What happens if you take your vocal cords (or vocal folds) for granted?

It's easy to fall into a pattern of voice abuse, and the scariest part is, you may not even realize you are doing it or how vulnerable your vocal cords truly are.

People in broadcast radio should take special note of this article.

Hear a cautionary story from voice talent Dave McCree about one of his friends who suffers from Spasmodic Dysphonia, and how years of overuse transformed a successful broadcasting career into that of a career in journalism, penning the stories instead of reading them.

Take Care of Your Voice From Day One

By Dave McCree

Since 1985 I have been the host of Jim Davidson's nationally syndicated radio program called How To Plan Your Life. The reason I shared this is not to brag, but simply to explain that the reason I am doing it is because Jim Davidson could not continue doing his own program because he abused his vocal cords by overuse.

In addition to giving motivational speeches around the country he was producing his five minute radio programs 3-4 weeks ahead of scheduled air time just to keep ahead. Plus, he was experiencing stress in his personal life, which together spelled disaster to his chords.

Jim never had any formal vocal or broadcast experience to guide him on how much care he should give to his precious cords. Consequently, the price he paid was the complete loss of his vocal chords due to stress. Jim was diagnosed with something called Spasmodic Dysphonia. The chords wrap themselves around each other so all you can do is whisper. Pretty scary, huh?

Fortunately, Little Rock Arkansas has one the nations foremost doctors who specialized in repair of this medical disorder.

Fortunately, Jim regained full use of his cords after six months of therapy. However, he was afraid to overuse his cords again so he hired me to produce and host his syndicated radio program.

My good friend, Jim Davidson, is now a successful nationally syndicated newspaper columnist using many of his 3,000 radio scripts for use in his column. His radio program is still aired on several stations with yours truly, Dave McCree as host.

From my broadcasting and recording experience [since 1966], I have found that nothing ministers and speeds healing to a sore throat and chords better than gargling with warm water and salt several better times a day after meals and before going to bed. Obviously, rest must be exercised. I also have been successful incorporating additional prayer during those times of stress.

Sincerely,

Dave McCree

Has Spasmodic Dysphonia Affected Your Life?

Looking forward to hearing your thoughts and also any comments you may have for Dave.

Best wishes,

Stephanie

©iStockphoto.com/Adam Gregor

Ever find that your voice just isn't up for the challenge? Are you exhausted vocally or unable to speak without pain?

As a person who uses their voice every day as part of their profession or occupation, it's easy to get run down and suffer from periodic or sporadic vocal inconveniences such as laryngitis, bronchitis and the like.

What happens when your voice is not able to emulate what's on your demo because of a temporary health issue?

Many voice actors and singers face that reality every now and then. Find out how resting your voice may be the ticket to getting back to your regular self.

Vocal Rest

When I was a student at university in the music faculty, vocal rest was second to none for protecting your voice and or encouraging healing for a voice in peril. If you were sick, you simply didn't sing and knew not to push it. This notion also extends to any stressful vocal behaviours such as yelling, coughing hard, forceful throat clearing, crying, talking on the phone, or screaming.

Sometimes, vocal rest can mean not uttering a word.

Instead of taxing the vocal apparatus even further or irritating the vocal folds unnecessarily, it is advised to take two and wait out an illness before trying to replicate what you are able to do when you're healthy.

The same goes for voice actors and professionals who rely upon their voice to make a living. There is something to be said for prudence, and when it comes to your health, you can't be too careful... don't be afraid to go to your doctor to get checked out if you are concerned.

Resting The Voice is Also Good For Other Recovery Schedules

Vocal rest is not just prescribed for those with the common cold or overuse of the voice, but also as part of other recovery programs such as heart surgery, for instance.

Just recently, a young Canadian soprano and fan favourite, Measha Brueggergosman, was hospitalized for emergency heart surgery after suffering a tear in her aorta. The procedure went well and she is now taking time off to recover. Part of her getting healthy regime includes not singing for one month, presumably so as not to place strain on her heart.

When you speak or sing, more than just your vocal apparatus is involved. You've got all sorts of muscles working together in your chest, particularly breathing mechanisms and diaphragmatic support, that when used during a time of recovery, can hinder the process greatly, even possibly cause undue painful.

Have You Ever Needed Time for Vocal Rest?

I'm interested to learn if you make it a regular practice to take vocal rest when necessary and what you do to pass the time productively while not voicing.

Looking forward to hearing your stories,

Stephanie

©iStockphoto.com/geotrac

How can a remote destination shown through a virtual tour evoke feelings of warmth, comfort and desire?

Whenever you list something for sale on the Internet, you have to humanize the experience for potential buyers to make what you are selling seem more accessible, meaningful and attractive.

Find out how voice over can add that lovin' feeling and also how voice talent can make selling homes online even easier.

Could Your Voice Move Hundreds of Thousands of Dollars?

The bigger the purchase, the more personable and authentic the sales approach needs to be.

How do you do that online?

Using voice over when showing a property online, for example, adds another dimension to how a prospective buyer identifies with what could be their future home.

Some real estate agencies are already doing this as well as builders. I wouldn't be surprised if there are enterprising homeowners who are selling their home privately and have added voice over narration to their promotional site.

What a great opportunity for you!

Voice talent Ari Ross is a great example of someone who has come to discover how interesting and lucrative this market can be, securing his place in the real estate voice over niche for some time now. Ari has found a way to present his services to real estate brokers and brokerages, catering to their individual needs with custom voice over recordings to help sell properties online.

Real Estate is a universal market. At some point, or at multiple times in our lives, we all will need to move house and find a way to attract potential buyers. Either we will do this for ourselves or enlist the services of other people to help us.

This is where voice over comes in.

What Do Real Estate Agents, Brokers and Home Sellers Need Recorded?

Primarily, you'll find that voice over is needed for:

๏ Virtual tours
๏ Website listings
๏ Sales presentations
๏ Broadcast commercials

Consider how you might be able to grow your business to include these kinds of service offerings to people who promote or sell real estate. You may find that voice over is also needed for similar reasons by builders, interior decorators, and staging companies.

Have You Done Any Voice Over Work for Real Estate?

Looking forward to your reply,

Stephanie

©iStockphoto.com/Andy Dean

Have you been taking advantage of all some free social networking tools to promote your business and make new connections with prospective customers?

In his debut podcast on Voice Over Experts, Terry Daniel shares insight particular to Twitter and Facebook, detailing how you can generate untold revenue through some good old fashioned networking.

Having gained 15 clients through his social networking efforts this year alone, and as he says, 15 customers he wouldn't have had otherwise, I can assure you that Terry's advice is more than worth listening to, indeed so much that I've decided to share his podcast episode with you in today's VOX Daily.

Getting Voice Over Work Through Social Networking

As mentioned earlier, I'd like to share Terry Daniel's lesson "Getting Voice Over Work Through Social Networking". You'll learn how services like Twitter and Facebook help to extend your brand and connect you with prospective clients. Terry points out that it's not just for teenagers anymore, advocating that social networking is very important for business... and the best part of all, it's free!

I hope you enjoy this podcast and drink in the numerous tips on how you can promote your voice while providing valuable insight and being authentic.

Download Podcast Episode 91 »

To learn more about Terry Daniel, follow these links:

Terry Daniel
Terry Daniel's Voices.com Website
Terry Daniel on Voice Over Experts

You can subscribe to Voice Over Experts for free and get caught up on all 91 episodes (to date) this summer. Each week a new one is released, so if you found Terry's podcast to be valuable, you'll thoroughly enjoy the series.

Feel free to comment with your thoughts!

Best wishes,

Stephanie

When work is harder to come by, have you found yourself lowering your rates to remain competitive, or have you been sticking to your guns to ensure that the bar doesn't drop?

How do you cope with the "out of work blues" when you hit a dry spell?

Robin Rowan presents us with her thoughts on this issue and would love to hear what you have to say!

How Low Will You Go?

Taking jobs for less money

By Robin Rowan

I spent two weeks in February looking for a job. I am a full time voiceover talent, and this was the longest stretch without a job in eight years. It was scary. Finally, one of my regular clients came through with a hefty job, but everyone hits panic phase occasionally.

You immediately start questioning your talents, your rates, your abilities, and finally, your decision to get into this crazy business and think that maybe it's time to get out. Okay, so I never got that far, because I simply cannot imagine doing anything else.

What do you do when your regular clients are nowhere to be found? Most of us (maybe all of us) subscribe to one or more web sites for job leads. How can you be selective when you just need work? What's the lowest you'll take? $200? $100? Any amount??? Sometimes I feel as if clients on these sites are taking advantage of our desperation. Are you biting?

I remember one job lead recently where the posting stated that they were already on their third voiceover talent and still couldn't find anyone who was competent. Read on a little farther and you'll see that the job, which was something like 6 1/2 HOURS of finished work, was paying $1000. Do they not understand WHY they couldn't find a competent voice talent for that kind of money?

When no work is coming in, do we sacrifice everything we've worked so hard to get? Maybe. Because if you were a top-level executive and got laid off and spent a few months looking for a job, you just might accept that construction job paying $12 an hour to have something coming in. So it is with voice work. If I didn't take that $200 job, I'd be sitting here with my business principles intact and not working. I always use the example of being a newbie on one of the voiceover sites and finally auditioning for a job that paid what I considered to be chump change. I got the job, and the client turned out to be CitiMortgage, CitiBank's real estate arm. The price for the job was the rate per minute, which suddenly looked a whole lot better. That was 2005, and I've been happily doing all of their online training since.

So how do you cope with the "I got no work" blues?

All the best to all of us who have the best jobs in the world!

Robin Rowan has been a full-time voiceover talent since 2001, self-employed as a writer and voiceover talent for 20 years and in the voiceover industry for more than 30 years.

©iStockphoto.com/technotr

What's the difference between how voice overs are auditioned for and cast on the east coast versus the west coast of the US?

Which coast is it easier to get representation on?

What challenges face talent, casting directors and agencies alike?

Find out the answer to these questions and more today at VOX Daily.

The New World of Voice Over Casting

Billy Serow, head of the voice over department at Abrams Artists Agency, knows a great deal about how business is done in The Big Apple as compared to Los Angeles.

In his world, which is the union world, the voice over business is structured very, very differently between the west coast and the east coast. The east coast is still for the most part a casting director driven business.

Having been a casting director before he was an agent, Billy witnessed the proliferation of the Internet and how it in turn provided a new space for talent casting sites and enabled talent agencies to build their own in house studios to compete.

How Did Things Go Before the Internet?

In the past, casting directors would require talent to come to their studio to audition for them with the benefit of their direction. In this way, the casting director would get some kind of credit from the advertising agency for doing a good job and choosing the right talent.

The Result:

Casting directors are fighting for their livelihoods because it is easy for talent to get an audition through their own efforts and some clients are casting gigs without the assistance of a casting director.

How a Casting Session Works

As was noted, New York is still a casting director driven business, but that being said, casting session budgets for voice overs are small. They are smaller than budgets for on-camera commercials.

On the average for an on-camera audition, a casting director might audition 50 people or a hundred people for a role because they have the budget and the time and the day to do those auditions.

For voice over auditions, casting directors are usually given a half a day or a quarter of a day to do an audition, even if it is for a major, national campaign.

The number of actors who are auditioning for those sessions are maybe 8 to 20 to maybe 25 if it's a very long half day.

What's good then in the New York market is that your odds are then 1 in 20 of scoring the job.

West Side VS East Side

In LA, partially due to geographical reasons, there are very few casting directors who actually concentrate on voice overs because they can't make a livelihood on it any more so most of the auditioning is done in an agent's office at an agent's studio.

If the job goes out in New York with a casting director, if a job goes out to 6 agents, and each agents sends in 3 or 4 people per job. In LA if the job goes out to 20 agents and they're submitting 10 to 20 people, well, you can do the math. You're competing against 200 to maybe even 400 voices.

The structure of the business between Los Angeles and New York is very, very different and certainly easier to break into in the New York market as well as book jobs.

What Can Talent, Particularly in LA, Do To Get More Work?

Los Angeles-based A1 Voice Over Talent and author, Rodney Saulsberry, recommends that voice talent in LA should develop relationships with casting agencies. The competition you are up against in an audition at your agent's office (combined with the other competing agencies) is a lot steeper than the competition you'd face on a boutique casting roster. A boutique casting agency may only list 8 to 15 people of each gender, which of course is more advantageous for talent, especially when you consider the competitiveness of talent agencies potentially vying for the same work.

Any Comments or Questions?

This insight was shared on an expert panel discussion I took part in. If you're interested in reading more from that panel, click here: Voice Coaches Expo Expert Panel 2009.

Have you experienced a change in how casting is done in your neck of the woods? How have you adapted?

I'm looking forward to hearing your thoughts.

Best wishes,

Stephanie

©iStockphoto.com/Kateryna Govorushchenko

What new developments have taken shape at Voices.com?

Discover new features, improvements and more in this Spring '09 Release prepared by Laurynda Pasma.

NEW PROFILE FEATURES

Voice Talent Profile Page Changes

๏ A summary at the top of page now shows the talent's primary demo and most recent feedback rating (if present) and Next steps for visitors to the page. See example.
๏ Removal of individual Store fronts and placement of general store link at the top of the Voices.com pages.
๏ If a client is interested in Store products they may click the Store icon at the top of the page and search for individual talents or browse by category or keywords.

Why remove the individual storefronts and replace it with a general store link?

The simple answer is that not everyone has taken time to create products for their store. When a client would click on one such store and find nothing there, it was disappointing and perhaps, confusing.

Addition of Edit and Save Buttons

What's New?: Members now have Edit and Save buttons present at the top of their General Info pages within their accounts.

What Happens?: If you click on General Info, you will see an Edit button at the top of the page and at the bottom that signals they can modify this info. When clicking on Edit, the next screen has a Save at the top and bottom for any changes made to your profile content.

What To Do: If you have any edits or changes to make, always save your changes.

Profile Completeness Meter Breakdown

On the My Account page, a percentage of completeness is indicated. Each field below is weighted and contributes to the overall completeness. Here is the breakdown of how to achieve full profile completeness.

NEW DEMO FEATURES

Demos Can Now Be Searched For By Voice Age Range

What's New?: Voice talent can now assign an age range to audio files to help clients to conduct even more detailed searches. Note that the Voices.com search engine gives clients the option to take voice age into account.

What Happens?: If a client is searching by age range, they will only see demos that have been classified and match the age range they are looking for. For example, if a client is searching for a teenage voice and searches by the teen voice age range, they'll only be shown demos that have been labeled as Teen.

What To Do: Adding these age ranges is optional. If you choose to do so, be sure to log in to your account at Voices.com and add the appropriate age range to your demos. Only one age range per demo. If there is no age range is assigned to a demo, that demo will never be presented to a client if they are searching for that criteria specifically. Add your voice age ranges to each file you have uploaded to maximize your visibility and opportunities at Voices.com!

NEW MESSAGING FEATURES

Talent and Clients: Ability To Send Files Via Reply Messages

What's New?: Members can now send attachments when they reply to a message sent to them through Voices.com. There is a 10MB limit for sending an audio file.

What Happens?: A copy of the attached file is also stored in the sending member's Sent folder. Only one file per message may be sent.

What To Do: When you are communicating with another member through the site, you are able to include a file attachment before sending that internal message to the recipient. Simply browse your desktop to attach the new file to the message and send.

Private Job Emails

What's New?: Talent are now sent a specialized email notification when they have been invited to reply to a job. Subject line of email is "New Private Invitation at Voices.com"

What Happens?: If you receive an email with that title, that job opportunity is for you specifically, and is a private job.

What To Do: Review the job details and reply to the client, either to respond and apply for the job, or to graciously decline if you are unable to do the job.

NEW JOBS AND AUDITIONS FEATURES

Audition Placement Indicator

What's New?: Talent can now more accurately gauge where they stand in the audition queue, detailed in the Overview screen of their Answered audition.

What Happens?: When voice talent view an answered audition they can now see their audition placement in the Overview tab. The display will read talent placement/total current responses. The placement indicator is a submission number only.

What To Do: Before auditioning, talent can see the number of current responses in the job Overview tab. Once they submit, take a look in the Answered folder and the Overview tab of the job to see where in the audition submissions your audition sits.

Talent Can Now Title Audition Templates

What's New?: Talent may now edit their existing templates and provide a template name to make it easier to identify the correct template when submitting an audition.

What Happens?: All templates currently have "No title" listed until talent log in and update their existing templates. It is strongly advised that you take a moment to title your templates for ease and better reference.

What To Do: Log in to your account and be sure to give each of your templates titles that best reflect their contents or purpose. The Title is presented in the Select a Template drop down list within the Audition response. In an audition situation, choose the most appropriately titled template to accompany your demo and price quote.

Talent Can Now Mass Delete Answered Jobs

What's New?: Talent are now able to delete more than one audition at a time from the Answered folder.

What Happens?: Upon identifying records of answered auditions that you don't want to see anymore, simply check the boxes to delete them en masse.

What To Do: Log in to your account at Voices.com, navigate to your Answered jobs and the listings you no longer wish to see archived in your Answered folder.

Clients Can Request Quotes Directly From Their Favorites

What's New?: Clients may now post a job to talent via their Favorites list.

What Happens?: A client can select one talent, or multiple talent, by checking the box to the left of the talent's name and then clicking the Request Quote button. Clients will be presented with the option of either inviting the talent to an existing job or posting a new job. At this point, they can then select whether or not the job is public or private.

What To Do: Make sure that you are on a client's Favorites List so that you are given more prominence in their account.

Clients Can View Invited List Within Posted Jobs

What's New?: When clients invite talent to their job, those talent appear within the job details immediately as a record of who the client has invited.

What Happens?: The Invited List can be seen via the Description tab within the job. The list shows each talent's name, when they were invited and their current response status. If they have not responded the status is displayed as Open.

What To Do: If a talent has not yet responded to the invitation, the client can click on the talent's name and easily send them a reminder email from their profile page. Once the talent responds they will appear within the client's Responses tab.

Clients Can Give More Direction When Awarding a Job

What's New?: Clients who have posted jobs at Voices.com can now send a message at the award job stage with more direction.

What Happens?: The email will be sent to voice talent internally with the subject line, "Instructions for THE SPECIFIC JOB TITLE". This has been provided instead of enabling talent to contact clients at this stage for now. A copy of the message is stored in the client's Sent folder.

What To Do: If you receive a message from a client like this, you will need to log in to your account, read the message, and then take action according to what your client has shared through this internal message.

Clients Updating Job To Completed

What's New?: Clients can now mark their job as Completed if it has not yet been awarded.

What Happens?: This can be done if the client Edits their posting from the Description tab. Reasons why clients may mark their jobs as completed are : job is not moving forward or a talent has been selected and paid offline.

NEW SUREPAY AND PAYMENTS FEATURES

Clients May Now Request an Edit to a File Uploaded Via SurePay

What's New?: Clients may now include an attachment when requesting an edit to a file uploaded by a talent through a SurePay job.

What Happens?: If a client finds that they need to give a line read, communicate something verbally, or attach a text document with more instructions they are now able to get that information to their voice talent more effectively.

What To Do: If you're a client and need to make use of this, go for it! Communication on projects is incredibly important, and if you need to demonstrate what it is that you need, this may be the best, most efficient (and convenient) way.

Feedback Ratings

What's New?: Feedback ratings are presented on the talent profile page. If there is no record of feedback, no feedback indicators are shown.

What's Happens?: If Feedback has been left, feedback now appears as Stars with a total ratings indicator. For example: ***** (2) indicates a rating of 5 stars averaged based upon the results of 2 separate feedback ratings.

What To Do: Build up your feedback ratings and reviews by using Voices.com's SurePay service to invoice your clients.

WANT TO REQUEST A NEW FEATURE?

Do you have an idea for a new feature that would make for a better experience at Voices.com? Send us an email to send us your feature request, and we'll add it to our to-do list for an upcoming release.

Best wishes,

Laurynda Pasma and the Voices.com Team

Do clients using Voices.com want to hear custom demos?

How many auditions on average are reviewed?

What's the most important factor when picking a voice talent to record?

Find out the answers to these questions and more in the most recent Voices.com Client Survey published by our CEO David Ciccarelli and Product Manager Laurynda Pasma.

HIRING METHOD

At Voices.com, people can hire voice talent by posting a job, searching by keyword or browsing the directory by category. In our survey, we asked clients which approach they take when hiring voice talent at Voices.com.

Take a look and see how people hiring talent go about doing what they do!

AUDITION QUANTITY

A question often asked by voice talent is how many auditions do clients receive for any given job posting?

NUMBER OF AUDITIONS REVIEWED

A similar question is how many auditions do clients actually listen to. The encouraging news is that ¾ of clients are listening to over 50 demos. Clients who are listening to 1-25 demos are posting private jobs where only a limited number of people were invited to respond.

HIRING FACTORS

As you can imagine, your voice-over demo is the single most important factor to clients hiring voice talent at Voices.com. This is followed closely by a combination of the demo and quote.

CUSTOM DEMOS VS. GENERIC DEMOS

The debate continues. If given a script, the majority of clients prefer custom auditions, however, it would appear that this isn't a make-it-or-break it factor.

SHORT LISTING BY ADDING TO FAVORITES

A popular feature among clients, we are finding that they are using their Favorites as a means to shortlist the auditions, narrowing it down even further to a few top picks before to making a final casting selection.

SUREPAY ESCROW SERVICE AWARENESS

More than ever before, clients are hiring voice talent using Voices.com's SurePay escrow service and online work system to complete their projects online.

SUMMARY

The last several months have proven exceptional, validating the decision to redesign Voices.com from the ground up. Read between the lines and you'll recognize that a great demo, a completed profile and being active on Voices.com through auditions are the keys to winning more jobs.

David Ciccarelli, CEO
Laurynda Pasma, Product Manager
Voices.com

This transcript of the Voice Coaches expert panel will make you feel like you were there, and for those who were there, you get to relive some of the event!

If you've been wondering what the difference is between NYC and LA for voice over, when it's time to redo your demo, what the current trends are, working as a voice actor in an animated film or cartoon, what it takes to get the gig and why it pays to be prepared (and a little nervous), sit back and let the experts deliver the answers to you here at VOX Daily.

Warren Garling: We want to start with David Bourgeois because there is something that came up just in the last little bit this afternoon.

David Bourgeois: Just a quick thing I want to add in, here. I had somebody approach me and suggest I clarify this. Some people seem to have a misunderstanding when it comes to marketing yourself with an MP3 versus marketing yourself with a physical demo, that it's a one or the other thing. It isn't, it's a both thing. When we think about services like Voices.com, the clients on that service who are looking for voice actors expect to be marketed to that way. Stephanie and David have put together a tremendous way to effectively market yourself that way. When we speak about not marketing yourself with an MP3, that's when we're talking about blindly sending somebody out an MP3 who doesn't suspect it. Put something physical in their hands in that case I think.

Warren Garling: Well, if you'll allow me just to add, my last two voice over jobs came from folks that I'd given my CD to 18 months before, and it's because it sat on their shelf and because when they thought, "Oh, now I know what I want to use this guy for", they pulled it off their shelf and there it was, but 18 months, a year and a half! I talked to them maybe once or twice in between, so don't tell me that it doesn't work, it does work, it's out there.

Warren Garling: Let's get started. Evan, in animated movies, are the voices of the characters all voice actors, or movie actors, or both, and how would one get into the animation film business as a voice actor?

Evan Farmer: The short answer would be all of the above. I have to clarify first of all, I don't think to my knowledge I've been in an animation movie yet, so Rodney would probably be a much better person to ask that, but, how do you get into it... My experience getting into my voice acting career started and ended in that genre about ten years ago and back then we didn't have MP3s and digital and all that stuff. I actually left a voice mail (laughing) on somebody's tape cassette answering machine. Back then I called in at a specific time because there wasn't call waiting and I would actually just read when I was in my bathrobe the lines they had given me earlier.

Every job I've had since has been an offshoot of networking, somebody had heard my voice, or another project had sort of led to somebody questioning "Hey is this guy available for this sort of thing? Can he audition?" In my experience it's always been an audition of some sort. Now more often than not, it's an audition based upon someone recommending me who was familiar with my work. I don't know if that really answers the question because I really don't have a lot of experience in the film industry.

Warren Garling: Well, let's move next to Rodney then, and just ask how did that transition for you? How did you find yourself doing animated characters?

Rodney Saulsberry: Someone just asked me that question too, up front. You know, it's another branch. You find out that you can do it, and you audition, and you get lucky, and you get cast. Once you're cast once in something animated, that's part of your credits and so you're trusted to audition for other things. One thing I do want to say is that a lot of times, people think that animation is some funny voice. Bob Bergen is Porky Pig; we've got Porky. We've got some other people who do these voices, but every time I've done some animation, I must tell you that I'm talking pretty much have been talking like I'm talking now, especially the character I was hired for, and contractually, they get two more characters out of me and then I may get into a character voice, but for the most part, it's just who you're hearing. Cartoons have gotten real real these days.

Warren Garling: Very good, thank you. Stephanie, the question is obviously we all have limits on what we can spend up front on our careers. After the initial investment, what makes the most sense? I'll go through a list here and maybe we can put these in order. Books, online coaching, home studio, membership in the chamber, membership at online at sites like Voices.com... I have a feeling I know what you're going to rank first (laughter), but where else do you think it is very important to be spending money?

Stephanie Ciccarelli: Well, that's a good question, because obviously money is part of the whole thing. If you are in business you need to be investing in your business. I would say some of the first places you should be spending your money are in education. You've already been through Voice Coaches, there's still more to learn.

Before you do anything else, even before you upgrade for a membership at Voices.com, I strongly suggest that you then invest that money into your studio, because if you don't have a studio at home, you really stand no chance to compete with everyone else who is professionally voice acting on a daily basis, and also it's the only way that you'll get access to those auditions.

So, if you have a home studio, then at least you are positioned to be able to record on the fly, you don't have to check in with a studio to see what their availability is, and you're also saving some money there. Now, I would say lastly, invest in a membership at Voices.com because unless you are ready to go up against people who have been doing this (voice acting) for 25 or 30 years then there really isn't much of a point. If you don't have a studio in your home, you don't have your education, and you don't know how to act, then you're really at a great disadvantage and you won't get anything out of the service and you'll be disappointed. Does that makes sense? Educate, build your home studio, get some experience and then sign up for a membership at a voice over marketplace.

Warren Garling: Very nice, thank you. Dave Goldberg, as a voice over talent with a home recording studio, how much should I concern myself with learning more about or becoming proficient at mixing and editing and adding sound effects, music and that sort of thing?

David Goldberg: That's a great question and it really depends on the type of voice over you are pursuing. So, if you are pursuing, for example, audiobooks, the average unabridged audio book is I think 9.5 hours long. And as Dan spoke earlier from Full Cast Audio, it can take four hours to complete one hour of audio. It takes that long because you have lots of retakes, and you make mouth clicks and pops and you have to go back and start things over again. All that means is that when you go back it, you have 36 hours of recording to clean up, 36 hours of editing. If you are not proficient, it's going to suck. The more proficient you become the more money you make per hour, so again in audiobooks, you are paid by the completed hour of audio. So if you're paid, for example, $100 per completed hour, if it takes you four hours to complete that audio including editing or ten hours, you are at a much better advantage if you can do it in four hours.

With respect to adding music and sound effects: It's a wonderful service if you can be a one-stop-shop for your clients, but adding music and sound effects is very difficult. We've been doing it for 21 years and we're still learning, we really are. Stephanie said, you have to continue learning. I believe that if you offer a service to clients, and you don't do it very well, you'll really hurt your relationship with your client, so go to Voice Coaches. David Bourgeois and Jenny have a wonderful studio and hook up with them, let them do the music and sound effects for you, and maybe do a little markup on the thing, but be a one-stop-shop for your customers. I hope that answers your question, but now I've forgotten what the question was (laughter). See, in voice over you have a script so you don't have to memorize anything so you don't write notes!

Warren Garling: Jenny Marcotte, I really want you to think of me the next time you're looking for a voice. What should I do to make that happen?

Jenny Marcotte: Please keep in touch with me. We were kind of talking about this before where people will go out with their demo and they're sure they are going to do this and I never hear from them. Or, we'll have potential new students call me and say, "How many people are successful in doing this?", but until you tell me and you call me to say, "I've done this job," or "I just got done with this" I won't know and that's actually the best way. I need to know you're still doing it. I think one of the worst things would be to recommend someone and call them up to find out, "Oh, I actually really haven't done this since I made my demo" so it's really important. Please just keep in touch, let me know what you're doing, send me an MP3, send me a quick note, that's the best way.

Warren Garling: Thanks, Jenny. Billy, how much difference is there from East Coast to West Coast re: style, formality, % of use of Internet vs. studio?

Billy Serow: In my world, which is the union world, the voice over business is structured very, very differently between the west coast and the east coast. The east coast is still for the most part a casting director driven business. I was a casting director before I was an agent. I saw with the proliferation of the internet, which in turn made sites and talent agencies building their own in house studios, casting directors are really fighting for their livelihoods because it is easy to get an audition, but casting directors want you to be in their studio to audition for them with the benefit of their direction so they can get some kind of credit from the advertising agency for doing a good job and choosing the right talent.

Budgets for casting sessions for voice overs are small. They are smaller than budgets for on-camera commercials. On the average for an on-camera audition, a casting director might audition 50 people or a hundred people for a role because they have the budget and the time and the day to do those auditions. For voice over auditions, casting directors are usually given a half a day or a quarter of a day to do an audition, even if it is for a major, national campaign. The number of actors who are auditioning for those sessions are maybe 8 to 20 to maybe 25 if it's a very long half day. What's good then in the New York market is that your odds are then 1 in 20 of scoring the job. In LA, partially because of the geographic nightmare that is Los Angeles, there are very few casting directors who actually concentrate on voice overs because they can't make a livelihood on it any more so most of the auditioning is done in an agent's office at an agent's studio.

So if the job goes out in New York with a casting director, if a job goes out to 6 agents, and each agents sends in 3 or 4 people per job, in LA if the job goes out to 20 agents and they're putting on tape 10 to 20 people, well, you can do the math. You're competing against 200 to maybe even 400 voices. If an advertiser is listening to 200 voices, theoretically, chances are they are not listening to 200 voices. Chances are they are listening to the auditions that come in and when they hear someone they like, they go "OK, I'll take that guy". So, the structure of the business between Los Angeles and New York is very, very different and certainly easier to break into in the New York market.

Warren Garling: Would you agree with that, Rodney, or do you want time for rebuttal? (laughter from the audience)

Rodney Saulsberry: No, I definitely agree. Everything Billy said was right. I think it's important to find houses. I'm in LA, and when I have an audition at my agency, which is William Morris, the competition is a lot more because we've got all the William Morris clients plus every other agency in California, in Los Angeles, whereas...

Billy Serow: (off mic) Sometimes also New York.

Rodney Saulsberry: And also New York, Billy's right, however, when I go to a Carroll Casting, which is a big casting agency in Los Angeles, and I've been quite successful there, Carroll has decided on about 8 to 15 guys, so that's it. Elaine Craig Casting... so any time these houses call you, you have a better chance of being successful. Amen to what Billy is saying because everything he is saying is correct.

Warren Garling: Thank you. David Bourgeois, am I always free to use quotes and name of people/brands that I've worked with or do I need permission?

David Bourgeois: I think to a large degree, particularly at the local and regional level, corporate training level, it's assumed by the client that you are going to use some sample of the work on a demo or a quote they gave you or something like that in regard to your marketing material, I do however, and I've run into this professionally... once in a while you will meet resistance and the best course of action is to ask permission to do that. You'll certainly run into situations where you're going to eventually do material that can't be released. A great example, I had a friend do a series of work for the New York State Department of Corrections. Some of it is training for prison guards that can't be released, he can't go putting that on his demo or a lot of prison guards will get beat up, but for the most part, I think absolutely, and I think that it would be unusual for somebody who you work with or have a professional affiliation with to not allow you to do that, so usually, yes.

