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How to Work in the Voiceover Business

In This Chapter

Promoting and Marketing Yourself

Getting voiceover work is a numbers game: The more you hustle, the more contacts you will make. The more contacts you have, the more you will work. The more work you do, the better known you will become. The better known you become, the more people who want to hire you, and you get more work. It's not quite that simple, but you get the idea—it truly is a numbers game. This chapter will help get you started on the right track.

If you're just getting started in voiceover, you'll be doing all the work: making the calls, sending the auditions, recording the sessions, handling the billing, and doing the follow-ups. This can seem overwhelming, but if you are organized and know what you're doing you can reach whatever level of success you desire.

Before embarking on an all-out promotion campaign, do your homework and get organized. Make sure your acting skills are up to professional standards, know what you do best and learn what you need to know to run your business, especially in terms of your marketing. Keep your long-term objectives in mind and continue honing your performing and engineering skills. And be prepared—it will take some time. Voiceover is not an "overnight success" kind of business. Achieving any degree of success will take an organized, concerted effort on your part.

There are many good books on marketing and advertising from which you can gain a tremendous amount of information. You can also learn a great deal by taking an adult education or college extension advertising and marketing course. The Small Business Administration (sba.gov) offers a variety of classes, services, and business tools that you may find helpful in organizing and running your business. Through these and other resources, you will not only learn some excellent ways to promote yourself, but you will also learn what goes into creating the marketing and promotional copy that you work with as a voiceover performer.

Managing Your Time

We all have the same 24 hours in a day. Some people just seem to be able to get more done. As an entrepreneur or sole proprietor voiceover professional you will face the number one challenge facing every small business owner: how to manage your time.

Time is not on your side: your clients will need their recordings yesterday, but you won't get paid until next month. There will be extremely busy days, and long stretches when it appears that no one is listening to your auditions. It can be frustrating! Still, if you are going to pursue your dream and stay in business, you will need to learn how to manage your time to handle the work when it comes in and run the many other facets of your business at other times.

For most people, time management is an acquired skill. There are literally dozens of time management systems to choose from and it may take some time to find one that works well for you. For some, the mere task of getting organized just to the point where they can begin learning how to manage time will be a major accomplishment and the process of time management itself may be a real challenge. For others, time management will seem like second nature.

Left Vs. Right

The reason for this apparent dichotomy is simple, and it has to do with the way our brains work. The human brain consists of two hemispheres: The left side of the brain primarily handles linear, sequential processes and the right side deals mostly with non-linear, creative processes. An individual who is left-brain dominant will love logic, numbers, and organized structures. On the other hand, for a creative right-brain dominant individual, structure is the last thing on their mind. They would rather let their creative juices flow.

In terms of how our brains work, you could consider Left as Logical and Right as Ridiculous. Left-brain dominant individuals are often led to careers in banking, sales, computers, system design, and other jobs that require attention to detail. Right-brain dominant individuals are the artists, painters, musicians and voice actors of this world. Most of us have the ability to switch between our hemispheres as needed, even though we might be dominant in one hemisphere or the other.

If you re like most voice actors, you likely tend to lean more to being a right-brain creative. However, it is critical that you develop some left-brain skills if you are to run your voiceover business effectively. These would include some basic business procedures, accounting and, of course, time management.

Whether you are left or right-brain dominant, there will be times when you need to quickly shift to a task that requires efficient functioning from the other hemisphere. For example, you may have just completed a series of auditions and now you need to balance your checkbook. Shifting from one hemisphere to the other can sometimes be a challenge, but fortunately there is a quick trick you can use that will make the transition go smoothly.

Making the Shift

To move from a creative, right-brain, mode to a task that requires focused attention, get a blank sheet of paper and a pen or pencil. Starting near the top right of the paper, slowly draw a very straight line of 2 to 3 inches from right to left. Now, repeat with another line just below the first line you drew. Continue this process, keeping equal length and spacing between lines, as you fill the paper adding columns to the left. Don't be concerned if your lines aren't perfectly straight or the spacing isn't exact. The object of the exercise is to focus your thoughts on a very specific, linear task. Drawing the lines from right to left is simply a device to subconsciously tell your brain you are moving from the right hemisphere to the left.

To move from a focused, left-brain mode to a creative mode, start at the upper left of the paper arid begin drawing a series of circles in a clockwise motion without taking the pen from the paper. Draw the circles in a variety of sizes and don't worry if the circles aren't exactly round. When you get to the right edge of the paper, just rotate the paper 90 degrees to keep drawing clockwise circles from left to right. The random nature of the circles will move your brain function from a linear mode to a non-linear, creative mode. Drawing clockwise tells your brain to move from left to right.

It may be difficult to believe that you can change your brain functionality by merely drawing lines and circles, but if you put this technique to work, you may be surprised at your increased ability to focus on a task and your increased creativity when performing.

Making the Minutes Count

Creative individuals tend to avoid anything that requires focused attention to detail. However, in order to manage our time effectively, we must pay attention to what we are doing at any given time. We all have the exact same number of minutes in a day. The difference between success and failure is in how those minutes are put to work. And that's what time management is all about.

Of the dozens of time management systems available, some are very complex, requiring a considerable amount of organization, while others are quite simple. At the heart of every system is a process to break down daily goals into tasks that can be accomplished in small, manageable pieces. But regardless of the system, to be effective, it must be done consistently and its use must become a habit.

Some of the more popular paper-based systems are Franklin Day Planner (franklinplanner.com) and Daytimer (daytimer.com). These use a binder and a calendar/organizer that can be used to schedule daily activities, although there are computer and smart phone versions available. Used on a regular basis, these systems work extremely well for thousands of business people. However, they do require some organization and regular attention. For some people this type of system simply doesn't work at all.

An online organizer designed for actors and other performers is Performer Track (performertrack.com). This is a subscription-based service that provides for management of every aspect of a performer's busy schedule. Auditions, bookings, scheduling, contacts, mileage tracking, and many other functions are included, most of which allow you to better manage your time.

Most creatives I know subscribe to the principle of "the simpler, the better." One of the simplest time management systems around was developed by a university student in the late 1980s. It's called the Pomodoro Technique™ and it's a nifty way to get more things done more efficiently.

