voiceovers

Why I Want You To Fail

by Paul Strikwerda in Articles, Career, Personal Leave a comment

“Failure” is one of the dirtiest words in the dictionary.

In a culture where the notion of “being successful” is forced upon us from an early age, failure is hardly an option. Winners never fail, and who doesn’t want to be a winner?

Helicopter parents pressure their offspring to always be the best, and go for the A plus and extra credits. Their over-scheduled kids are expected to be brilliant at whatever it is they do, from horseback riding to playing the violin, to selling the most girl scout cookies ever.

If children don’t come home with a trophy, a badge, or high honors, what’s the point? What will you put on Facebook? “Sarah did okay in math?” “Brian got a B minus in biology?” “Sandy can’t keep up with the rest of her class?”

Heaven forbid! How would that reflect on you as a parent?

Out of this thinking comes the idea that we have to make it easy for our kids to succeed. We want to build them up, and make them feel good about themselves. How do we do that? By giving them high praise for mediocre accomplishments.

“She took two bites of oatmeal today, isn’t that amazing?”

“He brushed his teeth all by himself. I am so proud of him!”

“The soccer coach gave him a prize, just for showing up every week.”

When you set the bar really low, it becomes almost impossible to fail, but what you’re really doing is reinforcing behavior that is below average. It might give some kids a false sense of confidence and entitlement, which could carry over into adulthood.

LIFE LESSONS

When I was a teenager, my French professor always gave us easy tests. Even the slowest of students would do well, and on paper it looked like this teacher was a genius. But during our school trip to Paris, no one was able to put more than two words of French together, and we got hopelessly lost in the subway.

At that point we realized that this great teacher wasn’t so great after all. The biggest shock came later that year however, during final exams. Compared to most other students in the country, we did miserably, even though our grades had been fabulous.

A cellist I know had accepted a new, young student who was rather full of himself. When he got to meet the parents, he understood why. Mom and Dad thought that their Daniel was destined to be the next Yo-Yo Ma or Mstislav Rostropovich. “Well, we’ll see about that,” said the cellist. Let’s begin our first lesson, and afterward I’ll tell you what I think.”

It turned out that the kid wasn’t very good, even though he played an expensive instrument. “It’s not the instrument. It’s how you play it,” said the cellist to the parents, but they wouldn’t listen, and neither would their son.

So, what did his new teacher do? He signed Daniel up for a regional competition. Even though the boy had several months to prepare, he thought he could wing it. His parents (who knew very little about music) were convinced he was doing really well. Filled with great expectations they took him to the competition.

BEING TESTED

You probably know what’s coming. Compared to other students, Daniel didn’t impress the judges that much, and he got low marks. When his parents found out, they were furious.

“You set our Daniel up for failure,” they said. “The boy is in tears. What kind of teacher are you?”

“Let me tell you something,” said the cellist. “Your son might think he failed. In my opinion he just didn’t get the result you were expecting, which, given his skills and attitude, was rather unrealistic to begin with. This is not an easy instrument to master. So far, you have been comparing your son to himself. This competition was an opportunity to compare him to other kids in his age group.”

He went on: “Parents and other family members are supposed to be supportive. There’s nothing wrong with that. But the people who are closest to us, aren’t necessarily the most knowledgeable or experienced. Most of them don’t know what they’re listening and looking for. So, if you want honest feedback, you need two things. Number one: make sure the test is tough enough. Number two: the evaluators have to be experts.”

THE RELEVANCE

Now, if you’re new to voice-overs and you’re reading this blog, you might be wondering why I am talking about learning French or a musical instrument. You’re trying to break into the business thinking you stand a good chance of making it. People have told you that you have a great voice, and why wouldn’t McDonalds hire you for one of their commercials? You’re auditioning left and right, but so far there’ve been no takers. What does that tell you?

