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Getting paid

Career Advice, General

My correspondent Ann asks an important question:

Hi Bob,

I just got a lead through Voice123.com and was wondering if you would please advise as to how to bill. Should I require 50% upfront and the remainder due upon delivery of finished VO? They want it by Sunday.

I was asking previously for 50% down, but another Voice Talent advised against doing this, stating that it can turn some people off.

What do you think?

Thanks,
Ann

My reply?

Ann,

I’ve been doing voice-overs professionally since 1983. Not once in that time have I ever asked for any money up front. I do normally ask that payment be made “Net 30” or if that’s not likely that I be given a reasonable estimate of when payment can be expected. (Net 30 means that payment is due in full by 30 days after the date of the invoice, which is normally the date of the recording session.)

I too would advise against asking for any payment upfront.

By the way, in all of this time, I have only been left “unpaid” twice. Once by a furniture store that was going out of business. Once by a man I thought was a friend. On the other hand, during that same stretch of time, I’ve been paid by literally thousands of different clients.

I hope this helps.

Be well,
Bob Souer

Dealing with rejection

Career Advice, General

This comment was e-mailed to me by my frequent correspondent, Ann, in response to my previous note to her:

Thanks Bob. The only problem I have is in getting discouraged after doing so many auditions, competing with a ton of other people. It starts to feel like a waste of time.

Are you familiar with Taldia? I came close to getting work with them. I did all these auditions they wanted only later to find that my bid was rejected for being too high! I tried to negotiate at that point. In fact I didn’t even remember my original bid. I do know it had to have been within their budget. It just seemed really unfair that they would expect me to submit all this extra audition work, only to tell me later that my bid was too high!!

And here are my thoughts in response:

Ann,

Your comments underscore one of the most significant attributes required of someone who is going to work in the voice-over business. You have to be able to deal successfully with rejection.

No one (at least no one healthy) likes being rejected. But, as you are learning, being rejected is the single most common experience in this business. And this is the pivot on which it all turns: you can either see each rejection as something happening to you personally. Or you can see each rejection as a way of discovering which opportunities aren’t right for you at this time. In other words, each time you get rejected, you’ve eliminated one more obstacle between you and a paying job. Once you’ve cleared away all of the remaining obstacles, you’ll reach your immediate goal: getting that paying job. That leads to the next quest, which is finding out how many obstacles remain between you and your next paying job. As so on, and so on.

You’ve mentioned that you have a couple of children and a husband. I suspect that means that there are some areas of your life that, no matter how well or how often you do them, still need to be done again and again. Dishes? Laundry? I don’t want to be sexist in my assumptions, but pretty much every mom and wife has some areas of recurring responsibility of one kind or another. Whatever the case, these are simply examples of other areas of your life where this same principle applies.

The challenge, in other words, is to manage one’s expectations. Yes, it’s unfair to ask you to audition multiple times only to reject your bid as too high. But, at the very least, you received several additional opportunities to hone your auditioning skills. You made it through a number of levels of the process. By the way, at least for me, anyone who rejects my bid because it was too high is someone I don’t want to work for anyway. I want to concentrate my efforts on people who value what I have to offer, not on those who are just trying to get something cheap.

I want to be encouraging to you, Ann, not discouraging. I hope that comes through in what I’ve written here. It is tough being rejected again and again and again. But, stick with it and you’ll find some fruit for your labors.

Be well,
Bob Souer

And I hope these thoughts have been encouraging to you, as well.

Finding work, part 5

Career Advice, General

Ann,

I noticed that I had failed to answer this question:

By the way, how many auditions do you think the prospective customer actually listens to?

Ann

I’m sure this varies quite a bit from client to client. I do know that no matter how many people have auditioned for a job, if I think I’m right for the job and I want the work, I always audition. And I know for sure that at least twice I’ve been picked out of a pile of 200 or more applicants.

In fact, just the other day, I got a call back from an audition I did where I was one of 16 who were asked to re-audition from a group of more than 200 auditions.

So, the short and sweet of it is, if the job is appealing to you, go ahead and audition. You just never know. Well, you do know one thing: if you don’t audition, you aren’t going to get the job, no matter how right for it you may be.

