosing the patient, unhindered by a lack of common sense, knowledge, and experience. Anyone’s an expert, and quite often, the deaf are leading the blind. As usual, the quality of the info depends on the quality of the source.

3. Many Facebook groups have no barrier of entry, and any nobody can pretend to be somebody. I’ll say that again: any nobody can pretend to be somebody. Some critics claim that half of all Facebook accounts are fake. Ask yourself: do you know for sure that the Facebookers you’re chatting with are who they say they are?

In some groups, the people recruiting voices for their next project have started adding “must be 18+” because many of the submissions turned out to be from kids who were just fooling around.

4. There is no Facebook police, and too many group moderators are allowing anyone to say anything… they agree with. In my experience, it’s permitted to sing the praises of an unnamed, unethical, greedy P2P, but any criticism is quickly censored as “being negative.” In the same spirit, the moderator will allow rave reviews of newbie demos and websites (even when they’re crap), and will delete more honest assessments because they’re seen as “mean.”

An aspiring VO exclaimed:

“I’m going to leave this Facebook Group mainly because I’ve received nothing but negative comments since I’ve joined and I really only wanted to learn how to be successful and instead recieved so much hate.”

Thankfully, someone responded:

“I searched for your name and you’ve gotten one troll reply and about 30 helpful ones. It’s not hate if people don’t agree with you. It’s constructive criticism and at the end of the day only YOU choose what to take away or leave behind from any advice you get in life. If people keep taking things personally, then sorry but the VO business is not for you.”

As expected, people have lots of questions about breaking into the business. The scary thing is that so many Facebookers are ready to give advice without knowing anything about the person asking for it.

Let’s say you’re a car mechanic. Would you start working on a car before finding out what’s wrong with it? That’s pretty dumb, right? So, speaking of ways to get into the VO business, here’s what someone recommended:

“You have to move to los angeles to become an actor am i right regardless if how much fame or money you have or how many friends one gets in life? its easy for richard horvitz to be an actor if hes from there regardless how many friends he was with a pro actor or athlete right?”

That was particularly helpful, wasn’t it? Moving on to the next question:

“Been voicing anime since I was little but wanting to do it professionally; how to get started is my question.”

Here’s the answer:

“First creat a few demos”

Response:

“How to do that and not make it sound terrible?”

Answer:

“I think the first step is just put yourself out there, make your presence known so, maybe take some unpaid jobs first, build a report of people that will recommend you and go from there.”

Here’s another brilliant suggestion:

“First things’ first: got a good mic? then: record something and upload it to soundcloud.com then put url link here.”

Someone else chimes in:

“I was always told to reach out to radio stations. I’m friends with a few professional voice actors.”

My two cents? First of all, don’t move to LA yet. Get some training first and see if you have any talent. Secondly, don’t “creat” any demos if you haven’t demonstrated anything. Once you’re ready for those demos, hire a professional to create them with you. By the way, don’t put yourself out there (whatever that means) if you have no website, no sound samples, and no recording space. It’s like opening a shop with empty shelves. Lastly, stay out of radio stations. They’re breeding grounds for frustrated announcers.

Unsurprisingly, many questions on Facebook are about home studios and recording equipment. We’d rather spend hours debating the pros and cons of using a USB microphone, than talk about how to market our business. Here’s a selection:

Q. “What’s the best mic that I can buy for under $100?”
A1. “Blue snowball is good.”

A. “You can get the whole set up for about $200 and it’s totally worth it. You can see my mic and interface recommendations at XYZ.com Also, I’m selling my condo.”

A2. “You should able to go into a music shop and ask them if you can test their mics.”

A3. “I started with a Rode NT USB. A simple noise reduction pass is all you need and the set up is a fraction of the cost of XLR if you’re starting out on a budget.”

A4. “The Kaotica Eyeball is the only thing you need. It turns anywhere you are into your own sound studio.”

