How does agency repping work when they love you but won't sign?

Find out the Voice Cat's take on this now!

I was wondering if you can help me with a question that no one seemed to be able to help me with.

Marc Cashman: I'll sure try.

My daughters met with Acme Talent late february (2007), they told me that they would like to work with the girls and they asked for copies of their photos but no "contract" were signed between us (I was told that they don't give out contracts and that if we want to work with them, it just goes from there).. I sent them the photos they asked for asap. On april, I called them just to touch base since I haven't heard back from them since our last meeting, using the excuse of sending them an updated copies of my daughters' resumes. During the phone conversation, I was informed that the photos I sent them 2 mos ago didn't work and that they needed another copies, yet they never called me about it.

My question is, is it customary or normal for big talent agents, such as Acme, not to have contracts signed by talents if they really want to work with them?

Marc Cashman: Machelle, every agency works differently, and many agents have a wide latitude to control the terms of representation. If an agency really wants to sign a talent, they'll most likely produce a contract right away. Others like to "see how it goes" for a while, to see if the talent they're considering does well on auditions and books a few jobs. In this case, the situation is more of a freelance position, with the agency not committing anything until they determine if the talent is worth signing.

Second, how do I approach them about the fact that it's been a few months and still they haven't submitted the girls out or if they have, no calls for audtions have been given to my daughters. We signed up with another agent in san diego around the same time (in fact before Acme) and yet this agent have submitted my daughters for auditions almost every week. I feel as if my back is against the wall since I don't want to sound too demanding if I approach them to ask why the girls haven't received any auditions from them, on the other hand, I'm also not sure if they've been sending them out but haven't had any casting directors interested in seeing them.

Marc Cashman: Machelle, at this point I think that a diplomatic summary of this email sent to them should suffice to get a response. Make sure that you state that you were really excited to meet with Acme and are anticipating working with them, but that you were wondering what might be holding things up. I don't think it would be too demanding, considering you've already met with them.You can mention the info that you provided me: "Since we met with you back in february, my daughters have done Intel Print Campaign, a Disney PSA and more." You shouldn't mention, though, that during the audition for the Disney PSA, you saw one of their talents that they submitted for it, and that talent didn't get casted but your daughter did.

I would really appreciate your help as I'm hoping there's another side to this story (as there usually is). Thank you so much for your time and I look forward to your response.

Marc Cashman: Yes, there's always another side to most stories, but in this case you're dealing with the capriciousness of the business and talent sides of show business. Always communicate that you look forward to working with the agent (and agency), and hopefully they'll be able to staighten it all out. I hope this answer helps, and I'd love to know the upshot.

Sincerely,

Marc Cashman

Cashman Commercials © 2008

MARC CASHMAN creates and produces copy and music advertising for radio and television. Winner of over 150 advertising awards, he also instructs voice acting of all levels through his classes, The Cashman Cache of Voice-Acting Techniques in Los Angeles, CA, and is now also offering one-on-one coaching via email or phone. He can be contacted at cashcomm@earthlink.net or his website, www.cashmancommercials.com.

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Q: Hi Marc,

I got a lot of info from your web site but I have a question: the agency that wants to sign my daughter for voice and on-screen wants wants me to pay the following: Are these legitimate fees?

Informational seminar on the talent industry $70
To get her on their talent web site $100 per year

Thanks,

Cindy

A: Cindy, thanks for writing in.

Your situation is becoming quite common now, as more and more talent agencies are trying to underwrite their cost of doing business by charging their "clients" for things over and above the commissions they take.

Not all talent agencies do this--the ones that do tend to be smaller shops.

However, a number of agencies are charging money to talent to place their head shots and demos on their websites, some for a flat fee and others per year. But I've never heard of any agency charging for an informational seminar on the talent industry. That's something I think should be free.

My advice: submit to other agencies and see what kind of response you get from them. And if you do decide to sign with the agency that's offered to represent your daughter, consider looking elsewhere if you aren't happy with them after a year.

Good luck!

Sincerely,
Marc Cashman

Cashman Commercials © 2008

MARC CASHMAN creates and produces copy and music advertising for radio and television. Winner of over 150 advertising awards, he also instructs voice acting of all levels through his classes, The Cashman Cache of Voice-Acting Techniques in Los Angeles, CA, and is now also offering one-on-one coaching via email or phone. He can be contacted at cashcomm@earthlink.net or his website, www.cashmancommercials.com.

