Post by Lady Stardust ★ on Jun 18, 2022 21:35:05 GMT -8
On the Internet, virtually anyone can decide to make a project and cast voice actors for it. Some of these projects can be incredibly enjoyable and result in fulfilling work and long-lasting friendships among the cast. Others can range from simply disorganized to a production nightmare or even worse. So how do you determine what projects are worth working on for you personally, and what you’d rather avoid?
Before we get started, it’s important to note that whether a project is “worth” it to you depends on a variety of factors that aren’t one-size-fits-all. This is going to evolve and change as your skill level, experience, and income grows. But particularly for younger and/or newer actors, it’s important to be aware of what’s considered a relatively standard practice, versus what is unusual or even potentially dangerous.
Many of these “red flags” can turn out to be pretty benign, which is why this article is structured to list what’s generally okay and not okay in regards to certain practices, as well as tips for creators in how to deal with these situations in their own projects.
Note: This article is primarily focused on the hobby/online/indie VO space and the issues that tend to come up there. For things to watch out for specifically in regards to contracts, please check out our red flags in VO contracts thread.
Special thanks to our VAC contributors who provided their insight for this article!
The situation: You see a project that looks interesting, but appears to be a very big undertaking. In addition to casting voice actors, they’re asking for animators, artists, writers, programmers, musicians, and so on. But they promise it’ll be a huge hit when it gets picked up by a major streaming network or game publisher!
What’s okay: There’s nothing wrong with project creators aiming big and wanting the best for their project, and wanting to build a strong team to help them out…as long as they’re being realistic.
What’s not okay: Unfortunately, many of these project creators turn out to be “ideas guys”. They have a great idea for a project, they simply…need everyone else to make it for them. This can potentially be doable with a large budget to hire such an extensive team, but if they’re asking—for example—animators and programmers to work for free, that just isn’t going to happen, and many of these projects flop when the person behind it realizes how much work is actually involved in getting their idea off the ground. “If they ask for things like voices, writers, artists, audio engineers, etc. all in the same call, it generally means they’re just an idea guy and expect everyone else to bring the whole thing into reality,” says Ryan Gaiser.
Tip for producers: Don’t be afraid to start small. When people see you have a track record of finishing things, they’ll feel much more comfortable signing on for future projects. Additionally, casting voice actors is typically one of the much later steps in production, and should come after everything else is in place. “I like to see that a project is at a good stage of development and has a set team ready to go before looking for voice actors,” says Patrick Mealey. If you don’t even have a script finished yet or you don’t know who’s going to be making your character designs, it’s much too early to be casting voice actors.
What’s okay: While projects in the professional realm tend to communicate by e-mail, Discord is a very common method of communication in the indie scene. It is understandable for producers to prefer to use Discord as their primary means of sharing updates on the project and staying in contact with everyone, and sometimes this can lead to the cast getting to know each other and making friends. Ideally, however, joining such a server should be optional, especially when it comes to knowing when it’s time to record your lines. (Pro tip: most people end up turning off pings for project servers anyway, particularly if the mods like to constantly drop “@ everyone” tags to inform that they’re streaming a game or something else irrelevant.)
Tip for producers: While a server can be a helpful means of organization for your production team members in general, actors are typically such a small part of this process that they don’t need to be in the server to get the relevant information. Scripts can be easily e-mailed or put up on Google Drive, etc. It’s fine if you want to have optional cast get-togethers and game nights, but such things should not be mandatory for participating in a project.
The situation: A project you were cast for requires group readthroughs/“rehearsals” with the rest of the cast.
What’s okay: This can be acceptable if everyone is fully on-board and into the idea of practice sessions to explore the script and get into character, particularly if the cast is comprised primarily of beginner actors hungry to improve their craft. However, do note that in professional voiceover, “rehearsals” typically aren’t a standard procedure. Actors will usually be recorded one at a time, with the director giving any needed context and ensuring that everything will sound cohesive when put into the scene. Original animation (“pre-lay”) may sometimes have group recording sessions and/or table reads, but the actors are paid for these sessions.
What’s not okay: Requiring multiple unpaid rehearsal sessions is not standard in voiceover and moreover, can be a nightmare for scheduling if lots of cast members from all different time zones are expected to be there. When a project isn’t paying you for this time, you cannot be expected to block out hours of your schedule that could be used to accept paid projects or other work that will further your career. “I’ve heard stories of people with small roles *required* to sit through long table reads that are unpaid,” says Sam Slade. Any such “practice sessions” (that are not intended to be used as final recording) should be optional.
Tip for producers: Understand that voiceover is not the same thing as working on a play or film set, and that many actors are able to “cold read” their lines and record independently so long as any necessary context is given ahead of time. If you decide you’d like to do a live-directed session with each actor or even a group session/table read for the final project recording, that’s okay, but any unpaid rehearsals should be presented as an optional opportunity for people to get feedback if they want it rather than a requirement of the project. You can always have someone read “scratch” dialogue for anyone who isn’t there.
