Common Beliefs or Misconceptions in Voice Over
When I started in voice over years ago, I remember thinking that when I had an agent I will have “made it.” I remember Screwing Up is Part of Success”one of my coaches telling me that she worked for five years before she had her first agent, so that I could align my expectations. At that point, I did not even know about managers. I was lucky, I was able to get on quite a few agents rosters pretty early in my voiceover career. As a working professional, I would hear a lot of chatter on social media about various agents and managers and how to get signed, as if somehow getting on the roster would lead to the ultimate success.
While I understood early on that being represented by these wonderful regional agents meant that I had more opportunities available to audition for, I was in no way guaranteed success. I did not understand that having a manager was not the same thing. I had hoped, quite naively, that as the manager took both a monthly retainer and a percentage of booked work, they would work harder to make deals happen. Boy, was I wrong. More than a year after I severed ties with my manager, I am still undoing the damage that was done. Here is just a glimpse of the reality of what choosing the wrong person to represent you can end up like.
The Email…
Like most successful female voice talents, I do a lot of direct emails. One of the groups of people I target are radio station managers and program directors to grow my radio imaging business. This week I reached out to a station manager again who had wanted to sign me for a monthly retainer in 2019. In 2019 “Mike” called me. We chatted and he was ready to move forward. I handed him off to my manager and never heard from him again. This week, in response to my friendly email check in, I received this message:
Hi Laura,
Sorry, I did not. Last year when I was interested in working with you, I was told that our station was not big enough for your services. That’s why I have not followed up.
This email got me very upset for several reasons. First, I was ready to move forward, my manager who was supposed to represent me, acted in a way that did not represent me. Next, I lost this station which would have been a monthly retainer. Third, this was not only a loss of revenue, it reflected badly on my business and my brand. Fourth, and perhaps most upsetting, this was one of six stations in a six week period that my manager blew deals with. Six stations, that would have ranged between $150 and $500 in monthly retainers, yet I was contractually obligated to pay him his monthly retainer for the remainder of the year. So, let’s dive deeper.
If I Had Leads, Why Sign With A Manager in the First Place?
There were two main reasons I signed with this manager. First, as a working creative and small business owner, one of the hardest aspects of the job is negotiating rates. I have always worked to maintain industry standard rates, often siting both the GVAA Rate Guide and the GFTB Rate Guide to clients. I had felt that I was low-balled on the the lest few imaging retainers I had negotiated prior to my talks with the manager. I did not feel that it was related to my ability or experience, it just seemed that I kept getting the same sob story from every single station. None of them had any money. They all wanted so much for so little. It was crazy. I had hoped that with the manager negotiating the rates, each station would be in the ball park of the rates cards, even if the manager now got a cut.
My other hope was that if I was able to seal the deal with more lucrative stations because of the manager, then some of the top agencies like Atlas or CESD would take notice of me and would sign me. I have felt so close to making this step, and just needed something to push me over the edge. I saw other very well known and amazingly talented voice actors post that they were booking stations with the help of this manager. They were then getting repped by these agencies. I also knew some talents at these agencies who were on this mangers roster. It was not hard to connect the dots and in truth did not even seem like a leap of faith. It seemed like a common sense, savvy move. Well, sometimes the evidence can be very misleading.
the Damage
I signed with this manager specifically for the Radio Imaging part of my business in January 2019. Within the first week, I send him 5 leads of stations who wanted to sign me and wanted to negotiate retainers. The email above was a call I got a week later. Of these leads, my manager destroyed every single one of them. I was not on the calls. I had embowered him to speak on my behalf. The email above “I was told that our station was not big enough for your services.” is a glimpse of how these prospects were treated in my name. Was this the road to the big agencies? No. Worse, when he tried to renegotiate the stations I had, I lost them. There were other odd quirks about the manager. He wanted any auditions to be professionally mastered, which was an added expense. He also sent Sound and Fury auditions, but I get those from other agents, so now I was paying him to get auditions I was already getting. It was terrible. I realized early on and I was stuck. I basically had to stop soliciting all Radio Imaging business or it would be tied to him. Years of hard work and planning came to a screeching halt. Be careful who you pick to represent you.
Undoing the Damage
First I had to wait until I could give him notice as per my contract. As soon as I legally could, I did. Then, as soon as I was legally out of contract, on 1/20/2020. I began reaching out to stations to tell them I was no longer with the manager and that if they were so inclined they could negotiate directly with me to learn my market availability. It was too soon, there were no bites. No one would even reply. I continue to circle back to the stations that were interested. Now I have updated my demo, and my hope is that with some time, and fresh branding, I can rebuild.
