voice-over

5 Things You Should Stop Doing Right Now

by Paul Strikwerda in Articles, Career, Freelancing, Social Media, Studio Leave a comment

Are you a nail-biter, a chain-sitter, or an overeater?

We all have bad habits we want to get rid of.

Here are some of the things I have written about in the past, I wish colleagues would let go of in 2019. 

1. Spending money on new equipment while you’re still in a bad recording space.

Yes, I know you’ve been eyeballing that new microphone for the past six months now, but will it stop the neighbor’s leaf blower from blowing, or the deep rumble of the school bus from making a guest appearance in your auditions? Will it magically tame the flutter echoes in your improvised booth, and make you sound like the next movie trailer man (or woman)?

Not in a million years!

The number one thing that held me back from being successful as a voice-over, was the absence of a dedicated and isolated recording space. Once I built my own booth, I had the freedom and confidence to go after every job I felt I was suitable for. Last year, almost every production I’ve been involved in began in my home studio. It has paid for itself many times over.

Treat the space first. Then treat yourself to some shiny new equipment. If you must. 

2. Expecting the keys to the kingdom on a silver platter.

I’m a member of many social media groups dedicated to voice-overs. A majority of these groups are supposed to be for professional voice talent. Yet, every single day I see amateur questions that have been asked and answered hundreds of times, coming from people who are too lazy to do their homework. In the age of the Internet no one can claim ignorance, so:

Stop playing dumb, people! It’s embarrassing. 

It’s not that our community isn’t willing to share. If anything, the VO-universe is very giving to those who demonstrate relentless commitment and extraordinary talent. But I refuse to help people who want to pick my brain out of a false sense of entitlement, and a simplistic idea of what it takes to make it in this business.

So, dear colleagues: Stop giving free rides to those who don’t feel like learning how to drive. If you keep spoon-feeding a child, it will never learn how to eat by itself. 

3. Complaining without taking responsibility or action.

“The book I’m narrating is awful. The author is impossible to work with. The deadline for this project is unrealistic. They expect me to record a complete rewrite of the script for free…”

First of all: Stop whining!

Winners aren’t whiners. 

You’re a freelancer. You are free to work with anyone you want. Nobody is forcing you to read a crap novel about a topic no one’s interested in for a ridiculous royalty share. You don’t have to collaborate with a disrespectful writer who pretends to know more about voice-over narration than you do. If a deadline doesn’t work for you, then don’t agree to it. Never record a complete rewrite at no charge. Your time and your talent are valuable.

If you feel this particular pay-to-play you’re a “member” of, is greedy and unethical, don’t keep it in business by renewing your membership. Don’t tell me your livelihood depends on this one company. It’s bad business to put all your eggs in one rotten basket. If you want quality clients, start doing the legwork yourself. It’s part of being a pro!

4. Working for less than you deserve. 

No matter what freelance business you’re in, there’s a quick and easy way to get rid of clients that treat you like dirt, and pay you accordingly:

Price for profit and raise your rates!

It’s not that complicated. Every time you accept a job for less, you send a signal to the market about your worth, and the worth of your colleagues. Clients aren’t stupid. They love getting more and more for less and less. We all do. But we also understand that there’s a link between value and price. Price is an important indicator of professionalism and quality. 

I’ve said it before, and I’ll say it again: When it comes to voice-over fees, you’re either part of the problem, or you’re part of the solution. As soon as you start competing on price and out of fear, you’re doing yourself and your community a huge disservice. As soon as you start competing confidently on added value, you’re teaching your clients about the worth of (y)our work. 

By the way, here’s something else you should stop doing in the new year:

5. Making assumptions about your clients.

So many colleagues tell me:

“If my quote is too high, I’m afraid the client won’t be able to afford me, and I’ll lose the job.”

Let me ask you this:

“How do you know what a client can or cannot afford? Did you talk to their accountant? Let’s say you didn’t get that job because of your higher bid, what did you lose?” You can’t lose something that wasn’t yours in the first place. Secondly, you’ve actually gained time to pursue or do a job at a respectable rate.”

Last year I’ve said “no” to more offers than in any year of my entire career, and this was my best year on record. I’m not saying that to impress you. I’m saying that to empower you.

Don’t ever pretend to know what your client is thinking of, or hoping for. You’re not in the mind reading business. You’re in the script reading business.

Never assume. Always ask.

Having said that, I won’t assume what things you’d like to stop doing this year.

If you like, you can share them in the comment section.

Don’t let me stop you.

Paul Strikwerda ©nethervoice

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Gravy For The Brain Goes Global

by Paul Strikwerda in Articles, International Leave a comment

Peter Dickson & Hugh Edwards ©paul strikwerda

When Hugh Edwards and Peter Dickson began creating a comprehensive resource for the voice-over community back in 2008, they had no idea that – some ten years later- their brain child would be all grown up, and ready to take on the world. Literally.

Based in the UK, Gravy for the Brain (GFTB) grew quickly, offering a mix of online courses, webinars, forums, live mentoring, voice-over tools, and social events. Based on a membership model, GFTB has helped over 41,000 people since its inception.

Right now you’ll find over 220 hours of content, practice scripts, a talent finder, a career planner, a rate guide, a resource library, and much more. It’s a one-stop shop to learn the ins and outs of the voice-over biz, available online at a monthly fee.

As their business grew and their knowledge base expanded, Hugh and Peter noticed that their customers weren’t only in the UK. Word of mouth spread quickly, and people began signing up in Australia, in the U.S. and in other parts of Europe. This became a bit of a challenge because most of the materials offered were based on British business practices that did not necessarily translate to other regions.

So, when the time came for another website update, the GFTB team gave themselves an ambitious goal: to make it accessible to all languages and cultures around the world by localizing every piece of content. This huge undertaking took a year and a half of planning, and fourteen people worked on it for thirteen months.

On January 8th, Gravy for the Brain V5 was launched, bringing faster website speed, an improved search function, an updated VO Career Planner, a brand new VO for beginners module, unique context specific tutorials, a podcast, and even an escrow service to tackle late payments.

Their latest and coolest tool is called V.O.I.D.  It stands for Voice Over Internet Database. This is a free, searchable global database of companies, service providers, casting agents, recording studios, VO tools, coaches, job sites, VO conferences, and more.

On top of that, Gravy for the Brain is building a network of independent GFTB sites for specific territories. The aim is to cover 25 languages in the next five years. Each site has localized courses, localized rate guides, and a team of local VO experts.

All these sites are linked, and share core functions. Members from any country can view content from any other country at no extra cost. So, if you’re in the States and you’re bidding on a French job, you can go to the French site and look at the rate sheet.

Each country and/or region has a territory controller. J. Michael Collins is the controller for the USA site. Sophia Cruz and Rona Fletcher are covering Latin America. That site will go live on March 18th. On May 29th, the French version is ready, with Stéphane Cornicard as controller. After that Sweden, Italy, Spain, Australia/New Zealand, and India will follow.