Be well,
Bob Souer

Finding work, part 4

Career Advice, General

Here are the latest questions from my correspondent, Ann. I’ll post both questions here, and my responses below them.

Ok, Bob, here’s another Q for you.

When you answer a job post, what type of letter/ proposal do you submit along with your file.

AND

Do you always do a custom demo when that’s requested or do you submit a generic?

I have more questions where these came from!!!

Ann

And my replies:

Ann,

Most of the time, I include only a short “thank you” comment for the opportunity to audition. If it seems like the situation might call for it, I sometimes include my website URL and/or my cell phone number. And even more rarely, I may include a comment about some of my experience or equipment if the job posting seems to require such an explanation. For example, one post recently asked about having some Christmas holiday music added behind the voice track. I indicated in my reply that I had such music in my library and already licensed for such use.

As for the matter of custom demos, yes, if one is requested, I always record one if I’m going to respond to the post at all. I’ve previously commented to you that I don’t reply to every lead/job posting I receive; but if I’m interested and a script is provided, I always record a custom demo.

There are two main reasons for this. First, most of the time clients don’t ask for a custom demo unless they need one. Second, because I want the client to hear how I sound on their actual copy, rather than having to guess what I might sound like based on my standard demo. And to be candid, I don’t believe I’ve been cast a single time yet based on my standard demo. I would guess I’ve received a few leads based on that demo; but no one has contacted me for work (so far as I know) on that basis.

I welcome your next questions.

Be well,
Bob Souer

Finding work, part 3

Career Advice, General

This is another in my continuing series of questions and answers from a correspondent named Ann. I had written to her previously:

But, yes, if people call to ask you to audition, you do need to make the audition; or they’ll stop calling you.

Her follow up questions were:

Ok, that makes sense. But when are the auditions usually held? Mornings? Days? Evenings? Is there any leeway given to Moms with kids?

And my reply:

Ann,

Auditions are normally held during business hours Monday through Friday. Of course, is writing that, I’m talking about the kind of auditions you go somewhere to record (casting agent, production house, etc.). The auditions from a web site like Voice123.com, as I think you know already, come in when they come it. Rarely, if ever, are ‘in person’ auditions held at any other time. And if there’s any leeway given for Moms with kids, I don’t know about it. If you’re calling to be at a casting agent for an audition at 2:00 PM on a Thursday, you’d probably better plan to be at the casting agent’s office right at 2:00 PM on Thursday, if you want a shot. Of course, when they call to schedule you for the audition, and the time requested doesn’t work, you can see if it’s possible to schedule for a different time slot; but that’s not always going to be possible.

Be well,
Bob Souer

Finding work, part 2

Career Advice, General

Here are some follow-up questions from my correspondent, and my reply.

Hi Bob,
the key thing for you is to find a good agent who can get you auditions there in your market. You’re non-union, which limits your options somewhat. But, I believe there’s plenty of work if you can find an agent who will get you auditions.
You say here that being non-union limits my options. Would you please explain a little more about that.

Also, would you know of any agents you might recommend? As I have 2 school age kids it’s very challenging to make myself available for auditioning. However if it’s local, that is [in my county] I have a little more leeway. But [going into the city] is totally out of the question. As I was reading in one voice over book you are expected to be available at the drop of a hat for auditions. Working at home allows me more freedom than that. So, I’d love a little more guidance from you there.

Finally, as far as bidding on a job goes, have you ever UNDER bid from the posted budget? At this point I’m ready to bid “FREE” just to get some work already!!!

Thanks so much,
Ann

And my reply:

Hello again, Ann…

In the New York City, Los Angeles and Chicago markets, especially; but in every large city in the US, the vast majority of the decent paying voice-over work is union only (AFTRA or SAG). This applies to commercials for radio (most often AFTRA) and television (most often SAG) as well as narrations for non-broadcast projects. Some non-union work exists of course, but it generally doesn’t pay all that well.

On the other hand, you’ve commented that you’d be willing to do work for free, just for the experience. A young lady I knew in Pittsburgh a few years ago did just that. At the time I was the program director of a small cluster of radio stations there. She contacted me and offered to do voice-over work for the station for free, just for the experience. Within a year, she had gained enough confidence and experience that she was starting to book paying work. The last time I talked with her, she had found an agent and is doing a decent amount of work each month.

