Donna Papacosta of Trafalgar Communications blogs at Trafcom News and recently pointed out an article that has some sage advice for all of us involved in communications, including voiceover work.
The article is called “Wanna be respected by executives? Talk less and listen more.” I think you’ll find it well worth a few minues of your time.
Career Advice, General, Getting started in Voiceover, People
Remember, we are also in sales is the title of a thread you need to read on the Voiceover Bulletin Board, especially the first post in the thread written by Dan Nachtrab. Not only is Dan a talented guy (listened to his demos, you’ll see what I mean) he’s also a really nice guy, as I’ve noted here previously.
I often mention and link to people here whom I admire for one reason or another. People like Charlie Glaize, Mary C. McKitrick, Philip Banks, Pat Fraley; and if you read through the archives of my posts long enough you’ll find others.
Why do I admire these folks? Because every one of them has something valuable to teach me and you. Actually, several valuable somethings.
So, then, the system mentioned in the title, as posted on the VO-BB.COM:
Pick up the phone and
Have an
Informal chat with someone who
Looks for voice overs.
Introduce yourself and ask friendly questions
Pay attention to the answers
Bring your web site into the conversation
Ask if they would like to receive a demo CD
Never ask for feedback if you do send one
Keep your interaction friendly
Say thank you for their time
(Philip concludes with this aside: Lucky for me no one believes that it works!)
(Update) Here is another pass by Mr. Banks at this information, from a slightly different point of view:
The quick start programme.
1 Get a list of around 100 telephone numbers of people who use voice overs.
2 Call them. Introduce yourself “Do you ever use freelance voice overs in your productions (assuming yes) Great! May I send you a demo CD? (do not pause) You’re allowed to say no by the way. That’s wonderful.” (Confirm details and say goodbye)
3 At the end of the phone session send the demo’s. Your target is to have sent 50 by the end of this exercise.
4 Give it a few days and then call again. Introduce yourself again. “I spoke to a few days ago and promised I’d send you my voice over demo and I’m just checking in with you to ensure it’s arrived safely”. DO not ask for feed back, do not ask for feed back. When they say yes and usually start to say “but I haven’t had chance to listen….”. Say clearly that you weren’t looking for feedback you were just checking it had arrived, say thanks again and add you look forward to hearing from them. You’re dying to ask for feedback aren’t you? Don’t you [edit] dare!!!
That’s it, end of process. After a few weeks and 50 demo’s if you have not had one person hire you it’s unlikely anyone ever will. If one person hires you that could be luck, if two people hire you then you’re onto something.
(edited to correct typos)
On Friday, March 3, 2006, Elizabeth in Cleveland wrote in to Ask Yahoo! with the following question:
Who does the movie trailer voiceovers and what kind of money do they make?
Have you spent any time thinking about how someone looking for voiceover talent, someone who finds your voiceover web site, gets in touch with you?
Bryan Eisenberg, a very insightful man in the world of online marketing, wrote an article last month at ClickZ that you should read. While the article deals mainly with larger companies, I think the advice is applicable to all of us who have websites.
I know after reading the article, I’m going to make a couple of changes to my site later today.
Oh, and a hat trip to my friend Anthony for leading me to this article.
My friend, and a very talented voiceover guy, Charlie Glaize pointed me to an interesting Internet post the other day, an interview at Quick Stop Entertainment with Maurice LaMarche, professional voice actor.
I think you’ll find it well worth a few minutes of your time.
Brian Haymond, a very talented fellow voiceover guy, has just started a blog and his first post is well worth your time. Yes, you read that right. A first blog post that’s worth reading. I know. Doesn’t seem possible, but, it’s true. (Mine certainly isn’t. Sheesh.)
But, the main reason it’s worth your time is because in this post, Brian details how he made the leap from working for someone else full-time to doing voiceovers full-time.
(updated to fix typos)
This post is the first of what I hope to be a significant number of interviews with people I think you need to meet, and who have valuable and important advice and comments.