So, how much is all of this going to cost you? If you’re already a GFTB-member, this upgrade is free. If you’re thinking of signing up, the fee has stayed the same. For a limited time, GFTB is offering a special discount when you use the code GetGFTBNow. Here’s what you’d pay per month, without and with the discount:

There are no sign up fees or cancellation fees. If you’re a “try it before you buy it” kind of person, there are plenty of freebies on the website such as webinars, quick tips, and a mini VO course. A VO rate guide is also available for free, as well as blog posts, a reading speed calculator, a talent finder, and the Voice Over Internet Database.

When Hugh and Peter first launced their business, they wanted to offer a valuable resource designed to benefit the voiceover community, and raise the standard of the voiceover industry. This hasn’t changed. If anything, they have consistenly raised the bar adding more value every year.

One last thing.

I’m not getting paid to promote Gravy for the Brain. I just think that a GFTB membership is one of the best investments in your career you will ever  make.

You don’t believe me? Well, there’s only one way to find out…

Paul Strikwerda ©nethervoice

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The Myth of the Shortcut

by Paul Strikwerda in Articles, Career, Freelancing, Money Matters Leave a comment

“Seize the day,” “Carpe Diem,” “Maximize each moment.” 

In a society as hectic as ours, that seems to be sound advice. Especially at the beginning of a new year.

All of us are given a limited time on earth. The best thing is to use it wisely. Don’t worry too much about tomorrow. Get the most out of each day.

Go to any electronics expo, and you’ll find tons of smart gadgets designed to make us do more in less time. While some of these ingenious tools can be helpful, they are part of a trend that worries me:

Life is speeding up. People are getting less patient, and more stressed.

They are focused on the short term, instead of thinking ahead.

Why? Because we crave certainty, and it’s easier to predict what will happen in the next moment as opposed to years from now. Instant gratification has never been more popular, and has never been more destructive.

A few examples. 

Politics doesn’t think in decades anymore. Voters have short memories and demand quick results. Policies that lead to temporary gains are favored over measures that may take years to implement and bear fruit. Let’s drill for energy today, and we’ll worry about the environment later!

We’re not interested in diets or exercise that lead to gradual, lasting weight loss. No, we demand results by the end of the week. And if that scale doesn’t give us a number we’re happy with, we blame it on the method and move on to something else. But everybody knows that losing pounds is the easy part. Keeping them off is much more challenging. That requires long-term commitment.

Makeover shows on television tell us that people can change their lives in a matter of days. It takes us a week to build an Extreme Home, five days to turn a failing restaurant around, and 48 hours to learn what not to wear. After that, we’ll never be the same again! Well, a few weeks later our dream home is leaking, the bistro is going bankrupt, and that fashion-challenged girl dresses like a slob again. 

I’m sorry to break it to you, but quick fixes rarely lead to lasting change

Short-term thinking is a big problem in the “industry” I’m a part of: the wonderful world of freelancing, in particular, the voice-over industry.

THE MYTH OF THE SHORTCUT

Thanks to false advertising, unrealistic expectations, and an attitude of entitlement and impatience, some people still believe they can rise to the top in very little time. Just read this book, take that seminar, and buy some cheap gear. Before you know it, you’re in business! No experience necessary. 

And when these people finally come to me for coaching because they’re not getting anywhere, they are shocked when I present a long-term plan without guarantees. 

“That can’t be,” they say. “This takes too long, and it’s too expensive. I don’t have the time, and I don’t have the money. I thought this would be easy.”

I tell them: 

“If you’re in this for the long run, a few simple steps won’t get you anywhere. Would you throw some seeds into the soil and expect a few trees to magically pop up the next morning? And would you expect these trees to bear fruit the day after? It may very well be a couple of years before you book your first job.”

One person responded: “If it takes that long, you’re probably not a very good coach.”

I replied: “If that’s what you believe, you probably won’t be a very good student.”

THE ONLINE CASTING TRAP

Another example of short-term thinking is the way some people perceive the “membership” fee for online casting sites. They tell me: “If I book one nice job, this whole thing pays for itself.”

No, it doesn’t. It wouldn’t even be true if you only booked that one job. If you spend let’s say $399 on membership, and you make $399, what’s your profit? To see if that $399 would be a worthwhile investment, you’d have to look at an entire year of membership, and ask yourself:  “For all the time and money invested, how many dollars did I get in return?”

You’d have to add up all the money made through that Pay to Play in one year, and deduct the membership fee, taxes and other expenses. Then you divide your net profit by the total number of hours required to generate that income. By hours I mean all the time spent looking at jobs on that site, doing auditions, communicating with clients, and recording/editing the audio.

When you finally look at how much you’ve made per hour in a year, do you think this is still a good investment, or should you spend your time and money elsewhere? Of course no one ever takes the time to run the numbers. Perhaps they’re afraid of the answer.

A COMMON MISCONCEPTION

But don’t make the mistake that short-term thinking is just a problem for the newbie. I often encounter it when colleagues discuss the hot topic of pricing. People with a short-term view tend to charge lower rates than those who are in it for the long haul. 

“I’d rather make a hundred bucks now, than lose out on a job,” they say. “A bird in the hand is worth two in the bush.” A week later they complain that they can’t seem to make a living as a voice talent. 

No surprise there. 

Your rate is not just about money. It’s a sign of professionalism. It sends a signal to the client: “This is what I believe my time and talent are worth.”

It also sends a signal to the industry: “This is what I believe this job is worth.” 

By the way, it’s much easier to book a low-rate job than to land a well-paid gig. Any fool can undercut the competition (and go broke in the process).

Here’s the thing: If we devalue the work we do, don’t expect rates to rise. Low rates will become the new normal.

How do we turn this around?

Step one: realize that short-term actions have long-term consequences.

If you don’t think about the long-term consequences of your actions, your life becomes inconsequential.

A NEW FOCUS

If you wish to have sustained success as a freelancer, you have to start thinking long-term, and big picture.

You have to ask yourself:

“Where do I want to be, five years, ten years from now? How much do I need to minimally make in a year to get there? What do I have to invest? How much do I need to charge?” 

Of course you also have to factor in what people around you are charging, and what clients are willing to pay. But don’t let that limit you. Premium products command a premium price. If you think that’s just a slogan, tell me: who’d have thought people would be willing to pay over $1000 for a mobile phone?

Thinking big picture also means you have to consider the effect your actions may have on others, and on this planet (often for generations). You don’t live on an island. It’s not just about you. What you do or don’t do may not seem earth-shattering, but it makes a difference. A tidal wave consists of many small drops. 

So, here’s my humble request for 2019:

Accept that there are no shortcuts to success.

Slow down, practice patience, and embrace delayed gratification.

Dare to say no, instead of settling for low.

Trust me.

All of this will pay off in the long run!

Paul Strikwerda ©nethervoice

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Why is doing voice-overs so difficult? Part 3

by Paul Strikwerda in Articles, Career, Personal 12 Comments

Leap of FaithClick here for Part 1, and click here for Part 2.

One thing I am sure of.

Human beings have a hard time dealing with uncertainty.

From the moment we’re born till the moment we die, we have a need to know.