Warren Garling: All right. Evan, back to animation from a few years back when you did an animated character. What's the difference between doing that kind of a session and a voice over session for what you did on "While You Were Out", which you did in our studios, I'd like to say.

Evan Farmer: That's a great question. One, it's a lot of fun, because there are absolutely no boundaries for a free spirit like myself, it's great, but I learned to enjoy the technical aspects of While You Were Out, and I'll explain the difference. When you go in, and at least the cartoons that I was involved with, we didn't do what's called ADR, I didn't have to match a characters mouth or film when you do ADR, there's a technical aspect to that. I would go in and it was acting as you've heard quite a bit today. It was really all about creating a character using your imagination which is one of the wonderful advantages to voice acting over regular acting in that there's a lack of self-consciousness that you can really grab onto in a studio, in a dark studio with a microphone and it's your imagination that's speaking. I really enjoyed that aspect. I would go in and read lines... usually we would go until both the engineer and I were laughing. That's kind of why I tended to get hired because I'm a goofy kind of guy and I was willing to go there.

I made an allusion to it but my first cartoon voice acting job was for a cartoon called Daria on MTV. I phoned in my audition and I was literally in a bathrobe because I almost missed my audition. I totally forgot the time and everything, and I'm looking at myself in my living room mirror, I'm half dressed, on the phone, just thinking of how ludicrous this was and it loosened me up. That's one of the great things about a home studio as well. It's the same effect. I was safe in my own environment.

Now with the technical side of going in to do voice overs for a show that you're hosting, for example, there's mostly a time requirement and a formula that's alluding me right now, but there is a certain number of seconds per word, so when somebody is writing, a good producer or director who is writing the copy will know that if they have a space they need to fill on the show that they've got 5 seconds, that they can only use a certain number of words. You could always tell, as somebody who has worked on 300 episodes of While You Were Out, for example, 300 episodes where I had to do an hour's worth of voice over narration, you learn very quickly which directors were good at dialing that in, however, I didn't always have the option to change the copy, which would have been a great option so you have to learn to make it work.

The technical side of it mainly came with the experience and the practice and that was being in the studio time and time again. I got to the point where, David (Bourgeois) can testify, we'd go through an hour's worth of voice over and we'd knock it out in about 20 minutes because I'd be dialed into that and he'd say "You've got 3.2 seconds" and I'd hit it at 3.1, and he'd say, "One more time, you've got to add a .1" My brain automatically knew what .1 seconds sounded like and where I needed to get that and still get the inflection. That became a very enjoyable aspect of it to me because it became a sense of accomplishment. I could go in and deliver this great 20 minutes of solid, hit it out of the park work because I had mastered the art of the technique. They are two different beasts altogether, both of them tremendous fun from different perspectives.

Warren Garling: Terrific. Stephanie, we're back to the union again. Does the VO talent have to be a union member for the jobs on Voices.com?

Stephanie Ciccarelli: To answer the question, no, a voice talent doesn't have to be a member of the union. We have non-union talent as well as union talent on the site. There are clients who search for one or the other or they audition both. To some people it doesn't matter and some people are looking for something very specific. But in short, no, it really doesn't matter if you are union or non-union, any voice talent, as long as you are professional and confident in what you can do, and prepared to actually do the work and be ready with your studio and education, training, all the good things that Rodney brought up earlier, then you should be set and you're more than welcome to be listed on Voices.com.

Warren Garling: Very good. Dave Goldberg, what if you are offered a job for an ad promoting a product/person/company that you don't like or support? How could saying 'no' affect my chances at getting work as a voice actor?

David Goldberg: That's an interesting question. I guess I should say that I know a lot of voice talent, a lot of voice actors who have turned down jobs over the years because they just don't believe in the personal product or it could be a politician that you don't support and so forth, so to answer the question how could it negatively affect you?

Certainly, you could lose a relationship with that particular client, and of course as most of you have heard throughout the day, you do one job and you meet the script writer who knows the video editor of another thing and one job can lead to many jobs, and you know, it can have an affect. I think at the same time, if you're working with an agent or a casting agent or a director, producer, copy writer, whoever your direct client is, if you word it in such a way and you stand up for your beliefs, they can possibly come to your aid, and say, "This guy is pretty good. They'll read only what they want to read."

Maybe it makes you look very professional, that you are not so desperate to take on a job that you turn down a job. There are certain things that I personally won't produce, our studio won't produce any commercial for cigarettes, that's our thing. I think it really comes down to what your beliefs are and how important they are, and it probably comes down to how expensive your rent check is and how badly you need to pay your rent check. You have to weigh the pros and cons.

Warren Garling: Good point. Rodney, we get this question quite often from folks and maybe you can help us out a bit. "I'm really concerned about being too nervous when I enter the booth. What can I do to relax?"

Rodney Saulsberry: Well, I think nervous is good, I really do. I said this last year, I was terribly nervous before I came out and spoke with you all today. But if I ever lose that, something would be wrong, and I think that you take that nervous energy, you use that adrenaline to be successful. That's what it does for me, it keeps me on my toes. If you are a basket case and you have a real problem and you never pull it together, I think you're going to have to work on that, I don't know that I can necessarily say how. Taking deep breaths are good I think, just sort of settling yourself. Breathing is real important in voice over and I think it cures nervousness too, at times. But don't fear nervous, embrace it. I think it makes you better, it makes you sharp.

I want to go back to something real briefly about doing work that you don't want to do. I had a person ask me to do a job and they said the money is not that great. OK, that wasn't a problem. Then they sent me the script and I wrote back that I'm not into doing this because I didn't want to be this guy. The guy was the guy who was sexually harassing somebody on the job. And I said in the email, "Don't I have the right as a voice over artist to turn down something I don't want to do?" to which the person wrote back, "Yeah you really do. Well we've got other spots, what if you aren't that guy but the victim or something? Would you be into that?" And I'm like OK, because I'm into the cause, I'm not into sexual harassment on the job, but I did say no to saying the slimy things that this guy was saying and I was respected for it. She wrote back in one email and said, "Why? Is it because of the money?", I said, "The cause, I would do for free. I just don't want to play this character." I thought when they switched and gave me the next character that they were going to say, "Well now you said you would do this for free... would you do it..." but they didn't do that. (laughter)

David Bourgeois: I just want to add to the nervousness question. I agree 100% with Rodney. It can be important to be nervous, it can be an advantage. I would love you all to be nervous, as long as you're nervous about the right thing. Too many voice actors I meet who are new to the field come in to do a professional job, and when I meet them ahead of time, do you know what they are nervous about? They're nervous about getting it right. I need to be nervous about that, I'm the producer, or the client needs to be nervous about that. Getting it right is not part of your job description. You're not going to be determining what right is unless you are self-producing that job through Voices.com.

You've got three things on your plate here, read aloud, take and interpret direction, and very importantly, apply creativity to the material you are reading. You focus on the things you should be nervous about. Develop your reading skill, develop your direction, taking it and your ability to effectively apply direction, and for goodness sake, always with people like me who are producing, I always prefer to have somebody that takes a unique and creative approach to the copy, even if it's 19 miles away from what I'm looking for, I'd rather have that than somebody who comes in flat because at least I know there's somebody who I can work with.

Warren Garling: Great, thank you. Jenny, what are some of the things voice actors you've hired did RIGHT to get invited back to work with you again?

Jenny Marcotte: Did right. Practiced, definitely, came in on time, professional, followed up, thank you. Just what he (David Bourgeois) was saying, you can tell when they were able to take direction, they were creative, they were fun to work with. All of those things definitely help me be able to hire that person back and refer somebody to them.

Warren Garling: Don't forget cookies!

Jenny Marcotte: And the cookies, right, definitely! And cheesecake I think we got too, recently.

Warren Garling: Chocolate chip especially

Jenny Marcotte: Yes, we did. (laughter)

Warren Garling: Let's ask the other side of that and have Jenny answer again. What has someone done wrong when they've come into the studio that in your head you're saying that you you'd never invite this person again or hire this person again?

Jenny Marcotte: How much time do we have? (laughter from the audience) Just on the flip, we recently had this happen. I had a pretty good demo and referred this person. She had not practiced from the time she made that demo. It was an extremely long and painful session I believe, really hard to work with and basically what it does is it then costs us that client, too. People not showing up or thinking it's okay to show up an hour late to a session, having to reschedule... I know it probably sounds ridiculous, but it actually has happened, and it does get mentioned after so please keep those things in mind.

David Goldberg: Let me add a comment to this. I've seen this happen so many times with new talent. You're on your first job and you look at the script and the talent says, (leaning in) "Who wrote this piece of garbage?" (audience laughter) and the client is right there and it's not a good thing to say.

Jenny Marcotte: You can think it all you want.

David Goldberg: Yes, think it, you know... and also, actually, it's kind of a rude story, but I have to tell this and I'll make it fast. We had a woman in the studio once, quick background: there were about 10 producers on this particular job, don't ask why, but the creative director, the script writer, the video editor and so forth, the woman forgot that the microphone was on when she went in the booth and she passed gas (audience laughter), and had no clue, and then all of a sudden 10 people on the other side of the glass are laughing and she had no idea what happened. So remember, the microphone is always on and you don't want to lose a job over silly things.

Warren Garling: Billy, have you noticed a change over the years as to the kind of voices businesses are requesting?

Billy Serow: (leaning in) No. (audience laughter)

Warren Garling: Thank you, next question!

Billy Serow: Ah yes, Rodney touched on this greatly so I'm just going to I'm just going to sound like a broken record. Yes, the operative word "real" and these are the days of the anti-announcer. Every single day, and it's so funny how people say it as if you're supposedly hearing it for the first time. "We're looking for a guy, 40-45, NOT announcery" (audience laughter). Hmm, OK. You take them at their word and then you read the copy and the copy says "Introducing!", something that nobody says in real life, and you're supposed to sound real while saying the word introducing, so yeah, the operative word is "real".

Warren Garling: Stephanie, I notice that you require a minimum $100 fee for any voice work offered through Voices.com. Why can't I charge less?

Stephanie Ciccarelli: Why can you not charge less? Well, the answer is that you need to respect yourself. If you are putting all this work into the audition itself, and your studio, your education, all of these things have culminated to something worthwhile for you in your business, so if you start quoting less than what is suggested and what the client is actually prepared to pay, then you are doing yourself a disservice, your peers a disservice, you're doing the industry a disservice. So please keep in mind that if a client has specified this is my budget, this is the high end, the low end, please meet me somewhere in the middle or do your best to quote, remain within that budget. Also, don't take yourself for granted because your skills, everything you put into yourself, your work, your voice, how they are going to use it... you're worth so much more than undercutting yourself and everyone else who is on the website (applause from panel and audience), so that is why you shouldn't bid less than $100.

Warren Garling: Very nice, absolutely. Dave Goldberg, is there any seasonality to the VO business? Is there a good time of year, bad time of year?

David Goldberg: It depends what you're talking about. We've found at our studios that summers are typically a bit slower, the amount of production work that comes in, meaning for you that it's a fantastic time to market yourselves. Producers have a bit more time on their hands, or their ears, so take advantage of it. And certainly, I guess there are different kinds of commercials that sell more during winter and summer, it depends on the product that's being narrated but, otherwise I'm not familiar with any seasonality.

Warren Garling: OK, thank you. Rodney, how has marketing yourself changed over the years as you've become successful? Do you still have to market yourself just as hard as you did from day one?

Rodney Saulsberry: Yes, you do, and I talked about YouTube. It's just the same. In my book I talk about saturating the market, but it is important to do your research first, you know you don't want to just throw things out there that don't go anywhere. Have a plan, have a group of people that you are going to send something to. If you can, make contact with people at these places that are hired to listen to these demos, and trust me when I tell you that they were hired to do that for a good reason because that's what they are supposed to do. Sometimes they actually do listen, and sometimes you are successful, but you have to take those shots and market yourself. I talked about simplicity.

Someone asked me about pictures on a CD. I think it's a personal thing. If you want to, you can, but when I'm asked my thought about that, I say No. I say that we need to be recognized by our voices and our talent as opposed to someone seeing a picture and deciding something about us and that may make them not hire us for the job. I had a situation recently where I did a cartoon and all of a sudden they said they wanted to see me for a motion cap (motion capture), a mo-cap, they call it, session, and so I had to drive to San Diego and put on this scuba diving type suit and all of these balls on me and this thing on my head. The character that I played, the body and the movements are based on my body, the face is not, it doesn't look like me, but the movements that I'm making... well, you know, I do voice overs! I'm working for 4 or 5 minutes, 30 minutes et cetera, I'm done, they've got me for a day, 8 hours, and all of a sudden I've got rifles in my hand and they're asking me to roll around on the floor and all types of things, and I'm thinking to myself, as

I looked at all these younger people around me, they thought my voice sounded like something (laughing), but now I'm here and I'm not necessarily that same guy. I may not have ever gotten there if they had seen a picture, so let your voice do the work for you and yes marketing is very important, just as it was when I wrote that book in 2004 and talked about saturating the market.

Warren Garling: Thank you Rodney, Mr. Bourgeois, what techniques do you recommend for slowing yourself down when reading text?

David Bourgeois: Well, like Billy said, we have definitely gravitated toward conversational, believable, sincere delivery. One of the most common differences in how people read text and how they speak text is that reading becomes task oriented with the goal being reaching the end. So, everyone has a natural tendency to accelerate their pace when they're reading.

I used to do a little experiment with people where I would have them speak for a couple of minutes off of the top of their head, and this goes way back to when I started training in this field, and we'd bring them back in the control room and play that back a couple of times, write it down word for word, and ask them to go in and read it at the same pace that they felt that they had said it. We never, and I did that with many people, had anybody able to read it in any more than half the time it took them to say a couple of minutes of material. It's very interesting.

So, a great technique to fight this is to use what I would call reset points. Take your pencil and just put little reminder marks in your copy to reset that pace back to a genuine, believable, conversational pace. You always want to be working off of what I would refer to as your conversational average, your average conversational pace. As the excitement level increases in the copy you're reading, you're not just going to speed up, you're going to use more variation in the pace. As your perception of the excitement level in the copy lessens, you don't just slow down, you come back closer to that conversational average. But maintaining that conversational average is difficult, feel free, mark your copy up, put reminders at the beginning of the third or fourth line that says, "Hey, settle down back down and get that energy together again". To the client, to the copy writer, to the person trying to convey that information, the words later in the copy are just as important as the words you started out with.

Rodney Saulsberry: I love that, and I call it scoring the copy. For me, all of this voice over is analogous to music, right, and so I draw lines where I'm going to pause, I draw lines up where I'm going to take a line up at the end, and I think about something that Evan said when he talked about how from doing this over and over again, he began to have an internal clock that just naturally happened, you know, and that's what I'm talking about practicing. The more that you do something, the better you are going to get, and the notation that David is talking about, and what I'm telling about, you're going to do that - I still do that today - but you will find that if you keep doing it, practice is practice, and then pretty soon it's in you and you got it, and you don't even need to mark it as much, but do in the beginning, and if you have to mark late like I still do, mark.

Underline words that you're going to emphasize, if you're going to go down, you're going down, if you're going to go up, it's going up.

I do an exercise where I can have two people, and we can have a paragraph, no let's say a few lines, four or five lines. I will have one person score the copy, come up with an interpretation and then score it. Underline words they are going to emphasize, make a line go up when they are going to go up, make a line go down. I will have that person read that interpretation that they have just scored, or do just what David said, and then the next person will tell us and tell that person where their underscores were, where the lines were going up, where the lines were going down. Do you see what I'm saying? That's how important scoring copy is and that's how obvious it can be if you have written this map that is so right on that somebody can tell you what's on your paper. When we looked at the paper, the next student got it exactly right, because the person read their interpretation just like they scored it.

Evan Farmer: The power of the scoring, and for me it's mostly on-camera stuff, is so evident that when I score an audition for a sitcom audition, for example, and I'll see other actors also doing the same thing in the room, I'll take my sheet into the room and typically I'm off-book by the time I go into read. I'm a big believer in preparedness. It's one way to take the fear out of an audition. Anytime you feel anxiety about something it's usually nature's way of saying, "Hey prepare, prepare for what's coming. Are you prepared?"

Sometimes there are other things like what we've spoken about before, but my copy of that audition sheet to me is such gold, that I wouldn't in a million years let another actor see it, because my interpretation that I have come up with could the the ticket of why I got the job, and I'll give you a quick example of that.

Austin Powers III : Gold Member, anybody see that? Young Number 2 character, Robert Wagner, originally Rob Lowe, I was the high school version.

Now, to give you an idea of what I was up against, when I auditioned for that I was 30 years old, I was playing a high school character, and in film that's not always a leap of faith, but the people they had already cast for characters to play next to me were in high school. But, I went in and I auditioned, and actually it's a longer story and I'll make it shorter, I auditioned for another character, the casting director came in and said, "Hey, that guy looks like Rob Lowe", thought I looked like I could be the part, mind you, I was at the apex of my career, I had a big television show, I had been in the MTV thing where we opened up for Britney Spears, I could go into malls and get my shirt ripped off my back and yet I was in there auditioning for the first audition just like everybody else.

So another example, it never ends, you're never too big, and your marketing never stops, but that's not the point.

I go in there, and I had this line, and I'll never forget it. It didn't end up in the movie, and I'll tell you exactly where it comes, but my character was supposed to explain his existence in the prequel episodes of the movie, and my character, Number 2, I walk up to Young Doctor Evil who is looking at his class standings, his ratings in the class, and he says, (in character) "Hey look everybody, I'm Number One!" and that was the part I originally auditioned for and I clearly didn't get it for that reason you just saw.

Anyway, my character comes up and I walk up in my Robert Wagner / Rob Lowe kind of voice, and I did a lot of preparation, in fact DVDs for me are a great way because I needed to find that voice and I had to find something that kind of had a blend of both of them. So I watched the DVDs and watched Robert Wagner in the special scene selections and Rob Lowe talking at the end of those. That's how I prepared for that movie. So anyway, my character comes in and says (in character), "Hello, I'm Number 2" and so he goes, "Hello, Number 2", and I have to explain to him, and this line is how I got the movie, I explained to him, "No, my name is not Number 2, I'm Number 2 in the class", and then he goes on to say something, he goes, "Well, what's your name?" It was something like Mark Banibischibinibinischwitz, or something ridiculous, you know, some Hollywood... and he says, "Well, I'm sorry to hear that", and then of course this is the part, and my script actually had this little sign I have for a take when an actor kind of takes a moment and acts without saying anything, and I took a deep breath, and he says, "I'm sorry to hear that", and I went (huskily, airy Robe Lowesque), "Tell me about it".

It was this big pause in this scene that had this rhythm and it broke the scene up. So fast forward, I get the part, return that $700 suit I bought at Macy's to audition with (audience laughter), always keep the receipt, and I'm on set with Jay Roach and we're doing the scene, and I notice on the script that the line had been cut out and I was a little upset because I knew that was my moment.

That was actually the very moment I could see on the casting directors faces and the directors faces that I got the part. Sometimes you don't know, but sometimes in an audition you can just get that visceral, boom, I'm in. That was the moment.

So anyway, I walk up and Jay was having a hard time getting this good scene out of me and he couldn't understand why because he didn't realize it had been rewritten 17 times. He's like, "There's something you did in the audition. In fact, Mike Myers..." - this is one of those great moments where you get a glimpse into the decision making process - "In fact, Mike Myers and I watched your audition tape and we both" - and I can't say it - "Beeped ourselves. It was awesome. What did you do?"

I knew because I remembered it was that moment that I'll never forget that I got the part. And I said, "Oh, well it was this line that is no longer in it (the movie)". It was that, and I made that decision on my couch while I was reading through this, and I found an opportunity for me to shine, for me to give a little piece of me that nobody else probably will, and now had somebody seen my sheet, if they could even read my scoring, I don't know if they could have picked that up but that one take is how I did. That's how critical it is from a perspective of on-camera as well, and to this day I never let anybody see my sheet, and I write in code (audience laughter).

Warren Garling: Thank you very much, Evan. Dave Goldberg, it's been a while since I did my first demo. When do you know it's time for a new one?

David Goldberg: If it's been a while, yes. A couple of things to say about this. The most important thing, I think you said it, Jenny. It's so important that if there's a time lapse between when you've made your demo and got your first job that you are able to reproduce the sound on your demo. Does that make sense to everyone? Because we've lost clients over that same reason and it's not good for anyone.

So when is it time to make your new demo?

1. When you have improved.

2. If you have a new specialty that you want to focus on, so for example, you may have a demo that just focuses on general commercial or general narration but perhaps you decide to focus on animation, or audiobook or documentary or educational or sales and presentations and so forth.

3. It's time to produce a new demo when the styles on your existing demo are all out of date. And you don't need to produce an entirely new demo, but if you have a demo that sounds like it was done in 1997, add one or two new spots on your demo, and now hopefully if a casting agents ears are in tune, they'll listen to your demo say, "Well, it sounds like they were working ten, twelve years ago and they are still working today," because you have a new sounding style on your demo, it appears as if you're very experienced, you have been working for twelve years. There's some thoughts.

David Bourgeois: Yeah, I agree completely with what Dave says, and the mindset should be like this, your demo is your resume; your demo is never done throughout your voice over career. You'll continue to add to your demo, tune your demo just based on exactly what Dave said, you know, you develop a new skill, you want to focus on a specialty, particularly in a B market, you've done some recognizable work that you want to include on your demo, but it's a resume - keep it fresh and I 100% agree with Dave on a point he made - you've really got to bring your skill set into the studio with you. Make sense?

Stephanie Ciccarelli: I'd like to add something to this too, and I think David you kind of pointed to it, you can have older material on your demo just make sure it isn't dated like, "1997, come get our Ford whatever it is!" because right away you know that is 10, 12 years old. That, and also keep in mind that you will age too, your voice is going to change. For women, your voice matures when you are 40 years old. It will go through a variety of different stages depending on how old you are when you start your voice over career. You will go from sounding one way to maturing and so forth.

Men, your voices tend to stay around the same area for a while. When you're middle aged, you'll still sound like you're younger, potentially. Your voice will shift as well, obviously it will happen, but as you age, take a look at it. If you listen to your demo and all of a sudden you don't recognize the voice on that demo (audience laughter), it may be time to reconsider because it's just like a headshot. If you get a headshot done and you're passing out this picture of yourself but it doesn't look like you anymore, you're misleading somebody with what you can do.

So, if you keep up with the trends, keep up with the different things in the market, but also make sure that what people are hearing is actually something that you can still do, as you age obviously you can still manipulate your voice to sound younger perhaps, or to sound older, but if you can't maintain that anymore and if your natural speaking voice has shifted into a different register, for men, sometimes tenors will become baritones, so keep that in mind, but specifically for women, you're going to want to look at this more because the female voice ages more dramatically as the years go on, more so than the male voice does, so I just thought I add that in there.

Warren Garling: Thank you Stephanie, and that's going to have to be the last word. Ladies and gentlemen, can I hear a rousing thank you for these folks (audience applause)

Any Comments You'd Like To Share or Add?

Looking forward to hearing from you!

On behalf of everyone on the panel and at the Voice Coaches Expo, thank you for reading and I hope you've enjoyed this conference coverage.

Best wishes,

Stephanie

©iStockphoto.com/Valerie Loiseleux

The first presentation at the Voice Coaches Expo this year was delivered by Jay Silverman, discussing how technology can help to facilitate traditional marketing techniques while reminding us that offline marketing is still one of the most personal and effective ways to self-promote.

I've taken some time to jot down much of what Jay advised as well as added my own thoughts in this article about how you can leverage technology combined with the personal touch.

Modern Self-Marketing

Creating new opportunities to market yourself has never been easier thanks to technology, specifically, the Internet.

Having a website that you can call your own to feature your voice on is absolutely mandatory in today's world where you, and your voice, may be only a click or several keystrokes away.

Although the web offers an abundance of opportunity to network and get the word out about your business, don't forget that there is a whole world out there of flesh and blood connections that you can introduce yourself to with some personal marketing.

How Marketing in Person Can Strengthen Your Online Marketing

Many people grew up before social networks, before it was common to use the Internet as a business tool, or even before the Internet existed, period. Networking was based upon the physical of meeting people in person at events, business meetings, at conferences, social encounters and in the workplace.

Firm handshakes, making eye contact, being friendly and open while exuding confidence and an attitude of service were and still are key in developing meaningful business relationships... the challenge faced today is making those skills translate to networking in a virtual environment.

Those same people are also in business today, and to their benefit, are applying techniques and person-to-person communication skills to online efforts.

Creating More Business Opportunities

People everywhere admire and are moved by the personal touch. It means so much more when you receive something that you know has been touched, written by hand or sent especially to you in the mail.

Consider the following ways that using technology can help create more business for you:

Have hard copies of your demo on CD: Being able to hand someone a physical representation of your work is very important. You'll find that there are people who want to hire you who are uncomfortable with receiving attachments via email, especially when it's the first encounter. While MP3s are more convenient for you as the sender, sometimes they can pose issues and actually deter people from listening to your work if the MP3 is unsolicited.

Business Letter that accompanies the demo: Share that you are looking for work and have the talent, are understanding of what that perspective employer does and thus needs from you. Do more self-marketing through following up. More business is lost because someone drops the ball on follow up than any other reason.

Do web research to learn more about who the clientele is: Find out what they need and how your voice can help target their target audiences.

Build a website: Your website gives you the opportunity to look better and present yourself. Fully display your range, depth of your voice, and other assets.

TIP: Don't just hope that someone finds your website among the millions of sites out there. You must guide people to finding your website. Helping them find you is very important. List the URL of your website on your business card.

Marketing activities still work, and as communications processes evolve, you can apply the same principles to your marketing as before.

Job Opportunities May Rely Upon 3 Things:

1. Training and your ability to use it (formal training, reading articles, listening to podcasts, etc.)
2. Communicate person to person and sell yourself to convey that you know what you are doing and that you can help them.
3. Your willingness to use some of your time resources even better. For those who are still working in other areas outside of voice over, you will need to give up more time than potentially anticipated.

Tell The World!

Hesitation will only hold you back.

Here are a number of ideas to help you self-promote and be a good ambassador for your business:

๏ Be aggressive in marketing yourself
๏ Take advantage of marketing opportunities already out there
๏ Be creative in establishing marketing opportunities for yourself
๏ Educate people about voice over
๏ Educate people, even those at social / recreational events you participate in
๏ Business meetings outside of your workplace
๏ Give examples that they'll recognize to learn more about what voice over is really about
๏ Bring a load of business cards
๏ Training makes you qualified to seek out work
๏ Do something social to network with people one-on-one, BBQs for instance
๏ Non-technical, inexpensive ways to extend your self-marketing a little bit farther.
๏ Be prepared
๏ Develop an elevator speech / pitch

Elevator Speech / Pitch

When you give an elevator speech, you're summing up who you are, what you do and how you can be of service to someone in less than 60 seconds. You can also see this as the amount of time it would take you to travel on an elevator with a person of influence from the first floor lobby to their executive office, upwards of 30 floors or higher. You've got a limited window of opportunity to make an impact and you've got to have your pitch down.

If there is a follow up question from the person you are talking to, you know they are interested.

For some great examples of this, visit:

60 Second Pitch Contest at Voices.com

Parting Words

Remember to follow up and stick with it. Also, always have a copy of your demo on you as you'll never know when opportunity will knock. Handing someone a demo CD, even though it may seem to be low-tech when compared to zipping an MP3 off to someone, is still a viable and potentially preferred way to present someone with your offering and show them what you can do.

Jay Silverman (Mechanicville, New York)

In addition to being a voice actor and professional announcer, Jay is a marketing and public communications expert. His experience in communications training spans the corporate, government, higher education, and not-for-profit sectors. Jay is a member of the marketing faculty at the Sage College and the University of Albany.

Any Comments?

Looking forward to hearing from you,

Stephanie

©iStockphoto.com/P_Wei

As a voice over professional, you may take for granted that people are intrigued by what you do, perhaps even follow your work by hearing alone.

What have you been voicing lately?

Share some of your most recent gigs so that people far and near may find out who they are listening to and check out more of your portfolio!

What Have You Been Voicing Lately?

I'd love to hear what you've been up to in the last month or so. If you want, include ongoing campaigns your voice is part of so that your fans can find you, too!

Share some of your voiceography now!

Just leave a comment below. Fans and prospective clients will be able to find your comment via searching and get to know you a bit better.

Cheers,

Stephanie

©iStockphoto.com/digitalskillet

For many voice talent, interpreting a script isn't a problem... it's wondering what else to include in the recorded audition!

When you're creating a custom demo or auditioning for a voice over job, do you simply submit dry voice, or do you include music, sound effects or other production elements?

Share your comments and experiences with your friends at VOX Daily.

Auditions: Dry Voice or Full Production?

Recording your voice for an audition is one thing but adding tracks with music and sound effects is another.

Dry voice is pure, 100% you (no preservatives and or pesticides)!

"Dry voice" is the industry's way of saying unadulterated sound. When you are required to record a dry voice track, all you should be doing is providing your read, nothing more. That means no music, no sound effects, no effects on your voice, you get the picture.

What happens when you add to your voice?

Adding to your voice is a completely different animal. Whenever something is "produced", it means that production elements were used, such as music, sound effects and so on. Usually in this instance, you are multi-track recording and might have a separate track set aside for your voice with an array of tracks for music beds, sound effects and the like.

Depending on what it is that you are auditioning for, you may find that produced audio may either help or hinder your chances of landing the gig. Dry voice is safe, but remember, it's not always the safe choices that get noticed...

Having said that, whether you decide to do dry voice exclusively or dabble in production, always make sure that your vocal choices with regard to interpretation are unique and demonstrate how you would best serve the client.

What's Your Auditioning Style?

Depending on which you prefer, how has this worked out for you, and does one provide better results than the other?

Looking forward to hearing from you,

Stephanie

P.S. Thanks for Elizabeth Webb Sosner for the inspiration to write this post :)

©iStockphoto.com/Imgorthand

Adam Caplan gave an amazing presentation at PodCamp London called "The Practice of Brevity", teaching us how to deliver a compelling, educational and entertaining message in two minutes or less.

Don LaFontaine's name came up as someone he had worked with and I decided to follow up with Adam to discover more about his experiences with "The Don". Adam has graciously shared some of his insight and memories here with us at VOX Daily for you to enjoy.

Learn more about how Don LaFontaine's masterful application of the art of brevity helped him to make a significant and profound impact while maintaining his trademark delivery and singular style.

Working with Don LaFontaine, A Master of Brevity

By Adam Caplan

I had the pleasure of working with Don only a few times as the Head Writer or Creative Director would generally direct the sessions - I was a 'preditor' (Producer/Editor combo), and so our work 'together' was limited.

Most of the work done by the company I worked for (DG Entertainment) was for TV promos and movie packages (I have a Field of Dreams spot voiced by Don and written by Harris Cohen for DG Entertainment that's really great). TV spots for shows like Leeza, 'Go Wild' and radio for the Star Trek franchise were the day-to-day for Don, so we would be a regular stop on his daily tour of the city's TV & movie shops.

Don started out as a writer; Indeed, he is frequently credited for inventing the catchphrases for which he became known.

Sometimes, hanging out in the sound booth, I watched as his ability to tell stories informed every part of his work. It was this sensibility that was perhaps what inspired me most about him; his ability to look at a script and intuit the angle that the writer/producer was going for.

When he performed, he would physically find the beats and use his own rhythm to sell the angle.

