When customers present you with copy that has grammatical errors, missing words or abbreviations, do you edit the text to be more comprehensible?

Is massaging copy a common practice by voice over talent?

Read one voice actor's account and add your voice to the conversation.

Your Story Ideas at Work

In December of last year, Paul Plack contacted me with a story idea for the VOX Daily blog about copy and whether or not voice over talent are responsible for reworking copy.

After you've read Paul's story, I invite you to comment with your thoughts. We are both excited to hear your thoughts and think it would be interesting to document what goes on industry wide. All perspectives are welcome.

Massaging Copy : To Do or Not To Do?

Submitted by Paul Plack

I did lots of small voice projects in the 1990s, but have focused on a few big, steady accounts the past few years. Now that I'm actively pursuing smaller projects again, I'm reminded of an issue which can take the joy out of our work - bad writing.

Not surprisingly, I notice this most in the lowest budget tier. I'm not referring here to the radio and TV commercials with copy which doesn't match the specified length, lacks imagination, contains tongue-twisters or just sells the product poorly. I can cheerfully crank those out like anyone else. I'm talking about grammar or other defects which make it tough to understand the copy, and tougher still to convey meaning to listeners.

In some cases, writers who normally work in print are tasked with turning out copy for spoken-word, and it winds up filled with parentheses, abbreviations, or sentence structure which preclude sounding natural. By the nature of their creative process, talking books often pose this problem. Sometimes, we're given copy lifted directly from a print ad, and it's clear nobody has even tried reading the script aloud before sending it out. The worst cases make the reader sound foolish and unprofessional.

I was once given a photocopy of a client's ad from the yellow pages of the phone book as copy. I saw one request for bids which provided no copy at all, and expected the voice talent to create his own!

I can think of various approaches to this issue. If you're busy enough to be choosy, you can simply decline to bid. If you're feeling charitable, you could offer to touch up the copy, at the risk of offending the client.

I recently worked with an international client who doesn't use English day-to-day. The copy was generally very well done, but used a few figures of speech which sounded a little stiff or forced. I suggested a few changes, and apparently did so with enough tact that the client welcomed the input. But, I ran at least some risk of losing the job, especially since I made the suggestions at the audition stage.

How do we handle this?

Do you feel taking the time to massage copy is an unproductive use of your time? Would you rather risk offending the client, or put out work which doesn't meet your standards? If you offer such suggestions to clients often, how many clients were alienated, and how many were appreciative?

I'd be interested in the groups thoughts.

Thanks!

Paul Plack

Voice talent, agents, casting directors and unions face a changed environment. The convergence of media and technology, combined with the fragmentation and personalization of media, is affecting all industry players in unprecedented ways.

This report aims to identify the key players who participate in the industry, describe behavior and trends, but most importantly, highlights areas of opportunity that should be capitalized upon in 2009.

Who Should Read This Report

๏ Voice Talent, Voice Actors, Narrators
๏ Voice Over Coaches, Instructors and Trainers
๏ Audio Engineers and Producers
๏ Voice Over Agents Talent Agencies & Casting Directors
๏ Unions and Industry Associations
๏ Online Marketplaces

Highlights

๏ A map of the voice over industry online charted by TouchGraph.

๏ A graph of which websites receive the most pageviews as sourced by Compete.com

๏ The single most searched for keyword, and how much Google charges for a click if you were to bid on that keyword using Google Adwords, the search engine marketing program.

๏ New information revealing the slight decline in radio and television advertising, but the rise in Internet, podcasting and videogame advertising.

๏ Details about "The gadget of the year".

๏ Information covering salaries of union and non-union voice over talent including dollar amounts for contracts with residuals as well as average rates for freelance voice over work.

What Trends Do You See for 2009?

For the visionaries and those who simply enjoy making predictions, what do you believe is in store for 2009? Download the Voice Over Industry 2009 report then add your prediction below by leaving a comment now.

Looking forward to hearing from you,

David

Is it OK to use copyrighted material in your demo?

What could happen if you use a script from an audition that you didn't win for promotional purposes?

Can you perform a dead-on vocal impression of a celebrity but are curious about legal issues?

Find the answers to these questions and more in our interview with David R. Canton, Lawyer and Trade-mark Agent with Harrison Pensa LLP in London, Canada.

Voices.com Interview with Lawyer David R. Canton

VOX: Thank you David for joining me here on VOX Daily and for sharing your expertise with us. As a lawyer specializing in copyright and intellectual property there are a number of questions I'd like to ask you on behalf of our audience and community at Voices.com. Firstly, I'd like to ask you about copyright law. This is one of the hottest topics around and it affects all voice actors in one way or another when they are recording scripts, especially when recording and producing a voice over demo.

DAVID CANTON: First, some caveats to my responses. Laws vary by country, and even by state/province within countries. Legal answers always depend on the specific facts at hand, and small changes in fact can lead to different results. So my answers here are for general guidance and information only, and are not to be considered or relied upon as legal advice.

Another thing to consider is that rights owners vary greatly in their inclination and desire to enforce their IP rights. Some may not care, or may let violations slide on the basis that it is good publicity. Others may be overly aggressive and try to stop things that one is legally able to do.

VOX: Can a voice actor use the name of an established company such as McDonald's, even their ad copy or slogans, in a voice over demo if they haven't worked for that company or do not have permission expressly from the owner of the copyright to do so?

DAVID CANTON: In part this depends on whether the voice actor does this to mislead that he/she actually did the commercial. It would be a copyright violation to use the exact text of a real ad. Using a name or trade-mark technically may not be a trade-mark violation as the voice actor is not using it to sell the same wares or services of the company. But some famous mark owners get very aggressive about trying to prevent others from using their marks in any way.

The safest approach is to alter an existing ad sufficiently to avoid being accused of copyright violation over the ad, and use a fictional name.

VOX: Voice actors do auditions everyday at Voices.com and through other services. Usually a script is provided by the client that a voice actor can partially record for demonstration purposes. This allows the client to review the samples and get a better idea of how that person would sound representing their company.

Should that ad copy or script be considered "off limits" to voice actors if they don't get the job? In other words, is it OK for a voice actor to use the audition spot they recorded as a sample of what they could do and post it publicly on the web or include it in demo materials that they send out to prospective clients or agencies?

DAVID CANTON: If the script is provided by the client, the best approach is to ask permission to use it as a sample and get that permission in writing. Indeed, that should be standard practice for the voice actor. In addition to removing all doubt, it shows a very professional approach that the client may like to see. It's the same issue as Question 1. One factor here is that if the sample script is close to the final ad, the client may not want versions other than by its final voice choice to be floating around.