The situation: You are asked to submit personal information in order to proceed with being cast for a voiceover job.
What’s okay: Certain indie and small-budget jobs in the United States, particularly if they are working through a registered company and/or paying talent over a certain dollar amount, may be required to collect W9 forms from their independent contractors (which includes voice talent) to ensure they are compliant with the IRS. If it is a legitimate company, you should be fine… but you can always consider applying for an EIN (even if you don’t have a registered business yourself) to avoid giving out your social security number on tax forms.
What’s not okay: An individual sending you a relatively small amount of money over PayPal or a similar service for what basically amounts to a passion project should not be asking for things like your home address or phone number or be asking you to submit a copy of your ID. “I saw some other things about needing fingerprints and licenses/passports which is always something really strange and not required at all usually,” says Lawrence Brenner. Generally speaking, it is your responsibility to keep track of your income from these small one-off jobs for tax reporting purposes. Some people will use contract templates that ask for an address, which you can usually leave blank or just put your city and state. If they push (and again, this is assuming we are talking about an individual person online rather than a legitimate company), you are within your right to say “I’m sorry, but I’m not comfortable giving out my home address. Is there a reason you need it?” If this is a situation that comes up often, you can always consider getting a PO box or proxy mailbox service to use for all your contracts and tax forms. Additionally, do not feel pressured to give your phone number to an individual director/producer/client online whom you're not 100% sure is trustworthy. Communication for online projects should happen via email or an online chat program such as Discord.
Tip for producers: If you are requiring talent submit sensitive information, be clear about what is needed and why. Additionally, if tax forms or anything else with SSNs are required for corporate compliance, please try to make sure your e-mail account is secure or consider using an encrypted service to send and receive these forms.
The situation: You are asked to perform a script with NSFW content.
What’s okay: NSFW voice work is a valid and potentially lucrative form of work (though many suggest using a pseudonym for a variety of reasons.) However, if a script is to contain explicit sexual content, it should always be disclosed up front during the audition/offer process so that actors can make an informed choice, and producers should be clear that everyone must be of legal age (generally speaking, at least 18 years old) to work on said project.
What’s not okay: Producers should never expect talent to perform in such work without their informed consent—-or worse yet, pressure them to record content they’re not comfortable with. “I had to pull out of a project that required me to do some things I really was NOT comfortable with and was NOT disclosed in the original casting call,” says Steph Cheon.
If a script turns out to be more explicit than you expected, you should be able to gracefully bow out of the project without fear of retaliation. Additionally, if you are comfortable performing the content but do not want your name publicly associated, you are well within your right to use a pseudonym or go uncredited.
Legitimate producers should also be happy to clarify if actors have questions about the content—and if they don’t, that’s a red flag as well. “If it looks like they’re trying to slyly slip you an inappropriate script, they very well could be. I’ve had this happen to me once, and when I expressed my thoughts with the director, I was asked: “Are you being serious?” No director worth your time is gonna disrespect your boundaries like that,” says Nate Fernandez.
Additionally, keep an eye out for fetish projects. Again, above-board producers should disclose, but there are some sneaky ones out there. “Fetish traps are no joke and I've had my boundaries crossed without even knowing it,” says Estelle Son.
Tip for producers: If your script contains NSFW and/or fetish content, that’s OK, and there are plenty of actors who are willing to work on such projects. However, if you wish to behave ethically, you have the following responsibilites:
The situation: You are asked to do live-directed sessions, but for an unpaid project.
What’s okay: Wanting a live-directed session is understandable, and fine if mutually agreed on by both the director and the actor and it is not too much of an imposition on either party's schedule. In some cases, both parties may prefer a live session to minimize the need for retakes.
The situation: A director is asking the actor to role-play to help get into character.
What’s okay: Group improv calls can be held as an optional event for those who enjoy that sort of thing, or a director may schedule a one-on-one call with the actor to help provide additional context if they’re having trouble connecting with the script.
What’s not okay: You should never, ever be coerced into “role playing” one-on-one in a call or text chat with a project director. This is a clear violation of boundaries and can often lead to predatory situations, especially if the actor is a minor. If you are asked to do something that makes you uncomfortable, you are well within your rights to speak up…or even consider leaving the project.
Tip for producers: The best way to help your actors “get into character” is by simply providing a well-written script with enough context to help them make informed choices on how to read their lines. Forcing them to improvise their own lines in a random call or text chat is completely beyond the scope of what they should be expected to do. Even if you mean well, be aware of how your intentions come across, and never behave in a way to your talent that is inappropriate or crosses professional boundaries.
The situation: Someone you’re working with on a project makes unwanted advances or other inappropriate comments.
What’s okay: If you happen to meet someone on a project that you mutually connect with and things naturally go from there, good for you… as long as both parties consent and no one is abusing their position of power.
