18
The Business of Voiceover: Getting Paid to Play

In This Chapter

The Same but Changing

Business is one of those things that stays the same, but is always changing. I realize that sounds like a contradiction, but it’s really not. The simple fact is that the fundamental concepts of business are well established and, if properly implemented, will help the business run smoothly and profitably. At the same time, every business and industry is constantly in a state of flux when it comes to trends and processes within its sector.

Voiceover is no exception. From the early days of voiceover, there have been a series of changes and adjustments that have required voice actors to modify and update their business practices.

When pay-to-play sites first emerged in the early 2000s, just about anyone with a microphone and an Internet connection could claim to be a voice talent. This resulted in a spiraling downward trend in performance quality and talent fees that continues to this day. The merger of SAG and AFTRA on March 30, 2012 changed the face of Union work. And in August 2017, a major pay-to-play site bought out the largest talent agent clearing house in the U.S. which completely changed the way talent agents work with both their talent roster and with their clients. This also created a considerable amount of confusion for talent buyers and producers and put additional strain on efforts to maintain some sort of pricing standard for both union and non-union talent.

This chapter specifically focuses on the fundamental concepts and principles for making money as a voice actor so you will be able to make an educated decision as to whether or not this type of work is right for you. Demos, marketing, auditions, and many other aspects of this business are discussed in detail elsewhere in this book. Chapter 29 will discuss some of the major trends facing voice actors now and for the foreseeable future.

If you are going to be successful as a voice actor, you need to be well versed in how to operate your business. And you need to be aware of what’s coming down the pike. As the saying goes “the only constant in this world is change.” Be ready for it.

It's Show-Biz, Folks!

One thing many people seem to either not realize—or simply forget—is that voiceover is part of show business—and the larger part of show business is business! Before making the investment in time, energy, and money for workshops, training, and equipment to become a voice actor, it is important to have an understanding of what this business entails, how it works, and what is expected of you as an independent business owner.

Acting for voiceover may be one of the best-kept secrets around. You get to be serious, funny, and sometimes downright silly and your voice may be heard by thousands. Voiceover can be an incredible outlet for your creativity and it can often seem like you get paid to play! The performing skills you’ve learned can help you to become a better communicator in many areas of your life. But performing is only one part of the voiceover equation.

To be perfectly honest, the business of voiceover can be very challenging at times. The reality is that you are an entrepreneur running your own business and you can expect all the ups and downs that go along with that. Depending on the type of voiceover work you choose to do and the clients you work with, you may be on call 24/7/365. Vacations may be difficult to schedule and there may be moments when you wish you were somewhere else. You will encounter producers and/or directors who do not seem to know what they are doing and who will test your patience. You will be faced with cramming:40 of copy into:30—and the producer will expect it to sound natural and conversational. All of this—and more—is just part of working in the world of voiceover. That’s show-biz!

Fortunately, the uncomfortable moments are relatively rare, and the majority of voiceover work is enjoyable and often downright fun. If you are a competent performer and you really enjoy what you do, and become good at it, even challenging sessions can seem like play. If you approach the business side of your voiceover work with a positive attitude, a mindset of teamwork, and an eagerness to help your clients achieve their objectives—rather than as just a way to make money, your likelihood of success will be much greater. To a large extent, your level of success as a voice actor will depend on your mental attitude and how you approach your work.

The Many Hats of a Voiceover Professional

In the “old days,” a voice actor would be booked simply as a performer. But times have changed! Today, if you are going to work in voiceover at a professional level, you must not only be an excellent performer, but you must also have functional skill sets in most or all of the following business areas:

• Marketing and branding (advertising)
• Social media networking
• Business management (organizing and running your office)
• Sales and negotiating (for setting and negotiating talent fees)
• Telemarketing (cold calls and phone marketing)
• Email marketing and correspondence
• Copy writing (for promotional materials and web content)
• Talent director (self-direction)
• Audio engineering (recording and editing your voice tracks)
• System design (setting up and using your home studio)
• Acoustician (knowledgeable of room acoustics)
• Accounting (managing your income and expenses)
• Computer skills (Word processing, spreadsheets, etc.)

There are many other aspects of running a business that may also come into play as your voiceover business develops. For example, you may do mass email marketing, in which case you will need to know how to design effective email campaigns and you will need the software or support services for bulk email without landing in the recipient’s junk email folder. Or you may decide to create a blog or manage your own website. These would both require some knowledge of how to manage files on the web. In short, you will be wearing many hats and you may change hats many times a day.

