If you’ve been active as a voice-over long enough, you know one thing:
Finding a job usually takes much longer than doing a job.
It stinks, doesn’t it?
Let’s be honest. We all love doing the work, but we hate getting the work. That’s why we’re willing to pay online companies good money to send us leads. Every morning we simply open our inbox, and there they are: golden opportunities that are sent out to hundreds, if not thousands of hopefuls just like you. Welcome to the land where $249 a pop is the new normal!
FYI: if you can book five jobs out of a hundred auditions, you deserve a spot in my Hall of Fame. Just remember that no one is paying you for those ninety-five unsuccessful auditions that took hours and hours to record. But auditioning is such great practice, isn’t it? You’re definitely getting better at not being selected.
THE WAY TO GET WORK
What else can you do to get clients? If you like bothering people who don’t want to hear from you, try cold calling. Especially in winter. I know how much you love being interrupted at work or at the dinner table by some stranger, so why not do it yourself?
You could also build or buy a mailinglist and start emailing people unwanted newsletters touting your accomplishments. No one has ever done that before, right? That’s why the spam folder was invented.
Perhaps an agent could jump start your career. Agents know people who know people. And they’ll only take you on board once you’ve landed the jobs you were hoping to get through them. Isn’t that ironic?
So, how about this? Your colleagues have contacts. Lots of them. Why not ask your VO friends to recommend and refer you to their clients? It doesn’t cost you anything, and sharing is caring! You don’t even have to be polite about it. Just ask. We’re all in the same boat.
PS If colleagues refuse to refer you, you can always raid their LinkedIn connections and Facebook friends, and spam them asking for help. Make sure to sound like a desperate dabbler.
You may shake your head in disbelief, but that’s how pretty much every week I am approached by people I don’t know, looking for jobs I don’t have. Yesterday, I received a short email from a colleague offering me 10% of whatever she will make, if she lands a job based on my referral. This could be a goldmine, people!
A MORAL MAZE
Not so fast!
There is a good reason why professionals like lawyers, realtors, accountants, and therapists have adopted codes of conduct, specifically prohibiting them from taking payment for referrals. It is considered to be unethical.
Look at the definition of bribery:
“An act implying money or gift given that alters the behavior of the recipient”
Do you really think you can buy my opinion and influence my behavior by offering me a bounty? Is that how you think I operate? Give me one reason why I shouldn’t feel insulted!
If I were motivated by money, I wouldn’t even be in the voice-over business. Take it from me: You will never do your best work for the love of money. Your best work is always a labor of love and never the result of greed.
Here’s my bottom line:
A referral needs to be earned, not bought.
I owe a huge part of my business success to unsollicited referrals, and I am frequently asked to recommend colleagues. For those recommendations I get paid handsomely.
Before I tell you what I receive in return, you must know that I take my referrals very seriously. You see, the fact that I will recommend a specific person reveals as much about me as it does about the person in question.
One can usually judge someone by the company he or she keeps. When you pass the name of a colleague on to someone else, you put your reputation on the line. So, how do you go about it?
A REFERRAL STRATEGY
For starters, never refer a person you don’t know. When you’re thinking of recommending someone, I want to ask you the following question:
How do you know that this person is good at their work?
I’ll give you four options to choose from:
See – You need visual evidence (e.g. You have to watch them do their work)
Hear – You need to hear them (e.g. listen to their demo)
Read – You need to read about them (e.g. a review, an endorsement, a website)
Do – You have to work with them to get a feel for how good they are
The answer to the question “How do I know that someone is good at their work?” is called a Convincer Strategy, and depending on the context, most people will have more than one answer.
My next question is:
How often does a person have to demonstrate that they’re good at what they do, before you are convinced?
A number of times – e.g. Three or four times
Automatic – You always give someone the benefit of the doubt
Consistent – You’re never really convinced
Period of time – It usually takes e.g. a week, a month or longer before you can tell if someone’s really good
The last thing you need to be aware of is your frame of reference:
Internal – No matter what anyone says about her, only you can tell whether or not she’s any good
External – A source you trust recommended her, and that’s good enough for you
It’s quite common for people to have an internal frame of reference with an external check, or the other way around. If your frame of reference is completely internal, no one will ever be able to convince you of anything. If it’s completely external, your opinion will be totally dependent on what others have to say.
