April 2011 Archives
One reason that I am performing some audiobook work on Librivox as a service project is because it allows me to practice some acting techniques needed for effective storytelling in audiobooks.
A project that was recently completed and is now available for free download is a multi-cast drama of The Perils of Pauline. I voiced the role of the heroine Pauline for two-thirds of the book.
I only read the lines for my character. Much like an audition for a radio dialogue spot, I didn't have the benefit of hearing and playing off the other voice actors in the scene. I had to imagine that I had heard the other characters speak and then react with an appropriate emotional response.
This particular project lasted over 2.5 years due in part to lots of casting changes. Editing all of the hundreds of character reads into the narration was a herculean task undertaken by David Lawrence. I enjoyed hearing the finished product.
LibriVox is a great way to hone your narration and editing skills, but you can also volunteer in other ways such as being a proof listener on projects. I am proud to be part of this active, thriving community.
Suddenly, I am receiving a rash of emails with the question: "can you direct me to some Atlanta voiceover agents?"
Many people think that the key to voiceover success lies with an agent. Once you get an agent, you just have to sit back and let the lucrative offers come in, right? Ah, if only it were so easy to make money at your microphone!
This week, someone wrote to me about getting an agent while still enjoying the flush of success from working his first paid gig. He lives in another city and was ready to get on a plane to Atlanta to meet agents. In responding, I explained that I was offering this information in the same spirit of helpfulness that I write my blog.
If you've only booked one job, it's doubtful that you're ready for a voice-over agent to want to represent you.
I guess my answer above is just another case where I tell people what they need to know, not what they want to hear.In order to land a voice-over agent, you have to show that you are a marketable commodity and can offer them something that they don't already have among the people they represent. You should listen to the reels of their talent to determine whether and how you might fit on their roster.Most reputable agents have listings on Voicebank. You can sort the listings by city to find the agents' contact info and hear reels of their talent.You also want to compare the professional sound of your demo against those you hear on-line. Those professionals are your competition for booking jobs. If your demo is homemade, you'll want to invest in any necessary training with a coach before getting a professionally produced demo.Hard work, initiative, and knocking on doors does indeed pay off. I just think you need to knock on some other doors to establish yourself before you approach an agent. You can get work without an agent; agents are just one avenue, not the only avenue, of obtaining work.Check out the advice page on my site and look in the archives of my blog for more in-depth advice and resources on finding and marketing yourself to people who might hire you right where you are. To quote Teddy Roosevelt: do what you can, where you are, with what you have.
A few other thoughts about agents:
- Far too many organizations are ready to prey on people's dreams by taking their money and giving them unfilled promises in return. Modeling/talent agencies that set up in malls, organizations that hold "open casting calls" or regular searches for new talent, and places that run radio ads are probably some sort of school that makes their money from selling classes and pictures, not from booking talent. A legitimate voiceover agent doesn't need to solicit more talent, and they only charge you when you book a gig through them, usually 10-15% of the gig!
- If the agency doesn't have a voiceover department, I doubt they could really help you.
- You probably don't want to sign an exclusive agreement with one agent. Many voice actors have numerous agents located across the country and in other parts of the world. To reduce potential conflicts of interest among your agents and clients, it's best if you only have one agent per city or geographic region. Also, the relationship gets tricky when you receive the same copy from multiple agents. In those cases, I send the audition to whomever sent it to me first.
- If you are active with your marketing, be sure any prospective agents are not threatened by your efforts. One agent asked to represent me because she loved my clever pieces of direct mail and then dropped me a year later (after rarely sending me an audition), telling me that she felt my marketing competed with her. I have booked most of my work as a result of my own marketing, so I would not sign with another agent who discourages it.
- For thoughts from an agent, you will want to read the helpful article that Voices.com ran just a few days ago titled How to Get An Agent Dos and Don'ts.
If you still worry that you don't have an agent, you are focusing on what you perceive you lack in your life. Instead, look at and be grateful for all you have. Keep a list of your accomplishments ready for review so that you can maintain your confidence and positive outlook.
A good talent agent can send you auditions and open doors that were previously closed to you. With polished skills, research, and patience, you will be able to attract the right agent representation at just the right time.
Photo: iStockphoto / Talaj
Karen Commins
Voice Actor
Voice Actor
• Greetings from Karen
• How to Reach Me
• Places I've Been
• Advice for Your Journey
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• My Path So Far
• How to Reach Me
• Places I've Been
• Advice for Your Journey
• So You Want to Get Into Voiceovers?
• My Path So Far
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