What’s not okay: No one you are working for or with should be making you feel uncomfortable or afraid, and you should especially not feel compelled to tolerate this behavior in order to get or keep a role. Awkward romantic advances are bad enough, but if a person in charge ever makes inappropriate sexual comments to you, walk away from the project…whether paid or not. It’s not worth it.
Tip for producers: Don’t do this. You and your actors both have the same goal: to make a great project. Anything else can lead to a lot of misunderstandings, awkward feelings, and likely a less-than-great parting of ways which can further derail the project. Now, if you are the director and you are informed that an actor on your project is behaving this way to another one of your actors, you can try talking to them about it (if you feel they had good intentions but lack social awareness) or for more severe offenses, removing them from the project.
The situation: An unpaid (or low-paid) project is being overly demanding with deadlines, asking for very quick turnarounds and/or constant updates on the recordings.
What’s okay: It is reasonable for even hobbyist projects to set deadlines for asset deliveries and milestones for completion, and to expect their cast members to communicate if they need to miss a deadline due to work, school, illness, or other personal reasons.
What’s not okay: If the demands of a hobby project are interfering with your real-life obligations (especially if it's interfering with paid/higher-paid work), you may need to set boundaries in terms of what you are realistically able to deliver. “I always try to get jobs in quickly, but when it’s not helping me pay my bills, I can’t have it be my number one priority,” says Christina Costello. Of course, it’s good to be courteous and let the producers know up front if you anticipate an issue with their deadline.
Tip for producers: Time is money. The more you are paying your cast, the more you have the right to demand in terms of short and/or rigid deadlines. But especially on a hobby/volunteer project, it’s important to remember that everyone has obligations outside of your project. Also, be clear with your expected deadlines rather than not giving a deadline but then constantly hounding your cast for updates. “Lack of clarity + transparency regarding timelines can be extremely problematic (both for actors and the production as a whole), especially if those helming a project adjust deadlines without informing everyone else involved,” says Jett Barker.
If the project is long and involves a lot of recorded lines, offer your cast the option to submit lines in “batches” so you can get started on editing without giving them an overwhelming workload all at once. Remember too that everyone is human, so try to be understanding if someone has a situation come up in their personal life which means they need a bit more time. Being flexible can go a long way towards building a good rapport with your team.
The situation: A project creator wants you to have a one-on-one call with them to go over the project before you start work.
What’s okay: If you’re going to be taking on a large role in a production, or it has unusual circumstances surrounding it, it’s not unheard of for the person in charge to want to have a quick video or audio call with you to go over the basics. However, if it’s not part of a paid live session, this should be kept brief and to the point, and they should make an effort to work with your schedule to find a suitable time.
What’s not okay: Long calls going over the history and lore of the project are largely unnecessary and…quite frankly, can waste time doing what could have easily be explained in an e-mail. “To be honest, I'm not really a fan of having to have any kind of Discord or otherwise private calls with content creators simply to learn more about the story or character voice... I don't really need that level of detail, and it's (unpaid) time taken away from other things,” says Mike Ciporkin. And of course, if a client ever behaves in an inappropriate or unprofessional manner during these one-on-one calls, that’s a red flag and a good sign to run!
Tip for producers: Lauren Littlefield recommends “clear, concise descriptions of the character to help the VA get an idea without needing a 3 hour long Discord call.” Now, if you plan to direct your actors in live sessions, then things like describing the project and character can also be done during that time. Giving context to actors is normal and a good thing, but try to keep it relevant to what they specifically need to know in order to perform their role, rather than getting bogged down in unnecessary details. And of course, a lot of this goes back to simply being respectful of people’s time—-the less you are paying someone for their work, the less you are able to demand from their schedule.
The situation: A project you’re interested in auditioning for is unpaid, but claims that you’ll be able to make a lot of money once they get a publisher, get picked up by a network, make their crowdfunding goal, or some other lofty milestone.
What’s okay: Occasionally, situations arise where a production team is literally starting from nothing, and wants to make a passion project but doesn’t have a budget. Maybe they hope to pay contributors down the line if the project becomes successful, but can’t promise anything. That’s fine—-but creators should be upfront about it.
What’s not okay: Nobody should be promising compensation if there is no guarantee that such compensation will actually come. It is unethical to get everyone’s hopes up by saying “if you work for us unpaid for now, you’ll make a lot of money when we actually get off the ground!” The fact of the matter is, crowdfunding is difficult, and not all crowdfunding efforts succeed. Understand that if you take on such a project, the likelihood is rather high that you may never be compensated for your efforts—-so if you wish to audition, just go in with that in mind. And when in doubt, do your homework! “For projects intending to crowdfund, research is all the more important. Not only should you check for proof of concept on the project itself, but you should also look into the team behind the project,” says Nick Chang.
All of the guides and resources on this forum are provided free of charge. However, if you found them helpful, I'd love it if you buy me a coffee!