So, perhaps that is something you could do. Call the local radio stations there in [your county] and volunteer. It would be a win-win situation, as the station would get some free voice talent and you would gain some valuable experience.

Honestly, I don’t know anything specific about agents [in your market]. Most likely those that are there do more than just voice-over representation. They probably also represent models and on-camera people. Look in your yellow pages or search through Google or Yahoo. Then call and ask if they work with voice-over people. If they do, find out if they will give you a shot.

But, yes, if your agent calls to ask you to audition, you need to do the audition; or they’ll stop calling you. An agent only makes money on you if they book you work, so if you won’t/can’t audition, they aren’t going to be able to get you much work and won’t see you as a valuable talent for their roster.

Under-bid? No. One of the strange paradoxes of this business is that if you sell yourself too short, you actually eliminate work you could be doing. If people think of you as available for $50, then you may not be considered for a job that pays $1000. This is why I don’t audition for jobs that pay too little. And I’ve booked multiple jobs that paid $1000 or more through Voice123.com, so I know it can be done.

I hope that’s answered your questions. You’re welcome to write more, if you like.

Be well,
Bob Souer

Finding work

Career Advice, General

Recently I received an email from someone new to the voice-over biz, asking for some advice. Here is the text of the email sent to me, with the contact information removed to preserve the privacy of the sender:

Hi Bob,

Thanks for sending your email address so that I could contact you. As a relatively new talent (subscribed early 2005) to Voice 123 and Interactive Voices I am seeking advice as to how to actually get work on these sites! Would you have any tips for me in this arena?

I look forward to your reply,
Ann

Hopefully my reply will be valuable to the one who asked, and to you:

Hi, Ann…

I took a few minutes to listen to your demos on Voice123.com before writing back. Clearly you have some real talent. It appears to me that you’ve studied hard and worked to put into practice what you’ve studied. Good for you.

As for actually getting work, I can only tell you what I’m doing. After you read the following, you may not think my advice is worth much. (Indeed, it’s likely not worth much more than you’re paying for it. 😉 ) In the last 2 years I’ve auditioned for about 400 jobs. I’ve booked about a dozen of them. Doesn’t sound like all that much, but I’ve made back my subscription fee both years within a month of making the payment. Indeed, I made back my subscription fee several times over within the first 2 months each year.

Now then, to the specifics: As the public leads come in, I evaluate them on the basis of a few factors: Is the client/project something I’d want to work on? (I don’t voice anything to which I object morally, legally or ethically.) Are they paying enough that it’s worth my time? (I don’t audition for anything that pays less than $100 for a spot, or less than $250 for a narration.) How many people have already auditioned? (If the project is marginal to me in any way, and there are more than 50 auditions already posted, I don’t bother auditioning. If the project is strongly appealing to me, I’ll audition even if there are 300 already posted.)

My reasons for listing all the things I DON’T audition for is because it makes little sense (to me anyway) to audition for stuff that I’m not really right for, or that I’m not that interested in. Most of the time, if I audition for that stuff, I don’t get it anyway. I want to give full measure to every audition I do, giving myself the best possible shot. If the project’s not interesting to me or the money’s too low, it’s going to be hard for me to give full measure to the audition.

Having given the audition my best shot, I move on. I never worry about the projects I don’t book. All that would do is drive me crazy trying to figure out what I did wrong. Did I ask for too much money? Did I pick the wrong approach to the copy? Etc., etc., etc. A complete waste of time and energy. Instead, I concentrate on making those that do hire me as happy as humanly possible. For example, any project, no matter how large or complicated, I do all revisions for free. Even if it’s because they change their mind and want to do different copy. Now, I’m not completely crazy. If the entire script is different, that’s not a revision; that’s a whole new project. But, if it’s a few paragraphs, or even a significant chunk, I’m not finished until the client is ecstatic.

Oh, and the money thing? The reason I don’t audition for projects below those levels is because I don’t want to give anyone the idea that I’m available for less than that. If someone has a good, charitable, cause and can’t afford my rates–they can ask me for a free recording session. I’ve done a number of them over the years. And happily. But, only for causes in which I believe and to which I want to contribute.

