voiceover blog

When A Client Owes You

by Paul Strikwerda in Articles, Freelancing, Money Matters 17 Comments

DSC05783Imagine walking into a fancy restaurant.

You like what you see on the menu and you order a three-course meal plus a bottle of Bordeaux. After a short wait, the food arrives, meticulously prepared by an expert chef. The meal is delicious. The wine is divine.

When it’s time to pay, you tell the waiter:

“I’d be happy to take care of the bill, but I’m afraid I can’t do that right now.”

“What seems to be the problem?” the server asks. Your response:

“Well, I’m a little low on cash right now. I’m waiting for someone to send me a check. Once that money is in my account, I can pay you. That could take a few weeks or even a month. I’m sure you understand the position I’m in. I promise you’ll get your money. Just not today.”

It’s an absurd scenario, but if you’re a freelancer it’s not uncommon. According to the Freelancers Union,

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Voice-Over Dandy

by Paul Strikwerda in Articles, Studio 13 Comments


Actors are a weird bunch, voice actors included.

We all have our silly little routines and rituals on stage and in the studio.

A Dutch actor I once interviewed had to sweep the entire stage before the show. He said he wanted to get to know every square inch. His colleague always wore the same pair of striped socks for a premiere; socks his mother had given him some twenty years ago.

A famous actress wouldn’t start a performance without a waft of her favorite Eau de Toilette: “Je Reviens.” One night she lost the bottle and her assistant had to go on a wild-goose chase to find a new one. The Diva kept the whole theater waiting for over an hour until the fragrance was found.

STRANGE BEHAVIOR

These silly, idiosyncratic rituals don’t make any sense to you and me. To those who are displaying these behaviors they make all the difference. What they have in common is this. It’s outward behavior that’s meant to change someone’s inner state.

For some it’s a way to get centered and calm the nerves. For others it comes close to superstition.

I’m pretty sure that, as you’re reading this, you might ask yourself: “What is it that I do before I step up to the mic?” I bet you anything that you’re not even aware of what you’re doing because it’s become second nature.

My personal rituals are very practical and they start before I’ve even set a step into my studio. Pretty much all of them have to do with self-care. I suppose I could leave a couple of them out, but somehow I wouldn’t feel the same. To me it would feel like leaving the house half-dressed.

So here’s what needs to happen in my world.

PERSONAL ROUTINE

I won’t start recording until I have brushed my teeth. Guaranteed. I want this fresh feeling in my mouth before I taste the words I’m about to speak. This is not optional. It must happen. Of course this doesn’t qualify as eccentric behavior. We all brush our teeth after breakfast, right? But hang in there. Here’s where it gets odd.

When I have finished one project and I’m about to move to another, I go back and brush my teeth again. It is as if I need to rinse my mouth of the previous experience before I can move on. On any given day, I can repeat this a number of times. This makes my dentist very happy (as long as I brush gently with a soft brush). It also gives me a very clean sound.

I will often use a tongue scraper too. It’s a cleaner meant to clear the surface of the tongue of bacterial build-up, food debris and dead cells. I’ve discovered that after using this device, my mouth noises are drastically reduced. You should give it a try.

Warning: if you’re using the scraper for the first time, you’ll be surprised how much gunk has been living on your tongue for all these years. It’s kind of gross. This thing does have nice side-effects. Using a tongue scraper gives you better breath and you’ll taste flavors more intensely.

MOISTURIZATION

Another thing I must do before I go down to my studio, is moisturize my face. Not only is it soothing, it loosens up the skin, helping my facial muscles relax and bend into different shapes as I enunciate the words I’m recording. For that reason I also have to apply and reapply generous quantities of lip balm.

Dry lips and a dry mouth are a major source of those annoying mouth noises. If my mouth feels particularly dry, I’ll use some moisturizing mouth spray which contains the same protein-enzymes found in saliva. I also make sure to breathe through my nose. Mouth breathing may even cause something called laryngitis sicca, where the tissues of the larynx become very dry.

Frequent hydration is also part of my studio ritual. I like to add a slice of lime to my filtered water, which I always drink at room temperature. Cold water can shock the vocal cords. Not a good idea.

ANNOYING ALLERGIES

I live in Pennsylvania’s Lehigh Valley, one of the worst areas of the United States when it comes to allergies. Reluctantly, taking care of sniffles, sneezes and congested nasal passages has become part of my routine too.