It wasn't Don's voice that made it memorable, it was the way Don led us into the story he was telling, showing us, the audience, how to emotionally empathize with what we were hearing or watching, no matter the length or the subject.

Moreover, Don was a consummate gentleman and professional. His generosity of spirit, advice, and the time he made for young voice actors is still legendary, and remains an inspiration for me when I am approached to offer advice or mentorship for those seeking to enter new media.

Finally, I believe that Don was a true innovator.

He really was the first to recognize that his voice provided the emotional tone and timbre for the text that was written, much in the same that a concert violinist or pianist can provide new insights into music that is sometimes hundreds of years old. This innovation is notable because it represented the migration from the insistently stoic voice-over style of the mid-century to our modern, emotionally pitched voices.

Don brought humanity to modern promotional media, and brought our emotions front-and-centre.

As someone engaged with short-form media I can say that the hardest goal - and the most important - is to leave audience members with an emotionally memorable message. The only way to do that is to engage listeners emotionally, and lead them to the point you're trying to make by showing them, with emotional resonance, rather than telling them, with just words. Aligning the words with the right emotion takes practice and talent, and is tremendously valuable when it's realized.

Finally, to voice actors: Consider writing!

Blogging, short stories, scripts, poems... All these formats require a knowledge of the fundamental tenets of storytelling. By practicing the art of storytelling, and understanding a writer's sensibility, you can both improve your own interpretive (and thus performance) abilities, and also have a more informed conversation with your clients and their copywriters.

Sincerely,

Adam Caplan

Adam Caplan is a lecturer at the University of Western Ontario and is a graduate of the California Institute of the Arts. He works at his own startup, web.isod.es. You can follow also Adam Caplan on Twitter.

Any Comments?

Looking forward to hearing from you,

Stephanie

Learn how to take care of your voice, engage in a vocal warmup, speak clearly and become more confident behind the microphone.

Discover how you can improve your voice over technique and achieve a personal best with regard to vocal performance.

Your audience will thank you!

PodCamp London

Yesterday, I presented at PodCamp London and am eager to share the contents of my session with you!

The topic was "Content is King But Voice is Queen".

During my session, those in attendance heard an abbreviated, but substantial, version of what I have blogged about in today's article.

My audience was a group of podcasters, however, I think you'll find a great deal of value in this as voice over professionals or public speakers.

Content is King...

When you're trying to reach an audience, the most important aspect of your presentation is your content.

As a podcaster, you have the responsibility to:

- Research topics
- Create quality content
- Be prepared

...but Voice is Queen

Why would I say that voice is queen? Why not audio production skills or something else?

- Your voice communicates the message
- Makes creative choices when interpreting copy
- Voices connect with people on a deep, human level

These Pipes Were Made for Talkin'

- The human voice has been used for thousands of years to communicate
- It's the most effective way of engaging another person
- When talking, realize that it's not all talk, it's social engagement

Know And Love Your Voice

By now, I'm sure you've realized just how singularly important it is to keep your voice safe, after all, without it, podcasting would be incredibly difficult. How many of you take care of your voice, I mean, really treat it well? Like most things, before you can meet its needs, you need to have a relationship and understanding of how your voice works and how you can protect your asset.

Caring For The Voice

Your voice is so delicate. It's not something you can turn on or off by flicking a switch. It's also not something that you can carry in a bag or download on the Internet. Simply put, your voice is with you at all times and cannot be put on hold or paused whenever it's convenient to do so.

When caring for your voice, you need to be aware of just how sensitive your instrument is and also realize that it is just that, an instrument. Coming from a musical background, I grew up abiding by a number of guidelines set in place to protect my voice. In university, the first week of school, we were handed an extensive package that described in great detail what to avoid doing to save our instruments from harm.

Getting sick aside, any number of external elements could affect the well being of your voice and its performance, including what you eat, drink, breathe in and so on.

Don't Abuse Your Voice

Yelling, screaming, whispering, crying and even talking extensively on the phone can all wear your voice down. You might have been surprised by the telephone citation, but believe me, it's a culprit and is very tiring, drying and can be taxing on your voice.

Some of those things may appear to be obvious to you because they directly involve the use of your voice. Now consider this. Smoking cigarettes, drinking alcoholic or caffeinated beverages, and inhaling second-hand smoke can also injure your voice.

Avoid these at all costs before a recording and stick to water as the beverage of choice.

Also be mindful to not wear perfume or cologne before you warm up your voice and record. If you must wear something, make it a light, neutral scent. Remember, no one can smell you through your podcast.

Be Realistic

Know your range and respect its natural boundaries.

If you know that your vocal range is limited to an octave or so, don't push harder to reach low, growly pitches or strain to speak too high, either. Do not force yourself because you'll not only sound bad but it will also hurt your voice.

Your natural speaking voice sits in your comfort zone, also known as your tessitura. Tessitura is an Italian word that refers to a singer's comfortable range that presents its best sounding texture or timbre.

Bearing this in mind, your voice has limits and you'll need to respect them otherwise you will grow tired quickly and find that your voice is under performing, even in pain.

Protecting Your Voice From Sickness

Protect your voice from environmental factors / sick people!

I went to see my doctor just yesterday for an ear/nose/throat issue and in passing, he mentioned that he has seen more people lately who are sick with a cold than he did throughout the entire winter. For whatever reason, there's something going around, and because of what we know about how important our voice is, we've got to do even more to protect ourselves from getting sick.

Being sick when you record changes the quality of your voice, its range and also may injure you. When you're sick, it's best to let your voice rest and save recording for another day.

Some Tips For Keeping Healthy:

1. Wash your hands thoroughly
2. Make as little contact as possible with those who are sick
3. Take your vitamins, remain hydrated, get lots of sleep and eat healthy foods

Warming Up Your Voice

- Stay hydrated
- Start with gentle warmups like humming
- Engage your articulators and resonators - do tongue twisters

Don't Forget To Breathe!

- Breathing and support is fundamentally important
- Supporting from your diaphragm helps you to project
- Phrase well by speaking on the breath

When we were little babies, breathing was so natural. Over time, you lose your ability to breathe properly and fall into some bad habits. When you are singing, speaking in public or acting, you need access to as much supported breath as possible and that may mean that you need to relearn how to breathe deeply, sustain the breath and use it to buoy your phrases.

For a moment, I want you to stop thinking about everything and concentrate only on breathing. Feel the air as you inhale as it fills your lungs, and gently exhale and release. If you can, please stand for this to get the full effect. Put your hand on your stomach now as you breathe. When you breathe in, your ribcage should expand as your lungs fill with air. When you breathe out, let the air leave you slowly on a hiss.

Panting like a dog can help you to establish proper breathing technique in its earliest stages. Try it. You can't help but inhale and exhale properly when you are panting. Pant quickly at first to get the rhythm and then slow it down so that you can dissect your breathing technique. When you breath in, your stomach should expand. When you breath out, or exhale, your stomach should return to its normal state.

What Did You Say?

Seldom do you misinterpret what a professional actors says or miss words due to poor diction on a CBC radio program, however, when it comes to podcasting, not everyone is a trained professional and aware of how they pronounce words, intone or deliver their speech.

I once had a teacher at my choir school who would ask people to come in literally off the street to see if they could understand what our class was singing. If someone who was hearing the piece for the first time could repeat back exactly what we were singing, we knew that our diction was spot on. If they had difficulty, we had to place more emphasis on spitting our consonants out.

Sometimes it helps to have another person listen to your recordings before you publish them and be that second set of ears for you.

- Be conscious of how you sound
- Watch your diction
- Project your voice and do not mumble

Your Voice Speaks Volumes About You

- Your voice and how you use it defines you
- How you use your voice will directly impact your audience
- People expect to hear quality content and pleasant voices

Podcasting is an audio medium and the most important tool that you have to communicate your message is your voice. If you are recording podcasts for pleasure and are not trying to make a business of it, people will not be as judgmental, however, if the podcast is for a corporation or organization, there is the expectation that the voice over be of professional caliber.

Final Tips:

- Drink lots of water!
- Respect your voice
- Maintain good health
- Speak in your comfort zone
- Prepare for success

Download The Presentation At Slideshare.net

If you'd like to download a PDF copy of my presentation, visit this link:

"Content is King But Voice is Queen" from PodCamp London by Stephanie Ciccarelli

At some point in the near future, the actual recording of the presentation will also be available to enjoy. Thanks to those of you who attended in person and via the web on Saturday streaming live!

Thank you also for reading and I hope you enjoyed this post!

Cheers,

Stephanie

Have you ever considered having a professional photograph taken to help you promote your career?

Last night I had my first session with London, ON photographer, David Raposo, and I'd like to share a bit about my experience with you.

As a voice actor, you might think that head shots aren't a priority or good for business, however, you may change your mind after you read this.

Head Shots

Whether you like it or not, nearly everyone in the entertainment industry needs to have a quality head shot or portrait taken that will represent them as professionals.

Before now, I had never sat for a true business photo session, mainly because I felt that it could wait or that I didn't need a head shot. Perhaps you feel like this too and are just waiting for a kick in the butt to get yours done.

My butt kicking came after I realized that when people ask me to speak somewhere, I need to have a photo that they can use online or in agendas to help sell what I'm talking about to complement a thoughtfully worded bio. If I were to publish a book, be quoted in a newspaper or even show up at an industry event, having a photo already prepared is not only convenient but mandatory.

Boy, do I wish I had done this earlier!

I was photographed by London, Ontario photographer, David Raposo. David also photographed David Ciccarelli, my husband and Voices.com co-founder, a couple of months ago. Raposo has experience working with fashion models, business people, does wedding photography and enjoys taking photos of families, too. I'm already looking forward to booking my next session and also family portraits to capture more of the people I love in pictures.

5 Characteristics You'll Find in a Good Photographer:

1. They are interested in getting to know you as a person
2. They have mastered the art of lighting
3. The photographer has been referred to you and gets a lot of business through referrals
4. Their work has been featured in newspapers, magazines, online, etc.
5. They know how to direct a session, put you at ease, and can inspire ideas

Great Photo Session = Being Comfortable

The key to a great photo session is confidence and feeling comfortable with your photographer.

The first part of the session may be spent getting to know each other. If you are at ease, the images are more authentic, believable and are also less grating to look at when you review them following the session.

When I took a look at the first round we did shortly after I arrived (I had only met David in person that night but knew of him through referrals, networking, email and Facebook), I admit that I wasn't as relaxed as I was once we really got rolling 20 minutes later. By picture 35 or so, I was in tune with what was being asked of me and I was even making suggestions at that point which was truly progress for me.

There were in the neighbourhood of 70 pictures taken during the 1 hour session. One of the great things about digital photography is that you can keep shooting and you don't have to worry about running out of film.

5 Tips on How To Prepare for a Head Shot Session

1. If you're a woman, wear your hair down, perhaps flat iron it if you like
2. Choose neutral, safe colours to wear that won't look dated years later
3. Solid colours are best - patterns or lines are too distracting
4. Have pro makeup done. Men: basic foundation/powder is a must... yes, you heard me!
5. Envision your goals and think of some poses you'd like to try

Word of caution: If you are considering cutting your hair or doing anything drastic to your appearance, hold off until you have had your photos taken. I wanted to cut my hair shorter but am glad that I chose not to do so before these pictures were taken. Thank you to the many people who urged otherwise and helped to persuade me!

Miscellaneous Photography Session Tips

๏ Come prepared with a few outfits or shirts that you can change into
๏ Bring a hair brush with you as well as any items you might wish to keep on hand
๏ Invite a friend to come with you to the session to make you more comfortable
๏ Get adequate sleep the night before
๏ Drink lots of water and even bring some to the session
๏ Treat yourself to a relatively stress-free day if you can manage it
๏ Try to schedule your hair (first) and makeup (second) appointments close together
๏ Let your makeup artist know that you need professional makeup applied for photos
๏ Book your session at a time of day when you are at your best, hopefully following shortly after your hair and makeup appointments
๏ Reapply lipstick if necessary - men, bring a moisturizer or lip balm to avoid chapped lips
๏ Don't wear ridiculous footwear or tight fitting clothes - resist torturing yourself! It's just a from the chest up sort of photo, not your whole body
๏ Be willing to try different poses or facial expressions, even suggest some of your own
๏ Bring clippings from magazines of images you like / would like to recreate in your shoot

So, that's what is really going on with head shots.

They are a great boon to you as a professional, but make sure that you're also in it for the journey and appreciate the warmer, more personal side.

I hope my experience has helped you in some way to prepare for an enjoyable photo shoot!

Any Comments?

Looking forward to hearing from you,

Stephanie

Have you ever visited an online medical site?

Many health care related sites are now providing useful, reliable health information directly to patients to help them manage their conditions and make treatment choices through interactive presentations involving voice over.

Learn more about this opportunity for voice over talent and also hear from Shelley Baldiga, the voice of the Information Therapy Conversations presented on the Harvard Pilgrim HealthCare's website.

Information Therapy

While not replacing consultations with medical professionals, these interactive avenues, such as the resources offered by Harvard Pilgrim HealthCare, provide people with access to information that will help them to take better care of themselves to solve age-old problems.

To enrich these presentations, and better engage potential customers, voice over is being used more and more in this field.

How Harvard Pilgrim HealthCare Is Using Voice Over

The Wall Street Journal reports that Harvard Pilgrim HealthCare, a nonprofit health plan in New England, recently began offering on its Web site one of Healthwise's coaching programs called Information Therapy Conversations.

The site, open to the public at harvardpilgrim.org/conversations, guides consumers through issues such as dealing with sleep problems, depression and lower-back pain. Using soothing voice-overs and animations, it asks questions to determine the extent of the problem, suggests the types of doctors or health professionals who might help, and provides information based on the patient's answers.

I had the opportunity to talk with Shelley Baldiga about her experience recording the voice over and have included our interview for you to read.

VOX: How did you get the job narrating these conversations for Harvard Pilgrim HealthCare?

SHELLEY BALDIGA: I actually narrate the conversations for a company called Healthwise, an organization that provides health information and programs for major hospitals and insurers like Harvard Pilgrim HealthCare as well as Internet sites like WebMD. I auditioned with Healthwise for their first conversation back in 2006 and have been voicing for them ever since.

VOX: Thanks for clarifying that detail, Shelley! When taking one of the guided conversations about sleep, I noticed that there are a number of variables presented, which I'm sure translated to a lot of voice over work having to record accounting for each possible scenario in the survey. How many prompts did you record for each conversation?

SB: I believe it's around 350 individual audio files per conversation. The whole recording session is totally fragmented -- from doing partial sentences to single transitional words, like "okay", "great" or "hmmmm." And, as you would expect, each response varies depending on where we are in the conversation. We also have to consider what someone has already told us as we travel down different paths. For example, on the sleep conversation, we ask how long they've had sleep problems, do they need an alarm to wake up, what do they do right before bed, have they been diagnosed with sleep apnea or depression, etc. Then, we refer to that information when giving advice down the line. The producer is constantly reminding me who a particular response applies to. "This is for someone who says he doesn't have sleep apnea but does have anxiety about lack of sleep..." You have to consider those variables when reading the lines.

VOX: How long did this project take for you to complete?

SB: We're more efficient now than with our first conversation. These days, it takes about 4-5 hours to record a single topic, start to finish.

VOX: Have you yourself found these conversations to be useful? Did you learn anything from them when recording?

SB: I've learned a lot! It has helped me to better understand diabetes, which is helpful since my dad was recently diagnosed with type 2. I could tell you all kinds of interesting facts about heart health and the medications for it, when to have surgery for low back pain, things like that. I learn something new every time we record.

VOX: You got to keep your own name for the character you recorded. Was this something that was decided from the start or were you able to make a suggestion that your first name "Shelley" be used?

SB: Healthwise wanted to use my name. I believe their reasoning was "to keep it real." The whole concept is that this should sound like an actual conversation you'd have with your doctor or some other medical professional, not just automated responses from your computer. That's what makes the product so compelling. It really feels personal, like you're talking with someone who wants to help. And I have to think that helps people take away more information, and in a much more fun way.

VOX: As a voice over talent, it is rare to record a script using your own name. Did narrating as "Shelley" make a difference in how you interpreted the script? How did it feel? Were you recording as you or did you develop a new character with specific qualities who happened to bear the same name?

SB: I think narrating as myself has made a difference. I see the character as me... but in a medical role. As long as I remember I'm wearing that hat, there's never any question about how the character will respond. And I find myself focusing a lot more on who I'm speaking to, rather than who my character is supposed to be.

VOX: Your work got some nice coverage in the Wall Street Journal and I was wondering if you had heard additional commentary, perhaps even from users of the site? Have you heard much feedback regarding the conversations?

SB: The feedback has been great! People seem impressed with the fact that they get specific health advice based on their specific symptoms, not just a generic speech. Plus, it's fun and different. When asked about the voice, we hear comments that run from "she sounds like a nice, older lady" to "she sounds hot!" I have to laugh. I guess it depends on who they want the character to be.

VOX: What has been the biggest challenge in a project like this?

SB: For me, it's finding that balance between being too laid back and too preachy. The conversations are interactive and they're supposed to be fun! But we're talking about serious stuff - sometimes life-or-death health conditions. It's a challenge keeping things casual without offending anyone or turning someone away. It helps to remember... just keep it real.

Have you had any experience using or narrating Information Therapy?

Looking forward to hearing from you!

Stephanie

What will you be doing for Earth Day?

I'm pleased to welcome back actor, writer and the source of many intellectual musings, Edoardo Ballerini.

Join me now in this discussion about how you can make a difference and how the entertainment industry can help make our world a better place.

VOX: Edoardo, thank you for joining me again on VOX Daily. Welcome :) How have you been?

EDOARDO BALLERINI: I have been well, thank you. Our industry has been shifting quickly, and along with the economic uncertainty, has created some interesting challenges, but it can be a period of re-evaluation and re-positioning. On the voice side of things, I'm putting together a series of audiobooks, as both voice talent and producer, something I wouldn't have imagined even two years ago. Oh, and since we've spoken, I got to do my first animation gig, for "Batman: The Brave and the Bold," which was a blast!

VOX: That's great news, Edoardo! From listening to your Mineralava Musings podcast, I have discovered, among other things, that you are quite interested in the environment and are passionate about how people in the entertainment industry can help to minimize their direct impact on the planet. As Earth Day is now upon us, I thought it would be nice to chat with you a bit about how we can make a difference, too. Before we get too far in, what drives you to be so eco-conscious?

EB: If I had a "moment of zen" about being eco-conscious it was during a hike a few years back. I looked out at this magnificent landscape of hills and earth and along the ridge I saw... power lines. I don't begrudge power lines per se, but it struck me just how insensitive we as a race of people were about the natural environment. Surely, there's a way to supply power without desecrating natural beauty!

My belief is this: there are small things we can all do that, added up, make a huge difference. I can't claim to be perfectly eco-conscious, but there are simple choices we could make, that don't even impact the quality of our lives. Bringing a mug to the coffee shop, using cloth bags at the supermarket, re-using bottles for water instead of buying them new every time, planning a route for errands and doing them all at once, eating less meat. Little things.

But my big passion in this area is in buying used goods whenever possible. From clothing to furniture to equipment, buying used means saving something from the scrap heap, fewer materials used, and virtually no shipping costs since used goods tend to be purchased locally.

VOX: Doing little things to help does make a significant impact. We do a lot of recycling and composting at our house and also use reusable bags when grocery shopping. On another note, you live in Los Angeles for the most part in addition to spending quite a bit of time in New York and London, all large cities deeply involved in the artistic scene. In your opinion, what could Hollywood, and other centers of entertainment, be doing better (or doing more of) to help the environment?

EB: Well, if we as individuals can do the little things, then the studios and networks around the world can do the big things, and I believe they have that responsibility. They can power their buildings through solar panels, keep their money in "green" banks, replace fleets of cars with hybrids and electrics, that kind of thing. But they can also incorporate "green" themes into programming and content. The same way that smoking has all but been eradicated from films, imagine if we were exposed to characters who lived eco-friendly lifestyles. It could help it become the cultural norm and not an "alternative."

VOX: All great points! In which ways can voice actors working from home make a difference? Is there anything in particular that you suggest doing?

EB: Voice actors working from home are already doing a lot by simply not being on the roads, or using courier services to deliver CDs. I recognize that there's a trade-off because computer equipment has a lot of hazardous materials inside, but on balance, it's a great thing to do, not to mention a lot less stressful than getting stuck on a freeway or subway!

VOX: While digital technology has created some eco-friendly solutions, such as the potential of the paperless office, has the technology also in some ways created issues for the environment? Are we using more energy than before, for instance, to power up gear?

EB: Ah, I anticipated your question! Yes, powering up gear requires energy, of course, but it's likely that our computers and mixers will become more energy efficient than our cars. And if you travel to a studio, you're still confronted with using energy once you arrive, so cutting out a step makes sense.

VOX: Buying second-hand or gently used items is a great idea that I know you are also a fan of. What kind of things can be purchased used and how does buying used items such as clothing or recording equipment help to reduce our consumption of natural resources?

EB: Hmmm... I seem to have gotten ahead of your questions. But I can add another something to the idea of buying used. For many years, I think there was a stigma against it because the things you got would be of poor quality, truly the discarded bits of people's lives that nobody would want. But the advent of sites like craigslist and eBay have made it possible to search beyond the local Salvation Army, and there are truly some amazing things out there for sale. So you can get what you want, save money, and do some good all at once.

VOX: Are there any ways that voice talent specifically can contribute to making the world a greener, better place?

EB: What voice actors can do is what anybody else can do. Get educated, make some simple changes to habits, and realize that our resources are, in fact, finite. We have to be smart about how we use them! And because we do use a lot of equipment, it's important that we understand how to discard of it when it comes time to do so.

VOX: Note taken. I'm glad you pointed that out, Edoardo. Sometimes professionals don't see beyond their own little worlds and it's always good to remind ourselves that voice actors, while unique to a degree, are people just like anyone else. That being said, how will you be spending Earth Day?

EB: I'll be spending Earth Day in New York, a city that can often feel devoid of nature. But I just read about an artist who wants people to sprinkle wildflower seeds around town, wherever there's a tree-bed or some patch of earth. I thought that was very clever, so I'll do that.

~~

What Will You Be Doing to Celebrate Earth Day?

If you have anything you'd like to add to this conversation, please comment below. I'm looking forward to hearing from you! Now, off to plant some wild flowers...

Cheers,

Stephanie

Despite being only 11 years old, Travis Mustang, son of voice over talent Connie Mustang, has demonstrated a number of leadership qualities and a voice full of heart.

Already a member of Voices.com, Voice Over Universe, and the online group Teen Talk V.O. Style, Travis is well on his way to achieving his goal of becoming a career voice over talent.

Hear about how one boy is making a big difference in shaping the future of the voice over community.

Travis' Story

I first heard about Travis Mustang and his story through a nomination and his being a finalist in the category of Best Child Voice this year for the 3rd Annual Voicey Awards. I was floored by what I read and I wanted to share what an inspiring person he is and how Travis has embraced more than just the role of performer, but also that of a business man and an industry ambassador, already having tackled stand-up comedy by age 8 and ADR by the age of 9.

In his business, Travis does things that every adult should do to strive towards making their business a success. He practices his craft, takes college courses (reportedly the youngest student they ever had), and professional courses in theatrical arts, singing, and voice over in order to make himself an asset to the Voice Over Community. He has studied privately with M.J. Lallo and is now a member of her voice talent roster.

If that wasn't enough, Travis attends industry conferences, seminars, comes prepared to mixers bringing his own business cards, and has even given a pro-bono talk to a business class of college students at Mount San Antonio College on how to get into the Voice Over business.

Travis' mother, Connie, relates that her son volunteers his time to direct her voice over sessions, reading along, sometimes narrating textbooks that are high school level or higher. His direction helps to ensure that the recordings are perfect before presenting them to Recording for the Blind and Dyslexic's Hollywood office.

Connie Mustang, shares, "This is Travis' business, and it is pleasing to see him take such an active role in running it. He is truly passionate about being a voice artist and plans to make this a life-long career."

By now, you're probably wondering how Travis does it all, and by most accounts, I'd wonder too, but I think what we're looking at here is the exception to the rule, and people who fall into that category are rare and worth watching.

In addition to his voice over career aspirations, contributions to the community and other activities, Travis is also sensitive to the well being of those around him and the challenges people face in their lives.

In this difficult economy, while most boys are out spending their parents' money on expensive wants, Travis is helping his out by providing a means to pay for his own boyish desires while saving for his college education. He also has a heart for people and has volunteered for many projects, including assisting a single mom who was struggling to make ends meet for her and her son.

His mother confided, "Travis has a giving nature and never expects anything in return. He has the same passion with his voice work, although he does get paid, I think the true joy for him is bringing happiness to others through his work."

Do you have a story to share?

If you'd like respond to what you just read or share your own story about a young voice talent in your life, be sure to comment :)

Best wishes,

Stephanie

Do you have voice over musings spinning around in your head that you'd like to share with an audience?

Maybe you'd like to step up as a guest blogger!

Find out how you can get even more publicity through Voices.com by becoming a contributor to the VOX Daily blog.

Contributing Articles

There are few better ways online to establish yourself as an authority or expert than to write some good, solid articles. Quality articles, I might add, not only breed credibility but they are also linked to and republished.

Who is this opportunity suited to?

๏ Voice acting coaches and teachers
๏ Voice talent bloggers
๏ Voice actors who like to write
๏ A voice over professional with a story to share
๏ Casting directors and agents
๏ Union representatives
๏ Industry professionals
๏ Audio recording engineers

Ideal Article Length

Generally, 250 - 500 words is the right amount to write a substantial article. Of course, there are exceptions to the rule, but if you like solid parameters and want to stay in the safe zone, shoot somewhere in that range.

What should you write about?

Anything to do with voice over! Of course, the content needs to be family friendly and in good taste, but otherwise the spectrum of content you could produce is quite wide.

Kinds of articles to consider:

๏ Educational
๏ Business
๏ Technical
๏ Opinion Piece
๏ Product Review
๏ Expository Piece
๏ Personal Reflection
๏ Interview

General Guidelines

Why have I set guidelines for this? Simple.

VOX Daily is read and enters the email boxes of thousands of people every day representing varying ages, backgrounds and beliefs. Out of respect for our subscribers and online readers, the content must be of high quality, relevant to voice over, and free of questionable material.

Email Your Article

Send your material to my email address by clicking here

Looking forward to helping you get the word out!

Best wishes,

Stephanie

©iStockphoto.com/Frank van den Bergh

Do you have any client testimonials on your website?

If you've ever been hired because someone read about how you served one of your clients, you know the value of adding testimonials and the instant credibility they can instill for prospective customers.

Were you nodding your head in agreement (or at least agreeing) with what I just said? If so, I have some great news for you!

Feedback

Part of your profile at Voices.com was created to feature success stories, or testimonials, from clients you've worked with in the past. This part of your profile is aptly called "Feedback".

When people visit your Voices.com profile, they can toggle between your main profile page, your demos, your store, and feedback.

Difference Between Feedback Ratings and References

At Voices.com, you can receive feedback ratings from clients you've done business with using SurePay, AND you can also add references and testimonials that share experiences you've had with your own clients outside of Voices.com.

This is particularly useful for those of you who have been hired by a client on Voices.com but then decided to conduct business off the site, which leads me to...

Why can't all clients give me a Feedback Rating?

Many people ask us how they can receive feedback ratings from clients who hired them at Voices.com but did not use SurePay. They did, in fact, get the job at Voices.com and the client is happy to confirm, so shouldn't that count?

While it is great news that some members get work that they attribute to a relationship established at Voices.com, we can't track and verify the entire process and transaction if they chose to do business outside of our SurePay payment service. For these reasons, only transactions that we can verify through SurePay are included in the Feedback Ratings.

Include Testimonials to Build Even More Trust

Considering that you likely have testimonials from clients (or could attain them), including these success stories in your Feedback section of your profile is not only encouraged, it's strongly recommended. After all, the most important element of doing business online is trust.

Examples

I took a look around the site to find a few great examples that you could model your Feedback page after.

All of these professionals have included testimonials, references and a list of clients they have done work for in the past:

Bob Souer
Randye Kaye
Mike Cooper

Looks really great, doesn't it?

As I said earlier, this is a particularly good feature for those of you who haven't been paid using SurePay. Even if you have, why not give people another reason (or many) to hire you by taking a few minutes to quickly update your profile?

To add some testimonials to your Feedback page, click here:

Add references, testimonials and my client list now

I'd love to see your completed Feedback pages! Comment to let me know and include the URL.

Best wishes,

Stephanie

©iStockphoto.com/PhotoInc

The Voices.com Store is an exciting feature that gives members of Voices.com the opportunity to be hired straight off product samples instead of cutting custom demos.

I had the opportunity to learn more about how voice talent are using their stores and thought you'd be interested in what's going on!

Hear about some experiences had by voice talent who have sold products in their Voices.com Stores and discover how easy it is to create and list your own products.

Success May Be in "Store" For You!

Yesterday I took a few minutes to follow up with some voice talent who had sold products in the Voices.com Store and asked them about their experiences.

Melanie Wood, James Herron and Melanie Haynes were quick to respond and shared their experiences with clients and the process.

Selling My Product on Voices.com was Quick and Easy

Selling my product on Voices.com was very quick and easy. I received an email stating that my product had been sold (IVR & on hold message). When I went to my page the script was there waiting for me. Within a few hours the client had their completed product and the funds were released to me! :)

The Client was very happy and left great feedback!

Warm Regards
Melanie Wood

The One-Stop-Shopping Feature Was Good For Business

Smith Pro Rodeos contracted me through the Voices.com Store. They were looking for a "Sam Elliott" sounding Voice Over for a special "opening presentation: for a rodeo event to viewed on the 'jumbo-tron". Smith Pro Rodeos, is the preeminent professional rodeo producer and in reviewing my "Sam Elliott" demo in the store of Voices.com I was selected for the project.

I voiced the exciting opening event film presentation for the Super Bowl of rodeos The Gold Buckle Award. The client was very cordial and professional and sincerely believe the ease of the Voices.com one stop shopping feature for this client (who does not have a regular need for VO talent) made it a particularly easy business experience.

Thank you,
James Herron

Saves Both Client and Talent a Great Deal of Time

Being hired and paid via SurePay from my Store on voices.com is one of the easiest and most streamlined ways to do business! It saves both the client and talent a great deal of time.

Thanks,
Melanie Haynes

How Can You Stock Your Shelves at Voices.com?

1. Log in to your Voices.com account
2. Select "Products" within your Profile tab
3. Click on the green button to "+ Add Product"

When Creating Products, Be Sure to Include the Following:

๏ Product Title:
A 1-line field for the title or name of the product.

๏ Product Tags:
Select keywords (adjectives) used to describe the product.

๏ Product Language:
The language that the recording will be done in.

๏ Product Category:
Radio, television, business and so on.

๏ Product Demo:
A sample MP3 file used to help demonstrate what will be delivered following purchase.

๏ Product Description:
A large text area used to describe the product, service description, deliverables and other technical or relevant information.

๏ Product Price:
USD price of the product sold.

You can view a good example of a product description in your account while creating your products if you'd like some guidance.

For more information and ideas, read this article I wrote earlier about how to create a product and make use of your Voices.com Store.

Have You Created a Product Yet?

Looking forward to hearing from you,

Stephanie

What happens when you've been studying for years and it seems as though your newly acquired education is contradicting or not in sync with what you've learned (and paid good money for) in the past?

A conversation sparked in the Working Voice Actors Group on LinkedIn has inspired this post.

What do you think?

A Difference of Opinion

Conflict is never a pretty thing.

Inevitably, we all encounter conflict, and while not always a physical thing, conflict can be a matter of contrasting ideas, techniques or philosophies.