That’s why we spend a lifetime answering questions, such as:

  • Why am I here?
  • Is there a God?
  • Can I be happy?
  • Why does evil exist?
  • Is there an afterlife?
  • McDonald’s or Burger King?

Not knowing is often worse than knowing. That’s why TV shows take us from cliffhanger to cliffhanger, and millions tune in to find out who the next American Idol is going to be. We cannot live with the suspense of not knowing.

Where does this innate urge come from? I believe it has to do with control. Subconsciously, people assume that the things they know for sure, they can control. We cannot measure and control the things that are unknown.

Two friends of mine love going on vacations. Let’s call them Jack and John. Both have traveled the world in ways that couldn’t be more different. Jack’s a free spirit. He likes to improvise, and takes life one step at a time. Jack is the person who’d buy a ticket to Rome and a Lonely Planet guide to Italy, and he lets his gut feeling determine where and when he goes to explore the country.

John would absolutely hate that. He prefers to tour Italy with a group, knowing exactly where he ‘s going to be, and where he is going to stay from day to day to day. And if things wouldn’t go according to plan, he’d get very nervous and upset. “If you fail to plan, you plan to fail” is his favorite saying.

Ask yourself: Are you a Jack, or are you a John?

That’s a question anyone should ask before deciding to become an independent contractor. It’s exactly the sort of thing that makes it so hard to be a professional voice-over. I’ll go one step further: the answer to that question is the number one reason why most people who are going freelance, fail.

I’m not making that up to rain on your parade. The Small Business Association (SBA) estimates that 30% of new businesses fail during the first two years of being open, 50% during the first five years, and 66% during the first 10. Those cold numbers camouflage dreams dashed, families in turmoil, and the burden of bankruptcy.

I’ll be very clear: those who eventually become successful at doing voice-overs, are great at handling uncertainty in an economic system that favors predictability.

So, what kind of uncertainty am I talking about?

For starters, you’ll never know where your work will be coming from, and which job you’ll land, and which job will go to a colleague. If you’re not selected, you’ll never know why.

When you audition, you won’t know what the client is looking for. Many clients will tell you: “I’ll know it when I hear it.” The job description is purposely vague: “Male/Female voice, Neutral English, Young Adult to Middle Age.”

You’ll never know how much the client has budgeted for the job you just auditioned for. They all plead poverty. These days you won’t even know how much a particular job is worth anymore, and what your bid should be. You’ll be bidding on jobs in many countries and many markets for all sorts of media. There will always be an idiot who will do more for less.

Once you’ve accepted the job, things don’t get any clearer. Nine out of ten times you’ll be recording by yourself without a director, so it’s up to you to read between the lines and interpret the script as best as you can. It’s a hit or miss process.

The whole thing feels like running a restaurant where you are the owner and chef. The client comes in and wants food. “What would you like?” you ask. “I’ll know it when I see it,” says the customer. “Go to the kitchen and work your magic. But make it quick.”

Half an hour later you proudly present your finished dish. The client smells the food, turns green, and waves the plate away saying: “That’s not what I ordered! I’m not paying for that.” Or worse, they’ll eat everything and disappear without leaving a check.”

You see, that’s another thing you’ll be uncertain about. As a voice-over, you run an international business that’s based on trust. The client trusts you to take care of the job. You trust the client to pay you for the job. On time and in full.

Good luck with that!

The Freelancers Union estimates that 7 out of 10 freelance workers face nonpayment, and freelancers are stiffed an average of $6000 annually.

Who is going to protect you? So far, New York is the only city in the United States to adopt the Freelancing Isn’t Free Act which extends unprecedented protections against nonpayment for millions of New York City’s freelance workers.

But what do you do when that client in Mumbai or Shenyang doesn’t respond to your payment requests? They wanted your audio files yesterday, you sent them, and now they’re MIA. You have no leverage. The only thing you can do is publicly shame them, and demand payment up front the next time you work with an unknown client.

Given the fact that you don’t know what you’ll be working on, when you’ll be working, how much you’ll be working, how much you’re getting paid, and when the money will be coming in, how do you know you’ll be able to pay the bills?

Try getting a mortgage on a freelance income, or any other loan for that matter. If you’re just getting started you need the money the most to pay for all that equipment, your demos, website, home studio, marketing materials, and coaching sessions. And you have nothing to show for it but good intentions.

No matter how much or how little is coming in, your insurance company expects you to pay your premium on time, your rent is due the first of the month, and your credit cards need to be paid, as well as your taxes. John would go crazy going from month to month.

You may be able to live with uncertainty, but what about your family?

Now, in the past I used to say that the only factor in this business you can count on and control, is YOU.

That sounds nice, but based on my experience, most people who try their hand at voice-overs lack the knowledge, the drive, and the discipline to run a business. They can handle it as a hobby, but that’s it. Let me give you an example. As a VO-coach I can quickly tell if someone has what it takes by the way they handle my assignments.

Those who need a lot of hand-holding don’t impress me. Those who don’t do their homework and make all sorts of excuses, tend not to do well. Those who say “Just tell me where I can find work,” are likely to fail.

Many are interested. Very few are committed.

Here’s the problem: as someone who is self-employed, no one will tell you what to do. No one will hold you accountable. No one cares if you sleep in, or waste your time surfing the web.

And then there’s this.

Until March of this year, I thought I was in control. I believed that I was the certainty my business was based on.

Then I had a stroke.

I woke up weak, exhausted, and without a voice. During many months of rehab I lost thousands of dollars in work I was unable to do. Some of my clients with whom I’d been working for years, found other talent and never came back.

Instead of building my business, I am rebuilding it, piece by piece. But if it weren’t for my amazing better half, my business probably would have gone bust.

At the end of the day, running a business is about risks and rewards.

Too often, newcomers focus on the rewards, and forget about the risks.

So, if you’re seriously thinking of becoming a voice-over, are you a Jack or a John?

I know you want the rewards, but are you certain you’re ready for the risks?

If so, you are in for a most rewarding career!

Paul Strikwerda ©nethervoice

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Why is doing voice-overs so difficult? Part 2

by Paul Strikwerda in Articles, Career, Freelancing, Internet, Pay-to-Play, Promotion, Social Media 10 Comments

Click here for part 1

What do you think voice-overs do all day long?

Sit behind their microphones and record the most amazing scripts?

Make $5,000 for a twenty-second commercial?

Narrate yet another best-selling novel?

If you choose to believe Facebook, that’s what voice-overs do. They book, they record, and they cash in. Rinse and repeat.

Unfortunately, that’s a big fat lie, told to the world because no one wants to look like a loser on social media. We’re one happy family, everything is always great, and business is booming!

The truth is, some voice actors are doing really well, and many are not. Going into 2019, even the big names are asked to work for smaller budgets at full perpetual buyouts, while $249 seems to be the new normal for many non-union jobs. Jobs that would easily go for four or five times as much some years ago, perhaps even more.

If you’re just starting out, and your expectations are as great as your ambition, that’s probably not something you want to hear. But let’s be realistic for a moment.

Once you’ve told the world that you are now a professional voice-over, it stops being a hobby or a daydream. In fact, you’ve just opened up a business. Congratulations.