VOX: There have been a couple of instances where we have received complaints from clients who noticed that auditions submitted featuring their scripts had been used by talent who were not hired as promotional materials. Those voice samples were removed from the profiles of the talent in question and the client was pleased with those actions.

This may seem obvious, but would you advise that talent simply archive their auditions and not use the audio for other purposes, particularly promotional purposes that may endanger or misrepresent the company's brand?

DAVID CANTON: Yes, that's a wise approach. Again - the best approach is to always ask if one can use the audition for samples.

VOX: When does copyright infringement occur? Is there a fine line that is crossed when a certain amount of information is used, or is it any portion, regardless of how small?

DAVID CANTON: There is no precise answer to this. Small amounts are not considered infringing - what "small" means is subjective, and may depend in part on how central that part is to the whole. Keep in mind that copyright deals with the expression of the idea, not the idea itself. In other words, it prevents one from repeating the words; it does not prevent one from using the ideas or information contained in the words.

VOX: There is a misconception in our industry that it is OK to use copyrighted material without permission to provide prospective clients with a demonstration of what voice actors are capable of doing, although the audio may not necessarily be a true reflection of who they have actually branded or been hired by.

What is wrong with that concept and what are the possible consequences of doing so?

DAVID CANTON: In addition to the copyright issue, it would be misleading advertising to suggest that one has done certain work when they have not. That can lead to quasi-criminal charges. It also doesn't do one's reputation any good.

VOX: If we could, I'd like to move on to another aspect of voice over work. There is a sizable market for "sound alikes", people who can manipulate their voice to sound convincingly like the voice of someone else. Oftentimes the hiring of a sound alike or person to do the voice match is required because a celebrity is either unavailable or too expensive to hire.

In the highest echelons of voice over, these legalities are looked after quite nicely because the stakes are too high to not observe the law, and they (producers), also have more money to bridge the gap than smaller companies do. In the world of non-union work, these same considerations are not necessarily observed due to factors mentioned above.

Could you please explain what the difference is, if there is one, between imitation and impersonation as it pertains to voice over recordings? Where is the line drawn and what are the legal implications?

DAVID CANTON: This is another one where the line is tough to draw. If it is an impersonation that misleads the listener to think they are hearing a real celebrity endorsement, then the real celebrity can take legal action. Theories include appropriation of personality, and passing off. There is some notion that one's reputation is a property right. So anything that suggests a celebrity endorsement, and/or derives some commercial advantage for it, should not be done.

If the voice is clearly an imitation or parody, and not the actual celebrity, it is less likely to cross that line.

VOX: Can someone legally imitate or impersonate another person, of high profile or otherwise, in a voice over recording without their prior written consent? If someone does this without consent, what are the potential legal outcomes?

DAVID CANTON: See answer to #6.

VOX: Does this also apply to celebrities or individuals who have died? Consider voice overs recorded that portray Elvis, Marilyn Monroe, Winston Churchill, and so on. Recently, there was a very high profile voice over professional, Don LaFontaine, who passed away (September 1, 2008) and he is mimicked quite often for his movie trailer voice (both before he died and presently). What kind of permission is required to make a recording portraying the deceased? Should royalties be going to their estates?

DAVID CANTON: Yes, estates can enforce those rights. It really comes down to whether the person is misleading who they are. Elvis impersonators and tribute bands, for example, are clearly not suggesting they are the originals. They do, however, need to comply with copyright by getting whatever permissions or rights are required to perform the songs.

If someone died a long time ago, it may be a smaller risk, as it would be harder to imagine, for example, that Winston Churchill would actually endorse an MP3 player.

The Don LaFontaine example may be different in that one can argue that he is not a celebrity that is being impersonated.

VOX: How do these same principles apply to the imitation of character voices such as Mickey Mouse, Bugs Bunny, Homer Simpson, The Little Mermaid (Ariel) or other character voices? Is there a shelf life for a character voice before it becomes part of the public domain or are these voices protected for as long as the creator or owner of the intellectual property maintains control?

DAVID CANTON: The issues are similar - it's just that the owner of the rights are different. Copyright does have a fixed time span that varies according to jurisdiction - usually the life of the author plus several decades after that. Some countries have recently extended those time periods as a result of lobby efforts of the rights owners.

VOX: What can be done to curb infringement? What can we do as a marketplace to help spread awareness and develop an industry that respects copyright and intellectual property at all levels?

DAVID CANTON: Copyright is not an issue that is well understood. Many think copyright laws are too restrictive, while others want tougher laws. And the internet and digitization have made it extremely easy for people to violate copyright. At the same time, there are instances where copyright may technically be violated, but the practical reality is that there is no harm to the rights holder.

The best way to deal with it is to make people aware of what should not be done, and provide alternatives. In many cases, such as auditions, it's very easy to simply ask. It's also important for people to be above board and never mislead what they are doing, and what their experience is. In addition to being a legal risk, misleading customers or potential customers will only hurt one's reputation.

~~

Well, there are some answers for you! I promised that an interview would be published with a lawyer and here it is.

If you have anything that you'd like to share, you can add a comment below.

Best wishes,

Stephanie

P.S. If you'd like to learn more about David Canton, you can visit his blog Canton.eLegal.ca.

While the holiday season is still upon us, I thought it would be a good idea to introduce a new column on VOX Daily that I hope will do more to encourage generosity the whole year round as well as recognize people for their work.

This new column will also do much to promote the use of voice overs and help to increase sales of products that include voice acting.

Want to know more?

It All Started With A Gift

This Christmas, while opening some presents, two of our children received audiobooks, one of which happened to be narrated by someone I know. I always check for credits on cartoons, movies, audiobooks and the like to find out who recorded the voice over, and this time I was pleasantly surprised to see Don Wescott's name listed as the reader for Curious George!

After some consideration and discussion, I arrived at the decision that a new column should be added to the VOX Daily blog, called "Reviews", where reviews of any voice over product may be filed.

Why Add Reviews?

My intention through this weekly column is to provide the voice over community with a good place to hear about what their peers are up to, a vehicle to promote great products that use voice over, and also a way to recognize voice over professionals and the companies they worked with.

There are many products that I'll be reviewing here on VOX Daily that are waiting in the wings, including a review of the Curious George read-along audiobook I mentioned earlier featuring Don Wescott.

This is just a small way that I can help to shine more light on the good work that is being done and I'd like nothing more than to share the stage with as many people and their work as possible.

How Will This Work?

That said, if your voice is being used in a commercial product such as a talking toy, an audiobook, animated film, or documentary the invitation is open to you, should you choose, to send a package to me including the product to be showcased on the blog in a future review that will include a link to where the product may be purchased as well as a link to the voice artist's website.