I’ll often take an over-the-counter medication such as fexofenadine in the morning. Throughout the day I’ll use a gentle saline spray or a Neti Pot to relieve sinus problems. Lately, I’ve added a homeopathic inhaler with a hint of menthol.

Allergies can also affect the vocal folds. There’s even such a thing as allergic laryngitis. Symptoms include hoarseness, itchy throat, excess phlegm or mucous in the throat, a feeling of dry throat, coughing and sneezing.

Again, hydration is essential in the treatment of allergic laryngitis. The water lubricates the vocal folds and it thins the mucous.

A DUTCH TREAT 

If my throat simply hurts after a recording session, I’ll often turn to one of my favorite home remedies: Dutch licorice or licorice syrup. Dutch black licorice comes in many shapes, flavors and sizes and it’s definitely an acquired taste. If you’re up for it, get the real thing (not the licorice-flavored candy) and make sure you eat it in moderation.

If licorice is not your thing, try a cup of organic tea, such as the Throat Coat blend. It contains licorice as well as slippery elm .  

Less eccentric than eating black and often salty licorice, is a habit that’s more preventative. It’s part of my preparation for voice-over work, and that’s why I want to mention it.

Over the years I have learned to avoid places with loud music and loud crowds; places that would force me to shout if I wanted to have a “normal” conversation. That type of vocal abuse can -if repeated frequently- result in scar tissue formation within the vocal folds, thickening of the vocal folds and vocal fold lesions.

THE DUTCH DANDY

So, if you were to walk into my studio today, you would notice a whole lineup of self-care products, sprays and black candy, fit for a Dandy. Taking good care of my face, throat and voice has become quite the routine. Some may think I’m overly protective, but to me there is no such thing. My voice is my bread and butter and I’ll do everything to treat it with love and respect.

I’m still not sure how this whole brushing my teeth-thing started, because there’s obviously more to it than dental hygiene. Having to go up to do it gives me a welcome break. Instead of sitting down staring at a screen all day long, I’m forced to climb the stairs and clear my mind. It may be weird, but it works for me. And that’s what all these eccentric behaviors have in common.

They’re weird and at the same time wonderful.

Now, if you’ll excuse me… it’s time for my facial, followed by a nice manicure.

I wonder which one of my silk bow ties I will wear today.

Paul Strikwerda ©nethervoice

PS Be sweet. Please retweet.

photo credit: zilverbat. via photopin cc

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Good enough is never good enough

by Paul Strikwerda in Articles, Career, Internet, Money Matters, Pay-to-Play 22 Comments

Dear voice casting agencies,

You are being deceived!

People pretending to be professionals have infiltrated your talent pool. People who can barely swim. It’s happening on your watch and you probably have no idea what the heck is going on.

Why?

Because you don’t know or you don’t care.

You’re too busy trying to make a buck in this competitive market, and you have no time or money for decent quality control. Or you are aware that you’re accepting and advertising third-rate “talent,” but this is simply a reflection of your standards.

AVERAGE HAS BECOME ACCEPTABLE

Let’s talk about those standards for a moment.

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Failure is Always an Option

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

A few years ago, entrepreneur and New York Times contributor Jay Goltz asked owners of failed small businesses what had gone wrong.

Guess what?

Most of them didn’t really have a clue.

To a certain extent that’s not surprising. Had they known what the problem was, they might have been able to fix it.

Some owners were in denial. Instead of acknowledging their own responsibility, they blamed the economy, the current administration, the bank or an idiot partner. Never themselves.

In many cases, Goltz noted that (ex) customers had a much better understanding of what went wrong. The owner still had his stubborn head in the sand.

Over the years, I’ve counseled quite a few struggling voice-overs who were ready to give up. Without exception they were sweet, well-intentioned and hard-working people. Some of them were even talented. And like the folks Goltz interviewed, they were wondering why their new career was going down the drain.

TAKE LARRY

Larry called himself a victim of the recession.

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That Dreaded Audition

by Paul Strikwerda in Articles, Career 13 Comments

“Do you ever get nervous before an audition?” a colleague wanted to know. Let’s name him Jack.

“Not really,” I said. “I find nerves to be extremely unhelpful. Most of the time they’re the result of future memories.

“Future memories? What do you mean by that?” my colleague wanted to know.

“Well, in my mind, a memory is a reconstruction of an interpretation of what we think has happened to us in the past.