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Read Part II of Auditioning In Your Home Studio!

Stay Hydrated

Have water in the booth at all times and drink in between takes. Stay hydrated. It truly helps to cut down on mouth noise. I even recommend a nasal rinse before you get behind the microphone, which helps abate adenoidal deliveries.

Encoding Files

Record your auditions at 128 kbps (or 96 kbps if it’s a particularly long audition) Mono. You don’t need a stereo file for an audition, and you want to try to limit the size of the file you’re emailing. If the file is really big, arrange to upload it (YouSendIt.com will allow you to upload 100 MGS free!) instead of trying to attach it to an email. You’ll know if the file’s too big when it bounces back with a “cannot be delivered” message.

How Many Takes?

If the script is a :60, submit one solid take. If it’s a :30, submit two. If it’s a :10 or :15, submit three. If it’s an animation audition, decide on your character’s voice and commit to it.

Settings

If you’re using an audition service, you should know that there are a lot of voice actors out there with great equipment in their home studios, with a great sound. Check, double check and triple check your recording settings before submitting your audition.

Make sure your recording is like Goldilocks: Not too soft, not too loud (no distortion), but just right.

Send some of your sound files to people you know in the business who can give you feedback (no pun intended) and constructive criticism about the sound you’re getting out of your microphone.

Bottom line:

If your audition sounds like crap, forget about being considered for any job, because most clients can’t “make the leap.” If that’s the case, get your recording system tweaked before you send out any more “funky-sounding” auditions.

Make sure you’re recording in a dead-sounding space, where the sound isn’t bouncing off hardwood floors or high ceilings. You can do a lot to dampen the sound around your mike. Many times, if you have some basic soundproofing, your auditions will sound great, and can be used as a final track. Remember that you’re competing with professionals who’ve been in the business a long time, so your sound needs to be competitive.

Demos

If a job asks you to submit a specific demo, i.e., Commercial, Narration, Audiobook, whatever, make sure your demos or the demos you’ve posted on the audition service sites are competitive. If you want templates, go to my website to hear some of the demos I’ve produced for my students. If your demo isn’t competitive, you better think twice about submitting yourself for a job, because a lot of other demos out there are going to make yours sound amateurish, and that’s the last thing you want!

Listen Objectively

Listen to your playback objectively. Do you believe the person you’re hearing? Be honest. If not, record it again. And again, if necessary. If you capture a convincing performance, send it on. If not, pass on it. It means you’re just not “getting it.” Don’t worry, though. There’ll be plenty of others down the road.

Auditioning For Agents

For auditions going to agents, a cover letter isn’t necessary. But you should always attach one to every audition that goes directly to a client. It should not only have all the necessary information, like your name, phone number and email address, it should clearly state what you’re auditioning for, the reasons why you’d be a great candidate for the job, and where they might be able to listen to other example of your voice work.

If they want you to submit a quote for your services, be as explicit as possible given the job description, and address any ancillary costs involved, such as studio costs, phone-patch or ISDN charges, etc.

Details, Details, Details!

There are myriad factors that determine who is hired for a voice acting job—voiceprint, acting ability, rate quote, turnaround time, studio equipment, availability. But your first impression—how well you sound, how well you follow directions (slating, acting, labeling files, etc.), can help a potential client decide quickly whether they’re dealing with a pro or an amateur. Performance is important, but always pay attention to the details of the presentation.

Good luck!

Sincerely,

Marc

MARC CASHMAN creates and produces copy and music advertising for radio and television. Winner of over 150 advertising awards, he also instructs voice acting of all levels through his classes, The Cashman Cache of Voice-Acting Techniques in Los Angeles, CA.

Cashman Commercials © 2007

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V-O auditioning and its protocols are changing, now that home studios are becoming ubiquitous.

If you’ve put together a home studio, or are planning to soon, you’ll most likely want to subscribe to some of the audition services now online (Voices.com is the top-rated one), and you’ll be submitting auditions with your software via email.

Get some tips in part one of this two part series.

When you go to a casting company or your agent, you usually have two to three takes and then you’re done.

In your home studio, you can do as many takes as you want until you feel you’ve “nailed” it. But there’s no one to direct you—this is a totally self-directed exercise, with no feedback.

Doing this myself for the past few years has given me valuable insight into the process of auditioning and submitting.