First of all, if making money as a voice-over would be easy, anybody would do it, and the rates would be even lower. Something that comes easy, isn’t worth much. Secondly, do you even know if you’re good at this? Let me rephrase that: Is what you have to offer ultra competitive in a market that is pretty much saturated? How do you know? Are you able to recognize your limitations?

HEARING MYSELF

A few days ago I listened to some of the auditions I recorded in 2010. At that time I honestly thought I sounded pretty great, and I didn’t understand why clients wouldn’t hire me. Knowing what I know now, there is no way I would have hired myself back then.

After a year of trying, I was ready to call my efforts to become a VO Pro an epic fail. Yet, as you know, one of the reasons I write this blog is because I’m still in business. How did that happen?

It turned out that this year of trying was a big test. It tested my preparedness, my resolve, my talent, my nerves, and my ability to learn and grow from feedback. I needed at least a year of “failure” to work on my weaknesses, as well as on my strengths.

I also learned to reframe that word “failure.” I started looking at my situation in terms of results. Just because I wasn’t getting the results I had hoped for, didn’t mean I had failed, or that I was a failure. I began to ask myself questions like:

– What results did I get?
– What part of it was something I could influence, and what part was beyond my control?
– What did I learn from it that was positive and practical?
– What would I need to do to improve?
– Who could help me make those improvements?
– How was this process helping me become the professional I want to be?

And finally, just as it can take many years to learn a foreign language or master an instrument, I knew that it would take me a while to get good at doing voice-overs, and running a freelance business. Every “failure” could bring me one step closer to success, as long as I used it as a chance to learn something new.

If you happen to be in the middle of that process, and things aren’t going so well, please remember what one of my teachers once told me:

“No matter where you are in life, never stop learning.

Quite often, the best students get the hardest test!”

Paul Strikwerda ©nethervoice

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VO Atlanta: a Waste of Money or a Wise Investment?

by Paul Strikwerda in Articles, Career, International, Promotion, Social Media 10 Comments

on stage at VO Atlanta 2018, click to enlarge

As VO Atlanta (March 28 – 31) is rapidly approaching, something predictable is happening. The people who are on the fence about going, start making the rounds on social media asking:

“Is it worth it?”

You’ll never hear those who have participated in previous years ask this question. For them, it’s a non-issue because they know from experience that they will receive much more than they have invested. That’s why they’re coming back again and again and again.

The question “Is it worth it,” is asked a lot on social media in different ways. “Is joining Pay to Play X worth the money?” “Should I buy microphone Y?” “Does Mr. Z produce good demos?” I’m always surprised by the number of people ready to answer these queries without knowing anything about the person who is asking, and knowing very little about the subject matter. Online, the deaf often lead the blind.

A MATTER OF VALUE

When someone asks me “Is it worth it” I want to know at least two things before I decide to chime in:

What do you mean by “it,”

and

How do you determine “worth?”

If I don’t get clarification on those two things, I’ll run the risk of answering the question from my experience and with my values in mind, which are bound to be different from the person asking the question. Bear in mind:

People don’t do things for my reasons or your reasons.

They do things for their reasons.

Once you find out what their reasons are, you can make a case based on what motivates them. Consequently, they’re more likely to resonate with what you have to say. Anyone working in sales should know this.

Going back to the questions behind the question “Is it worth it?” what does the first “it” actually mean? Obviously, “It” refers to VO Atlanta. It is a linguistic attempt to fit the entire conference experience into a two-letter word. You don’t have to be a brain surgeon to see that that’s impossible. A conference like VO Atlanta consists of multiple days loaded with content and social interaction. It’s pointless and unfair to boil that down to one meaningless word.

ACTIVE PARTICIPATION

Besides, everyone experiences the conference differently. It’s not a spectator sport. As in real life, what you get out of it is greatly determined by what you put into it. If you don’t put yourself out there professionally and personally, you’ll have a very different conference then when you do. In other words: YOU determine the return on investment.