A future memory is something we’ve made up that we believe might happen one day. It’s equally unreliable, and yet people can get all worked up over them. Especially those who are into worst-case-scenario thinking. Nobody can say with certainty what’s going to happen. Take it from me, there’s nothing as unpredictable as the outcome of an audition.”

“Why is that?” asked Jack.

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A Poor Man’s Vocal Booth?

by Paul Strikwerda in Articles, Studio 13 Comments

Sometimes I come across a certain product and wonder:

It looks promising, but is it any good?

The CAD Audio Acousti-Shield 32 is one of those things.

Designed to “substantially reduce unwanted reflections, echo flutter and environmental unwanted acoustic interference,” does it deliver as promised?

Could it be the poor man’s vocal booth, or is it a waste of space, and money?

SOUNDPROOFING

Before I tell you what I think, let’s briefly discuss the whole concept of soundproofing and room treatment. As I wrote in my booklet Building a Vocal Booth on a Budget:

“In this noisy world, soundproofing has become big business. I just Googled the word and got almost two million results. Buyer beware, because the same search will take you into the realm of grotesque claims and pseudo-scientific truths:

“These Soundproof windows will totally eliminate your noise problems.”

“This soundproof foam absorbs up to 66% of sound waves.”

“Our soundproof curtains offer the highest STC performance.”

Do the makers of these products assume we’re that stupid? Think about it for a moment. What does “soundproof” really mean? Most dictionaries describe it as:

impervious to, or not penetrable by sound

Going by the aforementioned claims one could argue that the minds of the makers of these products seem impervious to, or not penetrable by logic. Then again, advertising is all about making noise and not about offering sound proof.”

Gluing some acoustic panels to your wall or on to a “shield” will do nothing to block outside noise from coming in. Auralex foam and its many clones will change the characteristic of the sound inside your recording space, diminishing reflection and reverberation. It absorbs the sound but it does not reduce it.

Yet, CAD claims that their shield can substantially reduce “environmental unwanted acoustic interference.” What does that mean? Would this shield be able to diminish ambient noise? Why not find out? For the test, I purposely chose one of the worst acoustic locations in my house: my basement.

TESTING

Let’s say you want to use your laptop for a quick recording and you place your microphone in the same room. Before you know it, the computer fan kicks in and starts making noise. Could CAD’s Acousti-Shield magically neutralize the noise? 

I’ll let you listen to the same script twice. You might want to put your headphones on. First you’ll hear my voice without the shield in place. The second time I read the script, the Acousti-Shield cradles the microphone. Just notice if this device is able to get rid of the noise the laptop fan makes.

 

That’s pretty clear, isn’t it? It confirmed my suspicion. The shield does very little to keep unwanted noise out of the recording. As expected, this thing is no substitute for a properly isolated room. But will it deliver on the second promise? Could it make a room sound more dry? 

Before I play the second soundbite, you should know that I recorded the audio with an AKG C 3000 B microphone, plugged into a Grace Design m101 preamplifier. The 16 bit, 48,000 Hz WAVE recording was converted to MP3 format for this blog.

For the next track I removed the laptop from the room. Once again, you’ll first hear me without the shield. Then I’ll read the same text with the Acousti-Shield 32 in place.

 

Did you hear a significant difference? A difference worth over one hundred dollars? To be honest with you, I was disappointed. The room didn’t sound dry to me at all. How could a company with such a good reputation bring such a poor product to market? It just didn’t make sense.

WRONG APPROACH 

The next day I woke up with an idea. What if the product wasn’t the problem? Perhaps I was not using it properly.

I went on a few online forums to find out what others thought of the Acousti-Shield, and I found my answer. The recordings you just heard were made at 9 inches from the microphone. What would happen if I would come closer? 

Once again you’ll hear me read the script twice. First I’ll read it at 5 inches from the mic. Then I’ll add the shield, and keep the same distance.

 

Now, this is more like it! Distance makes a huge difference.

Thanks to a clever design, you can also move the microphone closer or further away from the 53mm high density micro cell foam. This obviously changes the acoustic result.

The question remains, would I recommend using such a shield for voice-over recordings? Let’s first look at the positives.

PROS and CONS

The Acousti-Shield 32 is well-made and easy to assemble. For its size it is very light, and unless you have a cheap mic stand on which to mount it, it won’t tip over. Compared to a product like Harlan Hogan’s Porta-Booth Plus, it is affordable. As long as you stay close to the mic, it manages to tame unwanted reflections.