So here are a few things to keep in mind and a number of things to do to prepare you, both physically and emotionally, for this process:

Warm Up

Warm up your voice before you record. Do whatever vocalization exercises you need to do before you enter the booth—just like you would for a live audition.

Rehearse

As with any audition, go over any directions, mark, rehearse and time your copy before you record. Rehearse your copy standing up and speaking at the volume you’ll be speaking in the booth. If the spot requires a lot of energy, read standing up, and don’t forget to use your hands and arms to help you with emphasis and projection. But if the spot asks for a relaxed, laid-back read, consider sitting on a stool.

Auditioning Copy

If a job asks for an audition, audition the copy provided. If you don’t have time to audition, don’t send your commercial demo. You won’t be considered. Clients have a very difficult time making the leap from your demo to their copy.

Recording Multiple Auditions

If you have a number of different auditions to record, first record the ones that are on the low end of your vocal scale, i.e., the deepest ones. Your voice is most resonant first thing in the morning, because you haven’t been talking for 6-8 hours. Proceed to the scripts in a higher key, then finally to any scripts that require a louder sound, or, say, a textured voice or gritty character.

Vocal Direction

If a job gives you a description or direction, follow it. Read any directions carefully, and give the client at least one take the way they want it. Then record a second take the way you think it should be. If you don’t match the casting specs, don’t embarrass yourself or waste your or the client’s time by attempting to cast yourself in a role that’s obviously not even close to what they’re looking for. For instance, if they ask for a young, 20-ish voice, don’t audition if you’re 60+. Be objective enough about your voice to pass on an audition that’s not right for you.

Labeling Files

If a client asks you to label a file in a specific way, follow the instructions to the letter. Be especially cognizant of details like upper and lower case, spacing, underscoring, hyphens, etc. If there are no labeling instructions, ask your agent if there’s any particular way they’d like the file labeled.

If not, label your files generically: YourName-Product.mp3 or the reverse: Product-YourName.mp3.

Every casting director has his or her own way of managing file names, and if you don’t pay close attention to the template they give you, you can rest assured your audition won’t be considered. If the template shows a dash, use a dash, not an underscore. If the template shows all caps or upper and lower case lettering, follow the template!

The reasoning is simple:

If you can’t follow labeling directions, you won’t be able to follow real ones in a session!

If the client gives you a file labeling template like JDoe-Annc.mp3,with your information, don’t be an idiot and label it “JDoe-Annc.mp3.” I work with agents all over the country, and they can’t believe that they constantly get submissions labeled with the template they gave their talent instead of the talent’s actual name!

Slating Your Name

Lastly, if a client asks you to slate your name at the top, just slate your name! Slate it clearly, and follow any slating instructions carefully—some ask for a slate before the audition, some after. And you don’t need to give your life story. Keep the slate short and sweet, and get right to it. Don’t give your phone number, don’t give the client’s name, don’t give a pitch! As long as your name is labeled correctly on the file, that’s enough information!

Pronunciation

If you haven’t been given the proper pronunciation of the product or service, try looking it up online to see (or hear) how the name is pronounced, or call them if you can locate them. If you still don’t know, take your best guess.

Stay tuned for part two!

Sincerely,

Marc

MARC CASHMAN creates and produces copy and music advertising for radio and television. Winner of over 150 advertising awards, he also instructs voice acting of all levels through his classes, The Cashman Cache of Voice-Acting Techniques in Los Angeles, CA.

Cashman Commercials © 2007

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Hello Marc,

I am writing from Toronto Canada and I'm looking to break into the business of voice acting. I have a media background but no voice acting experience. My strong side is cartoon voices. I am currently looking at some voice acting schools in the Toronto area.

Do you have any advice in what to expect in terms of a career?

Thank You,

Marco

Wow Marco,

That's a question for a crystal ball, and I sure wish I had one. But I can tell you that there's no easy way to become a professional voice actor.

It takes training, practice, money, practice, dedication, practice, determination, practice and... did I mention practice?

Remember, voice acting, though it's an anonymous part of show business, is still show business. Therefore, it goes without saying, that the competition is fierce. You say your strong side is cartoon voices, but you have no voiceover experience. You need to know that the actors (and I do mean
actors) who are working in this field are consummate at improvisation.

They have scores of different characters in their voice bag of tricks. They're able to mix, match, meld and augment these voices instantly, upon a director's request. If this is the route you'd like to pursue, you should seek out a voice acting course that specializes in animation.