Maybe some people are making their living off what they book on Voice123.com. I’m certainly not doing that well. The key thing for you is to find a good agent who can get you auditions there in the New York market. You’re non-union, which limits your options somewhat. But, I believe there’s plenty of work if you can find an agent who will get you auditions. Again, auditions you’re right for.

I’m financial core with both major broadcast unions; but the bulk of my work is non-union, too. My main agent is actually based in Pittsburgh, PA and he gets me a bunch of auditions, not just in Pittsburgh, but lots of places. I do far more work through him than through Voice123.com.

So, I hope this has been helpful. If you have any other questions, I hope you’ll write back. I do have a couple of questions for you: how many different Voice123.com people did you contact and ask for help? How many have responded?

I’m going to post your question and my answer to by voice-over blog (https://bobsouer.com/blog/). I don’t use your name in the blog post unless you give me permission; but I do appreciate the opportunity to write down some of these thoughts.

Be well,
Bob Souer

Summit 2005, Day 2 cont.

General, People

Now that several more days have passed, I want to offer some further thoughts about the second day of this year’s Summit. The seminar with Pat Fraley was completely original, with virtually no overlap with the presentation from last year. Both the 2004 and the 2005 Summits are available through Dan O’Day’s online catalog. It took up the entire morning on Saturday.

Now, to the substance. One of my key observations is that it’s amazing how great minds parallel one another. For example, Pat talked about 3 key questions to use when examining copy. Those questions are:

1. What?
2. Who?
3. Where?

To flesh out those questions: (Much of the following is paraphrased and or quoted from Pat Fraley’s notebook handed out at the Summit.)

The first question is “What’s the story?” Pat said all other analysis of copy depends on clarifying the story. If we’re not clear about what the story is, we cannot clarify the story with any other skills. Nor can we make any performance choices.

The second question is “Who are the characters?” Who am I playing? Who are the other characters? Or, who am I speaking with or to? Background clues are sometimes included in notes with the copy and others are included in the copy itself.

The third question is “Where does the story take place?” In other words, what’s the scene or what’s the geography? The scene guides us toward a specific way of delivering lines.

Now, take a moment to look at this previous post and notice the remarkable convergence between Dick Orkin’s three questions and Pat Fraley’s three questions. (When you’re done reading that post, click the back button on your browser and continue from here.)

One comment made by Pat Fraley that I think is extremely important: warm and friendly is dead! Why so important? Because “warm and friendly” is my “default” read and I’ll bet maybe yours too. Or, if you’re a woman, “warm and sexy” which he didn’t say, but I suggest is just as dead. So, if you want to keep your voice-over career alive and moving forward, then it’s time to push yourself (myself!) out of the comfort zone and into something more intentional.

By the way, why is “warm and friendly” dead? Because, while at one time that sound meant “sincere” or “trust-worthy”, today it means “fake” and “insincere.” Really.

Leading Man Test

General

I almost never take these, but thought I would try this one out. I found it while reading this post at the Shot in the Dark blog.

Jimmy Stewart
You scored 26% Tough, 0% Roguish, 61% Friendly, and 14% Charming!
You are the fun and friendly boy next door, the classic nice guy who still manages to get the girl most of the time. You’re every nice girl’s dreamboat, open and kind, nutty and charming, even a little mischievous at times, but always a real stand up guy. You’re dependable and forthright, and women are drawn to your reliability, even as they’re dazzled by your sense of adventure and fun. You try to be tough when you need to be, and will gladly stand up for any damsel in distress, but you’d rather catch a girl with a little bit of flair. Your leading ladies include Jean Arthur and Donna Reed, those sweet girl-next-door types.Find out what kind of classic dame you’d make by taking the
Classic Dames Test.
My test tracked 4 variables How you compared to other people your age and gender:

free online dating free online dating
You scored higher than 45% on Tough
free online dating free online dating
You scored higher than 0% on Roguish
free online dating free online dating
You scored higher than 99% on Friendly
free online dating free online dating
You scored higher than 9% on Charming

 
Link: The Classic Leading Man Test written by gidgetgoes on Ok Cupid

Summit 2005, Day 2

General, People

It’s been a week now and I’m still trying to get my mind around everything I learned during this second day of the Summit. Mostly because of the 3 hour Super Session on Saturday morning, featuring Pat Fraley. If you don’t know who Pat Fraley is, read his bio; which gives you only a tiny glimpse of all that he’s done. You’ve heard his voice hundreds, more likely thousands of times in the last 25 years. You just didn’t know it.