Are you ready to be a business owner?

Just to be clear: the IRS considers an activity to be a business if:

“that activity is carried on for profit if it makes a profit during at least three of the last five tax years, including the current year (…).”

As someone who has coached many beginning voice talents, I’ll be straight with you. Most of my students have no clue what it means to run a for-profit business in a market saturated with wannabes. That’s a huge part of what makes doing voice-overs so difficult!

Think about it. You may be a crazy talented chef in your state-of-the-art kitchen, but if you don’t know how to run a successful restaurant, you’re doomed to fail. If you don’t believe me, ask Gordon Ramsey!

Here’s where the comparison stops. A smart chef has a staff managing all business aspects of his establishment. That way, he can concentrate on the cooking. As a VO-pro you are on your own, wearing many, many hats. You’ve got to get customers in the door, set the tables, cook the food, clean up at the end of the day, and do the books.

On top of that, too many beginners don’t know what they don’t know. Between you and me, they just want to have fun talking into a microphone, and get paid for it.

I’ll let you in on a dirty little secret: most voice-overs spend way more time trying to get the work than doing the work, myself included (and I’ve been at it for over thirty years).

Like any business, you’ve got to attract customers. How do you do that when no one has ever heard of you (and no one cares to hear about you)? Have you thought about that?

Don’t tell me you’re going to sign up for a voice casting website, and expect them to get you work. That big unethical one in Canada claims to have a global network of over 200,000 voice-overs, and most of them speak English. By the time you open that casting email, you’re at the back of a long line of hopefuls who just received the same message. Chances are that the client won’t ever hear your carefully crafted custom demo. I mean, who’s got time to listen to over a hundred auditions?

And you pay for that “privilege”?

Don’t expect an agent to send you work either when you still have to prove yourself. The irony is: agents want you when you no longer need them. As soon as you have clearly demonstrated an ability to make them money, you become interesting. By that time you should already have a portfolio of returning clients giving your business a sustainable basis.

So, if you can’t rely on Pay to Plays or agents, what are you to do? Where do all these fantastic money-making voice-over jobs come from? Do you find them on Craigslist? Do they grow on trees?

Ultimately, finding work comes down to one person: YOU!

Here’s secret number two: it’s easier to have clients find you, than you having to find clients.

To get people’s attention, you’ve got to toot your own horn. That puts you not only in the business of providing voice-overs. You’re also in the business of self-promotion and marketing. Be honest: do you have expertise in those areas? Are you even comfortable telling people why they should hire you?

Let’s be more specific. Do you know how to design and maintain a kick-ass website that’s search engine optimized, and ready to withstand hackers? If not, do you know a reputable company that can build that site for you? Let’s assume you just spent thousands of dollars on coaching, professional demos, equipment, and a good recording space, how much money is left to get you an online presence? Include the money you pay to a company like SiteGround, to host your website.

Building a website is not just about finding an attractive template and some stock photographs. You need someone with serious copywriting skills to sell your services. Someone who can capture your essence and turn it into a brand. You also have to develop fresh content to give visitors a reason to come back to your website. How are you going to do that?

Then there’s your social media presence. Your brand new company has to be on LinkedIn, Instagram, Twitter, Facebook, Pinterest, YouTube, and whatever the next big thing is going to be. Each platform has its own rules, algorithms, and format. You’ll have to learn how to shoot and edit decent home videos, how to take striking pictures, and how to write compelling copy that makes you stand out above the crowd.

A word of warning. Once you get started, you’ll soon notice that social media is a monster that constantly needs to be fed with fresh, relevant, and unique content created by YOU. This takes time. Lots of time. If you’re lucky, your content gets picked up. More likely, it gets lost in an ocean of mindless, self-absorbed chatter crying “Look at ME. Look at ME!”

Those who are young and full of energy are used to living life online. Their self-esteem is linked to the number of likes each post receives. To them, creating a social media presence is no big deal. I have coached quite a few people for whom voice-overs is a second or third career. They’re in their fifties or sixties, and to them building a website and being active on social media is intimidating and often frustrating. It’s not what they signed up for when they dreamt of being an audio book narrator.

They want to try it the old-fashioned way: cold calling clients. It’s the most masochistic way to spend your day. With people being sick of unwanted solicitation and robocalls, good luck trying to get past the screener before you can read your script to some teenager who is in charge of promotions. These days, more and more people refuse to answer the phone if they don’t recognize the number. If you love listening to voicemail and pissing people off, go for it!

So, let’s quickly recap. Why is doing voice-overs so difficult?

Last week I told you it is hard to sound natural in an unnatural situation, and to act as if you’re not acting. You need much more than a great voice to make it.

Today we talked about running a business, finding work, and self-promotion.

Next week I’ll add another layer: dealing with constant uncertainty.

Be certain to check it out!

Paul Strikwerda

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PPS Bob Souer, one of the nicest people in the voice-over community, has had a tough year. He has asked for our help to turn a corner and move ahead. Through the years, Bob has supported many of us with his wisdom and insight. Now it is time we support him and his family. Please visit his GoFundMe page, and give what you can give. Thank you!

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Why is doing voice-overs so difficult? Part 1

by Paul Strikwerda in Articles, Career, Studio 9 Comments
Yuja Wang performing with the National Youth Orchestra of China at Carnegie Hall on July 22, 2017

Yuja Wang

A new year, a new career?

It’s almost 2019, and if you’re one of the many people who are thinking of becoming a voice-over, this is for you. Before you leave your day job, you need to hear from someone on the inside what life is like when you depend on your voice for a living.

I can tell you one thing right now: in spite of what you may have heard, it’s not what you think it is. Far from it. I’ve been doing this for over thirty years, so please trust that I know what I am talking about.

I have to warn you, though. You may hear me say a few things you don’t want to hear. Please keep an open mind. It’s not my job to either encourage or discourage you from following your dream. If there’s a fire burning inside of you, don’t let me put it out. Use this information to prepare yourself for what lies ahead.

So, why is doing voice-overs so hard?

Anything that seems easy, usually isn’t.

It sounds like no big deal, doesn’t it? Talking for a living. We all do it, incessantly. Human beings need to communicate, so, why not get paid for it? Dan Castellaneta, the voice of Homer J. Simpson is said to be worth over $60 million, just like Nancy Cartwright who voices Bart Simpson. All they do is blabber into a microphone.

Seeing them at work in the studio, voice acting looks like so much effortless fun, and that’s where you make your first mistake. What you see is the result of unique talent, and many, many years of training, hard work, and experience.

In a way it’s like watching Yuja Wang perform a Rachmaninov piano concerto. Her playing is so fast and fluent that it’s easy to forget that even at the peak of her career, she has to practice many hours a day to get to a point where it becomes seamless and second nature.

In our society, we tend to fixate on the end result, and ignore the long and arduous journey to success. Please keep in mind that those who do well as voice-overs are in it for the long haul, and they realize that instant gratification is an illusion sold to you by people who want your money.

Back to the musical metaphor.

The relationship of a musician to a score is like the relationship of an actor to a script. You’ve got to make the words your own, finding the right tone, melody, and rhythm.