Even if you are studying with some of the best in the business, should you study with more than one of those people, you're likely to encounter a butting of heads or difference of opinion as each of those teachers has their own perspective, experiences and methods.

When you are paying for lessons, seminars or workshops, you might find that you are being taught a number of things, wonderful things, but all the same, potentially conflicting information.

What do you do in such an instance? Do you take only what you want from certain instruction? Have you stopped studying with other teachers altogether to avoid this?

Looking forward to hearing from you,

Stephanie

The online marketplace for voice overs can be a wild place, however, if all voice talent band together and commit to sticking to some standard practices, it can be a friendlier, more prosperous environment.

Quoting for voice over jobs is one of these areas where mutual respect and business acumen comes in handy. It also doesn't hurt to stick to the guidelines.

How do you get paid more for your work?

Hear about an experience voice talent Karen DeBoer had here at Voices.com.

Taking Action

Karen DeBoer wrote to me a week ago sharing a couple of concerns regarding what some voice talent members are quoting clients when auditioning for Public Jobs. Interestingly enough, I was working on an article in the same vein and Karen's email inspired me to tackle this topic from a different perspective.

Karen DeBoer's Experience

Karen was contacted by a client at Voices.com regarding a quote she provided. The name of the client has been removed but what you are reading is real.

Client: We really like your voice... Would $40 be acceptable to you? It would not let me ask for less than $100.

 All you would have to do is email us that MP3... Your audition is perfect as is. 

Thanks

Karen: Hi,

Thanks for your nice comments about my audition--glad you liked it! Unfortunately, my minimum fee needs to stay at the stated $100 budget, as that is the minimum that Voices.com will allow us as talent to charge. If you still want to use me, I 
will be happy to release the clean file right away. Just let me know.

Client: That's odd because other persons are offering $25 for this job. You cannot?

 I can send you a check in the mail too.

 It's your call.

 I'm ready to send you $40 today. 

Just tell me no.

Karen: Hi,

Unfortunately, others are apparently willing to go around the stated guidelines for being a member at Voices.com. Voices.com has no way to monitor every bid that individual talents are submitting, but in order to keep everyone on a level playing field, and not compromise the professionalism of those of us that do this for our only means of income, they request that we abide by those guidelines.

I wouldn't feel comfortable circumventing those guidelines, so for the sake of integrity, I need to stick with the rules that Voices has put in place.

I would certainly love to provide this for you at the stated bid, but will understand if you choose to select a less-expensive talent. (Actually, my normal minimum is $150, but I was willing to submit a lower bid because it was such a small job, and because I knew you were a small business.)

Let me know if you'd like to hire me--otherwise, best of luck in your business.

Best regards,

Karen

How Do We Solve This Issue?

What I have gleaned from this experience, and from other similar cases in the past, is that clients aren't necessarily the root instigators of low budgets that fall well below the minimum. Sometimes, it may be voice talent who are trying to get work by quoting lower than the minimum thereby making it harder for their peers and other professional voice over talent to charge what many would call respectable rates for their work.

We're faced with an age old problem:

There has always been a temptation for service providers to undercut competitors to get business just as there has been and will always be customers looking for a bargain or the lowest possible price.

This is the nature of any business.

The state of the economy may appear to be a convenient excuse to devalue the worth of voice over work, however, lowering rates drastically to get business from new clients is a dangerous game to play that may do more harm than good for business in the long term.

Will those same clients pay more when this crisis is over if they got the work done for less before? Indeed, that's something to consider when a career voice over talent and in the business for the long haul.

Bidding under the minimum of $100 does a great disservice to people who abide by the Voices.com guidelines who make their living doing voice over by charging rates more in the neighborhood of what the union suggests if not higher.

Our team has found that sometimes our voice talent members are not aware that the client is prepared to pay at least $100, and happily, even more so if they have selected a higher budget range.

Once a member discovers this, they usually start bidding within the budget ranges provided and feel better about submitting their auditions quoting a higher fee placing more value on their work.

To come full circle, if a client posts a Public Job at Voices.com and tells us in some way or another that they are not prepared to meet the minimum (but still want to gather responses from talent), their job is not approved and they are invited to contact talent directly out of respect for your time and our job posting guidelines.

This article isn't meant to point fingers. The purpose is to educate and affirm that voice talent can charge higher rates for their voice over services and still get hired.

Not everyone hires solely based upon a quoted fee. Others in a position to hire place talent, value and relationships ahead of price. It's important to realize and make the distinction that it isn't always the person who charges the least amount of money that gets the job, oftentimes it is the person who best meets all of the requirements, and pricing is only one part of the whole.

How do I know?

We have indisputable proof of this from data collected tracking transactions that have been paid out through our SurePay escrow service, and have witnessed some voice talent receiving thousands of dollars at a time for their work who stuck by their rate cards and were paid accordingly. I'm speaking for both union and non-union voice talent, many of whom are union talent.

Do you have any thoughts you'd like to add?

I'm interested to hear if any of you have had similar experiences to Karen's and how we might improve upon this.

Best wishes,

Stephanie

©iStockphoto.com/VMJones

Ever needed to contact someone at Voices.com and weren't sure who to shoot that email to?

If so, my goal is to give you a solution!

Meet some of our team members in this "get to know" Voices.com post and discover more about who we are, who does what and how we can help you and your voice over career.

Meet Key Members of the Voices.com Staff

Name: Jessica Stiles
Title: Customer Care Specialist
Email: Send Jessica an Email
Phone: 1-888-359-3472 x 115
How Jessica can help you: Jessica is one of our representatives who works with Guest talent members. She is your contact for anything you need regarding your profile, how the site works and how you can benefit from what we offer. You can reach Jessica through telephone calls, live chats, emails and through online support cases. Jessica is also the person that aspiring talent can connect with to learn more about getting started in voice overs and registering with Voices.com.

Name: Lin Parkin
Title: Customer Care Manager
Email: Send Lin an Email
Phone: 1-888-359-3472 x116
How Lin can help you: Lin is one of our representatives who is available to assist Premium members in need of support. She is also able to answer any questions about how to make the most of your Voices.com subscription. Ready to serve via email, live chat, and phone, Lin's goal is to help make your experience at Voices.com the absolute best that it can be.

Name: Kim Lindsay
Title: Billing Manager
Email: Send Kim an Email
Phone: 1-888-359-3472 x112
How Kim can help you: If you ever need help with your subscription or have a billing inquiry, Kim is the appropriate person to contact. Kim, in addition to managing recurring subscriptions, is also responsible for managing SurePay Escrow payouts via check and PayPal.

Name: Erica Bontje
Title: Social Media Manager
Email: Send Erica an Email
Phone: 1-888-359-3472 x118
How Erica can help you: If you use sites such as Twitter, Facebook and the like, you probably are already acquainted with Erica and count her among your friends in social networking. How can Erica help you? Ask a question or send her your news and she'll post it to Twitter and Facebook.

Name: Laurynda Pasma
Title: Product Development Manager
Email: Send Laurynda an Email
Phone: 1-888-359-3472 x113
How Laurynda can help you: Laurynda's finger is on the pulse of all activities pertaining to Voices.com client members who post jobs and hire voice over talent. If you are posting a job, or have in the past, Laurynda can help better define what you're looking for to get the best responses possible.

Name: Stephanie Ciccarelli
Title: Vice President of Marketing
Email: Send Stephanie an Email
Phone: 1-888-359-3472 x117
How Stephanie can help you: Stephanie is responsible for public relations and enjoys sparking conversation and promoting voice over talent through community involvement on her VOX Daily blog. If you have a story to share, need publicity, have received work or want to give back to the voice over community through one of Voices.com's programs, Stephanie is the person to contact.

Name: David Ciccarelli
Title: President and CEO
Email: Send David an Email
Phone: 1-888-359-3472 x111
How David can help you: David works with Voices.com partners to strengthen relationships and ties with people outside of the voice over industry. If you have a business proposition or press opportunity and need a quote for a publication, David is your go-to guy.

There you go! Thanks for keeping in touch and we look forward to serving you soon.

Best wishes,

Stephanie & The Voices.com Team

©iStockphoto.com/Neustockimages

In direct defiance of global economic woes, London's business community gathered for an evening of celebration at the London Convention Centre in style, marking a stark contrast to what you hear, read and see in the media.

What a night!

Hear about our experience and also learn more about the announcer of this event, Craig Rockford.

Business Achievement Awards

Last night, David and I attended the London Chamber of Commerce's annual Business Achievement Awards dinner and gala, emceed by Dan MacLellan, the lead news anchor from A News, which was attended by many dignitaries including her worship, London Mayor Anne Marie DeCicco-Best, among others.

Aside from there being well over 1000 people and plenty of interesting conversation, there was an abundance of voice over and live announce, which fittingly, is my focus.

Use of Voice Over and Live Announce at London's BAA

Every time an award category was introduced (there were 7), a video played outlining the award and acknowledging each of the finalists, narrated by the husband and wife team of Craig Rockford and Amy Zammit. Craig also performed live announcements throughout the program and has been announcing this awards show for roughly a decade.

How do I know this? I strode over to the announcer's table between the end of dinner (absolutely delicious!) and just prior to the recommencement of the show, and managed to get Craig's attention, who was seated behind a luminous green lamp going over the script.

Given that time was running short, I introduced myself quickly and to my surprise, he said "Stephanie from Voices.com? I just got an email from you!" Talk about a small world!

At this point, I still didn't know his name and toward the end of the night did find out, realizing this morning that Craig Rockford has a profile on Voices.com. Amy Zammit has a profile, too.

Here's a shot of the awards gala:

Earlier, I mentioned that Craig has been voicing this award show a decade, and that made me wonder how many of you have regular gigs announcing for award ceremonies.

Do you serve as a live announcer at galas and award nights?

Leave a comment and share which shows you announce or have announced for.

Looking forward to hearing from you!

Best wishes,

Stephanie

Most business relationships start out great, but how do you keep them that way?

Maintaining a business relationship is something you have to work at and can be likened to a marriage, which as you may know, needs constant TLC.

Find out what to do, and perhaps most importantly, what NOT to do to keep your business relationships healthy at VOX Daily.

Good, Even Great Business Relationships!

Nothing beats having a great business relationship. We have several key relationships with partners that are simply fantastic, but no word of a lie, it takes a lot of work to maintain those relationships and keep them going strong.

In a way, it's almost like being married. You've got to be sensitive, respectful, and in some cases, protective of your partner. There's sure to be some give and take and there certainly needs to be a clear understanding of your goals and how you are going to reach them together.

In a business relationship you have to stay on message.

While I could go on and on about how to be a good business partner or associate, I'd like to point out a few things that could catch you off guard if you're not careful that may ruin or severely compromise your relationship.

1. Don't Be Two-Faced

No one likes being talked about behind their back, especially not by those who they believe to be on level or amiable terms with. If you are in a business relationship, whether it be with a client, a vendor, or someone else, make sure that you always speak to the best interests of your partnership and don't say things to other people (online or off) that could be misinterpreted as disagreeable or ambiguous. Similarly, never bring your business into a relationship where you aren't completely comfortable with a partner and their objectives as it could come back to bite you or put you at a disadvantage. This can become toxic and the other party always finds out which as you can imagine paints a different picture and could spell the end of your affiliation.

2. Don't Take Your Relationship For Granted

It's a well known truth that you only get what you put into something, and that includes business relationships. If you cease to nurture your relationships and put them on the back burner, the pot will sizzle in your absence and boil over making a mess of what you thought was the perfect pairing. Keeping in contact regularly helps and open lines of communication are a must. While you don't need to send annual gifts marking your first business deal, you should be considerate of all you've worked to build and let your partners know that you appreciate them.

3. Don't Entertain Offers From Your Partner's Competitors

This is perhaps the proverbial nail in the coffin. Never, under any circumstance, strongly consider or engage in business activities with a valued partner's direct competitors. To avoid this (at all costs), be sure to discuss who your partner considers to be their competition while revealing who you believe yours to be. This is a good opportunity to reassure your partner that you will not stray from your relationship. If need be, put up barriers to entry to protect your partnership by creating a template response that declines offers in a prompt and professional manner. If emailing, BCCing (blind carbon copying) your partners on such communications helps to build a better rapport with them and reinforces your desire to work only with your established partner in this space. Another way to preempt or educate potential suitors ahead of time is to issue a joint press release announcing your partnership.

Final Words

If you've noticed a theme to this article, it's that people are at the heart of relationships, not companies, organizations or buildings. By keeping your business relationships healthy, they stand a better chance to prosper and open up more doors of opportunity than previously imagined.

How Do You Fireproof Your Business Relationships?

Comment and share what's worked for you!

Best wishes,

Stephanie

©iStockphoto.com/Jeffrey Hochstrasser

We're pleased to announce that Voices.com has partnered with VoodooVox to bring even more opportunities to the voice over marketplace.

While any Voices.com member may be contacted for these jobs, an invitation has been extended to Voices.com paid members to be included in a special program and presented as preferred vendors.

The Voice of In-Call Media

VoodooVox In-Call Media has hundreds of voice over jobs that they need filled each and every month for in-call advertising. They have chosen to partner with Voices.com to meet their needs.

What Opportunities Will Be Posted by VoodooVox Advertisers?

These jobs will be advertisements for In-Call Media, essentially audio advertising that is dynamically inserted into the call experience. Examples include voice over recordings for automated movie ticket lines, radio station contest lines, no-cost conference call services, and so on.

How Will This Work?

Our teams have worked together to seamlessly integrate our technologies. Advertisers at VoodooVox will select Voices.com talent to record their ads. If you are selected for one of these opportunities it will appear as a private job offer in your Voices.com account.

While the technology allows for everyone at Voices.com to be considered, VoodooVox has a special program that we are inviting paid members at Voices.com to apply for. If you are chosen, you'll be part of a certified list of professionals as selected and recommended by VoodooVox that will be presented to their customers via a special search filter within VoodooVox's advertising platform.

You can learn more through our VoodooVox portal at Voices.com linked here:

VoodooVox Training Center at Voices.com

How To Apply?

If you are a paid member of Voices.com, check your email for a special invitation email sent from me today.

Best wishes,

Stephanie Ciccarelli
Co-founder of Voices.com

P.S. The date to submit by is March 18, 2009 to be considered for this opportunity.

When a customer presents you with a script that has grammatical errors, missing words, or poorly phrased sentences and the like, do you edit the text to make it more comprehensible for you and the intended audience on behalf of your client?

You may find that a client has unwittingly hired a voice talent and an editor.

We're out to find out whether or not massaging copy is a service commonly provided by voice over talent.

Read one voice actor's account and add your views 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, the same story which you are about to read below.

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?

Thanks!

Paul Plack

~~

Do You Have Anything to Add or Say About This?

Looking forward to your reply!

Stephanie

©iStockphoto.com/knape

Have you read Randy Thomas and Peter Rofé's book Voice For Hire?

I had the chance to really dig into this latest book about voice over, and believe you me, it's different from many I've read to date!

Set up with a foreword by the late Don LaFontaine, Thomas and Rofé's Voice For Hire (Published September 2008) hits a grand slam, knocking the ball right out of the park, serving as a formidable resource that will help the determined open the door to voice over success and stay in the room once they get there.

Learn more now.

Voice For Hire

Right from the opening pages, Voice For Hire sets the stage for how competitive and fulfilling a career in voice acting can be, and according to the great, late Don LaFontaine, proves itself a competent ally to the voice over artist and a practical guide on how to navigate the minefield that is professional voice overs.

Written over the course of six years by Randy Thomas and Peter Rofé, this 176 page book is unique whereby it invites you into the professional lives of not one but two successful voice artists, their complementary yet unique backgrounds, and spoon feeds fascinating, conversational real world expertise by the bowl full to the reader, a style that has the pleasant effect of making Voice For Hire instantly digestible in addition to an excellent means to live vicariously through the experiences of its authors.

Covering everything about voice over including its niches, how to dissect and interpret copy, audio recording technology, and the business both online and off, Voice For Hire truly shines in the areas of commercials, promos and live announce. Character voice acting also was richly addressed for animation and video games. Guest experts, with their names prefixed by "Voice For Hire" provide insights and useful tips to apply to their field of study, including Barry Zate, Patrick Fraley, Mike Pollock, Randy West, Ken Levine, Joe Cipriano, Brian Lee, and commentary from the "Voice Whisperer", Marice Tobias.

Tips for auditioning are also included from talent such as Don LaFontaine, Mark Avery, Billy Vera, Michael Sheehy, Jennifer Hale and featured anecdotes from numerous others.

Since this is merely a review and I can't give too much information away, I will now share more of what I personally gleaned in other ways through Randy and Peter's book.

Get To Know Randy and Peter

I have known both Peter and Randy for a couple of years, and having read their book and listened to the accompanying CD (66 minutes long), I was pleased to discover more about them, their careers and how partnering on this project has enriched their own lives and teaching methods.

For those of you unfamiliar with Randy Thomas, she is the first woman to ever announced at the Oscars (Randy's announced a record 7 times), the Emmys, and the Tonys, paving the way for other female announcers in the fields of live announce and promos. Randy is the voice of some of the biggest broadcast networks for radio and television, is the voice of Hooked On Phonics, and also has achieved prominence announcing for the TV program Entertainment Tonight and The Insider, dubbed as the most recognized female announcer in America.

Peter Rofé, as I quickly learned, is an amazing character voice artist on top of the astounding commercial voice artist and teacher I already knew he was. This became apparent on the CD (which I must say, differed greatly from the book which was a welcome surprise!) and seemed more "off the cuff" with the professionalism of being produced in a polished workshop environment. I love how Peter takes his background in musical theatre and applies it directly to finding the musicality in a read.

Why Should You Read Voice For Hire?

If there is one reason you should read Voice For Hire, it should be to learn the nitty gritty information that only years of experience can teach you. You know those questions you wanted to ask in a classroom setting but didn't because you were afraid of looking dumb? Voice For Hire is full of little tidbits that answer those questions without even posing the question, just letting you discover the information on your own in a matter of fact way. You'll find that important fragments of information are served to you on a silver platter, which is always appreciated.

Also, if you're at all interested in making a go of promos or live announce, this book is a must read.

You can find out more about the book at VoiceForHireBook.net.

Have You Read Voice For Hire?

Please comment with your thoughts or messages for Randy Thomas and Peter Rofé!

Best wishes,

Stephanie

Voice actress and coach Bettye Zoller presents an interesting case for why you shouldn't touch unlicensed celebrity voice over impersonation work with a ten foot pole.

While not all voice over jobs for celebrity or sound alikes are to be avoided, it is wise to make sure you are fully aware of the lay of the land and take any necessary precautions.

Hear about some experiences Bettye's had, come to your own conclusions, and comment sharing your thoughts.

Celebrity Voiceover Impressions: Be cautious! Words to the Wise

By Bettye Zoller Seitz

Awhile ago now, entertainer Bette Midler won a lawsuit when her voice was impersonated by a voiceover talent on a national commercial. I believe the person sang as well as spoke in this commercial but I am not certain. The Disney corporation is known as one that is particularly alert to infringements of copyrights. When I was Commercial Creative Director of a large production firm a few years back, we producers were warned to be particularly wary of writing song parodies or voiceover copy using any type of Disney material or references. You couldn't be "too careful" was what we were told when creating industrial shows and commercial jingles and voiceover scripts.

When I impersonated Joan Rivers working for a large advertising agency who had hired me to do her voice on a commercial, I was disappointed when my agent phoned to say that the spot would never be aired because the ad agency had been told it was too dangerous and it should be scrapped. I was paid a session fee (it was a union job, of course), but unfortunately lost those juicy residuals I was hoping to get from it.

When I voiced Marilyn Monroe for a popular soft drink commercial, that spot was also scrapped before airing. The advertising agency told me that the legal department had deemed it "too dangerous because the Monroe Estate might take action." I have heard from friends in our industry with experience in these matters that the estates of deceased stars are particularly aware of impersonations and often take action.

The Elvis estate is known for having eyes and ears peeled for infringements of all types. "But what about all the Elvis impersonators," you may be saying...well, that's "small potatoes." I suspect that lawsuits happen when large-scale exposure and big-money projects are involved. Also, it's important to realize that "parodies" are different from "impersonating someone's voice."

Simon Rushton's Radio Advertising website is a must-visit for anyone interested in free advice on advertising projects. This excerpt is from the Media UK website written by David Baynham and based on work by Lee Climpson and Ian Hickling:

"Using a vo to sell an an item is completely different from . . . doing a parody
impression. [A celebrity] may not want to sell [a particular] product or endorse that
item, he also could have voiced it, so he can sue for loss of earnings and defamation
of character if he is against that product. It could get very expensive for you as the
writer and the station for broadcasting it." If you, the voiceover talent, have written
the copy and voiced it, you then would become the person being sued!" (December 2007)

Simon Rushton says this:

"The client phones me and tells me he has an idea. It's using an impression of ______
with the final line [a famous quote from that person.} ...I have to explain that ...we could
be sued. This celebrity is available to do voiceovers. He makes a portion of his living
with that kind of work. An impression of him is a form of theft."

There also is a possibility that a certain celebrity figure is tied to certain corporations for whom they get paid as a "product spokesman" and may have a contract prohibiting him or her from endorsing rival products. Many TV actors have clauses in contracts prohibiting them from performing in commercials of any kind. This is true of many soap opera stars.
Many entertainment personalities who also do voiceovers must sign "non-compete contracts" saying they will not endorse another automobile or fast food chain. In fact, we anonymous vo people who are not recognizable "stars" often are asked by producers to sign non-compete clauses. The voice must be recognizable, in most of these cases, however.

People often want a celebrity voice in a commercial or a narration and therefore, will pay premium prices for celebrities. That's why lawsuits are high-dollar! It is illegal to impersonate living people in commercials without their permission. Before you, a voiceover talent, impersonate a living (or deceased) star, you should make sure that the people hiring you have obtained copyright clearance. If your agent books you on a celebrity job, he or she probably will have taken care of this precaution. However, it might not hurt to 'remind' the agent of legalities.

Even if you personally were not sued for impersonating a famous voice in a commercial, you might have to undertake time-consuming duties connected with testifying, with legal depositions or court appearances. Agencies, production houses, broadcast voices, and others are urged to be wary.

Oh... and I may not be a lawyer, but I play one on TV. This article is meant only as information which I have gleaned from reading articles and visiting websites on this subject. I make no claim as to the accuracy of this information. It comes from my knowledge of the field and research I've conducted over a period of time. Everyone is advised that in legal matters, seek the counsel of your legal advisers for the final actions necessary in these matters. I am not legal counsel. This brief article contains my opinions.

Bettye Zoller

~~

Have you had a similar experience or do you have anything to add?

Looking forward to your reply!

Best wishes,

Stephanie

©iStockphoto.com/DNY59

If you've been watching trends and sales figures, you know that narrating audiobooks is a booming part of the voice over industry.

There is a wealth of opportunity for those who are willing to explore and produce their own audiobooks.

This article focuses on how narrating literature in the public domain, specifically classics, can help you to build your audiobook portfolio without having to pay licensing fees.

Audiobooks Are Smokin'!

Craig Black, President of Blackstone Audio said in the year 2007 that 4,000 audiobooks were being recorded, and over the next four years (2011), that number would increase dramatically to 24,000 audiobooks.

That's great news for authors, recording artists and audiobook consumers, but why is this even better news for publishers and distributors?

Each audiobook sold online at sites such as Audible.com can be downloaded, literally providing virtual inventory for publishers and distributors which costs significantly less to store and doesn't present any additional production fees. An added bonus is that customers are able to purchase these products unassisted.

Why Narrate Classics?

Classics are:

๏ Established in the literature market
๏ Low hanging fruit that have good track records
๏ Potential best sellers
๏ Acknowledged by the academic community
๏ Beloved by generations of people
๏ In many cases easy to get your hands on
๏ Considered public domain works if published before January 1, 1923 in the USA

How Can You Make Money From Audiobooks?

The short answer? Become your own audiobook publisher provided you are:

1. Recording works in the public domain
2. Recording original works that you own the copyright to
3. Or, recording works that you have licensed from the author or copyright holder for resale (* this may cost you money and we'll explore this option in a future article)

Make Some Money, Honey

Here are a few ideas to try that will help you to maximize your opportunities:

1. Sell your audiobooks as products in the Voices.com Store (highly recommended)
2. List them and sell them on your own website
3. Put on some agent boots and see if you can get additional distribution

We highly recommend that you sell your recorded audiobooks at Voices.com as products because you'll be able to:

๏ Market your audiobooks through your very own store located within your profile
๏ Your work will be listed in the main Voices.com Store for more promotion and visibility

Before You Go...

Acknowledge That It Isn't Easy

Take a look at some narration techniques and also prepare for your responsibilities as narrator, one in particular to note is the soon-to-be pact with your audience to suspend their disbelief.

Your audience will only believe the unbelievable, the fantastical and otherwise if you are committed to bringing them the goods and keeping your agreement to journey with them throughout the book.

Get Some Training

One fantastic resource that you'll want to consider is Pat Fraley's Billion $ Read. I have a copy myself and recommend it to anyone who is interested in becoming an audiobook narrator or would like to fine tune their skills. Pat also holds workshops throughout the year for audiobook narration based upon his book.

Listen To Established Narrators

Also, you'll want to do a bit of research and listen to the people who are already making money in this field. Drop by Audible.com, look for titles that you'd like to record and then listen to the voices who are narrating the audiobooks. You'll get a good idea of what you can expect competition wise and also pick up some pointers from some of the best voices out there.

Don't expect to become the next Scott Brick, Marc Cashman, or Hillary Huber on your first day.

Just as audiobook narration is voice over's equivalent to long distance running, honing your narrative and artistic skills will test your endurance as well.

Looking forward to hearing about your new audiobook projects!

Best wishes,

Stephanie

P.S. If you have any other questions about getting into narrating audiobooks, please leave a comment or contact me directly at stephanie@voices.com.

©iStockphoto.com/Lise Gagne

Yesterday, some breaking news emanated from the Google campus in Mountainview, CA via Google VP of Product Management, Susan Wojcicki, announcing that they would be closing the door on their foray into connecting advertisers purchasing remnant air-time with audio producers and voice over talent.

The news has come as a shock to some and the program will officially wrap up by the end of May 2009.

It's Over

A groundbreaking endeavor that took the world by storm just over two years ago has now exited into the realm of history books.

Google Audio Ads, when first released, was meant to be a feather in Google's hat and another way to break into traditional media, which it was, for a time. The platform received a healthy amount of attention and hype from the online community, including postings about Google Audio Ads on TechCrunch by Michael Arrington and even news coverage on videos.

Upon hearing the news that their Audio Ads platform was on the chopping block, I decided to explore why Google would make the call to quit audio ads and shift their focus to the exploration of streaming audio online instead.

One Google Audio Ads Producer's Experience

This morning, I was in touch with someone in the program and asked them if they had heard the news.

They replied:

"VERY strange! Not long after I was accepted to the roster, I was at a Google function at a trade show and tried to get answers from folks as to when we could expect to see some interest... nobody knew! Then, a year later I was at another event and I could not get a straight answer from anyone... it was like the twilight zone! I never received a single opportunity to bid on any work. So, no surprise it didn't work."

Any Comments?

If you have something to add or share, you are welcome to join the conversation.

Looking forward to hearing from you,

Stephanie

When times get tough, the first instinct many people have is to start throwing more irons in the fire, and in this business, sometimes that means looking for representation to expand your reach for voice over work and or auditions.

Although more than a few voice talent are hoping to find an agent to help smooth the waters, agents are not necessarily on the lookout for new talent, perhaps even more so now than ever before.

I received a question from a voice actor who asked if I could refer any agents to them and I said I'd see what I could do. A couple of days ago I wrote to one of my friends, a voiceover agent, who was kind to share more information from the agency world and where things stand at present.

Are talent agencies scouting or accepting new talent?

It's Complicated

Here's what one voice over agent had to say:

"It's a complicated answer. While the door is not closed, as far as seeking and recruiting talent is concerned, we are acutely aware of our responsibility to service our existing clients, many whom have definitely felt the pinch this past year. I'm kind of mercenary about the whole thing - -a great voice is a great voice, but I always have to assess how well that voice will compete within the agency, and whether it's ethically responsible to my existing clientele.

I'm also aware of the influx of people trying to enter the voiceover field, but in my world, if they don't have a strong acting background, they don't stand a chance. Are there exceptions? Yes, but rarely. Right now, the Union world is holding it's breath that SAG can resolve its pending contracts, and Union actors can reclaim some of the work that has gone non-union.

Back to your question -- we all accept materials and seek new clients with potential. However, most agencies are overstocked, especially in the younger categories. Periodically, most of the larger agencies need to cut talent they have signed who are under-performing, and clean house.

My agency tends to stick with people longer than most."

~~

So there you have it. Times are extraordinary, and with that realization, extraordinary things could happen but there will be challenges along the way.

Has Anyone Been Able to Get Representation Lately?

Even if you haven't, I'm interested to hear about your progress thus far. If you're from another area of the arts seeking representation, feel free to chime in as well.

Let's keep this conversation going!

Looking forward to hearing from you,

Stephanie

©iStockphoto.com/Marek Tarabura

Did you know that if you comment on blogs you can increase your website's search engine rankings in Google, Yahoo! and MSN?

Link love is a great thing.

It's what happens when you get a link to your website.

You want to get this boost whenever you can...

Want to learn more?

Here's how!

How To Get Some "Link Love"

1. Comment on blogs and be sure to link to your website (a great thing to do)
2. Comment on blogs within your industry and link back (even better for search engine optimization)
3. Do a link exchange
4. Be written about on another blog
5. Be mentioned on a podcast

Give & Take

Do you blog or podcast? Be generous with your links as your generosity will always come back to you.

Do you comment on blogs or podcasts? Become a regular contributor and vital part of the community.

Maybe you've been holding back and have never commented. Now is the time to start!

This kind of conversation is good for everyone, including the content producer (blogger or podcaster) and their community.

Looking forward to "hearing" from you.

Take your pick :)

Comment on VOX Daily
Comment on Voice Over Experts
Comment on VOX Talk
Comment on The Biz
Comment on Ask The Voice Cat
Comment on Master VO
Comment on Voice Over Times

Cheers,

Stephanie

©iStockphoto.com/Palto

The economic downturn has changed the priorities and makeup of many companies, including some in the broadcast media industry, causing thousands of people to lose their jobs, many of which are now turning to voice over as a career alternative.

I was curious to see who among those already doing voice over part-time are now finding themselves full-time due to the loss of their positions...

From what I've heard, read and been told, it sounds like there is going to be a wave of people hoping to make voice acting their primary source of income.

Hear from many people affected by this and add your voice to the mix. Anonymous comments in good taste will be approved on this article.

Layoffs Running Rampant

This inspiration to write this article came to me after reading about a broadcaster, Keith Ashton, who had worked for Clear Channel Communications, serving the broadcast radio industry for 58 of his 79 years. The layoff came to him as a major shock and I could only imagine what it must have felt like for someone who has dedicated that much of their life to a job to suddenly find a box of their belongings on their desk when coming in to work.

Clear Channel, for those who don't know, laid off 1,850 people last month across the US. Keith Ashton was just one of those people.

I've also heard that there were layoffs at Metro Networks/Westwood One, cutting hundreds of people before Clear Channel did, and cuts at CBS radio, Cumulus, Emmis, NPR, Entercom, SBS, Sirius/XM and most recently Bloomberg who cut 100 jobs, apparently a first ever for Bloomberg.

Anonymity

For this article, I gave people the opportunity to be anonymous sources due to the sensitivity of what's going on and agreements that they have had to sign for confidentiality.

One source reports that a bunch of their friends and former co-workers were laid-off in San Diego, CA. Supposedly, San Diego was one of the hardest hit markets.

I had the opportunity to correspond with a number of people who were once part-time in VO but have since needed to pursue voice over work full-time.