As with other systems, this begins with a list of tasks. A task is chosen and worked on during a focused 25-minutes (a pomodoro), which is timed using a kitchen timer. Each pomodoro is followed by a short break with a longer break after four pomodoros. Tasks are divided into morning and afternoon sets of pomodoros and progress is documented at the end of each pomodoro session. You can learn a lot more about the Pomodoro Technique™ and download a free eBook that explains how to use the system by scanning this response code or visiting pomodorotechnique.com.

To get yourself up to speed, there are a few basic time management principles that you can begin to use that will ease you into any of the structured systems.

• Begin each work day by making a list of tasks for that day.
• Work on tasks in short, focused increments. Only one task at a time and try to avoid or minimize interruptions.
• Move tasks not completed to the next day's list.
• As tasks are completed, check them off your list.
• Set aside a specific time of day when you will focus on your auditions. Do this at the same time every day.
• Set aside a specific time of day to check your email.
• Set aside a specific time of day for making outgoing calls.
• Be flexible enough with your schedule to allow for bookings, incoming calls and minor interruptions.

One interesting addition to the classic "to do" task list is to simultaneously create a "to don't" list. These are things you do on a regular basis that are repetitive, waste time, keep you from being productive, or are simply bad habits that you want to change. As you go through your day checking off items on your "to do" list, you'll also see your "to don't" list, which will help reminder you to stay focused.

If you do nothing more than implement some basic time management concepts into your daily life, you'll be doing more than the majority of small business owners, and you will see results.

Business Basics

Never Underestimate the Value of Dumb Luck

During an interview at one of our VoiceActing Academy events, Robert Concha, a San Diego producer and director, made the following point: "Dumb luck plays a big part in this business." This simply means you can never tell where the next opportunity might present itself. You might be on vacation and the person next to you on the plane might be a corporate producer looking for a narrator for their next training video. Or, you might overhear a conversation while standing in line at the bank. Always have business cards with you!

The difference between those who are successful and those who are not is often the ability to recognize the opportunities when they present themselves and the preparation, skill and discipline to self-promote (or, as Robert says, "BS your way into the job") and the ability do the job professionally when you are booked.

Actors of all types seem to have a tradition of "BS-ing" their way into landing work. What usually happens is that the producer or casting agent will ask if the actor can do a specific thing, like tap dance, sing, or do a character voice. The actor, because she wants the job, will of course answer with a resounding "Yes!". Then the actor goes home and calls every friend they have to find out how to do what they were just hired to do.

The important thing to note here is that you must be able to deliver on what you say you can do. And you will only be able to quickly learn a new skill if you already have a strong foundation and expertise in related skills.

The key is to be prepared—both with the skills of your performing craft and with your business skills. You might be able to "BS" your way into a VO gig, but if you can't perform up to the client's expectations, you may have a short-lived career as a voice actor.

To put it a different way... part of your job is to put yourself in the right place at the right time and be prepared with the right skills. Do this and success is almost guaranteed.

Never Underestimate Your Ability to Deal with People

Inevitably, a situation will occur where you are given a direction that is confusing, unclear, or just plain contradictory to everything you understand about your role. Or you might be working for a client who treats you in a demeaning manner. In either case, you might be working for a client who doesn't know what they are doing, or they might simply be a jerk. This can even happen when working for some of the top ad agencies or big-budget clients.

You must be able to communicate with the director as clearly as possible, so you are both on the same page. If you don't understand a direction, ask for clarification. Don't just say: "I've got it." when you have no idea what the director is asking you to do. You must be able to understand what the director means, which may not be exactly what he says. If you are given a line read, you must be able to duplicate the attitude and inflection exactly. A lack of communication skills can result in frustration for both you and your client.

Another aspect of communication during a session in which you have a director is that you will generally not be aware of the conversations taking place in the control room or on the other end of the phone line. In his one-man show, Bob Bergen, the voice of Porky Pig, tells a story about one of his early recording sessions during which he noticed that there were long periods when the control room mic was off and he could see the engineer, producer and director actively discussing things. He wondered what was going on, so one day he hid a small tape recorder under his jacket in the control room. Sure enough, during a long silence Bob could see the control room crew actively waving their arms, pointing, and apparently arguing.

From Bob's point of view, it looked like they really didn't like his performance. However, when he listened to the hidden recording, what he discovered was that the guys in the control room were arguing about what they were going to have brought in for lunch.

If they're not taking about lunch, the direction you receive may be the direct result of last-minute changes or adjustments. Regardless of the reasons, accept each new direction with a professional attitude and an eagerness to meet the director's request as best as possible. Keep your personal opinions to yourself. If you have a valid idea, wait for an appropriate opportunity to suggest it. And know that that opportunity may never present itself. Develop the ability to work with people and maintain a professional attitude at all times.

Producers, directors, engineers, and clients will remember you when you give them a positive experience during a session. Your communication skills and ability to gracefully follow direction will contribute greatly to that experience. Some studios, agents, and producers actually keep lists of performers who cannot follow direction or who are argumentative. Those performers are not likely to be asked back. You do not want to be added to any of those lists.

Making Contacts with Prospective Clients

Sales calls are an art form all their own. This primer will give you some basic ideas, but you should also consider some additional study on the subject of sales and marketing.

Even with the increased use of Social Media, email, tweeting, and texting, at some point you should plan to spend some time on the phone, contacting potential clients. A personal conversation with your prospect will always be the most effective form of communication. It is impossible to convey nuance and subtle detail in a simple text message, email or Social Media post. Before you make those calls, know what you want to discuss. Know your niche, what you do best, who you are marketing to, and be specific about the type or types of voiceover work you are promoting. If you are trying to get into animation voiceover, it's not appropriate to call ad agencies or discuss your expertise with telephone messaging.

Before calling, do some research on your prospects to learn how they use voice talent. Five minutes on the Internet can give you a lot of useful information for your conversation. When you call, let your professionalism speak for itself and show your prospect that you understand their needs and how your voice work can be of benefit to them.

Take your time when selling your services. You'll be much more successful if you engage your prospect in a conversation to let them get to know you, and for you to gather additional information about how you can help them. Have some prepared notes to look at so that you don't forget anything important during your call, and be prepared to answer their questions.

