Discard them and their value will never be known.
Improve them and they will become the brightest gems in a useful life.
As a person with a passion for marketing and promotion, I constantly analyze all forms of advertising – broadcast commercials, billboards, magazines and even direct mail pieces -- to see what I can apply to my voice-over business. It’s especially beneficial to examine how competitors choose to hawk similar commodities in a full marketplace.
In this case, both jewelers both specialize in diamond wedding sets and are continuous radio advertisers. Both enterprises utilize the company owners as the voice talent in their ads. Both establishments sell upscale jewelry, and Jeweler B also sells Swiss watches. They are true to their brand in their advertising.
Beyond these similarities, though, they run very different types of ads. First, they appear to be targeting different market segments. Jeweler A seems intended for those who appreciate and are willing to pay for elegance, while Jeweler B seems to be directed at the price-conscious crowd.
Jeweler A has a distinctive nasal voice. He always talks about new or featured product lines, gift ideas, his money-back guarantee, etc. Sometimes he relates a story based in a testimonial. He quietly talks about the benefits and pleasures of shopping with him and consistently gives you reasons why you may want to do so.
The ads for Jeweler B often feature the 2 men who own and run the business. Sometimes they mention advantages of shopping with them, like the number of graduate gemologists on staff and their longevity in the market. They make jokes like they want to appear that they didn’t think about the spot in advance. I suppose they want to convey the ultra-casual atmosphere of their stores where the sales people wear jeans and t-shirts.
In other ads, Jeweler B airs fake game shows where one of the contestants is someone poorly imitating Jeweler A. The nasal voice is always accentuated, and the imitator is always made to sound stupid and bumbling.
When listening to the ads from Jeweler A, you would never think that another jewelry store even exists. You certainly wouldn’t think that the owner is worried about competition in a saturated market.
Since Jeweler B often mocks Jeweler A in their ads, it’s obvious that they are keenly aware and perhaps even afraid of their competition. In fact, many of their ads border on personal attacks although they are presumably meant to be humorous. On a personal level, I do not want to deal with anyone who makes themselves sound or feel better at the expense of other people.
Every marketing book will tell you to focus on the benefits for the target market in your communications with them. Jeweler A consistently highlights in his ads those things important to his target market, where Jeweler B concentrates on them only half of the time.
The lesson for voice-over artists is that we also need to continuously highlight the benefits of working with us.
If you can’t articulate attributes of value and service that your target market considers important, how would your prospective clients ever be able to discern that you are the best fit for their needs?
These benefits are also known as your competitive advantages. I have a few thoughts on that topic as well, but that sounds like another article for another day. :)
In the meantime, spend your spare moments improving your own skills rather than worrying about, or worse, maligning those of your competitors. Polishing your skills will enable you to sparkle like a brilliant diamond in your marketing efforts and will make your life as a voice talent all the more useful.
Seattle voice talent Jeffrey Kafer recently wrote a terrific blog entry about ways to go above and beyond in your service as a voice talent. While I do several of the things on his list, the most important one is expressing gratitude for the voice-over gigs that come my way.
Don't suck up! Please! Don't spend a lot of your time and money finding little gifts for your clients or sending thank-you notes after each session. I know this advice flies in the face of other opinions, but it's what has always worked for me. Think about it. You don't receive much more than a Christmas card from the people who work for you, like your mail carrier, your paper delivery boy, or your dry cleaner. There is no reason to be overtly grateful for the work. You're doing them as much of a favor by performing consistently as they are in giving you the job in the first place. It's a very symmetrical synergy.
Whenever I first work with a client, I always send that person a hand-written note and include a small gift card. I have been surprised how many people respond by thanking ME for the gesture! They truly seem touched by the thoughtfulness. Apparently, many people emulate Don LaFontaine’s view of thank-you notes and gifts:
-- Don LaFontaine, Secrets of Voice-Over Success, p. 20
While I don’t pretend to have the stratospheric demand or accompanying financial blessings of Mr. LaFontaine, I disagree with his statements about thank-you gifts on several points. First, voice talent cannot compare themselves to postal workers. American postal workers are salaried employees of the US federal government who automatically earn a paycheck and benefits. As I worked for much of my life as a federal employee, I can also state that federal employees are prohibited by law from accepting gifts exceeding a very modest value, and all gifts received in a calendar year count toward that value.
