Podcasts about Pilar

A través de la Comissió d'Igualtat del Consell Comarcal del Garraf, que està integrada pels municipis de Cubelles, Canyelles i Olivella, el Servei d'Atenció Integral LGTBI (SAI) del Garraf i la regidora de Polítiques d'Igualtat, Pilar Juste, es va fer el lliurament de tres llibres de l'àmbit LGTBI a la biblioteca de cada institut, el Cubelles i Les Vinyes. Per la seva banda, les escoles van rebre a cada classe una guia de lectures sobre aquesta temàtica. podcast recorded with enacast.com

Pilar talks to Brian Casel about asynchronous communication and how he uses his product, Zip Message in the day to day running of his business. Links: You can communicate asynchronously with Brian through his Zip Message page: https://zipmessage.com/brian And you can find him on Twitter too https://twitter.com/CasJam  https://briancasel.com/podcasts For more show notes, check out https://www.virtualnotdistant.com/podcasts/asynchronous-video 

La ministra de Educación y Formación Profesional ha pasado por los micrófonos de la Cadena SER, en Hora 25 con Aimar Bretos.

TodoPorLaRadio con Toni Martínez, Especialistas Secundarios, Marta Estévez, Marta del Vado, Lucía Taboada, Pilar de Francisco y Juanma López Iturriaga

TodoPorLaRadio con Toni Martínez, Especialistas Secundarios, Marta Estévez, Marta del Vado, Lucía Taboada, Pilar de Francisco y Juanma López Iturriaga