Many voice actors also work as on-camera talent or in theatrical productions. After all, acting is acting, and the more versatile you are as an actor, the greater your likelihood of success in voiceover. As you master voice-acting and business skills, you may find yourself developing other talents as well. This diversification can provide income from several sources.

Non-Union Voiceover Work

Non-union, freelance work is an excellent way to get started in the business, and there are lots of advertisers and producers who use non-union performers. And, even though you may be working independently, you can still audition for union jobs. However, once you join the union, you will be limited to working only union jobs.

Buyouts

As a non-union performer, you or your agent will negotiate your fee, which will normally be a one-time-only buyout payment.

Projects which are, by nature, limited in their distribution and use, like industrial training programs, marketing videos, documentaries, and audio books can reasonably justify a buyout agreement, meaning that the producer pays you a one-time flat fee for your work, and then has the right to do whatever he wants with that recording for as long as he wants—with no further payment to you.

Take a look at the way SAG-AFTRA handles its talent fees and you’ll notice that most categories have a time limit for the use of a performance. If a client wants to reuse a performer’s work, they pay the talent a new fee called a residual.

As a freelance voice actor, you do not need to accept a buyout talent fee for any commercial voiceover work, even though this is the most common type of booking and payment for non-union talent. If you agree to a buyout fee for a radio commercial, there’s a good chance you may be hearing that commercial for years to come. Or a portion of the radio voice track may be used for a television commercial, an in-store message, a telephone message, on a website, or any number of other uses—and you’ll never get paid a dime beyond your original buyout talent fee.

There are no residuals for non-union work, including work done at financial core. The going rate for freelance voice work can be anywhere from $50 to $250 or more depending on the project, the market, your skill level, and what you can negotiate. For non-union work, or work booked without representation, the negotiated terms are between you and the producer, as are the terms of payment. If you have one, your agent will negotiate your fee and terms for the booking and will handle the paperwork to ensure you are paid.

If a non-union producer should ask your fee, and you are not sure what to say, the safest thing to do is to quote the current minimum union scale for the type of project you are being asked to do. You can always negotiate a lower fee if necessary, but you won’t be able to increase your fee if you initially offer a rate that is low. If you have an agent, they are entitled to their commission even if you find the gig. So, the correct thing to do is to ask the client to contact your agent and have your agent negotiate the talent fee.

If you pursue voiceover work as a career, you may eventually join a union, especially if you live in a large market. However, it is not necessary to join a union to become successful. There are many independent voiceover performers in major markets who are earning substantial incomes, even though they are not members of any union. The choice of whether or not to join a union is one that only you can make—and you don’t need to make that decision now.

Talent fees and more will be discussed in greater detail in Chapter 23: “Managing Your VO Business.”

Union Work

Nothing in this book is intended to either promote or discourage union membership. That’s a personal choice. However, joining a performing union will eventually be an important decision for anyone pursuing a career in voiceover.

There are only two ways to get paid for voiceover performing: union jobs and non-union freelance jobs. If you are just starting out, it is a good idea to do as much non-union work as possible before joining a performing union. It’s sort of like “on-the-job training.” Nonunion voiceover work will provide the opportunities to get the experience you need and accumulate some recordings of your work.

Joining a performing union is a personal decision that should be based on complete and accurate information from all points of view. I neither encourage, nor discourage union membership, but I do believe it is important to know how unions may have an impact on your voiceover work, whether you choose to not join, join at Financial Core, or join as a Rule 1 member. Regardless of how you choose to join (if you do), I strongly recommend that you only join when you need to. Joining the union before you have a revenue stream to support your craft will usually not be a wise decision.

Most of the information in this section can also be found on the SAG-AFTRA website at sagaftra.org and in their print materials. You can find additional discussions on the pros and cons of union membership on many of the voiceover discussion boards and blogs.

By joining SAG-AFTRA, and working union jobs, you will be assured of reasonable compensation for your talents and protection from unscrupulous producers and advertisers. Your union-sanctioned agent will normally handle negotiations for your work and will sometimes negotiate a fee above scale. Regardless of what you are paid, the agent will only receive 10%, and that amount is usually over and above your fee. A performer just starting in the business may make less than scale, but the agent’s commission will still be added on top of the performer’s fee. The client also contributes to the union’s health and retirement and Pension Welfare Fund. For many voiceover performers, the health and retirement benefits are the primary advantage of being a union member. However, there is a minimum annual income requirement before a member can qualify for Health and Retirement benefits.