Let me break that down for you. Forget snowballs. Blue balls are particularly painful. $200 is not going to get you all you need to compete. Please don’t test microphones on the noisy shop floor of your local Guitar Center. Try them out in your recording space. Invest in a condenser mic and soundproof your studio. A plugin isn’t going to keep out lawn mowers and leaf blowers.

New question:

Q. “I don’t have a studio. How do i record when the neighbors kids are so loud i can hear them with the window closed?”

A1. “Tell the kids to shut up.”

A2. “You could try to build a little pvc/moving blanket fort… it will help.”

A3. “Upturned mattress and blankets all over will get you where you need to be once you get as far away from the kiddies as possible. Then a blanket over your head with your mic.”

Mattresses and blankets may help tame the boom in the room, but you need to decouple walls and add mass to keep the outside sounds out. FYI that’s going to cost you a pretty penny, but a VO without a home studio is like an Uber driver without a car.

A few more booth questions:

“Does anyone else use their macbook webcam mic? Do you find that sometimes your audio is inconsistant when you record? Somedays I sound clear and crisp, others I sound like I’m talking in a tin can. (I’m using Garage band to record)”

“So, I’m planning on making a cheap diy mobile sound booth on a pallet, and I’m wondering if you guys have any tips on what the cheapest materials I could use.”

“I have used fibre egg crates for sound absorbing material, they work great.”

“So I have a square closet that has a lightbulb hanging from the ceiling. I would probably want to put some soundproof material under the door because that’s the only part I can think of that would need it. I know that a lot of people start out with using a closet because it’s usually the most natural soundproof room.”

“Mine booth is a decommissioned shower stall. I used $5 moving blankets on all 4 sides as well as top and floor. It sounds as good as any booth in Hollywood I’ve ever used.”

He continues:

“Moving blankets for the walls, ceiling, and floor if you have hard floors. Then toss a heavy blanket or comforter over the top moving blanket and put a heavy blanket up behind you. That’s as good as it gets without being a whisper room or studio bricks or something else nearly soundproof.”

Another person says:

“If you’re trying to keep it on the cheap, generic Walmart mattress toppers are between 1-2 inches thick and are usually around 10 bucks for a twin/full size mattress.”

What’s the common denominator? People trying to create something on the cheap. Here’s the thing: if you compromise on sound quality, you compromise your career. You don’t need to invest in a Bentley to travel from A to B, but you need a reliable means of transportation to get anywhere. And egg crates are just a fire hazard.

What surprised even me, are the number of “passion projects” peddled in Facebook groups. “Passion project” turns out to be a euphemism for unpaid slave labor. Here’s a sample:

“Hello everyone! I am in need of a few voice actors for my Sonic Boom Stop-Motion Episode 2 Project. This is NON PAID and I need the roles filled in as soon as possible!”

“I am currently in production of the first season of an all audio sketch comedy show. The project isn’t compensated however there are other benefits we will provide and avail to you if you are selected and interested.”

“I’m helping for casting for my mates unpaid Doctor Who Audio Series. (Unpaid) I am still looking for male voice actors for my Return to Wonderland motion comic book series.”

“Looking for a female VO for a Halo themed audio book. Project is unpaid currently as it is a copyrighted IP, but a copy of the completed work will given, and when it is live VO’s will be paid out first. The previous VO is having to be replaced due to some audio issues.”

“[Non-Paying] Any lady vocalists/singers interested in trying their hand providing vocals for original tunes?”

“Hey guys, need a voice actor for 4 roles. One for a robber, a female bank clerk (can also be voiced by male), and 2 male cops. Ill post the script below. This is a non paying gig, but may be a paying gig in the future.”

“Doing a freebie for a friend and was wondering if any of you would voice a short commercial? It’s for a “amateur” wrestling show. Its non paying I just need someone who wants to voice something for local tv.”