But since you don't have any real acting background, I suggest getting a solid foundation first in commercial voice acting, then branch out into a specialty field once you have confidence in your acting.

Sincerely,

Marc

MARC CASHMAN creates and produces copy and music advertising for radio and television. Winner of over 150 advertising awards, he also instructs voice acting of all levels through his classes, The Cashman Cache of Voice-Acting Techniques in Los Angeles, CA.

Cashman Commercials © 2007

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Hi Voice Cat,

Someone solicited me to audition last night, per email. Here's the email:

I am casting for a new, healthy, natural energy drink called (product name withheld). You come highly recommended and I fully understand why, after hearing your amazing demos! It is a 60-second national spot, but it is non-union and a complete buyout. It pays $750 for 3 versions. We need a friendly, yet strong & CREDIBLE voice. If you’re interested, please email back ASAP and we'll gladly send you the script, but we will need you to send your read to us ASAP.

So I reply, ask for sides, get them, cut the audition and send it off. But I asked for an acknowledgment of receipt. No reply. I ask again later on in the day. No reply. What's with that? Is it the etiquette these days to ignore you after they get what they want? Am I being scammed somehow?"

–Scott P., Hollywood, CA

Scott,

Unfortunately, this is usual for the wacky world of show business.

Industry people seem to have lost touch with the simple ability to say thank you.

For some reason, a lot of casting companies feel that the opportunity they gave you for an acting job was enough, so why bother thanking you? They disregard the fact that you took time (and some money) out of your day to perform something for them for free, and common courtesy is not part of their equation.

And it’s not as if it takes a lot of time, either. With email, one person can communicate with the dozens of actors who showed up for an audition or submitted an mp3, and just say, “Thanks for your audition.”

Bottom line: don’t expect a lot of respect for actors. But don’t respond in kind, however. Continue to be unfailingly polite, sensitive and courteous. And if people you meet—any people, even outside of show business—are impolite, call them on it.

I’ll be sharing more voiceover questions and answers in the coming months. If you have any questions, please write to me at Ask The VoiceCat and I’ll get back to you.

Sincerely,

Marc

MARC CASHMAN creates and produces copy and music advertising for radio and television. Winner of over 150 advertising awards, he also instructs voice acting of all levels through his classes, The Cashman Cache of Voice-Acting Techniques in Los Angeles, CA.

Cashman Commercials © 2007

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Dear Voice Cat,

I've looked at two talent agencies, but I'm not sure if either of them will get me auditions, and neither of them have a license. What should I do?

Find out here!

Norma, this is a great question.

The only way to know whether either of these agencies will get you auditions is to go in, interview their V-O agent and ask.

If you're still not sure, see if they'll agree to work out something on a trial basis--maybe three months--to see how they do. This way, you can both decide whether the relationship works the way you anticipated.

Not having a license makes things "iffy," however. Ask how they pay, and how long they've been in business.

You could even contact your local Better Business Bureau and inquire as to whether the agency pops up on their radar screen. Obviously, if you know anyone who's signed with the agency, talk to them to see what their experience has been. Some subscribers at Voices.com might even know of them and be able to give you some feedback.

Otherwise, here are a few tips on finding and getting an agent and signing with agencies.

- Get a list of franchised talent agencies from your local AFTRA office (even if you’re not a member). In L.A. or NYC, the Voice Over Resource Guide (they're online), The Agency Guide (Samuel French Books, 7623 Sunset Blvd., Hollywood), Voices.com’s Definitive Guide to Voice Over Success (there are hundreds of agencies listed in their ebook from LA and NYC) or look in the Yellow Pages under Talent Agencies or Casting Directors.

- If you know any voice talent, producers or casting directors, ask them their take on local talent agencies and agents.

- Ask your voice talent friends who are happy with their agent to listen to your demo and ask if they might call their agent to listen to your demo.

- Before calling, write down everything you want to say.

- Look for an agent who’s well known, knows the market and has a good reputation in commercial voice work. Find out if they specialize in representing voice talent.

- Ask if you may submit your demo. If they tell you that the agency isn’t accepting demos at this time, find out whom you’re talking to and call them back 3 months later to see if anything’s changed.

- If you can submit your demo, send it with a brief cover letter, resume and S.A.S.E. Check back in about 2-3 weeks. Don’t expect to get it back.

- Once you arrange a meeting with a potential agent, bring a well-prepared V-O demo and a clean resume (you can include a head shot if you have one, but it’s not necessary).