Here’s a question for you: There’s a difference between playing the notes and making music.

Anyone can read, but can you actually make music?

Let me take that back. Not everyone can read. Most people think they can, but when you give them a few lines, their volume drops, they start stammering and become very self-conscious. I’ve been there. You’ve been there. You put emphasis on the wrong words. You mumble as your tongue dries up. What comes out of your mouth sounds stilted instead of spontaneous. And when I point that out, you tell me:

“Here’s the problem, Paul. This script… those are not my words. I would never say it that way. That’s why I’m having so much trouble.”

Well, there’s your challenge! At one point, Nancy Cartwright had to find her Bart Simpson, and Dan Castellaneta his Homer (as well as the many other characters they play). They were asked to say things they would never say in real life, and convince the rest of the world they meant every word of it.

That’s part of why voice acting is so difficult. You’re paid to sound authentic and sincere, even when you’re faking it and the script sucks. And take it from me that more than half of the scripts you’ll be asked to voice are written to be read, not spoken, with too many words and too little time.

Meanwhile, you and I are still working on that text I just gave you. Now let’s put you in front of a microphone, and we’ll add an audience to the mix. Let’s assume you’re in a recording studio and the client is listening to your session, together with the director and the sound engineer.

Are you ready for that? After all, people have told you that you have “such a great voice.” How would you handle your nerves? How would you deal with last-minute script changes? How would you respond to feedback that isn’t necessarily positive? Are you patient enough to work for two hours on a thirty-second script, laying down take after take? Will your voice hold up, even when asked to scream enthusiastically over and over again?

All of the above assumes that you have passed the first hurdle: the microphone. Most people become very self-conscious when someone points a camera at them. All of a sudden they don’t know where to put their hands or how to hold their head. The same thing happens with a microphone.

Once you’re aware that every sound you make is being recorded, the pressure is on. And when I say every sound, I mean every sound. Even the sounds you’re not aware of. Every breath, every lip smack, every pop, every click, every snap, bone crackle, and stomach rumble.

The microphone is like a merciless magnifying glass exposing all your imperfections.

These are just some of the things you have to confront as a voice-over professional. You have to…

Sound natural in an unnatural situation, and act as if you’re not acting.

To be honest, most people can’t do it, and they don’t need to because they have other talents and ambitions. Not every piano student wants to have a career like Yuja Wang, but those who do, better prepare themselves!

Next week I’ll talk about another aspect of what makes doing voice-overs so difficult:

It’s a freakin’ business!

Paul Strikwerda ©nethervoice

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What Is Holding You Back?

by Paul Strikwerda in Articles, Career 2 Comments

Doll on Halloween pumpkinIf I were to ask you:

“What is one of the greatest motivators of behavior on the planet?”

What would you say?

Before you answer, let me add this:

All animals respond to it, including us, humans.

Every year, companies make billions of dollars because of it. People lose sleep over it. Others are driven to insanity because they can’t handle it. Some people use it for entertainment purposes.

The remarkable thing is this: Most of the time we don’t even know if it is based in reality. It doesn’t matter. Alfred Hitchcock knew that our imagination is way more powerful than anything he could ever put on celluloid. He famously said:

“There is no terror in the bang. Only in the anticipation of it.”

WHAT DRIVES US?

One of our greatest motivators is FEAR.

Around this time of year we are all reminded of our love-hate relationship with fear. We love scary movies. Terrifying videos games are worldwide bestsellers. The most dangerous amusement park rides have the longest lines.

Fear is fun!

Why else would people jump out of airplanes, swim with sharks, or scare each other on Halloween, dressed up like zombies?

Fear also explains why so many Americans love their guns, why we buy insurance, and why some people believe in G-d.

At the heart of fear is our deep concern for getting hurt. People are willing to do a lot to avoid a little pain, but they’re willing to give up even more to play it safe.

How many friends have given up a dream because they were afraid it would become a disaster? How many sweet souls have never declared their love for fear of rejection? How many people never dared to step on stage and show their talent, because they didn’t want to embarrass themselves?

Fear can paralyze and suffocate. It prevents people from even trying. Fear is the spirit behind the inner voice that whispers:

“I’m not good enough”

“I don’t deserve this”

“I’m sure I will fail”

“People will laugh at me”

DIFFERENT FEARS

Of course I should stop for a moment to make the distinction between rational and irrational fear. Fear of heights, ferocious animals, and fear of evil men with loaded guns is usually a good thing. When the danger is real, fear is meant to protect us from harm.  

However, we often suffer needlessly because we’re afraid of things that may happen, but probably never will. In holding on to irrational beliefs, we deny ourselves a chance to find out what will really happen when we dare to take a risk.

Many, many years ago I decided I didn’t want the security of a corporate job with corporate hours, and corporate benefits. I defied the expectations of family and friends by becoming a freelancer. Why? Because something inside me knew that the opposite of fear was freedom. I needed to be free to do my own thing in my own way, and in my own time.

Looking back, I can’t say that my road was without bumps, and that my game was free of curveballs. There were times I wished I had a regular schedule, and a regular paycheck. And yet, I am so glad I didn’t listen to those who warned me it would never work. Those people are now jealous that I can set my own hours, my own rates, and that I work out of my own home.

LIBERATE YOURSELF

If you wish to claim the rewards, you have to embrace the risk, defy your critics, and defeat your fears.

There will always be a million reasons that hold you back, but you only need one good reason to go for it.

What is yours?

Believe me, if you’re a self-starter and you run your own business, you will be asked to dig deep. People will test you, they will ridicule you, and they will desert you when you need them most. That’s scary, but not in a Halloween sort of way. In these times you will ask yourself:

“Why am I doing this? What is my motivation?”

Even though you and I may not know each other, I do know this:

There is something you are really good at. Maybe it has to be developed and refined. Perhaps it needs a few more years to mature. But you know the fire is burning, and you feel the yearning.

That talent and that fire is one of your many strengths. It is one of the reasons why you’re here. You owe it to yourself and to the rest of us to stand in your strength. That strength will help you turn your fear into faith. By faith I mean self-confidence. 

TRANSFORMATION

Faith will help you believe you can make it, even in the absence of proof. After all, how can you prove something that hasn’t happened yet? You have to believe it, before you can see it. 

I don’t know who Paul Sweeney is, but he said something powerful that has always stuck with me:

“True success is overcoming the fear of being unsuccessful.”

Perhaps you know the story of British singer Alice Fredenham. People first heard of her when she appeared on The Voice, a talent show created by John de Mol, and based on the concept The Voice of Holland. When she came on, this “beauty therapist” was all bubbly, upbeat, and full of confidence. Even though her performance of The Lady Is a Tramp was solid, she didn’t impress any of the judges, and she was sent home. Her greatest fear had become a reality. 

But Alice didn’t give up. Two months later, she appeared on Britain’s Got Talent, but with a very different attitude. Take a look:

Of course I realize that these shows thrive on carefully crafted sentimentality. Alice was accused of faking her insecurity and her tears, but I wonder how confident I would have felt on that stage.