Here are some of their stories:

"Microsoft laid off 1400 people in one day about 2 weeks ago. I'd been an employee for 10 years. It's amazing how fast that can disappear in the blink of an eye. I am pursuing VO full time (until or if I find another day job), but health benefits are crazy expensive and I'm just not getting enough work right now. But we'll see how things go."

~~

"Ah, what a time it has become! I know the first step I'm going to take in this adventure will be to finally seek representation instead of freelancing. Freelancing has not made enough money to do anything, much less pay the bills. And freebies run amok. Fortunately, I'm skilled in a couple of other areas of work and being the multi-tasking character that I am, I am now working 4 part-time jobs. This doesn't include voiceovers. Since I have to work nights, however, theater work is on-hold at this time. It's depressing. I hope others are getting the work they seek."

~~

Is voice over the answer for people who have been let go, particularly if they have transferable skills as presenters, hosts or on-air talent?

A veteran voice over talent shared the following with me:

"People looking to make a career change and have VO passion, it's great that they make the effort. BUT it's a long term climb - very low initial returns; people seeking immediate payout (starting) will be disappointed."

Interview With Laid Off Part-Time Voice Artist, Now Full-Time in VO

Earlier this morning, I interviewed a part-time voice over artist who has now found themselves in a similar position to one of my other sources above, losing their job in a different industry and now pursuing voice over full-time until they can find another day job.

VOX: Were you one of the people laid off or are you preparing in case you're next?

VO ARTIST: There is a lot of business-ese around what my company calls it, but, yes, I was let go on Tuesday.

VOX: Where did you work? If you don't want to say where, what industry and role did you play at the company?

VO ARTIST: I was a Project Analyst at an investment firm and dealt solely with configuring 3rd party health care systems.

VOX: What are the reasons (aside from finance) for the layoffs? Is this about cutting positions that are no longer needed or is it about something else?

VO ARTIST: The reasons given to us for the layoff was "Economic Downturn" and the "fragile state" of the economy. Our positions weren't eliminated though. I worked at the company campus in New Hampshire and all of our jobs are moving to New Mexico. Not to get too much into the boring details, but the tax breaks for the company ended here and the cost of living in the North East is a lot higher than the Mid-West. Plus, the company was offered more tax breaks to create new jobs at the new campus in New Mexico.

VOX: What is going through your mind right now as you mull over this decision? How difficult do you anticipate it will be to go from part-time to full-time in VO? What kind of changes would you / will you need to make?

VO ARTIST: The layoffs were anticipated, but definitely unexpected this soon, so I was able mentally to get into the proper frame of mind before they occurred. Always being more artistic, but ending up in a procedural analytical role for an investment firm, I was never too happy and now being given the chance to purpose a more creative career is a cathartic experience. The biggest change for me will just be that I will have more time to audition and to learn and better my craft. Well, that is until the savings runs out.

VOX: Given that this could become a full-time job for you as a career voice over artist, do you feel that further instruction or research is necessary to make that leap successfully? This doesn't have to be just what you intend to do but what you believe others in similar situations may or should be considering to make voice over work for them.

VO ARTIST: Since this is a career that I sought to be a full-time thing for me since as long as I can remember, I come to realize that learning, growing and instruction are a never-ending thing. Even before the layoff I was always trying to learn more, but it does kind of feel good to know that I won't be studying in between work and other daily tasks. I'll actually have the time to enjoy the learning process and take it all in.

VOX: Have you heard talk of becoming a voice over pro from other people facing this reality? Are they wearing rose colored glasses or are they aware of what the business really entails? Also, what makes VO attractive to people being laid off, or is any job, regardless of what it is, attractive at present and VO is simply one avenue that could generate an income?

VO ARTIST: I have not personally heard too much about the recently laid-off (I call them laidee's) now trying a full-time career in VO, but I can definitely see the draw. I'm sure most people see it as a career with seemingly little risk. You buy some gear and can try it out of your own home. They think that it's just talking and they don't understand all the work that needs to go into it. For the top people the pay is good, but for most they will need of streams of income and I don't think most people are willing to make multiple commitments. Most will try and then after 6 months or so, when they are not seeing that immediate return on their investment, will move on and try and get another job. I've only been in the business for a little over a year now and know how extraordinarily tough that it already is. With an influx of people merely trying it out, I worried about the over-saturation of the market and just making it more difficult for those like myself how are still in the process of establishing a name and a brand. Or even giving the newcomers a bad reputation with all the unprofessional voices of the "laidee's"

Any Comments?

Anonymous comments will be accepted on this post for those who wish to share their thoughts in a non-threatening environment. Keep comments family friendly and they will be approved.

Best wishes,

Stephanie

©iStockphoto.com/Valerie Loiseleux

If you're one of my friends on Facebook, you may have run across a note I wrote entitled "An Open Letter to Voice Over Demo Producers" where I posed a number of questions that had to do specifically with the norms, best practices and so forth of producing demos for promotional purposes for voice over talent.

I received two, quite detailed responses from two gentlemen who produce voice over demos in the United States, and the answers to some of the questions may surprise you!

First read my questions and then the answers supplied. After that, let me know what you think by leaving a comment.

The Original Letter as posted on Facebook

Greetings:

For those of you who have been following the debates on VOX Daily pertaining to brand name usage in demos, copyright and so forth, you can appreciate why I've written this letter.

I feel as though we have been left with more questions than answers and the purpose of this note is to get answers to those questions, and if at all possible, some closure.

See these links if you haven't been following the debates:

http://blogs.voices.com/voxdaily/2008/11/3_things_you_may_not_know_about_audition_scripts.html

http://blogs.voices.com/voxdaily/2008/12/voice_overs_tough_legal_questions_answered.html

Demo producers, these are questions that need to be addressed. Please be honest. If I'm out of line, let me know, but from where I stand these questions are relevant and the information yielded from this discussion would be of great benefit to the people whose demos are being produced in facilities around the world as well as those who are trying to enter the business of voice-over.

I also believe that the answers may prove beneficial to you!

OK, here we go:

1. Why is it (or is it not) acceptable to use brand names of companies a talent did not work for in voice over demos?

2. Do studios and or agencies have (or need to have) express written permission for using scripts from campaigns to brand their clients' voice over demos with?

3. Do studios pay a royalty fee to use these scripts?

4. Why is it assumed by a number of professionals who craft demos that people outside of our industry and its vertical markets are aware that demos are merely samples of what a voice over artist could do and not necessarily who they have worked for when the growing number of people who are hiring talent are not within the entertainment industry and wouldn't know the difference between a demo and the Real McCoy?

5. Do studios consult talent as to their level of recording / editing / mixing capabilities before cutting a demo to determine if the voice talent could replicate the production work on their own? If so, and if the talent is not nearly as capable as their demo makes them out to be (knowing that this is how they will attract business when they work from home), is it wise to produce a demo for them and could the demo itself (unless the talent always records their work at a professional studio) be considered false advertising on behalf of the voice artist?

6. Do some studios create custom copy for their clients when producing their demos? If so, how much of an extra cost is there for that service?

7. How much should it cost on average for a proper demo to be produced? Please provide a breakdown of what the fee includes (i.e. studio time, engineer, director, copy writing, etc.). Obviously some studios can charge more than others simply because of their reputation, location and or added value services, but if you had to draw a line in the sand, what is the least expensive price that could be quoted that would still cover the costs of producing a legitimate voice over demo that is reasonably affordable yet also makes the studio a decent profit for their time and resources?

8. Are there some of you out there who have best practices and guidelines that you follow? If so, share them so that we may learn more about what is the norm and be able to tell the difference between an honorable business and one that is only out for money.

9. What do you feel would make the business of voice over demo production more transparent?

10. Do you feel that there is an opportunity to bring demo production to the next level or are you happy with where your area of the industry is at? If you have a vision for what you hope to see, please share.

Thank you for considering these questions and I look forward to hearing from you.

Best regards,

Stephanie Ciccarelli
Co-founder of Voices.com

~~

Following that, I received two responses, including one from Juan Carlos Bagnell (SomeAudioGuy) and David Sobolov.

I've posted the questions and answers interview style to keep everything in context. Enjoy.

VOX: Why is it (or is it not) acceptable to use brand names of companies a talent did not work for in voice over demos?

DAVID SOBOLOV: We're producing non-revenue generating examples of our client's voiceover performances. Unless that client's resume falsely lists the spots we record, it's generally understood that the demo is meant to demonstrate the talent of the performer, not act as a resume of which products they've endorsed.

JUAN CARLOS BAGNELL: Well, I feel there's an expectation. People largely communicate through media references. People identify themselves by labels and cars and gadgets. I find as I stray and come up with "dummy" brands, more thought and attention is paid to the fact that the listener doesn't recognize the brand than the quality of the read. In the final edit though, I try to focus on the qualities of the person, rather than brand names, sometimes even working to eliminate as many brand name drops as I can.

VOX: Do studios and or agencies have (or need to have) express written permission for using scripts from campaigns to brand their clients' voice over demos with?

JCB: Yes. Which is why I write my own demo copy for clients.

DS: I suppose, if it got right down to it, the copyright holders of the products or services featured in the demo could send 'cease and desist' letters, but it's highly unlikely they would. The demo gets their name brands out in to the world for free, and the demo itself is not being sold for profit. Not much damage there to litigate.... except the income of the demo producer. All we'd have to do is honor a cease and desist letter for a specific product and eliminate it from future demos. I've never received one.

VOX: Do studios pay a royalty fee to use these scripts?

DS: No. The advertising agencies barely have time to take care of the business sitting on their desks... there's no way they'd devote time and resources to policing the use of their scripts on voice demos.

JCB: Iffy. As this is not an actual product, I would initially argue no, but as money IS being exchanged I also feel credit to the actual writer is in order.

VOX: Why is it assumed by a number of professionals who craft demos that people outside of our industry and its vertical markets are aware that demos are merely samples of what a voice over artist could do and not necessarily who they have worked for when the growing number of people who are hiring talent are not within the entertainment industry and wouldn't know the difference between a demo and the Real McCoy?

JCB: It's not my job to educate advertising "professionals". Even the name of what we're discussing should be indicative of what you're receiving, "Demo" which, I've always held, is short for "demonstration". Also, why would/should a producer care? The voice they're hearing is still the same voice. Are we now saying you shouldn't be allowed to work on things, unless you've already been working on things?

DS: The demos are not intended for use by people outside our industry... they're not meant for a non-industry 'consumer.' If someone outside the industry doesn't understand the nature of what we're trying to achieve, it's not a huge concern. Demos shouldn't be produced as vanity projects or for the general public... they're meant to get the voice performer work. It's like worrying about whether or not someone watching CBS in Iowa thinks all the programs they see on their tv originate in their town... If they ask, you just explain how things works.

VOX: Do studios consult talent as to their level of recording / editing / mixing capabilities before cutting a demo to determine if the voice talent could replicate the production work on their own? If so, and if the talent is not nearly as capable as their demo makes them out to be (knowing that this is how they will attract business when they work from home), is it wise to produce a demo for them and could the demo itself (unless the talent always records their work at a professional studio) be considered false advertising on behalf of the voice artist?

DS: A voice demo that features production values above voice talent is a horrible demo. These are marketing tools for a VOICE, not to showcase how good the production is. And, frankly, if they're looking for work from home they need to invest in decent equipment if they want to have a viable career.

JCB: I only take full demos (a demo produced fully from scratch) from referrals (other demo clients, casting/talent agents, coaches), and if I think our personalities will work well together. If I make someone sound better than they are, or if they plain aren't ready, it's instantly bad advertising for me. I don't consult on technical expertise. If they come to me for a demo, I feel it's because they want me to produce it. I want them to be solely COMPLETELY focused on their performance.

VOX: Do some studios create custom copy for their clients when producing their demos? If so, how much of an extra cost is there for that service?

JCB: Yes and depends. I always write original copy for demo clients. I find it's the only way to really personalize the demo to the performer. My job is to draw out the qualities they want to sell or market, so I consider the writing all "part of the service".

DS: Yes, I do create custom copy for character demos in consultation with the voice artist. There's no extra charge for that service.

VOX: How much should it cost on average for a proper demo to be produced? Please provide a breakdown of what the fee includes (i.e. studio time, engineer, director, copy writing, etc.). Obviously some studios can charge more than others simply because of their reputation, location and or added value services, but if you had to draw a line in the sand, what is the least expensive price that could be quoted that would still cover the costs of producing a legitimate voice over demo that is reasonably affordable yet also makes the studio a decent profit for their time and resources?

DS: My price is $1000 which includes 2 hours of rehearsal (coaching / character prep), 2 hours in the studio, and my private editing and production time. In Los Angeles, I'm right in the middle of the pack price-wise. I'd say, as a general rule, if someone charges you less than $600, they probably aren't devoting enough time to give you a professional demo.

JCB: Again, it depends. I really only discuss rates and cost with clients, though most demos come out to around $1500 if it's totally from scratch.

VOX: Are there some of you out there who have best practices and guidelines that you follow? If so, share them so that we may learn more about what is the norm and be able to tell the difference between an honorable business and one that is only out for money.

JCB: I can't really say. I would hope that I act honorably, LOL. I wouldn't say it's "bad" but if a company is taking all demos clients without discretion, that could be a warning sign. I would also think that if the actor has to do all the leg work (pulling copy, selecting music), or there's little communication about the edits, then you don't really have a demo producer, you have an editor.

DS: If a producer throws you in a studio with no preparation, that sometimes produces a 'fresh' performance... but if they also send you out the door WITH your finished demo... they're ripping you off. It takes time and attention to produce a viable marketing tool... fast and dirty doesn't cut it. I give my performers all the studio time to craft their performances. Editing comes later. Another rule of thumb for me... for commercial demos I use copy that's at least six months old.

VOX: What do you feel would make the business of voice over demo production more transparent?

DS: It's a lot like acting schools and casting director 'showcases' --- there are a lot of people out to rip actors off. Look up the producer on the IMDB... make sure they're a currently working professional and make sure they offer you samples of past demos to listen to. They demo producer should be willing to answer any question you ask.

JCB: I don't really think it should be more transparent. One of the biggest issues I have working with actors right now is they all seem to be "partly educated", doing things because they were told that's how you do things, but without any real consideration as to why they do those things. Demos are a crucial tool for a voice actor, and shouldn't even be considered without a wealth of experience. So many people rush to slap some samples together, and it can really harm their careers. I feel part of that performer's journey is learning the lay of the land from producers, casting, agents, coaches, and other voice actors. These experiences are crucial. The journey of a performer should be measured in decades not weeks.

VOX: Do you feel that there is an opportunity to bring demo production to the next level or are you happy with where your area of the industry is at? If you have a vision for what you hope to see, please share.

DS: My vision is for demos to not be cookie cutter productions. Each one should use fresh copy... a variety of music beds... and let the performer showcase their unique talent rather than be squeezed into a template the producer uses for every performer to do things fast and cheap.

JCB: I'm very happy right now with my demo business. I only work with people I like, I stay pretty busy, and I'm paid well to do it.

~~

Any Comments?

First off, I'd like to thank both David Sobolov and Juan Carlos Bagnell for taking the time to answer my questions and for sharing their views.

Now, it's time to discuss!

Whether you are a demo producer who would like to give their perspective on the questions asked or are someone who has follow up questions about demo production, you are welcome to leave your thoughts as a comment below.

Looking forward to hearing from you,

Stephanie

Image via Chet Yeary II's photostream on Flickr

"I'm not getting any work through my auditions? Do you think my demo might have something to do with it?"

"Can you listen to my demos and tell me where I can improve?"

"I've been told that I have a great voice. Do you think I have potential?"

You've likely come across these questions at some point; perhaps you've been on the asking end, perhaps on the receiving end.

What's to be done? A little magnification, as well as some listening, may go a long way.

Can You Review My Demo?

Multiple times each week, requests are sent in to Voices.com staff from voice talent members who ask if we can review their demos.

There are 3 issues with this:

1. Our staff is not trained to review voice over demos
2. Reviewing demos is not part of our service offering to members
3. We don't have time to review demos

While I, or any member of my team, cannot personally listen to your demos and give you the feedback you are seeking, there are people out there who do this as a professional service, including:

Voice Over Coaches and Some Agencies

These are the folks to approach if curious about voice over demos or vocal delivery. You can locate some instructors here among the Voice Over Experts faculty.

I took a rather brief, informal poll moments ago on Facebook through a status update to see who reviews demos and did receive a couple of responses, including a comment from Nancy Wolfson of Braintracks Audio and an email from Mike Elmore.

Be advised that there will likely be a fee for the consultation and review because you are buying a professional's time, attention and expertise to guide you through to more successful climes.

Some Advice From Nancy Wolfson About Demos

"You never get a second chance to make a first impression."

As we begin to stare tax season down the throat, the word AUDIT comes to mind - it is CRITICAL to have an AUDIT run on your business and all the marketing pieces and collateral and TOOLS (demos) that sell you in your business before you take that business to market.

Relationships are far more valuable than individual jobs and particular paychecks, so it is imperative that one not blaze forward recklessly engaging and promoting oneself to even one buyer or talent rep or casting director with something that represents this business that is YOU with a product that is corny, dated or sub-par given contemporary standards.

In producing something that is contemporary and useful, there are certainly plenty of "do"s and "don'ts."

Some of the basic requirements are outlined in the "YOUR VOICE OVER BUSINESS" mp3 for sale in the store section of braintracksaudio.com.

While visiting my website you can also click on the DEMO PRODUCTION knob - then the arm off of that knob that says DEMO MAKEOVER to see great examples of BEFORE and AFTERs.

The "BEFORE" examples were too versatile/dated/corny/too long - the kinds of issues that would have an agent or buyer hitting "eject" early or just tossing it based on poor branding or a lack thereof.

The "AFTER" examples on those same individuals were produced after proper coursework helped the talent deliver better reads and know the boundaries of the personal style we are marketing. The "AFTER"s are upscaled, upgraded and customized portraits of those same people, and offer each one a sales tool that cuts through the sameness of the "competition" and returns better revenue to the talent and their VO business.

But because every sales tool (demo) must be TAILOR-MADE to honor and promote each individual, it is critical that the content has been carefully scripted and produced to honor the brand of the individual.

A demo that sounds like it came out of a "puppy mill" will not break you in - one that is specific and produced in a top market by someone whose business it is to customize and tailor for you will help honor what's unique about YOU.

And therein lies all the difference.

Nancy Wolfson

Forums

Another way to gather feedback (which happens to be free) is to join a voice over forum or networking group. You may find that there is a thread set aside specifically for demo reviews. In such cases, members are invited to share their demos to gain feedback through peer reviews.

Don't Take It Personally

Whichever route you choose to take, be sure to keep in mind that any feedback, good or bad, is simply someone's opinion and not to be terribly discouraged should a dark horse pop out and rip your demo to shreds.

Although your voice is tightly knit to who you are, the feedback, if provided in a constructive and generous spirit, should be taken in the context of improving your voice over business, and is not an attack on you as a person.

Any Comments?

If you've had experience on the asking or receiving end of a demo review or review demos yourself, please leave a comment and join the conversation.

Best wishes,

Stephanie

P.S. If you know someone who would benefit from this article, be sure to let them know and send them a link to this web page!

Image from HiggySTFC's photostream on Flickr

What happens if you don't believe in your own voice?

Will anyone else?

Find out what a couple of industry professionals have said about this here on VOX Daily.

What Happens If You Don't Believe In Your Own Voice?

Moments ago, I received a contribution to the VOX Talk podcast from a mystery announcer (you'll have to wait until the show comes out!) that poses these questions:

1. Are there other voice talents who don't believe in their own voices while at the mic?
2. Could the fact that I have doubts mean that others will not believe what I'm saying?

I replied that yes, there are people who do not feel comfortable in front of the mic in the early stages of their career, and also, if you don't believe in yourself, it will certainly be harder to convince anyone else to do so.

Devote Yourself to the Service of the Words

One of the greatest voice over talents and my friend, the late Don LaFontaine, once said:

"If you are going to be successful, you have to have veracity and honesty - if you can fake that, you've got it made. Your heart needs to be fully behind what you read. Devote yourself to the service of words and you're halfway there."

When asked what the other half was, he would simply say, "Wait until I die". With his passing in 2008, you can now take his advice in full and run with it.

The bit about faking it was said slightly as a joke, and as you see when you read on, Don encourages you to put your heart completely in the service of the words to be convincing and truly authentic.

Sometimes it's hard to take the first step on your own and guidance is appreciated if not a necessity. If you haven't read Rodney Saulsberry's Step Up to the Mic, I strongly recommend that you do. Rodney's words will lift you up and help you to recognize your potential as a voice over artist, even if you've been around the block and have a healthy client list.

Once you believe in yourself, you've got to become empowered and self-motivated. For a quick dose of advice in this direction, be sure to listen to Nancy Wolfson's podcast on Voice Over Experts called "I Am Enough".

While you're inspired, here are 5 more excellent podcasts that will help you to navigate these waters as you prepare to believe in yourself, find your voice and get work:

Marc Cashman's Finding the Music in Copy
Cynthia Songé's Debating the Signature Voice
Gary Terzza's 5 Tips for Getting Voice Over Work
Pat Fraley's The Almighty Playback
Joan Baker and Rudy Gaskin's The Myth of Rejection

Those are just 5 out of 75 podcasts available to you for free through the Voice Over Experts podcast series that at Voices.com. Listen to Voice Over Experts and VOX Talk (58 episodes thus far) in our podcasting center.

Do You Believe In Your Own Voice?

If so, I'd love it if you could share how you came to believe in yourself. If not, you're welcome to include your thoughts as a comment and find encouragement through the experiences of others.

Best wishes,

Stephanie

©iStockphoto.com/Claus Mikosch

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

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

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

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

Is the world ready for anyone else to intone "In A World"?

The passing of Don LaFontaine leaves us with a number of questions including how public perception will influence the future of voice over in theatrical trailers.

While we're ready for change, is everyone else?

Where We're At

For over four decades, the same voice delivered the vast majority of theatrical trailers, single-handedly dominating the niche within voice over, and by virtue of that fact, taking up ownership of and residence in the minds of hundreds of millions of people.

Don LaFontaine was a pioneer in this field and was a co-creator of iconic phrases such as "In A World..." and "A One-man Army...".

There is no doubt that Don has left a gigantic imprint on this industry and is recognized as a founding father of voice over, influencing all aspects of the art including excellence in performance, style, and even the very business of working from home as opposed to driving from studio to studio to record.

It is also publicly known that he hoped for women to enter theatrical trailers.

While honouring Don and his legacy is important, he would want us to embrace change as he himself supported the idea of women making strides in this niche and also granted permission for others to take his place upon his death ("Just wait until I die", as he often said when referring to other voice talent working in major theatrical trailers).

Don LaFontaine has us given his blessing and it is time to move on, however, we face significant challenges from external forces.

Our Challenges : Inertia and The Public

As creatures of habit, people in general find it difficult to change positions regarding preset opinions and perceptions.

Making a shift requires effort and taking a risk on something new in the unchartered territory of our minds where we lack loyalty and concrete experience.

For instance, if you are loyal to a brand, you stick with that brand even though there may be alternatives to consider, deeply favoring one brand over another such as the Coke VS Pepsi wars.

Just as people are used to drinking a particular beverage, using a certain washing detergent for their clothes or buying a specific make of car, hearing Don LaFontaine's voice (literally his brand), is their standard or touchstone when consuming a theatrical trailer.

As Phil LaMarr pointed out in a comment on my "In A World Where Women Narrate Movie Trailers" article:

"The vast majority of entertainment industry 'traditions' are a combination of happenstance and inertia. Nothing changes unless something stops working, or something else costs less."

In this case, the loss of Don LaFontaine has triggered the former, meaning that there will be a change because something, in this case, someone, stopped doing what they were doing and has ceased to work.

Perception Is Hard To Change

This is a reality.

Changing perception, especially perceptions that took shape decades and generations ago, is an extremely difficult objective to accomplish.

No one knows this better than those who try or are trying to change perception.

For the longest time, we had to explain to those interested in joining our service that Voices.com was not an agency but a marketplace; that we didn't charge commissions but offered memberships with subscriptions. When we launched SurePay, we ran into similar perceptions with people thinking that the SurePay escrow transaction fee was an agency commission fee (which it is not) and needed to communicate even more clearly what an escrow service was and why a transaction fee is necessary.

The Voice Over Business Has Changed Drastically In Recent Years.

I'm quite sure many of you have had to adapt and change your perceptions to reflect the new way of doing business to achieve success online, with or without agency representation, and having to learn technical skills to competently compete with your colleagues who work from home.

This brings us back to the original question posed last week:

Will women be welcomed into the realm of movie trailer voice overs?

Will men who are not Don LaFontaine, let alone women outside of this intimate circle, be perceived as suitable replacements?

Challenging and Shaping Perception

While at a seminar last night, I took a moment to speak with a marketing expert and ask what her opinion was of how difficult it would be to change the perceptions of people regarding movie trailer voice overs, presenting the facts as we know them and where we as an industry hope to go.

Her answer was that the process of changing perception among the public and moviegoers may take a very long time, longer than we'd expect because Don's voice was so entrenched in this aspect of the craft and is ultimately woven in their psyche and embedded in their emotional responses.

Furthermore when discussing the potential of other men and eventually women voicing theatrical trailers, she suggested that although people may not voice their opinions out loud when leaving a theatre, they will notice the difference and feel slightly uneasy with the change, more so with female voices than with male voices who are able to imitate Don LaFontaine's trademark style.

The conclusion?

Even if it takes the public years to move on, I believe that the process needs to start now, and that process involves focus groups and producers making different choices and taking calculated risks, and for others, leaps of faith.

How Do You Feel About This? Is Our Moment For Change Now?

Looking forward to hearing from you,

Stephanie

©iStockphoto.com/Ryan Kelly

Looking for more clients who want to purchase your voice over services?

Philip Banks, a voice over talent based in Scotland, is always entertaining, consummately witty and perfectly blunt.

How do you get your demo in front of potential customers while being respectful and staying on good terms?

Today's guest blogger answers these questions and more for your reading pleasure.

Prospecting - Dig A Little Deeper!

By Philip Banks

"Philip, how did you get started?" asked Jim. I told him and assumed that what I believed to be obvious would be obvious to him. Oh how wrong was I.

"Get a list of people and telephone them to ask if they use the services of freelance Voice Overs."

Sound OK?

I thought so, except Jim simply got a list of local businesses and called them. WRONG. Before you make the call you need to be 90% certain that the person you are calling is going to answer yes to the question.

The trick, if there is a trick, is to spend more time digging for prospects than calling people.

Right, let's start project 100. You need 100 names and telephone numbers.

What do you want to do? For whom would you like to work? Are you able to do long form audio like elearning?

OK, type "elearning production" into a search engine. Visit the websites and look around, it will take time.

Is there any evidence to support your theory that this company uses voices?

Prove to yourself that they may find a use for you - PROVE do not guess. In the Contacts or "About Us" section is there a name, something like, Joe Smith Head of production or Audio Producer? DIG DIG DIG.

The more you do this the more your investigative instincts improve. From every search you need a company, telephone number and contact name.

Unless you have no alternative DO NOT EMAIL - YOU MUST TELEPHONE.

"Hello my name's Philip Banks and I'm calling to ask if you ever use freelance voice overs"

If you've done your homework you will get a yes. If not offered a name, ask for one, the one you already know and ask if you can speak to them for a moment.

"Hello my name's Philip Banks and I'm calling to ask if you ever use freelance voice overs"

Assuming the answer is yes.

"Would it be OK for me to send you a demo? (before they say anything) You're allowed to say no by the way"

In 18 years I have had one person say no to me.

"That's great, I'll send you one today. Thanks very much"

If you are asked for a link to demos on a web site do that instead of a demo CD.

Here is the BIGGIE - NEVER EVER EVER ASK FOR FEEDBACK

If you are tempted to ask for feedback:

NEVER EVER EVER ASK FOR FEEDBACK.

To be certain you have fully understood - NEVER EVER EVER ASK FOR FEEDBACK!

You are looking for work not a critique.

Prospecting is the key. No selling required. If you have been thorough in your search for names and numbers and your demos are good enough you will get work.

An Example of Successful Prospecting

As a way of finishing this piece here's the story of a job I managed to secure over ten years ago.

I read in a newspaper that Pilots and crew of a new helicopter were going to be trained using CBT, Computer based training. On noting the name of the company I saw they were about 5 miles from me. I visited the office armed with an audio cassette.

"If you have any projects that require a professional voice please get in touch".

Note that I didn't tell them what I knew.

As it turned out the CBT was going to be 45 hours with 38 hours of speech content. Over an 18 month period that one job earned me around $25,000.

Any specific questions about prospecting, feel free to ask.

Want a demo evaluation? Pay Nancy Wolfson to give you one as it'll be money well spent.

Yours sincerely,

Philip Banks

~~

Perspective

I can identify with what Philip is saying coming from the perspective of a client who does hire voice over talent and purchases stock photos for this blog.

Not only am I not necessarily expecting to give a critique, I have little or no time to do so.

Yesterday afternoon, I was pleasantly surprised by a nice phone call from Philip to further discuss the article and we spoke at length on the subject.

While speaking, it was acknowledged that for whatever reason, something has developed in this industry where voice talent, in addition to desiring demo feedback from their own prospective clients offline, also have expectations to receive feedback from clients they are auditioning for online, for instance wanting to know details such as if a demo has been listened to, what the client thought of the performance and also why they were not chosen for the part.

You may see some parallels drawn here to the article Philip wrote.

Both Philip and I agreed that the client's feedback regarding an audition or a demo submitted, regardless of how you first got their attention, is a cheque in the mail or a payment made for your services.

To give you an example, while I may not remember to provide a rating or submit a comment on an image I purchased, the very fact that I did purchase the image is a vote of confidence for that photographer or artist. This vote of confidence and proof of purchase shows up under how many times their image has been downloaded, adding my decision to invest in their works to the silent testimonies of others.

Similarly, if you are hired for work, you have a client list or testimonials. If you've been hired through Voices.com using SurePay, you have another means to display feedback from your clients available to you that serves the same purpose.

Any Comments on Prospecting?

Looking forward to hearing what you think.

Best wishes from your friends on either side of the pond,

Philip Banks and Stephanie Ciccarelli

Conversations carried on from last week about demos have provided more food for thought regarding what can or cannot be used on them.

One way to make sure that your copy is original is to write it yourself!

Learn more about how you can do that now.

Is It Still OK to...?

Yesterday I received a message from someone asking for clarification on the kind of material you could include on your voice over demo, namely asking if print ad copy was OK to use as a former instructor had once suggested.

My answer to her, and remember I'm not a lawyer so this is based upon my own opinion, was as follows and I hope it is of some use to you, too:

Can I use print ad copy in my demo?

Print ads are still copyrighted material, so I would say not to do that from now on. The ad itself would be copyrighted material and the use of a brand name or slogan could violate trademarks.

If you can, write your own spots. These can be inspired by ads you hear or see, but take the core or the spirit of those ads and translate them into something new.

For instance, I could be listening to a commercial for a fast food restaurant and be inspired to write a spot for a gourmet catering business and how their food is organic, why it's better than fast food, etc.

Does it still have to do with food?

The answer is yes, but it has absolutely nothing else to do with the ad I was inspired by.

Create a fictitious name for the company if you like (double check on the Internet via keyword searching that the name is not being used or registered by anyone) and run with it.

Other Options

A few years ago, I wrote a couple of royalty-free voice over and advertising script collections that feature a variety of industries, applications and also includes vocal / musical direction. The scripts are useful for practicing with, as material for your demos and are also customizable for your own use and personal style.