“Im looking for a few people to do some narrations for a youtube series. The Theme is Children’s Stories and I hope to make a fair few episodes of it so may have returning narrators. Unfortunately its unpaid but it will be able to bring out the budding little actors who are starting out in the art of voice acting as well as the pro’s that don’t mind doing it for a little fun.”

You’d be surprised how many people respond to these passion projects. The desperation to start yelling something into a microphone is real.

Here’s my rule of thumb: If you’re good enough to be hired, you’re good enough to be paid. Period. Working for exposure is something only strippers do. Someone commented:

“Chances are if they can’t afford to pay, they don’t have a big enough platform to offer significant exposure anyway. And if they do have some MASSIVE platform, they should be paying.”

Plus, you’ve barely started to get your feet wet, and you’re already teaching clients they can get something for nothing. This is a comment from one of those clients:

“As a content creator I can tell you all 99.9% of us would love to pay everyone we work with on every project. But if I spend all my budget on talent what am I to do about promoting my project? If one is getting into this field looking at it as a job then you’re doing it wrong. This is the business of independent contractors.”

In other words: freelancers can’t expect to be paid? Well, there’s a new concept!

There’s another myth out there, namely the myth that doing auditions is such great practice. It’s not. Here’s what I believe:

You practice to audition. You don’t audition to practice.

In order to get the job, you have to demonstrate that you can do the job. Some half-baked attempt is not going to work. It will leave the client with a bad taste in his mouth, and the next time he hears your voice he’ll move right on to another talent.

Oddly enough, those applying for unpaid jobs complain elsewhere that they have no money to move their career forward. Here’s one of them:

“So, as an aspiring voice actor myself, I have made one demo in the past but it wasn’t easily accessible. Now i’d like to make another one but I’d like some help.

Nevermind just found out 1100 bucks for the classes and then the demo. That’s aloooot of cash.”

Between you and me, that’s not a lot of cash for voice-over training and a demo. I would be very suspicious of anyone offering such a package for a little over a thousand bucks.

Finishing up, let me reiterate that it’s not my intention to shame anyone or make fun of anyone new to the voice-over business. You are very brave, and I am giving you these examples as a warning. Quite often, Facebook is the worst place to seek advice for those who don’t know what they don’t know.

Be smart, and do not allow yourself to be taken advantage of by people who prey on impressionable beginners.

Do your homework before asking any questions. Show the world that you’ve made an effort to find a solution before bothering the group. Don’t beg for jobs. Don’t comment on things you know very little about. Be open to feedback. Save up so you can invest in coaching, equipment, and a recording space. And above all: give yourself time to become good at what you want to do, and have fun.

I had fun responding to a Facebook question recently:

“I’m looking for a high soprano for an album I’m very close to finishing. It’s a various artists album, with some Asian and Celtic influences. Please PM me if interested.”

I responded:

“You’re looking for stoned soprano?”

Paul Strikwerda ©nethervoice

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PPS Working from home, a blessing or a curse? Click here to hear me talk to the guys at the Pro Audio Suite Podcast.

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5 Reasons Why You Should Never Become A Voice-Over

by Paul Strikwerda in Articles, Career, Freelancing, Pay-to-Play 82 Comments

voice talentSo, after my last blog caused quite a ripple effect throughout the VO community, I’m adding some fuel to the fire with what you’re about to read. When it was first published I managed to piss off a great number of people, and I’d love to do that again. That’s why I’m republishing the story below.

If you’re looking for fresh content this week, you’re invited to check out a new category on my website: Reviews

Over the years I’ve reviewed voice-over gear, and I wanted to create a place to bring these articles together. But prepare yourself: I’m going to branch out to other products I have tested, unrelated to voice-over. Click here to get to my first new review. I’m not going to tell you what it’s about. If you’re interested, you’ll find out. Alternatively, keep on reading about…

5 Reasons Why You Should Never Become A Voice-Over

by Paul Strikwerda

 

“Millions of dollars paid out to voice actors globally.”

“Audition for your dream job now.”

“Instant access to amazing opportunities.”