By the way, we all use the above criteria in different situations, but most of us are not aware that we do.
Referring people can be very rewarding. It’s an essential part of being in business and staying in business, as long as you do it for the right reasons.
Let’s say you landed a gig as a result of my recommendation. In that case I demand that you pay me back… by doing the best job you can possibly do. As one of my teachers used to say:
“If you look good, I look good, so you better make me look good!”
Secondly, don’t send me any money or gift cards. You booked the job because you ticked all the right boxes, and you deserve it. I don’t take any credit (or cash) for that.
And please, if you insist I deserve a percentage of your fee, take your ten percent and give it to a worthy cause.
After reading my last two articles, here’s what some of you wanted to know:
Do I make all this stuff up to scare newbies and make them look bad?
Before I address that, let’s explore the suggestion behind this question.
Number one: blaming the messenger is a cheap attempt to deflect attention from an unwelcome message. This is a tactic as old as mankind. If you feel you can’t win the argument, try to discredit the source, like:
“I’m uncomfortable with what Paul is saying, so I’ll accuse him of lying.”
Number two: why would I make stuff up? Every time I put myself out there as a blogger, I risk my reputation. The moment people would catch me in a falsehood, it’s game over. As a former journalist, I know for a fact that years of truth telling can be nullified by one stupid lie.
Once exposed, no one would ever want me to present at a conference, interview me for their podcast, read this blog, or buy my book. Clients that got wind of it might not want to work with me anymore.
Honestly, to lie would be a liability.
Lastly, why would I have to make things up if you can easily find them in open Facebook groups? If anything, social media is ideal for spotting public displays of ignorance. I’ve just combed through pages and pages of voice-over related nonsense to bring you the best of the worst. Before I get to that, here’s what you need to know.
You’re about to read literal quotes. I’m not paraphrasing anything, or correcting spelling. To protect the identity of the authors, I’m not going to name names. However, you should realize that this is my personal selection, specifically chosen to emphasize a few trends that worry me, namely:
1. Social media offer a seemingly equal playing field to pros and hobbyists. If you’re new to the business and you don’t know anybody, you can’t tell whom you can trust for advice. You might get solid information, or someone might be taking you for a ride.
2. Too many (amateur) doctors are prescribing cures before carefully diagnosing the patient, unhindered by a lack of common sense, knowledge, and experience. Anyone’s an expert, and quite often, the deaf are leading the blind. As usual, the quality of the info depends on the quality of the source.
3. Many Facebook groups have no barrier of entry, and any nobody can pretend to be somebody. I’ll say that again: any nobody can pretend to be somebody. Some critics claim that half of all Facebook accounts are fake. Ask yourself: do you know for sure that the Facebookers you’re chatting with are who they say they are?
In some groups, the people recruiting voices for their next project have started adding “must be 18+” because many of the submissions turned out to be from kids who were just fooling around.
4. There is no Facebook police, and too many group moderators are allowing anyone to say anything… they agree with. In my experience, it’s permitted to sing the praises of an unnamed, unethical, greedy P2P, but any criticism is quickly censored as “being negative.” In the same spirit, the moderator will allow rave reviews of newbie demos and websites (even when they’re crap), and will delete more honest assessments because they’re seen as “mean.”
An aspiring VO exclaimed:
“I’m going to leave this Facebook Group mainly because I’ve received nothing but negative comments since I’ve joined and I really only wanted to learn how to be successful and instead recieved so much hate.”
Thankfully, someone responded:
“I searched for your name and you’ve gotten one troll reply and about 30 helpful ones. It’s not hate if people don’t agree with you. It’s constructive criticism and at the end of the day only YOU choose what to take away or leave behind from any advice you get in life. If people keep taking things personally, then sorry but the VO business is not for you.”
As expected, people have lots of questions about breaking into the business. The scary thing is that so many Facebookers are ready to give advice without knowing anything about the person asking for it.