Performing Unions

SAG-AFTRA is currently the only union that handles voiceover performers in the U.S. For decades, the American Federation of Television and Radio Artists (AFTRA) handled performers working in electronic media and the Screen Actor’s Guild (SAG) handled actors working in film. In 2012, these two unions merged to form SAG-AFTRA. In Canada, voiceover work is handled by ACTRA, the Alliance of Canadian Cinema, Television, and Radio Artists (actra.ca). British Columbia has UBCP, the Union of BC Performers, which is the BC branch of ACTRA (ubcp.com). In the United Kingdom, the voiceover talent union is Equity (equity.org.uk). Other countries with collective bargaining unions will also have one or more unions that work with voice talent.

The job of all unions is to ensure proper working conditions, to make sure you are paid a reasonable fee for your work, to help you get paid in a timely manner, and to provide health and retirement benefits. The degree to which these are accomplished may vary depending on the type of work done, union member status, and other factors.

Since the focus of this book is on the general craft and business of voiceover, I’ll limit the discussion of performing unions to the U.S. SAG-AFTRA union. If you will be doing voiceover work outside of the United States, you should know that many performance unions have agreements or affiliations with unions in other countries, so your original union will be the best place to start. It may be necessary to contact a local talent agent to learn which union applies in your country.

Some Union History

In general, all organized unions were created to protect the worker’s best interests and provide a variety of protections and controls over the workplace.

In the U.S., the AFTRA and SAG performer unions came into being in the early days of film, radio, and later, television. Unscrupulous producers were notorious for taking advantage of the actors and not paying performers a decent wage—some not even paying them at all. So, the unions were set up to make sure performers got paid and were treated fairly.

As the unions grew, Congress decided that it was unfair for a person just working once or twice a year to have to join the union and pay dues every six months. The result was the 1947 Taft-Hartley Act, which made major changes in U.S. labor-management relations. In regards to voiceover, this law gives you (the actor) an opportunity to work under the jurisdiction of the union for 30 consecutive days without having to join. You then become union eligible, “vouchered,” or “Taft-Hartley’d,” and must join the union at your next union job.

What this means is that if you do a lot of freelance work, you can still do a union job without having to join the union or pay union dues. The trick is that the next union job you do, you must join the union, whether it is three days or three years after your first union job. Immediately after the 30-day grace period you have the option to join or not join the union.

At the time of this writing, there are three ways to qualify for membership in SAG-AFTRA¹. The first (and least likely) way to join is by being hired for a principal speaking role in a SAG-AFTRA signatory production, which could include a voiceover job. A second option is to be a paid-up member of an affiliated union for at least one year and work at least once as a principal performer in that union’s jurisdiction. For the majority of voice actors, neither of these options is viable.

Although it is possible to be cast as a principal actor for a union voiceover job, the third, and most practical option for joining SAG-AFTRA is to work as an extra, or background performer, for three days under a union contract.

One of the advantages of being in the union is that you are more likely to be paid a higher fee, or scale, than if you did the same job as a freelancer. Although, as a freelancer, in some situations you may be able to negotiate a higher fee, but you will not receive any of the benefits of being a union member.

Union scale is the fee set by the union for a specific type of work. By the time you reach the level of skill to have been hired for a union job, you will most likely be ready to join the union.

One function of the union is to protect your rights as a performer. For example, a voiceover performance for a radio commercial can also be used in a TV spot or for an industrial video. Unless you are a union member, there is little you can do to protect yourself. There are some 400 different union agreements for different types of projects, each of which has a different pay scale. Radio and TV commercials are paid based on the market in which they air and how long they will be aired. Industrial videos and CD-ROMs are handled in other ways. Without the union you are potentially at the mercy of the person hiring you, and your voice may end up being used for projects you never agreed to.

As a union member you agree to work under the principal of Rule 1, which simply means that union members agree not to work without a guild or union contract. A union member working in a nonunion production cannot be protected if the producer refuses to pay, pays late, makes unauthorized use of the performance, or in any other way takes advantage of the performer. Any legal action taken by a performer working outside of Rule 1 is at the performer’s expense, and the union may actually discipline the member with fines, censure, suspension, or even expulsion.

As a member of SAG-AFTRA², you are free to audition for any job, including non-union jobs. If you are hired for a non-union job and the employer is not a signatory, the union may contact the producer and have him or her sign a signatory agreement before hiring you. If you are a union member and are not sure about your employer’s status with the union, call the union office in your area.

One way for a union member in the U.S. to work a non-union job is a waiver called a One Production Only (O.P.O.) Limited Letter of Adherence. This waiver is good for one job only, and the work you do on that job is considered union work. The advantage is that the non-union producer agrees to the terms of the union agreement, but does not have to become a union signatory. The O.P.O. contract must be signed before any session work.