- Dress and conduct yourself professionally.

- Be prepared to audition. Your demo got you in the door, but agents want to see a skilled and professional performer.

- Ask if their 10% commission is added to the performer’s fee or taken out.

- Ask how they promote talent. Find out if there are a lot of V-O demos in the office.

- Determine if you feel comfortable talking to him/her. If you do, producers will.

- Ask if the agency has a good set-up for auditions.

- Find out if the agent is franchised by the talent unions (SAG & AFTRA). Ask also if the agency hires union and/or non-union actors.

- Be confident and out-going, but not cocky. An agent can see right through it.

- Some agencies charge a fee to cut an actor’s two-minute demo down to one minute so they can put them on the agency house demo. If that’s their policy, find out how much they charge and look into doing it yourself if you can find a better price.

- Whatever the reason for rejection, don’t take it personally. There may be a conflict with other talent (meaning the agency has voices “similar” to yours) or they may not be accepting any more submissions because they’re too busy representing the talent already in their stable. Ask if you can check back in a few months to see if the situation has changed.

- Ask for any feedback or constructive criticism of your demo and/or audition performance, but don’t change it based on one agent’s viewpoint. If, however, a number of agents agree that your demo isn’t competitive, consider revamping.

- If a talent agency wants to sign you, make sure you understand the contract before you sign. It should have a performance clause, which stipulates that the agent should get you work within 90 days or the contract is null and void if you notify the agency (or SAG/AFTRA) in writing.

- Take your time. Don’t rush to sign with the first agent who offers to represent you. Tell them you’re weighing your options and will let them know soon.

- A normal contract is for one year. Some agencies want a multi-year contract, but this can be problematical if your agent doesn’t promote you and get you work.

- Sometimes it’s better to sign with a small agency than a large one where you might get lost in the crowd of seasoned performers.

- Some agents will freelance an actor, sending him/her out on auditions without signing them, just to see how they do. So, as an option, ask potential agents if their policy is to freelance talent.

- Never pay anyone up front to get work in the industry. If anyone promises that for a certain amount of money they’ll get you an audition or guarantee work, walk away—quickly.

I hope this helps. Break a lip!

Marc

If you have any questions, please write to me and I’ll get back to you on the blog with my answers.

MARC CASHMAN creates and produces copy and music advertising for radio and television. Winner of over 150 advertising awards, he also instructs voice acting of all levels through his classes, The Cashman Cache of Voice-Acting Techniques in Los Angeles, CA.

Cashman Commercials © 2007

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What route should you go to train your voice as a voice actor?

Hi Marc,

In learning how to use my voice better and being able to use it for voice acting more, how helpful are standard acting classes vs. dialogue coaching / voice training?

Thanks,

Jenna

Jenna, thanks for your query.

Most commercial voice-acting is based upon using your natural voice. Listen to a documentary, or a voice-menu-prompt system, or even a national television commercial, and you’ll probably hear a natural-style voice-over.

Voice-over producers typically search for voice-acting artists who can use their natural voices in front of the microphone. This is because most voice-over artists sound contrived when affecting his or her voice to sound like someone else. And in fact, if a producer wanted a voice type different than yours, they would hire someone who naturally had that voice.

Therefore, ensure that any training classes you attend teach you to use your natural voice.

Acting classes, or improvisation classes, can be helpful. They teach you spontaneity, how to be freer with your emotions, and how to turn certain ones on and off. This is very helpful for a voice actor, as it prepares you for producers who’ll tell you what emotion they want exhibited in a script.

But some acting classes aren’t helpful. Some acting classes--mainly stage acting--teach the actor to project, so that their voice can be heard in the back of the theater... without the need of a microphone.

And the mere reality of being in front of a live audience calls for a bit of overacting, not the subtlety called for in many Radio spots. This is the opposite of a natural voice. With this type of training, it’s common for the voice actor to over-project and overact.

Voice acting classes are specifically structured to train you how to use your voice behind a microphone, which, in a sense, is like talking into someone's ear. If you want to excel at voice acting, take a number of V-O courses to learn proper technique in this medium, and improv classes to learn how to emote, develop character voices and be spontaneous in your acting.

Keep these points in mind when considering an acting class.

Good luck!

Marc

If you have any questions, please write to me and I’ll get back to you on the blog with my answers.

