Ann Richardson

ETHICS & ETIQUETTE: Common Sense Business Practices for Narrators

ETHICS &ETIQUETTE: COMMON SENSE BUSINESS PRACTICES FOR NARRATORS

I debated whether or not to write this blog, because it could so easily take on a condescending flavor. I want to stress that I am not being judgmental when I share these points, and that I am the first one to admit that I am NOT PERFECT. However, I have been in this industry since 2008, and can safely say that if one makes the effort to take the following information into consideration, the professional pathway will be smoother.
I should mention that I am an active member of WoVO (World-Voices Organization), and in fact served on the Executive Board for three years. The reason this is pertinent is that a guiding pillar of WoVO is to help those new to the voiceover industry gain access to information that will help them learn and grow and achieve their goals in a manner that elevates the industry. I passionately embrace this philosophy. Many times I have shared the information written in this blog, both on social media, as well as in direct mentoring situations, one bit at a time. I figured it was time to consolidate it and put it in one location. So without further delay, I’ll launch into it…


ETHICS & ETIQUETTE

-Don't trash talk anyone! How you use your words shows others who you really are. Mentioning others’strengths and fine qualities is much more beneficial for everyone within earshot than sharing an embarrassing story or spreading gossip about someone’s shortcomings. This especially includes never posting about another narrator's poor reviews, whether they're merited or not. How would you like it if someone publicly called out your performance in a less-than-flattering light?

-Don't take credit for others’ work. Remember to mention/thank engineers, proofers, publishers, narrators, in public statements such as acceptance speeches or tweets or social media posts. Along this same vein, remember it’s not all about you. Engage others in a discussion about what they’re doing, what they’re interested in, or how they’ve handled something. You can even try to conduct an entire conversation without using the pronouns “I” or “me”.

-Try to have decorum/good etiquette at workshops and conferences (i.e. don't interrupt conversations rudely, don't shove your business card/demo CD/swag into others’ hands unsolicited, and in certain situations such as APAC, don't discuss rates with your competitors.)

-Don’t abuse others’ good nature by expecting them to spoon-feed you your career. Do your homework. Google is very easy to use, and in social media it’s expected that you use the “SEARCH” function in groups before posting your questions there. There is a wealth of information to be found. Do your own due diligence. THEN you can come back to your favorite social media group and post your specific question. **NOTE** PLEASE READ AND CONSIDER THE FOLLOWING ADVICE CAREFULLY: When you have a question, consider who may be answering it. If posted on social media, you have the strong probability that everyone from non-narrators, to brand-new narrators, to hobbyists will enthusiastically and authoritatively give you their opinion. If you place value on your career and care about the audiobook industry, seek out those with lots of experience and a successful track record, and ask them your question (after you’ve researched it, of course). You will receive sound advice backed by a history of experience and knowledge. Got a problem with your recording chain, or the technical aspects of recording? Hire a professional engineer!

-Don't out someone's pseudonym. How someone chooses to record is their business, and is often a very personal decision. By sharing their identity, you may harm their potential to get hired to narrate some material. A pseudonym can be a means of protecting family and friends from embarrassment or hurtful situations.

-Always remember that as narrators, we have a collective reputation. Numerous times authors have shared with me their horror stories of narrators who act in a less than professional manner. This is especially pertinent in the indie writing sphere. Many narrators take a personal interest in encouraging authors to include audiobooks in their plans when they release their books. If an author has a bad experience with the process, it’s more probable that they will not attempt an audiobook in the future.

-Communication is paramount. Don’t assume your indie author knows how the process works, and be prepared to explain things that seem obvious and simple to you. Not everyone shares your level of experience. Helping someone learn a new skill or process promotes goodwill and excitement for a repeat experience!

SOUND BUSINESS PRACTICES

The following points are geared more toward conducting your narration business:

-Don't lower your rates too badly. Obviously no one has the right to dictate what you charge your clients, but please remember that you are a professional, and as such, your peers would appreciate it if you charged accordingly.