If you are a Premium or Preferred member of Voices.com, these scripts are available to you for free in the Help section:

Helpful Documents, User Guides and Resources for Voice Over

Of course, if you prefer, you could always hire someone else to write custom copy for your demo. The rule of thumb is to keep the voice over demo to 1 minute in duration, and within that minute, you'll be able to easily showcase between 5 to 7 different spots, give or take, perhaps more.

Have You Experimented With Writing Copy For Your Own Demos?

Leave a comment and share your experiences!

Best wishes,

Stephanie

©iStockphoto.com/Xavi Arnau

In A World...

In a world where the absence of one man left a massive void, a door of opportunity has flung wide open, waiting for the next great voice to take their rightful place in movie trailer voice overs.

What some people may see as 72 days of unbridled chaos, others have perceived as a light in the darkness.

Is this a turning point for female voice actors?

Preface

Today, I broach this topic with delicacy and a sense of duty.

It has been just over 2 months since we lost the great, late Don LaFontaine, the undisputed and lovingly remembered king of voice over and movie trailers.

History

Before Don died, he was quoted as saying (I'm paraphrasing what I heard him say in person here), that he felt the time for women to record voice over in movie trailers was long overdue, referencing Melissa Disney as one of the finest, contending voices he had heard. Don also intimated that it was time for women to take on a more significant role in this industry and that he was all for their success.

History That Was Decades In The Making

Melissa Disney narrated the movie trailer voice over for Gone In Sixty Seconds (2000), an action film starring Nicolas Cage, Giovanni Ribisi, and Angelina Jolie. You can view the trailer here.

Disney has also narrated the theatrical trailers for Over the Hedge and An American Girl, and according to her biography shares in the winning of a Key Art Award for Best Trailer (Gone in Sixty Seconds) and has also won Best Voiceover in the Golden Trailer Awards for the Warner Bros. film, Valentine.

Largely, LaFontaine noted that it was the focus groups that have kept women out of movie trailer voice overs, and now that he and his signature voice are gone, others have started a dialogue speculating who might take his place, including most recently Variety.com.

Variety.com's article pointed out that the female voice, while not the booming baritone voices we are used to hearing as heralds of a movie's theatrical release, are quite versatile and can play up other emotions better than a male voice could such as sensuousness, for example, and may actually fare better in action films than any other genre.

Is The Public Ready For Female Narrators in Movie Trailers?

Living in a world without Don LaFontaine, a lot of things have changed and as time continues to pass, we too must move along with it, and that includes the public discussion of this subject.

What do you think? Are we ready?

Looking forward to hearing your thoughts on this. I welcome the opinions of non-voice actors too as you represent the people who could be in these focus groups. Perhaps we should start one here?

Comment below and share your opinion.

Best wishes,

Stephanie

©iStockphoto.com/Alexander Hafemann

Are older, more mature voices overlooked when auditions are reviewed?

Today we'll take a look at two very different stories, one of which I credit with the inspiration of this article, coming up now on VOX Daily.

Does Voice Age Matter?

Bud Sisson will be 78 this December. His first paid voice over gig was in 1981 and it ran for years. Recently he had one client who used his voice for their commercials for ten years, and during their ten years their sales curve was constantly on the up and up.

Bud doesn't talk fast and never did, and with his hearing problem, he has difficulty understanding fast talkers. Based upon his experience when he was writing and producing radio and television commercials for a retirement complex, Bud found that older people do not like announcers "who talk so fast that I can't understand them."

Considering the size of the senior market, why is it so hard for senior voices to find work?

Are Older Voices Discriminated Against?

By Bud Sisson

I feel that the cards may be stacked against some of us especially senior males and senior females.

The fault, I believe, is with many of the voice seekers.

There are two issues in my opinion which stack the cards against us:

๏ Age discrimination
๏ Pace

They are connected.

I speak as a senior male who for ten years had a client who used my voice, and I am proud to say that during that time, the client's sales curve kept going up and they expanded their sales staff. The producer had a technique that more producers might consider. After what both she and I considered to be a good read, she would also say, "But we're a bit over." However instead of saying "Pick up the pace, 90 times out of a hundred, she would say, "Let me see what I can cut."

My producer and I agreed that for maximum understanding faster is not better.

At a more moderate pace, the voice actor has more time to color words and bring out the meaning. So I would suggest that voice seekers should try writing only 20 seconds of copy for a 30 second commercial or 40 seconds of copy for a one minute commercial.

The worst example of speed are the pharmaceuticals who at the end of the commercial read off the warnings and side effects of their medications so fast that no one could remember any of it. Are they trying to hide something?

So am I too old for the voice industry? I don't think so.

I am picky about what auditions I do. Some questions I use in deciding what auditions I will do. Does the product or service interest me? Do I like the copy for the custom demo? Can I read the demo script in a specified time? Does the script and the product fit with my personality and my voice style?

Bud Sisson

~~

Reaching A Market Comprised of 79 Million Baby Boomers

Michael Turnbull's Story

Known for his mature, trustworthy voice and ability to connect with the baby boomer set, Michael Turnbull, age 61, has just started a new chapter in his career complete with the re-branding of his business, an accreditation of his services through SaVoa and by joining the ranks of the Platinum membership at Voices.com.

Profiled recently by Susan Berkley of The Great Voice Company as one of her favorite success stories, Turnbull has never been busier pursuing the craft he loves while arranging his work around his lifestyle as a grandfather and yachtsman.

A mature professional voice over talent, Michael Turnbull has done more commercials, narration and documentaries catering to the needs, interests, and buying habits of the 79 million baby boomer generation than any other voice in the industry during the last 5 years.

His warmth, friendliness and believability has branded campaigns for clients such as Ford Motor Company, Volvo, Good Neighbor Pharmacy, Heinz, Blue Cross / Blue Shield and has narrated pieces for the US Air Force - Nellis AFB, Whitehall Museum in Palm Beach, and Chivas Regal History.

~~

How Are Older Voices Perceived in Voice Over?

There is a validated market for senior voice overs. People cast based upon age specific requirements to reach their target audience, and sometimes, that may mean that a mature voice is not the voice for the job, but then that goes for other voice ages, too.

Although Michael is younger than Bud, his voice still falls in the same category where reaching people of a certain age is concerned in the mature to senior adult demographic.

While the younger spectrum of the vocally mature curve may be working with more frequency, how do mature voices fare in general?

Is there any noticeable discrimination?

Looking forward to hearing your thoughts.

Best wishes,

Stephanie

©iStockphoto.com/Luca di Filippo

New York, New York!

On Friday December 5th, 2008 voice over talent will be descending on New York City and partying it up at a networking event in Manhattan presented by Erik Sheppard of Voice Talent Productions.

Admission is free with your RSVP.

If you can make it, you should be there, because David and I would really love to meet you!

Find out more about this event here at VOX Daily.

New York Voice Over Mixer 2008

The 2008 New York Voice Over Mixer is being held on December 5th in Manhattan.

You're invited to spend the evening networking with some of the worlds most respected voice over industry professionals.

The event will be from 6:00 p.m. to 10:00 p.m. at Butterfield 8 located at 5 East 38th Street New York, NY 10016 (between 5th Ave and Madison Ave). Food and cocktails will be available for purchase throughout the evening.

This is an excellent opportunity for coaches, agents, actors and other voice professionals to share information about their services and to learn about others in a casual and friendly environment.

Just taking a peek now, I'm happy to say that Bob Bergen, Peter Rofé and Elaine Clark have already sent in their RSVPs.

There will also be a number of prizes raffled off including a few from Voices.com... a Platinum membership, to name just one!

Take note: Be sure to bring plenty of business cards and be ready for a fun filled evening.

To learn more about the event, what's being raffled off and who is coming, check out this link here at Voice Talent Productions.

To RSVP, email Erik@VoiceTalentProductions.com and also comment here on this blog post for your friends to see at VOX Daily.

Looking forward to seeing you in The Big Apple!

Cheers,

Stephanie and David Ciccarelli

How Much Do You Love Your Business?

Discover 3 reasons why you should be your staunchest supporter and your hardest hitting critic.

Learn how being both of these things in relation to your business will help you to achieve success.

He Loves Me, He Loves Me Not

You may remember a childhood game where you took a flower and one by one, removed its petals reciting, "He loves me," for the first petal and upon tearing it away reaching for the next to tear, saying, "He loves me not". This pattern would repeat itself until the flower was systematically depleted of its beauty and only the stem remained.

Although you may not realize it, you engage in a subtle variation of this activity every day in your business, however as you have well noticed, the stakes are much higher now than they were in the days of "He or she loves me," or, "He or she loves me not".

What you say or do with those figurative petals now, whether they be favorable or not, have very real outcomes and are not just flights of fancy.

Love Your Business and Constructively Criticize Your Business

As the poet Keats once wrote in his Ode on a Grecian Urn, "Truth is beauty, beauty truth." I believe this line of poetry has deep meaning and directly applies to this discussion.

To thrive and perpetually grow your voice over business, you need to possess the capacity to both love your business intensely and also be the curmudgeon in the corner who casts down brutal honesty through showers of tough love.

Here are 3 reasons why you need to be your greatest champion and worst critic:

1. No one cares or will ever care as deeply about your business as you do.
2. Only you can make choices that define and propel your business.
3. You know your business best and what's best for your business.

It's All About Love

No one else but you takes your business home after work and thinks about it at dinner, in the evening, during the wee hours of the morning or when you wake up.

It's pure passion, sheer intensity and an insatiable drive that separates entrepreneurs from hobbyists, which is why when all is said and done, the entrepreneur is the master and commander of their business.

You truly have to "get it" and have it "within you" to succeed in business when it's "you" who encapsulates the brand.

This takes love, time, dedication and a willingness to look at your business from all angles to improve upon areas that are in need.

You Are Your Business' Only Constant

Once you've plucked each petal from the stem, all that's left is the stem; now imagine that you are that stem, and by virtue of that fact, all that is left is you.

If you think of yourself as the stem and everything you do as petals of a beautiful flower that serve as your shining moments, activities you partake in and identified areas of improvement, this analogy may serve you well in your business and beyond.

The only thing that differs in our story is that the petals have a way of blossoming again as fueled by your passion so that you can continuously prune to rejuvenate your business and experience ongoing growth.

How's that for inspiration?

Any Comments?

Looking forward to hearing from you,

Stephanie

©iStockphoto.com/Kati Molin

In this final chapter of the series "Vital Signs", I have two fabulously talented educators with me here on VOX Daily sharing their thoughts on how those of you who come from radio can free yourself from broadcast radio bondage.

What I'm saying may come as a surprise to many people but just because you come from radio doesn't mean that you're by virtue of that fact already a voice actor or that voice acting will come easily to you.

This article will explain how voice acting and radio differ and will help those who come from radio lose their "radioness", ditching the sing-songy sound that some women carry over from broadcast and also the announcery baggage that men bring to the table when they enter the business of voice over.

Radio is Not Voice Over... Weird But True!

This idea has been floating around in my head for a number of years and now seems to be the appropriate time to explore it.

When deciding how to present this, I wanted to give you the perspectives of two voice over teachers, their thoughts, and also share how people from radio who enter voice over (this is a very large number of people) can make it in the voice acting business without sounding like they're still behind the mic at the radio station which is a very different style of speaking than that of what is expected of a voice over actor.

Elaine Clark

Voice One
Author of "There's Money Where Your Mouth Is"

Voice actors and Radio personalities have one thing in common: a microphone.

Other than that, the businesses are completely different.

Here are the differences:

1. For DJs, personality and vocal quality are the stars of the show. With voice actors, the client information is the star and the actor's voice and acting skills support that key information.

2. DJs spend a lot of air time ad libbing. Voice actors ad lib a little, but primarily read from a script and have to learn how to make those words sound natural and real.

3. When a voice actor records a commercial, the spot is read many times and often cut together to mine the most impact out of the copy. Radio personalities rarely read a commercial more than once; they either read it live or record it down and dirty at the end of the day to satisfy an obligation.

For a radio personality to break into the freelance voice-over world, they have to leave their DJ job at the door and learn how to step back from the starring position, relax the "pipes," let the words motivate the listener to take action, and sound REAL. It takes practice, but it can be done.

Elaine Clark
Voice One
San Francisco, CA

Marc Cashman

The Cashman Cache of Voice-Acting Techniques
Ask The Voice Cat

As a voice acting instructor and coach, I encounter a lot of people, mostly men, occasionally women, who've been in Radio for some time and want to transition into full-time voice acting. And they seem to have one thing in common--the dreaded "Radio Voice," which, when agents hear their V-O demos, run screaming out of their office.

The Dreaded "Radio Voice"

What accounts for this aural phenomenon? Well, a few things.

Many radio DJs, announcers or personalities wear headphones while they're on the air, and have basically fallen in love with the purring, resonant sounds of their own voice.

Most have been inculcated by their program director to deliver station-written and produced copy in the same style that they talk on the air, because that's what the advertiser wants and is paying for. And many Radio people have listened to their predecessors for years, and have consciously or unconsciously emulated them.

Radio people do have, however, a lot of skill-sets that many people in the voice-over world don't appreciate.

They have excellent eye-brain-mouth coordination, i.e., they're able to lift words off a page effortlessly, without stumbling over any words, rarely omitting or adding any, and giving them a ton of energy. They're also able to speak very fast, with outstanding articulation, and an amazing ability to "shoe-horn" seventy seconds of copy into a sixty-second spot.

They have wonderful cold-reading ability, since most of them come from the "rip and read" school of "this just in" on-air announcing.

On-air personalities are able to ad-lib extremely well, particularly in testimonials, giving advertisers a lot of bang for their buck. But most incredibly of all, they're able to do all these things live, with thousands, hundreds of thousands or possibly millions of people listening to them. That's a hell of a lot of pressure on a person, something that most professional voice actors rarely, if ever, encounter. We've got an audience of maybe a dozen people maximum hanging on our every word.

I explain to my students that the aforementioned skills are vital to a professional voice actor, and, truth be told, many of the Radio people I work with trying to transition into voice acting are able to find their niche.

I also remind my students that not everyone is cut out to be an actor. I know a lot of voiceover people doing a ton of non-acting work: announcing, corporate narration, e-Learning and instructional modules, phone-on-hold systems, pre-recorded announcements, etc., and are making quite a nice living. Heck, someone who comes into the studio for fifteen minutes to record a legal tag for a campaign can make more money than the actors, because the legal tag is tacked onto all the radio and TV spots!

But what can a Radio person do to not sound like a Radio person?

The main reason some Radio people have a challenging time transitioning into voice acting is because they haven't been trained or taught how to act.

So first, take voice acting classes. Learn how to speak conversationally, talking to just one person, not the multitudes. You can even take acting classes, to learn how to set a mood or attitude and find the emotional hook.

Second, don't audition with your headphones on. Unless you're doing a phone-patch and need to hear the director from a remote location, or you're in a three-way trialogue with other performers who are in a separate room, don't listen to yourself in your phones--you'll just perpetuate that Radio mind-set of style over substance.

And third, concentrate on delivering copy in the same way you talk to people (or pets) you love--your siblings, your kids, your spouse or girlfriend/boyfriend, your parents--just not the way you talk to your audience. Because believability comes in talking to just one person, preferably someone you know who fits the target audience you're talking to.

As long as you're truly sincere and invested in what you're talking about, chances are you'll eventually lose the dreaded "Radio Voice."

Marc Cashman
The Cashman Cache of Voice-Acting Techniques
Los Angeles, CA

Transitioning From Radio To Voice Over

Moving from radio to voice over isn't easy as you've read but it is achievable! Many of our great teachers today help talent to make the transition and encounter it quite often in their voice over studios.

If you'd like to make the leap and need some help doing so, feel free to contact either Elaine, Marc or reach out to any of the voice over experts that we refer at Voices.com through the Voice Over Experts podcast.

Have You Made The Switch From Radio To Voice Acting? How Was It For You?

Best wishes,

Stephanie

©iStockphoto.com/Andrey Tsidvintsev

Did You Know There is Another Way To Get Voices.com Working For You?

Earlier this summer, we launched a new membership level called "Platinum", a service designed for voice over talent who want to get the absolute most for their career out of the Internet by way of greater visibility in the search engines, insider tips and some major publicity.

The Platinum Membership Includes:

๏ All of the features and benefits of the Premium membership at Voices.com
๏ Additional Listings on 10 Niche Voice Over Websites
๏ 2 Personalized Publicity Campaigns
๏ Exclusive Monthly Marketing Reports
๏ Advertisements throughout the Voices.com Advertising Network

There have been a number of impressive success stories so far, two in particular that are detailed below.

I'll also share a compelling reason to join that you've never heard before.

Is becoming a Platinum member the right decision for you? Find out here at VOX Daily.

The Wheels of Progress Are Turning

A couple of weeks ago, I sent an email out to our Platinum members with updates about their membership, an insider report and an invitation to kick start their publicity campaigns, several of which are circulating right now on news websites, including Google News, Yahoo! and others.

When I asked for feedback on how their Platinum memberships were going so far (after two months of service), I received a number of jaw-dropping and grateful emails from people who are experiencing great success.

I'd like to share a couple of the stories here with you.

Larry Wayne's Platinum Experience

My news is that I am becoming the imaging voice for one of the world's fastest growing and increasingly important new industries... wind power! I am also doing :30 ads for Vestas airing on CNN.  And just the other day they had me do intros for a new regular Bloomberg Financial feature that talks about Vestas. I am majorly pumped about this!  This came within days of opening the new websites as a Platinum member. I would also say the Vestas account alone has already paid for the Platinum membership!

Also, I'm working with two producers in Orange County on a trailer for a totally new concept for a film. At this point they are just trying to come up with a non broadcast non theatrical trailer of several minutes to show to interested producers. I KNOW they found me on the new trailer website!

Larry Wayne
Wayne Audio

Janice Downes' Platinum Experience

I've had people ask me on a regular basis if I think Voices.com is worth it, and my answer is always the same, definitely! I especially found it interesting when I talked to other V/O talent at Voice 2008 in LA.... when I told people that I was able to quit my full time sales job and do voiceover within 4 months of joining Voices.com, and that 90% of my jobs originated from Voices.com they couldn't believe it!

Many times that week people would continually ask me about that, and suggested I must be the exception. I don't think so at all.

Within that year I have worked my way to currently being ranked the Top Female Voice by your clients. My ranking on your site is my greatest industry achievement to date, and I am proud of that.

Janice Downes
Studio Voice Work

Have Some Questions About Going Platinum?

Perhaps you've been thinking along these lines:

Question #1: I'd love to do it but I think the price is too high.

Response: The Platinum membership is the only service of its kind and we've priced the package extremely competitively for what it includes. We bundled over $7000.00 worth of value into this membership, and we're making available for $1995.00.

Question #2: $1995.00 sounds like a large investment. Can I pay in installments?

Response: Yes, you can make quarterly payments of $498.75 to help break up the fee over the year and still get the same service and personalized attention.

Question #3: Won't there be thousands of people doing this? How will I be found?

Response: The Platinum membership is limited to only 100 people. This is the most effective, robust and highly customized online membership for the services being rendered that you will see anywhere, period.

Question #4: I'm a professional voice talent. Do you screen people for Platinum memberships? I don't want to be lumped in with newbies.

Response: We understand. You'll be comforted to know that Voices.com is only offering this membership to professional voice over talents. We reserve the right to refund customers who purchase the membership if they are not professionals. Just because someone has the money doesn't mean that they will be able to join the Platinum membership.

Question #5: What will you do for me that I'm not already doing myself?

Response: As a professional voice talent who is running their own business, you have more important things to do during your day like auditioning and recording voice overs for your clients as well as making time for your family and doing what you love.

By investing in the Platinum membership, you're unloading tasks that you don't have time to do for yourself such as marketing, promotion, search engine optimization, researching the industry and public relations, all of which make a huge difference in your career when done well but are often neglected in favor of other more critical day-to-day business activities.

As experts in these areas, we are working hard for our Platinum members in a capacity unheard of for a voice over marketplace serving as their publicists, branding consultants, search engine virtuosos, market researchers, and champions of their voices over services.

The Time Is Now

The earlier you do this, the sooner you'll receive media attention and publicity for your work that will catapult you into the fall during the busy advertising season.

There's No Shortage of Work In the Voice Over Business

Companies are having to try new things to make themselves competitive and assert their staying power, and do you know what?

Voice over is on their to do list.

Now is the time to let the world know that you are here to meet their voice over needs and exceed their expectations, moving forward as an agent of change using your Platinum membership as the vehicle that will help get you there.

3 Great Things Going For You Right Now

๏ There is still room for more members on the Platinum sites at present (but memberships will sell quickly so act now)
๏ You can now pay in quarterly installments over the year
๏ It's the busiest season for advertisers as they prepare their campaigns for the holidays

How Do You Get Started as Platinum?

You can make payment:

๏ Online using PayPal
๏ Phone us toll-free in North America at 1-888-359-3472 to pay with a VISA or Mastercard
๏ Sign and fax your authorization for quarterly billing (Voices.com Platinum Order Form)
๏ Mail a check / cheque to our corporate address at:

Voices.com
130-100 Collip Circle
London, ON Canada
N6G 4X8

Looking forward to serving you!

Best wishes,

Stephanie and The Voices.com Team

©iStockphoto.com/Sergei Popov

Do You Get Work as a Result of Education?

Have you experienced success studying with a voice over coach or by applying something you learned at a workshop, from listening in on a teleseminar or a podcast?

Share your insight as a comment.

Good Teachers' Students Work

The mark of a good teacher is that they are able to help you succeed in your professional life as well as meet your personal artistic and technical goals.

In other words, a teacher's proudest achievement should be that their students find work through the application of their instruction and guidance.

This is a crowning glory for teachers whose students do succeed and find consistent work.

Zoiks!

Recently, I received a message asking if workshops and classes are worth it and if people are actually getting any real work in the industry from the classes that are advertised here on our blog as well as on other voice over blogs and news sites.

After some consideration, I decided that the answer would sound a lot better coming from peers than anyone else.

Success is Relative

I've said it before and I'll say it again:

As with anything in life, success is relative to the amount of time, dedication and effort that is invested, including voice over.

If a voice talent (or anyone for that matter) isn't willing to put in 110% effort, then no teacher, no matter their qualifications or rave reviews, will be able to help in this regard because it all comes down to action on the part of the student by means of creating or taking advantage of opportunities presented to them.

Can You Refer a Voice Over Coach Whose Instruction Has Helped You?

Please leave a comment that shares your experience and provide the name of the coach(es) as well as their geographic location.

Best wishes,

Stephanie

©iStockphoto.com/Sven Hoppe

Do Exports and Voice Overs Mix?

It's a hot market that is growing, says Jack Wilkins, and voice over has become the standard element that brings all aspects of the promotional videos together.

Learn more in this interview with Jack Wilkins of Market World, a client of Voices.com.

VOX: Hi Jack, thanks for joining me.  I have some questions for you about Market World.  You produce movies and corporate videos. Can you tell us a little bit about the kind of work people hire you to do?
 
JACK WILKINS:  Currently, the target interest is an introduction to the products and services as a solution to a business problem.   The resources that a company provides may be very broad or very specific as to the solution they have available for a need for other businesses or for the end consumer.   While there is a growing need for in house corporate training for administration as well as job duties and performance by employees, most video is directed for a specific topic and the resources for providing a solution.  The characteristics of the usual video is less than five minutes.   This is usually more than adequate to illustrate a solution or process.   There will be more movement towards instructions video for employee training as the rapid change in technology and need to keep the product of the company current and fresh.

 
VOX: Working with companies who export their products from the US is an interesting angle.   How common is it for manufacturers to commission videos specifically for products they are exporting?
 
JACK: At this time, this is an expanding market.   This will become more common as resources are enhanced through the diverse voice actors supporting foreign languages.   As I understand it at this time, Voices.com has over 100 language represented.   This is an excellent base to grow this communication product.   It also allows for more specific targeting of products within countries that support those languages.   It is also a great connector to indicate the respect for those people that speak languages other than the major seven languages, thus increasing the appeal for the product or service.   Businesses will have to become very focused in informing specific cultures about their products.   The web video is an ideal way to communicate solutions.

VOX: What kind of challenges do you run into when a client needs videos produced for products to be exported to countries whose official languages are other than English?

JACK: While English is the official international business language by common usage, the main challenge is to qualify the product for export from the USA and making sure the product has had due research that there is a demand for satisfying a need.   For example, some foods may not be acceptable culturally in one country or culture, while highly desired in another.   The voice actor needs to have an understanding of the culture from which the video is created and the receiving culture in which the product is to be used and make sure the understandings are communicated correctly.   When a company such as Voices.com is presenting a voice actor for diverse language, a reference to the understandings and experience between cultures should be expressed for the client to make a decision about the appropriate person for the voiceover script.

 
VOX: Is the target audience for these videos the wholesaler or the consumer?
 
JACK: Because of the complexity of intellectual property rights,  Market World produces for the business consumer.   Also, because of the nature of the product, being specific to a product of a company, would not lend itself to a wholesaler.   However, where the product is more general in nature, such as three or four varieties of sweet potatoes of the Sweet Potato Growers Association, a general film may be produced in bulk for use on their websites.   For simplicity, Market World hosts the video allowing the business to link to it in many different was.   Market World also has an Internet product designed for use in newspapers, such as classified advertisements, to easily link to their specific video that expands on the information provided in the advertisement.

VOX:  Are these videos meant to be promotional pieces or are they more educational with the goal of a soft sell?
 
JACK: Usually in the process of informing, this generates the exposure of the end-user to the potential of solving a problem.    Soft sell is appropriate when the consumer knows that they are on a marketing website.   The video becomes an extension to the online sales catalog and carries with it the necessary links to order the product.

 
VOX: When you are making the video for products being exported, is there anything special that you do regarding exports that you wouldn't do for say a video produced for people in the US?
 
JACK:  The needs of expression are nearly the same.  The area of concern is still related to cultural differences.

 
VOX: We live in a global village, and by virtue of that fact, do business in a global marketplace.  How localized can these videos become to serve their intended audiences?  Do you need to do a lot of research or is it up to your client to prepare the proper scripts and information necessary to produce a video customized to a particular country or region?
 
JACK: They may become very localized, to a particular town, for example, for presenting homes for purchase.   Printed materials, distributed locally with a link, or with the use of other media, such as radio or TV, allow for this distribution.   Specialty websites, such as a community bulletin board, may carry the resource to connect to the information.   Also, publishing on multimedia CD where a vast amounts of information may be listed, including the video, is another way to control geographical limits.   This is important where demographics is important to target specific areas that most likely would need the products.   This is especially true when it is a consumer product for a family.

 
VOX: Do the videos have on-camera actors in them or do you primarily use voice over narration?
 
JACK: The easiest format is voice over narration (as well as lower cost).   This allows pictures and graphics to be presented with the supporting voice.   However, video submitted in a file format (ideal when used with digital cameras as they come with conversion software) to move the video from the camera to a file that can be used in the editor.  Market World uses a built-in hard disk in the camera for rapid transfer.
 

VOX: As part of your service you include voice overs.  What do you look for in a voice talent?
 
JACK:  Individuals that have an adaptability of expression, is most ideal.  Personality is secondary to the extent of generating a feeling of excitement to engage the viewer.   Reading of eBooks “is another story”, except for reflection on characters. 
 

VOX: How involved are your clients in the selection process?
 
JACK: Market World gives some suggestions, but the client is the chooser of the voice actor.   It is presumed that they will have had feedback from others in their business to determine which voice is best for their product or service.   Business administration tend to be male voices, consumer products and services tend to be female, but again, a beauty – cosmetic product from an administrative business-to-business may best fit a female voice.
 
An area for exploration for business is the development of online video for improving the workforce within a business by attracting the best qualified to optimize research and development for the new innovative products and services for the future.   Engineers to engage a solution of energy development and applications is a specific example of a communication focus that specific topic video is able to address.    Thank you for this opportunity to offer some possible solutions with the enhancement of voice actors.

Have you narrated projects like this? Any Comments?

Best wishes,

Stephanie

©iStockphoto.com/Fontmonster

Your studio is your workplace, and also as a voice actor, it's your castle!

When so much of your time and energy is spent behind the microphone, now may be the perfect moment to consider how you can make your studio not only an abode but an inspiring environment that serves as a muse for your performances.

Hear Ye, Hear Ye, Merry Merchants of Voice Over!

Personalizing and revitalizing your workspace is a new frontier for many of you.

Collectively, the only goal that has been set so far in the area of home recording studios is the building of a booth or the acquisition of tools that help you sound your best, but so far no one has really touched on the aesthetics of the home studio and connected them to how the ambience you work in may affect your performance.

Today we're going to take a step into the fashion world and take a look at some neat ways you can personalize your studio, including decor, furnishings, and style that's functional (and affordable) with a focus on ergonomic use.

One great place to look around for crafty additions to your studio is Etsy.com. I was scoping some items out there myself this morning and thought it was an interesting spot to find unique decorations etc. to match any personality and theme.

Your Studio With the Emphasis on "YOUR"

You want to make your studio a place where you can comfortably work, be refreshed, and find inspiration.

Does your studio need some more "you" in it?

Consider the following:

Decor

๏ Family photos
๏ Art
๏ Wall hangings / tapestries
๏ Throws
๏ Accent pillows
๏ Carpeting
๏ Vases
๏ Figurines
๏ Candles

Functional and Fashionable Furnishings

๏ Chairs
๏ Desks
๏ Lamps and Lighting
๏ Stands for scripts
๏ Microphone stands
๏ Portable studio for on the road

Accessories and Supplies

๏ Desktop organizers
๏ Business card holder
๏ CDs, Stationary, Business Cards

Nature

๏ Greenery
๏ Flowers
๏ Sunlight
๏ Windows

Hidden Benefits

Some of the furnishings, decor, accessories and natural elements listed above come with brilliant benefits other than their physical attributes such as additional soundproofing, a touch of the organic, and many will possess the innate gift that creates a "feel good" state of mind for you when you're working and put a smile on your face as you get down to business each day.

A fresh coat of paint may just be the ticket to an energized studio to get you through the winter in good spirits. Who doesn't love a newly painted room every so often?

Affordable Comfort With Personality

It doesn't have to cost a lot for your studio reflect more of your personality. You can make use of things from around your house and incorporate them into your workspace. A little can go a long way.

When you are creating a work space, be sure that it is comfortable, that there is enough light (a mix of natural and artificial light is good) and has sufficient ventilation.

How have you personalized your workspace?

I'm inviting you to do two things:

1. Add a comment about how you have personalized your studio.

2. Send me an email with a picture of your studio environment and I'll write an article next week featuring the studios submitted :) Email me at stephanie@voices.com and use the subject line : "Home Studio Pic for VOX Daily".

Looking forward to getting a glimpse into your home studios!

Best wishes,

Stephanie

©iStockphoto.com/Victor Pelaez Torres

When you're working on a long term or ongoing voice over project, do you set milestones for your clients?

Today, we'll discuss how you can keep your schedule on track and become more accountable for your work by setting goals with reasonable deadlines that mark important phases in the life of a project.

Milestones

Larger projects are often broken up into smaller, more manageable pieces with their own deadlines. These are often referred to as a milestone and include a deliverable, such as a chapter of an audiobook or a set of modules for an e-learning application.

Milestones typically include a deliverable (what's to be sent to the client), a payment (the amount you'll be paid for delivering the goods) and a deadline (when the due date is for the deliverable).

Example of Milestones

A good example of this would be an audiobook recording for a book publisher.

You're presented with an audiobook that contains 20 chapters that pays $10,000. To help manage your time and workload, you offer to batch your work into mini projects, due at the beginning of each month, with the goal of completing the project in four months. This means that each milestone will include 5 chapters and will pay $2500.