“New job postings every day.”

It sure sounds tempting, doesn’t it? Especially when you’re young, idealistic, and impressionable. It’s the way online casting sites throw out their net, hoping that loquacious people will bite.

Well, bite they do, and day after day an ever-growing army of hopefuls is eagerly looking at their inbox, waiting for the next “amazing opportunity” to arrive. It comes at a price, though. 

If you’re taking part in these online cattle calls, be ready to be milked!

Of course these casting sites won’t tell you that you have to spend between $349 and $399 per year to take part in a crapshoot. They’ll feed you success stories about people who claim to make a six-figure income by winning audition after audition. Anecdotal evidence always trumps independently verified numbers, right?

Believe me: People believe what they want to believe.

So, today I’m not going to give you the golden formula to online voice-over success. Sorry to break the news, but it does not exist. Instead, I will give you a few reasons why you probably should stay clear of this business. I’ll start with the most important one. 

1. The world doesn’t need you.

Yes, you’ve heard me.

We have enough people talking into microphones, thank you very much. 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.

2. There’s no money in voice-overs.

The cost of living goes up every year, while voice-over rates are in steady decline. That makes sense, doesn’t it? Even the union can’t stop it. Thanks to online casting services and ignorant amateurs, your voice has become a commodity, sold by the lowest bidder to the cheapest client.

VO has become a game of averages, and here’s how it works.

The bottom feeders choose lowball sites like Elance, Fiverr, and freelancer.com to sell their services for beer money. The top end of the market consists of A-list actors making millions voicing cartoons and commercials. If you’re average, you’re forever stuck in the middle. You have enough integrity to leave the crumbs to the idiots, but you won’t get the big gigs for the big money.

Don’t be fooled by voice-over veterans posting on Facebook how well they are doing. Some of them confided in me that they’re just keeping up appearances. No one wants to hire a loser, so you’ve got to tell the world you’re still an important player. Yay for social media! Everything people post is 100% true. 

3. You are a social being.

Unless you enjoy going to expensive conferences to hear VoiceVIP’s talk about themselves and plug their books, you’re pretty much on your own in this business. I mean, who likes being locked up between the four carpeted walls of a 3.5’ by 3.5’ whisper box all day long?

You have no one to talk to but yourself, and you’ll never see a response from the people you’re supposedly entertaining. If acknowledgment is what you’re secretly longing for, go to a nursing home and read to the residents. Tell stories to kids in the cancer ward. It will make their day, and yours!

The sedentary lifestyle of a typical voice-over is unhealthy for the mind, body, and soul. If you’re an extrovert, you crave contact, and you thrive in the company of others. I can tell you right now that you will curse the day you decided to isolate yourself from the world, just so you could narrate some third-rate novel for a royalty share that doesn’t even pay this month’s water bill. 

4. You’ll spend at least 80% of your time trying to get work, and 20% doing the work.

Voice-overs spend a lot of time being busy without being productive. How rewarding is that? Regardless of what voice casting sites want you to believe, most jobs you audition for will go to someone else, and you’ll never know why. Don’t you love it?

But what about agents, you may ask. Once you have an agent or two, things will get better, right?

No they won’t.

The pickings are slim, and these days, all the agents in North America will send the same bathroom tissue script to every talent with a potty mouth. That really makes you feel part of an exclusive club, doesn’t it?

5. It may take many years before you see a return on your investment.

A voice-over career cannot be bought. It has to be conquered. Slowly.

You may think you’re going to be successful because of your unique sound. Dream on! The only way you’ll stand a chance is if you stop treating your pipe dream as a hobby. This means you’ve got to invest in professional gear and in a quiet place to record. Then you have to get yourself a few top-notch demos, plus a website to tell the world what you’re doing. And this is just the beginning.

Having all of that in place is no guarantee that you’ll make any money with your voice. Thousands of people all over the world are doing exactly what you do, and they are giving up within a year. The only money they’ll ever see is when they’re selling their stuff on eBay. At a loss. 