Before we get started, it’s important to note that whether a project is “worth” it to you depends on a variety of factors that aren’t one-size-fits-all. This is going to evolve and change as your skill level, experience, and income grows. But particularly for younger and/or newer actors, it’s important to be aware of what’s considered a relatively standard practice, versus what is unusual or even potentially dangerous.
Many of these “red flags” can turn out to be pretty benign, which is why this article is structured to list what’s generally okay and not okay in regards to certain practices, as well as tips for creators in how to deal with these situations in their own projects.
Note: This article is primarily focused on the hobby/online/indie VO space and the issues that tend to come up there. For things to watch out for specifically in regards to contracts, please check out our red flags in VO contracts thread.
Special thanks to our VAC contributors who provided their insight for this article!
The situation: You see a project that looks interesting, but appears to be a very big undertaking. In addition to casting voice actors, they’re asking for animators, artists, writers, programmers, musicians, and so on. But they promise it’ll be a huge hit when it gets picked up by a major streaming network or game publisher!
What’s okay: There’s nothing wrong with project creators aiming big and wanting the best for their project, and wanting to build a strong team to help them out…as long as they’re being realistic.
What’s not okay: Unfortunately, many of these project creators turn out to be “ideas guys”. They have a great idea for a project, they simply…need everyone else to make it for them. This can potentially be doable with a large budget to hire such an extensive team, but if they’re asking—for example—animators and programmers to work for free, that just isn’t going to happen, and many of these projects flop when the person behind it realizes how much work is actually involved in getting their idea off the ground. “If they ask for things like voices, writers, artists, audio engineers, etc. all in the same call, it generally means they’re just an idea guy and expect everyone else to bring the whole thing into reality,” says Ryan Gaiser.
Tip for producers: Don’t be afraid to start small. When people see you have a track record of finishing things, they’ll feel much more comfortable signing on for future projects. Additionally, casting voice actors is typically one of the much later steps in production, and should come after everything else is in place. “I like to see that a project is at a good stage of development and has a set team ready to go before looking for voice actors,” says Patrick Mealey. If you don’t even have a script finished yet or you don’t know who’s going to be making your character designs, it’s much too early to be casting voice actors.
The situation: A project you’re cast for requires all actors join their Discord server.
What’s okay: While projects in the professional realm tend to communicate by e-mail, Discord is a very common method of communication in the indie scene. It is understandable for producers to prefer to use Discord as their primary means of sharing updates on the project and staying in contact with everyone, and sometimes this can lead to the cast getting to know each other and making friends. Ideally, however, joining such a server should be optional, especially when it comes to knowing when it’s time to record your lines. (Pro tip: most people end up turning off pings for project servers anyway, particularly if the mods like to constantly drop “@ everyone” tags to inform that they’re streaming a game or something else irrelevant.)
What’s not okay: Even if everyone is asked to join for organizational purposes, projects should not require a mandatory level of participation in the server, expect voice actors to be checking the server constantly for their lines, or attend team meetings (which are primarily reserved for people working on the development side, such as artists and programmers). “No actor needs to be a part of a Discord server unless they are actively working on behind the scenes stuff as well, such as writing or producing,“ says Kamran Nikhad. The expectations and requirements for your work as a voice actor, as well as any background context needed, can be easily communicated via e-mail, Google Docs, or even an individual DM on Discord, without the need for a bunch of group calls with everyone on the project. While “we are like a family” may sound endearing, this can also mean the project ends up being more of a time sink than anticipated—-Tabetha McNeal cautions, “Watch out for people that claim you have to be super active in the server to be a part of the project. Especially unpaid work; they want you to come to every meeting, voice call, always chatting because “we are family” now.” Bluntly speaking, many actors are busy on other projects at the same time and will not be checking these servers on a regular basis anyway.
Tip for producers: While a server can be a helpful means of organization for your production team members in general, actors are typically such a small part of this process that they don’t need to be in the server to get the relevant information. Scripts can be easily e-mailed or put up on Google Drive, etc. It’s fine if you want to have optional cast get-togethers and game nights, but such things should not be mandatory for participating in a project.
The situation: A project you were cast for requires group readthroughs/“rehearsals” with the rest of the cast.
What’s okay: This can be acceptable if everyone is fully on-board and into the idea of practice sessions to explore the script and get into character, particularly if the cast is comprised primarily of beginner actors hungry to improve their craft. However, do note that in professional voiceover, “rehearsals” typically aren’t a standard procedure. Actors will usually be recorded one at a time, with the director giving any needed context and ensuring that everything will sound cohesive when put into the scene. Original animation (“pre-lay”) may sometimes have group recording sessions and/or table reads, but the actors are paid for these sessions.
What’s not okay: Requiring multiple unpaid rehearsal sessions is not standard in voiceover and moreover, can be a nightmare for scheduling if lots of cast members from all different time zones are expected to be there. When a project isn’t paying you for this time, you cannot be expected to block out hours of your schedule that could be used to accept paid projects or other work that will further your career. “I’ve heard stories of people with small roles *required* to sit through long table reads that are unpaid,” says Sam Slade. Any such “practice sessions” (that are not intended to be used as final recording) should be optional.