Here’s my prediction. If your mindset is “I’ll wait and see. You come to me,” then you’re not going to get as much out of the conference compared to an actively involved participant. Some of the most valuable and memorable moments at VO Atlanta (and I’m talking about “worth” now) may come from unplanned, spontaneous meetings in the corridors of the hotel, or at the lunch table.

They may come when you gather all your courage to walk up to one of your VO idols and start a conversation. Before you know it, you end up sharing a meal as you informally talk about the biz. That’s what makes VO Atlanta so unique.

2019 keynote speaker Kay Bess

As a former journalist, I had to report on lots of conferences. From that, I learned two things. One: most of these gatherings are a snooze fest. Two: the speakers are unapproachable and leave as soon as they’ve collected their checks. Everyone who’s ever been to VO Atlanta will tell you that this event is the complete opposite. It is engrossing and entertaining, and all presenters are accessible during the entire conference.

There are no industry secrets and no oversized egos. Just people who want you to succeed.

What else would make VO Atlanta worthwhile? I won’t speak for you, but I’ll gladly share my thoughts and feelings.

IN IT TOGETHER

What many are looking for, is a sense of connection. We all do our work in isolation, in a small box, talking to imaginary people. We know that there are lots of other silly people who do the same thing, but they’re just a profile picture on Facebook or Instagram. Meeting these people in real life means truly connecting with an international voice-over family you never knew you always had. There’s an instant rapport with folks who really get you because they do what you do, and love it just as much.

As the grand hotel ballroom fills up with hundreds of talkative colleagues, you look at the gathering crowd, and it suddenly dawns upon you:

2018 keynote

I am not alone! This is my community! These are my people!

Here’s what happens: competitors become colleagues, and colleagues become friends. Friends become a support system you can count on in good times, and when times are not so good.

“That’s all nice, warm and fuzzy, but will it get me any work?” you ask. “My clients aren’t going to be at VO Atlanta.”

I can only speak for myself, but I get a lot of work through referrals from colleagues who know that I am the go-to person for Dutch and neutral English jobs. People don’t refer people they don’t know, so it’s important to make connections. A conference is an ideal setting to do just that.

LEARNING FROM FEEDBACK

You also get a chance to impress top coaches and casting directors with your audition. Normally, you’d probably have a hard time getting in the door with these folks because they have no time and they don’t know you. At VO Atlanta, meeting them is part of your ticket. Not only will they listen to you, but they’ll also give you feedback on your read, and if they like you, they might sign you.

Because the voice-over industry is not regulated, there is no requirement for continued education. Come to think of it, there’s no requirement for any education! As the number of professional VO’s increases each year, those who are best prepared, have a greater chance of actually making a living. The many panels, workshops, presentations, and X-sessions at VO Atlanta will give you a necessary edge in a crowded field. Rather than reinventing the wheel making beginner’s mistakes, you’ll save time and money by learning from the pros who made the same mistakes when they were starting out.

Do you need more reasons to come to Atlanta?

THE SECRET INGREDIENT

There’s one thing you won’t find in any of the promotional materials, online or otherwise, simply because it cannot be captured. It has to be experienced. I am talking about the energy at the conference. At times it’s electric and contagious.

I may be biased, but I think that voice-over people are among the least pretentious, kindest, and most giving people on the planet. In Atlanta, the sense that we’re all here to help and support one another is overwhelming. Together we’ll continue the fight for fair rates, we’ll call out unethical and greedy companies, and together we’ll strive to continuously raise the professional bar. Plus, we don’t take ourselves too seriously, and we like to laugh a lot!

To someone who has never been to this conference the following may sound overly dramatic, but at VO Atlanta I got a glimpse of what the world can be when people of all backgrounds, faiths, persuasions, languages, and traditions come together and cheer each other on. It is powerful in the most positive way, and this world needs more of it. When leaving last year’s conference, I couldn’t stop smiling!

To me, that positive energy was one of the greatest takeaways from the conference, and one of the many reasons why I will be coming back as a presenter and a participant.