The products, once reviewed, will be donated on your behalf by Voices.com to a deserving charity that could put the gift to good use or to a public library.

Just to be clear, I am not relying solely upon people to send in items.

I will be reviewing products that are in my possession, borrowed items from libraries, and may also review items belonging to others, all of which must indicate the name(s) of the voice artist(s) who recorded the voice overs.

Raising Awareness and Giving Credit Where it is Due

Knowing who recorded the voice overs is key as one of the main objectives, aside from raising awareness for voice acting and products that use voice over, is also to shine the spotlight on voice artists and their performances.

Donated items sent in for review, while not expected but certainly appreciated, will be quite helpful when it comes to fulfilling my objective of giving the voice artist responsible public recognition.

If You'd Like To Donate An Item For Review, Mail To:

Attention Stephanie Ciccarelli
VOX Daily Reviews
C/O Voices.com
130-100 Collip Circle
London, Ontario Canada
N6G 4X8

Thank you!

Best wishes,

Stephanie

©iStockphoto.com/Mr_Vector

Glad tidings we bring to you and your kin, in this, the bleak midwinter, that your hearts may be filled with comfort and joy, for unto us a child is born!

Dear VOX Daily readers,

May you be blessed with a safe, peaceful holiday in the company of family and friends, both far and near.

During this time of joyous celebration, the Voices.com offices will be closed on Wednesday December 24th, Thursday December 25th, Friday December 26th, 2008 and Thursday January 1st, 2009.

From our families to yours, we wish you a very Merry Christmas and a Happy New Year!

God bless,

Stephanie, David, Carol, Laurynda, Erica, Lin and Wesley

©iStockphoto.com/Tari Faris

What's the most stable market for voice overs right now?

It could very well be voice acting work in video games, at least for now.

As we bring 2008 to a close, I think it would be interesting to take a look at what this market is doing at how it may fare going into 2009.

Join the discussion and let me know what you think by leaving a comment!

Recession-Proof?

In a time where many companies, even entire industries, are scaling their nonessential efforts down and maximizing their resources, one industry in particular, Video Gaming, is not only stable, but growing by leaps and bounds.

According to The Economist, global sales of console hardware and games software are expected to hit a record $49.9 billion this year, sourcing Screen Digest, a consulting firm. Games sales in America in October totaled $697m, 35% more than a year earlier, according to NPD, a market-research firm.

Many Video Games Need Voice Overs

Video games often include the use of voice overs. In recent years, smash hits such as the Halo video games, Grand Theft Auto series, BioShock and others have dominated the video gaming scene and lauded for their gameplay, plots and notably, voice acting.

Everything is Cyclical

While video gaming sales are going wild now, some are speculating that there could be a slight decrease in the market soon.

How Have You Found This Market To Be?

Have you recorded voice overs for any video games lately? How do you perceive this market?

Looking forward to hearing from you,

Stephanie

The team at Voices.com is planning a conference and we want your feedback!

Want to know more?

Voice World

For a number of years, we've been wanting to take Voices.com out on the road to share our resources and the phenomenal expertise of some amazing people in voice over with the world.

I'm pleased to announce that Voices.com has planned a conference series called Voice World with destinations slated to occur across the US, Canada and abroad starting with the City of Toronto in Ontario, Canada.

To keep up to date on what's going on, I invite you to visit the Voice World Toronto site and complete a brief form to receive email updates as they become available. You can also share any ideas as to what you'd like to see in a conference by emailing info@voiceworldtoronto.com.

Get email updates by signing up here.

Looking forward to seeing you at Voice World!

Best wishes,

Stephanie

When you are auditioning online, it's nice to see some kind of artistic direction as to what type of voice and delivery style is required, but what happens when that information is not as specific as it could be?

Find out how you can turn what seems to be a lack of information into your own personal creative platform in this helpful article at VOX Daily.

Details, Details!

When clients post jobs at Voices.com, they receive additional guidance from the job posting form and are shown through examples how to describe and communicate their needs to potential applicants in order to get the best responses possible.

One tip is particular to artistic direction including an example using adjectives, giving the client an opportunity to outline their requirements on a deeper, more creative level.

While having that kind of information can be useful, it isn't always provided, in which case you'll need to rely on your instincts, experience and ability to self-direct given the script provided and the demographic it is reaching.

What Can You Do? Look For Clues!

Consider the following:

1. Who is meant to hear this message?
2. What does it mean?
3. Why is it relevant to the people hearing the message?
4. Who would the person on the receiving end want to hear from?
5. How can I best communicate the message?

After you've done a very quick analysis of what you see, you're ready to record and audition with more than just an educated guess, proving that a little thought goes a long way.

Keep in mind that not everyone who uses the site knows exactly what they are looking for and are usually open to hearing all kinds of voices and interpretations. If the customer had a preference or knew what kind of voice and attributes they wanted to cast ahead of time, they would have indicated that in their script.

Do you have any tips to share about interpretation and self-direction?

Looking forward to hearing from you,

Stephanie

©iStockphoto.com/blackred

Are you getting The Point?

Guest blogger and voice over expert Marc Cashman shares more than a thing or two about how you can recruit punctuation marks to work for you.

Read the article here and then listen to Marc's podcast discussing punctuation on Voice Over Experts!

Get the Point!

By Marc Cashman

One of the many topics I cover with my voice-acting students is navigating punctuation marks in copy or text (I make a distinction between copy--the words and phrases used in advertising or promotion--and text, the words spoken in narration).

Punctuation marks can be easy or difficult to navigate for some voice actors, depending on their skill and depending on how good or bad the writer is in using punctuation correctly.

And while the period, comma, colon and semi-colon can be used fluidly; the question mark can be used in dozens of different ways; and narrating quotations marks takes a bit of skill in timing; the one punctuation mark that needs to be honored and should never be ignored is the exclamation point.

I can't count how many times I've heard voice actors ignore exclamation points! And I don't understand how they miss them! They're impossible to ignore!

There's no other punctuation mark that makes its presence known as well as the exclamation point (okay, I'll stop with the exclamation points for now!). Granted, copywriters use them liberally, particularly with retail or direct response copy: "Do it today!" "Call now!" "But wait, there's more!" But that's no excuse to miss them or pretend they're not there. The writer placed them there on purpose--they didn't plant themselves on the page by accident! Oops--did it again.

But exclamation points are used for just one purpose: to convey excitement!

Sorry, I just had to use one there. And when you see exclamation points in copy, that's the writer's way of telling you, "Make this sentence exciting!" (Oh gee, I did it again)

An engineer I work with, who has listened to thousands of voice actors, recommends bringing a pocketful of exclamation points the next time you have a piece of retail or direct response copy to perform, and, if they're not embedded in the copy, liberally sprinkling them over the page. Sometimes there are sentences which don't have exclamation points that need them, but too many sentences with exclamation points will start sounding silly after a while.