Auditions are a voice actor's work day in and day out. Anne & Pilar understand how important auditions are and how much time goes into crafting one that will catch the attention of casting directors. They discuss spending time with your copy, researching the product, adding smile to your slate, respecting the concept, and more…to get you auditioning like a total #VOBOSS. Transcript >> It's time to take your business to the next level, the BOSS level! These are the premiere Business Owner Strategies and Successes being utilized by the industry's top talent today. Rock your business like a BOSS, a VO BOSS! Now let's welcome your host, Anne Ganguzza. Pilar: Hola, BOSS Voces. Bienvenidos al podcast con Anne Ganguzza y Pilar Uribe. Anne: Hey everyone. Welcome to the VO BOSS podcast. I'm your host Anne Ganguzza, and I am with my very special guest cohost Pilar Uribe. Pilar, how are you today? Pilar: I'm exhausted. Anne: You know what, I am too. And I have a question for you in regards to that, why? Pilar: Yes? Anne: Why Pilar? Pilar: Why am I exhausted? Funny you should ask that, Anne, funny you should ask that. I was up until all hours doing my auditions. Anne: Oh man. Why is it that every agent I know sends auditions at like 5:00 or 6:00 PM, when at the end of the day I am literally, I'm done. I'm like, I'm exhausted, my performance, and that's a big thing, Pilar, for me. I've got to have energy enough for performance and thought and acting, and I'm exhausted at the end of the day. And I'm like, oh no, because there's a decision, right? Do I do it at night when I'm tired and I've got to rev myself up or do I wait in the morning where I know I'm really good, but then my voice is like this, it's very low. Perhaps I can't get back down there again. Pilar: Yes. This is really true. It's kind of six of one, half dozen of the other. I really look at auditions as it's, it's work. Anne: Yes, it is work. Pilar: You know, auditions are what we do. It is the work. A good friend of mine said audition is the work and acting is what I get to do once in a while. Anne: It's our job. Pilar: Auditions are the job. Exactly. And so I like to look at auditions as sometimes I go, oh yeah, right, time to make the donuts, time to do the auditions. But other times I really like to look at them as an adventure. Anne: Yeah, like a puzzle. That's me. It's a challenge. Pilar: What is the adventure? Where's the story that I'm going on? And this may sound odd, but I have learned so much about people and about different themes just from auditions. Because when they tell you, okay, go here on, look on YouTube. Here's this reference, look at this. And then you look at it and you go, oh, wow. I didn't know about this product. I didn't know this woman had done this. Some of the images that they send you are so heart-wrenching and, and I just go, wow. I would never have known that if I hadn't auditioned. So I always try to look at the positive. [sings] "You gotta accentuate the positive." And um, yeah. I know everything is a song for me. It's really ridiculous. It's just what it is. It's a song or it's a jingle. Anne: Right? I think of you now every time I climb in my studio and I'm singing, and I'm like, yeah, I bet Pilar's singing right now. She's singing the audition. But -- Pilar: Yeah, pretty much. Anne: -- I always like to go at auditions with a strategy, right? Pilar: Yeah. Anne: I try to do something that I think that nobody else will do because in my head immediately, right, when I read the script, I'm hearing something that maybe I've heard on television before. I've heard a melody. And again, I want to make sure that I'm selected for the job. I want to get the gig. So I want to really figure out how I can be unique in that audition. And that's what most people say, what's a good strategy for auditioning, well, bring yourself to the party, do something unique, because casting directors and by the way, for anybody who's never cast before, I strongly encourage it. If you guys have an accountability group or you work out with peers, run your own casting. Because that will help you to understand what casting directors go through. I literally -- only takes one, one example, one test where you're listening to maybe a couple, even 20. Even if you just listen to like 20 auditions in a row for the same piece of copy, you're gonna find things that stand out to you and things that don't. Pilar: It's so interesting because I had the opportunity, I had to cast, uh, something, but it wasn't for a voice at all. It was for some artwork. And I was very specific, very specific in the directions. And I had this one person who basically fought me every step of the way, because we could have that interaction, which you don't usually have when you're doing voiceover auditions. But he would ask me questions and I would answer them. And every time -- I would say, this is what I need, I need one sketch. And then he would go off on a tangent and present 10. And I was like, did you not read the directions? This is what I want -- Anne: But no. Pilar: But no, exactly. And so it's -- I think the one thing that I learned from casting is casting directors, they are looking for you. They are looking for your voice, and it may not be in this particular audition or in the next one or in the next one or in the next one. But they are looking for you. So you need to present your best work and think of that. Anne: And impress them. Pilar: And impress them. Not by trying to please them, because that's another big trap that people fall into that I've fallen, fallen into so many times. Anne: What a good point. Pilar: It's not about what do they want? You know, it's like when they say we're looking for a Scarlett Johansson or Sigourney Weaver type, which I get all the time -- Anne: Yup, yup, me too. Pilar: -- they're not looking for Scarlett Johansson. They're not looking for Sigourney. It's for an essence. Anne: Right. Pilar: So watch her movies, watch their movies, listen to them. You don't need to ape them. You don't need to try to copy them exactly. But listen for their attitude. And you have to develop that attitude when you go into the booth to record. Now, everyone has a different strategy, right? Like some people print the auditions. Some people just underline, they bold. Some people just do it. Boom. They just go ahead and they go and they read, and they read a couple of times. Whatever it is that your process is, you want to try different things. You know? So you want to maybe read it a few times or maybe walk around with it. And I think in an earlier episode we mentioned singing. Anne: Of course, sing it to get you into a different frame of mind. Pilar: Exactly. Or do it like in workouts. When I do animation workouts, our teacher will say, okay, do it as if you were Cruella de Vil. And it's completely opposite, you know, and you're doing like the straight commercial copy for Charles Schwab. But when you get out of yourself -- Anne: As Cruella. Pilar: -- as Cruella, and then all of a sudden, you dive into the copy again, and it's a completely different read. Anne: Going back to the one point, which I think is almost possibly more important than, than your voice, and that is following directions. Pilar: Yes. Oh my God, yes. Anne: I wanted to revisit that. I wanted to add some commentary to that, understanding that I do some casting myself and also work with students. And so I have a number of people that I'm working with at any given time, so that when there are instructions on how to do something and perhaps where to put the audition, how to name the audition, and then there's a naming convention. Oh my goodness. That is so, so important because here's what happens if you're not following directions. First of all, I can't find your file. And if I can't find your file, I'll spend all that time, if I'm with you as a student, searching for that file, and that's your time that you've paid me for. So number one, you're kind of digging into your own time, if I cannot find the file that I've asked you to present. And also if it's not named correctly, it's not going to show up correctly in my computer. So again, I'll be hunting for something and taking up time that you have paid me for during our session. And/or if I'm casting, you've just taken up my time. And just at that point, because I've already asked you to do something, and you didn't follow directions, then I really have -- I've got a taste, kind of not a good taste in my mouth of you as an actor. Right? Pilar: Yeah, there's more of a possibility you're going to ignore the, the audition. Oh my God, fine. Whatever. Anne: I'll toss it right out the door. Sometimes it really depends because I could have 200 people, 300 people vying for that. And the people that have not followed directions, right, if I can't get to that audition quickly enough, or if I've specifically asked for something, and you've not been able to show that you can follow directions, well then how do I know you're going to be able to be directed? And that is, I want to say one of the biggest things. I think when we're auditioning for our agents and we're doing the job of auditioning, we're imagining what it sounds like, and we're trying to please, like you were mentioning before. We're trying to please the director is, this is what it should sound like. But in reality, we have to showcase so much more than that. We have to showcase our acting ability because what you hear in the commercial, when it finally runs, may not be what you auditioned with. And trust me, I think more casting directors are looking for the actor and not the sound that's in your head that you're mimicking. Pilar: Yup, yup, right. Anne: So they want to see that you can act and whether or not they direct you to that same audition in the final spot, if you get it, that's neither here nor there really. So -- and I heard a very well-known agent the other day that said, what you hear on TV is not necessarily what got you the job. Pilar: And something else, I mean, my agents are relentless when they say this, and they get this from the casting directors. I've been out here for almost three years now. And it amazes me that I still see the same language, which means people are not following directions. So when they say do not slate, we don't want anything. Don't start talking about yourself. I'm like, are you kidding me? You're sitting there talking about where you're from and you're trying to sit there and interact with the people who are going to hear it. Right? Anne: That's people trying to make things unique. Right? Pilar: Yes. Anne: So, yeah. So you've got to be careful, when all of the good advice is make yourself unique, that doesn't mean making yourself unique when you're not following directions. If people say, please don't slate, don't slate. That's not going to make you unique if you slate. So follow those directions. And then when it comes to the actual copy, then yes, I would say, be creative, bring yourself to the party and showcase your acting skills. Because a good casting director is going to be able to hear that like from note one, from the very first word. They're going to be able to tell if you're a great actor. And that is something that is attractive because when it comes time to actually laying down the spot, I mean, if you're lucky, they'll use your audition. But if they decide they want to lay down the spot later on and live direct you, they know that that's going to be a thing that they can do with you. They can direct you, you can be directable. So that is super important and follow all of those instructions. And you know what? Don't, don't follow the instructions because that way I'll have a better chance, right? That's the way I think, you know what, fine. You don't want to follow directions. Cool. Then my audition gets listened to and yours doesn't, so. Pilar: And here's something that's really interesting -- exactly -- that I learned actually recently, when they say, be creative again, you label. You slate or you don't slate. Within the boundaries of the competition itself, when you're auditioning, you can go ahead and be creative, but here's something -- there's a caveat to that. There might be like ums and ahs. You know, you, you can do something straight for your first take and then do a second take. And you want to be careful that one is different from the other, because you don't want to send them almost the exact same take. 'Cause then they're like, well, what's the difference? So if you have something that you think you can offer to them that is going to make them slow down and go, oh, okay. She can do this now. Or he can do this. Great. If you don't, just give them one take. I took a class the other day with a SAG-AFTRA foundation, SAG-AFTRA union members listening to this. There's some great free webinars. I heard this voice actor who's also casting director talk about -- he asked us, okay, who is the person who makes the decision? And there was a bunch of categories and the agent, the casting director, the producer. Nobody got the answer right, which was that the copywriter is the one who makes the decisions. Now that is open to interpretation. But I thought that that was really interesting. Anne: Oh, that's very interesting. Well, the copywriter is hired to write that voice in his head. Right? Pilar: Exactly. Anne: Represent the brand. And so I've always agreed. If you can get yourself into the copywriter's head and understand where they were, and you can figure that out and audition with that in mind, because it's going to fit nicely into the spot. 