Some producers, for one reason or another, prefer to not work with union performers. Money is usually not the reason. It may be unrealistic demands from an agent, company policy to work only with non-union talent, or a dislike of the paperwork. To get around these and other issues, some agents and production companies will work as a union signatory effectively separating a non-union producer from the union. This is a win-win situation—because the producer does not have to deal directly with the union, the quality of the talent remains high, and union performers have the opportunity to work for a greater variety of clients at a fair level of compensation. Some voiceover performers operate their own independent production companies as signatories and essentially hire themselves. It is also possible for you, as a union member, to handle the paperwork, thus making it more attractive for a producer to hire you.

Joining SAG-AFTRA requires three vouchers, or proof of working three union jobs, and payment of a one-time initiation fee and current union dues. The initiation fee can be paid as a single payment or through the Union’s member-owned credit union over a 24-month payment plan. Dues are set at a base fee until a minimum income from union work is reached. Above the minimum, dues are a calculation of the base plus a percentage of union income. Visit the SAG-AFTRA website for more information. Most everything you need to know about membership, dues, and member benefits is on the union’s website at sagaftra.com.

Financial Core

Financial core, or fi-core is an aspect of union membership in the U.S. that has been and remains very controversial. Fi-core is a level of union membership at which an actor can be a member of a union and still be able to work non-union jobs.

Since the beginning of labor unions, states would make their own laws about whether they would be a “union shop,” or a “right-to-work” state. In a Union Shop state, laws were passed that required a person to be a union member and pay dues in order to do union work. Right to Work states allow unions to exist, but membership is voluntary, and the union cannot require a person to pay anything as a condition of employment.³

Financial core came about as a result of union members who disagreed with the way their union was using a portion of their dues for political activities. They also disagreed with their union’s control over work they could and could not accept. A series of U.S. Supreme Court legal battles beginning in 1963⁴ eventually culminated in a 1988⁵ landmark decision that changed the way all unions work (not just SAG-AFTRA). In 2001, President George Bush signed an executive order that requires all unions to inform prospective members of their “financial core rights,” or “Beck Rights,” before they join the union.

The resulting legal decisions for Financial Core require that an individual must first be a union member, and then formally request a change to Financial Core membership status. Upon declaration of Fi-Core status, the union member loses specific membership rights: the right to vote, hold union office, receive the union newsletter, declare their union status, and participate in union-sponsored events, among others. Payment of semi-annual dues is still required, however at a slightly reduced rate. The union determines the portion of dues that are spent for political and other activities that do not directly apply to the union’s collective bargaining efforts, and for those at Fi-Core status, that percentage of dues is deducted from the dues payment.

At its essence, Financial Core creates a non-member, dues-paying status that allows a performer to work both union and nonunion jobs. Those who favor Fi-Core will mention that the performer regains control over the kind of work they do and their compensation. Those against Fi-Core claim that this membership status seriously disables the effectiveness of collective bargaining. Ultimately, as a voiceover talent, it is up to you to fully research Fi-Core so you completely understand its ramifications when the time comes for you to join SAG-AFTRA.

An Internet search for “financial core” will bring up dozens of websites that discuss both sides of this controversial aspect of union membership.

When Should I Join the Union?

You may be tempted to join the union sooner than later, believing that union membership will mean higher pay and more credibility as a performer. Although both may be true to some degree, it is generally a good idea to put off joining SAG-AFTRA until you have mastered the skills necessary to compete with seasoned union talent. Producers expect a high level of performance quality and versatility from union performers and it takes time and experience to master the skills necessary to perform at that level. Because the union initiation fee is quite high, joining SAG-AFTRA too soon not only may be an unwise financial expense, but it could have the potential for adversely affecting your voice-acting career. Most voice talent need the seasoning of working lots of non-union jobs before they will be at a level of performing skill and business knowledge that can be considered competitive with professional union talent.

Here are some reasons to consider union membership when you feel you are ready, when you begin getting audition calls for union work, or when you are booked for your first union job:

• Union membership is considered an indicator of professionalism and quality. Producers know they will get what they want in 2 or 3 takes instead of 20.
• Your performance is protected. Union signatories pay residual fees for use of your work beyond the originally contracted period of time.
• You will also be paid for any time over one hour on first and second auditions, and paid a fee for any additional callbacks.

Residuals

Residuals were implemented to guarantee that performers are paid for their work as commercials are broadcast. Each airing is considered a separate performance and talent are compensated based on the period of time a commercial is aired. A common misconception is that residuals are paid every time a commercial airs. That is not true. Residuals are paid based on the period of time during which a campaign is on the air.