Aside from these monetary issues, the bigger difference between voice-over artists and postal carriers is that the postal service has a monopoly. If you want to receive mail and have it delivered to your house each day, you know you must contact the postal service.
Someone choosing voice talent doesn’t have such a clear-cut decision. The decision-maker could search for the ideal voice-over specialist through millions of individual web sites of voice actors or on various on-line casting sites. The person looking for voice talent may decide to contact a talent agent to narrow the field, or they may be influenced by the marketing efforts of a particular voice talent. Perhaps the person asks someone in their industry for a recommendation.Regardless of the manner through which they decide to hire me, I am well aware that my clients had a choice. When they have another opportunity to contract voice talent, I want to do everything in my power to ensure they choose me again. My thank-you note may signal the end of the first job, but often, it is the bridge to a long-term relationship.
In the big picture, gratitude is a critical attribute for attracting prosperity and abundance. How can you expect to receive more of anything -- including voice-over jobs, wealth and prestige -- if you don’t convey constant gratitude for everything that you already have?
Showing gratitude today will not only set you apart from other voice talent, as noted by Jeffrey Kafer, but more importantly, you will put the right kind of energy out in the world. As I continue to read and learn from works based on the Law of Attraction, I understand more and more that what you put out in the world will come back to you and probably in ways that you didn’t expect.
Because of the energy that I am sending forth into the universe, I expect someday to achieve the level of success in voice-over currently enjoyed by Don LaFontaine. Even then, I would still send a personal thank-you note to each new client.
I have been too busy in the past month to post an article here on my blog. In that time, a new season of the TV show dancing with the stars began. Given my views on American Idol, you might think I would have no interest in this show. You might also think that dancing with the stars (DWTS) has nothing to do with a voice-over career. If so, this entry may surprise you.
Watching TV is a passive activity that does nothing toward accomplishing my goals. I prefer instead to spend the time with my husband or do things to advance my voice-over career, such as marketing tasks, auditions, etc. In order to efficiently manage my TV-viewing time, I don't necessarily watch shows during their broadcast. I prefer to record them and watch them at my convenience. I also don't spend much time chit-chatting about TV shows to anyone because those kinds of conversations are superficial and inane.
Then why am I spending precious time writing to you about a TV show, especially one considered fluff in many circles? When I first heard about this show, I confess that I thought the idea was dull and that the show would be cancelled. I never watched DWTS until Barry Manilow made a guest appearance. I admit that I quickly became hooked. The show features celebrities from other endeavors who are paired with professional dancers. The dancers teach the celebs the complicated steps for ballroom and Latin dances, and three judges rate all of the performances.
While the thrilling live music, stunning costumes and amazing dance routines are appealing in themselves, I believe the show is widely popular for another reason: We have the opportunity to watch adults in a learning curve.
Learning something new as an adult is a different process than as a child. From watching this show, we can learn 12 valuable lessons that can be applied to a voice-over career:
Continue reading 12 lessons from dancing with the stars.
As I wrote in a previous entry, I generally don't provide personal advice about one's voice-over career. If I can answer a question quickly, such as referring someone to a teacher or a previous blog entry that answers the question, I am more than happy to do so. However, I usually don't have the time to provide in-depth advice in my responses to people.
I could have just left it at that, but I wanted to explain my reasons for disliking this package deal.
DISCLAIMER: Everything that follows is MY OPINION since I didn't delete the names of the people involved. I know nothing about them or their company and therefore reiterate that I am only offering an OPINION.
The comment below was left on my blog. On the surface, Carol's question might look like it requires only a quick "yes" or "no" answer. As I read each word, I realized a quick answer would be a dis-service to Carol. Furthermore, my views may be helpful to other people. Therefore, with Carol's permission, I didn't publish her remarks as a comment on another entry and am instead featuring it in this entry.
Hi Karen, Love your practical and ethical information. I am a newbie to the VO area, having just taken an Intro to VoiceOvers at local community college given by Mike Elmore. During the class he recorded each of us reading a script (just a few lines) and I got an email from him saying he was very impressed.