When you really think about it, you have to be a fool to become a voice-over.

I was foolish enough to choose that as my career, and guess what?

I’ve never been happier!

Paul Strikwerda ©nethervoice

PS If you believe I’m being negative for no reason, you should read 5 awful things nobody tells you about being an actor. Then we’ll talk, okay?

photo credit: Sound Design: ADR Recording via photopin (license)

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Common questions and the answers you don’t want to hear

by Paul Strikwerda in Articles, Freelancing, Gear, Internet, Money Matters, Pay-to-Play, Personal, Promotion, Social Media, Studio 35 Comments
Paul Strikwerda at the beach

the author, enjoying some fresh ocean air

Every couple of weeks I make the social media rounds on the various Facebook voice-over groups to see what’s new. The answer:

Not much.

In fact, most of what’s going on is an endless regurgitation of familiar topics, and Me-Me-Me marketing we love wasting our time on: How much should I charge? Where can I find work? Will you critique my demo and my new website?

In an effort to nip these dreadfully boring and superfluous conversations in the bud, I’m going to cover some returning questions rapid-fire style, so we can all get on with our work.

I want to get started in voice-overs, but I have no experience, no equipment, and no money. Where do I begin?

Are you serious? You sound like the guy who wants to be an Uber driver, who doesn’t know how to drive, does not own a car, and has no money in the bank. How’s that going to work?

My two cents: Get a job. Put some money aside, and work with a coach to find out if you’re even remotely talented before you spend big bucks on a studio, gear, demos, and a website.

It sounds like I need a lot of money to break into this business. Why is it so expensive?

Compared to what? Ask a New York cab driver how much he paid for his medallion. What did the pianist pay for her Steinway? How much debt did your doctor take on to get her degree?

You can’t be invested without making an investment. If something is worth it, you’ve got to pay the price. And if you’re serious, you can equip your voice-over studio for under a thousand dollars. Click here to find out how.

I just got started as a voice-over. I’ve been auditioning for over three months and haven’t booked a single job. Nobody ever told me it was going to be this hard. I’ve got rent to pay.

Your coach should have prepared you for a harsh reality. Ninety percent of trained actors are out of work. The ones on the A-list get booked again and again. It’s not much different for voice actors. Your job is finding jobs. Over and over and over again. So, stop lurking on social media and start marketing yourself!

I signed up for several Pay-to-Plays. Posted my demos. Nothing’s happening. Is this a scam?

A P2P is the lazy way to get into this business. You pay your membership fees, you post a few homemade half-baked demos, you do a few lousy auditions with your crap equipment, and you expect magic to happen? Don’t blame the system. You are delusional.

My neighbor is driving me crazy with his mad dogs, his leaf blower, and his lawn mower. Right now I want to kill him.

Do you expect the world to stop just because you need to meet a deadline? You advertise yourself as a professional, yet you have no dedicated, isolated recording space. That’s a problem. Costs come before revenue. Stop moaning and get a double-walled booth. If you’re any good, it will pay for itself many times over.

This new client hasn’t paid me in months and won’t respond to my emails. Help!

Who have you been working for? Did you do your research to find out whom you’re dealing with? Did you watermark your audio? Did you ask to be paid upfront? Not every client can be trusted so you have to protect yourself. You either lawyer up and threaten legal action, or write the unpaid invoice off as a business loss. Remember: even if small claims court rules in your favor, it’s not going to collect your money. That’s on you.

I’m not making enough as a voice-over. What am I doing wrong?

You’re not alone! In this business, there is no guaranteed return on investment, and with what you’re charging, are you surprised you’re not making enough? It’s a self-inflicted wound. Low rates are the sign of a desperate amateur. Who wants to work with a desperate amateur?

Be better, not cheaper.

Sitting in front of a computer all day long is hurting my health. I hate it!