Needless to say, your business cards should be printed, your demo produced, your email template prepared and follow-up letters ready to mail before you begin making calls, and you should have a system in place for cataloging prospects and following up.

Remember, you need to talk to someone who is directly responsible for hiring voiceover performers. If you do not have a contact name already, tell the receptionist the purpose of your call. She will most likely direct you to that person, or refer you to someone who might know to whom you should speak. Or, you might speak to a "gate keeper" whose sole purpose in life is to prevent any outside solicitations from getting through. If you can't get connected right away, try to get a name to ask for when you call back. If you get voicemail, leave a clear and concise message that includes your phone number at the beginning and end. It's a very good idea to write out your message so you know what to say when you are forwarded to voicemail. Keep it conversational and treat your message as though it was a voiceover gig.

It may take a few follow-up calls before you connect with someone. If you already know how the company you are calling uses voiceover, your conversation should be of an introductory nature. If you don't know, your call should focus on how voiceover work might be used to benefit their business. Either way, the call should be more about them than you. You will probably find some companies that have not even considered hiring an outside professional for their voiceover needs. Undoubtedly, you will also find many that are not interested in what you have to offer. Remember, this is a numbers game, so don't let yourself get discouraged.

Offer to send a copy of your demo to those who are interested. Ask your prospect how they would prefer to receive correspondence and follow up by sending your demo with a letter of introduction. It is amazing how many people never follow up a lead by sending out their promo kit. You will never get any work if you don't follow up.

Follow-up

You will need the following basic items for follow-up:

• A cover letter on a professional-looking letterhead or a well-written email with a professional signature line or graphic
• Business cards.
• Labels and envelopes to hold your print materials and demo.
• A voiceover client list detailing any session work you have done.
• A website you can refer prospects to for information about you and your services, and where they can listen to your demo.
• Your demo as an MPS file for posting on your website and emailing. You should also know how to burn a CD of your demo for those who might want a hard copy for their files.

First impressions are important, and the more professional you look online, in your email, your Social Media posts and in print, and the more prepared you sound on the phone, the more your prospect is likely to consider you for work.

In most cases, a well-written cover letter or email will do. However, you might want to create a template of your letter of introduction that you can customize depending on whether you are following up from a phone call, email, Social Media or a personal meeting. Your letter may also need to be adjusted according to the type of voiceover work you are promoting to a given prospect.

Keep your letter to no more than three or four short paragraphs in a friendly business style. Personalize the heading as you would for any business letter. Thank the person you spoke to for his or her interest, and for the time spent talking to you. Remind them of who you are and what you spoke about. Let the company know how you can help them, how quickly you can work, and how they can contact you. Also, mention in the letter that you are enclosing your demo. Be sure to include your website and email address in your letter. The following is an example of a typical follow-up letter to production companies that would promote narration services:

Unlike the other performing arts, in the world of voiceover, a resume is not a requirement. Most talent buyers are more interested in what you can do for them now, rather than what you have done in the past, but a list of clients can be helpful, especially if they are recognizable names. If you have an agent, you may or may not want to include the agent's name and phone number in the letter. In larger markets your agent's number should be the only contact reference. In smaller markets you may want to include your own number as well as your agent's. Or, depending on where your agent is located and your relationship with them, you may not want to include their contact information at all. If you work closely with your agent, your agent's name and phone number should be included whenever you send your demo, either in your email or letter, or on a CD label.

You do riot need to mention your union status or fees, if relevant, your union status should have been established during your phone call. Your fees are something to be negotiated either by your agent, or by you, at the time you are booked. If it comes up in a conversation, just tell the person that your agent handles that, or that you cannot quote a rate until you know what you will be doing. If they insist, quote the current SAG-AFTRA scale for the type of work they are asking about. At least that way you will be quoting a rate based on industry standards. If you are booking yourself as non-union, freelance talent, mention that your fees are negotiable.

During your initial call, you should have set up a timeframe for any follow-ups. After sending your thank-you letter and demo, call your contact at the scheduled time to confirm that the package was received. This helps to maintain your professional image and serves to keep your name in their mind. Don't ask if the person has listened to your demo. That's not the purpose of your call. If they bring it up, fine, but you should not mention it.

Before completing your follow-up call, ask if there are any projects coming up in the near future that might take advantage of your talents. If so, and if the company is considering other voiceover talent, be sure to make yourself available for an audition. Phrase your conversation in such a way that it is clear how your services can help them. This puts you in a position of offering something of greater value to your potential employer, rather than just being someone asking for work.

Once you have established a list of possible employers, you will want to stay in touch with them. Consider sending out a brief note or postcard every six months or so and on holidays. The purpose here is to keep your name in front of the people who book talent.

Perhaps the only rule for follow-up is to be consistent and persistent. Maintain a professional image, keep your name in front of your prospects, and you will get more work. Here are some ideas for follow-up reminders:

• Thank-you card (after session, meeting, or conversation)
• Holiday and seasonal cards
• Birthdays and anniversaries (if you know them)
• Current projects you have done
• Generic reminder postcard
• Semiannual one-page newsletter updating your activities
• Special announcement about upcoming projects

Reaching the People Who Book Talent

Many large companies have in-house production units, while others hire outside production houses and work with agents. There will usually be someone who is in charge of coordinating promotion and advertising that may require the use of voiceover performers.

One problem in reaching people who use voice talent is figuring out which companies are likely to need your services.