After being rejected in front of millions, she overcame her fear and insecurity, because the song inside of her was stronger. She eventually made it to the semi-finals of Britain’s Got Talent, and signed a record deal with Sony. Sony decided to release her from her demo contract, but Alice didn’t give up. A Kickstarter campaign allowed her to record her first album in 2015.

BACK TO YOU

If you allow yourself to be motivated by fear, your focus is on what you don’t want. Take it from me, that’s not where your energy should be. Your energy should be on your strengths and your goals. Not on your weaknesses.

This week, do yourself a favor. Be like Alice Fredenham and do something uncomfortable. Do something you’re a bit afraid of; something that scares you. Don’t pick your greatest fear. Pick something small for starters. Big success is built on a series of small achievements.

Discover that what you were initially afraid of, wasn’t really a big deal after all. Perhaps what you expected to happen, didn’t. 

Next week, pick something else; something a bit bigger, and build on that experience. 

Use this trick, and turn it into a treat.

Make it worthwhile. Make it memorable. Make it meaningful.

That way, you get yourself ready for a moment when you can’t choose the challenge. The challenge chooses you. 

That’s when you’ll discover this simple fact:

Life doesn’t have to be a thriller, but it certainly can be thrilling.

Happy Halloween!

Paul Strikwerda ©nethervoice

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photo credit: alain l’étranger via photopin cc

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The Voice-Over World Needs More Rejection. Here’s Why.

by Paul Strikwerda in Articles, Career, Money Matters, Pay-to-Play 14 Comments

Words are powerful things.

They can inspire us, they make us laugh, they melt our hearts, and they entice our souls to jump for joy.

Words can also scare us and scar us. They can intimidate, discriminate, and humiliate.

The sound of certain words alone, can petrify people. Try this, will you?

Say the following words out loud, and let them sink in for a moment:

Terror
Horror
Pain
Death
Disaster

Did you feel the effect?

Although they are nothing but letters arranged in a specific order, they sound dark and ominous because of all the things we’ve learned to associate with them. The terror of 9/11, the horror of the Holocaust, the pain of suffering, the death of a loved one, and the disaster of losing a home in a fire.

We all carry these uniquely personal connotations within us, and -invisible to the outside world- they resonate whenever we hear these words. Here’s where things get interesting.

Although you may think that we share some of life’s ups and downs because they are part of being human, all of us experience these highs and lows in our own way. These experiences color what we associate with certain words. This explains why people can use the same words, and yet mean and feel very different things.

For instance, the word “Dutch” means something different to me than what it means to you. I was born in the Netherlands and grew up there. Dutch is part of my DNA. If you’re an American, the first thing you may think of is Pennsylvania Dutch, or a fun game of Double Dutch.

Take the word “relationship.” There’s the definition from the dictionary, and then there’ s our experiential definition, infused with memories, and expectations. We emotionally respond to the latter, not the former.

There are many scary words in our language, the scariest being the word “NO.”

A close second is the word “rejection,” which basically means the same thing. Today, I’m going to zoom in on that word, because I believe the voice-over community needs more of it.

What?

Yes, you’ve heard me.

We need more rejection. And before you reject that idea, please hear me out.

For newcomers trying to make a name for themselves in this competitive business, rejection is the worst that can happen. They’ve (hopefully) invested a lot of time and money in training and equipment, and feel ready to start playing the game. Subconsciously, many are convinced the world owes them. Why?

Well, when you make a serious investment, you should expect a decent return, right? That’s only fair.

Unfortunately, there is no fair in voice-over casting. There’s talent, training, experience, luck, who you know in the business, and subjective selection. None of them will guarantee any work.

So, when a novice starts auditioning for everything under the sun, and lands exactly zero jobs in three months, it feels like a slap in the face. Over time, they may start suffering from a gloomy condition I call rejection dejection, a feeling of failure caused by perceived incompetence.

Now, if that’s the result of rejection, why do I believe we need more of it? I’ll tell you.

1. People set themselves up for failure, and they deserve to be rejected

If you were ever in a position to cast a project, you know what I mean. You can throw at least half of the submissions out because the audio quality is appalling. Snowball microphones, egg crates, and leaf blowing neighbors can’t compete with pristine professional audio from someone who knows what s/he’s doing.

A quarter of auditionees don’t read the specs, and can’t be bothered to follow instructions. A quarter sounds fake and inauthentic, and many don’t know how to price their services. They’re either too cheap to be taken seriously, or too expensive to be competitive.

How do I know this? Because I’ve made all these mistakes! I simply didn’t know what I didn’t know without knowing it. The other day I was listening to some of my old auditions, and I was embarrassed. No wonder I didn’t book anything. But did I go on Facebook to moan and groan? No way! The only thing I could do was up my game, and rejection was the kick in the pants I desperately needed.

In short, rejection separates the wheat from the chaff, and can give people a strong incentive to learn and grow up.

2. We need to reframe rejection

The discussion about rejection almost always focuses on the poor, powerless voice-over, being a victim of the whims of a demanding, mysterious client. I’m not falling into that trap of misery and self-pity. Over the years I have turned the tables, and have come to see myself as the one doing the rejecting. It’s quite simple:

On any given day, I receive invitations to audition, and projects to record. Most of them I reject. I believe that quality, not quantity, is the secret to winning auditions. The client does not pay me to learn on the job, so I will only accept projects I know I can handle in terms of my skills and the time I have available.

I also reject projects that advocate unethical practices or promote products I cannot stand behind. For instance, I don’t want to be associated with the weapons trade, climate destruction, human rights abuses, the meat processing industry, and political parties whose ideas I cannot support. I know this has cost me work, but having principles comes at a price.

Lastly, I reject working with clients, corporations, or businesses that have been shown to act unethically. A particular Canadian Pay to Play comes to mind.

What’s the result of all this rejection? It’s the fact that I do work I can be proud of; work that makes me happy. If that’s something you want, I advise you to warmly embrace rejection!

3. We need to reject low rates, cheap clients, greedy Pay to Plays, and lowballing “colleagues”

Audio books are booming, video games are making billions, streaming services are producing more and more original content, eLearning is in high demand… I’d say the opportunities for voice-overs have never been better. That’s why so many want to give it a try.

In spite of these opportunities, many colleagues I talk to are finding it harder to get decent work for decent pay. Some of them end up doing more for less because the cost of living is going up and bills need to be paid. Agents dealing with clients tell me that it’s harder to negotiate a good rate, and that almost every client wants an unlimited buyout without paying for it.

Meanwhile, new voice casting services are opening their virtual doors, hoping to do good business with low rates and high commissions. It seems the gradual commoditization of our industry is in full swing.

The big questions is: how should we respond to that?

I think the answer lies in …. you’ve guessed it: rejection.

Be proud of your pricing, and reject rates that are insultingly low. Reject companies that triple dip, and leave you with less. Reject undercutting “colleagues.” Educate them, just as you educate your clients about fair fees.

Reject the lowballers that say: “One bird in the hand is better than two in the bush.” That’s based on shortsighted, egotistical thinking. It’s not a way to carve out a sustainable career that can feed a family.