What a remarkable experience it was learning from this guy who is one of the true masters of the art and craft of voice-over.

The single greatest contribution Pat made during his 3 hour session was through the tools he gave us to analyze copy. Not only how to read the copy and understand it; but how to make slight adjustments during the audition process, to stand out from the crowd and book more work.

I’ll come back and edit this post with more detail in the next few days, as I continue to absorb everything I learned and more importantly as I begin to incorporate what I learned into my own auditions. Meanwhile, let me close for the moment with this suggestion: Invest $25 and get yourself a copy of Pat Fraley’s book “The 9 Critical Skills to Voice Over Excellence”. It’s available in Pat’s online bookstore. And most likely, it will be the best $25 you spend this year, at least professionally.

Summit 2005, Day 1 cont.

General

In my last post, I noted a few of the highlights from the closed door session on Thursday evening for us “Repeat Offenders.” The main event started this morning at 8:30 AM. We registered as we came through the door. A real treat was that this year we got to meet Dan’s 12 year old daughter Sarah, who helped check us in as we came through the door.

Sarah also found a place in the spotlight a bit later in the day, which I’ll mention in more detail in a moment.

The first main session was called “Your Station Imaging Blueprint”. Candidly, I had very low expectations for this session because I don’t write or produce station imaging; though I am the image voice for a few radio stations around the country. It turned out to be more valuable than I thought, because there was a lot of interesting ideas about ways to approach copy-writing. And I’m convinced that as we learn to write better, we get better at voice-over work.

Following this 3 hour session, we took a lunch break and one of my fellow repeat offenders, Steve Scellick came by our lunch table asking for donations of a dollar for Sarah (Dan’s daughter) who wasn’t being paid for her work. We all laughed and kicked in a buck. Then someone, I think it was Steve Cummings, mentioned the idea of writing a promo based on some of what we had just learned in Dan’s session, and using that as the way to present our little gift to Sarah. At that, Steve, Steve and I left for the main conference room to start writing. Here is the script we created:

An injustice has been uncovered. A wrong that must be righted. Somewhere in Southern California lives a young lady, (we’ll call her, uh, Sarah) trapped into a life of uncompensated servitude. Like any 12-year-old, she wants a new iPod. Fortunately, also in Southern California, a group of charitable souls hae gathered to help overcome this sad circumstance, to the tune of $39.00. To make the presentation on behalf of these charitable souls, here is Steve Scellick.

I was appointed the reader of this copy, and it worked out perfectly, because the first session after lunch was a half-hour set aside so that people who had written something based on our morning session. I waited until several others had gone first with their serious attempts at writing and then stood and walked to the back of the room. When it came my turn, I read the piece. We all got a great laugh out of the deal and Sarah got $39 toward her new iPod. It was great fun.

The afternoon then continued with a session called StorySelling. It was a decent review of the nuts and bolts of how to use stories to create effective radio advertisements. For me, it was the least valuable of the day’s sessions. That was a bit of a surprise, because I expected to get a lot from this one and very little from the first session and it turned out to be just the reverse.

The day ended with a panel discussion featuring 4 people (3 men, 1 woman) who used to work full-time in radio and now work full-time as voice-over people. A number of valuable insights and experiences were shared. The most valuable, from my point of view, was offered jointly by Ann DeWig and Steve Morris. They were talking about dealing with a director who gives a line-reading. Ann commented that this nearly always happens only when the director/producer doesn’t know what he or she really wants, so he or she resorts to a line reading. Steve mentioned that after he’s given a line-reading, he’ll often take a very humble approach and ask to help understanding exactly what they’re looking for. Are there any words that might help illustrate the idea.

Dick also mentioned, related to transitioning to being in business for oneself, that we need to take a serious approach to the business side of things. He recommended a book called “The Idiot’s Guide to Writing a Business Plan.”

Two web sites were mentioned: voiceoverresourceguide.com and voicebank.net.

Summit 2005, Day 1

General

The 10th Annual International Radio Creative and Production Summit is taking place this weekend (August 19th and 20th) in Los Angeles. As I’ve written previously, I didn’t attend the first one in 1996; but I’ve been to every one since.