Some possibilities are:

• Watch local TV and listen to the radio. Look for local advertisers who are doing commercials with voiceover talent.
• Call advertisers and ask who coordinates their radio and TV advertising. Radio stations frequently use station staff for local commercials and will not charge their advertisers a talent fee. You need to convince these advertisers why they should pay you to do voiceover work when the radio station does it for free. This can be a real challenge! When talking directly to radio advertisers, you need to put yourself in a class above the radio DJ. Some advertisers like the celebrity tie-in by using station talent. Others may simply prefer to spend as little as possible on advertising. You can get work from these people, but you may need to educate them so they understand the value of using you instead of doing it themselves or using a DJ for their commercials. Even if you aren't booked for a radio commercial, you may find that these advertisers might have other needs for voiceover talent that could result in work for you.
• Contact your local chamber of commerce. Get a list of the largest companies in your area. Many of them will use voiceover performers and some will do in-house production.
• Check the local newspapers. Call advertisers that you think might be likely prospects.
• Use resource directories. Many cities have a resource directory or a service bureau that can provide you with specific information about businesses in the area. Or, your chamber of commerce may be able to provide this information

When you contact a non-broadcast business that has a production unit, start by asking to talk to the creative, promotion, or marketing department. You should talk to a producer or director. Don't ask for advertising or sales, or you may be connected to a sales rep. If you ask for the production department, you may end up talking to someone running an assembly line.

Television stations often use voiceover for all sorts of projects, many of which are never aired. The production department handles most audio and video production and will occasionally book voice talent. Some TV stations may even have separate production units or departments for commercials, station promotion, and sales and marketing projects, any of which might book voiceover. Start by asking to talk to the production manager, an executive producer, or someone in creative services. You may end up talking to someone in promotions, because a promotions producer frequently uses more voiceover talent than anyone else at the station.

Recording studios usually will riot be a good source for work, simply because most recording studios specialize in music recording. Usually, those that produce a lot of commercials work with performers hired by an ad agency or client. Some studios do a limited amount of producing and writing, and may book their voiceover talent from a pool of performers they work with regularly. In most cities, there are at least one or two studios that specialize in producing radio commercials. Use good judgment when sending your demo to recording studios. You might be wasting your time, but then, you never know from where your next job might appear. Some studios will recommend voice talent when asked.

Of course, contacting advertising agencies directly is another good way to reach the person who books talent. At an ad agency, the person you want to reach is the in-house agency producer (AP). Some ad agencies may have several in-house producers, and some agencies have account executives (AE) who work double duty as producers. If there is any doubt, ask to speak to the person who books or approves voiceover talent.

There are no hard-and-fast rules here. As you call around, you just need to try to find the correct contact person. Once you connect, use the basic marketing techniques described in this chapter to promote yourself.

Dave Courvoisier

courvo.com

The phrase Social Media Networking has become the buzz of the decade. This one concept, alone, has probably opened more doors for voiceover work than anything else.

Dave Courvoisier is a voice actor, a former television news anchor, author of "More than Just a Voice: the Real Secret to Voiceover Success," past president of World-Voices Organization (world-voices.org) and one of the top authorities on using Social Media Networking in voiceover. He has also been a seminar presenter and four-time co-host for the VoiceOver International Creative Experience (VOICE) conventions (voiceconvention.com). His blog is one of the best resources available for keeping up to date on what's new and "happening" in the world of voiceover. To put it simply, Courvo (as he is known by most of us in the voiceover world) is the go-to guy when it comes to using Social Media to promote a voiceover career.

As you will see, Social Media is growing and changing with each new day. The information that follows is current and up to date at the time of this printing. However, as with most things, the future will likely have many surprises for us.

Using Social Media Networking to Build Your Voiceover Business

© Dave Courvoisier. All rights reserved.

Social Media is no longer "new". It's establishment, current reality, AND the future. The early platforms: FaceBook, YouTube, Twitter, and LinkedIn, are now joined by Pinterest, Snapchat, WeChat, Instagram, and What'sApp. In fact, any app or program that wants to survive has to have a "social" aspect to it anymore.

Your presence as a voice actor on these digital platforms is not necessary for voice-acting success, but here are three reasons why they may be of value to you in your freelance business marketing efforts.

• They're free (and effective),
• They build & extend your brand,
• They establish valuable relationships.

Technology has changed the essence of voice-acting in the last decade, but talent and technology alone will not bring you clients. Current wisdom states that freelance entrepreneurs engage roughly 80% of their time to marketing so they can use their talent and technology in the other 20%. Technology also enables the phenomenon of social media, but human nature gives it vitality, character, and potential. Those same three human factors come to life in your marketing... and social media amplifies them.

While traditional avenues of mailings, cold calls, customer followup, and prospecting for clients are not dead, Social Media accelerates the process online, on your computer, and in your handheld device in ever-increasing proportions. In a very real sense you almost can't afford NOT to be present on Social Media.

So, can Pinterest help your Voice-Acting business? Possibly. But if you find it does not fit your style, there are only about 70 other apps, programs, platforms, and online forums that will fit your style.

Which Ones Should I Be on?

Where the people are.

• FaceBook is now, and for the foreseeable future, still the 800 lb. Gorilla of Social Media. (2.2 billion world-wide and growing)
• Twitter confounds many, delights plenty, scares news outlets, and is totally different than FaceBook, but has stumbled, but is still vibrant. (more than 328-million)
• YouTube almost as American as Apple pie, and as ubiquitous as coffee cups, YouTube is the 2^nd most popular search engine in the world next to Google (and also owned by Google) (5-biilion views per day, 1.3-billion users)
• LinkedIn The serious sibling in the Social Media family, and perhaps the best place for you to find work (more on that later) (500-million users)
• Google+ At 111-million users and growing strong, this platform is feature-rich and is also run by Google, which is desperate for it to succeed.

Pinterest, Instagnam, Tumblr, WeChat, and literally hundreds of others (some with multiple millions of users) are likely here to stay, and each caters to either a niche audience, or a unique cultural nuance that may be the marketing ploy of the future. For instance, MailChimp, which is an online email newsletter service, has 4 million customers and is free, but I'd hardly call it a social media platform.

Where to Start?

With the basics.

It is highly recommended that you review this section even if you already have a social media account established.