Here’s what I like less. CAD’s Acousti-Shield is not a unique product. sE Electronics was one of the first companies to come out with such a solution. They called it the Reflexion Filter X. Although I haven’t tested it, it looks very similar, and it is cheaper too.

Unlike Harlan’s porta-booths, the CAD shield isn’t very compact. It’s meant for the studio, not for the road. Even though the shield accommodates a variety of microphones, a popular voice-over shotgun such as the Sennheiser MKH 416 does not fit.

Here’s the big one: where to put the voice-over script? 

I’m usually reading my copy from the monitor in front of me. The CAD shield would block my field of vision. Even if I were to read it from a tablet or smart phone, there is no place to put them as long as the shield is mounted on a mic stand.

In the end I came up with a simple solution. I put the shield on a flat surface that was resting on an old loudspeaker stand. With the microphone on a table stand, there was room for my Nook or iPhone. 

EXPECTATIONS

So, is this shield a good investment?

In the end it’s all about expectations. If you get the Acousti-Shield 32 because you need a portable studio, you’re not going to be happy. If you need something to keep ambient noise out of your recordings, this is useless. 

However, if you cannot acoustically treat the room you’re in, and you’d like your recordings to sound more dry, this is an affordable solution, as long as you know how to use it. 

Paul Strikwerda ©nethervoice

PS CAD Audio kindly donated an evaluation model to the author of this blog. Though very much appreciated, this did not influence his opinion.

PS Read more on taming unwanted reflections in “Get the boom out of the room.”

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Leaving Voices.com

by Paul Strikwerda in Articles, Pay-to-Play 39 Comments

Breaking up is never easy. That’s what the song says.

In my case, it was a long time in the making and I didn’t shed a single tear.

Yes, she tried to win me back, but I was determined. Our relationship had run its course. It was time for me to move on.

Let me explain.

HIGH HOPES

2009 was the year I joined voices.com. I was naive. I was excited. I was determined to make it as a voice-over. “Voices” seemed to be the perfect place to hang out my shingle and conquer the world.

Today, I have a five-star rating, 5445 listens (more than any other Dutch talent), and I have landed a total of… (are you ready?) TEN jobs, earning me a whopping $2,740.89. God only knows how many auditions I have had to submit before being selected.

This can only mean one of two things. Either,

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The Emotional Dilemma

by Paul Strikwerda in Articles, Career 18 Comments

For most of my life, I have been running away from my emotions.

I grew up believing that showing emotions was a sign of weakness.

Strong people keep everything inside. They don’t lose their temper. They don’t act impulsively. Strong people are always in control.

Strong people stay detached in order to make rational decisions. They look at facts and disregard feelings.

In my old-fashioned model of the world, it was okay for women to be emotional. Being strong was masculine, and I wanted to be a “real man,” whatever that meant.

STAYING SANE

Looking back, this attitude of “nothing affects me” might have been a…

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Vida Ghaffari: Baklava and Apple Pie

by Paul Strikwerda in Articles, Career, International, Journalism & Media 1 Comment

Vida Ghaffari

Vida Ghaffari is a second generation Iranian-American, and her career has certainly taken off since she left the nest.

Actress, red carpet reporter, voice-over talent… Vida is as vivacious as she is versatile.  

Vida comes from a famous and influential Iranian family of actors, directors, writers. That’s quite something to live up to. I had to ask her:

Is it a blessing or a curse?

VG I think before the revolution (the Iranian revolution of 1979, PS), it would have been a blessing as the Ghaffaris were well-known for their contributions to the fine and dramatic arts and were active in the media and the performing arts.

Sometimes, it’s a curse as a lot of other (Iranian) people expect me to do anything: paint, direct, be a scholar, rocket scientist, politician… the list is endless.

PS In what way has this rich family background influenced your career choices?

VG Well, my dad is in the sciences, but I always had an interest in the arts as my mom was an illustrator in the old country before she married my dad. My grandmother was a suffragist and she has been such a source of inspiration in my life. She was also a poet, so the house was full of art and impromptu poetry recitals.

I’m pretty sure that most Iranian families quote full verses of renowned poets such as Hafez, Saadi, Khayyam, and Rumi at the dinner table, but for me it was a constant. My mom also was a child actress. She performed in a play for the Shah and Ambassador Grady, the former US ambassador to Iran at the time, and many other prominent political figures of that era.