Then I got a call from Levi Morgan of Voices For All, saying the report he got from Mike was glowing
and encouraging me to take their in-person 3-day workshop.
Since I have nothing to compare it with, I hope you could comment on whether this would be a good way to break in. Bear in mind that I am a retired RN, looking for some fun and creative as well as possibly lucrative work.
Their course includes private coaching (they only accept 15 students four times a year), full narration & full commercial demos, mixing & mastering a demo for me with music, editing & sound effects, a marketing plan, home studio manual, workbook, classes on every aspect of the business, my own website with the demo (lifetime hosting), support for ProTools, lifetime coaching support, plus my airfare & lodging while in Albany.
Inclusive is $3199.
I can afford this, and love the idea of being able to work out of our RV during summers which he said I could (no soundproof studio....) I'd love your honest feedback before making a decision, which I need to do quickly if I am to enroll in the May class. Thanks so much! Carol
Carol, thanks so much for your nice comments about my web site. I'm glad if anything I have written is helpful to you. You asked for my opinion, so this is it: If it sounds too good to be true, it probably is. I would look elsewhere for my voice-over training.
Their course includes private coaching (they only accept 15 students four times a year), full narration & full commercial demos, mixing & mastering a demo for me with music, editing & sound effects, a marketing plan, home studio manual, workbook, classes on every aspect of the business, my own website with the demo (lifetime hosting), support for ProTools, lifetime coaching support, plus my airfare & lodging while in Albany.
I can afford this, and love the idea of being able to work out of our RV during summers which he said I could (no soundproof studio....) I'd love your honest feedback before making a decision, which I need to do quickly if I am to enroll in the May class. Thanks so much! Carol
Carol, thanks so much for your nice comments about my web site. I'm glad if anything I have written is helpful to you. You asked for my opinion, so this is it: If it sounds too good to be true, it probably is. I would look elsewhere for my voice-over training.
I could have just left it at that, but I wanted to explain my reasons for disliking this package deal.
DISCLAIMER: Everything that follows is MY OPINION since I didn't delete the names of the people involved. I know nothing about them or their company and therefore reiterate that I am only offering an OPINION.
Continue reading 10 questions to ask coaches and demo producers.
People often send e-mails to me with questions and comments, and I endeavor to respond to everyone. The topics raised in the message below were so interesting that I wanted to answer them here rather than in e-mail. With Ken's permission, I have quoted his message.
Hi Karen. My name is Ken. I discovered your website one day when I was looking on Amazon for books on Voice Acting and I saw your recommended reading list...I must say that I found your site tremendously useful. I'm really impressed by your generosity of spirit and the fantastic information and resources you provide...Now to my questions. These have bugged me for years and I wonder if you can lend some insight.
Number one is:
If Voice Over is so competitive (and I have no doubt that it is) why are so many successful voice talents sharing their "secrets". Doesn't this just add to the competition they are facing? Do they really want MORE people in the business?
First, thanks so much for your very nice note and kind words. I am grateful for the feedback.
Coca-Cola has a closely-guarded secret formula. The US military implements secret plans that endanger lives. In my view, voice-over does not have any true secrets.
A voice-over career is like the notes in music. Only 12 possible tones can be made in music, yet you can hear them in numerous pitches. More importantly, those 12 tones can be held and combined in an infinite number of sequences to produce an endless series of rhythms, tempos and key signatures that form new music.
Our voice is our music; no two voices are exactly the same. Our interpretation of the words on the page and style in performing them is not the same. Like musical genres, some voices will appeal to one market segment and not to others. The reason the competition factor is emphasized in voice-over and all performing arts jobs is because people have a misguided viewpoint that they only need a nice-sounding voice. They think the work is easy and doesn't require any special skills.
The truth is, that like any other profession, lifelong study in voice-over is necessary to achieve and maintain your market share. How does any newcomer learn if not under the guidance of a more experienced teacher? Do top sports figures stop practicing and working with their coaches on daily basis?
"When you are hired for a
voice-over job, you don't take
anything away from me, my
accomplishments and my job
prospects."