No one is forcing you to do anything that’s detrimental to your health. In order to take care of your clients, you have to take care of yourself. Exercise, do yoga, move around, choose a healthy diet. Sit up, hydrate, get a supportive chair, and a wrist rest. Don’t forget your emotional health. Surround yourself with supportive people. Get a life outside of your studio! Your work is just a means to an end.

Being a freelancer is hard work. I thought it would be fun to be my own boss, but I’m starting to change my mind.

No job in the world is 100% fun all the time, no matter what some Instagram posts may tell you. What you see and what you hear – the end result, may sound and look like fun, but you don’t see the effort necessary to make it happen. If you do your job well, you make it seem effortless.

If your level of fun is the only criterium you use to evaluate your job, you’re never going to be satisfied.

Now, if you’re not happy with how things are going, know that nothing is going to change unless you change. Keep in mind that as long as you keep on blaming others for your misfortune, they have to be the ones that have to change in order for you to be happy.

That ain’t gonna happen.

Allow yourself to make mistakes. Allow others to make mistakes. You don’t have to spoon-feed every newbie begging for free advice. They’ll end up being lazy, ungrateful, and dependent.

Give yourself time to become good at what you do. Learn from the experts. Invest your earnings to further your career. Value what you have to offer and price accordingly.

And beginning today, start figuring out ways to get visitors to your web pages, instead of interacting on other people’s groups and sites, boosting their SEO. 

What do you say?

Paul Strikwerda ©nethervoice

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VO Atlanta and the Meaning of Life

by Paul Strikwerda in Articles, Career, Personal, Promotion, VO Atlanta 36 Comments

Gravy for the Brain, what kind of name is that?” asked my friend with a puzzled look on his face. We were both at the VO Atlanta conference, and I wasn’t paying any attention to him.

I was staring at an email from a new client I had been grooming for weeks. He finally reached out to me with a project, just as I was ready for four days of professional schmoozing. I love my job, but I didn’t want to go back to work. Not in Atlanta.

Normally I’d be up for a challenge because I always saw myself as the invincible superman. I could do it all: socialize into the wee hours of the night, get up first thing in the morning for some fitness training, attend a few workshops and presentations, and do it all over again after lunch. Then I would step into a studio and knock out a few scripts. No biggie.

But this time was different. My cardiologist had advised against going to Atlanta because I just started a new medication and he wanted to monitor me closely. However, I knew I had to be at this gathering. It was the goal I had set myself when I began my recovery about a year ago. I’d committed to leading a workshop and a Breakout session. This was going to be my moment to return to the VO community and be there for them after they had been there for me when I had my stroke.

The only way I could possibly handle the conference was by vigorously pacing myself. This included not doing this rush job for a new client. I had to heed the advice I give my students: “Just because you can, doesn’t mean you must.” That decision cost me seven hundred dollars, but it gave me the space and the energy I needed to take care of myself. After all, you can’t give what you don’t have.

So, I turned to my friend to address his question.

TOO MUCH INFO

“You’re right: it is a bit of an odd name, Gravy for the Brain. It doesn’t sound like a resource for voice talent, does it? Someone once told me the expression comes from the movie Conspiracy Theory but that doesn’t explain anything.

“I just looked it up in the Urban Dictionary,” said my friend pointing at his mobile. “It’s defined as the way your head feels after a long night of drinking and/or doing drugs.”  “I’ve got to tell you,” I said, “last year when I came back from VO Atlanta, it felt like I had gravy brain. Not because I had had too much to drink, but because I was in information overload. It took a while for me to process the experience. And here we are again, ready for more.”

Kay Bess

Keynote speaker Kay Bess

We walked to the Grand Salon for the conference opening and keynote speech by Kay Bess. “We distinguish ourselves, by being ourselves,” she said. Profound words that moved me deeply. I feel that being ourselves is one of the greatest gifts we can give this world. There’s only one problem. It does require that we have a sense of who we are, authentically speaking. I don’t know about you, but I’m still figuring that one out.