Just how much excitement should an exclamation point convey?

It needs to be appropriate to the product, situation and audience.

Exciting copy for young kids for Hotwheels™ is going to be read differently than exciting copy for a casino aimed at adults. And there are so many different degrees of excitement -- the amount of excitement and projection varies in myriad situations.

Shouting in a stadium, "All right, a home run!" or ringside at a boxing match, "Knock him out!" Exclaiming "Happy Birthday!" or "Happy New Year!" at a party.

Seeing someone take a fall and exclaiming, "Oh my God!" or accidentally knocking something over and apologizing, "I'm so sorry!"

Calling to your kids, "Dinner's ready!" or hailing your neighbor from your porch, "Hey, haven't seen you in a while!"

Then there's hushed excitement, when you lean over to whisper to your friend or relative or spouse at an opera or a recital, "I been waiting for months to see this!" Confessing to a loved one, "Oh, you are gonna love this!" or fighting with them, "You never listen to me!" Sometimes excitement goes into the realm of terrorized or insanity!

Tip

Here's a tip if you see a lot of exclamation points throughout a spot: be careful not to get too excited at the beginning, otherwise you'll have nowhere to go but down. You need to ramp the energy up -- gradually, believably, and paced out.

Plus, if you're being directed in a session, the director will explain the appropriate energy you need to give exclamation points in the script. Just don't ignore an exclamation point. Honor it and give it its due. Get the point!

Sincerely,

Marc Cashman

Cashman Commercials © 2008

©iStockphoto.com/Jan_Neville

Have you ever felt like customers hiring talent are always looking for the lowest common denominator?

Sometimes it's easy to think that the jobs only go to talent charging bargain basement prices or that customers don't care about what the voice over sounds like, so long as it's decent.

Not so, my friends.

Take heart in this!

Today I'll present 3 simple truths that will leave you wondering why you ever had a doubt.

1 Size Doesn't Fit All in Voice Overs Because...

1. People need custom voice over work recorded
2. People desire a very specific sound
3. No one wants their message to sound the same

You could also apply the reasons above to why Text-to-Speech (TTS) will never replace custom voice overs performed by voice over talent.

The need for voice over has never been greater and the companies who are hiring are looking for the voice of their brand, not just the guy with a cheap microphone or the gal charging the lowest price for the job.

Your voice is unique. Rejoice in that!

The people who hire you already do :)

Aren't you glad you're a professional voice over talent?

Best wishes,

Stephanie

©iStockphoto.com/Heather Craig

About a month ago, the Screen Actors Guild issued a rather bold memorandum to their members with regard to New Media (wireless, internet, DVDs, etc.) called "Check Your Backside" communicating that Rule 1 in New Media will be enforced starting January 1, 2009.

What's the "Backside" and what's "Rule 1"?

If you are a card carrying SAG member, you need to know.

Find out now.

Brief, Brief Overview of SAG

For those of you who are unfamiliar with the Screen Actors Guild, or its acronym SAG as it is more commonly referred to, it is one of the two major performers unions in the United States that represents nearly all film actors and many other people who fall into a variety of categories, including voice over artists.

Members of SAG are only allowed to work for signatories of the union, in other words, producers who have signed an agreement with SAG to only work with union talent.

You can read more information at the SAG website or research compiled by Voices.com team member Lin Parkin entitled, A History of the Screen Actors Guild.

Check Your Backside?

Now that we've briefly covered what SAG is, who is in it and who may work with SAG talent, it is important to share this message.

Effective January 1, 2009, all members of SAG must work only with union signatories on New Media projects.

The "Backside" SAG is referring to is the backside of the SAG membership card all members carry with them that clearly outlines "Rule 1". Rule 1 in essence means that SAG members can only work for signatories who have signed the appropriate SAG agreements.

SAG Says

Pamela Greenwalt, a SAG representative, was kind to provide me with the following relating to my request for information about SAG's New Media Rule 1 campaign:

"I am responding to your request for information on our New Media Rule 1 campaign. Regarding rates, please see the following:

For linear entertainment programming made for initial distribution in new media (the Internet and cell phones, only) SAG has promulgated a New Media Agreement for independent productions whereby signatory producers are free to individually bargain with members over compensation, including voice-over compensation. For interactive entertainment programming (video games), the terms and conditions of the SAG Interactive Media Agreement apply under which the day rate for voice-over performers is $759.00 for up to three voices in a four-hour work day."

Analysis

According to what Pamela says above, SAG has no set rates for linear entertainment programming made for initial distribution in new media. This means that as a member of SAG you can set your own rates and negotiate with producers in this area of work.

Unless it's a video game or the like where there are set session fees, you're in the clear to set your own prices.

I was also in touch with Todd Amorde, National Director Organizing, Screen Actors Guild, and he graciously shared:

"Generally, speaking the rates for scripted entertainment product under our promulgated agreement are freely negotiable. This agreement would be applicable and the rates negotiable only if the production is truly independent (no funding or distribution from a network or studio)."

Do You Have Questions about New Media as it Pertains to SAG?

You can call (323) 549-6777 or email this address: organizingnewmedia@sag.org

Why Is New Media So... Wild?

You might be wondering why some of this (enforcement of Rule 1) isn't happening already, and I hope to be able to give you my thoughts on this. Please keep in mind that this is merely my opinion based upon research - I am not an expert on New Media or unions.

New Media

Let me preface the rest of this article by saying that New Media is Production's equivalent of the Wild Wild West where contracts for work are concerned.

Right now New Media has no set, recognized or standardly enforced parameters for pay scale.

There is no rate card on the subject and this area of work has been the final frontier if you like for a number of years ever since DVD technology came about.

SAG has had a New Media contract for about 10 years and it has now been updated to reflect changes to the technological landscape.

All things digital, cellular, wireless, online, you name it... these devices are not only a massive part of our culture, however residual payment for artists is currently unregulated, unlike traditional broadcast commercials, promos, tags, and so on that garner performers royalties and a standard base fee for the original performance.

To quote the SAG website:

"New media means the Internet, cell phones, PDA's and any other technology that may be invented in the future. That means that every time you work on a project intended for new media, you need to be covered by a union contract. Being covered by a SAG contract right from the start is a good thing because in new media, you never know where you'll find an audience or how successful a project may become."

Source: SAG Act As One

Bargaining Tables, Passionate Speeches and Picket Lines

Unions including Canada's performers union ACTRA, and also the Writers Guild of America (WGA), have gone on strike (ACTRA in 2007 and WGA in 2007 into 2008) partially due to the pursuit of bargaining at the table for New Media agreements with producers (AMPTP is the producers union in the US).