Do musicians stop practicing and studying with a teacher once they learn a piece of music up to tempo? Do people in the IT industry stop taking classes geared at maintaining technology? Voice-over is like other business ventures in that some people will find work more easily, often and lucrative than others. voice-over job, you don't take
anything away from me, my
accomplishments and my job
prospects."
I don't view other people as my competition. (I also don't view any person who lives on this same earth as my "enemy", either, but that's another discussion for another time.) We live in an abundant world, with more than enough work for everyone. More voice-over opportunities are appearing everyday with the advent of new media and associated outlets. When you are hired for a voice-over job, you don't take anything away from me, my accomplishments and my job prospects. You would be hired because you successfully marketed yourself to someone who wanted to work with you because they liked your voice, your delivery style, your fee, etc.
If I tell you something that has brought me great success, you may or may not implement the tactic. Even implementing my tactic does not guarantee you will match my success. You will never do things exactly in the same way that I do because we are different.
In a simplified example, a coach or director can give you a line read. You interpret what you heard and reproduce the sounds and emphasis as best you can. Even when you nail the emphasis, your different vocal characteristics will guarantee that you won't sound exactly like the other person.
Continue reading Do voice-over talents want more competition?.
Right this minute, I'm watching a recent episode of Trading Spaces. If you haven't watched the show, teams of 2 people trade houses for 2 days and re-decorate one room of the house. This episode features some feuding neighbors who can't abide each other. Even more interesting to voice talent is that Neighbor A has a small child and craves absolute peace and quiet, while the Neighbor B has active, noisy teenage sons who have a heavy-metal garage band.
So far, I have seen nothing about treating the door and windows, as those are major sources where sound escapes. I know they have a limited budget of $1000 on this show, but I think the designer doesn't have a good grasp of soundproofing techniques. She chose to build a stage, which might look cool, but won't stop the noise problem the way an interior room would have.
Neighbor A is redoing the garage studio for Neighbor B, and their priority was soundproofing. I became somewhat of an expert on soundproofing techniques when we decided to build the room for my stunning studio. Soundproofing is achieved by creating mass separated by air space. I therefore thought perhaps the designer would build a room within a room.
The designer decided instead to cover the ceiling and walls with carpet padding. Carpet padding is in the category of sound absorption. It changes the characteristics of sound within the room but does not necessarily prevent the sound from leaving the room. Given the amount of carpet padding they are installing in almost every inch throughout the room, it certainly will help reduce the noise. However, If I were the teenager with the band, I would be concerned that I am not hearing true sound.
Soundproofing is also what Neighbor A would need to do their own home in order to prevent the unwanted sounds from entering their house. I live in such a noisy area that we replaced all the windows with triple-pane windows and built a room according to specifications found in Building a Recording Studio by Jeff Cooper. My room has 2 layers of 5/8th-inch sheet rock, which is thicker than normal 1/2-inch sheet rock. I also have 2 layers of ceilings separated by heavy insulation, 2 sets of doors at each entrance and no windows.
As for the TV show, I guess it's more important that the warring neighbors gain some harmony and empathy than to be totally accurate in the description of the materials. I have to say that the finished studio really looks awesome!
When people find out that I'm a voice talent, they often ask me to "do a voice". They seem disappointed when I respond "you're pretty much hearing it now." Many people expect all voice-over professionals to record zany voices for cartoons and movies. They often don't realize that voice actors are also the people who record the radio and TV commercials, audiobooks, documentaries, training programs, games and phone systems.
While practice is necessary for proficiency, much of any kind of voice-over work depends on your mental state when performing. The eyes may be the window to the soul, but the voice is the door to one's emotions. Whatever you are thinking and feeling is instantly heard in your voice. For instance, I'm sure people have said to you things like "you sound tired" or "is something wrong?". Your voice mirrors your thoughts and emotions.
Much of my voice-over work is in corporate narrations and training programs. Recently, one of my contacts, an educational specialist who is producing and narrating some internal training programs for his company, asked me how not to sound like he was reading a eulogy at a funeral. I gave him the list of 12 tips show below, listed in no particular order. I thought others may find them helpful in making your narrations more natural and conversational.