I’m starting with Mary C. McKitrick because (as may be true of you), she’s not been at this business for a tremendously long time. And because, while she has a lovely voice (you can listen to her demos here to see what I mean), it’s her approach to the voiceover business I most admire.
My first question for Mary: What was it about doing voiceover work that attracted you?
Mary: When I started out, I saw voiceover as a way to develop an interest in accents that goes way back to childhood. I didn’t know that that is a small part of the average voice actor’s work. My first field research in my previous life as an ornithologist was on song and dialects in birds, so I liked the way the new career could tie into the old. Thanks to very targeted marketing, I get to use and develop accents much more than I could even a few months ago.
My second question for Mary: Were you afraid, as you launched out in this new direction?
Mary: If I was, I don’t remember. When it comes to careers, I’ve always been very goal-focused and tend not to pay much attention to what the obstacles might be. I mean, I worry, of course, but I hope it’s productive worrying.
My third question: How have your life experiences, professional and otherwise, influenced your approach to voiceover work?
Mary: In a big way! I come from a science background and was a museum curator for years, so I’ve chosen to specialize in medical narration as well as narration for museum exhibits – along with the character voices and accents which as I mentioned are a long-held interest. I’ve always loved languages and would like to be able to do voice-over in German, French and Spanish too – we’ll see!
My fourth question: How do you deal with all of the rejection?
Mary: What rejection???
But seriously. I know my voice is not right for every, or even most voice-over jobs. But the people who like it, like it a lot. And they are frequently very interesting people who are a joy to work with. So that, plus the fact that it’s fun, keep me going. When times are slow, I know that before long they’ll be busy again, because that’s what has always happened so far.
My fifth question: How do you measure success? Or, how will you know that you’ve “made it” as a voiceover talent?
Mary: I am successful now, because I set out to do voice-over professionally and I’m doing it. I refine my marketing approach all the time, with increasingly positive results. I would like to be making more money, and doing higher profile gigs, but even the “big guys†worry about where their next gig is coming from. As a VO friend of mine put it, as soon as you switch off the mic, you’re unemployed. I try to do all the stuff I need to do to “make it†in this business, and keep the big picture in sight, but also take it one day at a time so I don’t stress too much.
A follow-up question, prompted by her comment about how she will “refine [her] marketing approach all the timeâ€: Can you be more specific about how you refine your marketing? Not so much the details of what you do, but more how you evaluate what to change, how you filter your results so you know which to pursue and which to leave alone?
Mary: One example is in the wording of the emails I send out. I’ve refined my introductory emails a lot since starting out nearly 2 years ago – to emphasize my specialties. The first follow-up email has also changed to make it clear what I’m asking or not asking of the contact. Also I used to contact any production company and any ad agency that did broadcast; now I just focus on my specialties.
My sixth question: Since voiceover work represents a career change for you, do you see this as the likely path for the rest of your life? Or, can you imagine changing directions again?
Mary: I can’t imagine giving up VO, but I can well imagine going in new directions at the same time, since that is actually happening right now. Last summer I had an idea for a documentary and suggested it to a contact of mine who was geographically well situated to develop it. He liked it and suggested we collaborate – this was somebody I had never met and I wasn’t even thinking that I would be involved, it was just an idea I had based on a writing project I was working on a few years ago, and which I offered to him because of his location. The project is one that would require a somewhat elaborate permission process but after many months of working on that, I secured the final permissions last week. So, I am now script-writer and producer for this documentary as well as narrator. That’s something I never imagined would happen and I’m really excited about it and think the subject is one that will be well received. Not saying any more about it right now…
I’m still trying to find more ways for science and education to remain a part of my life, somehow, whether through formal academic teaching or some other avenue. Maybe it will be film-making. I once had a neighbor who was on his third career. Not job – career. All of these had been meaningful and satisfying for him. That really impressed me. Life is short, but for many of us lucky ones it is long enough to enjoy a lot of very interesting experiences. I think it’s important to stay open to that If you have an interest – develop it. You might not ever get to BE an expert on nemertean worms, for example, but maybe you’ll play one on TVïŠ
My thanks to Mary C. McKitrick for taking time out of her busy day to answer these questions. There’s a link to Mary’s main web site above (and to the left, in my Voiceover blogroll). Here is where you can read Mary’s voiceover blog.