'Cause sometimes, you know, the spot, you know, has the video been completed. And the last thing they're doing is putting in the voice. Is there a scratch track already there? We don't know these things. Sometimes we have a storyboard. Sometimes we don't. I can't tell you how many times I've gotten an audition where there's absolutely nothing with it. There's no storyboard. I look at it and go, my goodness. What is that even about? And that's where your, your initial investigation into the brand, if you know what it is, can really help. Google is your friend, and that can really help you to understand the brand and how they are selling to their current clients, their potential clients. So that can help give you an idea. But I love that, like, who is it that hires you? Because that's such an interesting perspective because is it the copywriter who wrote the piece of copy? Is it the casting director, right, who is casting the project, or is it the client? So let's send in our audition, right, to our agent. The agent then shortlists us or not. Right? I don't know. It depends. You don't necessarily know if that audition got sent out to five of you or maybe 250, although sometimes that's easy to tell with certain agents where it seems like it's a big cattle call. But sometimes your agent and, and I'm sure, depending on the agent, if they know you very well, they're going to send it out to just a few people that they know would be great. So they've already in a way cast, right, your agent. And even if they cast the net far and wide, when they get those auditions back, they're listening to them, they might shortlist and then give that list to the client to make a decision. Pilar: Right. It could be interesting to know who it is that makes the decision. But really the reason I said that is because you have to respect the copy. Whether it's good or whether it's bad, whoever wrote it or whether -- that's your opinion. Somebody wrote that and somebody was hired professionally to professionally write that, and you have to respect their words. Anne: And every word is there for a reason. Pilar: Exactly. Because these people have worked on that thing for months and months and months and months. Anne: And look at us, coming in our studio for like maybe a minute, looking at the copy, and then making a decision as to what it means. Pilar: Exactly and saying, oh yeah, I'm going to change this because I don't really like that. It's like, no, no, that's not our job. Anne: Or not even that is to interpret it, but to take some time. I know people that just come in and they're like, okay, I got it. They read it. And they haven't taken any time to really digest the copy or to even try to analyze and see what's the idea, are there innuendos, is there like a double entendre? You know, what is it actually talking about? What does the visual look like at this time? And even if you don't know, and you never do know, if you make some assumptions and try to really analyze it a little bit more than just a few seconds, that's going to really help change your read. Pilar: Yeah. Because the voice is going to give a life to what you're seeing if it's a TV spot, for example. If it's radio, your voice is everything. Your voice has to be able to portray all these things. It's our job as voice actors to really take the time and note, what is the story we're telling? What is the beginning, middle and end? Because every piece of copy really, it's like a little one act play. And it, whether it's 15 seconds or it's a 10-page narration, there is a story. And it's our job to sift through that and to make our decisions, how to navigate that. And also by the way, the audition that you're given is usually not the audition that you're going to be doing. Sometimes it's going to be the copy, but sometimes it's not going to be the final thing. 'Cause it'll go through a whole bunch of other rewrites and by the time you get to actually record it. And so a lot of the times, if you're not careful, you can fall into traps. There are crumbs showing you the way. But if you sit there and you say, oh yeah, I'm just going to do the copy. I'm going to get into the booth and just read it, and it'll be great, you're going to fall into those traps. So that's another reason why we have to take our time with the copy, underline, try a different ways, see where the meanings are, see where those little trapdoors are. Anne: Tell me about the traps, expand on those traps. Like you just want to fall into a particular melody of what you think it should sound like versus there's actually a meaning behind the few words -- Pilar: Yes. Anne: -- right, that you haven't bothered to really investigate or to analyze. Pilar: Exactly. Anne: Okay. Pilar: So I have a Spanish audition coming up, and I have to have an accent where it's sort of the equivalent of like a Southern accent. Anne: Interesting. Let's actually talk about that because I mean, obviously as a bilingual voiceover actor, there's lots of different opportunities that you have, if it's going to be English speaking or Spanish speaking, or maybe it's going to be cast for both. Let's talk a little bit about your auditioning techniques for that. Are the casting specs always for, I need a Spanish talent or are they more like we need an English that has a Spanish accent? Or what are you finding in the casting specs, first of all, that call for bilingual talent? Pilar: You know, it varies. Most of the times it's divided. So you're either going to get Spanish or you're going to get, here's the Spanish copy. But once in a while you will get a bilingual audition. So it's the copy in English and in Spanish. Anne: So you would get cast for the same thing in both languages, right? Pilar: Yep, yep, absolutely. And that doesn't happen very often, but it's happening more and more that a client wants to hear the same voice in both languages. And I don't know if this happens to all bilingual voice artists, but it's, it's just really funny. It's a totally different sensibility, when you read a commercial in English and you read the words in Spanish, it just is, the musicality is different. The rhythm is different, the attitude is different. And I can't really explain why that is. I just know it. Anne: Well, you have to know the culture, I think, right? Pilar: Yes, yes. Anne: I mean, to be a, an effective bilingual talent, right? There has to be some native speaking there or growing up in a particular region or whatever other language that is. I would imagine more and more casting directors are looking for native speakers so that they can probably know that about the demographic. Pilar: Yeah, because you would think that a translation would be the same, but it's not the same thing. So you really have to kind of get into the character of this person who speaks Spanish versus the person who speaks English. And it's just a little, kind of a little switch, but there's a flavor to each piece of copy. So you have to bring your personality, even if it's in a different language to that copy. Anne: I would imagine that if they're having you do both English and Spanish, there might be some timing issues just because of the language difference. Like let's say it's a 30-second spot or something like that. And they're trying to have the same message, but yet the translation usually it takes a whole lot longer than an English version, let's say. And so do you run into issues like that where they have to re-write the copy or cut some of the copy for the other language or both languages? Pilar: Well, that's not my job -- Anne: Right. Pilar: -- to do that. So I try to stay away from that. I used to be very, very concerned about the timing 'cause I'd be like, oh my gosh, this is -- because Spanish, it always takes three words to say the same thing in English, uh, for one word. So now I don't really worry about that as much. And if I go over, I go over, and again, it's just an audition. Anne: Right. Pilar: If they're being very specific, which I have had as well, you have to fit it into 30 seconds, I try to speed it up as much as possible before I sound like a chipmunk. And then I'll, you know, because I mean, sometimes I do and it's just kind of crazy. And I'll just tell my agent. Anne: That's like me in automotive. Right? Because they always throw in like so many more words than I can do in this 15 or 30-second. And so -- Pilar: Especially the legal, especially the legal. Anne: Well, by the time you get all the words in there, you have no room for emotion or nuance, you know, and it's just -- Pilar: Or breath. Anne: Or breath, exactly. So you're pretty much just like, blablblabla, you know, and that's it, which is always crazy to me. But so for the majority then let's say if your auditions, you're getting them in maybe English with an accent, or you're getting just a particular style of Spanish that you're auditioning for? Pilar: You know, I get everything. And it's really funny. 'Cause when I go and I do spots, because I've, I've done, let's say back to back English spot and Spanish spot. So then we'll be recording. We'll do the English spot, we'll do the Spanish spot and then they'll come back and they'll say, can you do the English spot with a little bit of an accent? And I'm like, really? And I'm like, okay, great, sure. You want that? It kind of depends. So if they ask for it, I do give them a little bit of an accent because you know, my mother has an accent. Pretty much all my relatives have accents. So I can just go to that little voice bank for that. Anne: So are you slating in an accent or in Spanish? Pilar: Only when the, the entire copy is in Spanish do I slate as Pilar Uribe, instead of Pilar You-ribe. When it's obviously something that they want some Spanish for -- like, I do a lot of work for spots that speak English, but they have sprinklings of, of words. So they need somebody who knows how to say those words in Spanish. So I'll always slate in my just, you know, Pilar Uribe. But for a Spanish speaking audition where only Spanish is spoken, I do say my name in Spanish. 'Cause I know that the person listening is, if they're not a native speaker, they speak it fluently. Anne: Right, right, right. Pilar: So they're going to understand what I'm saying. 'Cause if I say Pilar Uribe, most of the people are going to go, huh? Anne: Right, right. Actually, when I used to work at, um, in radio at NPR in Miami, they would say, no, no, we want you to speak. We want you to say your name the way you say it. And I was like, oh, okay. That's kind of a switch, because I always say, you know, if I try to say Pi-lar Uribe, people still don't get it. So I always just say, Pilar You-ribe. And I get Mylar, people call me Laura. And you know, it's not a common word, Pilar, but for auditions, yeah. You can get away with saying your name. And in fact, when you slate, something that I like to do is I like to smile a little bit and do a slight shrug of my shoulders. So I go, so one way, for example, I'll say my name one way, Pilar Uribe, two Pilar Uribe, Pilar Uribe. So I just smiled a little bit and I shrugged my shoulders and that completely changes the attitude. Anne: Yep, sure does. Sure does. Pilar: Especially when you're doing a serious commercial copy or narration or a video game, it just kind of gives them, it shows them a little split second personality. Anne: A little bit of your personality. Yep, exactly. And I think that's important. It's the first words that they hear, so. Pilar: Yeah. Anne: Those are great tips, Pilar. Wow. We could probably go on about auditioning for like a whole other episode. Pilar: We could. Anne: Yeah, we could. Great tips. Thanks so much. Fantastic, BOSSes. So next time you audition, make sure you give it a little bit of time before you rush in there and start voicing everything. Do some research, give a shrug, have a little bit of a smile in your slate. Make sure you follow those directions. BOSSes, I'd like to give a great, big shout-out to a brand new sponsor, 100 Voices Who Care. This is a chance to use your voice to make an immediate difference and give back to the communities that give to you. You can find out more by visiting 100voiceswhocare.org. Pilar: Ooh, I'm going to check that out. 100voiceswhocare.org. Anne: Yup. So this is a great way to make a difference without having to make a huge commitment. So you guys, check it out, make sure to check that out. Also big shout out to sponsor ipDTL. You too can connect a network like a BOSS. Find out more at ipdtl.com. You guys, have an amazing week. Go forth and do all the wonderful auditions, and we'll see you next week. Thanks so much. Bye. Pilar: Hasta la vista, BOSSes. >> Join us next week for another edition of VO BOSS with your host Anne Ganguzza. And take your business to the next level. Sign up for our mailing list at voboss.com and receive exclusive content, industry revolutionizing tips and strategies, and new ways to rock your business like a BOSS. Redistribution with permission. Coast to coast connectivity via ipDTL.