WHY YOU SHOULD GO

Lets face it. You’ve been working hard for the past couple of months and you deserve a break. A BIG break, even. Do yourself a favor and get out of that musty studio of yours. Go south, see some daylight, and meet some real people. You may not read from the same script, but you’re already on the same page.

the author presents

Take part in the group challenge and record a commercial for a charity. You might even win some gear! Dress up under the disco ball, and dance like no one is watching. Laugh a lot and cry a little when a deserving colleague receives the Unicorn Award. You’ll come home feeling recharged and refreshed.

And remember to look for the guy in the yellow clogs!

See you there!

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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My Most Moving And Miraculous Year

by Paul Strikwerda in Articles, Career, Freelancing, Gear, International, Internet, Journalism & Media, Money Matters, Pay-to-Play, Personal, Promotion, Social Media, Studio 6 Comments

Paul Strikwerda

Counting correctly, this is my 49th entry this year. Wow!

You may have read them all, or you may have read a few. Anyhow, I’m glad you’re here so I can remind you of the stories you have memorized, as well as the ones you may have missed. As always, blue text means a hyperlink that takes you straight to the story.

Apart from the usual musings about clients, colleagues, and the ins and outs of running a for-profit freelance business, things took a very serious turn some nine months ago. March 26th was the day I almost died. It was hard to imagine that only a few days before, I had been a presenter at VO Atlanta, which I didn’t like, by the way. I LOVED it, and I’ll be back in 2019!

After my stroke, the blog entries kept coming, but I disappeared from your radar screen, so I could focus on my recovery. One of the things I had to work on was getting my voice back, which is not as easy as it sounds.

People going through major, traumatic, life-changing events often ask three questions:

– Why me?

– Why this?

– Why now?

In Life’s Unfair. Get Used To It, I’ll tell you how I deal with these questions. Stories like these are examples of what I’m trying to do with this blog. Many assume that since I work as a voice talent, this must be a blog about voice-overs. That’s only partially true.

For me, the world of voice acting is just a lens through which I observe and comment on the world. When I write about customers, colleagues, and communication, what I really write about is relationships and human interaction.

A story like Filling In The Blanks, is not only a tale about what happens when you start to second-guess what you think your clients want to hear. It’s a story about perception and projection. About making assumptions, and finding true meaning.

In Getting In Our Own Way, I describe two types of voice talents: the narcissist and the masochist. They are two types of people who are very hard to teach. Take a few minutes to read it, and tell me if it only applies to the world of voice acting.

One more example. Are Clients Walking All Over You? is not just about dealing with difficult clients. It’s about how to handle conflict and getting a spine. That’s something many of us struggle with on a regular basis.

Some of my stuff is explicitly written for those who are thinking of becoming a voice-over, and those who are new to the business. When it comes to these people, here’s my general approach: I tell them what they don’t want to hear. As you can imagine, that makes me very popular in certain circles.

Stories like Entitled Wannabees Need Not Reply, Ten Lies Voice Overs Tell, and 5 Reasons Why You Should Never Become A Voice-Over are perfect examples. Bored Stiff, about the unexciting parts of being a VO, is another one.

This December I wrote a 3-part series called Why is doing voice-overs so difficult? (here’s a link to Part One, Part Two, and Part Three). If you ever have the “People told me I have a great voice” conversation with a wannabe, and you’re lost for words, please point them to this series.

Now, whenever I write these cautionary articles, there are always one or two commentating newcomers who still believe I’m trying to denigrate and disparage beginners.“You must be threatened by us,” they say, or “You were once a newbie. Why are you so mean?” It’s as if I personally reject them.

Although I’m convinced The Voice-Over World Needs More Rejection, it is never my intention to spitefully discourage people who are talented and truly committed to becoming a voice actor. In fact, in my blog I give those folks tools and strategies to help them navigate a new career in a competitive market.