Reject the notion that your decisions do not make a difference. Every time you quote a project or you accept a fee, you send a signal to the market: “This is what I believe my work is worth.” The only reason clients are getting away with paying pennies, is because people agree to work for pennies. No one is forcing them at gunpoint.

Now, you may have all kinds of reasons why you feel you have the right to work for a low rate, but I’m not interested in reasons. I’m interested in results. And the result is that for many it’s become harder and harder to make a living as a full-time voice-over.

Do all of us a favor and stop competing on price. It’s a game you will lose, because there’s always an idiot willing to do more for less, and go bankrupt in the process.

Show some self-respect, and show some respect for your craft and your community. Start competing on added value. Prove to the client that you’re worth what you’re asking.

Because if you do things right, your added value will always be higher than your rate!

Now, if that’s an idea you reject, I’m afraid can’t help you.

Paul Strikwerda ©nethervoice

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Losing My Voice

by Paul Strikwerda in Articles, Personal 28 Comments

At speech therapy wearing a TENS device

The facts are sobering.

Every forty seconds, someone is struck with a stroke. It is the fifth leading cause of death in the U.S. Most people will never make a full recovery, and more than two-thirds of survivors have some kind of disability associated with the attack.

Those are the statistics.

It’s a good thing I don’t believe in numbers. I believe in proving them wrong. The history of the world is filled with people who were told “It can’t be done,” and yet they persisted and succeeded. Against all odds.

I believe that people don’t equal statistics.

Going by the stats, it seems reasonable to believe that I would never fully recover from the stroke that struck me six months ago. But I chose to be unreasonable.

Last week I wrote about my road to recovery, and I promised you to open up about the one thing that terrified me most. It was something I didn’t want my colleagues or clients to know, because it could ruin my career.

HOW IT STARTED

Let me take you back to March 26th, 2018, the day I woke up on the floor of my voice-over studio wondering what the heck was going on. In hindsight I had the classic signs of a stroke: a sudden and pounding headache, loss of coordination, and blurry vision. One side of my body was paralyzed, my face was drooping, and I had trouble speaking.

That last symptom manifested itself in two ways: I had difficulty speaking sentences that made sense, and my speech was slurred. This usually means that the part of the brain that controls language is not getting the blood supply it needs. It was in fact dying.

As I was being transported to the hospital in a helicopter, my wife got a phone call from the surgeon who was on standby to operate on me. “When Paul comes in, I probably won’t have time to introduce myself,” he said, “so I want to take a moment to speak with you now. I’ll be totally honest. Everything we do will depend on the results of Paul’s CT scan, which will show us what parts of his brain are still intact when he arrives. Timing is crucial.”

He continued: “Be prepared that he might not make it, or that he’ll end up being severely handicapped and dependent on others for the rest of his life. If the scan looks good, we can do a thrombectomy to remove the blood clot from his brain, and take it from there.”

Since you’re reading these words, you already know the outcome. I guess it wasn’t my time to go, and I beat the statistics. Annually, out of the 1600 stroke patients that arrive in the hospital I was admitted to, only 80 are eligible for a thrombectomy.

THE RECOVERY BEGINS

So, my surgery was a success, but this did not mean that all was well between my ears. The scans showed a black area on the right side of my brain where cells had died. Those cells do not grow back. In order to compensate for the loss, the brain has to rewire itself and have other parts take over the function of the cells that are lost. To make that happen I needed at least five things: a positive attitude, a solid support system, plenty of rest, healthy nutrition, and therapy.

Even though I no longer sounded like a drunkard, clear articulation wasn’t my forte in the first few months after my stroke. I suffered from dysarthria. That’s a fancy word for unclear speech caused by brain damage. It’s a weakness or lack of coordination of the muscles of the tongue, lips, palate, jaw, and larynx. On top of that I had word-finding issues, indicative of memory loss.

By far the weirdest symptom of my post-stroke condition was the fact that I didn’t sound like me. My speech had become rather robotic and monotonal. It came in little bursts of language, just like the thoughts in my head. In the weeks to come, I discovered that I had the hardest time infusing my words with emotion.

No matter the subject, I sounded as passionate as a concrete wall. After I came home, I tried my hand at a few voice-over scripts for existing clients. It took countless retakes before I was somewhat satisfied with the result, but clients were noticing that something was off. The feedback I consistently received boiled down to this: “Once more, with feeling, please.”

The problem was that I had no idea how to access those right brain feelings. No matter how hard I tried, I seemed incapable of translating instructions like “confident,” “warm,” or “excited” into sound, whether in my studio, or in ordinary conversations. This was infuriatingly frustrating. I felt like a soccer player unable to handle the ball, or a painter who can’t hold a brush to add color to his canvas.

Would I ever be able to reach these emotions again, or were they part of the right brain that was destroyed by the stroke? What would this mean for my voice-over career?

Twice a week I went to speech therapy to learn how to improve my articulation. With my therapist, I also worked on regaining memory, and on sharpening my information processing skills. Very soon I realized that all of this wasn’t going to be as easy as flipping some internal switch. It needed time, energy, and lots of practice at home.

Speaking of home, on top of her busy schedule my wife became my designated driver, my patient advocate, my caregiver, my personal chef, and my hero. She made sure I got to all my appointments, that I took all my medications, and that my recovery would be pretty much stress-free. Her delicious meals were almost always based on fresh, locally sourced and unprocessed ingredients. You can’t have a healthy mind without a healthy body.

MORE TROUBLE

In the weeks after my hospitalization there was something else about my voice that concerned me. For some reason I was hoarse all the time, and I had no vocal stamina for long conversations and even longer scripts. I was tired, and I sounded like it. Something told me that if I didn’t take care of this, my career as a professional speaker would be over.

In May I went to see an otorhinolaryngologist who specializes in working with actors, singers, and public speakers. She performed a flexible fiberoptic laryngoscopy whereby a small endoscope is inserted through one nostril and guided through the nose to the back of the throat. It’s a funny feeling.

This revealed a slight laryngeal tremor. That’s an involuntary tremor of the vocal folds that causes changes in the voice. My ENT also concluded I had laryngopharyngeal reflux (LPR), a.k.a. “silent reflux.” Why silent? Because it doesn’t necessarily trigger the usual symptoms of acid reflux, such as heartburn. It does lead to hoarseness, coughing, and throat clearing because stomach fluid travels back through the food pipe to reach the back of the throat.

It is likely that the laryngeal tremor was caused by the stroke. Perhaps it will go away over time. Perhaps it won’t. I’m treating my LPR in several ways. I avoid spicy and acidic foods. I limit my intake of chocolate, coffee, alcohol, citrus fruits, mints and tomato-based products. I’ve stopped snacking before bedtime, and I’ve lost about twenty pounds. I’m also taking omeprazole which decreases the amount of acid the stomach makes. A new wedge pillow raises my head in bed, and keeps the acid down where it belongs.

Experts estimate that forty percent of the population may have undiagnosed LPR. If you’re experiencing hoarseness, a need to clear your throat, a sore throat, difficulty swallowing, or a red, swollen, or irritated voice box, please see an ENT to get to the root of the problem.