Commercials produced by a SAG-AFTRA signatory have a life span of 8 or 13 weeks. After the original run, if the advertiser reuses the commercial, a new life span begins and the performer’s fees, agent commission, and union contributions must be paid again. This happens for every period in which the commercial is used. In radio, residuals begin on the date of the first airing. In television, residuals begin on the date of the recording session, or the “use” date.

If an advertiser is not sure whether the company wants to reuse an existing radio or television commercial, a holding fee can be paid. This fee, which is the equivalent of the residual fee, will keep your talents exclusive to that advertiser, and is paid for as long as the spot is held. Once the commercial is reused, residual payments are made just as for the original run. If the advertiser decides the spot has lived its life, your residuals end. At that point, you are free to work for a competing advertiser.

Union recording sessions are divided into several fee categories and specific types of work within each category. For radio and television work, the performer’s pay varies depending on the type of work and the market size where the product will be aired. The following is a description of the basic SAG-AFTRA performance fee categories. Although some of the details may change from time to time, this will give you an idea of the broad range of work available in the world of voice acting.

• Session Fee: The session fee applies to all types of union voiceover work and will vary depending on the type of work you are doing. A session fee is paid for each commercial you record. For radio and TV commercials, an equal amount is paid for each 13-week renewal cycle while in use (being rebroadcast) or if the spot is on hold (not aired). Session fees for dubbing, ADR, and looping are based on a performance of five lines or more, and residuals are paid based on each airing of the TV program.

  Animation voice work is paid for individual programs or segments over 10 minutes in length. Up to three voices may be used per program under one session fee. An additional session fee applies for each additional group of three voices, plus an additional 10% is paid for the third voice in each group of three voices performed.

  For off-camera multimedia, CD-ROM, CDI, and 3DO, a session fee is paid for up to three voices during a four-hour day for any single interactive platform. Additional voices are paid on a sliding scale and there is a one hour/one voice session fee and an eight-hour day for seven or more voices. Voices used online or as part of another program (a lift) are paid 100% of the original session fee.

  Industrial, educational, and other nonbroadcast narrative session fees are based on the time spent in the studio. A day rate applies for sessions that go beyond one day.

• Wild Spot Fee: Paid for unlimited use of a spot in as many cities, for any number of airings, and on as many stations as the client desires. The Wild Spot use rate is paid based on the number and size of the cities where the spot is airing.
• Tags: A tag is defined by SAG-AFTRA as an incomplete thought or sentence, which signifies a change of name, date, or time. A tag can occur in the body of a radio or television commercial, but is usually found at the end. For radio, each tag is paid a separate fee.
• Demos: “Copy tests” for nonair use, paid slightly less than a spot fee. An advertiser might produce a demo for a commercial to be used in market research or for testing an advertising concept. If upgraded for use on radio or TV, the appropriate use fee applies.
• Use Fee: This fee begins when a commercial airs. Voiceover performers for national TV spots earn an additional fee every time the commercial airs. A standard of 13 weeks is considered a normal time-buy that dictates residual payments.

Product Identification

Radio and television commercials are unique in that they both create an association between the performer and the product. This is most common when an advertiser uses a celebrity spokesperson to promote their product. The viewing audience associates the performer with the product, and the advertiser gains a tremendous amount of credibility.

Product identification can, however, result in some serious conflicts, usually for spots airing in the same market. For example, if you performed the voiceover on a national television commercial for a major furniture store, you may not be able to do voiceover work for a local radio commercial for a competing furniture store. You will need to make sure both spots are not airing in the same market, even though one is for radio and the other is for TV. Conflicts are not a common problem, but they do occur from time to time and usually with union talent. As usual, if you have any questions, the best thing to do is to call your union office.

Limited Release Productions

Many projects are never broadcast, such as in-house sales presentations, training tapes, programs intended for commercial sale, and point-of-purchase playback. For most of these projects, performers are paid a one-time-only session buyout fee with no residuals. These projects usually have no identification of the performer with the product or service in the mind of the audience, and therefore present little possibility of creating any conflict.

Talent Agencies, Casting Agencies, and Personal Managers

The jobs of talent agents, casting agents, and personal managers are often misunderstood. They all have different functions in the world of voiceover.

The Talent Agency

Talent agents are in the business of representing performers for the purpose of getting them work. Talent agencies are licensed by the state and must include the words “Talent Agent” or “Talent Agency” in any print advertising, along with their address and license number. The talent agent works with producers, casting directors and advertising agencies to obtain auditions and negotiate talent fees and booking schedules.