'Meditación y creación literaria', es el último libro escrito por la periodista y profesora Pilar Blanco. Un libro que nos explica la relación entre meditar y escribir. La autora nos cuenta cómo se ha gestado esta obra.   Escuchar audio

https://MercadeoGlobal.com/formulaFórmula Digital: Pilar Iñiguez

En este episodio hablamos del valor tan grande que tienen otros adultos en la crianza de nuestros hijos y qué podemos hacer para fomentar estos lazos que mejoran considerablemente nuestra calidad de vida y además sirven de paracaídas cuando la vida nos lanza al barranco.   Una probadita de lo que se habla en la intimidad del consultorio de Pilar Cortés. Aprende de las explicaciones amenas y los consejos prácticos de esta reconocida consultora familiar, respondiendo a problemáticas de la vida real que comparten personas anónimas. Si quieres conocer el trabajo de Pilar o contactarla, puedes hacerlo en cualquiera de estos links: http://www.luminapilarcortes.com/ (www.luminapilarcortes.com) https://www.instagram.com/lumina_pilarcortes/ (https://www.instagram.com/lumina_pilarcortes/) info@luminapilarcortes.com El propósito de este podcast es informar y no sustituye una guía profesional, diagnóstico o tratamiento. Acude a un terapeuta cualificado para atender temas personales de salud física o mental. Al enviarnos tu caso estás accediendo a que lo compartamos y editemos para presentarlo resumido y con claridad. En algunos casos hemos alterado los nombres y ciertos detalles para proteger la privacidad de las personas. Este podcast es parte de https://www.juandiegonetwork.com/

Today we have none other than the president of the United States Padel Association, Marcos Del Pilar.  Among many things we discuss the current and future state of padel in the country and we also get a little insight on how Marcos and his team is planning on developing and making Padel one of the biggest sports in the nation.

In this episode, we focus on the 21st Century Work Life podcast: how it's evolved and what it could cover in the future. And our guests have come wise words for you, our listeners. 00.00 mins Pilar shares how the show has evolved over the last 100 episodes. Some of the episodes she mentions are: episode 209 The Journey of the Remote Leader, episode 263 “Remote” is not the Only Challenge, episode 282 Asynchronous Facilitation and Online Collaboration, episode 286 The Challenges of Adopting Asynchronous Communication. 09.05 mins Bree and Pilar talk about the Connection and Disconnection in Remote Teams series and how the conversations around remote work in general changed during the pandemic. 15.39 mins We hear some general suggestions from guests about what they'd like a podcast like ours to cover in the future. Tim Burgess is first, he's been leading a distributed company for a few years - he would like to hear more “secrets” from people who are in the remote space. Then we hear from Theresa Sigillito Hollema, who as a guest has talked about leading global teams, her speciality. She's interested in the psychology of working away from each other. Theresa refers to My Pocket Psych, so its from its host, Dr. Richard MacKinnon, who we hear from next. He's also appeared on this show as guest, and as part of the Connection and Disconnection series. He would like the show to cover the “how to” for those new to the space (especially if it's evidence-based). He's followed by Mark Kilby, who's also been on this show a lot, (and who Pilar got to meet in person, in London!) and would like a mix of the “how” and the “why”. Then we hear from Pinar Akkaya, it's the first time she's guested on this show. She's looking for inspiration and “what if” scenarios. 24.49 mins Other guests have more specific suggestions. Simon Wilson kicks this bit off. He'd like to hear more - and be involved in conversations - about what asynchronous communication looks like in those teams embracing it, plus deep conversations about organisational culture. We then hear from Ross Winter, our podcast polisher, who would like to hear answers to questions like, Why are we spending so much time looking for connection online? Eva Rimbau Gilabert suggest we cover the transition to hybrid (of which there are many versions), especially when we can back it up with academic research, while Bree encourages us to continue with the diversity of perspectives and deepening the conversation about the future of work. 31.32 mins Finally, the guests have some final words for listeners of the show, and Pilar. We hear from Maya, Simon, Eva, Pinar, Richard, Tim, Ross (and cat!), Bree, Mark, and Theresa, who leaves us with an inspiring aspiration. And thanks to Anish Hindocha, for contributing to the two other parts of this episode! (By the way, Pilar has “podcastinitis” and hosts many shows!) And we have some outtakes from 40.03mins for your amusement after our MANY THANKS to all of you!