Let’s say you’re a car mechanic. Would you start working on a car before finding out what’s wrong with it? That’s pretty dumb, right? So, speaking of ways to get into the VO business, here’s what someone recommended:
“You have to move to los angeles to become an actor am i right regardless if how much fame or money you have or how many friends one gets in life? its easy for richard horvitz to be an actor if hes from there regardless how many friends he was with a pro actor or athlete right?”
That was particularly helpful, wasn’t it? Moving on to the next question:
“Been voicing anime since I was little but wanting to do it professionally; how to get started is my question.”
Here’s the answer:
“First creat a few demos”
“How to do that and not make it sound terrible?”
“I think the first step is just put yourself out there, make your presence known so, maybe take some unpaid jobs first, build a report of people that will recommend you and go from there.”
Here’s another brilliant suggestion:
“First things’ first: got a good mic? then: record something and upload it to soundcloud.com then put url link here.”
Someone else chimes in:
“I was always told to reach out to radio stations. I’m friends with a few professional voice actors.”
My two cents? First of all, don’t move to LA yet. Get some training first and see if you have any talent. Secondly, don’t “creat” any demos if you haven’t demonstrated anything. Once you’re ready for those demos, hire a professional to create them with you. By the way, don’t put yourself out there (whatever that means) if you have no website, no sound samples, and no recording space. It’s like opening a shop with empty shelves. Lastly, stay out of radio stations. They’re breeding grounds for frustrated announcers.
Unsurprisingly, many questions on Facebook are about home studios and recording equipment. We’d rather spend hours debating the pros and cons of using a USB microphone, than talk about how to market our business. Here’s a selection:
Q. “What’s the best mic that I can buy for under $100?” A1. “Blue snowball is good.”
A. “You can get the whole set up for about $200 and it’s totally worth it. You can see my mic and interface recommendations at XYZ.com Also, I’m selling my condo.”
A2. “You should able to go into a music shop and ask them if you can test their mics.”
A3. “I started with a Rode NT USB. A simple noise reduction pass is all you need and the set up is a fraction of the cost of XLR if you’re starting out on a budget.”
A4. “The Kaotica Eyeball is the only thing you need. It turns anywhere you are into your own sound studio.”
Let me break that down for you. Forget snowballs. Blue balls are particularly painful. $200 is not going to get you all you need to compete. Please don’t test microphones on the noisy shop floor of your local Guitar Center. Try them out in your recording space. Invest in a condenser mic and soundproof your studio. A plugin isn’t going to keep out lawn mowers and leaf blowers.
Q. “I don’t have a studio. How do i record when the neighbors kids are so loud i can hear them with the window closed?”
A1. “Tell the kids to shut up.”
A2. “You could try to build a little pvc/moving blanket fort… it will help.”
A3. “Upturned mattress and blankets all over will get you where you need to be once you get as far away from the kiddies as possible. Then a blanket over your head with your mic.”
Mattresses and blankets may help tame the boom in the room, but you need to decouple walls and add mass to keep the outside sounds out. FYI that’s going to cost you a pretty penny, but a VO without a home studio is like an Uber driver without a car.
A few more booth questions:
“Does anyone else use their macbook webcam mic? Do you find that sometimes your audio is inconsistant when you record? Somedays I sound clear and crisp, others I sound like I’m talking in a tin can. (I’m using Garage band to record)”
“So, I’m planning on making a cheap diy mobile sound booth on a pallet, and I’m wondering if you guys have any tips on what the cheapest materials I could use.”
“I have used fibre egg crates for sound absorbing material, they work great.”
“So I have a square closet that has a lightbulb hanging from the ceiling. I would probably want to put some soundproof material under the door because that’s the only part I can think of that would need it. I know that a lot of people start out with using a closet because it’s usually the most natural soundproof room.”
“Mine booth is a decommissioned shower stall. I used $5 moving blankets on all 4 sides as well as top and floor. It sounds as good as any booth in Hollywood I’ve ever used.”
“Moving blankets for the walls, ceiling, and floor if you have hard floors. Then toss a heavy blanket or comforter over the top moving blanket and put a heavy blanket up behind you. That’s as good as it gets without being a whisper room or studio bricks or something else nearly soundproof.”