A talent agent receives a commission of 10% to 25% based on the fees, or scale, they negotiate for their performer and whether the performer is union or non-union. For union work the commission is above and beyond the performer’s fee (scale plus 10%). In some cases, the commission may be taken out of the talent fee, especially for non-union freelance work obtained by an agent. For talent agencies to book union talent, they must be franchised by the local SAG-AFTRA union. Contact the union office in your area for a list of franchised talent agents.

Unfortunately, this is not a perfect world, and there are many unscrupulous agents who will attempt to relieve you of your money. If anyone asks you for money up front to represent you or get you an audition, he or she is operating a scam. Period! The same is true for 1-900 numbers that charge a fee for information on auditions and casting. Most of the information is available elsewhere, either for free or a minimal charge. The best thing to do is find a reputable agent and stay in touch with him or her. Even if you are freelance and must pay your agent a 25% commission, the advantages of representation may well be worth it.

Do you need a talent agent to do voiceover work? No. Will a talent agent benefit you in your voiceover career? In most cases, yes. Chapter 25, “The Talent Agent,” includes a complete discussion on how to find and work with a talent agent.

The Casting Agency or Casting Director

A casting agency is hired to cast the talent for a particular project. They may also provide scriptwriting and some producing services, such as directing talent. They may even have a small studio where some of the production is done. Casting agent fees are normally charged directly to the client and are in addition to any fees paid for the talent they cast.

Most voice casting agencies work with talent agents and have a pool of talent that covers all the various character styles they use. Talent from this pool are used for all projects they work on and they will rarely add a new voice to their pool unless there is an opening or special need. The talent in their pool may be represented by several talent agents. Casting agencies may occasionally hold open auditions to cast for their projects, but they are generally not a good resource for non-union voice talent.

The Personal Manager

A personal manager is hired to manage a performer’s career. The personal manager attempts to get the talent agent to send the performer out on auditions and encourages the agent to go for a higher talent fee. Managers usually work on a commission of up to 20% of the performer’s fee, which is taken out before payment to the performer and in addition to the agent’s commission. Some managers may work on a retainer. Either way, a manager can be expensive, especially if you are not getting work. Personal managers are fairly rare in the world of voiceover, and the voice actors they work for are generally well-established on-camera performers who will only occasionally do voiceover work.

Online Audition Services

In the early days of voiceover, a talent agent was one of the few sources for learning about voiceover audition opportunities. As the Internet has grown, a variety of online audition services have taken their place in the world of voiceover. Although online audition services have matured over the years, they remain a controversial aspect of the voiceover business.

There are currently four types of websites where voice talent can post their information and demos in the search for voiceover work. The first is a website operated by an Internet talent agent or casting agent. To be listed on these sites, a voice actor must be accepted by the talent agency for representation. These online agents operate like any other talent agent—it’s just that their talent pool is spread across the Internet.

A variation of the talent agent online audition site has begun to appear over the past few years. These sites are usually operated by legitimate talent agents and will take a commission for any bookings. However, unlike most agents, they will also charge a service or maintenance fee for their represented talent to be on their website. This effectively creates a fee-based service for receiving auditions. Although some of these sites are quite popular and may claim to produce impressive results for their members, the fact that they are charging a fee for their website and taking a commission may put the ethics of their business model in question.

This act of taking two income streams from the same source is commonly known as double-dipping and is illegal in many States. Website listings and other talent agent services have traditionally been considered a cost of doing business for the talent agent. The fact that an online agent might charge a membership fee for services beyond those of representing their clients should not be taken as an implication that they are operating illegally. It is only mentioned here so you are aware of how some online agents and audition services operate so you can make an educated decision when considering their services. The majority of membership audition websites are legitimate, do not act as an agent, and truly do their keep their promise to market and promote the website (and thus the talent) to producers, ad agencies, and other talent buyers.

A third type of free listing site will usually offer to post the talent’s name, a brief description of the talent’s services, and a link to the talent’s own website. As with most things in life, you get what you pay for, so these free listing sites are often not very well promoted and don’t result in much work—if any. The real benefit of listing on these free sites is the fact that Internet search engines are constantly scanning websites to catalog names and links. The more frequently your name is found by these search engines, the easier it will be for someone to find you. Don’t plan on getting jobs from these free sites.

The fourth type of listing website is one where voice talent can receive requests to submit auditions for a fee. These sites, known as Pay-to-Play sites (P2P), are very clear in stating that they do not act as a talent agent, but instead, serve as an intermediary between the voiceover talent and those seeking voiceover performers. Most do not take a commission for work obtained by the talent, but they do charge a membership fee for voice talent to gain access to audition requests.