• Make your profile as complete as possible without going past your comfort level. For instance, do you want your phone number, address, email, and website URL for ail to see? Or just your website? Or a combination of the above?
• To the extent possible keep your information consistent across all the platforms. Some sites may be more visual (Pinterest), and others more business-like (LinkedIn), but your demo website is the same, and so is your email address, right?
• Use a good headshot picture. There's a lot of debate about this in the world of voice-acting, and voice-acting is maybe the ONLY profession I can think of where the argument has merit. For instance, if your mainstay of work is the voice of a 6-yr-old boy, and then a picture of you as a 40-something, graying man pops up, you can imagine how that will spoil the mental image of potential clients (real-life story). But for the rest of us who do eLearning, commercials, Corporate Tutorials, Audiobooks, etc., your headshot answers every person's natural curiosity as to what you look like. They're going to go on FaceBook anyway and look it up, so put your best "face" forward and beat them to the punch. Everybody has a good side. Pay some bucks to get a decent headshot, Photoshop it if you need to, then use that same head-shot on ail the social media platforms. It can be the consistent, recognizable face of your brand. Don't use any picture that's more than two years old.
• If you are still against using a head-shot, a logo is acceptable. It's not very personal, but a good brand logo can say a lot about your business and you. Most Social Media platforms want to put your face or your logo in a square-shaped template rather than rectangular (landscape) orientation. Check the dimension protocols of each platform for optimization.
• ESPECIALLY on LinkedIn, complete your profile to the max The site will lead you through this, and it behooves you to carefully choose (a) representative keywords, (b) authentic work/education history, and (c) current and reliable contact information. Why? Because LinkedIn pays special attention to those keywords, and your name will come up in appropriate searches when someone is looking for "Explainer video voiceover", or "corporate presentation voice actor".
• Unless you want your persona online to be obtuse for a reason, the honest and genuine approach is best. Don't embellish, lie, pose, or lead people to believe you are something you are not. It's too easy for people to verify your true nature online. Social Media is a practice in transparency. To the extent you can, be sincere and straightforward in your profile. That doesn't mean you can't have fun, or show your personality. Everyone has flair, but flair for the purpose of putting forward a false person will eventually work against you. If you're going to be obtuse for a reason, at least do it consistently.

Ok, My Profiles Are All Set up: Now What?

Be present. Participate. Answer others' posts. Contribute. Pay it forward. Offer links. Post pictures and videos. Get involved in conversation threads. Create relationships. Ask questions. Watch for others to answer. Answer THEM. Follow (or friend) others, and encourage others to follow (friend) you.

Despite the American obsession to amass large numbers of followers, it's not the quantity, but the quality of your relationships online that will bring dividends.

Join Groups

Most social networks allow for groupings. They may go by different names. On FaceBook and LinkedIn, it's "groups". On Google-Plus it's "communities". On Twitter it's "lists".

The groups typically offer various levels of public/private access—even "hidden" in some circumstances. With these groups, you can petition on your own to join, you can be invited, and you can be endorsed or promoted to join by someone in the group. In these Social Media platforms, groups exist for every conceivable interest, passion, hobby, industry, business, and niche. If you don't see one for you and your interest, you can start one.

All of the big social media networks have a big selection of voiceover groups. Join one. Join several. This is where the meaningful interaction with colleagues and even prospective clients takes place.

I would especially encourage you to join groups on LinkedIn (more than 650,000 groups exist there), that represent a target audience for your services. This may take some time, but luckily, LinkedIn has some wonderful search tools using keywords, regions, business, demographics, etc.

For instance, if you are seeking work in the area of explainer videos, you may start your search using terms (online services like wordtracker.com or https://keywordtool.io/ can help you with this) that relate to this niche industry. Once you've found the groups where explainer video writers and producer hang out, join and begin by just lurking. That way you can discover the tenor of the group, and the level of formal or casual activity there. Eventually, you may want to start contributing to the conversation when you feel you have something valuable to add. In time, people will come to recognize that you are, say, a narrator of explainer videos, but not because you've beaten them over the head with a lot of promotional language touting your services... rather because you've offered insights into the process of doing explainer videos from the narrator's perspective.

Mining social media for client prospects is a marathon, not a sprint.

One other note. On LinkedIn, you can directly approach individuals in groups who may not necessarily be first-order or direct connections in your contacts. This is one of the true advantages of LinkedIn groups.

Tips for Net Etiquette and Use of Time on Social Media

People tend to say things through the veil of social media they would often not say to your face. That can be good and bad. The bad can be terribly rude, and the good can be enabling and supportive. There are limitations to the written word that fail to convey the nuances of intonation, body language, and innuendo. Sarcasm and humor works sometimes, and emoticons help, but generally, social media writing should be unambiguous and straightforward. Don't be lacking in personality, just be very clear.

In general, three topics tend to be lightning rods for controversy:

Religion, Politics and Mac vs. Windows. Feel free to say what you want... just be ready for polarized responses, especially in this day 'n' age.

If a conversation turns contentious, temper your temper and use equanimity (stability, calmness). No one EVER wins a flame war online. Sometimes they go on and on. Sometimes (rarely, it seems) all sides are willing to engage positively, that's when the conversation can be edifying. Often, though, the thread falls to name calling and ugliness. That's the time to withdraw to a one-on-one message, or leave the conversation altogether.

Some people reach near addictive behavior when it comes to social media. Indeed, the visual and written content can be terribly alluring (especially endless YouTube videos), so it's good to set clear in your mind and in your business plan what you plan to use Social Media for, and how much time each day you are going to allocate to the various networks.

Many people who feel they've had success on social media hold to the following rough structure:

• Take to the Social Media platforms in small chunks of time throughout the day, instead of visiting for one long session in the morning or evening.
• Use a smart phone or tablet to quickly update your participation in valuable conversations when you have brief pockets of time, (there are even apps for this!)
• Depend on email notifications to keep you abreast of activity in groups & continuing threads.
• Take advantage of add-ons, browser extensions, and plug-ins to filter and automatically file certain flagged messages into waiting folders.
• If you find you still can't control the amount of time you're spending on social media sites, then plan to use a laptop that is unplugged. When the battery runs out ... time's up!
• If you find you have no stomach for Twitter, Facebook, and Google Plus—that it all seems too frivolous and a waste of time—then you might want to focus on the more business-like LinkedIn platform.

Should I Upgrade to a Paid Account?

In most cases, no.

Face Book and Twitter are always free anyway, but a vast array of third-party programs are typically for-profit services that start with free, and offer tiered upgrades on a monthly plan. If you find one of these services extremely helpful to the point where you're relying on them, you may want to begin a subscription. LinkedIn offers a richer, full-featured experience for a simple upgrade. With that comes better searches, more notifications of who has viewed your profile, and some other perks.