La periodista y traductora Pilar del Río, presidenta de la Fundación José Saramago dedicada al trabajo y la vida del Premio Nobel de Literatura, presenta su nuevo libro "La intuición de la isla. Los días de José Saramago en Lanzarote" con la editorial especializada en viajes 'Itineraria'.

We're baccckkkkk! This week on a brand new episode of CWC + Friends, we sit down with one of the few female real estate developers in Canada, Priscilla Facey, Founder of Build Up Development Co. We chat with Priscilla about what is holding people back from investing in Real Estate, things we should all consider before investing, and how she changed her money mindset -- *hint* she didn't grow up rich, so her story is one of perseverance. You can follow Priscilla on Instagram for more tips and tricks on how you can get started on your real estate journey.Make sure to follow us @cocoandcowe and check out our blog www.cocoandcowe.com. You can follow Cleo and Pilar on Instagram too! See acast.com/privacy for privacy and opt-out information.

TodoPorLaRadio con Toni Martínez, Especialistas Secundarios, Cristina del Casar, Lucía Taboada, Marta del Vado, Pilar de Francisco y Juanma López Iturriaga

TodoPorLaRadio con Toni Martínez, Especialistas Secundarios, Cristina del Casar, Lucía Taboada, Marta del Vado, Pilar de Francisco y Juanma López Iturriaga