I considered trying to live blog the event, but decided not to because I attend these events to learn and didn’t want to be distracted with the blogging. So, here are some thoughts and comments from the first day’s events.

Everyone who comes to a Summit more than once is called a “Repeat Offender.” I fit in what I call the category of habitual offender, along with two other guys who’ve also both attended nine times. Dick Terhune of Captain Mercury Productions and Steve Cummings, who teaches audio production at the University of Southern California. And I mention this only because we have a Thursday evening “Repeat Offender Only” closed door event each year before the main summit gets under way.

Here are a couple of thoughts from that session last night:

1. There are a lot of people working in radio production, especially at local radio stations, who are getting very burned out. One way to combat the burn out is to pick one’s battles more carefully.

2. Even bad commercials can work better than no commercials at all; usually not as well as good ads, but not always. Sometimes we have to divorce ourselves from the way we feel about a particular commerical and, if it’s successful, let it be.

3. Sometimes we’re victims of our own success. We can’t see what could be better, because we’re already doing OK and don’t want to risk trying something different. As a result, we never see that the “something different” might be much better than our current situation.

4. Remember to ask for something in return when someone asks for a favor. It might be an endorsement comment or something similar.

5. Submit articles to various journals and trade publications. When you’re in print, to at least some people, you’re automatically an expert.

Two book recommendations – Winning through Intimidation by Robert Ringer. Jump Start Your Brain – Doug Hall.

A memory, A lesson

History

A few days ago I was talking with a friend about one of those turning point moments of life, a moment that took me by surprise. I’d been working at a suburban Chicago radio station for about a year and a half at the time. My first radio job and the place where I got my start doing voice-overs. Or, at least where I got my audition, as I’ve written previously.

So, I’d been working at the station, WKKD-FM (long since changed formats, owners, call letters, etc.) for about a year and a half when I learned that a big Chicago station was looking for new announcers. I called and asked for an interview with the program director and amazingly enough got an appointment.

A few days later, I’m in the office of that station (part of the old Century Broadcasting company) in the John Hancock Building. The format of the station I was applying at was Beautiful Music. (link in .pdf format) The same format WKKD-FM had at the time. After I get there, the receptionist tells me that the program director will see me in just a few minutes. Then I waited. And waited. And waited. Finally, after about 45 minutes, she tells me that the program director is dealing with a crisis but that he would like me to wait if I can and meet with him when he’s free. Since I’d taken the day off, I had the time. I waited some more. Finally, he came out and got me. (I so much wish I could remember his name!)

We sat in his office and chatted for a minute. He then asked me if I brought my demo tape with me. I said, “yes” and handed him a 5″ reel. Yes, this was a LONG time ago! I thought that would be that. He would take my tape, thank me for coming down, and tell me that he would call me back. Instead, he turned around and threaded the reel onto a deck he had sitting behind him in his office and pushed “play”! He listened for a few minutes. Asked me a couple of questions about the format of WKKD-FM and then stopped, re-wound the tape and handed it back to me.

Then he looked at me for a couple of seconds and said, “Bob, I think you have just the kind of voice we’re looking for. I don’t know when my next position is going to open up, but I’ll stay in touch and let you know when we have something for you.” I was stunned. And elated. And the most amazing thing is that he did just that. He called me about once a month for the next 7 months. The 7th time he called, he had a job for me. I took it and it was one of the best things I ever did professionally. At least in those early years.

So, what did I learn from that experience? Just this: you never know when you’re going to be thrust into the spotlight. You’d best be prepared, because opportunity doesn’t often knock more than once. While I certainly haven’t been perfect about putting this lesson into practice, if you’ve read other posts on this blog, you know I’ve managed a few times, anyway.

A painful lesson

History, People

One of my mentors taught me an important but painful lesson years ago. Armand remains a good friend today. He’s now the General Manager of WWCA in Gary, Indiana. When we met, it was while we were both working at a now defunct radio station in the Western Suburbs of Chicago, WKKD-FM.

Armand had been a Program Director and had worked in sales for several radio stations at the time I met him. He sized me up right away as someone who needed a lot of help. And he was very willing to share his knowledge and experience.