Tip for producers: Understand that voiceover is not the same thing as working on a play or film set, and that many actors are able to “cold read” their lines and record independently so long as any necessary context is given ahead of time. If you decide you’d like to do a live-directed session with each actor or even a group session/table read for the final project recording, that’s okay, but any unpaid rehearsals should be presented as an optional opportunity for people to get feedback if they want it rather than a requirement of the project. You can always have someone read “scratch” dialogue for anyone who isn’t there.
The situation: You are asked to submit personal information in order to proceed with being cast for a voiceover job.
What’s okay: Certain indie and small-budget jobs in the United States, particularly if they are working through a registered company and/or paying talent over a certain dollar amount, may be required to collect W9 forms from their independent contractors (which includes voice talent) to ensure they are compliant with the IRS. If it is a legitimate company, you should be fine… but you can always consider applying for an EIN (even if you don’t have a registered business yourself) to avoid giving out your social security number on tax forms.
What’s not okay: An individual sending you a relatively small amount of money over PayPal or a similar service for what basically amounts to a passion project should not be asking for things like your home address or phone number or be asking you to submit a copy of your ID. “I saw some other things about needing fingerprints and licenses/passports which is always something really strange and not required at all usually,” says Lawrence Brenner. Generally speaking, it is your responsibility to keep track of your income from these small one-off jobs for tax reporting purposes. Some people will use contract templates that ask for an address, which you can usually leave blank or just put your city and state. If they push (and again, this is assuming we are talking about an individual person online rather than a legitimate company), you are within your right to say “I’m sorry, but I’m not comfortable giving out my home address. Is there a reason you need it?” If this is a situation that comes up often, you can always consider getting a PO box or proxy mailbox service to use for all your contracts and tax forms. Additionally, do not feel pressured to give your phone number to an individual director/producer/client online whom you're not 100% sure is trustworthy. Communication for online projects should happen via email or an online chat program such as Discord.
Tip for producers: If you are requiring talent submit sensitive information, be clear about what is needed and why. Additionally, if tax forms or anything else with SSNs are required for corporate compliance, please try to make sure your e-mail account is secure or consider using an encrypted service to send and receive these forms.
The situation: You are asked to perform a script with NSFW content.
What’s okay: NSFW voice work is a valid and potentially lucrative form of work (though many suggest using a pseudonym for a variety of reasons.) However, if a script is to contain explicit sexual content, it should always be disclosed up front during the audition/offer process so that actors can make an informed choice, and producers should be clear that everyone must be of legal age (generally speaking, at least 18 years old) to work on said project.
What’s not okay: Producers should never expect talent to perform in such work without their informed consent—-or worse yet, pressure them to record content they’re not comfortable with. “I had to pull out of a project that required me to do some things I really was NOT comfortable with and was NOT disclosed in the original casting call,” says Steph Cheon.
If a script turns out to be more explicit than you expected, you should be able to gracefully bow out of the project without fear of retaliation. Additionally, if you are comfortable performing the content but do not want your name publicly associated, you are well within your right to use a pseudonym or go uncredited.
Legitimate producers should also be happy to clarify if actors have questions about the content—and if they don’t, that’s a red flag as well. “If it looks like they’re trying to slyly slip you an inappropriate script, they very well could be. I’ve had this happen to me once, and when I expressed my thoughts with the director, I was asked: “Are you being serious?” No director worth your time is gonna disrespect your boundaries like that,” says Nate Fernandez.
Additionally, keep an eye out for fetish projects. Again, above-board producers should disclose, but there are some sneaky ones out there. “Fetish traps are no joke and I've had my boundaries crossed without even knowing it,” says Estelle Son.
Tip for producers: If your script contains NSFW and/or fetish content, that’s OK, and there are plenty of actors who are willing to work on such projects. However, if you wish to behave ethically, you have the following responsibilites:
- Make sure to disclose the nature of the content in the very beginning of the audition process. Don’t wait until actors submit auditions and get cast to tell them that there’s an explicit scene involved! Be up front with what you are looking for so that actors can be informed going in.
- Be clear that the audition is for adults only. If you are made aware that someone is a minor, do not accept an audition from or cast them in such a project.
- Always respect an actor’s wish to use a pseudonym, and use discretion when talking about who worked on your project. Never “out” an actor without their permission, even to other cast members. In some cases this is not only a matter of reputation, but also personal safety.
What’s okay: Wanting a live-directed session is understandable, and fine if mutually agreed on by both the director and the actor and it is not too much of an imposition on either party's schedule. In some cases, both parties may prefer a live session to minimize the need for retakes.
What’s not okay: If you’re volunteering your time for a project, expectations need to be tempered accordingly, and this includes scheduling. You should never be scolded or made to feel ashamed because you need to prioritize paying work (whether it be voice work or a day job), school, family, or health.