More and more free social media platforms are making big bucks selling advertising or advertising tools (FB, Twitter, Google+, and instagram all do this now). So what began as a wonderful free marketing tool now almost requires some small outlay from your advertising budget to get your ads configured optimally. Most of these platforms have excellent help in doing so, and the range of 3^rd-party services to manage this for you is burgeoning.

Also, "helper" social media sites now proliferate. Many take the form of CRM (customer relationship management) software, or online sites (Sprout Social, HubSpot, Freshbooks, etc.) These may or not be helpful or worth the ROI (return on investment) depending on your business plan and your style of work.

In all these matters, do a lot of homework online first to save yourself from disappointment

Final Recommendations

Many previous stand-alone internet services are incorporating (integrating) social media features. So what was once a simple online accounting program now might draw in material from your customer relationship management software, your email contact list, and a newsletter service like Constant Contact. These digital inter-program relationships are to your advantage. For instance, an online photo storage place Flickr or Photobucket now allows for sharing of your content on Facebook, Twitter, Pinterest and so forth. This is also true of video repository site Vimeo and sound-sharing site SoundCloud.

Tools that can greatly enhance your social media experience include a smartphone or tablet, a cloud storage service (DropBox or Onedrive), and a ubiquitous note-taking or memory-management program like One-Note, Evernote, or Google Keep.

As you can see, the amount of time spent on marketing, research, Social Media and other promotional and marketing efforts can be daunting. If you take it in small steps, and in an organized manner, you will, in time, develop a consistent and effective marketing plan.

Working Internationally

The voiceover marketplace is truly International in scope, even it you are working from a home studio in the middle of Montana. Using the Internet and some creative marketing, it is very possible to have clients around the world. Global voiceover work can take many forms: working in one country with clients in other countries, living in a foreign country serving clients in your native country, living in a foreign country providing voiceover to clients in that country either in your native language or that of the country in which you are working, or any combination of these.

Many online booking websites offer voice talent who are fluent in many languages, and who are heard around the world. Websites like thevoicerealm.com, voiceoversnow.com, voicetalentonline.com, bodalgo.com, piehole.co.uk, and others all have rosters consisting of hundreds, in some cases thousands, of International voice actors and promote their services to a wide range of major global clients.

Although, technically, working internationally is relatively easy to do, most voiceover professionals who work globally will recommend that marketing for International work be reserved until the voice actor has a strong client base in their own country or native language.

Andy Boyns

andyboyns.com

Andy Boyns is an actor who truly lives the dream. As a British expat living in Turkey, Andy was faced with an interesting dilemma: How to work in voiceover in a country where he did not speak the language. It's taken some time, but Andy now speaks fluent Turkish and has successfully established himself as a full time voiceover and on-camera actor.

Working as a Global Voice Actor

©Andy Boyns (Istanbul, Turkey). All rights reserved.

"Globalization" and "localization" are two concepts that as a voice artist you should embrace and love. Why? Because wherever you are now you can record for a project in your native language for use almost anywhere in the world: for a local client, or someone on the other side of the globe.

Your "native" language can be defined as the language you have been exposed to and used since birth (since my son's "mother tongue" is Turkish, and his "father tongue" is English, one could say he speaks two languages like a native, so I prefer that term).

Globalization leads companies to promote themselves around the world, reaching ever expanding markets; localisation responds to the need for a project to be accessible as if the production were uniquely made for a particular place. So, an audio production of Company X, in city Y and country Z will almost certainly be in the language of country Z, and possibly also in languages D, E, and F. This necessitates the collection of appropriate voices, and while someone may do a passable read in a foreign language, the person who will generally cope best with the nuances of a text is the native speaker.

This is great news for all voice artists who can record and send via the internet, as all can literally develop an international business. Some production companies, studios, or particular projects prefer to work directly with a voice talent face to face. This is where the role of the foreign native voice artist comes in to its own.

If you have ever lived "abroad" you will recognize immediately that some things are the same the world over, and others are very, very different. The performance techniques discussed elsewhere in this book and the need to behave both professionally and ethically with clients are universals. As for type of work and how to find it, well I reckon that there are no hard and fast rules, and as with the expat lifestyle, you should learn to expect the unexpected! This may also be a global truism for success, but as a "foreigner" you can create opportunity in ways that the locals might find more difficult.

The type of work available depends on your success at developing the right connections, and for me this is the golden nugget of voice work.

The types of regular production opportunities are likely to vary immensely, I've found it amazing that almost anything is possible documentaries, audio books, e-Learning, telephone message on-hold, desktop and tablet applications, presentations, announcements, viral content for web, etc.

In all likelihood the top casting agents will have a roster of foreign voices, so this is another means to finding work. While they are likely to be connected with some of the better commercial opportunities, an agent may also require exclusivity, so you need to weigh up whether you feel you can better network a wider range of opportunity.

The life of a foreign native voice artist is certainly rewarding and fun, but also requires patience, tact, and diplomacy when presented with a translated text which might not strictly resemble the language you know and love. When faced with errors in a script, screaming "This is rubbish! A monkey could do a better translation!", while potentially true is unlikely to create on-going work opportunity. Ask for permission to correct errors, offer to record the original and, as an alternative, what you think is the correct version. To some extent polishing off minor errors are, in my opinion, part of the reason you've been hired as the native "expert". This is a tricky area unless you want to become a translator, which is a totally different profession, and if your knowledge of the original language is not perfect you run the risk of introducing new errors.

One of the remaining challenges is that of training. Thanks to the many excellent voiceover groups available via social media, international events and the resource you are reading now, it is possible to somewhat bridge this gap. The secret is to get creative with your networking and, yes, seek out opportunity through the global community. It's all about people.

Male vs. Female

By now, as a voice actor, you should realize that the sound of your voice can have a tremendous impact on how the story you tell is perceived by the listening audience. One of the key tenets of voiceover is that it's not your voice that makes the difference, it's what you do with your voice.