MARC CASHMAN creates and produces copy and music advertising for radio and television. Winner of over 150 advertising awards, he also instructs voice acting of all levels through his classes, The Cashman Cache of Voice-Acting Techniques in Los Angeles, CA.

Cashman Commercials © 2007

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Ready to trade in your toolbelt for a microphone? Read this interesting take on going from a labor intensive job to radio or voice acting.

Dear Marc,

People tell me, especially females that I have a very cool voice and I should be a DJ on the radio. I know it's different, but people, total strangers included, comment a lot on it and I'm wondering if I
should capitalize on it.

To give you an example, the likeness of my voice is similar to whiskey and cigarettes, or the oldschool rapper tone.

I have a very physical job and I'm getting real tired of the physical pain that comes with it and I'd like to try something out that may put my distinctive voice to use but I do not know how or where to begin.

Can you help?

Johnny

Johnny,

you're a smart man to realize that you won't be able to do physical labor forever, whereas you can be using your voice for a long, long time.

But the fact of the matter is that having a beautiful voice will not guarantee you success in a career in Radio or voice acting unless you possess certain critical skills.

As far as Radio goes, if you wanted to become a DJ, or on-air personality, you'd have to have the "gift of gab," the ability to talk and think on your feet, interact with callers, have an intimate knowledge of the music you're playing, have the ability to multi-task, read copy cold, understand time limits,
know how to find the sweet spot in the microphone, among many, many other skills.

If that kind of work interests you, I'd strongly suggest you find a Radio school, a company that instructs students to prepare for the wonderful world of Radio.

If, on the other hand, you'd like to be a voice actor, you also need a number of skill sets, among them:
the ability to articulate and interpret copy, read copy without "stumbling" through it, acting skills, breath control and most importantly, the ability to tell a compelling story, whether it's a commercial, a corporate video a website narration, audio book, whatever.

If that's what you're interested in doing, then voice acting classes are the thing you want to pursue, because they'll give you the solid foundation you need to compete with professionals already established in the field.

You could have the most beautiful voice in the world, but if you can't enunciate correctly or put two words together, you don't have much of a chance of making a career in the world of the spoken voice.

James Earl Jones, as gorgeous a voice as he has, would be nowhere if he couldn't act or articulate beautifully.

We only have one go-around in life.

If you're hearing from total strangers that you have a unique voice, why not find out if you have the attendant skills to give you a whole new career?

Sincerely,

Marc

If you have any questions, please write to me and I’ll get back to you on the blog with my answers.

MARC CASHMAN creates and produces copy and music advertising for radio and television. Winner of over 150 advertising awards, he also instructs voice acting of all levels through his classes, The Cashman Cache of Voice-Acting Techniques in Los Angeles, CA.

Cashman Commercials © 2007

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No matter what city you live in, there's always somewhere nearby that has a voice over coach.

Hi Marc,

I work at a department store and do the overhead announcements. Everyone tells me I should be doing that professionally. It could be because I'm a teacher and I'm used to reading aloud to the kids and getting into character.

I'm very interested in getting into voiceovers, but all of your advice says to take a workshop before
cutting a demo, and I haven't been able to find a workshop in the Milwaukee area, nor have I been able to find an agent for voiceovers.

Do you know of anyone out here, or do you have any advice for me?
Kim

Kim,

Thanks for writing in. You're very smart to take voice acting classes if you want to break into the business. A good series of courses will give you the solid foundation you need to compete with the professionals already established in this field.

A little bit of research showed me that, as you said, there are no voice acting classes in the Milwaukee area, at least none that I can find.

However, Chicago, which is about 90 minutes away, has a talented instructor named Sherri Berger. You can Google her and find out all about her classes.

Good luck, and break a lip!

Marc

If you have any questions, please write to me and I’ll get back to you on the blog with my answers.

MARC CASHMAN creates and produces copy and music advertising for radio and television. Winner of over 150 advertising awards, he also instructs voice acting of all levels through his classes, The Cashman Cache of Voice-Acting Techniques in Los Angeles, CA.

Cashman Commercials © 2007

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Try these helpful ideas to get your voice in front of agents.

When it comes to getting your voice heard by agents or others in the V-O industry, you have many ways to accomplish that, but they all start with putting together a professional voice acting demo. And the only way to do that is to become proficient at voice acting. And the only way to do that is to study the art and techniques of voice acting through classes (which entails many hours behind the microphone).