Lessons Learned
THE BEST PERSON TO SPEAK FOR ME IS ME. If you want clients to get to know you and how great you are, then you have to be the one to work with them. If you really feel that you need someone to negotiate on your behalf, you had better make sure you know the tone and tenor of what they are saying
As a working mom, I try to only work on weekends under specific scenarios: if booked work comes in that the client specifically needs over the weekend, if I get a direct audition for the weekend, or if it is something like my blog which I generally do while my kids are asleep. Otherwise, the weekend is cherished family time. So, if a client tells me they need something over the weekend, I am generally pretty sympathetic that they have someone on the other side who needs something and has a deadline. It happens that both last weekend and this weekend I had bookings come in over the weekends. While I was delighted about both bookings, the one this weekend was much more pleasant. I think the two bookings lend themselves very well to case studies on what makes an ideal voice over client to work with and what makes a client a little more challenging.
Earlier in the month a client I have worked with before reached out to me with a small budget for a local TV and Media campaign. After a lot of back and forth, we came to a price we could both live with. It took quite a while for the scripts to come in. Of course I finally heard from them Friday evening. I confirmed receipt of the script and asked Client A if Monday by midday was okay and they said it was needed over the weekend. Normally I would add either a “RUSH” fee or a weekend fee, but we had negotiated and the budget was low so I could not do that here. The other snag was that the client only sent one script. We had negotiated a bulk rate assuming that I was recording at once, and sending everything piecemeal was not a great start.
A professional talent has an abundance of testimonials. Period. They should have them proudly displayed on their website, on LinkedIn, on whatever Pay to Plays they are on, and likely they share them on social media. Testimonials are not difficult to get. Happy clients who have just received pristine audio are typically delighted to provide them. My very first voice coach, Anne Ganguzza, told me how important it was to get testimonials! She asked for one from me about our work and gave me my very fist one. A voice actor without testimonials is likely not a professional voiceover actor.
In March, 2019 I went to Burbank, CA for the World Wide Radio Summit. This was the same week as VO Atlanta, so I had to choose between the two conferences. I have been working so hard to grow the radio imaging side of my business and to be there to here the best in the business speak on amazing panels was so inspirational. In 2019, there were not one but two imaging panels, of both voice talents and program directors. To hear folks like Issa Lopez and Ashley Cavalier was a dream come true. These women are role models for us all and they set the bar really high. Their work is incredible and they have achieved so much. I also met people from all over the world, wether they were from across the pond or across the country. To have entire networks like iHeart and Sirius represented was just amazing and the folks that I met were so nice. I have enjoyed keeping in touch with them.
As a small business owner, it is a pretty major accomplishment to be totally on top of my collections. Just because I am able to mark this is a goal that I have met does not mean that this was an easy feat. It has taken diligence, patience, and commitment. Most clients are very kind and well-intentioned. Some of these kind clients pay right away. Some are just busy with work and life and forget to pay and need a friendly reminder. But you know what else I have learned as a business owner? Not everyone is nice. Some people do not want to pay even when they are happy. Why? Because they are not nice. So they make small business owners jump through a million hoops to chase them down for money in hopes that we would rather just disappear. This year my multi-pronged approach, wich combines friendly reminders from me with an attorneys letter at the 90 day mark was the right combination. I am thankful.
I am so thankful that my client roster this year and always. I am proud that when I work with a client I typically keep working with a client. Some of the major brands I have had an opportunity to do voiceovers for in 2019 include Dove, Kyvno, CT Lottery, Michigan Lottery, Cleveland Clinic, Quest Diagnostics, Spoke, CosmoProf, Origins, and the list goes on and on. I am also thrilled that my work for both Pandora and Spotify continued. Pandora has extended another contract to me for 2020 and I am so very thankful for their trust in me year ofter year. This year, a lot of the work I did for them was repeat work because the clients specifically requested me. That means the world to me.
What makes a professional voice over actor a professional? Well, besides the years of training, the demos, the home studio, and being a part of the community, a big, big, big characteristic is booking PAYING work at INDUSTRY STANDARD RATES. Not Fiverr. Not bargain basement, but once a voice talent begins earning a consistent, sustainable income they proudly earn the title of professional. If they are booking repeat gigs or lots of gigs, they now have the goods to call them selves a pro. Even in WoVo, our professional organization, once you book five gigs at industry standard rates, you are eligible to apply to be a “Professional” member. Thus, it is the act of being paid for the work that you do that is essential.
AKA “Invoicing for Dummies,” I want to make it as easy as possible for my clients to pay me. I actually spent years figuring this out, so the client is not the dummy here, I had about a five year learning curve. I tried multiple different ways of invoicing, and find that this system is much more user friendly. I use Fresh Books for my invoices. They are clear. They state my terms which are Net 30. They allow me to set 30 and 60 day invoice reminders.
This is extremely important: when invoicing, always, always, always differentiate between your session fee and the usage of your voice. Why? Well what if Sally at the ad agency decides after multiple rounds of casting and telling you that you were perfect 24 times that in the end she really wants a more robust male voice? No problem Sally, she just has to pay your session fee. This is industry standard. I repeat, this is industry standard. You have done the work. You have delivered the work. The session fee is the fee that they are paying for you to get behind the mic and turn on your phantom power and record. If you did a live session? Guess what, they are paying for it. The usage is for the usage of your voice for the run of the spot. Do not book gigs in perpetuity. It is a huge problem. That is a separate blog. Just don’t!!