Pay-to-Play Membership Websites

A pay-to-play audition service should not be mistaken for a talent agent. A talent agent earns their money by representing the performer to a client base they have developed over many years and will negotiate the talent’s fees. A pay-to-play audition service does not represent any talent or negotiate any fees. Instead, they will charge the voice actor a membership fee and, in turn, send the performer a seemingly endless stream of auditions. Those auditions will usually be filtered by certain criteria in the talent’s profile and will come from producers, often referred to as talent seekers or talent buyers, who do not pay anything to the audition service.

Pay-to-play audition websites operate as a membership service providing an assortment of benefits to their members on an annual fee basis. In addition to providing audition scripts for potential work, some offer webinars, blog posts, and limited training, among other things.

While an audition received from a talent agent will usually have a specific fee set for the project, most auditions received through these online services will have a pay range for the talent fee, for example: $100-$200 for a single script. It is up to the talent to determine whether the audition, project, and fee range are appropriate. The talent must also decide what they would bid as their talent fee, within the offered fee range, should they be booked for the project.

This effectively puts the member voice actors in a bidding war for every project. Some online audition sites will recommend their members bid a low fee to increase the likelihood of getting the job. Requiring voice actor members to bid against each other is one of the more controversial aspects of most online pay-to-play audition services.

Another very controversial aspect of some pay-to-play sites is that they will actually middle-man the production, coordinating the communication between producer and talent, supervising copy changes, and more. For these sites, the talent will rarely have any direct communication with the client, which makes the process of serving the client much more challenging. And, of course, all of this is done for a fee, a portion of which will often be taken out of the voice talent’s proceeds. This policy of one P2P website in particular has resulted in some serious ethical questions being raised.

On many of these sites a voice actor can, as part of their membership, receive a personalized web page with their bio, performing styles, and several demos ready to be heard. Members also receive a continuous stream of audition requests. The web page can be a huge benefit for a beginner who doesn’t have a site of their own. A website is a powerful marketing tool, and this feature alone may make a membership worth the price, but for an experienced voice actor who has their own site, this may be of little value, primarily because the P2P web page is actually a sub domain of the hosting site with little or no direct marketing value for the member.

Another membership benefit for beginning voice talent is the constant stream of audition requests. Each audition is an opportunity to practice performing skills and experiment with voiceover technique with real-world copy without risking anything. For this reason alone, it can be well worth the membership fee just to get access to a wide variety of scripts. Experienced voiceover performers don’t need the practice, and dealing with the vast number of unqualified auditions can be very time consuming.

Although most online audition sites truly have the best interests of their members in mind, there are some that seem to cater to the talent buyers who do not pay for the service, rather than to their voice talent members who pay a fee. This has created a great deal of controversy in the voiceover community primarily due to the large quantity of low-end, inexperienced talent buyers; poorly written copy; and low-ball talent fees that dominate the P2P audition sites.

Although many experienced voiceover professionals are members of these services, many members have little or no experience at all. Since there is no direct representation by the audition service, the talent buyer is taking a risk when they book a voice actor solely on the audition submitted. In order to mitigate this risk and provide a more satisfactory experience for both the performer and talent buyer, some online audition services will hold the talent fee in an equity account until the client signs off on the work. This has created yet another controversial aspect of these services in that some will also charge a fee to the talent for holding the talent fee in the equity account, deducting that fee from the amount paid to the voice actor.

Each online audition service has its own personality and you may find that membership in one, more than one, or none will be right for you. It is likely that more online audition services will appear in coming years. An Internet search for “online voiceover auditions” will reveal many resources.

At the moment, however, you can learn more about some of these services from this partial list of online casting services.

• bodalgo.com (Europe)
• choosevoices.com (Spain)
• commercialvoices.com (North America)
• piehoie.co.uk (U.K.)
• producershandydandy.com (North America)
• studiocenter.com (North America)
• sunspotsproductions.com (North America)
• voice123.com (North America)
• voiceartistes.com (India)
• voicebunny.com (North America)
• voicehunter.com (North America)
• voiceovers.co.uk(U.K.)
• voiceovers-uk.com (U.K.)
• voices.com (Canada, North America)
• voplanet.com (North America)

Are the online audition sites right for everyone? Of course not. It’s ultimately a personal decision. While some will find these services valuable, others will find them frustrating and of no help at all. Submitting auditions online is a numbers game. The more auditions you submit, the more likely you will be booked. But be prepared to submit hundreds of auditions before landing that first job.