Additionally, be aware that many hobby/amateur directors are not yet knowledgeable or experienced in how to direct actors. Speaking in regards to the hobby scene, Kamran Nikhad recounts, “There's also a number of creators who will insist on live directing even if a script can be self-directed, and many of them aren't considerate of your time. There will be way too much banter or explaining things away when most folks just want to get the script done.”
If both parties want to do a directed session, go for it, but remember: An inexperienced director is fine, but one who insults or belittles you is not.Tip for producers: As much as you may think you need to be there to micromanage the recording, many actors are perfectly capable of recording and delivering lines on their own. “I promise I can get you a variety of takes plus redirects in a much shorter time period than the live session with your whole team plus me,” says Sam Slade. It is acceptable to ask for 2-3 takes of each line so you have some options to pick from, and if they’re still not getting it, rest assured that you can always ask for retakes (within reason, of course!) If you do insist on live sessions but cannot offer an hourly payment, just do your best to work efficiently, and make sure to be respectful of your cast members and their time. (See: “tips for directing a live session”)
**Additionally, please note that a "per-line" payment should only be used in situations where the actor is recording on their own time. Paid projects that wish to do live sessions should pay an hourly rate, similar to professional industry norms.
The situation: A director is asking the actor to role-play to help get into character.
What’s okay: Group improv calls can be held as an optional event for those who enjoy that sort of thing, or a director may schedule a one-on-one call with the actor to help provide additional context if they’re having trouble connecting with the script.
What’s not okay: You should never, ever be coerced into “role playing” one-on-one in a call or text chat with a project director. This is a clear violation of boundaries and can often lead to predatory situations, especially if the actor is a minor. If you are asked to do something that makes you uncomfortable, you are well within your rights to speak up…or even consider leaving the project.
Tip for producers: The best way to help your actors “get into character” is by simply providing a well-written script with enough context to help them make informed choices on how to read their lines. Forcing them to improvise their own lines in a random call or text chat is completely beyond the scope of what they should be expected to do. Even if you mean well, be aware of how your intentions come across, and never behave in a way to your talent that is inappropriate or crosses professional boundaries.
The situation: Someone you’re working with on a project makes unwanted advances or other inappropriate comments.
What’s okay: If you happen to meet someone on a project that you mutually connect with and things naturally go from there, good for you… as long as both parties consent and no one is abusing their position of power.
What’s not okay: No one you are working for or with should be making you feel uncomfortable or afraid, and you should especially not feel compelled to tolerate this behavior in order to get or keep a role. Awkward romantic advances are bad enough, but if a person in charge ever makes inappropriate sexual comments to you, walk away from the project…whether paid or not. It’s not worth it.
Tip for producers: Don’t do this. You and your actors both have the same goal: to make a great project. Anything else can lead to a lot of misunderstandings, awkward feelings, and likely a less-than-great parting of ways which can further derail the project. Now, if you are the director and you are informed that an actor on your project is behaving this way to another one of your actors, you can try talking to them about it (if you feel they had good intentions but lack social awareness) or for more severe offenses, removing them from the project.
The situation: An unpaid (or low-paid) project is being overly demanding with deadlines, asking for very quick turnarounds and/or constant updates on the recordings.
What’s okay: It is reasonable for even hobbyist projects to set deadlines for asset deliveries and milestones for completion, and to expect their cast members to communicate if they need to miss a deadline due to work, school, illness, or other personal reasons.
What’s not okay: If the demands of a hobby project are interfering with your real-life obligations (especially if it's interfering with paid/higher-paid work), you may need to set boundaries in terms of what you are realistically able to deliver. “I always try to get jobs in quickly, but when it’s not helping me pay my bills, I can’t have it be my number one priority,” says Christina Costello. Of course, it’s good to be courteous and let the producers know up front if you anticipate an issue with their deadline.
Tip for producers: Time is money. The more you are paying your cast, the more you have the right to demand in terms of short and/or rigid deadlines. But especially on a hobby/volunteer project, it’s important to remember that everyone has obligations outside of your project. Also, be clear with your expected deadlines rather than not giving a deadline but then constantly hounding your cast for updates. “Lack of clarity + transparency regarding timelines can be extremely problematic (both for actors and the production as a whole), especially if those helming a project adjust deadlines without informing everyone else involved,” says Jett Barker.
If the project is long and involves a lot of recorded lines, offer your cast the option to submit lines in “batches” so you can get started on editing without giving them an overwhelming workload all at once. Remember too that everyone is human, so try to be understanding if someone has a situation come up in their personal life which means they need a bit more time. Being flexible can go a long way towards building a good rapport with your team.
What’s okay: If you’re going to be taking on a large role in a production, or it has unusual circumstances surrounding it, it’s not unheard of for the person in charge to want to have a quick video or audio call with you to go over the basics. However, if it’s not part of a paid live session, this should be kept brief and to the point, and they should make an effort to work with your schedule to find a suitable time.