If you remember that painfully dull stretch of television last November through mid-winter of this year, it was because of the WGA strike. When the writers stopped writing, everything else was held up including the production of new episodes for shows such as LOST, Heroes, and more. Many shows had to end their seasons prematurely due to the strike.

This strike affected Hollywood on a massive scale, losing millions upon millions of dollars each day.

The strike saw people turning to sites like Hulu.com to watch premium content that was lacking on television. Reality TV shows and day time talk shows weren't quite cutting the mustard with everyone as you could imagine.

Since I last worked on this article (first draft was started on November 11th, 2008), SAG has approved a motion to strike which means that we may be facing a work stoppage in the entertainment industry, particularly regarding actors in the Screen Actors Guild.

What Do You Think of All This (New Media / Strike Motion / Etc.)?

I'm looking forward to hearing what you think and will certainly clear the floor so that all voices can be heard on both sides of these issues.

Best wishes,

Stephanie

©iStockphoto.com/Stephen Morris

Have you been recording any audiobooks this year?

Julie Williams is working on a roundup of who's been recording what in the next edition of her voice over ezine, The VoiceOver Insider.

If you want to be included in the article, read on.

Have You Recorded Any Audiobooks This Year?

Email julie@voice-overs.com and include:

1. The name(s) of the audiobook(s) you recorded in 2008
2. A color photo of yourself and/or book cover artwork

The VoiceOver Insider

The VoiceOver Insider is a free monthly publication that covers human interest stories, features contributing authors and interviews pertaining to voice over. If you aren't on Julie's mailing list already, I recommend that you signup for your free subscription.

Each month you'll receive an email from Julie Williams with a link where you can download the latest edition of the popular ezine.

While we're on the subject, if you subscribe to the VoiceOver Insider already, leave a comment!

Best wishes,

Stephanie

5 Hours of Portable Voice-Over Goodness

Do you have some time to spare?

Want to spend it in the company of a voice over coach delivering prime content?

Today's your lucky day!

Enter this contest to for a chance to win a cool, mobile gift from Julie Williams of Voice-Overs.com that includes 5 hours of audio from "How To Make Money In Voice-Overs Even If You Aren't in N.Y. or L.A." on one digital player, complete with earbuds and AAA battery.

How To Make Money In Voice-Overs, 3rd Edition

Julie Williams' 5 CD set gives you some very helpful tools that assist you in the marketing aspect of your business, focusing on the single most challenging aspect of pursuing voice over as a professional... that would be making a consistent amount of money to make a living!

Listeners will learn how to do just that with this comprehensive course in voice over marketing for talent who want to compete in the global voice over marketplace, regardless of where they live.

The course includes almost 5 hours of extensive information from national voice talent Julie Williams as well as feature interviews with industry experts Gabrielle Nistico of Voice Hunter, business consultant Kristine Oller, lawyer and voice over talent Rob Sciglimpaglia, Voices.com co-founder Stephanie Ciccarelli, producer and composer Frank Maranzino, Larry Maizlish of Voices On Call, and Village Green Studios graphic designer Jason Sikes.

Comment Now For a Chance to Win This Digital Player

How do you enter the contest? Just comment on this blog posting and let me know that you'd like to win!

Each week, there will be something different, so be sure to subscribe to VOX Daily to get the Saturday Giveaway notices as well as other voice acting articles throughout the week.

VOX Daily giveaways may include prizes such as:

๏ Voice Acting Books
๏ DVDs
๏ Coaching Sessions
๏ Recording Equipment
๏ Gift certificates
๏ Workshop / Conference Passes
๏ Unique Promotional Opportunities

When is the Winner Chosen?

Winners are drawn randomly from the comments left on the blog and announced the following Saturday. Those who win are notified by email to confirm their shipping address. On the following Saturday, the winner is announced and another opportunity to win a Saturday Giveaway presents itself.

I'd like to say congratulations to our most recent contest winner Joeran Lee, who will be receiving a copy of Paul Russell's book "Acting : Make It Your Business" in the mail soon.

Comment Now for an Opportunity to Win!

Looking forward to hearing from you!

Best wishes,

Stephanie

If you had only a few words to describe your voice, what would you say it sounds like?

One of the easiest and fastest ways to get your point across is to use metaphors.

Discover how you can create your own metaphor by reading this article inspired by a lecture I heard given by Dr. Michael Sider at the Ivey School of Business in London, ON Canada.

Metaphors

When you use a metaphor to explain your profession or how you sound, you have the opportunity to use language that your listener is comfortable with and can relate to, driving your point home with clarity and instant recognition.

Powerful Imagery

Metaphors are incredibly powerful because not only do they make use of preexisting knowledge and ideas to leverage your pitch, they also create a profound visual picture that stays with people for years.

Hollywood Pitches Through Metaphors

In the movie biz, producers pitch their films by likening their concept to a film that has already achieved box office success, critical acclaim and public adoption.

When Ridley Scott was pitching for his movie "Alien" (1979), he was able to draw on the wildly popular movie "Jaws" (1975) as a reference point but instead of his movie being set in the US with an oversized shark as the predator, it was an alien creeping around on a ship in outer space with similar intentions, thus the metaphor "It's like Jaws in Space".

Want another example? Try this:

"It's like Big for Girls".

Translation?

The pitch concept is borrowed from a box office hit starring Tom Hanks called "Big" (1988) that tells the story of a boy on his birthday who wishes to be older whose wish is granted, subsequently trapping him in an older man's body. The parallel is drawn nicely when pitching a movie meant for girls along the same lines, in this case "13 Going On 30" (2004) starring Jennifer Garner.

Taking A Crack At Metaphors

How do you describe your business or your voice?

If I were to describe Voices.com in a Hollywood style pitch, I might say:

It's like eBay for Voices

How-To For Creating a Good Metaphor

๏ Take a commonly understood concept or example
๏ Find a way to connect it to your business
๏ Put that information into language your audience relates to

Regardless of what you do, you can think of a couple good metaphors that will work for people outside of your industry.

Do you have a metaphor for your voice or what you do?

Looking forward to hearing from you!

Best wishes,

Stephanie

Article inspired by a lecture given by Michael Sider

©iStockphoto.com/Lesjak Rok

This morning I recorded a voice over for a video we are producing with our friends at rtraction to promote the site and give customers an overview of what Voices.com is and how our service works.

Before hitting record, I made sure that I didn't do one thing in particular...

Want to know what it was?

Most Definitely Out of the Question!

Something I never do before recording a voice over or singing is have caffeine. For those of you who know me well, you can only imagine what it's been like to not have had my tea until well after lunch.