Although we wish it were true, companies don't need VO produced 365 days a year. So what do you do when things are slow? Anne & Pilar have learned that the ebb and flow is all part of the biz. The amount of auditions you receive is not indicative of your worth, but it does feel good to be busy. Filling your time with classes, coaching, and market research during down time can prepare you for when the busy season comes again, but slow days can also be times to relax + restore your hard working voice, mind, and body like a true #VOBOSS. Transcript >> It's time to take your business to the next level, the BOSS level! These are the premiere Business Owner Strategies and Successes being utilized by the industry's top talent today. Rock your business like a BOSS, a VO BOSS! Now let's welcome your host, Anne Ganguzza. Pilar: Hola, BOSS Voces. Bienvenidos al podcast con Anne Ganguzza y Pilar Uribe. Anne: Hey everyone. Welcome to the VO BOSS podcast. I'm your host Anne Ganguzza, and I am super excited to be back with special guest cohost Pilar Uribe. Hey Pilar. How are you today? Pilar: I am good, Anne, and it's, uh, it's a little slow today. Anne: Yeah. You know what? That happens in our industry. We have days where, gosh, every time I turn around, there's something else to do. And I love those days. They're crazy days. But then there are days when it's slow. Back in the early days, Pilar, I used to like question, oh my God is what's happening? Like, should I get out of the industry? Like I haven't heard from any of my clients. I didn't book any gigs today. So what do I even do? So that would be a good topic for discussion today. Pilar: It's funny because I think that voice actors tend to equate their worth with the amount of auditions they get, which has absolutely nothing to do with them. Anne: auditions and or jobs too. So don't forget about that. Right? 'Cause they're like, oh my God, it's been slow. I haven't, I didn't book anything. I didn't get any auditions. What am I doing wrong? Pilar: Exactly. And it generally, it has nothing to do with you. There are things that you can do of course, but just remember that it's not necessarily a reflection on your ability. It's just sometimes it's the wave of what the market is doing. Anne: Yeah. The wave of the market. Pilar: I mean, there, there have been so many waves when people didn't know what was happening. And so clients and companies are still trying to figure out where to put their advertising dollars, and then that's when you see, well, what's happening? Why isn't, why isn't this coming in? Anne: I know and then you immediately blame it on yourself. Pilar: Immediately. And that's so that's so unhealthy. Anne: Yeah. It's a good thing to remember. I tell people because we do our BOSS advertising, the BOSS Blast, and a lot of times it really comes down to like what you said about the market. It is so true. We are driven by the market, right? When the market needs voiceover, they buy, not that they're not going to completely not need voiceover any given day, but there are waves. And it's always good to remember that if you're getting auditions, or you're submitting to any particular clients, corporate clients, if you're doing your own marketing, a lot of times any one particular company doesn't need a voiceover necessarily every single day. They're advertising. I don't really know one company that's advertising every single day, like hiring a voice talent. Sure, they're advertising, but it might be print. It might be email. It might be social media. They may not always be hiring a voiceover talent every single day. So remember when you send that email or that advertisement or that email for your services, remember that not every company has a new commercial every day or has a new e-learning module to do today. And that has a lot to do with offers that may come by. It just may be a whole timing issue. Pilar: Yeah, exactly. And so when those days are slow -- Anne: What do we do? Pilar: What do we do, exactly. And so one of the things that you can do is look at the business of where you are in your voiceover career. Are you sending out emails? Are you -- Anne: What's your marketing plan? Pilar: What's your marketing plan? Are you being top of mind for certain people, without being a stalker, 'cause that's something that we have to be really aware of. If you've had a client that you worked with, let's say a year ago, and you haven't heard anything or you got a new demo and you can say, hey, I just did a spot and I have a new demo. There's certain things that you can do during the slow time, during the let's say holiday times or the winter or the summer months. I was just thinking about this one very specific, slow time of the year is let's say Christmas through New Year's -- Anne: Yup, yup. Pilar: -- because nobody's thinking about that. Everybody's dealing with their Christmas presents or their Hanukkah or whatever they're getting into. Anne: Well, the majority. Pilar: The majority, true. If you're not religious, that's fine too. Anne: Yeah. International clients might be working. So there is that. Pilar: Right. Anne: Yeah. But generally slower. Pilar: It's generally slower because people don't have that. They're getting together with their families. They're planning trips. They're not necessarily thinking about the office work, and it's also end of year. So everybody's wrapping up their financial business. Anne: Well, yeah, and anything that is needed for the new year, or to end the year for the holiday, for example, any holiday advertising, hopefully they've taken care of that months before. Right? And so during that end of the year, they're hopefully planning for what's happening, you know, in the beginning of the following year. Pilar: Right. But they're not concerned with, oh, I need to hire this. They're not necessarily as concerned as they would be let's say in a heavier year for that particular company, that particular business. So it's a great opportunity to sit there and look at your plans. Anne: Absolutely, absolutely. Look at where you are right now in your career and what can you do to grow? It's the most opportune time to market yourself or figure out, if you're not marketing yourself, how you can start or how you can market your better. Pilar: Exactly. So what can you do, let's say, in those slow months? Well, you can take a class, you can work on your craft. You can look at your emails from people you've done business with, people you want to do business with, do a little bit of research. Basically we are so lucky that we live in this day and age of the Internet, because all we have to do is Google a company and see what their practices are. You can see that the health and the range of a company you're going after, you know, XYZ company, say, well, what is it that they're, they're going after? What are their spots like? What are their radio spots like? What are their TV ads? What is their marketing push, and see what could be interesting for you, let's say if you're, if you're looking at a specific company. And then when you're looking at your own stuff, everyone has a different style. Some people are really organized. Some people are not. People have, you know, little tabs that they do. They have spreadsheets. Some people are fly by night. I'm a little bit of both. I like to make lists, but I'm not necessarily a spreadsheet kind of gal. So I'll sit there and look at -- I have a very specific list where I'll look at, you know, who have I heard from? Who have I not heard? Anne: I think it's a really good time to, if you don't have a CRM or if you either invest in a CRM or take a look at your list of clients that you do have. I have a couple of different CRMs that I work with, one of them specifically because I do a marketing program, the BOSS Blast for other clients. So I am looking at that CRM and finding out, when is the last time I contacted this person, if they're not on the list to get them on that list. And I love what you were talking about in terms of researching companies that you might want to try to reach out to and contact and investigate like what's their market like? What are their new products? What is their form of reaching out to potential clients? That's one of the things that I always tell my students to do is, hey, if you want to be aligned with a company, go check out their website, sign up for their mailing list. I know I'm like, I have so much email. This is why I have like 900,000 emails that are unread, but I sign up for a lot of company email lists so that I can find out how they are marketing. And this is part of my ongoing research anyway, to make sure that I'm current and relevant in the corporate realm of things, because I do a lot of corporate narration. But that also is a very good reference for commercials as well, because companies have products, and they advertise those products. So not just for corporate narrations but for commercials and basically all sorts of voiceover applications for researching companies and finding out who they're reaching out to. Maybe they're now reaching out to a younger demographic. So what does that mean for you? So keeping that research kind of at your fingertips can really help you for when you're auditioning starts picking back up or your jobs start picking back up because you're going to be really relevant and current with trends. And I think that that's so very important that you do that, especially if you're in the middle of your career, and you may not be actively coaching with anyone right now. It's something that I do almost on a daily basis. It's market research to find out what are the trends, what are, what's getting hired? How many people that I see posting on Facebook or that are just starting off that say they don't watch commercials. Oh my goodness, no. You have to watch commercials. That's like your homework. Pilar: Yeah. I think that that is just such a goldmine that people I don't think realize. And that's part of your homework. That's, as much as it is doing research on a company, it's being aware of like big events throughout the year. Anne: Sure. Pilar: Like the Olympics. Anne: Yeah. Cultural impact. Pilar: Like the Super Bowl. Like the Oscars, all those commercials that come on, inform us what the industries are interested in right now. Anne: And why am I watching the Super Bowl mostly this year? For the commercials? Pilar: Exactly. I don't want to downplay the, the actual Super Bowl -- Anne: Oh no, I'm not downplaying, but I -- look, if your team isn't in the Super Bowl, of course. Do you know what I mean? It's not, I'm not saying I'm not watching the Super Bowl for the Super Bowl, but I also, as much as I watch the Super Bowl for the Super Bowl, I watch it for the commercials. Pilar: Exactly. And it's so interesting when there's a big event going on, you're going to see the different patterns. Like for example, if you're watching the Olympics or any Olympics or any big event, whether it's the Emmys, or Country Music Awards -- Anne: Advertising changes, yeah. Pilar: -- they are focused. They have a very, very specific demographic that they're aiming for. So it's really key as a voiceover actor to see who are they aiming for and what is it that they want, and then contributing as part of that. Because if you don't put yourself in that whole part of the process, then you're missing out on a lot. So it's really important when you do have time to think of yourself as one of the cogs in the wheel that's getting this done as you are, you're planning your financial and your email marketing throughout the year. Anne: And speaking of spending time on yourself, right, while things are slow, you can absolutely take classes. There are so many wonderful opportunities out there for educating yourself and furthering your performance, furthering your, your business acumen, all types of classes that you can take, acting classes. You know, improv, we were just talking, we had a whole episode on improv, which was phenomenal. But yeah, doing something that can help you to really get your performance kicked up a notch so that you're ready for when those auditions do come around again. Pilar: Yeah. And even, even something as simple as yoga, tai chi, centering yourself, all of that is so important because that just adds, it just gives you colors and flavors. So when you go and you do an audition, it's basically like having your own proper tools to be able to stand in front of the booth when the time comes. Because for example, this has happened to me over and over again, where I'll get an audition the night before it's due the next day, you have to come up with this accent, or you have know about this product. And I'm like, I don't know about this product. So for me, like what you're doing in terms of looking at all those emails, all the marketing, seeing how these companies work, it basically for our general knowledge, it's always, it's always important to be sort of on the pulse of what's happening. Because when the time comes and you have that audition, you have to be able to just produce it, just like that, snap. So whatever it is, whether it's a new accent or it's a new product, or it's a new idea, and you're like, okay, what is this? So that, you know, you quickly have to Google, you want to be Googling and you want to be interested and looking at the world, because that's going to help you when you're sitting there by yourself, in the booth going, what is this? Anne: Oh, yes. Look at the, I like that. Look at while you're sitting there waiting, look at the world. That's such a cool concept though. Really, get out there and look at the world. And you know, what I really love too is if you're not watching television and listening to those commercials, right, which gives you a nice, I think, pulse on trends in voiceover coming up and as they are, you know, you can also go to a really great resource on the web, like YouTube or ispotTV is amazing if you want to go check out commercials. And you know what's interesting, really understanding and really listening. You know, how many times I've gone to, I spot and you listen to a commercial. You're like, okay, in my head, I hear it this way. But in reality, if you watch it, and I noticed that you had mentioned this before is to listen with no image, right? Don't look at it, but just