Regardless of whether you're a male or female voice actor, your primary tool is the voice you were born with. And, as you know, it's possible to adjust, or vary many qualities of your voice to change attitude, personality, tonality, etc. For most voice actors, those adjustments will remain within the context of their gender—either male or female. But there are some exceptions. Women with "small" or unique voices will often play the roles of young children—both girls and boys. Nancy Cartwright, the voice of Bart Simpson is one of the best-known examples of this. Rare few male voice talent can create believable cross-gender voices. And for those that can, the opposite gender voice is often a caricature voice.

But how is your natural voice perceived? What is it about your individual voiceover delivery style that will get you work? And what do you need to know to improve on the effectiveness of your work.

In the early days of voiceover, the "voice" was predominantly male. Today, many producers are faced with the question of choosing between a male or female voice actor. Which is preferred? How is a male voice perceived compared to a female voice? Does one gender communicate the message better than the other? Which gender is right for my ad campaign?

According to a 2010 study by Harris interactive¹, 48% of those responding felt that a male voice sounded more forceful while 49% felt that gender made no difference. 46% thought that the female voice was more soothing and an equal amount thought that gender made no difference.

In regards to persuasiveness, 18% thought a female voice was more persuasive, an equal 18% thought the male voice to be more persuasive and 64% thought gender made no difference. However, the majority of respondents agreed that they would most likely buy electronics, computers, and cars advertised with a male voice.

In another study conducted by Molly Babel, Grant McGuire and Joseph King², vocal attractiveness was evaluated. Males generally considered other male voices less attractive than females did. However, both females and males had similar thoughts about the attractiveness of the female voice. The study concluded that vocal attractiveness is a complex issue, most likely because different audiences have different voice preferences.

This touches on the target demographic, which's another important factor in determining the voice talent gender. For example, if a product or service is intended for women, a female voice will usually be used so the listener can better identify with the message. Car commercials are usually voiced by men.

Geographic location is yet another factor in determining the voice gender, especially in terms of an accent or dialect that is seen as appropriate for telling the story. But, there are exceptions. Sales messages for some gender-specific products or services may actually receive a better response when delivered by an opposite gender voice actor. It all comes down to how the story is told.

Understanding exactly who a message is intended for is critically important for a producer when it comes to selecting the voice gender. Even so, it is not uncommon to receive an audition that is open to both men and women, only to discover upon reading the script, that it really needs to be one or the other. All too often, the copy writer simply hasn't thought the message through to determine who the proper target audience should be and the correct gender voice to most effectively reach that audience.

In terms of talent selection... sometimes a deep male voice can command attention and convey a sense of authority, but not always. Sometimes a softer female voice can be more attractive to a male audience... but not always. It really comes down to the perceptions and expectations of the audience. If the listener isn't attracted to the voice, it doesn't matter how good the product or service is, or how good the performance is—the message simply won't be heard. One exception to this is that a female voice will almost always be well received by children.

So, what does all this mean to you, the voice actor?

The bottom line is that most consumers really don't care whether the voice is male or female, although that can be a major consideration for the producer. What consumers care about is that there is a sense of "trust" and authenticity in the tone of voice.

So, as a voice actor, the primary thing you need to do is develop your performing skills to a degree where you can be totally "real" and believable with every script you work with—even when the voice you create for the script is a character voice, expresses a specific attitude or emotion, or speaks with an accent. You also need to develop the ability to "know" the best way to tell the story in a given script, and if that telling of the story fits your voice-print and style. If you feel you may not be the right voice for that script, you might be better off passing on that audition. Or audition anyway and see what happens.

Trends

A considerable amount of voiceover work is in the form of advertising as radio and television commercials. The advertising industry is generally in a constant state of flux simply because its job is to reach today's customers in a way that will motivate them to buy the current "hot item." In order to do that, advertisers must connect on an emotional level with their audience. And, in order to do that, the delivery of a commercial must be in alignment with the attitude and behavior of the current target audience. Each generation seems to have a unique lifestyle, physical attitude, slang, and style of dress. These constantly shifting trends are reflected in the advertising on radio and TV. And because advertising is so prevalent in our society, these same trends will tend to also be seen in other forms of communication, marketing and storytelling. In other words, what is "in style" today may be "out of style" tomorrow.

As a voice actor, it is important that you keep up with the current trends and develop flexibility and versatility in your performing style. You may develop a performing style that is perfect for a certain attitude or market niche, but if you don't adapt to changing trends you may discover that your style is no longer in demand. During the mid-1990s, the Carl's Jr restaurant chain ran an advertising campaign that featured a very droll, flat, almost monotone voiceover with a very definite lackadaisical, yet sardonic attitude. The key phrase of the campaign was, "If it doesn't get all over the place, it doesn't belong in your face." The delivery style became a trend.

Suddenly there were commercials everywhere that had a similar delivery style. The trend lasted for a few years, during which a handful of voice talent who could effectively perform in that style did quite well financially. But when the trend had run its course, that flat, monotone delivery style vanished from the advertising scene almost overnight. Those voice actors who were at the top of their game during those few short years found it necessary to adapt and follow the current trends if they were to continue to be successful in their voiceover careers.

Probably the best way to keep pace with current trends is to simply study radio and television advertising that is on the air today. Listen to what the major national advertising voice talent are doing in terms of delivery attitude, pace, and rhythm. Observe the energy of the music, how the visuals are edited in television commercials and notice how the voiceover works with or against that energy. Look for commonalities among the commercials you study, and you will begin to notice the current trends.

One thing you will notice is that most locally produced advertising does not follow national advertising trends, or at best, is several months behind.

You don't really need to do anything about these trends, other than to be aware of what they are and how they might affect your performance. That awareness will prove to be another valuable tool for you to use when you audition or are booked for a session. Pay attention. Observe what's going on in advertising and other areas. Stay connected through Social Media and professional events. Use what you learn to your advantage.

A Business Plan for Voice Actor You, Inc.

ou have probably heard the phrase: "If you fail to plan, you plan to fail." This is as true in voiceover as it is for any other business. You need to have a vision of where you want to be and have some sort of plan as to how you will get there. If either of these is missing, chances are you will not be as successful as you hope to be as quickly as you would like to be. Things will get in your way from time to time, and you will be distracted by just living your life. However, if you have a plan, you will be prepared to work around those obstacles when they jump in front of you.