I made sure that I didn't drink tea beforehand so that my voice would be ready and pliable.

Tea has properties that can dry out your voice if it is caffeinated or too hot. Also, I'm a huge fan of milk and sugar in my tea, which can also impede your sound.

Dairy = Phlegm for most people

What's The 1 Thing You Never Do Before Hitting "Record" in a VO Session?

Looking forward to hearing from you!

Stephanie

©iStockphoto.com/korhan hasim isik

Voice over is really voice acting!

Learn more about how in the end, it's all character work from voice over talent, DC Goode, our guest blogger today on VOX Daily.

Voice Acting? It's All Character Work!

By DC Goode

I've got news for ya folks... it's ALL Character work.

After attending many great workshops over the years, one on one coaching and coaching students of my own, I find that a LOT of VO folks (whether newbies or veterans) get into VO because they want to do "Characters".

Most often quoted is "Cartoons" and or "Animation" work... I'm not really sure if there is a difference between the 2 unless you're talking about Anime but I digress, the majority, still seems to be drawn to this genre of VO.

And why not?!

It's way fun, you get to be someone else in full blown character mode and you can usually count on the fact, that the work is going to be truly appreciated by the audience... and Oh Yeh, there's the money.

The magnificent Harlan Hogan says "I have 2 voices, Harlan Hogan and Harlan Hogan with a cold." Harlan, Dirty Harry would be proud. "A man's got to know his limitations" but with all due respect, I'd be inclined to disagree with you a bit.

In that, as Harlan and many other greats of the industry know too well; a bit (or a bunch) of "Character" is involved in every piece of VO work.

Even if it is an Industrial Narration for (let's say) a new medical device. The Director (be they the client, the writer, the producer, whomever) usually already has an idea of what kind of delivery they want. Be it "Authoritative", "Conversational", etc, etc.

Enter the "Character"

Let's say the direction is "A 35 to 50 year old, Conversational delivery with an air of confidence but not arrogant".

Other Serving suggestions in descriptions, may be Alec Baldwin, Morgan Freeman, Ryan Seacrest, or if you're old enough to know who he is, Walter Cronkite.

As you approach this, what Character reference comes to mind for you?

Maybe, it's that boss that you never really liked, a soft spoken drill sergeant or that
science teacher in high school that was dull but always accurate and articulate.

Then comes the Character's agenda, motivation and all that other Stella Adler stuff...IE "The Acting", if there needs to be any.

You will need to develop, preferably ahead of time, a Character of YOU that fits the request at hand. You may already have someone in your "Bag of Tricks" that fits the bill.
Pat Fraley's instructional CD's and workbooks can help you with that if you don't yet have a "Bag of Tricks".

I would presume that by now, you're seeing my point. It's ALL character work.

Whether it's the example quoted above or you've been asked to create the next Sponge Bob Square pants, there's character in all of it. Maybe a little, maybe a lot.

"Thanks" to Pat Fraley and Dave Sebastian Williams (although he doesn't teach any more, he can tell you who else does), for being some of my major influences and teachers in this department.

There are other fantastic teachers, coaches and mentors that I have had the privilege of working with... and I will name drop you folks in my next writing. ;-)

Go forth, be great and have a GOODe time.

DC Goode

The news in voice over just keeps getting better and better!

We're pleased to announce that Voices.com was nominated in the category of Business of the Year, the highest honour in the city for businesses as awarded by the London Chamber of Commerce.

The House That Voices Built

With a customer-oriented team, proven customer results, state-of-the-art technology and marketing acumen, Voices.com continues to lead the industry in the evolution of digital audio to meet the challenges of the next generation of convergence and interactivity. Voices.com's team is made up of a diversity of backgrounds from the financial industry to computer science, sound engineering and vocal education, Voices.com's team of professionals offers the best in first class service and technology.

What's it Like to Work at Voices.com?

๏ Positive well-lit work environment at the UWO Research Park
๏ Well maintained grounds ideal for walks and time spent outside on breaks
๏ Ergonomic office equipment (chairs, keyboards, lamps, etc.)
๏ Flexibility for additional sick days and medical appointments

Salary and Compensation

๏ Competitive salaries
๏ Bonuses awarded based upon team performance
๏ If required to put more work in for special circumstances, staff is compensated with either additional payment, appreciative gifts (gift certificates, gift baskets, etc.), or time off
๏ No employee has ever quit

Community Participation

๏ Active participation in TechAlliance Events by all staff members
๏ Involvement at InterNetwork events
๏ Team building at Research Park BBQs and "Clean up the Park" days in spring and summer

Business Achievements

Within the past four years, Voices.com has won several awards regarding customer relationship management and innovation.


The 1to1 Impact Awards spotlight leading companies that have implemented effective and innovative customer strategies that have led to clear and quantifiable business results. Voices.com won a silver medal in the Full-Suite CRM award category at the 7th Annual 1to1 Impact Awards presented by 1to1 Media, a magazine published by Peppers and Rogers. (2008)

As the most trusted marketplace for voice actors, Voices.com has won a CRM Elite Award in recognition of their stellar success and rock-solid ROI using CRM (Customer Relationship Management) processes and technology. (2007)

Co-founders David and Stephanie Ciccarelli were nominated for the Young Entrepreneur Award, established by the Business Development Bank of Canada as an award presented to entrepreneurs who have distinguished themselves for their business sense. (2006)

Voices.com, selected by the Canadian Venture Forum as one of sixty of the nations brightest and best, carefully screened quality investment opportunities presented their case for investment at the forum. (2006)

Voices was selected as a New Voices winner at DigiFest, an award recognizing Interactive Voices as an industry leader who provides digital media products and innovations that contribute to Canada's economic and cultural future. (2005)

Thank You!

We'd like to say thank you to everyone who has been appreciative of our team, shown support, to those who have helped us grow and also to those who continuously inspire us to reach higher, overcome challenges, achieve excellence and elevate integrity as the cornerstone of our business.

Best wishes,

Stephanie, David, Carol, Laurynda, Erica, Lin and Wesley

Erik Sheppard hosted a bash attended by 200 people from the voice over community on Friday December 5th at the Butterfield 8, a memorable networking event that engaged New Yorkers as well as industry professionals from all over the US and Canada.

Enjoy a taste of the event by viewing pictures from Erik's Flickr photostream and by reading this article.

New York's Voice Over Scene Came Out To Play

Erik Sheppard of Voice Talent Productions and his business partner, September Day Leach, know how to bring people together and lift their spirits.

At first, the duo were expecting about 50 people to arrive, but as the RSVP list keep growing, it became clear that this gathering of a few friends would turn out to be more than just a meet up... it was a roaring success!