(this post has been updated to correct typos)
I received an email this morning from Darrell MacInnis, with some questions I thought worth sharing here. (Note: I asked his permission before quoting him here.)
Bob.. recently discovered your website… informative and your blog.. entertaining. After 23 years of tv/radio news and public affairs… (and reduced to part time)… I’ve jumped into voiceovers. Just wanted to say keep up the great work… As a newcomer, competing in a worldwide marketplace for voice services I’m faced with a giant learning curve. People such as yourself, Peter Drew, Todd Schick, Connie Terwilliger, are appreciated! I’ve gathered so much useful information about putting my own voiceover service together from you folks. It’s true… those who are the most successful are the first to offer advice.
(To which I want to say: I’m not sure I belong in the same list as those talented folks, but let’s continue…)
(I hope I have half your success… so that I’ll have something to give back to others.)
My reply: Thank you for your very kind comments. I’m glad to know that my ramblings have been helpful to you. I’m confident that you will have something to give to others, and you may very well have far more than half my success.
I’ve listed myself under new talent on www.voiceoverdirectory.com and on www.commercialvoices.com.
I have enough opening budget left to list on one of the following two directories, voices123 or voices.com. Although I suspect in the end, I’ll list with both services…as I see you and many others have done.
My reply: I really like the folks at Voices.com (formerly InteractiveVoices.com). They are really decent people. Very responsive and helpful. But, I get far more work through Voice123.com. I’d suggest, since you have funds only to join one or the other, that you join Voice123.com and do the free listing for now with Voices.com. Once you’ve done some more work and can afford to join Voices.com, do so at the $100 level. This would be the most cost effective way to go, I think.
Keep in mind, as you’re reading this: Your Mileage May Vary. For you, it may be that joining any of the above mentioned services is a bad idea. Or, it might be one of the smartest things you’ve ever done. They’ve been excellent advertising investments for me, but you have to decide for yourself.
David Houston provides some good thoughts about how to avoid mouth noises, how to deal with colds and allergies and generally how to take care of our instrument in a guest blog post at Vox Daily.
It’s certainly well worth a few minutes of your time.
You have to be able to take advice. Or maybe more correctly, you have to know how to take advice. Receive it. Filter it. Apply it to your own specific circumstance.
These are the central thoughts in Bonnie Gillespie’s latest The Actor’s Voice column titled “Yeah, But….”
Read. See yourself, because you’re in there. Consider. Apply.
Here’s something fun to watch, posted at Google Video. I have to admire the way this guy kept a straight face through the whole thing.
On the Voiceover Bulletin Board today, Audiogal Mary posted this noteworthy set of thoughts:
Who Am I?
I am your constant companion.
I am your greatest helper or your heaviest burden.
I will push you onward or drag you down to failure.
I am completely at your command.
Half the things you do, you might as well turn over to me,
And I will be able to do them quickly and correctly.
I am easily managed, you must merely be firm with me.
Show me exactly how you want something done,
And after a few lessons I will do it automatically.
I am the servant of all great men,
And alas of all the failures as well.
Those who are great, I have made great.
Those who are failures, I have made failures.
I am not a machine, though I work with the precision of a machine,
Plus the intelligence of a man.
You may run me for profit, or run me ruin,
It makes no difference to me.
Take me, train me, be firm with me,
And I will put the world at your feet.
Be easy with me, and I will destroy you.
Who am I?
I AM HABIT
A quick web search turned up a number of references to this piece, pretty much all attributed to Anonymous. I liked this one best, maybe because I’ve been a baseball fan all my life.