What’s not okay: Long calls going over the history and lore of the project are largely unnecessary and…quite frankly, can waste time doing what could have easily be explained in an e-mail. “To be honest, I'm not really a fan of having to have any kind of Discord or otherwise private calls with content creators simply to learn more about the story or character voice... I don't really need that level of detail, and it's (unpaid) time taken away from other things,” says Mike Ciporkin. And of course, if a client ever behaves in an inappropriate or unprofessional manner during these one-on-one calls, that’s a red flag and a good sign to run!
Tip for producers: Lauren Littlefield recommends “clear, concise descriptions of the character to help the VA get an idea without needing a 3 hour long Discord call.” Now, if you plan to direct your actors in live sessions, then things like describing the project and character can also be done during that time. Giving context to actors is normal and a good thing, but try to keep it relevant to what they specifically need to know in order to perform their role, rather than getting bogged down in unnecessary details. And of course, a lot of this goes back to simply being respectful of people’s time—-the less you are paying someone for their work, the less you are able to demand from their schedule.
The situation: A project creator you're working with starts to become overly pushy when it comes to asking you to share updates about their project on your social media accounts.
What's okay: It is understandable that smaller creators and indie teams have limited reach and influence, and often need all the help they can get in order to get the word out about their project, especially if they are relying on crowdfunding to make it happen. It's perfectly acceptable for them to ask (in a non-pressuring way) cast members to share---at the bare minimum---a role announcement post, and occasionally it may even be contractually required that actors make a social post regarding their involvement. (However, producers should always respect the choices of those who have a valid reason not to share, such as if they are using a pseudonym or going uncredited.)
What's not okay: You should never be pressured to constantly retweet updates or make posts or stories talking about the project beyond basic milestones (which usually means one post at the time of your role announcement, and another post/share at the time the project is released), unless you would like to do more voluntarily. If your contract includes a stipulation on promotion, it is perfectly reasonable to ask them to revise the wording to something like "minimum of one post on social media accounts" so that they cannot continually come back and ask you for more posts---especially if you have a large following that you suspect clients may want to milk you for. A courtesy share once or twice is one thing; being asked to do the work of an influencer (without being paid accordingly) is different. And of course, if you asked not to be credited under your real identity for whatever reason, you should be exempt from the social post requirement.
Tip for producers: See "voice actors are not your marketing team". It's okay to ask your cast politely for a role announcement post or a retweet of the Kickstarter when it goes live, but don't pressure them to share things on a weekly or monthly basis. (And please, if you cast someone with a large following, cast them because you believe they're the best fit for the role---don't cast them on the sole basis of hoping to use their following to promote your project!)
The situation: A project you’re interested in auditioning for is unpaid, but claims that you’ll be able to make a lot of money once they get a publisher, get picked up by a network, make their crowdfunding goal, or some other lofty milestone.
What’s okay: Occasionally, situations arise where a production team is literally starting from nothing, and wants to make a passion project but doesn’t have a budget. Maybe they hope to pay contributors down the line if the project becomes successful, but can’t promise anything. That’s fine—-but creators should be upfront about it.
What’s not okay: Nobody should be promising compensation if there is no guarantee that such compensation will actually come. It is unethical to get everyone’s hopes up by saying “if you work for us unpaid for now, you’ll make a lot of money when we actually get off the ground!” The fact of the matter is, crowdfunding is difficult, and not all crowdfunding efforts succeed. Understand that if you take on such a project, the likelihood is rather high that you may never be compensated for your efforts—-so if you wish to audition, just go in with that in mind. And when in doubt, do your homework! “For projects intending to crowdfund, research is all the more important. Not only should you check for proof of concept on the project itself, but you should also look into the team behind the project,” says Nick Chang.
Tip for producers: Always be transparent in regards to pay and budget. If you’re making money from your project, your team should be too—-but if there is no budget, then just be honest about it. Acknowledge that your project is “unpaid”, though you can mention that there may be a possible bonus in the future if things happen to go well. Jack Magus was in a similar situation when producing the “Rise of Kyoshi” fan adaptation, and offers the following advice: “I think the important thing is establishing expectations at the beginning and if there are any changes, communicate them IMMEDIATELY.” He added that by being transparent with the project’s financial situation from the beginning and as it as it changed when starting to gain revenue, “there hasn’t been any conflicts when it comes to finances.”
So, what do you do if you need to leave a project?
Sometimes, things just aren't working out, and you may decide that you no longer wish to continue in your role. If this happens, here are some best practices to keep in mind:
If the project is paid, make sure you are fulfilling your contract obligations.
