Newsletter

November 2007 · Newsletter Archive

"The best advice anyone ever gave a writer was to write. So, taking a hint from that (on every other front...this industry, life, whatever) I would say 'do'!"
-- Norman Lear, writer/producer

The Ever-Important Audition

You've recently produced or updated your demo and it represents the work you're best suited to land. You've updated your graphics to establish your name (your brand) more effectively in the marketplace. You've promoted yourself consistently (at least once a month) to the agents and managed to secure some representation who are steadily auditioning you (five times or more a week). In addition to that you're promoting your demo web page with postcards to the producers in your local market as well as consistently promoting yourself to producers in targeted markets outside your own region. Very well done!

So...why aren't you landing anything?

If your tenacity and consistency is intact on all these fronts, then I suggest you take a good look at the quality of your auditions.

Certainly, how they are recorded is important. If they're recorded on something that's only a notch above a 'boom-box', you most certainly have to raise the stakes--absolutely, no doubt about it.

But even more importantly, you have to approach each audition as if you were going for the Gold at Torino. If you aren't and you've become complacent or somewhat flat or robotic in your auditions (which can easily happen especially if you are doing a great deal of them at home), it's time you step up your skills and show those auditioning what you're made of.

Obviously mastering your audition is a constant and vitally important part of your career.

In fact, it's impossible to put this or any other aspect of your voiceover business on auto-pilot. So please snuff that urge to do so.

I realize every small business owner has the fantasy to someday operate with every aspect of their business on auto-pilot. It's a goal, certainly, that allows us to put order in but frankly, it's something of a fool's mission to set every aspect of your business on the shelf as if it were 'done', no room for improvement or change--that would be foolish if you honestly intend to be successful.

To succeed in any business you have the intention, interest and will to confront what others won't. Including the quality of your audition! Aside from your demo or your performance on the job itself, your audition is your product in this business. Therefore, it's your responsibility to continually produce an effective product.

In order to do so, you have to continually and consistently flex your audition muscle or you will deliver a less than effective, half-baked product. That can close out future business faster than anything.

This is precisely why, at Sound Advice, we never cease imparting what pearls we can regarding your performance and how you can up the stakes and increase your rate of bookings. If that's your intention then you should be working your audition muscle beyond your warm-up and cold reading every month in the workshop or every other month with one-on-one coachings.

The truth is, most people, regardless of their skill level, are ineffective at auditioning. Which is why if you amp up your intention to performance energy each time you audition, you're more likely to book it or at least leave a lasting impression with those you've auditioned for and they'd be more likely to request you next time provided they remember your name from repeated promotions.

Then again, we all go through slumps or changes that alter what we bring to the table, and therefore our audition suffers. If this is what you're experiencing, it can be very difficult to see the forest through the trees.

Not to harp, but okay--tough, I'm harping...it's your job as a professional to maintain a steady regimen of vocal warm ups and cold reading a minimum of 4-5 hours a week. This is what's required and not only from the novice voice talent--this is required of EVERY voiceover, if you intend to be sharp at a moment's notice. In fact, the more successful you become, the more you're expected to be on top of your game, so studying the medium (as it's expanded upon in the "How To Learn What You Do Best Commercially" Section of "The Sound Advice Encyclopedia of Voiceover") and staying on top of your performance skills only becomes a greater priority--not less.

If you're ready to play I suggest signing up for our in-studio workshop (Podcast for the world to hear--and they are listening, my friend--I get e-mails from all over!) and scheduling a few one-on-one coaching sessions couldn't hurt either.

We're at your access...but you have to do your homework. Otherwise your career will begin and end at our front door. And we can't have that! We want you working and representing us in the best light possible!

What to do, what to do?

Last month, 'Jo Talent' asked:

"Quick question--two of my agents have sent me the same voiceover audition-- (I) already sent it in for one of them.
Should I email the other agent back and say I am sorry but I already was submitted for this one? Or should I not say anything at all?
The one that I didn't record for sends me out on less auditions, but more specific.
What do you think?"

The 'SA' answer:

No worries. Simply send an email to the agent who sent it last saying...

"Thank you for thinking of me, but I have already auditioned for this spot.
Best, Jo Talent"

The best rule of thumb is: whoever sends you the audition first--wins. This is an infrequent occurrence but it does happen from time to time, especially when you're represented by agents in a variety of markets across the country, as we suggest you do.

