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VOICE OVER TODAY – December 29, 2002

Published by EDGE STUDIO
     New York training - 212-868-edge
     Washington DC training - 202-398-edge
     Connecticut training - 203-374-edge
     Tele-Training - 888-321-edge

demos. training. guidance. CD duplication. resources.

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WANT WORK?
visit www.edgestudio.com/marketingresources.htm
NEED SCRIPTS?
visit www.edgestudio.com/scripts.htm
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THIS ISSUE INCLUDES:

1.)... Can words in the script be changed?
2.)... Contracts…are they necessary?
3.)... Have reels? Want them on CD?
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1.) CAN WORDS IN THE SCRIPT BE CHANGED?

While one professional says that it’s always okay to change words in a script, the next says that it should never be done. So who’s right?

Both are. Every situation depends on its own unique circumstances: who will hear the finished voice-over, where will it be heard, what is its purpose, etc.

So how do you know if you can change words in a script? Ask. Ask the producer if it’s okay to change a word. Tell them that you believe that the copy will read more naturally if two words are contracted or if a colloquialism is used. Ask if you can edit the copy so that it makes more sense or if it is too wordy. Mention text that appears to be incorrect. But never argue if the producer tells you to not change anything.

Sometimes the copy is exactly how the producer wants it. Sometimes, the copy has been “signed off” by the advertising department, or by the marketing department. In fact, many national commercials are “signed off” by a lawyer verifying that all claims made are accurate. In these instances, words of the script should not be changed.

Even as the producer, I defer to my clients (advertising agencies, film houses, etc.). When they say that the text stays, I don’t edit a syllable. Conversely, I am often given liberty to edit the copy as I want when working on local commercials and low budget narrations.

As a side note, remember that while written English is different than spoken English, many copywriters write in a written English way even though they desire the voice-over artist to deliver their copy in a “spoken” English way. In the past few years, I’ve seen more and more copywriters writing the copy how the want it delivered – in a spoken English way, using contractions, colloquialisms, additional punctuation marks, etc.

For practice, read formal text at home (an encyclopedia for instance) and convert its formal style into a conversational delivery “on the fly.” This is a great exercise.

If you have questions, call us weekdays 9-5 EST at 888-321-edge.

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2.) CONTRACTS…ARE THEY NECESSARY?

question:

A question came to us from a professional voice-over artist who obtained a job narrating a television commercial every month for a company. She is charging her client less than her regular price, as this is an on-going job. Her concern is that nothing was put in writing. She wrote: “The spots begin airing in 2 weeks and I never signed anything…so how do I bring up paperwork now?”

answer:

Just ask. Most voice-over artists are afraid to be straightforward for fear of being a nuisance. Interestingly, most clients prefer when you are direct with them.

Tell your client that you're happy to collaborate with them and therefore want to sign a contract to smooth the pathway for a long-term relationship. Remind them that similar situations rely on contracts to ensure strong relationships.

However be prepared to tell them why you feel a contract is beneficial. Is it for your benefit only? If so, they may not want to spend the time nor cost dealing with it. If it’s for their benefit, they may be more apt to draw up the papers.

A contract can ensure you that your lower price is balanced by steady work. It can also guarantee payment rates to be paid within a specified time. A contract can also clarify that you will be paid additional if your voice recording is used for another application (i.e.: the audio from the television commercial is played on a radio commercial).

A contract can ensure your client that you won’t change your prices after a few months. It can also help your client’s business by ensuring them that you won’t narrate their competition’s commercials.

Approach your client and say, “I’m glad to work with you on this project, and would like to run something by you. I feel a contract can benefit both of us and would like your thoughts on this.” Be prepared in the event that your client grimaces and wants no part of a contract. In that case, are you prepared to walk away? My advice is not to. Instead, I suggest you say, “You know, I like you guys, and I’m sure we can do this without a contract.”

Most importantly, enjoy the beginning of this new relationship. With or without a contract, it’s great to have a steady gig!

Hope this helps. Call us at 888-321-edge (3343) for more help.

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WANT CUSTOM CD DEMO CARDS?

We can work by phone, Internet, or IF YOU LIVE IN NEW YORK CITY I can
meet you at your place of work, home or even Starbucks. If you live
out of the New York City are, I cannot travel to you.

Together we'll listen to your demo and create artwork suitable for it!
Everything is stored on file for future duplicates.

CD Front Card - $1 per card
CD Tray Card - $1 per card
Cassette J-Card - $1 per card
One time Set-up fee - $40
Cutting Charge - $8 per order

Paul Liberti (212) 229-7856
PlibertiNY@aol.com

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3.) HAVE REELS? WANT THEM ON CD?

Have any old reel-to-reels deteriorating? Wonder what’s on them?

We’re running a special: $50 to convert your reel-to-reel (under 10 minutes long) to CD. Send check (payable to Edge Studio), return mailing address, and of course your reel to:

Edge Studio
251 West 30th Street
suite 9-fm
New York, NY 10001

Maybe you can add the recording on your demo…

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HAVE A DEMO? We're always searching for new talent. Please mail
us your CD demo to: Edge Studio, 251 West 30th Street, suite 9-fm.
NY, NY 10001 USA
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Voice Over Today is an Edge Studio publication
- advancing voice-over careers since 1988 -

www.edgestudio.com
888-321-edge

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To advertise, email info@edgestudio.com or call 1-888-321-edge
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