I’ve written previously about the trend in voiceover away from the traditional “announcer” style to a more “regular guy” sound; a trend that’s been going on for at least 10 years now. (Actually I think it’s more like 20 years. See my story in the following paragraphs.) David Houston, a very fine voiceover guy, has a somewhat different take at his blog. It’s well worth a few minutes of your time.
And while I’m thinking about this subject, a quick story:
I first ran into this “regular guy” phenomenon at a recording session in Chicago sometime in the mid-1980s. For some months back then, I’d been the voice for a continuing series of radio and television ads for a local clothing store chain.
So, I arrive for my next recording session and there’s another guy there, who is going to do some of the voice work this time. They have him record first and I think he sounds terrible. No smoothness to his delivery. His voice is kind of scratchy sounding. He doesn’t sound like a professional. In fact, he sounds like someone they just called in off the street.
When he’s finished, I go into the studio, feeling pretty full of myself. I rip through the copy, even getting a couple in just one take. When I’m done, they ask me to wait in the control room while they call the client to play the takes. The client decides the other guy’s reads are the ones they’re going with. Only one of mine is going to run.
Woosh! That was the sound of the air rushing out of my balloon. And, though it would take me a few years, it was also the start of my efforts to sound more like a real person and less like an “announcer.”
(post edited to correct typos)
That’s the title of a thread started today by Philip Banks on the Voiceover Bulletin Board. Not only has the esteemed Mr. Banks offered some very cogent and challenging questions, Pat Fraley has provided some potent and thought-provoking answers.
Go. Read. Reflect. I’ll meet you there.
Michael Minetree calls it The Monster Sound Isolation Booth and I would heartily agree. At his site, Michael has provided a detailed and inspiring photo journey through the process of building a first class isolation booth for voiceover or instrument recording.
Take the tour starting here. I think you’ll be as impressed as I am.
(edited to update URI of link to new blog structure at Michael’s site)
Thanks to Stephanie at Vox Daily, you can check out a very cool video of three top voiceover guys as featured on ET, via the inevitable YouTube.
Our second day began with a 3 hour session with Dave Foxx, legendary Imaging Director for Z100 in New York City. Dave demonstrated 4 different styles of promos, building each of them live on-the-fly in front of us. It was quite quite impressive to watch him work, gliding from one idea to another and clearly a master at using ProTools.
I had the great fun of being cast as the “serious announcer” for one of the promos he built and Dave was nice enough to send me a copy of the file. The audio file is here, or you can listen using the flash player to the right. The promo is the middle (white) player. (Caution, the subject matter of the promo is a bit racy.)
(Update: The other voices in this promo are Dan O’Day’s daughter, who was at the Summit to help at the Registration table and Norman Ellis-Flint.)
The key quote from Dave’s presentation came right at the start:
If you learn anything at this conference, you owe a solemn debt to pass along to someone else at least some of the things you’ve learned.
Hmmm. Hopefully I’m following through on that challenge right now.
————————–
Our next session, and the final one for this report, was a Voiceover Agents & Casting Directors Panel discussion. Dan O’Day hosted and on the panel were:
Terry Berland, casting director.
Mary Ellen Lord, voiceover agent.
David Lawrence, radio talent and game voice casting director.
The conversation began with a discussion of the changes in the voiceover business in last 20 years:
Technology has changed everything, especially the level of competition has risen. Today everything is global. The casting business might be the part that’s changed the most. Agencies are now often doing the casting work for free, rather than a casting director being paid for that work. Agents even in LA are now almost all working on non-union projects.
Next was a discussion of the differences in the way a casting director casts and the way an agent casts:
An agent usually knows much less about the specifics of a job than a casting director does. Terry cast the voice for the Taco Bell dog, but she was the second casting director called. A talent needs to see he or shee is there to solve the problem of the agent or casting director. They are both rooting for the talent.
Is the golden age of voiceover over?