WHO AM I?

I sometimes wish we would come with an instruction manual we could give to friends, family, and colleagues. “Look, this is who I am. This is what floats my boat. Here’s how I rock and roll.” Instead, we’ve been given a lifetime to work things out, and if you believe in reincarnation, it’s several lifetimes.

I see becoming who we are meant to be as one of the great endeavors of our time on earth. It’s challenging because all of us play many roles in life. For instance, I am Paul the father, the husband, the patient, the son, and brother. I’m also the voice actor, the blogger, and punster. In different contexts I feel like a different person and act accordingly, so will the real authentic Paul please stand up?

On the subject of authenticity, here’s some free advice. If you’ve been to VO Atlanta, please don’t use anything you have learned in all the sessions you attended. Just don’t. Every other talent is already going to do that. If you wish to be authentic, do something out of the ordinary that no one else would possibly try.

Surprise the world. Be an original. Create. Don’t imitate. The field of people being and doing more of the same is growing by the day. That’s not your field. People who play it safe by taking the beaten path are blending in with the masses. You want to stand out, don’t you? As far as I could tell I was still the only person wearing clogs in Atlanta. Even though I didn’t socialize as much this year to conserve my energy, I think most people knew I was there. Total cost $19.99.

WHAT ELSE DID I NOTICE?

A few more random observations, some positive, others not so much:

– When you stick your head into a workshop for five minutes and decide it’s not for you, please don’t mock your fellow-presenter in public. It’s unfair and unkind to judge someone based on a snippet of info taken out of context.

– On the other hand, calling the CEO of a competing and highly unethical Pay to Play “That Idiot from the North” is allowed. The man is fair game.

– If you’re a prominent member of a worldwide organization of voice talent that’s dedicated to ethical conduct and fair rates, why would you have a profile on Fiverr and be proud of it?

– Doing voice-overs is sexy! Next year we should have a few after-hour X-rated sessions for narrators of erotica. Pseudonyms required.

– If you’re looking for the guy who used a sharpie to draw a mustache on J. Michael Collins in one of the elevators, look no further.

– I wish Voice123 CEO and spin doctor Rolf Veldman would have taken part in the karaoke. I had the perfect song for him: “Sorry seems to be the hardest word.”

TEARS AND MORE TEARS

VO Atlanta 2019 was an emotional experience for me. If you were there, you know that my eyeballs were leaking regularly. A big thanks to all of you who told me how relieved you were that I’m not dead. I must say I’m with you on that one. Thank you to all of my Guardian Angels who kept an eye on me throughout the conference. You know who you are, and so does my eternally grateful wife.

A special thanks to those who were at my workshop. One of you signed up at the very last minute after talking to me in the corridor. How sweet is that? One last thank you to those who came to play with my Stinky Sock and gave me a standing ovation. It’s gone straight to my head, and now I am impossible to live with. What else is new?

SURPRISING BONUS

Well, did I tell you I got to stay in Atlanta for one more day? Here’s what happened. My flight to Lehigh Valley International Airport was overbooked, and Delta offered those willing to give up their seat a hotel room and an $800 gift certificate. So, days ago I had lost $700 because I didn’t do the voice-over job I told you about. I ended up having eight hundred bucks to spend at Amazon. Life is fair after all!

As you can tell, the conference is over, but I am not over the conference. It’s been my second best experience of the past twelve months. What’s the very best experience, you ask? For that we have to go back to the night of my stroke. I was flown to the hospital in a helicopter, and a doctor was looking at a CAT-scan of the inside of my skull.

Things were serious. If the stroke had wiped out most of my brain, I would probably not survive. I can remember briefly regaining consciousness on the stretcher. I could hear my wife ask the surgeon about my chances. I’ll never forget what the doctor said:

“I think your husband isn’t going to die. Luckily, most of his grey matter is intact. In other words:

He is too brainy for the grave.”

Paul Strikwerda ©nethervoice

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