Throughout the mixing and mingling, there were a variety of prizes raffled off to gracious winners, proving yet again that the Butterfield 8 was packed to the rafters with some of the most affable, well dressed and sonorous people one would be likely to find braving the cold on a chilly evening in Midtown Manhattan.

The Who's Who

Notable guests comprised of talented voice over artists such as San Francisco's gem Elaine Clark, founder of Voice One and author of "There's Money Where Your Mouth Is", the charming Chicago-based Harlan Hogan, author of "VO : Tales and Techniques of a Voice-Over Actor" and inventor of the Harlan Hogan Porta-Booth, LA's pride Bob Bergen, current voice of Warner Bros. Porky Pig, insightful New Yorker Peter Rofé, talent, owner of PDR Voice Coaching and co-author of "Voice For Hire", and the smiling G. Keith Alexander of the Voice Over Academy.

Voice over's business community also came out to shine including Adam Goodman, president of Voice Hunter, Eric Simendinger, also of Voice Hunter, David Goldberg, founder of Edge Studio and Noelle Romano of Edge Studio, David Ciccarelli, co-founder and CEO of Voices.com accompanied by yours truly, and Voice-Over Xtra's John Florian.

There were many voice actors there who we were happy to meet and reconnect with including Liz de Nesnera, Trish Basanyi, Michael Schoen, Wuhzi Lu, and D. Michael Berkowitz to name just a handful. These events are all about the people and you've got to get out to them!

A Great Weekend

When we received our invitation to come to New York, we knew immediately that it would be a fabulous opportunity and that the event was something we were pleased to be part of.

Instead of staying for only 4 hours, we decided to make a weekend of it and were instantly at home in NYC, a feeling that I believe New York affords to all who visit and reside there.

David and I had a lovely breakfast with Elaine Clark and Harlan Hogan on the Sunday and also took a spin around with Harlan for the afternoon to tour some of the city's great parks and attractions, a delight to experience in this season of holiday cheer and in the best of company.

Did You Attend the 2008 New York Voice Over Mixer?

Share your favorite moments and memories here!

Best wishes,

Stephanie

P.S. If you have photos from the event, I'd love to see them :)

Photo Credits

1. Photo stream courtesy of Erik Sheppard.
2. Photo of Kim White, David Ciccarelli, Harlan Hogan, Elaine Clark and Stephanie Ciccarelli courtesy of Kim White.

Getting voice over work is easier than you think if you have your eggs in more than one basket.

How many irons do you have in the fire for acquiring voice over work?

Where Does Your Income Come From?

When you are self-employed, it is necessary and wise to have more than one reliable source that your work comes from.

Having many irons in the fire is prudent and yields more fruit than simply relying on one or two activities or people to get you where you want to be.

Here are 5 ideas that you can try that will widen your net:

1. Prospect For New Clients

Research potential customers who need voice over services and contact them personally to introduce yourself. One thing to keep in mind right off the bat is that the people you contact should be verifiable candidates for hiring voice over talent, not just people you think may need voice over. For more on how to do this, read this article by Philip Banks.

2. Keep In Touch

Keep in touch with current and past clients through a periodic newsletter (monthly is encouraged) to nurture relationships and remind your customers that you are there to serve them when they need a voice over recorded. You don't have to write an essay but do take some time to update your clients on what you've been up to, any new clients you've welcomed to your studio and also any awards or publicity you have recently received.

3. Start A Blog

Have you considered writing a blog? One way to introduce yourself to the world in a big way online is by writing a blog about who you are and what you offer. Offer valuable insights and share opinions with potential clients to develop connections and work opportunities. Being a blogger comes with responsibility, and once you've built up an audience, it becomes even more important to keep to a schedule. The rewards may be slow to come but they will through perceived authority, search results and relationships forged.

4. Join A Voice Over Marketplace

If you are reading this article, you're probably already signed up with a voice over site listed as a professional voice talent. At membership sites such as Voices.com, you can sign up for a paid subscription or a basic, free account. Paid subscriptions give you the ability to audition for job opportunities as well as be featured in a number of places, for instance in the Featured Talent Directory or enjoy higher rankings in the Voices.com search engine. Members at Voices.com can also sell products in their store that also feed into the Voices.com Store.

5. Get An Agent

Getting an agent isn't easy but it can be extremely beneficial to you if you are on the roster of an agent who wants to get you work. When approaching a potential agent, make sure that you have researched their current roster and found a place where you might fit in. If you don't hear back, it could be that they already represent someone with similar vocal characteristics or that they are not looking to add more talent to their roster at that time.

How Many Irons Do You Have In The Fire?

Leave a comment and let me know!

Best wishes,

Stephanie

©iStockphoto.com/drflet

What is SurePay and why should you use it?

SurePay has been around for over a year and from time to time, I find it's beneficial to talk about how it works, why it's there and how it can make a world of difference in how business is done.

Been looking for a safe, easy way to make or receive payments online at Voices.com?

Discover how SurePay can help you (as well as some little known facts!).

What Is SurePay?

In short, SurePay is a Voices.com service that guarantees clients are satisfied with voice overs purchased through the website. SurePay ensures that talent are paid for their work as well as publicly recognized when hired using the SurePay escrow service.

How Does It Work?

When a client hires a voice over professional at Voices.com the client pays a modest escrow fee in addition to the talent professional fee upon the successful completion of their job.

5 Great Things SurePay Does For Voice Talent:

1. Manages the entire billing and payment process for you
2. Ensures you are paid what you quoted
3. Protects you from any theft or improper compensation of services rendered
4. Gives the opportunity to receive valuable client feedback
5. Rewards you with a listing on the Recently Hired List on the Voices.com home page

3 Little Known Facts About SurePay

While you know that voice talent are always paid what they wish to be paid when using SurePay, what you might not know is that:

1. Many voice talent take the escrow fee into account when they are quoting for the job.
2. They get paid exactly what they want / present an attractive price point for clients.
3. Talent can request that we send them a check to avoid PayPal fees upon pay out.

How Has SurePay Helped You?

Looking forward to hearing from you,

Stephanie

©iStockphoto.com/acilo

Not Getting Job Notifications?

There have been a lot of improvements made to the site, and along the way, these improvements have also given rise to some changes that you should know about in order to fully maximize your experience at Voices.com.

You'll want to log in to your account and take a good look around.

To learn more about how you can set yourself up for success, read this article and make some additions to your profile that will go a long way!

How To Make Sure You're Receiving Voices.com Job Notifications

We send out email notifications for all new job postings according to the information in your profile.