Another person says:
“If you’re trying to keep it on the cheap, generic Walmart mattress toppers are between 1-2 inches thick and are usually around 10 bucks for a twin/full size mattress.”
What’s the common denominator? People trying to create something on the cheap. Here’s the thing: if you compromise on sound quality, you compromise your career. You don’t need to invest in a Bentley to travel from A to B, but you need a reliable means of transportation to get anywhere. And egg crates are just a fire hazard.
What surprised even me, are the number of “passion projects” peddled in Facebook groups. “Passion project” turns out to be a euphemism for unpaid slave labor. Here’s a sample:
“Hello everyone! I am in need of a few voice actors for my Sonic Boom Stop-Motion Episode 2 Project. This is NON PAID and I need the roles filled in as soon as possible!”
“I am currently in production of the first season of an all audio sketch comedy show. The project isn’t compensated however there are other benefits we will provide and avail to you if you are selected and interested.”
“I’m helping for casting for my mates unpaid Doctor Who Audio Series. (Unpaid) I am still looking for male voice actors for my Return to Wonderland motion comic book series.”
“Looking for a female VO for a Halo themed audio book. Project is unpaid currently as it is a copyrighted IP, but a copy of the completed work will given, and when it is live VO’s will be paid out first. The previous VO is having to be replaced due to some audio issues.”
“[Non-Paying] Any lady vocalists/singers interested in trying their hand providing vocals for original tunes?”
“Hey guys, need a voice actor for 4 roles. One for a robber, a female bank clerk (can also be voiced by male), and 2 male cops. Ill post the script below. This is a non paying gig, but may be a paying gig in the future.”
“Doing a freebie for a friend and was wondering if any of you would voice a short commercial? It’s for a “amateur” wrestling show. Its non paying I just need someone who wants to voice something for local tv.”
“Im looking for a few people to do some narrations for a youtube series. The Theme is Children’s Stories and I hope to make a fair few episodes of it so may have returning narrators. Unfortunately its unpaid but it will be able to bring out the budding little actors who are starting out in the art of voice acting as well as the pro’s that don’t mind doing it for a little fun.”
You’d be surprised how many people respond to these passion projects. The desperation to start yelling something into a microphone is real.
Here’s my rule of thumb: If you’re good enough to be hired, you’re good enough to be paid. Period. Working for exposure is something only strippers do. Someone commented:
“Chances are if they can’t afford to pay, they don’t have a big enough platform to offer significant exposure anyway. And if they do have some MASSIVE platform, they should be paying.”
Plus, you’ve barely started to get your feet wet, and you’re already teaching clients they can get something for nothing. This is a comment from one of those clients:
“As a content creator I can tell you all 99.9% of us would love to pay everyone we work with on every project. But if I spend all my budget on talent what am I to do about promoting my project? If one is getting into this field looking at it as a job then you’re doing it wrong. This is the business of independent contractors.”
In other words: freelancers can’t expect to be paid? Well, there’s a new concept!
There’s another myth out there, namely the myth that doing auditions is such great practice. It’s not. Here’s what I believe:
You practice to audition. You don’t audition to practice.
In order to get the job, you have to demonstrate that you can do the job. Some half-baked attempt is not going to work. It will leave the client with a bad taste in his mouth, and the next time he hears your voice he’ll move right on to another talent.
Oddly enough, those applying for unpaid jobs complain elsewhere that they have no money to move their career forward. Here’s one of them:
“So, as an aspiring voice actor myself, I have made one demo in the past but it wasn’t easily accessible. Now i’d like to make another one but I’d like some help.
Nevermind just found out 1100 bucks for the classes and then the demo. That’s aloooot of cash.”
Between you and me, that’s not a lot of cash for voice-over training and a demo. I would be very suspicious of anyone offering such a package for a little over a thousand bucks.
Finishing up, let me reiterate that it’s not my intention to shame anyone or make fun of anyone new to the voice-over business. You are very brave, and I am giving you these examples as a warning. Quite often, Facebook is the worst place to seek advice for those who don’t know what they don’t know.