(Of course, as always, at SOUND ADVICE we maintain you continually promote to the talent agents, both near and far, until you're working incessantly! Email or call SA for an updated national talent agent list.)

But wait, there's more!

"Question for you...Is it horribly gross and unprofessional to use a colored envelope for mailing our demos? I have an itch to buy colored ones that match my logo. Just wondering...DD"

No, however, it will only impress...you, I'm afraid.

So, why spend the money on colored envelopes when the intern rips them open without a thought to whether they match or not? Sadly, that fine detail would be lost on them. So...we suggest you save your money for more promo going out!

It would be better spent. ; ) -Kate

Union 411

Here's this month's installment of info regarding the two actor's unions that deal with broadcast.

Can an AFTRA/SAG signatory hire non-union actors, too?
On any SAG or AFTRA job, all actors must be union members, unless the union contract specifically permits the use of non-union performers or allows a waiver (called a Taft-Hartley Waiver) to the signatory.
All actors on a union job must be paid union wages unless the union contract permits a certain ratio of union members to non-union members (such as when a certain number of non-union extras may be used).

How do I qualify for medical/dental benefits from AFTRA or SAG?
You automatically qualify for basic individual medical benefits when you earn a minimum of $13,790 during a single year and you'll be covered for dental after earning three years of coverage under SAG (effective May 2007).
Under AFTRA you must make $10,000, from one January to the next, for an individual (which includes basic dental) or earn $30,000 in a year in order to secure coverage of your family.
Your earnings under AFTRA and SAG cannot be combined.
Both unions' Health and Pension Funds (typically referred to as 'P & H') are totally funded by contributions made on your behalf of your signatory employers. To maintain coverage, you must continue to earn the annual minimum. If your earnings drop below that minimum in one year, your coverage will stop, but you will have the option of continuing coverage for a time under a self-payment plan.

When does a union talent become 'vested'?
'Vested', for any union not just SAG or AFTRA, means you've earned enough to have paid for your pension.
For SAG, that means once you've earned $15,000 in a single calendar year for ten years (they do not have to be consecutive) you will have earned your full pension and therefore, be fully vested.
For AFTRA, you must earn a total of $7500 a year for five years to become fully vested. (Again, not necessarily earned in five consecutive years.)

This Just In...

From Reuters.

U.S. won't probe Canadian film subsidies

The Bush administration said on Friday it turned down a request from the Screen Actors Guild and other film industry groups to file a complaint against Canadian film subsidies at the World Trade Organization.

"Based on a thorough review of the economic data, other facts and legal arguments set out in the petition, the interagency committee unanimously recommended that the USTR not accept the petition," said Gretchen Hamel, a spokeswoman for U.S. Trade Representative Susan Schwab.

The Screen Actors Guild and other members of the Film and Television Action Committee complained in their petition on September 4 that Canadian subsidies had lured tens of thousands of good-paying film jobs from the United States.

The case received political support from Rep. Xavier Becerra, a California Democrat who complained in a statement last month that Canadian film subsidies cost the U.S. economy more than $9 billion from 1998 to 2005.

But the Bush administration panel who examined the issue concluded that "the information and arguments set out in the petition would not be effective in addressing the Canadian subsidies," Hamel said.

"Ambassador Schwab has accepted this recommendation, and has decided not to initiate a Section 301 investigation in response to the petition," Hamel said.

Section 301 of the 1974 Trade Act allows industry groups to file a petition asking the U.S. Trade Representative to investigate whether an unfair trade practice has occurred and to take action to correct any abuses it finds.

As the seasons change...

You may have noticed we have yet ANOTHER addition to our SA/BH team. We welcome Jolene Boyce into the fold. She hails from New Zealand and she's our Assistant Casting Director. She also handles all of our insane incoming calls and scheduling as well...You'll find she's incredibly efficient, smart, experienced, thoughtful and pleasant.

Additionally, this month our own Priscilla Quirino heads off to open and manage our LA office! (Yippee!) We wish Priss the best of luck and look forward to her return to Chicago from time to time.

Our team has never been so focused, skillful or helpful. We think you'll agree! Till next month... we wish you patience, persistence and on-going success! -Kate & crew