Here's how the milestones and payment structure would look:

Chapters 1-5
January 1, 2009
$2500

Chapters 6-10
February 1, 2009
$2500

Chapters 11-15
March 1, 2009
$2500

Chapters 15-20
April 1, 2009
$2500

TOTAL: $10,000

Setting Milestones

When you are setting your milestones, be sure that they are achievable within the parameters given and are also acceptable to your client. Make sure that you pace yourself and only promise what you can deliver upon. If you miss a milestone, your client may start to lose confidence and doubt your ability to get the job done.

Do You Set Milestones For Your Clients?

Looking forward to hearing from you,

Stephanie

©iStockphoto.com/Amanda Rohde

Ever find it hard to explain to people why they should hire a professional voice actor to record their voice overs?

Here are 3 solid reasons you can give them for why they should be working with you and how you can make a difference.

Just Because Everyone Can Talk Doesn't Mean That Everyone Is A Voice Actor.

Yes, strange but true!

I'm sure you've heard similar arguments, but consider the following:

Would you let a mechanic perform dental surgery on you or ask a dance teacher to stop your toilet from overflowing instead of calling a plumber?

Just Having a Great Voice Doesn't Cut the Mustard

Many people are told that they have a great voice and think that they can record voice overs for their own company (or are asked to do so by their boss), but what many fail to see is that it isn't about the voice necessarily, it's about how you use it.

Something else to consider is that a voice over isn't only reading, it's the artistic interpretation of words and the telling of a story with the purpose of getting people to buy in to a concept, strike interest in a product, service, or to simply be entertained.

So, Why Shouldn't People Record Their Own Voice Overs?

1. The voice over won't sound like it was recorded professionally
2. It will cost more regarding time and money than hiring a pro to do it
3. An in-house recorded voice over could actually do damage to a brand

The case is stated pretty well, don't you think?

The last thing any business person wants to do is misrepresent their company, spend more money than necessary, or do injury to their brand image, all of which could very well happen if they record their own voice overs.

If a person is in a position where they have a marketing budget or a budget that is set aside for business operations, they should include professionally recorded voice overs as part of that budget.

Let's Put It Another Way

Clients who hire professional voice actors will save time, money and stress.

Did you know that when a client goes to their favorite engine to search that you're literally 3 clicks or less away from being found and hired by someone who needs your voice?

When companies need a voice over recorded and skimp on the quality (painfully, it shows!), it costs them more money in lost business in the long run whereas as a good voice over recording will make them money and be an investment in their brand, and for the record, that will show too.

Go Forth and Prosper

Be the hero or heroine for organizations that need a leg up in the branding department.

Have you been a super hero today?

Looking forward to hearing from you,

Stephanie

©iStockphoto.com/1001nights

If you've been following the news, US presidential candidate John McCain's commercial voice over talent "Joan", whose identity is deemed a corporate secret, has been a topic of discussion and I've no doubt in my mind that she had to sign an NDA (non-disclosure agreement).

Have you ever had to sign a non-disclosure agreement for a voice over job that you've recorded?

Leave a comment!

Incognito VO

There are many people in our industry who need to agree to non-disclosure agreements for their work and perhaps you're one of them.

I can appreciate why the McCain campaign is keeping Joan's identity under wraps and am aware of many, many NDA jobs that have come to voice talent registered at Voices.com, usually through direct contacts from their profiles.

A certain sweet satisfaction must come from the fact that you're voice is considered top secret and valued so much that they don't want their competition finding out. On the other hand, it must also be frustrating because you are just about to burst and want to let people know "That's Me!"

While I'm not asking you to reveal who you've signed agreements for, I do want to know if you have ever had to sign an NDA for voice over work.

How common are these jobs would you say?

Does any of your voice over work require NDAs?

Looking forward to hearing from you,

Stephanie

©iStockphoto.com/Rob Belknap

What's the biggest challenge for voice actors in today's industry?

It's not getting work... it's self-direction!

Find out more about how you make each performance a dynamite one here at VOX Daily.

Working As a Voice Actor From Home (Alone)!

Before the phenomenon and boom of the professional-grade home recording studio, people in this profession used to go to studios to do auditions and also went to recording studios to complete work they were hired to voice.

Recording at the studio was:

1. Far less of a technical process for the voice actor
2. More social and interactive than being alone at home
3. An environment where voice actors were coached and directed while performing

Evolution

The role of the voice actor has changed dramatically over the years, mainly because recording technology has become more economical and easier to use.

Since then you've been required to take on additional roles and responsibilities such as becoming an engineer, business person, manager, you name it.

What else do you need to do now that you're working from home?

Self-direct!

Voice ACTING

Most voice talent think that they are just delivering a message, but the truth of the matter is that you're acting, just as an actor would on stage or in film with the key difference that you are reliant entirely your voice to communicate subtleties, objectives and context.

When you read a script, you need to prepare yourself for a role, and not just deliver a regurgitation of what is written on the page.

This applies to all applications of voice over, not just animation or commercials; every job that you take on is another role you will perform, even work that you may perceive to be corporate including telephone system voice overs, podcasts or business presentations.

Back to Basics - Understanding Your Role

Who

Decide who your character is and give them a life history. What makes them tick, what do they like, and what kind of person are they? Is your character an influential person?

If you're really keen, write a character sketch, including physical attributes and personality traits. By setting the stage for your character and developing a persona for them, you'll be able to slide into the role and create a more authentic, organic performance.

What

What is your character trying to say? Whose attention are they trying to get? What makes their message important and worth listening to?

If you can distill what the main objective of your character is in relation to the people they are trying to reach or persuade, you'll have more purpose and authority behind your words.

Why

Why should people listen to your character? Why does your character need to share their message?

You really need to get inside the head of your intended audience for this one. Make them care about you and help them to grab hold to your cause by way of artfully communicating the message.

Where

Where is your character when delivering their lines?

You might not think it's all that important, but for context's sake, you need to know where your character is while they are delivering their message. It will affect your read and also make it easier for you to create an ambience if you are using sound effects or a music bed.

How

How is your character relevant to the people they are speaking to? How is your character motivated?

Remember that character sketch you created earlier? Go back to that now, identify the target market / audience for the message and then piece together how your character relates to the audience they are speaking to. What would inspire your character to speak to this audience in particular? How much do they have invested in successfully delivering the message to those people and what is the desired outcome?

Making Art and Having Fun

Now that you've formed your character, know why they are speaking and to whom they are speaking, you're ready to start experimenting with the copy and make meaningful art.

By giving each line a few different kinds of reads and feeling out the copy, you'll be able to direct yourself with greater confidence and achieve the kind of performances you might get when directed by another person.

As many great voice actors have said, it's all about the process and having fun while you're at it.

Series of Three

Using the Series of Three (courtesy Pat Fraley) is an excellent way to self-direct. Essentially, you prepare 3 takes when auditioning or delivering lines for your character when working at home.

The first is your primary interpretation (A), the second is different from the first (B), and the third is mix between takes one and two (C).

Most directors will end up casting your third take, in other words, your C role.

You could think of this as the Goldilocks method: Too hot, too cold, just right.

To add my thoughts to that, you could easily make your C role how you interpret the copy for any voice over job, not just character voice work. You'll certainly notice a difference in how you perform and I'm sure your clients will, too.

How Do You Self-Direct When Recording Voice Overs?

Looking forward to hearing about any tricks or special things you do to help you deliver your best performances!

Leave a comment :)

Best wishes,

Stephanie

©iStockphoto.com/Rhienna Cutler

The face of the Screen Actors Guild may start to look a little bit different this year.

For tens of thousands of people in the acting and voice acting professions, particularly those who are members of SAG and or AFTRA, this change could make all the difference in the world.

Find out more in my special interview with Edoardo Ballerini, a candidate for the SAG Board of Directors and member of Unite For Strength, a group seeking the merger of SAG and AFTRA.

VOX: Thank you for being here on VOX Daily, Edoardo. For those of us who are unfamiliar with Unite For Strength, could you please tell us a little bit about what it is, who is involved and what your mission is?

EDOARDO BALLERINI: Thank you, Stephanie! Unite for Strength is a group of 31 performers running for the Board of the Screen Actors Guild. We are television stars, journeymen, stunt performers, background players, and voice artists. In short, we represent the full breadth of membership. Our mission is to merge SAG and AFTRA so performers are united at the bargaining table once and for all.

VOX: You're personally running for a position on the SAG Board of Directors. What made you want to run?

EDOARDO: Once I started studying the issues facing actors, and the direction our current leadership has taken us in, I felt an obligation. And, not to be too modest, but I think I'd be good at it. My experiences as an actor, having been everything from a day player to a lead, on television and in film, having done commercials and VO, animation and video games, have given me an understanding of what faces nearly every segment of the acting population.

VOX: If elected, what will you bring to the Board of Directors? Do you have any particular goals in mind?

EDOARDO: Unite for Strength has the primary goal of merging SAG and AFTRA. We believe it is in everybody's best interest, and that all other issues pale in comparison right now. Our employers have been merging nearly every year and we should be, too. On a personal note, I would like to bring civility and common sense to the Board. I would also like to spearhead outreach programs to younger members to get them involved.

VOX: One of your running mates happens to be a fan favorite around here, voice actor Bob Bergen. What's it like in the Unite For Strength camp? Are you the only voice actors represented among the candidates?

EDOARDO: Bob is wonderful! A true gentleman, and a sharp mind. Our slate is remarkably cohesive and supportive of each other. Running for office isn't easy, but the group is dedicated both to the cause of merger and to each other. And many of us do voice work. Let's not overlook Marcia Wallace, the voice of Mrs. Krabappel on The Simpsons!

VOX: Edoardo, there's a lengthy list of names listed on the Unite For Strength site that show support, including notable performers such as Sally Field, Alec Baldwin, Tom Hanks and our industry's very own, Don LaFontaine. What's it like to have some of the biggest name in show business supporting the cause? Why are they behind you and your colleagues?

EDOARDO: I am heartened not only that we have "big names" behind us, but who those names are. Tom, Sally, Alec and Don are not only stars, but they are respected and respectful individuals. Their support is rooted in remembering just how important a union is to the non-stars, the people who need residuals to live, and a stable Pension & Health plan for their families. It's important to understand that both sides on this election want the same thing - the best deals for performers. What we differ in is how to achieve these deals. Our supporters believe merging SAG and AFTRA will make that happen far faster than warring between the two unions ever could.

VOX: What can people do to get involved? Do you have to be a member of SAG to be part of this or help out?

EDOARDO: You do have to be a Hollywood SAG member to vote, of course, but there are many ways to get involved. I would like to see younger actors, even those not yet a part of SAG or AFTRA, to take an interest in their future unions, or better still... union. What we do now will affect them more than anybody else. Our website - www.uniteforstrength.com - has a lot of information about us, and our group on Facebook is becoming a great networking vehicle for actors. We're even planning a "live" networking event (imagine that!) for our Facebook group in early September. We're over 500 strong and growing!

VOX: You mentioned that voting has already been open for almost a week. When does voting end and how do people vote?

EDOARDO: Ballots were mailed on the 19th, and I just got mine today. (I confess it was thrilling to vote for myself and all my fellow candidates.) Every Hollywood SAG member in good standing will receive a ballot by mail. They are not due back until the 19th of September, but it's always best to vote right away. Otherwise these things tend to get lost or forgotten. As they say in Chicago, "Vote early, vote often."

VOX: What would it mean for the members of SAG should candidates from Unite For Strength win positions on the board? Is there a certain number of seats available or are all the seats on the board of directors open for new directors?

EDOARDO: There are 55 members of the Board, but only 33 open seats this year. It's a bit like the U.S. Senate or House in that not all seats are up each election. However, a quick glance at the numbers shows that if we get all of our 31 candidates in we would be a majority voice and therefore able to present our agenda of merger without delay. I believe we would instantly be stronger and SAG members would be better protected and represented.

VOX: How would a Unite For Strength Board of Directors affect voice actors? Do you have any specific aims to achieve for voice over performers?

EDOARDO: Voice actors may be the most vulnerable performers when it comes to having two unions, and have been for some time. Merger is essential to us in voice work. Because VO work is so deeply split between SAG and AFTRA, two things happen. First, a performer ends up contributing to two separate Pension & Health plans. And second, a producer can shop between the two unions for a less actor-friendly contract. I know of several VO actors who end up qualifying for neither health plan, but would have easily qualified under a merged union. I also know several VO actors who are working more and earning less. That's not right.

VOX: One of Unite For Strength's main objectives is to unite SAG with AFTRA, an idea that has been bandied around for decades, even brought to the fore by past SAG president, Melissa Gilbert, just to be shot down.

EDOARDO: It was hardly "shot down!" It missed by a few hundred votes, despite an aggressive campaign against it! It actually achieved majority support in SAG at 58.8%, just shy of the 60% needed according to the by-laws. Moreover, an independent study was conducted shortly thereafter that revealed that 78% of members supported merger! So why didn't it pass? Simple. Poor turnout. I think we're starting to see the importance of taking an active interest in our unions! We would not be in this mess today if we had merged in 2003. There would still be issues, of course, but we wouldn't be negotiating with our employers with one hand tied behind our backs.

VOX: I see, although defeated, it was actually quite close and there was a significant amount of support for the motion to merge. That's interesting. I have a few more questions for you, if you don't mind.

a) What needs to happen to make a successful merger?

EDOARDO: There is a long history of successful mergers in this country, the most famous being the AFL and the CIO. I won't pretend that you can just snap your fingers and voila! you're merged. There is a great deal of planning and consideration necessary. But what needs to happen is this: people need to understand how necessary it is for their futures. And it is.

VOX: Why wouldn't people want the two unions to merge?

EDOARDO: The general fears are these: one, that the Pension plans would be at risk, and two, that the union would be too diversified to properly serve actors, that is, that the new union would suddenly comprise a whole lot of "non-actors" like broadcasters. To the first point, people should know that all pension plans are Federally protected, down to the last penny. There is no risk of losing a single cent. To the second point, we are already such a diverse group! We are theatrical actors, extras, stunt players, animation voices, industrial performers, commercial actors, promo voices, stand-ins, and so on. The Screen Actors Guild was once comprised of film actors only. That day has long passed. As a final thought, consider this: any union's ultimate weapon is the threat of a strike. You never want it to come to that, but it's always a union's right if approved by its membership. Today, if we were to strike, the producers lose out on scripted shows, but they can fall back on reality programming, game shows, talk shows, sports, the news, the list goes on and on. Imagine if in this strike scenario, all of that were to come to a halt at once! Now that's real incentive for the producers to make a good deal! Honestly, I haven't heard a compelling argument against merger.

VOX: What has prevented merger thus far? Is it only to do with a small percentage of people in power who don't want merger?

As I said, there is majority support - in both unions - for merger, but it fell agonizingly short. My sense is that people were afraid of the unknown. But the tide has turned. It's no secret now what's happening. We're fighting with each other, and we're undercutting each other. We've had a look over the proverbial cliff. And it's a long fall coming unless we unite for strength.

---------------------

Edoardo Ballerini is a candidate for the SAG Board of Directors with the Unite For Strength slate.

Beyond a well established on-camera career, Edoardo has also worked extensively behind the mic, voicing for Infiniti, Toyota, Sony PSP Talkman, Tyco, BMW, and on the upcoming animated series "Batman: The Brave and the Bold" for Warner Bros. He also recently completed an audiobook of Machiavelli's "The Prince."
--------------------

Any Comments?

Looking forward to hearing from you,

Stephanie

Got Voice?

You've likely heard me say before that your profile at Voices.com is your online storefront.

What if I were to say it's that and could be much, much more?

Find out what's cooking at Voices.com.

Focus Group Update

A couple of weeks ago we posted an open invitation for people to be part of the focus group for the Voices.com redesign.

The focus group was absolutely dynamite, and we're very excited about the ideas and encouragement presented to us as we keep the wheels of progress moving full steam ahead for the voice over industry.

Since the initial round of review, a number of great suggestions have been implemented and today I'm going to share one of the new features that will accompany the re-branded, re-programmed Voices.com website this fall.

The Voices.com Store

This is an idea we chatted about with the community before, but we've taken it to a completely different level and are pleased to announce that very soon every registered voice talent user of Voices.com will be able to sell their own products and set their own prices for those products.

When we first discussed this concept, it was to be for Premium members only at set prices, but after some careful reconsideration and wisdom that the passage of time permits, the decision to open this revolutionary service up to all voice talent and give you the ability to set your own prices was made to serve as many people as possible and rejuvenate the entire marketplace for both buyers and sellers of voice over services.

Products

Products are bundled voice-over services that make it easy for a client to simply hire you, and conveniently by-pass the audition process.

When you create a product, the experience will be similar to uploading a voice-over demo.

Each product will have:

- product title
- product description
- product category
- product language
- product price
- product demo (a sample audio file that exactly represents what the client can expect to receive after they make their deposit)

Here's an example:

Title: Small Business Package
Description: Script writing, voice-over recording, editing, mixing and delivery as an MP3 or WAV file.
Category: Internet
Language: English
Price: USD$200/hour

Just as we review the job postings for spelling, accuracy and content, we'll be reviewing all products before they are included in the store.

Now, you may be wondering, where will the products be sold?

Your Store

As a member of Voices.com, you'll have a section of your profile dedicated to selling products through your store.

In your store, clients can browse all your available products and purchase the ones that will help them complete their audio production by clicking "Add to Cart".

Should you choose not to have any products, the Store will simply not appear.

Voices.com Store

Naturally, we'll showcase all the products in the Voices.com Store, a central starting point where clients can explore and listen to the professionals on the site.

Check Out

When the client is ready to complete their purchase, they can simply "Check Out", an e-commerce process that's familiar to anyone who has purchased online.

As part of the check-out process, the client will attach their script for you to record. The script along with notification of payment is sent to you, so you can start the recording.

Take a look at the cart!

SurePay Escrow

This innovation is further enhanced by having the client make the full deposit in advance, with the funds being held in Voices.com's neutral escrow account. Only after you've uploaded the finished audio file(s), and the client has downloaded and accepted your work as complete will the funds be released to you. This service, known as SurePay protects both you and the client and should a dispute arise, we're here to help.

Feedback

As with other transactions on Voices.com, both you and your client will have the opportunity to provide a "Rating & Review". The rating is a 1 to 5 start rating, and the review is the text portion that supports the 5-star rating.

Call for Focus Group Participants

This is a feature that clients have been asking for and we'd love to really come through on this one. We recognize that the Store will be successful if it's easy to use, and if it's easy for you to create Products. With that said, we need your help.

If you're interested in seeing exactly how this will work, leave a comment and we'll invite you to get a sneak peek at this new development.

Looking forward to hearing from you :)

Best wishes,

Stephanie, David and The Voices.com Team

How are things going?

With so many questions coming in about the new Platinum membership, I felt it would be timely to provide a brief update on how things are going and what has been accomplished after two short weeks.

Successful Launch

The initial press release announcing the Platinum membership has been read 248,216 times according to PRWeb.

This is exactly the type of coverage Platinum members will be receiving throughout the year with their own customized public relations campaigns.

Advertising Network

The Voices.com Ad Network is also experiencing some promising growth. Impressions and click through rates have increased. This means Platinum members are receiving targeted traffic to their personal websites.

Content Production

We've been busy writing and creating new content for each of the partner websites. Each site now has several articles which have been instrumental in attracting new traffic from the search engines including Google, Yahoo! and MSN.

Each of the partner sites also provides a brief tutorial on "How to Hire Voice Talent" that instructs clients on the process of using the website, contacting the voice talent and what to expect after they've handed over their script.

Search Engine Optimization

While some people believe that it takes more than 1 year for new sites to gain top spots in Google, we've proven it can be achieved in a matter of days -- and we're just getting started.

Not only have the home pages of each of the 10 partner websites achieved top rankings in Google, many profile pages are already showing up in the search results. This will be a huge benefit for those looking to improve their own search engine visibility.

Social Media

We're launching some heavy duty campaigns this week, in fact, one of the biggest campaigns we've ever done. Articles and voice talent profiles will soon show up on social networks like Facebook, MySpace, Digg and Twitter. Erica Bontje, Voices.com's Social Media Manager, continues to work wonders in promoting the Voices.com web service and is ready to do the same for these new sites.

Exclusive Insider Marketing Reports

The first Insider Marketing Report is due out at the end of the month and it's going to be mind-blowing. David, our CEO, has been working on creating a powerful and actionable document that will give Platinum members an opportunity to capitalize on a new market that we've discovered.

Public Relations Campaigns

Platinum members waste no time. There are nearly a dozen unique public relations campaigns in planning. Those who've experienced our marketing machine at work know that our proven methods drive huge amounts of traffic in a short period of time. Better yet, we position the public relationship campaigns to have a lasting effect.

Design Updates

Each of the home pages have been redesigned to more prominently feature the professionals who wanted the visibility on the niche voice over sites. Here's what some of the specialized voice-over sites look like now:

TV Commercial Voices

Radio Commercial Voices

Cartoon Voice Talent

Movie Trailer Voice Talent

Business Voice Talent

Phone Voice Talent

Internet Voice Talent

Podcasting Voice Talent

Audio Book Voice Talent

Videogame Voice Talent

Any questions or comments?

Looking forward to hearing from you.

Best wishes,

Stephanie

P.S. To learn more about the Platinum membership, click here.

Do you know the difference between marketing and advertising?

Those two terms are often confused, however, as you'll discover, they are entirely different.

Today, we'll take a closer look at how you can really get a hold on your marketing and advertising activities by clearly identifying what's what and executing on a plan to get your voice over business on the road to substantial growth.

Before we get to the meat and potatoes of it all, here's a couple of definitions and a direct comparison of advertising and marketing:

Advertising

The paid, public, non-personal announcement of a persuasive message by an identified sponsor; the non-personal presentation or promotion by a firm of its products to its existing and potential customers.

Marketing

Marketing is an ongoing process of planning and executing the marketing mix (Product, Price, Place, Promotion often referred to as the 4 Ps) for the mutually advantageous exchange of products or services.

Marketing tends to be seen as a creative industry, with marketing professionals often specialize in one or many of the following areas:

๏ advertising
๏ branding
๏ communications
๏ database marketing
๏ professional selling
๏ direct mail marketing
๏ event organization
๏ field marketing
๏ global marketing
๏ international marketing
๏ internet marketing
๏ public relations
๏ search engine marketing
๏ marketing strategy
๏ social media marketing
๏ strategic management
๏ marketing plan development
๏ market research

If anything is of interest to you or an area you are unfamiliar with I recommend Googling the terms to learn more about those specific topics.

Find a Marketing Professional So You Can Focus on Your Areas Of Expertise

In business, it is wise to learn how to focus on what you do best, and outsource or delegate the rest.

Do a little surfing on the Internet or ask someone in your business network to refer a marketing professional whose service has a track record of proven results.

Always work with people who practice what they preach.

Does anyone have any questions on yesterday's post discussing marketing budgets or today's posts defining advertising and marketing?

Add a comment to join the conversation.

Kind regards,

David

©iStockphoto.com/muharrem öner

Do you have a marketing budget?

Deciding how much your marketing should cost - including how much should be invested in making sales grow - and how that amount should be allocated is completely up to you, the professional voice talent.

Advertising costs are a completely controllable expense.

Marketing budgets are the means of determining and controlling this expense by dividing it wisely among different strategies, marketing channels and service providers.

To Build Sales, Advertise

If you want to build sales, it is almost certain that you will need to advertise.

How much should you spend? How should you allocate your advertising dollars? How can you be sure your advertising outlays (expenditures) aren't out of line?

A marketing and advertising budget helps you set how much you have to spend as well as how you are going to spend it.

What you would like to invest in marketing and what you can afford are seldom the same. Spending too much is obviously an extravagance, but spending too little can be just as bad in terms of lost sales and lowered visibility.

Costs must be tied to results. You must be ready to evaluate your goals and assess your capabilities - a budget will help you to do exactly this.

Percentage of Sales or Profits

The most widely used method of establishing an advertising budget is to base it on a percentage of sales. Advertising is as much a business expense as, say, the cost of labor and should be related to the quantity of services sold, such as billable studio hours, or total revenue from voice-over projects.

In the short run a voice talent might make small additions to profit by cutting advertising expenses, but such a strategy could lead to a long term deterioration of the bottom line.

By using the percentage-of-sales method your marketing spending is directly proportional to the amount of money you are earning as a voice talent. Profits, especially over the long run, should also show an increase, of course, if your advertising outlays are being properly applied.

What Percentage?

You can guide your choice of a percentage-of-sales figure by finding out what other businesses in our industry are doing. This is known as the "ratio of advertising expense to sales". These percentages are fairly consistent within a given sector of business.

As a point of reference, Microsoft currently spends 18%-19% of its revenues on marketing their company.

Other technology companies surveyed [PDF] have reported an overall average of 20.7% of sales reinvested in advertising and marketing, with some companies spending as much as 26%.

Alternatives to Traditional Advertising

The book "The Fall of Advertising and the Rise of PR" makes a persuasive argument that small businesses should avoid costly advertising such as print campaigns and mailers, and focus on public relations as a means of attracting new customers and growing their business.

The Bottom Line

If you're a voice actor and earning $50,000 per year, then it's wise to invest 20% of your earnings, which equals $10,000 in marketing.

Do You Have a Marketing Budget?

Add your thoughts by leaving a comment below.

David

©iStockphoto.com/muharrem öner

Do you have a Facebook account?

Facebook makes it easy to stay connected and share information with friends. You can started a conversation with Facebook Chat, check your friends' latest photos and status updates, look up a phone number, or upload your own mobile photos to Facebook on the go.

The new Facebook design is about highlighting new content relevant to the user and fostering conversations about that content. Today, we'll do a crash course on what's new, and what's changed to help you get the most of Facebook, with a special spin for voice actors.

Home Page

The biggest visual change people will see on the home page is the combination of status updates, wall posts and news feed items into a single content stream.

This is kind of like "whoa!" when you first see it, but there are little yellow tabs that when clicked upon explain how you can make use of the new features and learn how they will benefit you well in advance of the update.

Profile Page

On the profile page status updates and other mini-feed items are also combined. As a user, you're shown a big text box at the top encouraging you to update your status by answering the question "What are you doing...?"

Publishing

The top of the newsfeed now displays links to the publisher box on the new profile. This enables quick access for posting new notes, new photos, new videos and sharing links with your friends directly from your profile.

Groups

There are a number of groups dedicated to voice actors, voice talent and people involved in the performing arts. You can see the new designs of our favorites here:

The Voice Acting Hub

Voice Overs Group

I'm a voice actor...???... YES I get paid to do that!

Voice artists who do dubbing and voiceover work

Fan Pages

Organizations can set-up a Fan Page to represent a business, band, product and more by creating a distinct and customized profile. You get a free presence where Facebook users can find you through their friends, search, and more.

While we're on the subject,
we're inviting you to become a fan of Voices.com :)

Conclusion

The new site design is much cleaner and simplified a lot of the features on the site. Facebook is expected to announce the new design to its users over the coming days. Until then, anyone can log in at www.new.facebook.com to see your new profile and check out the new features and layout.

Any Comments?

Best wishes,

Stephanie

P.S. If you would like to add me as your friend on Facebook, just look for Stephanie Ciccarelli. My photo is Voice Girl just like on VOX Daily.

We're pleased to present you with the results of our Voices.com Q2 Client Experience Report for 2008.

By providing quarterly documentation to our community members, we are able to share how Voices.com has progressed and reveal detailed reports consisting of significant information regarding the experiences of clients (buyers of voice over services) who use the service to hire voice talent at Voices.com.

Highlights

• Voices.com now serves 92,736 people.
• The number of job postings at Voices.com has increased by 130% from this time last year.
• The number of voice talent hired at Voices.com has increased by 548% from this time last year.

Trends

Clients increasingly depend upon polished voice-over demos, custom auditions and quick turn around to complete their projects in a timely manner.

New conferences, educational resources and marketing opportunities are paving the way for motivated voice talent to use this time wisely and leap-frog their slower to adapt colleagues.

Voice Over Demo is Still King

The voice-over demo continues to be the single most important factor in obtaining work. Other factors include the need for an authentic accent or regional dialect, response time on the job posting, proposed turn around time on completing the work, or the client has worked with a voice talent on previous projects and opted to work with them again.

Want to Learn More?

For case studies and more download the Voices.com Client Experience Report now!

Best wishes,

David, Laurynda and the Voices.com Team

As you may have noticed over the past couple of days, a lot about being a successful business has to do a great deal with having a solid vision, living that vision and inspiring others to help you to meet your goals.

Anne Becker, former CEO of the London Public Library, gave a very impressive lecture on what it takes to be a leader who can instill passion and purpose as well as gather a group of committed people who contribute to make the vision a reality.

The first thing a business person needs to realize is that it's not all about them, it's about the team.

Coming from a background where she had once been a General Manager and twice a CEO, Anne Becker was able to express from her own experience just what it means to rally people behind your cause, business or purpose.

How Does This Relate to Voice Actors?

Most voice actors work on their own with little to no collaboration, however, the people you are working for or are working with need to be good leaders, listeners, communicators and participants, not just artists.

What Do People Expect From Leaders?

๏ Inspiration
๏ Communication
๏ Clarity
๏ Direction
๏ Ability to prioritize
๏ Encouragement
๏ An open mind

How Can You Do Your Part?

Make sure that you can remain focused, staying true to the vision and using strategies to streamline the process and add more value.

Execute on what you say you are going to do to align all efforts and empower your team.

In order to make magic, there needs to be cooperation and a firm foundation of trust and mutual respect.

What Happens if People Do Not Cooperate?

There is a huge cost, including:

๏ Not reaching full potential
๏ Failure to engage
๏ Waste of human resources (talent and skill)
๏ An open mind

Leadership Matters

Anyone can be given a leadership role but not all people are good leaders or lead well.

That being said, leadership is not something you are born with, it's a skill you develop over time that presents new adventures and challenges along the way as you increase your field of influence and foster relationships with other people.

Learning how to lead effectively and passionately is a good skill for anyone. You can be a leader within your family, your community, place of worship, organization or corporation.

I attended this conference because although I am not the CEO of our company, I am a leader in my own right within Voices.com, and as I've come to realize, within the industry as well.

Being in the presence of such accomplished women was exciting and encouraging. The fact that I was able to participate and speak directly with them at the event was particularly special.

Finding the Voice of Leadership Within Yourself

To be a strong, authentic leader, you first need to be clear on:

๏ Develop your Vision
๏ Be Disciplined
๏ Have Passion
๏ Follow your Conscience

See all of the possibilities and identify how you can make a difference. To have a vision and lead with your vision, you need to be a dreamer, a people believer, an enabler, empower others, be hopeful and strategic.

People seek leadership from those whose vision and passion comes straight from the heart, a vision that is crystal clear, authentic and committed.

I pray that as I continue to grow in my role I will have your support. Thank you for reading this series of lectures. I hope they've been of service to you!

Any comments?

Best wishes,

Stephanie

Dr. Theresa Topic, former principal of Brescia University College who has recently retired from her post, gave a lecture called "Do You See What I See?".

The goal of this presentation was to help those in positions of leadership align people behind their vision by offering value, attainability and benefits directly related to their participation.

Voice actors can use this information when building a team of service providers around your company to help you succeed and when applying for work.

How Do You Inspire People to Follow Your Vision?

a) You need to find people who are willing to sign on

b) You need a vision with power and strength that will speak to all

1. Believe in the Vision, Understand the Vision, Explain the Vision

You need to sell a vision and keep the end result in sight. As a voice actor, this means to live your vision out and be able to communicate it clearly to those with whom you wish to work with and serve.

2. Do All You Can to Enthuse and Engage Others

This could mean communicating, innovating, making use of word of mouth, cheerleading and being able to articulate your vision.

3. Be Flexible

Understand that the vision must change and evolve as others become involved.

What does that mean?