I would suggest, however, that if you choose to join a P2P audition service, you do your due diligence to research the site’s services to make sure it is right for you. Also, enter into your membership with realistic expectations. Treat your membership as a year of real-world training. Use every audition to polish and perfect your performing skills and to master your recording and editing skills. Don’t expect immediate results and consider any jobs you get as icing on the cake.

Ad Agencies and Production Companies

How Advertising Agencies Work

Advertising agencies work for companies that advertise, coordinating every aspect of an advertising or marketing campaign. They write the scripts, arrange for auditions, arrange for the production, supervise the sessions, handle distribution of completed spots (spot announcement, or commercial) to radio and TV stations, purchase air time, and pay all the fees involved in a project.

Ad agencies are reimbursed by their clients (advertisers) for production costs and talent fees. They book airtime at the station’s posted rate and receive an agency discount (usually about 15%). They bill their client the station rate and get their commission from the station as a discount. If the advertising agency is a SAG-AFTRA signatory, they will also handle the union fees according to their signatory agreement. Since the ad agency books all airtime, they also handle residual payments, passing these fees on to their clients.

Most advertising agencies work through production companies that subcontract everything needed for the production of a project, or through talent agents. Sometimes the production company is actually a radio or TV station that handles the production. In some cases, a casting agent might be brought in to handle casting, writing, and production. Some larger ad agencies, with in-house facilities, may work directly with talent agents for casting performers.

Ad agencies can be a good source of work. Your agent should know which agencies use voiceover and will send out your demo accordingly. You can also contact ad agencies directly, especially if you are nonunion. As part of your marketing, you can telephone ad agencies and let them know who you are and what you do. You will find many ad agencies work only in print, use only union talent, or only work with talent agents, and you will be more likely to get work from them if you have representation. Should you choose to call ad agencies directly, ask to speak to the person who books voiceover talent.

Most ad agencies have a similar operating structure. Agencies that handle national accounts will, of course, have a much larger staff and the agency operation can be a bit complex. Many small market ad agencies consist of only one or two people who do everything.

In general, here’s how an ad agency works: The ad agency assigns an account executive (AE) or on-staff agency producer (AP) to handle a client’s account. Sometimes both an AE and AP are involved, but it is usually the AP who knows more about the production than the AE. The AE is more involved with arranging the schedules for airtime purchases. The AP is the person who is generally in charge of selecting talent. The AE is less involved, but often approves the AP’s talent choices.

Either the AE or AP may be present during auditions and one or both is almost always present at the session. If the ad agency is producing the spot, they will want to make sure everything goes as planned. If the spot is being produced by a casting agency, someone from that company may also be at the session. Casting agencies are more common for television on-camera productions than for voiceover, but a casting agency rep may be present at an audition or session if their agency is handling the production. And, of course, advertisers are very likely to be at the audition and session to provide their input.

How Production Companies Work

As their name implies, production companies are where the work of creating the radio commercial, TV spot, industrial video, video game, or other production is done. They come in all shapes and sizes, from the one-man shop to the large studio with hundreds of people on staff. Most production companies have a small staff of 2 to 10 people, many of whom may be freelancers. Some work out of a studio located in an industrial complex, while others work from home.

Production companies generally work directly for a client, or as a production resource for an ad agency or a corporation’s on-staff producer. Many large corporations have their own in-house production facility which might be staffed by company employees or by freelancers.

Although some production companies can be a good source of freelance voiceover work, most work primarily with talent booked through a talent agent by the producer, or with talent hired by an ad agency. Learn which production companies do the kind of voiceover work you want to do and get to know who the producers and directors are.

There is no, single resource for identifying production companies. For local producers, an Internet search for “production company your city” will bring up many of your local production companies. You can also contact your Chamber of Commerce to learn about local businesses that provide audio and video production services. Many cities have a film bureau that maintains a list of local production companies.

For television and film documentary narration, you can learn a lot by watching the closing credits of documentary, biographical, travel, and other programs on various channels on your cable TV system. Many television program producers work with talent agents or from an internal talent roster. Still, it will be beneficial to learn who the companies are, who the producers are, and the types of programs they produce.

Finally, searching the Internet for websites associated with keywords like “production companies,” “audio and video production,” “voiceover producers,” and so on, will reveal many opportunities.

¹ Source: http://www.entertainmentcareers.net/acting/how-to-join-sag.

² Source: http://www.SAGAFTRA.org.

³ Source: http://www.nrtw.org/d/rtwempl.htm.

⁴ U.S. Supreme Court, NLRB v. General Motors, 373 U.S. 734, 1963.

⁵ U.S. Supreme Court, Communications Workers vs. Beck, 487 U.S. 735, 1988.