listen to the voiceover. And I think that's a really, really great tip. I want you to just listen to the commercial and listen to the voiceover because there's so many times where we think we hear something, but yet when you really sit back and listen without any visual, without anything else that's disrupting your focus, you're going to be able to hear those nuances. And those nuances are so, so important. A lot of times with students, I'll be like, okay, go check out this YouTube. And I don't want you to watch it. I want you to just listen to the voice and how the notes are happening and the nuances and the emotion as this piece progresses. Listen to the nuances of the voice and how they are responding and telling the story and emoting and tugging at our heart strings. That I think is so, so important. That alone, if you spent a certain amount of time per day just doing that I think would really help your performance. Pilar: Yup. You would start knowing each company that advertises, they do have a signature. It's really subtle, but then you start learning what each company's signature is. And that's so important when you go into the booth because you know, when we go into the booth, we get a spot at 6:00, and everything's, it's always rushed. But if we take the time, when things are a little slower, and we're doing this on a daily basis -- again, I mean, I'm not saying spend all day watching TV, but you spend 10 minutes -- Anne: Consider it market research. Pilar: -- let's say a couple times a day in market research, it's for your own benefit. Anne: Sure. Pilar: Something that I, I really like doing, Anne, and I do this periodically is that I go over my old conference or class notes. How many times have you opened a book and go, oh yeah. I went to this class. Anne: That was a good class. I remember that. Yup. Pilar: Do I remember anything about it? No, probably not. But when I go and I look at my notes, I go, oh yeah, that, they made a really good point. That's really important. And I think that it's so important generally when you take a class, whatever it is. And let's say you write notes, go look at your notes immediately after you've taken the class, and then look at them again one week later. Because here's the thing about learning. You know, this, 'cause you have been an educator for such a long time. The very first time we get something or we hear it, we may not necessarily get it fully. Anne: Yeah. Get 100% of it. Yep. Pilar: So to maybe see it again, we need to -- Anne: Go back, review. Pilar: -- read it again. We need to explain it to somebody because that's when it really sinks in. Anne: Sure, if you have to teach -- that's so funny that you mentioned that because one of the things that I used to do when I was a teacher in front of the class was we would have project days where the students would propose to me something that they wanted to do for their grade, like a project. And so a lot of times I would say, all right, if you want to learn this, then I want you to teach it to me, teach it back to me. So that's a really great tip there is to go back and review because you'll, you'll get all those nuances that you might've missed the first time. It's like watching a great movie, right? When you watch it a second, third, fourth time, you get all the other nuances that you miss the first time. And that I think is a great analogy to reviewing your notes. And even if you have a recording of the session, I get a lot of conferences where I get the recordings, which I can look at later. Now how many times have you ordered a course online and then you forgot about it. Right? I actually have multiple courses. I actually have a bookmark of places to go where I've bought courses that I need to go and take, or I need to go back and listen again. And so I'm going to say probably that's going to be one of the biggest, best tips that we can give, because I know it's not just me that's kind of addicted once in a while of I want to learn this, let me buy this course. And then I promptly make a log-in, a password, and then I forgot about it until three months later. And then I'm like, oh wait, I bought that course. Let me go and actually take it. So that's a perfect thing to do when things are slow, make sure you have a place -- you know, I just have a bookmark of, of courses. And so it just reminds me to go back and revisit those courses again and again, and get my money's worth. Pilar: And get your money's worth, but also for me, it's always about how can I use it in the booth because it's that moment -- you know, VO BOSSes, I know you faced this. You're sitting in your booth and you're going, I don't know how to relate to this copy, or I'm tired. I want to go to bed. I'm falling asleep, but you have to push through because it's due at a certain hour. So it's, it's basically having those tools. And that's why it's so important to listen over and over to these things again, because they're all there to help you give your best performance in the booth, whether you're auditioning or whether you're working, we talk a lot about auditioning, but then you get the job, then what you do? So you, you have to be able to have all those tools at your disposal. So having that downtime enables us to be able to kind of just sort of hone them. It's kind of like, you know, filing your nails. Anne: You know what's so interesting too? You know what else you can do in your downtime? Pilar: Yeah? Anne: You can actually like take some downtime. Pilar: This is very true. Anne: That is actually going to -- like for me, like I'm working, working, working, working, working, and then all of a sudden, whoa. Now what? Actually, like, I don't know, take a nap, go play with your fur babies, watch a great movie. I always love to watch good movies to get inspired, listen to great commercials, that sort of thing. I watch the Dodo videos, which are all about animals, you know, being saved and helped and goodness with animals. And that always just gets me emotionally, and it makes me happy. And believe it or not, that helps my performance in the booth. So yeah, take some actual time for yourself as well, because it's important for you to refresh. Whatever, whatever it takes for you to feel good, go for a run, get on the treadmill, go floating, so many things, right, that can really just help you refresh and be -- live in the moment. You know, spend time with your family, go on a vacation. Pilar: And also it's knowing that slow time is not a reflection on your performance or your ability or anything, any of that. Anne: Right. Unless that slow time is extended like for six months or so. I mean, you, you want to make sure that that slow time -- but you know, I'll tell you what, a few days here and there a week, you know, it's, it's very, very common. So I remember those first in my career, first of all, if you can stick out your career, right, and you're in it for the long haul, you'll start to learn that these ebbs and flows are normal, and you'll get more used to them. You'll get better at, I think, working through them. But in the beginning, guys, it's okay. It happens. I know so many people that will come to me, like, I don't know, what am I doing wrong? It's just slow. And I'm like, well, you know, it's been a little bit slow. So, you know, give yourself some grace, right? And in the meantime, here's what you can do. The first thing is always educate, educate, educate, right? Educate yourself. Either build a CRM, educate yourself about your clients, educate yourself about the market, what's trending, take a class. Right? All of the things that we've already talked about, work on your marketing that can help you to educate and grow. It's just the best thing that you can do, whatever you can do to grow. Even if that means taking some time off, right? To relax and get your mental health back because it's so delicate, I think, in the beginning for people who are not used to this industry, right? It's very much a mental game, very much a mental game of confidence. And you need to know that it's okay, that you will have slow days, and you need to be able to do what you can to push through them, to build up your confidence, to build up your performance, do whatever you can to grow, grow, grow. And don't let it, you know, don't let the mind start to play tricks on you. Pilar: Something, I think that's also really important is reaching out for help. Anne: Oh yeah. Pilar: Because for years I didn't have a voice over agent in Miami. I just basically found the jobs by myself. I had an on-camera agent, but I didn't have a voiceover agent. So when I came to Los Angeles, I got a voiceover agent really quickly. And then I noticed that I, I worked and worked and worked on my auditions, and I started thinking, oh my gosh, what's, what's wrong? So I actually reached out to my agents and I said, okay, I'm not booking, what do I do? Anne: What a great idea. Pilar: And so they were so helpful, and they each had just one or two lines. I mean, you know, they're so busy. It's not like they have a whole bunch of time, but they suggested I get with a few coaches. I had actually gone to one or two that they mentioned, but then I went to some others. They had some really good, it's very short sentences of critiques. And I just took that. And I was like, okay, great. And I'm going to work on it. Anne: Yeah, I love that. Pilar: And I worked on it. Anne: I love that you reached out to your agents. I think people tend to forget that it is a two-way street. You guys are partners. And you know, I think it's wonderful. If your agent can take a moment and give you feedback. And I think any good agent will do that to help you, because you guys are partners. I mean, you help them make money. They help promote you. So I think that it's, it's important that you do reach out for help. And you know what, reach out for help from your peers too. I think peer groups can really help when things get tough -- Pilar: People that you trust, people that you trust. Anne: People that you trust, and when you get down on yourself or maybe you're, you're lacking confidence, a group like that can help. It's one of the reasons why I put together the VO Peeps group so long ago. We were also isolated and it was to have a community which we could lift each other up. And I think that that is, that is absolutely important, when things get slow and you start silently going, oh my God, do I even belong in this industry? That's time to reach out, you know, reach out to your community, reach out for help. We're all here for you. BOSSes. We're here for you. So you can always reach out and come to us for encouragement, confidence to lift each other up. Pilar: And if you don't see something like that in your community, go ahead and start one. Anne: Yeah. Pilar: Because for example, I, I, one day I just kind of lucked into this play reading class. They read new plays. It's every couple of weeks. And I go and I read. They give me a role and I read. Is there any monetary gain? No. Do I get a lot out of it? I get to read out loud. That's just priceless. I'm going to start another new reading accountability class. Anne: Yeah. I love that. I love that. Pilar: Just to read. D Anne: Don't let your auditions be your practice ground. Do you know what I mean? Pilar: Yes, yes. Anne: Like I think that, you -- remember, your auditions or your work so glad you brought that up because you know, like I tell my students every day -- I give them enough homework, you know, I just like, I don't want you to be bored ever. You need to do something every single day that is voiceover related, and you need to practice. I think if you're at a certain level, it's wonderful to have that support of the community and to be able to work out and perform in front of each other. Be careful because depending on the group, you want to make sure you have somebody that has some experience in there that can give you some critique that is valuable to you. I think if there's a ton of, you know, maybe beginners in the peer group, it may not be as effective as it could be with somebody that has some experience in casting or directing. But it is so very valuable for you to practice that read every day. And don't let that be on your auditions. Really. Pilar: Yes. Anne: If you can spend 20 minutes a day just reading scripts, I think that that really, really helps, and also working out, it's another, again, another reason why I have VO Peeps, and we have workouts every month. We have a couple of different workouts every month. It's just so, so valuable to keeping those, those skills honed, and you know, and in check. So. Pilar: And I will give a tip that I think is probably the most important tip that I will give. If you have a cat, you can read to him. Anne: I love it. I love it. Yes. You can read to your fur babies. And your babies. Pilar: I just did that last night. I'm preparing a monologue for an audition. And I was like, you know what? He's right there. What the heck, why not? Anne: They're our biggest supporters. Pilar: They are. Anne: What a great conversation, Pilar. Great tips. Thank you so much. I'm excited. So remember guys, when things are slow, they don't have to be slow. You've got a lot of, you've got a lot of stuff to do. There's a lot of alternatives here. Pilar: You have a lot of homework. Anne: Yeah. Pilar: That's important. Anne: There you go. So I would like to give a great, big shout-out to our sponsor, 100 Voices Who Care. This is a unique chance, guys, for you to use your voice and make a difference and give back to the communities that give to you. You can visit 100voiceswhocare.org to find out more. Also love to give a great, big shout-out to our long-time sponsor, ipDTL. You too can connect, and network like BOSSes like Pilar and I. Find out more at ipdtl.com. You guys, have an amazing week. We'll see you next week. Pilar: I'm so glad we had this time together. Anne: Good bye, goodbye. Pilar: Goodbye. Anne: Bye, guys. >> Join us next week for another edition of VO BOSS with your host Anne Ganguzza. And take your business to the next level. Sign up for our mailing list at voboss.com and receive exclusive content, industry revolutionizing tips and strategies, and new ways to rock your business like a BOSS. Redistribution with permission. Coast to coast connectivity via ipDTL.