Unfortunately at the time in Iran, the performing arts weren’t highly regarded as a path for young women to pursue, so my mom was forced to quit acting at her father’s insistence at the tender age of 9. I’m sure she would have been very successful. So fast forward to years later, and my dad being the very practical mathematician and scientist, he wanted me to get a job at the World Bank, because he had friends there who got great salaries, benefits, and job security.

I suppressed my artistic side and studied Economics at the University of Maryland and minored in theater and journalism. Even though these weren’t my majors, I was very involved with theater at Maryland and wrote for the school paper. I even DJ’ed my own radio show on WMUC, the campus radio station. It was a tough pill for me to swallow as in high school, I was invited to enroll into a couple of great performing arts magnet schools, but chose to go to regular high school at my dad’s insistence.

After college, I had some stints on Capitol Hill, where I was awarded journalism and research grants from the Woodrow Wilson Center and the National Journalism Center.

PS Immigrants and/or political refugees usually have two choices when coming to a new country: assimilate or hold on to their own identity. It’s a choice between blending in or standing out.

You were born in the U.S. and you sound like an all-American girl. However, you seem to have embraced your heritage with open arms. How do you reconcile both worlds?

VG My parents have lived here in the US for many years (my dad was invited here in 1948 and my mom came here in the 1960’s), so I think they have assimilated very well and truly love this great nation. I was born and raised in the DC area and I have a sense of pride, being raised in such a historically significant and political town.

I’m often told that I have the warmth of an Iranian and the integrity of an American, whatever that means. I guess I’m a paradox of sorts in that I can seamlessly incorporate the two. I love baklava and apple pie!

I also feel very grateful and privileged to be born here in the land of the free, but I truly have a profound respect for my heritage. The pony express was created in ancient Persia and there have been countless contributions made to mathematics, the sciences as well as poetry and literature.

The renowned poet Saadi’s poem used to grace the entrance to the “Hall of Nations” of the United Nations building in New York, with a call for breaking all barriers:

“Human beings are members of a whole, in creation of one essence and soul. If one member is afflicted with pain, other members uneasy will remain. If you have no sympathy for human pain, the name of human you cannot retain.”

The first Declaration of Human Rights was created by Cyrus the Great. Also, Iranian-Americans have become so successful in this country, not only as businesspeople, but as doctors, lawyers, engineers and other professionals. It’s so inspiring to see how they’re making so many contributions to this society in such a short time. I know this is true of most Iranian immigrant communities internationally as well.

I’m very proud of the struggle of the brave Iranian youth in search of the freedom they so rightly deserve and have covered many protests in LA as a journalist.

PS I’ve heard that casting agencies sometimes list you as “ethnically ambiguous”. What does that even mean?

VG Ethnically ambiguous means that one is ethnic, but not categorizable as what nationality he/she actually is. There are more and more casting notices looking for “ethnically ambiguous” actors, so for me and many of my friends and colleagues, it’s a good thing as there are more roles and opportunities out there for us.

PS Actors from Middle Eastern countries are often typecast as terrorists or as the stereotypical submissive women. In other words: as caricatures. Do you think that’s fair?

VG Not at all. After all, the renowned poet Ferdowsi referred to them as lionesses. I think Middle Eastern women are very strong and silently brave, considering the sexist culture(s) they live in.

As for me, I can’t even get seen for any Middle Eastern roles as many casting directors don’t think I look ethnic enough. There’s such a strong stereotype of what a Middle Eastern person should look like. I usually go in for Caucasian roles. I even used to be a translator back home in DC and I worked for Persian TV here, so my Farsi is pretty good if the role calls for it.

PS At some point everyone in the entertainment industry faces a tough choice: Should I specialize and make it easy for the public to put me in a box, or should I diversify and risk being accused of a lack of focus. What’s your answer?

VG As a character actress, I have a little bit more room in terms of the variety of the roles I play. I feel very blessed and lucky about that. As an artist, I like widening my range.

PS You’re a big proponent of networking. Why is it so important to make the rounds and make sure you stay in the picture?

VG Because we’re in a business of referrals and contacts. It’s very important to network and put yourself out there. But I also love meeting new people, especially other folks in the arts. I guess I’m a people person! I do have to add that what I spent the most time on is my craft first and foremost. I’m either in a class, workshop, acting workout group, staged reading, et cetera.