2) Articulation and diction are essential to properly convey the message. A voice-over narration should be transparent to the listener. You want the audience to be concentrating on your message and not distracted by the manner in which you are presenting it. Over-enunciation can be as distracting as sloppy enunciation.
3) Speak at your normal pitch. If you change your pitch because you don't like the sound of your voice or think that people want to hear something else, you are not being authentic to yourself. The recording suffers because you are concentrating on the sound of your own voice rather than the message that you intend to convey.
4) If you need more energy, stand up while recording. I sit when recording long narrations. When doing so, the key to maintaining energy is to sit up straight and not let your chin dip down toward your chest.
5) A smile adds warmth to any word, but a smile throughout the piece could sound forced and inauthentic. The sound of a constant smile erodes our trust in the spokesperson. Think of the used car salesman that we all try avoid -- "friends, have I got a DEAL for you!" :)
6) Stay hydrated; drink plenty of water before, during and after the voice-over session. As you speak, you are expelling saliva. A dry mouth is frustrating when performing a voice-over but actually could be the starting point for a number of more serious health problems.
7) In your mind, picture one person to whom you are presenting this information. This shouldn't be a random person but instead should be someone who would actually be interested in obtaining the information you are providing. As you perform the script, speak as if you are having a quiet conversation with that person. If your volume is too loud, it shows that you aren't aware of your context. The images should have the starring role, with the narration blending as a supporting player.
8) Practice the text out loud prior to recording. Mark the script with words to emphasize and places to pause.
9) Read using chunks of phrases. You usually can mentally read several lines ahead of the point where you are speaking. By paying attention to your phrasing, you won't sound like you read to the end of a line and paused at an inopportune moment to send your eyes down to the next line. I'm reminded of old typewriters when I hear this type of narration, and I instantly stop listening to the message because the veil of transparency was dropped.
10) Breathe from your diaphragm and not your chest. Chest-breathing is more shallow, so you cannot get enough air to sustain you through longer passages. Better breathing also makes your voice sound fuller and richer.
11) Don't let your pitch drop at the ends of sentences. It can sound rushed or that you are not interested. In either case, your listeners will detect the change and again would not be thinking about the message.
12) Relax! If you are holding tension anywhere in your body, it will be heard in your voice. Totally lose yourself in the words in the script, and let them be your only point of thought while producing your recording.
While I mostly record narrations, I love to perform character voices. I look forward to the day when someone wants to hear one of my voices, and I demonstrate something as famous as Nancy Cartwright voicing Bart Simpson! :)
I blame the cake.
You would think that a person who has always loved words and makes money as a voice-over talent – a career built upon interpreting words -- would have started playing Scrabble in childhood. I can remember the first time I ever played Scrabble. Almost unbelievably, I went through my life without playing Scrabble until last May, as Drew and I finished a cruise and wanted to do something on the last night on-board the ship.
I lost that first game but won a new hobby. We bought a Scrabble game when we got home, but we didn’t play it often.
While watching the Ace of Cakes show on the Food Network one day, I saw a Scrabble cake designed for a person who is a tournament Scrabble player. It was the first time I ever heard of Scrabble tournaments. At that moment, I decided I would win a Scrabble championship.
I have an extensive vocabulary. I used to whip through the find-a-word puzzle magazines, and I always liked to play Boggle. Once I decide upon a goal, I achieve it. With my intrinsic love of words, I thought a Scrabble tournament win couldn’t be far away.
I’m sure this same kind of thought process goes through the minds of many people who suddenly decide to get into voice-over work.
Sometimes they see a celebrity on TV who gleefully recounts how voice-over jobs allow them to dress casually, go without make-up and pick up a massive check for an extremely small amount of time. Maybe newcomers read an interview about a voice talent talking about how great it is to do work in their pajamas from their home. In any case, so many starry-eyed newcomers seem to think, “I know how to talk. I’m going to be a voice-over star making millions of dollars while still in my pajamas!” I wish I had a dollar for every time someone approached me with the line: “People always say I have a nice voice and that I should work in voice-over.” I always advise that folks interested in learning any new skill start with a book because it requires a minimal investment of time and money to learn whether you want to pursue the topic. I direct people interested in voice-over to my recommended list of books and previous blog entries like this one. In my mild-mannered quest for Scrabble dominance, I didn’t take my own advice about getting a book, at least at first.