Simply that if you expand your team to include a secretary, personal assistant, producer, or otherwise, you need to allow the vision to be embracing of view points other than your own. By listening to those you work with and respecting their ideas, you empower them and give them more reasons to feel more closely knit to your vision to help you achieve your goals.

Let It Fly

Dr. Topic detailed an example of how strategic planning was conducted at Brescia to provide a forum for discussion and feedback.

Town Hall Meetings occur at Brescia on a regular schedule giving people including the faculty, staff, students, physical plant workers and others who are involved in the Brescia community the opportunity to congregate and openly discuss how they feel they could make Brescia a better place, asking questions such as "Where should Brescia go?"

A mixed blessing at times (obviously, not all feedback will be positive or applicable), the outcome is certainly worth it, but Dr. Topic also emphasized that you have to say "No" sometimes.

4. Understand Your Role

Although you are the head of your company you have to realize that other voices can be of benefit to you. Your voice alone is not sufficient when it comes to drawing people other than yourself into your vision. These voices might be your teacher, agent, studio engineer, vendors, legal counsel, peers, or family members.

Recognize and Reward Participants

We all appreciate having our work acknowledged. The best way is to track success so that it can be recognized and singled out appropriately. A little recognition goes a long way.

6. Entertain

In order to sell your vision, you'll need to be able to entertain and tell a story that captivates those you intend to gain support or work from. For instance, if you're auditioning and submitting a proposal, you can use that opportunity to paint a story about how you will serve them using elements of your vision to persuade.

7. Keep the Vision in Mind

Keep the end result in sight. People need to see that they are on course and heading toward their goals. This could mean presenting a client with a detailed outline of your workflow should they need it. Keeping in touch and communicating often will be a welcome change for people who need reassurance or are on a tight deadline.

Any comments?

Thanks for reading,

Stephanie

IWIL Conference

A few weeks ago, I attended a conference for women's leadership offered at Brescia University College’s first Institute for Women in Leadership (IWIL) professional development conference for women on June 19th, 2008, with the inaugural conference program entitled, "When opportunity knocks, are you ready?".

The focus of the stream I was in had to do with leadership and what it means to have a vision.

Do you have a vision for your voice over business? If not, learn more about how you can write one here at VOX Daily.

Three very intelligent women lead the sessions I attended, each successful in their own regard with a wealth of knowledge to share.

The first lecture was presented by Janet Frood of Horizon Leadership Coaching and Consulting called "Creating a Compelling Vision". I'll be highlighting Janet Frood's lecture today.

Janet began her talk by saying that most people want a vision and not many people or organizations have a clear vision.

What is a Vision?

A vision is a written declaration of what your objectives are as a businessperson and justifies why your company exists. A vision is forward thinking and focused.

Here's an example of Brescia's vision:

Brescia will be the university college of choice for women seeking an inclusive community of learning that combines academic excellence with opportunity for service and leadership.

Gets to the point elegantly, doesn't it?

The Role and Purpose of a Vision is:

- To create common ground
- Make work flow more efficiently
- To assert alignment
- Lets other people know what direction your business is going in
- Distinguishes the role and aspirations of your company
- Provides inspiration
- Answers the question of "Why am I here? What's my purpose?"

A vision should be built upon an inspired foundation and be able to evoke emotions complementary to achieving the goals at hand.

How to Develop a Vision

Go to a quiet place where you can think. Make it a place where you feel comfortable and energized. You'll need to create your own space to feel grounded and at peace -- be sure to develop your vision in that place.

Keep these 3 words in mind when you are brainstorming:

1. Purpose
2. Vision
3. Values

Articulating Your Vision

When you are articulating your vision, use powerful, positive language. Paint yourself a metaphor and imagine all of the possibilities, in other words, think beyond the horizon line.

Answer this question:

"What do I want to create or change in the world?"

Use the answer you come up to flesh out and guide your vision. Remember that visions have to be fully integrated, lived, and breathed or else the vision will not be fulfilled.

Visions Can Change Over Time

Circumstances may cause you to change your vision in the future. You may find that you need to reevaluate basic things like why your company exists and re-identify what makes you unique.

When Do you Know You're Fulfilling your Vision?

You'll know when you are striking a chord and resonating on new levels with those you encounter. If your customers know your vision, for example, like how fans of Apple identify with them, you're doing very well.

Honor your values and make your vision statement a living piece of yourself that can be shared with the world.

Do You Have a Vision?

Share your vision with us here on VOX Daily as a comment!

Looking forward to hearing from you,

Stephanie

Oil and Water

Public skirmishes between SAG and AFTRA have got the unions in the headlines quite a bit in the past few months.

To sum up, AFTRA went on to talk up the Alliance of Motion Picture and Television Producers (AMPTP) on their own after suspending their joint bargaining agreement with the Screen Actors Guild, and came out with some kind of solution.

AFTRA's parent union, SAG, is now embroiled in talks following their expired contract (July 1, 2008) with the AMPTP, bargaining for more money and residual pay. The AMPTP has made their final offer (July 2, 2008) and SAG requested more time to study it. No further meetings are scheduled at this point.

There's a lot going on between SAG and AFTRA

AFTRA has an election coming up this fall and SAG is currently running a campaign of their own to the chagrin of AFTRA. For two unions that represent a significant portion of the same people and overlap in a variety of ways, it would be nice if they could get along for the sake of their members, or as some have suggested, merge and unite under one banner.

Where does this leave those in the middle? Is there a middle?

As SAG and AFTRA continue to spar, take a moment to read this article written by a former union member with Financial Core status, Lani Minella, and her take on this often intentionally neglected yet very real dues paying non-member union designation.

Financial Core VS Union : The Real Deal

By Lani Minella

Okay everyone, I'm sure I can tick off a lot of people by opening up this Pandora's Box, but I really want to clarify a few things which I'm happy to expound upon later if asked.

Financial core = a dues paying "non-member" who's allowed to do union and non union work.

The only thing they can't do is vote on union issues and IMHO (in my humble opinion), the union doesn't ever consider it's members' votes anyway.

Yes you can join as Fi-Core even though many union peeps may try to tell you otherwise. It is not true that you have to join as union first and then go fi-core!

Where some agents stand

There has not been a talent agency union franchise agreement in place for over a year and a half. The agents got ticked at the union trying to tell them how to run their offices and denying the agents the ability to earn extra money by either teaching or co-producing projects and as a result, agents have nothing against you being Fi-Core and there's no stigma involved.

No clients will ever know you are FiCore

That is something the union wants to keep a secret because once it gets out how many people are Core, the union would have No Clout at all. When a client Station 12s the list of talent that will be used on a union project, they submit the talents' social security numbers and the union responds with either the words "Okay, Must Join, or Taft Hartley" beside each actor's name. Charlton Heston who once was the president of SAG was Core and there are tons of well-known actors who have gone that route.

Most talents do not know that a client has to pay 60% extra on top of the actual union wage to the payroll company to cover state and federal taxes, the Health and Retirement 14.3% and the 10% agency fee.

These are the union rates for interactive VOs as of 1/1/08:

Up to 3 voices or 4 hour day = $759
Additional voice = $253 per voice
6-10 voices or 6 hour day = $1,518

Here's a rate not many people know exists: 1 voice/1 hour = $379.50

If you do a cartoon (that's direct to DVD) you only get the half day rate for the entire full first day. If you work beyond the first day, rates return to the above. Not sure if this is different for cartoons that are aired.

As FiCore, if you work a union gig, your 14.3 % is still paid and goes toward your possibly qualifying to buy your own health coverage. You have to earn a minimum of $15 K a year as a single actor to be able to purchase union health coverage. It's not free.

If you're union and considering going FiCore

If you are already union and considering going FiCore, all you have to do is fax or mail your union office a letter stating that effective immediately you are going Financial Core Status and you wish your dues to be adjusted accordingly. You won't save more than about 90 cents on dues, but after they get your letter, someone will inevitably call you to try and talk you out of your decision.

They will tell you how it could cost you over $1000 to reinstate yourself to full union status (why would you ever need to?) and they will try and tell you how you are hurting the union's ability to best serve you. That's BS. As I said, no one will ever know you are FiCore except the union and you. I was full union status for SAG and AFTRA for over 15 years and I went FiCore about 2 years ago. Never a problem.

You have to mail them back your precious membership card (Big deal--go to Kinkos, make a color copy and frame it if it's so dear to you.)

No one will ever ask to see your card.

If you go to a union job, you are considered union.

Agents can talk freely about FiCore now without thinking a Mobster from the union will slit their throat.

Here are a few issues I have about the union.

It's supposed to be a national union that we belong to. But instead of facilitating us being hired outside our locale, the union makes a client prove they've done an earnest local search for talent and couldn't find anyone with your qualifications before they are "allowed to bring you into their locale." Technically with everything being electronic nowadays, this seldom presents an issue, but when it comes to travel fees, it can cost the client more than your performance to pay for your travel anytime you go outside the 30 mile radius from the nearest union office... figured on $139/per hour and 39 cents a gallon for gas. Boy they sure don't pay well for gas. Anyway, your mileage is figured out using something like MapQuest from your door to the studio's door.

Being that our union offices in San Diego closed years ago, LA is considered our office. But if we try and get the travel fees we are entitled to as union members, LA clients will either find a local talent or say, "If you want the job... all it pays is scale... take it or leave it."

Yes the union will fight for you if you tell them to, but you will soon be blackballed in the industry if you do.

So even though we belong to a national union, it's rather discriminatory as far as making jobs universally user-friendly to actors in different cities.

Same thing goes if you have a problem getting an agent or a problem with the agent you have. The union will follow up on a complaint if you file one, but they will admit that if you stir up things, you'll soon be on the undesirable list.

I respect anyone who doggedly stays totally union, but I merely wanted to point out some facts which few people know to allow everyone to make up their minds based on truth rather than rumor.

NO one will blackball you if you are FiCore. On the contrary, agents love it when they can send you out on every kind of job. And no clients talk to each other comparing notes about how much they paid a certain actor for different jobs.

I've had people think FiCore means we don't pay dues, but we pay 99.99% of the same dues as every other union member. We don't save $5 anymore either for belonging to both unions. Membership dues are also increased every time you earn more with each union job.

Here's the last thing many people don't know about collecting unemployment from a union job. Just like our normal unemployment works by being cumulative... once you reach a certain quarter, every union job you work for will allow you to go collect unemployment the day after you record for that client.

Yes you can even do that as a FiCore member as long as the job was a union job. They say the LA unemployment office has a special side door for the big stars to collect after they finish their multi-million dollar movies.

What's bad about this is how this client you worked for, who may have several full time employees at their business that they pay unemployment insurance for... maybe hit with a rate increase for their unemployment if they start getting a lot of claims by actors who may have only worked for them in a studio for an hour.

And here's the final question which few people can find an answer to;

Of all the Health and Retirement contributions we've put into the kitty over the years-----what can we expect to reap (dollar-wise) when WE retire?

If anyone knows that answer, please share.

Lastly, people have considered legal action against the union because it seems unethical to be a dues paying NON member. How can you pay dues to NOT belong to something?

But no one has followed up with that idea because the union is it's own CLUB and can have its own rules.

Best to all,

Lani

~~

Any comments?

This article was republished here with the purpose of facilitating a conversation.

We are welcoming opinions from all perspectives on this issue.

Best wishes,

Stephanie

©iStockphoto.com/TIM MCCAIG

The Platinum Membership includes your very own Voices.com website as well as listings on 10 niche voice over websites, a public relations campaign, ad placement on the Voices.com advertising network, and all the features and benefits of the Premium membership, including 100 MB of storage for your MP3 voice-over demos, videos, priority ranking in the search results, unlimited Featured Talent Directory listings, and access to the industry's hottest freelance voice-over jobs.

The team at Voices.com has thoughtfully considered suggestions and feedback presented to us by our members and is now prepared to meet this need by offering a higher level of service at our website exclusive to 100 voice actors on a first come first served basis.

Is opportunity knocking for you?

Create a Website

At Voices.com, we know that there's more to you than just your voice. We see your website as your storefront on the Internet. Your personal voice talent website (http://yourname.voices.com) will advertise your services for you. You can easily create your own website and optimize it for the search engines, no programming skills required. Simply fill out the registration form to build your elegantly designed voice over website. Choose your Personal website domain name by selecting a username for your account.

Job Opportunities

Audition for all of the voice-over jobs that interest you and meet your capabilities. Job postings are sent directly to your email box the moment they are approved by the Voices.com staff. You can read job details and audition online by submitting a brief message, price quote and MP3 demo. There are 80-100 jobs posted every week and you can tailor which notifications you wish to receive by completing your profile and setting your preferences.

Unlimited Featured Talent Directory Listings

Gain visibility throughout the Voices.com website by having your name and voice-over demos listed in the Featured Talent Directory. The categories in the directory are often the first place clients go listen to demos that are specific to their needs. By clicking on your name, clients are linked to your Voices.com website where they can learn more about you and your voice-over services.

100 MB of Online Storage

Securely store multimedia files online. Showcase your voice-over demos and headshot on your Voices.com website. You can even host PDF and Microsoft Word documents. Once uploaded, these files will appear on your Voices.com website, available for clients to review.

Accept Online Credit Card Payments

Accept credit card payments online using the industry standard escrow service SurePay to receive payments directly to your PayPal account. When a client hires you at Voices.com, they are directed to a secure payment page where they enter the amount of money they are paying you using the Voices.com SurePay escrow service. Alternatively, you can use your regular billing methods to accept funds for depositing to your business bank account.

Listings on 10 Partner Websites

Be listed on any or all 10 niche voice over websites and expand your reach in the voice over universe. We'll craft a profile for you and work together to help you promote your voice through each partner website. Clients looking for very specific kinds of voice overs will be drawn to the partner site that best meets their needs, placing you directly in the path of prospective customers seeking the perfect voice for their project.

TV Commercial Voices

Radio Commercial Voices

Cartoon Voice Talent

Movie Trailer Voice Talent

Business Voice Talent

Phone Voice Talent

Internet Voice Talent

Podcasting Voice Talent

Audio Book Voice Talent

Videogame Voice Talent

Advertising Network

How's your market visibility? As a Platinum member, you'll get a large banner ad placed throughout our advertising network, which includes Voice Over Times, the industry's online news source and the 10 Partner Websites. Your ad will be a 300x250 graphical ad, which is the Internet Advertising Bureau's standard ad unit and the generally accepted best performing ad size. Voice Over Times, currently receives over 100,000 page views per month from thousands of unique visitors including RSS and email subscribers. Visitors invests a significant amount of time reading the headlines, articles, reviews and how-tos on the website.

Graphic Design

Need a banner ad designed for you? Part of this innovative service offering is graphic design. We'll create an advertisement for you that will promote your website and invite more visitors to listen your voice. You can also make use of the graphics for your own marketing purposes.

Press Release Writing and Distribution

Twice a year, our team of internet marketing gurus will craft a press release informing the media and online visitors about your recent successes. Since we've developed strategic relationships with partners, vendors and media outlets, we guarantee that your press release will be included in Google, Yahoo! and MSN.

Insider Marketing Reports

Want to know what's going on in the industry before everyone else? As a Platinum member, you'll receive exclusive monthly reports that will not be accessible or distributed anywhere else as well as heads up on insider knowledge before it hits the marketplace and news wires. Each report will include future trends, current affairs and marketing strategies.

Expert Service & Support

If you need us, we'll be there! Call us toll-free, send an email, fax the office, or click online to have a Live Chat. We also have a spectacular knowledge base with over 500 solutions to voice-over questions. Customer Service is one of our specialties.

Price

The Platinum Membership fee is USD $1995.00 / year and is designed with people in mind who are serious about expanding their territory, getting the word out about their voice and attaining more visibility online like never before.

If you’re a professional voice over talent that wants immediate, targeted traffic from the industry leader, we’d love the opportunity to work with you.

Sincerely,

Stephanie and the Voices.com Team

This post is an article that precedes a very exciting announcement that we'll be making tomorrow on VOX Daily.

I'd like to give you a glimpse into a new service we'll be offering effective Wednesday July 2nd, 2008.

Not entirely letting the cat out of the bag, I can tell you that we are about to reveal a new service offering to buyers and sellers in the voice over industry.

This new service is designed with people in mind who are serious about expanding their territory, getting the word out about their voice and attaining more visibility online like never before.

There will be a fee, and the service will be limited to the first 100 people.

Voices.com has created 10 websites geared toward buyers of voice over services who want to commission application specific voice over recordings.

You can read more about each website below and view screenshots to get an idea of what's coming up.

TV Commercial Voices

TV CommercialVoices.com is a site where producers, videographers, copy writers and advertising agencies can impress their clients in record time with the best possible voice talent selections on the web to record for their television commercial voice over needs.

Radio Commercial Voices

Radio Commercial Voices serves people at radio stations and creative ad agencies who need to hire a voice talent to record for broadcast radio commercials to be aired locally, regionally or nationally. Of course, voice talent listed on this site can also be hired for internet radio. When a client visits this site, they'll be able to find and listen to the voice of their next commercial quickly and easily.

Cartoon Voice Talent

This was a fun site to design! At Cartoon Voice Talent, we welcome people who are involved with the casting of voices, creative directors, agents and talent scouts. This site is ideal for finding unique voice samples for television cartoons, animated films, and animated programming for the web and wireless devices.

Movie Trailer Voice Talent

This site is designed to help individuals such as filmmakers, members of a creative team, or independent producers complete their movie trailer voice over quickly and in style.

Business Voice Talent

Business Voice Talent is suited to helping businesses, whether large, medium or small, connect quickly with a limited variety of the finest voice talent available today in the realm of corporate voice over narration. Whether someone is in need a voice over for a powerpoint presentation, awards ceremony or sales meeting, they will be able to help you find exactly what they're looking for.

Phone Voice Talent

This site is geared toward people who need to find a voice to record and brand their telephone greeting, auto attendant, Interactive Voice Response (IVR), corporate phone tree, on hold marketing, and the ever popular, voicemail. Voice talent are also available to record for ring tones, automated messages, and personalized voice greetings.

Internet Voice Talent

Outsourcing voice over for your Internet needs is fast and exciting when you use Internet Voice Talent. This website is catered to website designers, developers, web masters, creative departments and people who work in advertising and marketing who need to present their clients with something exciting and visionary.

Podcasting Voice Talent

Podcasting is literally for everyone! Serving the independent podcaster, podcasting networks, and those who are offering a corporate podcast to their customers, Podcasting Voice Talent is a superb site that helps people to choose the best voice to represent their podcast, deliver messages and engage their listening audience.

Audio Book Voice Talent

The Audio Book Voice Talent website is created specifically for audio book publishers, authors, and agents who need to find and hire a narrator to breathe life into their written words, whether it be the narration of a beloved classic or a publication hot off the press. In the past, you had to have an "in" with publishers or know somebody who would refer you, however, technology has leveled the playing field a great deal and independent publishing houses routinely search for and hire voice talent online to find that perfect voice to narrate their audio book.

Videogame Voice Talent

This site is designed to help videogame producers, audio directors and casting agencies find the best voices working in the videogame industry today. Whether someone is looking to hire just one voice talent or a whole troupe to complement their cast of characters, Video Game Voice Talent is the best place to can find freelance voice over professionals who record for videogames.

Want to learn more?

To find out more about the new service offering and how you can get listed on these sites, stay tuned for tomorrow's VOX Daily!

Best wishes,

Stephanie, David and the Voices.com Team

I'd like to share something with you that we've just created!

At Voices.com, we've instituted a new guarantee for clients (buyers of voice over services) that is both simple and powerful.

Want to learn more?

Our 24-Hour Guarantee

We guarantee that by posting your voice over job at Voices.com you'll receive responses from qualified voice actors within 24 hours of your job posting being approved. Literally, within 24 hours, you could be smooth sailing down the road to project completion!

Tackle Tight Deadlines

Need to hear some voices and have a tight deadline? What if you could streamline the hiring process to such a degree that everything you needed to do to find a voice was done and over within 24 hours? At Voices.com, we offer more than just a run of the mill solution to you help you meet your goals... our company is proud to present a guarantee that we stand behind 100%.

$100.00 Credit

If you don't receive any responses to your job posting within 24 hours of it being approved by our team, we'll give you a $100 credit to put toward the hiring of a voice talent at Voices.com.

We can confidently give you this guarantee because we have the best freelance voice actors in the world, from all over the world, promoting their services at our voice over marketplace ready to work for you.

Qualifications

To get the fine print out of the way, this is what you need to know in order to qualify for the guarantee:

1. Your job must meet our Job Posting Guidelines (Download 1-Page PDF).
2. The language of the script must be in either English, Spanish, French, German, or Italian.
3. Your job must be posted as a public job posting available to all eligible members of the site, not just one person.

By using our quick and easy outsourcing service, and with the assurance of our guarantee, you'll be getting responses in record time that are within your budget in 24 hours or less.

Now that's service ;)

Do you have a guarantee? I'd love to hear about it!

Add a comment by typing in your thoughts below. If you are reading this in your email, simply click here to get to the VOX Daily site on the Internet to read the article and add your comment.

Best wishes,

Stephanie

What happens when you compromise on price?

Quoting lower than what you feel your services are worth ultimately decreases the overall value of your services to both you and your prospective customers.

As I've heard it said by my friend Rodney Saulsberry, beauty is not only in the eye but also in the ear of the beholder.

There is great veracity in that statement which has stood the test of time and still rings true today.

Moments ago, I personally answered an email with regard to this subject. Normally I don't answer questions of that nature off the blog but today I felt called to do so. The reply I sent inspired me to share the same message here today on VOX Daily with you as it is a message that is good to hear again and also one that will be new to some of you when presented in this context.

Selection = Subjectivity

Imagine combing for shells on the beach, purchasing a rare find at a garage sale, or selecting a wedding dress or tuxedo.

You don't just pick anything up, do you? No, you're careful to turn a shell over to spot any cracks, look for that diamond in the rough, or try on an outfit to see how it complements your features. As Joan Baker and Rudy Gaskins would say, It's about selection, not rejection.

Each person will have their own idea of what is the most desirable, best meets their needs and fully represents their image.

By virtue of the fact that everyone is unique, the selection process is incredibly subjective with myriad possibilities, wants, and requirements to fulfill.

You Will Get The Jobs You're Meant to Get

Considering how subjective the selection process is, it's reasonable to say (if not calculable), that you will not get every job you audition for, nor will you be the only business person who can fulfill those needs.

Wise professionals realize that there is a voice for every project and a project for every voice. They know they aren't going to win them all but have faith and conviction that they will win the jobs they are perfect for without having to compromise.

Lowballing is a Proverbial Death Sentence

You could have the perfect voice for a client, but if you're quoting lower than your norm just to get attention to win someone over, you'll then become the person with the perfect voice who charges the least amount of money when you could have been the person with the perfect voice whose services were well priced and well paid for.

If any of you are struggling with this issue I hope that this article may be of some help or inspiration to you.

Are there any comments?

Best wishes,

Stephanie

©iStockphoto.com/Kais Tolmats

This week, Lisa Rice is the featured lecturer on Voice Over Experts and I'd love to share her unique episode with you today on VOX Daily.

The topic Lisa chose to present is something that will help you with day to day business operations when working with your clients.

As Lisa says, there is something extremely satisfying about a job well done.

Links from today's show:

Lisa Rice Productions
Lisa Rice on Voices.com

Your Instructor this week:

Voice Over Talent Lisa Rice

Lisa Rice is an experienced communications professional. She landed her first radio job as a disc jockey at eighteen. Then, an announcer/producer stint with Trans World Radio took her to Guam. After graduating college with a degree in Communications, she began producing, writing, and directing. Her one-on-one interviews have extended from the White House and Capitol Hill to Nashville.

Other experience includes on-camera work, print modeling, sales, marketing, and motivational speaking.

Voice work has been Lisa's passion since she first discovered the thrill of recording - when the red button is on, so is she! Her voice-over work includes customers and organizations from a wide range of business and corporate levels as well as advertising and marketing agencies, radio and television stations, non-profit groups and ministries. While voice work has been a mainstay, her production experience helps meet the expectations that accompany results-oriented, deadline-driven production work - she knows that your time is as valuable as your project.

What do you think of Lisa's episode? Leave a comment with your thoughts!

Looking forward to hearing from you,

Stephanie

P.S. If you want to hear more of these expert podcasts, visit the Voice Over Experts website to listen and subscribe for free through iTunes.

The world of talking toys is big business.

Everywhere you look, there are toys that talk, whether they be stuffed animals, plastic action figurines, dolls, racing cars or otherwise.

You can walk into literally any department store and find an assortment of talking toys that represent an exciting and entertaining aspect of this industry in the realm of character voice acting.

Have you and your voice over business been sharing in those profits?

Talking Toys

Growing up, there were few talking toys that I can remember, some of which include a storytelling Teddy Ruxpin stuffed animal and a talking computer that said "Press the red button... ah ah ah, press the red button... Your score is (some ridiculous number)".

Circling back to the present, as a parent I've discovered that you come across many different kinds of toys, and yes, inevitably, toys that talk and quite a bit more than I remember from back in the day.

Recently, we received a set of toys called "Rescue Heroes" made by Fisher-Price. Being the voice over enthusiast that I am these toys in particular were very impressive.

Not only do the Rescue Heroes toys have incredibly well produced voice overs cast with excellent talent, the people at Fisher-Price have also dedicated a website with interactive games that incorporate the use of voice over in addition to using voice over in the DVDs that are for sale.

You can listen to some of the voice overs for the Rescue Heroes while playing the games.

Are You The Voice of a Talking Toy?

Many of you have performed the voice of a talking toy before and I'd like to give you the opportunity to share which toys you have recorded for.

Who knows, maybe one of your colleagues' voices resides in your toy room!

Let the comments begin,

Stephanie

Did you know that when you audition at Voices.com, you don't need to type in a new proposal message from scratch each and every time?

If you haven't discovered and made use of this feature, Templates is the private storage area of your account that can be used to create and store text templates used for audition purposes.

It's really easy to use! Learn more about Templates and how they can speed up the auditioning process here at VOX Daily.

Templates

As we briefly covered earlier in this article, you can prepare ready-to-use audition proposals called Templates stored privately within your account at Voices.com to be used when replying to job opportunities posted at the site.

To add a note to your Templates, visit My Account and click on the Profile tab and then click on the link called Templates.

Good To Know

๏ The New link in Templates allows you to create a new template
๏ Edit allows you to edit an existing template
๏ Delete allows you to remove an existing template

How Do I Create a Proposal Template?

๏ To create a new template click on New
๏ Give your template a name, ex. "Commercial Audition" template
๏ Once finished click Save and this template will be listed in the template drop down list ready to use when you are auditioning for a job

* You can also create a template from the actual auditioning screen

What Should a Proposal Include?

A proposal should include:

๏ A greeting to the client (by name if possible)
๏ An introduction of yourself
๏ Why you're interested in the project
๏ List a job or client that relates to the type of project you're auditioning for
๏ Your quote or an explanation of your quoting method

Sample Template

Check out this screen shot. I have the full proposal for you to use in text below but wanted you to see these words in action as they would appear on the auditioning screen.

Full Proposal

Dear Client Name,

Thank you for the opportunity to be the voice of your project. I've recorded a custom sample of the script for your consideration.

This project is of great interest to me as I am familiar with your industry. It would be my pleasure to help realize your vision and bring your script to life.

Should you have any questions, feel free to contact me through Voices.com.

Looking forward to working with you,

Voice Actor

Practical Application

This is where things get exciting... you have direct access to your created templates each time you audition.

For those of you who already make use of this feature on a regular basis, you know how well it saves time and effort when auditioning.

At this point, all you need to do is select the template you feel is most suited to the job you are applying for from a drop down box and then customize the proposal as necessary.

Do You Use the Templates Feature? How Has Templates Helped You?

Looking forward to hearing from you,

Stephanie

Want to pick up a new English dialect for your voice over business?

Check out IDEA, which stands for International Dialects of English Archive, featuring audio samples of dialects for theatre and film artists.

International Dialects of English Archive

The International Dialects of English Archive, IDEA, was created in 1997 as a repository of primary source recordings for actors and other artists in the performing arts. Its home is the Department of Theatre and Film at the University Of Kansas, in Lawrence, KS, USA; while associate editors form a global network.

All recordings are in English, are of native speakers, and you will find both English language dialects and English spoken in the accents of other languages. The recordings are downloadable and playable for both PC and Macintosh computers.

Listen to and Research English Dialect Recordings From:

๏ Africa
๏ Asia
๏ Australia-Oceania
๏ Caribbean
๏ Central America
๏ Europe
๏ Middle-East
๏ North America
๏ South America
๏ Special Collections

These are further broken down into regional accents.

Usage

It is free to listen to and download these audio samples for personal use, however, there are certain restrictions on the usage of the files for other purposes as IDEA holds the copyright to the recordings and text files.

Also, stage and film producers take note:

It is fully expected that actors, writers, directors and others will make use of the archive for research in film and stage productions, though it is requested, as a courtesy, that such use of the archive be acknowledged in the play bill of a theatre production, or in the closing credits of a television or feature film as follows:

SPECIAL THANKS TO IDEA (International Dialects of English Archive)

Have you found IDEA to be useful to you?

Best wishes,

Stephanie

Want to be cast based upon your voice and not your quote?

For those of you feel you should be cast based upon your voice and not because of what you've quoted, I am going to propose something that should help remedy that age old concern and level the playing field as well, ultimately making it easier for clients to quickly pick a voice and for you to be hired without having to quote.

PLEASE READ THIS BEFORE COMMENTING

We've received some valuable feedback and were also able to make some clarifications where there were misunderstandings as well as raise the rates from what they were initially when this was posted earlier today.

This feature is not active yet and we are looking for feedback now so that we can make the feature the best and most seamless that it can be.

Any positive feedback is welcome with regard to what you feel the rates should be.

What's up?

Many of you have voiced concerns regarding what you suspect some people may be quoting at online marketplaces and feel that there is likely lowballing going on that gets those voice actors the jobs.

While at Voices.com the vast majority of people quote within the set budget ranges, it is a known fact that there is a degree of underbidding that goes on within the industry as a whole.

After much thought the team at Voices.com is about to implement something new that will put both clients and voice actors in the fast lane while evening the quoting field so to speak by removing the quoting process.

Interesting, but what do you mean and how will this work?

Essentially, we're going to add a new set of categories, similar to the Featured Talent directory, and each category will have reasonably priced packages that clients can "Buy Now!" selecting from a variety of featured voices listed in that category.

Example

Let's talk about the forthcoming radio commercial packages categories.

Clients will be able to buy packages for their radio commercial voice overs. There will be individual packages, all priced appropriately, for small, regional and national markets. These rates are based upon the non-union standard rates sheet for voice overs at Voices.com.

The client reviews the samples that are listed within the radio commercials category and once they hear a voice that suits their commercial, they'll have the ability to "Buy Now!" just like on sites such as eBay.com.

This process, by virtue of set pricing, eliminates the need to quote which in turn eliminates underbidding and dispels the myth of seeking out that "magic number" to quote when auditioning.

If you've read between the lines, you'll also notice that there is no auditioning involved, a perk for those who have no time to audition but certainly do have the time to cut voice tracks and be paid for their work.

What Happens After a Client Clicks "Buy Now!"?

The client will make a deposit using SurePay for the advertised price of the package they are purchasing.

This is where things become slightly different

For those of you who are familiar with the workings of SurePay through auditions, you know that the transaction fee is added on top of the price you quoted (i.e. you quote $100, client pays $110), however, with "Buy Now" prices for packages, the transaction fee would be included in the advertised price so that clients know right off the bat that they are buying a package for X number of dollars and not be surprised by an additional fee at the point of sale.

We've found that although SurePay is very effective and many people use it, clients who b