POSITIVE RESULTS

The good news is that after months of speech therapy my articulation and ability to focus has greatly improved, and the robot voice is gone. Only when I get really tired, it becomes more monotonal. I’m relieved that my speech has become more expressive, allowing me to continue to work as a voice talent. I’m also back to doing four-hour shifts as one of the announcers at the Easton Farmers’ Market.

Twice a week I work on strengthening my vocal folds and building my endurance with my speech therapists. I’m not yet where I want to be, but I’ve started recording longer scripts again.

RECOVERY CONTINUES

It takes a positive attitude, plenty of rest, healthy nutrition, and therapy to recover from a stroke. Add to that a support system; a network of caring people who provide you with practical and emotional support. Reading and responding to your comments on last week’s blog post, I realize how lucky I am to have such a supportive group of friends and colleagues!

Thank you for your kind words, good thoughts, and prayers. Your positive vibes revitalize me, and give me energy to keep on beating the odds. The process of healing goes on, which means that I have to be careful not to do too much, too quickly. So, if you don’t hear from me within 24 hours, and you don’t see me on social media, rest assured that I’m doing everything I can to take care of myself.

I hope you will do the same.

Paul ©nethervoice

Important: the information presented here does not substitute for medical consultation or examination, nor is it intended to provide advice on the medical treatment appropriate to any specific circumstances.

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Would You Survive The Shark Tank?

by Paul Strikwerda in Articles, Career, Freelancing, Gear, Money Matters 2 Comments

Three years ago, two aspiring voice-overs took the plunge, and opened up shop.

One was incredibly talented, undisciplined, and thought he always knew best. The other one wasn’t as good, but she was business-savvy, and listened to feedback.

36 months later, number one is now an Uber-driver, entertaining his clients with celebrity impressions. Number two is starting to make a living… as a voice talent.

What went wrong, and what went right? Was it a matter of luck, attitude, or preparation?

Simply put, it takes more than talent to make it as a freelancer, no matter what field you pick. Way more. Let’s explore.

INVESTING IN YOU

Here’s a question for you.

If I were an investor on Shark Tank or Dragons’ Den, and you came to me with a pitch to back your business, what would I be looking for?

Number one: I’d look for your ability to make me money. By the way: that happens to be the same reason why agents sign you, and clients hire you. 

Think about that for a minute.

You may believe that you’re doing what you’re doing to make money for yourself. If that’s the case, I have news for you.

Your clients don’t care whether or not you turn a profit. Your clients don’t want to know how much you spent on that new microphone or revamped website. All they are interested in, is this:

“Will your voice help me spread my message so I can make more money?”

Even if you happen to work with a non-profit, it’s always a matter of benefits and costs. The benefits of hiring you should outweigh how much your clients pay. If that’s the case, those clients will perceive you as an asset, and not as an expense.

MAKING YOUR PITCH

There’s a lot of psychology in selling, but it starts with this: in a competitive market you have to offer a competitive product. Something that’s different, or better than what’s already on the shelves. 

If you’re providing a service like voice-over narration, you better bring it from day one. Don’t jump into the ocean if you barely know how to swim. Amateurs learn on the job, and they get eaten alive. Professionals know what they’re doing, and they’re able to survive.

In the Shark Tank as well as in real life, you’d need to bring something to the table that’s rather unique; a brilliant solution to a common problem, sold at the right price. Yes, you heard me. As one of the investors, I would expect you to know what you’re worth and charge accordingly.

Mark my words: Those who sell themselves short, aren’t taken seriously.

You’d also have to demonstrate what sets you apart from the competition. You have to come up with a solid marketing plan, and convince me why I should trust you.

It’s also important that you present your plans compellingly and logically, particularly under pressure. The reason is simple. If you cannot sell yourself, how will you ever sell your service, especially if you are the embodiment of that service?

LOOKING AT THE NUMBERS

Lastly, you’d have to show me your books.

Some freelancers think this is the boring stuff, but to me, this is where things get interesting.

No matter what business you’re in, the way you manage your money is one of the most important predictors of success. You may have the most enchanting voice in the world, but if you don’t price for profit, and you spend more than you make without even knowing it, you may end up driving for Uber.

Your balance sheet needs to reflect a few other things as well:

  • a keen sense of organization,
  • an aptitude for making intelligent investments, and
  • an ability to control costs.

 

If it’s okay with you, I want to talk about the last two things I just mentioned: investing in your business, and controlling how much you spend. Today I’ll talk a bit about spending. Next week I’ll show you a few of my favorite ways to save. 

WHERE TO PUT YOUR MONEY

No matter what some people want you to believe, you cannot run a profitable voice-over business on a shoestring budget. It starts with getting the proper training. Clients pay you because they trust that you know what you’re doing. They don’t expect you to figure it out on the fly and on their dime.

Just as a carpenter needs quality tools to deliver quality work, you need to have equipment that says you’re taking this voice-over thing seriously. Otherwise, you’re nothing more than a hopeful hobbyist talking into a stupid snowball microphone. 

Now, if you’re just getting started, here’s something you probably don’t want to hear: without a dedicated, isolated, and acoustically treated recording space, you’re not going to make enough money to stay afloat.

When a client calls, or there’s an audition, you need to be able to jump into your booth and press “record.” Otherwise the client will go somewhere else, and you’ll be last in line for that audition. You really can’t afford to wait until your neighbor stops using his snow blower, or until that barking bulldog finally falls asleep.

An expensive microphone in a bad recording space won’t sound half as good as a cheaper microphone in a treated environment. I think you get the point. Looking back at my career, building a home studio was one of the best investments I’ve ever made. It has paid for itself many times over, and frankly, I wish I’d done it earlier.

THE INVISIBLE EQUALIZER

Another investment you should make, is an investment in something invaluable that cannot be bought or rented. You can’t taste it, or touch it. Yet, everyone is using it every day (some to greater effect than others).

I’m talking about Time.

The success or failure of your business greatly depends on how you spend your time. First of all, give yourself time to become good at what you want to do. Cultivate your craft. Don’t rush it. There’s a lot more to doing voice-overs than most people think. And just because it sounds easy, doesn’t mean it is. 

Time is all about goals and priorities. We usually get things done that are important to us. People tend to get their “musts,” but not their “shoulds.” 

In a past profession, I interviewed many people who were considered to be a success. Politicians, captains of industry, and entertainers. Most of them were incredibly busy, but they were really good at planning, or had someone else do the planning for them. That way, they made the most out of every day.

These people were just like you and me, but they didn’t spend hours checking Facebook, or watching soap operas. What struck me most was their tremendous power to prioritize, delegate, and focus. Whatever they were doing at a particular moment, had their full attention.

So, if you wish to learn from those who are where you want to be, don’t ask them about the moment they knew they wanted to be a voice-over.

Don’t ask them about the silliest thing that ever happened to them in a studio.

Ask them how they spend their time, and learn from it.

This will help you get ready for the Shark Tank that is your professional life.

Three years from now, it might make the difference between working a dream job, or driving a cab.

Paul Strikwerda ©nethervoice

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