Take a story like Surviving the Gig Economy, or 4 Ways To Get From Good To Great. The Secret to Sustained Success is another example. As a blogger I want to warn and welcome my readers to this fascinating but tricky line of work. Not to scare them, but to prepare them. If you don’t get the difference, you’re probably too thin-skinned for this business.

Speaking of business, without customers, you would not have one. Blog posts like Is Your Client Driving You Crazy? or Learn To Speak Like Your Clients were written to help you manage the delicate relationship with the hands that feed you.

In Would You Survive The Shark Tank? I invite you to take a good look at your business to see how well you would do in front of cash-hungry investors. If you want to cut expenses, read Becoming A Frugal Freelancer. If you need to increase sales, turn to How To Sell Without Selling. If you’re struggling with getting fair rates, read Stop Selling Yourself Short.

As a voice-over coach I’ve encountered a common problem that’s keeping talented voice actors from making a good living. They have the right training, the right gear, and promising demos, and yet they’re struggling. Why?

Because they are subconsciously sabotaging their success. They might be stuck in the Perfectionism Trap. They might be suffering from Mike Fright, or they might be held back by other fears. In other cases they are lacking a support system, or they may need some serious rebranding.

This year (like any other year), I could not resist writing about gear. Check out Picking the Perfect Voice-Over Microphone, and Equip Your Voice-Over Studio For Under A Thousand Bucks. Start spending those lovely gift cards during the post-Christmas sale! I know they’re burning a hole in your pocket.

What was my greatest gift this year? I’ll tell you: it was your ongoing support when I needed it most. Thank you for reaching out after my stroke, and for showing me that you’re not just a colleague or reader of this blog, but a true friend I can count on when times are tough.

My recovery made 2018 a miraculous year.

Your help and encouragement have moved me more than words could possibly convey.

I wish you a very happy and healthy New Year!

Gratefully yours,

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

Click 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

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!

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What Is Holding You Back?

by Paul Strikwerda in Articles, Career 2 Comments

If 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!

PS Be Sweet. Please Retweet

photo credit: alain l’étranger via photopin cc

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Serenading Uncle Roy

by Paul Strikwerda in Articles 5 Comments

Uncle Roy Yokelson

On Saturday, October 13th, a good group of voice-overs came together in Bloomfield NJ, for Uncle Roy’s 13th annual VO BBQ. For those of you who don’t know him, Uncle Roy is Roy Yokelson, Emmy Award winning sound designer, recording engineer, bagel lover and demo/audio book producer extraordinaire. You can find him at Antland Productions.

Anyone who has ever had the pleasure of working with Roy, can tell you about his love for our business, his vast experience, his astounding professionalism, and above all, his big heart. Roy is what Jews would call a true “Mensch.” That’s one way to describe an all-round good, honest, positive person who is a pillar of the community. Roy is everything, and more.

So, after twelve VO BBQ’s, I decided it was time to serenade him with a song, using the melody of the classic “Oh Danny Boy.” At four o’clock we gathered around the deck, and with my pal Paul Payton at the piano, we surprised Roy with the following words:

Oh Uncle Roy, our pipes, our pipes are calling
From coast to coast, and down the Jersey shore
The summer’s gone, and all the leaves are falling
It’s you, it’s you, that we so much adore

Your smile, your hair, your laugh, your bagel Thursday
your cats, your car, your kids, your warm hello
We’re here for you, in sunshine or in shadow
Oh Uncle Roy, Oh Uncle Roy we love you so

Now we have come to Bloomfield for a reason
to be together at this barbecue
as family that celebrates this season
to celebrate the person that is you

And we say Thank you for the many memories
And for the kindness that you always show
We’re here for you, in sunshine or in shadow
Oh Uncle Roy, Oh Uncle Roy we love you so

Hugh Edwards, who flew in from the UK with Peter Dickson just to be at the BBQ, captured the moment on Facebook video. Click here to watch. If that link doesn’t work, click here for George Whittams video. Please pardon my voice. It’s not been the same since my stroke, and I’m still recovering.

Uncle Roy, thanking the crowd

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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.

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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