-Perform each narration project as if you expect it to win an Audie. Don't do shabby work because "it's just a royalty share project" It all counts!

-Always obtain permission from the publisher before contacting an author

-Always obtain permission before mentioning your project on social media

-Respond to correspondence timely, invoice promptly, and pay your bills just as promptly.

-Follow directions! Read all instructions completely before beginning recording (example, record at 44.1, 16 bits, and follow file naming conventions, upload instructions, spacing at head and tale of files, etc.)

-Don't miss deadlines: Seriously assess whether or not you can meet a deadline before accepting the book, and be attentive to your calendar so that you don’t forget about deadlines, or end up so short of time that the quality of your work is compromised in your rush to meet deadlines.

-Make sure your narration demo is representative of your capabilities/skillset. You don’t want to “bait and switch” by having a stellar demo and then not be able to deliver an equivalent level of quality from your home studio.

-Don’t party hard before an in-studio session, so that your voice and body cannot record at their best

-Audition ONLY for those projects which you are certain you can perform. I will expand on this to include that you MUST turn down a book you’ve been offered, if it is not a good fit. For example, pass it up if it is written from a man’s perspective and you are a woman (or vice versa) or if it’s heavily accented in a language you cannot affect.

-Pre-read, especially fiction.

-Research words in the manuscript or hire someone to do it for you. Remember that thing about using Google? Do that.

-Be accountable. So you've missed a deadline. Remember you’re a professional and you’re working with professionals and they probably don’t want to know about your infant’s blowout diaper, or the dog who ate your power cord, or or or or…. Just apologize, and get it right, and do your best to not let it happen again. Publishers will understand if you become ill, or if important life events get in the way. However, if you find you are always missing deadlines and making apologies, maybe it’s time to reexamine your methods and commitment. Working with you should be a relief for a client, not a trial. I recently heard a publisher say “Given the opportunity to replace a narrator who misses deadlines, we will.”

​I would enjoy hearing others' ideas of etiquette and ethics in the audiobook industry...

Voice Arts Award Nominee Ann M. Richardson: “Best Narration – Classic”

Ann M. Richardson is nominated for a 2016 Voice Arts Award for her narration of Zane Grey’s “Riders of the Purple Sage”


Fall 2016: After completing narration on Zane Grey’s timeless classic “Riders of the Purple Sage” around the Christmas holiday, I was pleased when Carlyn Craig, owner of PostHypnotic Press audiobook publishing, phoned and said she was excited to nominate my performance for a Voice Arts Award. The audiobook industry doesn’t have many awards, and so this was thrilling to me. The Voice Arts Awards event is a relatively new award ceremony for the voiceover industry. The organizing entity, the Society of Voice Arts and Sciences (SOVAS) has worked hard to execute a Hollywood-style ceremony, with all the glitz and glamour of the Academy Awards. While there are still some glitches for founders Rudy Gaskin and Joan Baker to iron out, great strides are being made toward establishing this event as a legitimate, respected annual event of recognizing the best of the best in the voiceover industry.
While I did not win this year, I was incredibly humbled and honored to have been nominated and I relished the whole process, from booking flights and hotels to gown-shopping. My husband accompanied me, and I could not have been happier to have him by my side. Collaborations with publishers on ever higher-quality audiobook projects are increasing, and I hope to achieve a nomination again some day!

EARPHONES AWARD!

Hard work pays off. I’ve been living my dream since 2008, narrating audiobooks. Don’t get me wrong, it hasn’t always been easy, nor pleasant. There are so many mountains to climb, but with perseverance and due diligence, one can conquer those hills! After consistently getting good reviews from the audiobook reviewer crowd, as well as Audible listeners (as well as an occasional poor one – yuk!) I finally have received a most coveted one. One that says “YOU HAVE ARRIVED”. My narration of “Devoured” by Sophie Egan, won an Earphones Award from Audiofile Magazine. The award is given by AudioFile to truly exceptional titles that excel in narrative voice and style, characterizations, suitability to audio, and enhancement of the text.

http://www.audiofilemagazine.com/reviews/listing?Title=DEVOURED