Be smart, and do not allow yourself to be taken advantage of by people who prey on impressionable beginners.
Do your homework before asking any questions. Show the world that you’ve made an effort to find a solution before bothering the group. Don’t beg for jobs. Don’t comment on things you know very little about. Be open to feedback. Save up so you can invest in coaching, equipment, and a recording space. And above all: give yourself time to become good at what you want to do, and have fun.
I had fun responding to a Facebook question recently:
“I’m looking for a high soprano for an album I’m very close to finishing. It’s a various artists album, with some Asian and Celtic influences. Please PM me if interested.”
Because of the strange popularity of this blog and my appearance as an “expert” on several VO-shows and webinars, people are starting to take me seriously.
What am I to do?
All of a sudden, friends and foes feel the urge to retweet my nonsensical wisecracks, and care to comment on bizarre thoughts I share with you on Facebook. Some people even shower me with compliments and unhealthy adoration.
I already suffer from extreme self-esteem, and you’re not making it any easier for me to stick to my twelve-step program aimed at practicing modesty and humility.
My AA (Arrogance Anonymous) self-help group was just praising me for the progress I had made in that area. It was horrible. All of a sudden I felt exceedingly full of myself again, and their flattery threw me back several months.
Because of my growing reputation, folks from all corners of the earth believe I have the answer to all their voice-over questions. Who do you think I am?
Joan Baker? J.S. Gilbert? Bill DeWees?
I thought I’d share a few of their issues with you, and when you read my responses, you will soon realize that it’s pointless to contact me.
Here we go.
Q.Dear Paul, I’d like you to critique my demo. How much do you charge for that?
A. Mr. Friedman, it depends on the audio. If your demo is very bad, you can’t pay me enough to listen to it. If it’s any good, you don’t need my critique because it speaks for itself.
Q.Dear Paul, I want to get rid of my announcer voice. What do I do?
A. Dear Doug Turkel, I can see why this could be a problem for you. I suggest talk therapy, and be sure to keep it conversational. Once you’re rid of your radio voice, relaunch your business. When you do, you better make a big announcement!
Q.Dear Paul, can you tell me what James Cameron found when his submarine hit the floor of the Mariana Trench?
A. Contrary to popular belief, this was not a marine expedition. Mr. Cameron was actually looking for cheap voice talent for his upcoming productions. He wondered how low they would go, and I think he found some bottom feeders.
Q.Dear Paul, am I allowed to drink during the session if the client is paying for a “dry read only”?
A. Very funny. Yes, you may drink, but only from a Blue Bottle!
I have a good one for you: Are you allowed to shout in a Whisper Room®?
Q.Dear Paul, Marc Cashman charged me an arm and a leg to help me find my money voice. Is that okay?
A. Give the man some credit. He’s a genius, and he deserves every penny!
Q.Dear Paul, I have some emotional scars from a Nancy Wolfson tough love seminar. What do I need to heal from that experience?
When Claire Dodin was about seven years old, her mother built a theater in the attic of their apartment. Claire and her sister started putting on plays for her friends. Claire:
“It was such a happy time, and I decided I’d just have to play for the rest of my life!”
Fast-forward a few years, and you’ll find that Claire is as much at home in front of a camera as she is behind a mic. Born and raised in France, this actress, model, singer and voice-over talent moved to the UK before she made Los Angeles her home.
Bi-lingual, multi-talented and exceptionally professional, Claire has done well for herself. Her story is one of dedication, discipline and of following your dreams.
PS Let’s pretend that I’m a client and your agent had 30 seconds to describe Claire Dodin to me. How would your agent “sell” you?
CD I guess he would say that I’m versatile; I can handle pretty much anything, and can do several character voices including children’s voices. He’d probably tell you that I’ve voiced several jobs for Disney and the X-Box 360, and that I usually don’t need a lot of takes to please the clients. That’s why everyone wants to work with me again.
PS Percentagewise, how much of your career is taken up by voice-over work?