Continue reading Voice artist and (future) Scrabble competitor.
Newcomers to the voice-over industry frequently ask me and other established talent whether they should join an on-line casting service such as Voice123.com or Voices.com. I think that many people are afraid to plunk down some money, especially for a service that cannot guarantee work. In the past, I have answered this question by recommending the person should search the archives of VO-BB.com, the Yahoo Voiceovers group or other Internet discussion groups devoted to voice-over as the topic is a common and hotly-debated one.
Marketing guru Jay Abraham noted that everyone in an industry tends to do everything the same way to grow and sustain their business. In voice-over, standard income-producing processes include promoting oneself, having an agent and joining an on-line voice-over casting agency.
While you don't pay an agent until you book work, you must pay an on-line casting service for a yearly subscription. If a majority of people in your industry are participating in some marketing endeavor, like a casting service, it makes sense to participate in at least one service as well.
You have to determine a marketing budget for your voice-over business and from it, decide which, if any, services you should join. The subscription fee is an investment in my business, just I as also invest money in continuing education, equipment upgrades and other forms of marketing.
Asking individual people about their results with a particular casting service will not yield useful data. Car manufacturers will tell you that your mileage may vary depending on numerous circumstances; the same is true with one's success in obtaining voice-over work from web-based services. Some people will never book anything through these services, while others land a steady stream of jobs.
To me, an on-line casting service is just another avenue of potential work and another way my name shows up in the search engines. With an on-line voice-over casting service, I know that I will have an on-going opportunity to decide which projects look interesting, practice scripts and communicate with potential clients. Jobs and clients gained through these services are just added bonuses.
My greatest source of work has been through my own self-promotion, in which I follow Jay Abraham's theory:
you must travel outside your industry or your current business to look for the breakthroughs.
Abraham states that you've got to switch your thinking from tunnel vision -- which is the way that everyone does things within your own industry -- to funnel vision. Create a funnel of those success processes in other industries which you can pour into your own business.
It's okay to be in the same place with everyone else in your industry. It's so much better to be some place where you are the only voice talent. It's up to you to figure out that location based on your assessment of your voice and where it fits in the marketplace.
I view each marketing activity I undertake as a test. If the test is effective, I will continue with that tactic. If it isn't, I will do something else. A subscription to an on-line voice-over casting service can be considered a test of one of the tactics in your marketing plan. You will never know how well a service or any marketing tactic will work for you unless you commit the time and money to implement it.
I received an inquiry today from someone interested in producing her own audio books. I thought other voice talent might find this an interesting topic and be able to add their knowledge to the discussion.
The author may need to research his/her contract. One author told me that she wanted to perform her book, so that's another possibility that may occur. A literary agent told me that I may be able to offer the author something like $1000 for the audio rights If the author still controls them. However, I'm sure the exact amount depends on the author, the book's popularity and each person's skills as a negotiator.
Once you have the audio rights and are ready produce the recording, you also have to consider how you want to distribute the book. Will it be on-line, on CD or both? Books on CD require additional planning and money for the packaging. Will you pitch the book to an existing audiobook publisher who already has a distribution channel or forge your own path?
Recording and editing an audiobook to commercial standards requires a significant commitment of time. A commercial audiobook also requires time and expense for marketing. You may wish to perform books in the public domain for Librivox to gain experience and see how much you enjoy the process before deciding to pursue the acquisition of audio rights for a book. Also, many people gain experience and satisfaction out of volunteering for agencies that produce audio recordings for the blind and print-handicapped. You can search the Internet for locations in your area.
For additional questions about audiobook narration, I encourage you to read the article about getting started in audiobook narration on my web site. If you have more to add on the subjects of obtaining audiobook rights, audiobook distribution and audiobook marketing, I would love to hear from you! I encourage literary agents, authors, audio publishers and voice talent to leave comments so that we all can learn from each other.
Karen Commins
Voice Actor
Voice Actor
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