PS At what point does networking become a nuisance?

VG It doesn’t really become a nuisance, but it can be very time-consuming… meeting like-minded people, staying in touch with them, planning meetings with them. It’s very hard to schedule things properly also when one takes into consideration this crazy LA traffic!

PS It must be nice to have a Rolodex full of contacts, but then what? What tips do you have for maintaining these relationships?

VG Staying in touch via email is great. Let folks in the industry know what you’re up to by updating on Facebook and Twitter, but not so much that you’re doing status updates 24/7!

I also give back to my friends as much as possible if they need a referral, advice, or I inform them of a project they’d be right for. I even give free voice-over lessons to some actors from time to time who really want to study voice-over, but can’t afford it. I think it’s so important to be a part of the community and give back, especially in an artistic one.

PS You’ve also mentioned that you think it’s important to have a mentor. What does a mentor mean to you? Who’s your mentor and what’s the most important thing you’ve learned from him/her?

VG A mentor for me has been like a total career guide. I was lucky enough to meet mine by chance. I enrolled in instructor Doug Rye’s excellent voice-over class at LA Valley College and soon he became my mentor. 

There’s also, Ivy Bethune, a legendary character actress, whom I consider to be a dear friend and she’s like a mentor to me. I aspire to be like her one day! She’s one of the sweetest, most generous, talented and humble artists I’ve ever met.

I met her in my voice-over workout group and I’ve learned more from watching her read her copy in the booth for a 30 second ad that I have in many years of classes, workshops, et cetera. I also was on the planning committee for the Ivy Bethune Tri-union diversity awards that were named in her honor. 

Speaking of volunteer work, I contribute to various causes such as voicing many charity events as well as the NOH8 campaign (a silent protest photo project against California Proposition 8, PS). I even acted in their PSA.

PS You’re not only an actor, reporter, presenter… you’re also a voice-over professional. You’re obviously comfortable in front of the camera and an audience.

Voice-over talents usually hide in dark studios and talk to an audience that’s not there. Yet, you say it’s your passion. What do you like about it? Is it easier or harder to do than the on-camera stuff?

VG Voice-over is a lot of fun. I love that I can play a wider range of characters from sultry leading ladies to sassy bosses to pushy soccer moms. You name it. And don’t even get me started on dialects!

Voice-over actors tend not to get typecast like on-camera actors as they’re not being seen, just heard. Voice-over is a different medium, so I can’t really compare it to on-camera work, but I have fun doing both.

PS Pretend for a moment that I am a budding actor/voice-over talent. What mistakes have you –Vida- made that I could learn from, and what are those lessons?

VG I’ve made more mistakes on-camera than in voice over, probably because I’ve done it longer. I would have probably invested more time and money in my career early on. I would also reach out to more people in the industry more often and try to maintain contact with them.

As I mentioned earlier, I think the most important thing to do as an artist is to continually work on your craft on a daily basis, be it on the stage, in a booth, or even in your living room. I think it’s also to find a community of like-minded people you can collaborate with.

Also, as I mentioned earlier, finding a mentor would be great thing to do, especially in a career path like this one that is constantly changing and evolving.

PS If I could offer you a dream job today, what would it be and why?

VG I think being a correspondent for “the Daily Show” would be the perfect fit as I have a strong background in journalism, news, comedy, acting, and sometimes I hear the correspondents do voice-overs. Besides John Hodgman, I think I’d be the only correspondent with a journalism background and I think with my unique point-of-view

I could add a lot to the show. Did you hear that Jon Stewart? 🙂

Paul Strikwerda ©nethervoice

Headshots by Robert Kazandjian and Courtney Beckett 

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Ways to win an audition and nail the job

by Paul Strikwerda in Articles, Career 15 Comments

On paper it sounded so easy.

“You have been hired to record the voices of five different guys for a new interactive game.”

After I had signed a contract and a comprehensive non-disclosure agreement, I took a moment to reflect on what I had gotten myself into.

I had wanted to break into this segment of the voice-over market, but there were at least three minor complications with this assignment.

One: I had to play all five characters.

Two: These guys were supposed to be teenagers.

Three: I am 49 years old.

As soon as I signed the papers, I started having second thoughts. Could I pull this one off? Was I really the right person for this project? Who was I kidding?

All along I have been telling you never to accept a job you think you can’t handle. Why did I choose to ignore my own advice?

Then there was this.

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