You should already know to read contracts carefully before signing, but the contract typically prevents situations such as actors suddenly holding a project hostage in the middle of recording to demand more money in order to continue their work. Generally, when you formally sign onto a project and begin work, you are agreeing to perform the role for the duration of that particular project (though actors may not always reprise their roles for sequels or future installments). Now, if you are under contract but it becomes clear that things aren't working out, you may simply have a talk with the clients and explain your intention to leave the project. In some cases, they may not have an issue breaking the contract if it turns out to be a beneficial decision for both sides. But if they've already spent a lot of time and/or money getting recordings from you, they may be angry if you wish to break your contract for what they do not feel is a valid reason, especially if recasting may cost them a lot of money and/or delay production timelines. Now, in most cases, it is too costly and too much of a hassle for small teams to actually pursue legal action... but if they threaten you with it, talk to a lawyer and see what your options are. (And if the project is unpaid, you can leave at any time for any reason, though it's courteous to communicate and give notice as much as possible.)
Consider asking for an accommodation instead.
If the project is treating you well, but you feel can no longer continue because--for example--you're having trouble meeting the deadlines with how large the workloads are, express your concerns to the person you're working with and see if they're able to make an adjustment. In many cases, clients would rather make a reasonable accommodation than risk losing a valued contributor. So if you'd like to stay on board, but need something in order to do so (a raise, more time to complete your work, less editing, self-directed sessions, etc)...ask for it. The worst they can say is no. And if they say no...well, you were planning on leaving anyway, weren't you?
Communicate your intentions as soon as possible.
The longer you stay on a project, the more of a hassle it is to find a replacement for your role. If you are no longer able to continue on a project for whatever reason, let the team know as soon as possible so that they can start making alternate arrangements.
If you have a good relationship with the project director and/or team, ask how you can help.
If you have been treated poorly or in an abusive manner, you of course do not owe them anything. But if you love the people you worked with, and you simply need to leave for personal reasons (schedule, pay rate, etc), ask if there is anything you can do to help make the transition as smooth as possible. This could mean recommending another great actor to take over the role you are leaving, finishing out a few last bits of work while they hold auditions for the recast, etc. This shows you are willing to go above and beyond, and will leave them appreciating your professionalism.
Know that you don't have to share more information than you're comfortable with.
Say you wish to leave the project because you find the director to be very rude and borderline abusive. If the project director themselves (or a close friend/colleague of theirs) is your point of contact, you may naturally feel averse to sharing your true reason for leaving, especially if you feel it may make you into a target. In a situation like this, you do not need to elaborate on your reasoning if you do not feel comfortable. You can leave on a high note by saying something like "I appreciate the time I've spent playing this role. However, after careful consideration, I have decided I no longer wish to continue on this project. Please let me know if you need anything additional from me to conclude our business."
Don't be afraid to talk to your friends in the cast.
If you know other people on the project, and feel comfortable talking to them, it can help to get a "temperature check" if you have a gut feeling that something might be amiss. You can even approach this in a neutral way---for example, "I noticed you are also working with [project director], can I ask what your experience has been like with them so far?" This opens the door to a conversation without implicating you if your castmate actually really enjoys working with that person. And if talking to a castmate isn't possible or practical, ask an industry mentor if what you're dealing with is a red flag or not.
Be very, very careful when it comes to making issues public.
It makes sense that when you have a bad experience, you want to warn everyone you know not to work with the person or team that gave you trouble. But keep in mind that when something is made public on the Internet, it is virtually impossible to take back. Generally, it is best to make every attempt to resolve these issues behind the scenes and handle yourself with grace and class as much as possible. You may privately spread awareness to other actors you know, but think very hard before making a public post someplace like Twitter---are you prepared for opening that can of worms? And whether or not this is fair, if you have a habit of "calling out" bad clients by name, other potential clients may see your posts and fear that you will be difficult to work with or cause drama for a production. Consider escalating things privately, at least first, if you are able to.
If an abusive creator/director/producer threatens to "blacklist" you, be assured that this is an empty threat.
People who treat their creative teams in a cruel or emotionally abusive manner are not above resorting to threats in hopes to scare them away from speaking up or leaving the project. Don't fall for it. One indie developer, online animator, or podcaster does not have remotely the amount of industry sway it would take to bar you from doing legitimate projects in the future. And even though the saying goes "it's a small industry", the industry is large enough that they literally do not have the power to keep you from working in it. Recognize this abusive tactic for what it is, remove yourself from the situation, and do not feel compelled to argue with them any further. Save evidence just in case you need it, but even if they publicly attempt to tarnish your reputation, rest assured that it will carry little to no weight in the actual professional world (and may not even gain much traction in the first place).
Above all, trust your gut.
If your instinct tells you something is off, it's probably for a reason. Remember that you always have the right to ask for more information so you can make an informed decision before agreeing to something.
All of the guides and resources on this forum are provided free of charge. However, if you found them helpful, I'd love it if you buy me a coffee!
I’m a female voice actor with a High pitched, normal and robotic voice and I can also do British accents! I do murder drones and I could try any other and I can follow scripts! Send me an email if you need me! (Mahatareq09@yahoo.com)