CD In the acting business things are always changing and moving. There can be months when all I do is voice-overs, and months when I’m shooting film after film and I don’t have much time for voice-overs. This always makes me sad because I have to pass on really fun jobs. There simply isn’t enough time to do everything. I have to turn down so much work, mainly due to lack of availability.
I would say that on average, voice-overs represent about 70% of my income and maybe 30% of my time. It always makes me laugh that it costs more to get only my voice, than to have me on camera!
Having said that, it can happen that a week goes by and there’s nothing, not one job offer. Then I start thinking that it’s all over and that I will never work again! It’s the nature of being self-employed. Nothing is ever set in stone. No one is ever entirely safe. You’re fashionable one week; the week after you’re not.
That’s why it’s so important that we value ourselves and feel an inner sense of security, and not let our job define who we are. Otherwise it becomes impossible to handle the stress. Luckily, a job always seems to come along when I need it.
PS Speaking of voice-over projects, what are you most proud of and why?
CD There are quite a few jobs I’m very proud of like the French-speaking FisherPrice cuddly bear who says things like “I love you, hug me…” Just thinking about it makes me smile. It’s the cutest thing ever! Or being on the Statue of Liberty tour in New York and being in the gardens of Versailles in Paris. I just love that my voice is over there! Next I want to be at the Taj Mahal! 😉
But the job I’m the most proud of right now is my Zombiepodcast in which I’m a series regular. It’s called “We’re Alive” and I play Riley. The scripts are fabulous and the production quality is amazing. It’s an honor to be part of it.
We have reached over 600,000 downloads with the first season! We’ve won the Gold Ogle Award 2010, the Communicator Award 2010 and we were a finalist for the Parsec Award 2010. The episode submitted for these, is one that is centered around my character, which makes me even happier! The second season has begun, and it’s free to listen to, so catch up with the episodes now!
PS Let’s talk about accent. Some people believe that -in order to make it as a foreign actor in another country- you need to get rid of your accent. Others believe your accent is what sets you apart. Where do you stand?
CD Well, I am not able to put on a convincing British or American accent, so I don’t even try. I believe clients would go for native speakers anyway, so it really doesn’t matter. When I get hired for an English job, they want my accent, because it sets me apart from everyone else. Sometimes they want a stronger French accent, which I can tone up or down. Sometimes, they just want a very clear English accent with a hint of French.
Accents are great, as long as the diction is excellent and people can understand it. That’s where many foreign voices fail: they are not clear enough. I only started booking work in English regularly, after years of working at speaking more clearly. It’s not as easy as it sounds.
PS Does another accent come naturally to you, or do you have to work with a coach to get it right?
CD I do work with a coach for accent reduction when a part requires it, but it is never for voice acting, always for on-camera. In the voice-over world, if they want a British voice, they’ll hire a British voice. Nowadays, it’s so easy to get a native speaker.
Accents do not come naturally to me. It’s very difficult if you were not immersed in foreign sounds as a child. In France, all TV programs and most films are dubbed. I pretty much never heard English sounds before moving to England. It’s different in other countries like Sweden or The Netherlands. That’s why the Swedes and the Dutch are usually much better at accents than French people.
PS Do Europeans have an advantage over Americans when it comes to foreign languages and accents?
CD Being European in America is certainly an advantage because there are fewer of us, and Americans love European accents. If you are an American in America, there are hundreds of other people who sound exactly like you, so it’s harder.
This is where personality is incredibly important, because in reality, there is only one of each of us. And we hear so much that we need to sound like this or this… In truth, what will make you book the job is YOU, your quirkiness, your own little things that most people are trying to get rid of. Keep them (but use the correct techniques)!
Being French in a foreign country has absolutely made my career. I was working as an on-camera actress in the UK, and people found me because they needed a French voice and couldn’t get one.
That’s how I landed my first jobs. Then I thought that maybe I should get an agent, so I sent samples of the jobs I had done. I didn’t have a demo at the time, and pretty much all the agents wanted to sign me and I started booking national jobs straight away. I think I recorded my first demo a couple of years later. I was very lucky. To this day, jobs still come to me. I don’t have to work very hard at getting them. I am in a very fortunate position. There isn’t much competition.