Please be sure that you have selected your:

๏ Primary language ~ NEW!
๏ Other languages ~ NEWLY UPDATED!
๏ Voice age ranges ~ NEW!
๏ Categories ~ NEWLY UPDATED!

There have been a few additions worth noting that I'm sure you'll enjoy implementing. If you make some quick additions, you will also see an increase in the number of job opportunities you receive from Voices.com.

To update your Profile, login to your Voices.com account and click on General Info in the left-hand column.

You can also check your preferred budget ranges and email preferences under Preferences in your account.

To be absolutely sure that you receive job notifications, check with your email program and provider to make sure messages that are being sent from no-reply@voices.com are not being deleted or directed to your Junk or Spam folder.

Thank You For Your Support

The changeover from the old server to the new server has posed some unexpected challenges for us and we are grateful for the support received from understanding members. Thank you! Thank you also to those who have taken proactive measures to help get through this time of transition.

We are working through known issues as quickly as we can and appreciate your patience as we move toward fully realizing the vision of the All-New Voices.com.

Best wishes,

Stephanie and the Voices.com Team

Voice acting was once a relatively minuscule world that involved about the equivalent of a small village full of people, and after a few decades, it's still a small world yet voice over is even more intimately connected!

How many degrees of separation are there between you and your voice over colleagues?

6 Degrees of Separation

You may have heard that there are 6 degrees of separation between you and any other person on the planet. For instance, there could be 6 degrees (or relationship connections with other people) that separate you from a childhood hero, the person at the top of your game or royalty.

In voice over, we've found that the distance between voice actors in people in the biz is quite a bit shorter, perhaps 1 to 3 degrees between any two people.

This goes back to why it is so important to have be involved in the voice over community and build connections by participating through blogs, podcasts, forums, online social networks and going to live events.

Everyone you know knows someone else that you may wish to be acquainted with or can direct you to someone who can get you there.

Thanksgiving Dinner = 1 Degree of Separation

Last week, New York voice actor Harry Scott was having Thanksgiving dinner in the company of some relatives and extended family. Little did he know that he'd become 1 degree away from a fellow voice actor, Ed Victor, who hails from the state of Florida, through a guest he chatted with at his aunt and uncle's house.

Harry wrote:

I just found out on Thanksgiving, while at my aunt and uncle's house, that (follow this here, if you can... haha), my aunt's brother-in-law's wife (Belinda), is Ed Victor's niece. Belinda was floored when she heard that I was a voice talent, and started talking about her Uncle Ed who is in the business. I tell ya, small world.

Just How Small of a World is VO? Ever Experienced Something Similar?

Leave a comment with your story!

Looking forward to hearing some interesting tales,

Stephanie

©iStockphoto.com/Sean Locke

Voice over is a friendly business and certainly the having of friends in voice over makes a big difference in your career, whether you're just getting started or you're in a position to give a helping hand.

Read this fab article from guest blogger Bill Oxley, someone who grew up on the greener side of the proverbially industry grass, and learn how you can make career changing connections today, even if you didn't go to elementary or high school in Southern California.

You Gotta Have Friends

By Bill Oxley

"Location, location, location" is the most influential characteristic of valuable real estate, as we all learned; but did you know that a similar mantra applies to the most influential characteristic of your successful voiceover career? It sure does! That mantra is, "Friends, friends, friends."

I grew up in Southern California. Burbank, to be exact. Some of the neighborhood kids had dads and moms in the entertainment business, so it was no big deal to go play at the homes of stars, like good ole, long-retired Roy from The Mickey Mouse Club, or the voiceover lady who yelled the words, "Hey Culligan Man!" for the water softener company, which earned her decades of income.

So, I always felt rather sorry for some of my friends and relatives back east who wanted to get into show business, or voiceover, because they were stranded thousands of miles from the epicenter of entertainment.

In order to break into the business, they'd have to move to Southern California; or, they'd have to settle for something less and break into the fascinating world of fast food back in Farmington.

Even as recently as ten years ago, if you wanted to get into show business or voiceover, you had to be here.

For example, when I hired the most famous and accomplished voiceover artist of all time, Gary Owens, to record some spots for my advertising agency, we would work at the beautiful facilities of L.A. Studios. It was there after our fifth session together that Gary introduced me to Dennis Holt, the founder of the world's largest media buying company, a business relationship that continues to be valuable to me today.

See? "Friends, friends, friends."

(During my very first session with Gary Owens, I sat across the glass in the control booth as Gary got settled in front of the mic. I noticed that there were no headphones in the booth, so I jumped on the intercom and asked The Master if he'd like some cans. He replied, with his hand over his ear in classic Gary Owens mellifluous fashion, "No thank you, Bill. They're built in." I may have wet my pants laughing... and you know, he may have been right!)

But, what about you? Who are your friends?

If you don't live in Southern California, how in the world can you cultivate these friendships and succeed in voiceover?

Well, certainly living here is best, but thanks to Al Gore (or whomever it was that invented the internet), you can have instant contact with anyone, anywhere.

Very likely, you've already been taking advantage of technology. You have a home studio; you're a member of Voices.com; you're taking voiceover classes; and, you're improving everyday.

But, how do you cultivate friends from a long distance?

Treat your internet presence as you would your personal appearance.

Is your Web site perfect? State-of-the-art? Cutting edge? If you can answer 'yes' to those questions, then you are well on your way to making a positive first impression on your prospective new friends.

Once your first impression is made, then you can work on the core of the relationship with your new acquaintances that you want as your friends.

Use common sense, which sometimes isn't so common:

๏ Be sharp
๏ Engage
๏ Initiate
๏ Be helpful
๏ Follow up
๏ Appreciate
๏ Be kind
๏ Improve

Personally, I carry UCLA Coach John Wooden's Secret to Success in my wallet, 'cause I make mistakes, become impatient, overlook details, hurt someone's feelings, and so on. In short, I'm not perfect, but John Wooden's words help put me on the right track.

And, remember what Gary Owens told me, "You never know...", and by that he meant that you and I never know where our next gig is coming from, but we always know how well or how poorly we've treated our clients, studio minions and strangers.

So: Be nice. Be nice to everyone. Just like mom said when we were kids.

I also have to say that I don't think I've ever met a celebrity who makes even the most humble person feel like royalty, until I met Gary Owens; and, I'm sure that in your life you have people you know who treat others well. Take that evidence to heart, if you haven't already, and apply it to your professional voiceover life.

Remember: your reputation is all that you have.

Make it a good one!

You'll quickly find yourself surrounded by, "Friends, friends, friends."

Bill Oxley

Can You Relate to Bill's article? Leave a comment!

Best wishes from your friends,

Bill Oxley and Stephanie Ciccarelli

©iStockphoto.com/Jacob Wackerhausen