If you've never taken classes, I strongly urge you not to do a demo until you're ready. It would just be a waste of your time and money at this time. Put those resources towards classes, and, if you find you have the talent for it, and your instructor feels that you're ready, then proceed to produce a demo.

At that point, make sure you work with a person who's produced other V-O demos (you should listen to other demos they've done to determine how good their production values are).

Remember, you only have one shot to make a good impression on the people who work in the V-O business every day, so when you're ready, you need to send out an impressive, competitive demo that's also professionally packaged.

But, what if you already have a V-O demo produced?

Where do you start?

How do you know you’re approaching the right people, the right way?

Here’s a little primer:

- Get a list of franchised talent agencies from your local AFTRA office (even if you’re not a member), the Voice Over Resource Guide (VORG-in L.A.: 818/508-7578), The Agency Guide (Samuel French Books, 7623 Sunset Blvd., Hollywood—they also sell preprinted address labels), Voices.com’s Definitive Guide to Voice Over Success (there are hundreds of agencies listed in their ebook from LA and NYC) or look in the Yellow Pages under Talent Agencies or Casting Directors. Also, do some research on the Internet to start compiling a list of production companies.

- If you know any voice talent, producers or casting directors, ask them their take on local talent agencies and agents.

- Ask your voice talent friends to listen to your demo and ask if they might call their agent to ask if they would listen to your demo.

- Before calling, write down everything you want to say.

- Look for an agent who’s well known, knows the market and has a good reputation in commercial voice work. Find out if they specialize in representing voice talent.

- Ask if you may submit your demo. If they tell you that the agency isn’t accepting demos at this time, find out whom you’re talking to and call them back 3 months later to see if anything has changed.

- If you can submit your demo, send it with a brief cover letter, resume and S.A.S.E. Check back in about 2-3 weeks. Don’t expect to get it back.

- Once you arrange a meeting with a potential agent, bring a well-prepared V-O demo and a clean resume (you can include a head shot if you have one, but it’s not necessary).

- Dress and conduct yourself professionally.

- Be prepared to audition. Your demo got you in the door, but agents want to see a skilled and professional performer.

- Ask if their 10% commission is added to the performer’s fee or taken out.

- Ask how they promote talent. Find out if there are a lot of V-O demos in the office.

- Determine if you feel comfortable talking to him/her. If you do, producers will.

- Ask if the agency has a good set-up for auditions.

- Find out if the agent is franchised by the talent unions (SAG & AFTRA). Ask also if the agency hires union and/or non-union actors.

- Be confident and out-going, but not cocky. An agent can see right through it.

- Some agencies charge a fee to cut an actor’s two-minute demo down to one minute so they can put them on the agency house demo. If that’s their policy, find out how much they charge and look into doing it yourself if you can find a better price.

- Whatever the reason for rejection, don’t take it personally. There may be a conflict with other talent (meaning the agency has voices “similar” to yours) or they may not be accepting any more submissions because they’re too busy representing the talent already in their stable. Ask if you can check back in a few months to see if the situation has changed.

- Ask for any feedback or constructive criticism of your demo and/or audition performance, but don’t change it based on one agent’s viewpoint. If a number of agents agree that your demo isn’t competitive, consider revamping.

- If a talent agency wants to sign you, make sure you understand the contract before you sign. It should have a performance clause, which stipulates that the agent should get you work within 90 days or the contract is null and void if you notify the agency (or SAG/AFTRA) in writing.

- Take your time. Don’t rush to sign with the first agent who offers to represent you. Tell them you’re weighing your options and will let them know soon.

- A normal contract is for one year. Some agencies want a multi-year contract, but this can be problematical if your agent doesn’t promote you and get you work.

- Sometimes it’s better to sign with a small agency than a large one where you might get lost in the crowd of seasoned performers.

- Some agents will freelance an actor, sending him/her out on auditions without signing them, just to see how they do. So, as an option, ask potential agents if their policy is to freelance talent.

- Never pay anyone up front to get work in the industry. If anyone promises that for a certain amount of money they’ll get you an audition or guarantee work, walk away—quickly.

Good luck, and let me know what happens!

Sincerely,

Marc

If you have any questions, please write to me and I’ll get back to you on the blog with my answers.

MARC CASHMAN creates and produces copy and music advertising for radio and television. Winner of over 150 advertising awards, he also instructs voice acting of all levels through his classes, The Cashman Cache of Voice-Acting Techniques in Los Angeles, CA.

Cashman Commercials © 2006

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