PS You have lived and worked in the UK and now you’re in LA. These days, we’re all connected via the Internet. Does location matter anymore?
CD Unfortunately, location still matters a lot. I’m hoping that clients will get used to ISDN, but today, most major clients want to meet up with the voices at the studio. This means that by moving to LA, I’ve lost most of the work I was getting in London. When I go back there for a week, suddenly I’ve got bookings every day in London studios. They haven’t forgotten me, but they want me there in person.
It’s the same in France, I know several people who would hire me regularly, but they want me in the studio in Paris. I imagine that it is the same for Los Angeles and New York.
Of course there are many jobs we can do remotely, but they rarely are high end. I once did a six months national radio campaign for the UK, and the client was happy to do it via ISDN for each recording. This was an exception, and I think it was because it was for radio. In the UK, most radio ads are recorded via ISDN. But for TV, you have to be in the room with them. I did record the Versailles job at my LA studio though, so sometimes it can happen if they really want you.
PS How do you get work, these days?
CD The reality of the business is that most voice-over talents audition every day. I’m in a very different position. The vast majority of the work I do, comes from direct offers via my agents, or directly from existing clients or new clients through referral/reputation.
It may sound strange to American voice talents, but I did not audition for any of the national commercials I did, video games, TV documentaries, high-profile jobs… That’s the way they do it in Europe: we get hired based on our demo or based on a recommendation from our agent or producers/sound engineers. I did however audition for the Fisher Price toys I voiced, but they paid me for the audition and then hired me. I also auditioned for the Versailles job, but they had specifically asked for me.
I think that the system works differently in America. Even established talents have to audition. That being said, I have many American clients that don’t ask me to audition either. I’m glad it works this way because I usually don’t have time to audition. When happen to I have spare time, I will record some open auditions, but this rarely leads to work (funny, no?). That’s the problem with open auditions: they don’t want You; they want A voice, and usually the cheapest one.
PS Do clients, agents, producers and directors have different expectations based on where they’re located? Do you approach an audition differently based on the country and culture?
CD Actually, everyone wants the best product at the best price as fast as possible pretty much everywhere. What may be different is the style of the voice-overs. For example, I find that promos and documentaries on US TV tend to have a “sensational” factor. In the UK they tend to be more casual/matter of fact. In France there’s also a distinctive sound for news or documentaries. The voice talent simply needs to adapt to the style of the country, but also to the medium and the client. Each job is different, which is part of the fun. For an audition, I try to find out as much as I can about the client and the target audience. That way, I can make a best guess as to what style is appropriate for the script.
PS This is a highly competitive business. Apart from talent and experience, what do you think is absolutely essential, in order to have an international voice-over career?
CDObviously, to have an international voice career it is essential to speak English, so you can communicate with clients anywhere (pretty much everyone will speak some English). Apart from that, you just need the same qualities that will make you a successful national talent, as well as a good marketing plan so people abroad know who you are.
The internet is an excellent medium, but it’s not essential. I know voice talents who have booked major international campaigns through their local agent. By local, I mean: one of the top agents in one of the top cities. It still seems difficult to book high-profile work without one of these agents, and you can usually only sign with one of them if you live in one of the major cities. That would be Los Angeles or New York for America; London for the UK and Paris for France.
Of course there are rare exceptions. There are a few very successful voice talents who do not live in the major cities, but they used to live there at one point. They moved away, and kept their agents and clients thanks to an ISDN-line. I only know of one person who has always lived far away and who is hugely successful.
This will hopefully change in the future, as home studios are becoming as good as studios in the big cities. I think it will still take a while before major clients accept not meeting a voice talent in person. This is why Don LaFontaine had a limo, so he could quickly go from studio to studio to record several jobs a day. It would have been so much easier to have him in one studio and the other studios would connect via ISDN, but it didn’t work that way and he had to drive from place to place.
I wish things were different, but nowadays, the best jobs are still recorded in major studios in major cities.
PS What’s most overlooked by up and coming international talent?
CD Something that foreign voices often overlook is to have an English version of their website. I was once looking for an Italian voice, and all I could find were websites in Italian, which I don’t speak. Had they had an English version, I would have contacted them. But I couldn’t work out if they had a home studio etcetera.