It depends on who you talk to. Everyone only has a certain season when they are at their peak earning. Now top talent can work from anywhere which means that we are all competing with the top talent for major jobs. The top talent are even competing for the middle level jobs, which put even more presssure on the rest of us. But this has also resulted in a flattening of the rates. The top isn’t as high as it once was. Our attitude makes a huge difference in how well our auditions are received. We have to believe the job is right for us. Also there is no room for prima donnas anymore. Negativity will get you out of a job faster than almost anything else, because there are so many other very talented people who are willing and able to do the jobs. Celebrities are something of an exception to this rule.
Other notes:
Many people don’t realize what a huge market of opportunities are available recording for games.
We have to be able to take direction. This might seem like it goes without saying, but there are a lot of people trying to do voiceover work who don’t know how to take direction during a session. At the same time some of the best stuff comes after the direction is done. While working in a recording studio we have to let go of control and allow the producers, directors and engineers to do their work. Being directable means not only being willing to take direction, it means being able to actually react to it and often the direction is very subtle. So the changes need to be just a subtle.
Terry spoke about how she had at times helped someone with a good voice get through the audition, but she doesn’t do this anymore because at the session these people often can’t deliver the goods. This is where workshops are so valuable, because that’s where we can gain experience behind the mike so we can deliver the goods in the booth.
Suggestions about demos.
Identify ourselves on the packaging. The demo should be no more than a minute. Voicebank.net has many, many examples of of signed talent. Listen and learn from the best. Long is more than 1 minute. Don’t save the best for last. If we only have 30 seconds of good, then only use those 30 seconds. Mary Ellen doesn’t even listen to CDs anymore. (During an audition, even slating our names is important.) Put your best foot forward. All the time. The demo should demonstrate our range. Don’t let everything sound the same.
I’m going to post the rest of my thoughts about this year’s Summit pretty soon. I just need to pull a few more thoughts together, plus there’s some audio I want you to be able to hear. I think you’ll find the wait was worthwhile.
Meanwhile, a few thoughts today sparked by a thread on the Voiceover Bulletin Board, by the inimitable Philip Banks. And no, Mr. Banks doesn’t need me to carry his water. But, I believe in giving credit where credit is due.
Every day, and I use those words not as a figure of speech, but as literal truth, every day I discover how little I know. Not just about voiceover, of course; but as that’s the subject of this blog, I’ll confine my comments here to that subject.
For example, last week at the Summit two truths were pointed out to me in a matter of a few seconds. The first truth is that I actually am pretty good. The second and more important truth is that because I’ve reached a certain level of proficiency, it’s all too easy for me to coast on what I’ve learned. Right after I heard those two truths, I was shown just how much better I could be if I just push myself past the coasting to something closer to genuine excellence.
Now, in that case, I was learning from Dan O’Day, someone far more experienced and advanced than I am. But, people with much less experience have also recently taught me valuable lessons. Because the learning isn’t only about acting or voice techniques. It’s also about the truth that being a voiceover artist is a business. And you can’t coast in that area either.
You can see an excellent example of what I mean in an earlier post on this blog, about Mary C. McKitrick. Mary has been doing voiceovers for a much shorter time than I have, but her approach to the business side of things is much more advanced than mine. Read her blog. You’ll see what I mean.
And to underscore that lesson, if you’ve read my comments below about the first day of the Summit this year, you’ll see than one of the key points Harlan Hogan made in his session was about this same subject: we have to treat this as a business, because that’s what it is.
Were I to take the time to list all of the similar lessons I’ve learned from just the past year, this post would grow too long to fit on a single page. But, at the end of the day the real question for me and for you is: what are you going to do about it?
Read this post from Stephanie at Vox Daily, the blog at Voices.com. They are adding a very cool idea to their site: tags that can be assigned to our various demos. Don’t think that’s all that interesting? Then read Stephanie’s post. I think your excitement will grow as you read.
After you’ve finished reading, stop back here and leave a comment, if you’re so inclined. I’d love to know what you think.
Oh, and do you see the logo to the right? Under my demos? If you think, as I do, that Voices.com is worth recommending, you’ll find all you need to know about how to add a similar link to your site at this post.