As an independent professional, you need to look at what you do as a business. With that in mind, here's a simplified business plan that you can use to develop focus on the business side of voice acting. You will wear many "hats" as you operate your business. You are the CEO, CFO, Sales Manager, Marketing Director, Director of Education, Director of Technical Operations, and finally, a performer. It is critical to your success that you understand what you are doing, how you will handle each of your duties and that you have a clear vision of the direction in which you are moving.

The "Business Plan for Voice Actor You, Inc." on the following pages is something to which you should really give some serious attention. Don't just skim through this and forget about it. Copy these pages and read through the questions. Set it aside for a few hours to think about how you will plan your career, market yourself, sell your services, learn new skills, and protect your future. Some of the questions will be fairly easy to answer, while others may take a great deal of time and thought.

The time you spend preparing your plan will be time well spent Refer to your plan on a regular basis and review it about every six months, or at least once a year. Things do change, and your goals and objectives may change. This is intended to be a guide to keep you on track for your career.

Business Plan for Voice Actor You, Inc.

This simple business plan is designed to help you focus on your business and propel you in the direction you want to go. Give each question some serious thought before answering and review what you've written at least once or twice a year.

1. As Chief Executive Officer, what is your vision or plan for a career as a voice actor; it should be specifically designed to ensure your growth, profitability, and financial gain?

   _________________________________________________________

   _________________________________________________________

   What change(s) must take place to bring this plan to fruition?

   _________________________________________________________

   _________________________________________________________

2. What strategic alliances are you forming to ensure the achievement of the vision or plan of VOICE ACTOR YOU, INC.?

   • a) With whom are you aligning?

   • ______________________________________________________

   • b) How will this be beneficial?

   • ______________________________________________________

3. As V.P. of Quality Control, what are you specifically doing to ensure and/or improve the quality of the service provided by VOICE ACTOR YOU?

   _________________________________________________________

4. As Chief Financial Officer, what plans must be made to accommodate the financial and marketing continuity of VOICE ACTOR YOU, INC.? Current strategy: Anticipated cost:

   _________________________________________________________

   • a) Alternative sources of revenue?

     _______________________________________________________

   • b) Probability of primary revenue continuation over next 5 years?

     Excellent___ Very good ____ Fair____ Poor____

   • c) Back-up strategy:

     ______________________________________________________

5. As V.P. of Marketing, what steps are you taking to seek new or additional target markets for your services?

   ______________________________________________________

   • a) Local markets?

     ______________________________________________________

   • b) Other markets?

     ______________________________________________________

6. As V.P. of Promotions, what steps are you taking to complete the following:

   • a) Seek representation?

     _____________________________________________________

   • b) Collect materials and prepare for demo?

     _____________________________________________________

   • c) Demo production?

     _____________________________________________________

   • d) Graphic design (logo, USP, business cards, stationery/thank-you cards, etc.)?
     • Slogan ___________________________________________
     • Design ___________________________________________
     • Printing ___________________________________________
   • e) On-going promotion (blog, etc.) ___________________________
7. As V.P. of Sales, what is the projected revenue for year-end? $_______________
   • a) Is that enough to cover company expenses? ___yes ___no
   • b) What about expected revenue growth for next year $___________

8. As V.P. of Education, what is the training plan specifically designed to ensure the services offered by VOICE ACTOR YOU, INC. are equal to, or exceed, industry standards?

   _________________________________________________________

   What is the time-line for implementation of the training program?

   By _____ I will be enrolled in ____________ Completion date: ______

   By _____ I will be enrolled in ____________ Completion date: ______

   By _____ I will be enrolled in ____________ Completion date: ______

   By _____ I will read ___________________ Completion date: ______

   By _____ I will read ___________________ Completion date: ______

   By _____ I will read ___________________ Completion date: ______

   By _____ I will study and/or research ___________________________

   ____________________________________ Completion date: ______

   By _____ I will study and/or research ___________________________

   ____________________________________ Completion date: ______

   By _____ I will study and/or research ___________________________

   ____________________________________ Completion date: ______

   By _____ I will study and/or research ___________________________

   ____________________________________ Completion date: ______

   In the next 12 months, I will plan to attend ___ workshops, conventions or other events for the purpose of continuing my voice acting education

   _________________________________________________________

9. As V.P. of Human Resources, what needs to be done to protect the mental, physical, and spiritual health of the primary employee (you)?

   ________________________________________________________

   • a) Vacation allotment, family leave, and general mental health maintenance?

     ________________________________________________________

   • b) Maintaining connection with corporate stockholders? (family)

     ________________________________________________________

   • c) Your spiritual health?

     ________________________________________________________

   • d) Memberships and social activities?

     __ Join WoVO by _______. __VO Meetups. __ Online VO groups.

     ________________________________________________________

10. As Director of Maintenance, what adjustments should be made to improve the visual appearance and physical health of the primary employee (you), the product, or service?

    • a) What do you plan to do?

      ______________________________________________________

    • b) When will you get started—specifically?

      ______________________________________________________

11. As Chief Benefits Officer, what financial planning is in place to ensure your future financial security (i.e., retirement)?

    • a) What do you plan to do?

      ______________________________________________________

    • b) When will you get started?

      ______________________________________________________

12. As Accounting Department Head, what steps are you taking to maintain accurate invoicing, recordkeeping, and IRS accountability?

    _________________________________________________________

    _________________________________________________________

    _________________________________________________________

    _________________________________________________________

13. As Director of Technical Operations, what steps are you taking to ensure that your personal recording facility and equipment meet or exceed professional acoustic and recording standards?

    _________________________________________________________

    _________________________________________________________

    _________________________________________________________

    _________________________________________________________

¹ Harris Interactive Poll. "Are consumers More Responsive to Male or Female Voices in Advertisements?" (03/12/2010). https://theharrispoll.com/are-consumers-more-responsive-to-male-or-female-voices-in-advertisements-03-12-2010/.

² Babel, Molly; McGuire, Grant; King, Joseph. "Towards a More Nuariced View of Vocal Attractiveness" (02/19/2014). http://jourrials.plos.org/plosone/article?id=10.1371/journal.pone.0088616.