Also, they should indicate their location on the website. I was looking to book voices to come to a London studio, and I didn’t know where they lived. I nearly booked a voice once; I was ready to pay for a ticket to Paris, when he told me he lived in a small town in France and it wasn’t possible to get to where he needed to be, fast enough.
Another voice that I thought was in London, turned out to have moved to Paris. So, keep the info on your website up to date. Location is a big one, not just for outside studio bookings, but so we know your time zone in case we want an ISDN booking or we need you for a rush job.
PS What do you tell people who think that voice-over work is easy money, and that basically anyone with a good voice could do this?
CD Ah, ah! It’s a tough question, I could probably write a book about it! Voice-over acting is an art and the voice is the tool. You might have a fabulous canvas, great paints and a brush, but how easy is it to paint something that will sell for a few hundreds or thousands of dollars and be exhibited in a museum? Hmmm… But if you work hard, learn skills and have talent, maybe you’ll make a living as a painter. Same thing for voice-overs. And a few gifted ones will make it to the top.
PS What technology can you not live without, and how has it helped you book clients?
CD The only technology I really need, is my computer for my emails and my phone so I can take bookings. That’s all. But, with my home studio I can record more jobs and make a better living. Some voice talents earn a lot more than I do, and don’t have one, so it’s not essential. However, other voice talents only work from home.
PS You work for clients on different continents in different time zones. On one hand you need to be accessible but on the other hand you can’t be available 24/7. How do you handle that?
CD Ah, ah! Another tough one! I don’t handle it; it’s a bit of a problem. I get called in the middle of the night (when I forget to switch the phone off), I wake up at 5am for an ISDN session and I sometimes record till midnight! I need to be better at saying “no” to clients and regulate my hours. But I’m weak when people are nice and need a favor. I try to schedule ISDN sessions with Europe starting at 8am, LA time. That’s the end of the day for them. It usually works.
PS How much did you map out your career? Did you follow a strict plan or is it more spontaneous, “go with the flow”?
CDAt first I just went with the flow: voice-overs came to me not once, not twice but many times. This is when I realized that I should pursue it. Somehow, people knew I had a gift for it, even before I knew it. Then I started buying equipment to record from home. When my agent asked me to, I upgraded my equipment. When clients asked me to, I got the ISDN. I guess I always go with the flow. I don’t force things, they just happen when they need to, but I’ve got my ears open and I’m listening to the signs that tell me in which direction I need to go to.
That said, when I do something, I don’t do it halfheartedly. When I made the decision to work from my home studio, I practiced a lot to learn how to use the equipment. I listened to other voices and took advice from many people. I took classes etcetera. It took me a long time before I was able to make a quality recording.
When I upgraded to ISDN, I asked an engineer to come and install it for me, and install my sound booth so the sound would be good enough. I also bought a Neumann microphone. What’s the point of connecting to another studio if your own sound isn’t as good? So basically, every time the decision to go to the next step was made following the flow, but once the decision was made it was thought out and I followed a careful plan.
Being disciplined is absolutely essential if you work from home. It’s too easy to do something else if you don’t have a boss checking up on you, making sure that you are putting the hours in. You have to do it for yourself and be very organized. For me, one of the hardest things is to keep track of the jobs recorded, the invoices sent, the invoices paid/unpaid etc… I find the admin part the hardest.
When I get really busy, I forget to reply to emails that aren’t essential, like companies asking me to fill out forms and send demos for future jobs. Sometimes I struggle to find the time to send invoices. That’s not a good thing. Staying on top of the paperwork is not easy. I’m dreaming of the day I’ll be able to employ an assistant to do these things for me!
PS What’s the best advice anyone has ever given you in this business, and how has it helped you?
CD The best advice I was ever given, as far as performance is concerned, was:
“It’s not about you. It’s about the person you are talking to”.
This changed everything. I stopped watching and listening to myself. I stopped getting nervous and I became so much better.
The best business advice I was ever given, was to set up a website. I had no idea how important it was, until I did it, and it boosted my career immensely.
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