We worked together again a couple of years later at another now defunct suburban Chicago radio station, WCRM-FM, where he was the Sales Manager. I was working as Afternoon Drive jock and Production Manager and one day as I arrived for work, the General Manager called me in to his office to tell me that he was promoting me to Program Director. Whew!

Thankfully, Armand was there. He coached me through the next several months of baby steps as I learned how to lead a staff and oversee the programming of a station.

So, what was the painful lesson?

Armand is also a very talented voice-over guy. His voice is pitched a little higher than mine, but he understood years before I did that the “big announcer” thing was going away.

So one time, back when we lived in the Chicago area, Armand and I both auditioned for a voice-over job. A couple of days later, he called me very excited, because he got the job. My reaction? Oh, it was very mature. I believe my exact words were, “That’s the last time you’ll ever beat me.” That’s right. I might as well have stuck a knife in his back.

He was quiet for a moment, and then simply said, “I’m not so sure that’s true.” As soon as he said that, I realized how hurtful I had been. And more importantly, a moment later I realized that my arrogance might well have been part of the reason I didn’t get that job. I had just assumed that I was so good I didn’t really have to work hard on the audition.

I’m very grateful for all of Armand’s help years ago. And even more grateful for his enduring friendship (and patience with me) to this day.

How to sound like a real person

Career Advice, People

I’ve written before about working to get out of the traditional ‘announcer’ mode and into something that sounds more like a real person.

Maybe you’ve smelled the coffee brewing and you’ve realized that the voice-over business is moving away from announcers. And the pace of that movement is growing with each month. And before long, you’re not going to get any decent paying work anymore. So, you want to start on this journey too.

Here are a few concrete suggestions, some of which I’ve done. Some of which I wish I had the time and/or money to do. But, all of which, I’m convinced, will help you. They are in no specific order.

1. Listen to people. Real people. When you’re in an airport, a bus depot, the grocery story, a restaurant. Listen. How do people really say things to one another. (We’re the weird ones, you know. The ones who actually pay attention to the commercials on the radio and TV. And if you mostly listen to commercials, especially radio commercials, all you’re going to do is make it harder for yourself.) Listen, especially, to situations where someone is telling a story. Maybe it’s about the ball game, or the dance, or getting plastered. The point isn’t the content of the story, it’s the way people speak when they’re telling stories. Especially telling stories to their friends.

2. After you’ve trained your ears for the way real people talk. They way they slur through certain words or sounds, but not others, that kind of thing. Then listen to yourself. Listen. Do you notice how ‘good’ you sound? Only, in this case, good isn’t really good. It’s fake. Phony. And it’s hurting your career. Identify what separates you from real people.

3. Take some acting or even better some improv classes. This is a site with some intruction on learning improv. Even better would be to take a class from someone who really knows his or her stuff. Like Pat Fraley. Or Susan Berkley.

No doubt there’s a lot more. I’ll add as I think of them.

Mr. Alexander

History, People

One of my greatest influences was a quietly excellent radio man named Ken Alexander. He was the Operations Manager of the station once know as AM82 WAIT, Chicago. I had the great good fortune to work with Ken for two years in the early 1980s.

Ken was the man who taught me that witch and which are not pronounced the same. That diamond has 3 syllables. And a million other little details that have given a polish to my voice and speech that I could never have learned without someone like Ken to make it possible.

I wish I had some links to direct you to, but WAIT is no longer. Even the station where Ken went after WAIT (WNIB) is no longer. And Ken was such a self-effacing, humble man, he was almost invisible…unless you knew where to look. I’m so very grateful that I learned where to look.

Something else I love

General

I’ve written before about how much I enjoy doing non-broadcast narrations, but here’s something else I really love: getting a call from someone who really understands the way things are moving. It doesn’t even matter to me if they decide to hire me or not. Reading great copy in a style that connects with where people are today is a sheer delight. I hope to have many more such experiences in the months and years ahead. Yeah!

More about non-broadcast

General

I’ve written previously about how much I enjoy working on non-broadcast projects. Recently I’ve been working on a project that’s taught me a lot about how local government, specifically how the local board of elections in a North Carolina county, works. It’s been quite fascinating. Just another reason I love doing this kind of work.