In today's episode Pilar talks to facilitator Paul Kelly.  He's going to be running two sessions at the IAFEW Re-Facilitation conference on 13th-14th May 2022 in Birmingham and online. His first session will be on “Collaborative Consensus”and the second will be a facilitated discussion around neurodiversity. (A note to readers on the website: we have some gremlins playing around with our text here. Apologies while we sort it out, and oh the irony given the topic of this episode...) Paul first talks about how he got into facilitation and then about his interest in Neurodiversity.  "Neurodivergent" is used to describe a variety of conditions and Paul emphasises that having conversations with people, allows sessions to be more inclusive. Paul shares some of the ways that people might engage differently from the starting point is that we all have different ways to interact with the world.  When facilitating, sometimes simple things can make a difference.  This can include thinking about how to reduce anxiety for example by sending a photograph of yourself or the venue in advance so people know what to expect.   With slides using off-white slides and using straightforward fonts and thinking “less is more”.  Asking one question at a time is important and thinking about sensory overload including what you're wearing, both clothing and fragrance. Sometimes it's about talking to someone about the adaptations they use to allow them to work the way they want to work.  Paul always asks in advance if there is anything that can be done in to make a session more accessible and allows more than one way of working. Paul talks about the approach to his session at the conference and the link between neurodiversity and social dynamics.  Paul describes that some people see it as their superpower, for others they may term it as an inhibitor, for example being in distracting environments or experiencing challenges with social cues.  When it comes to employment, employers need to understand the value of having people who think differently in an organisation. Pilar asks Paul how facilitators can address the topic with direct clients.  This can depend on the relationship but Paul suggests not assuming a client will understand neurodivergence.  In which case starting with open questions and saying it's OK not to know and to ask about the right terminology.  He also talks about having conversations with clients but respecting confidentiality.  Paul suggests offering an advance conversation with participants but then also observing the room and any adjustments once working with a group.   Paul closes with a reminder that it's not possible to get everything 100% right for everyone but it's about being willing to listen, adjust and sometimes to risk getting it wrong. Links:   If you'd like to attend the conference on 13th and 14th May you can register here: https://www.eventbrite.co.uk/e/re-facilitation-conference-2022-registration-254755770367 Details of the programme are here:  https://docs.google.com/presentation/d/17tMXIu791vi_NvVQsQg1td6o1jK3wM9kaND700q3C_4/edit#slide=id.ga00cda129b_9_431 You can find out more about Paul Kelly through his website https://pandek.org/  And on Twitter he is @PANDEK_Group Connect with Pilar on Twitter: @PilarOrti

In this episode, our guests talk about how their approach to their work and their work has changed, as well as how the view of work in relation to the rest of our lives has changed. 03.45 After an introduction to the episode, we hear from Theresa about how the delivery of her training and consultancy has changed, Pinar tells us about delivering her wine tasting workshops online and Maya reflects on what has changed at her end. 09.30 We hear from Richard about travelling less for work, Bree tells us how she's changed where she works from and Simon reflects on all the things he's gained from working more online. How about what's at the core of our work, ourselves as humans? How has the way in which we look after ourselves changed over the last three years? How about the way in which we connect with others? Mark points out the importance of “energy management”, we'll hear again from Richard about using technology efficiently,  and Eva tells us how she's expected at more meetings now than before the pandemic - although they're also incorporating more async. Tim and Pilar reflect on how the desired levels of interaction change. Bree, who hosted our season on Connection and Disconnection in Remote Teams, shares how working on that season made her more aware of her own needs.  20.52 What about our relationship with technology? Tim talks about how he experiments with different communication media as business leader and Ross tells us how the way in which he works with clients has evolved.  24.34 Pilar suggests that remote work can be a great option when we don't get on with our colleagues… And that we can control our communications more. Richard reminds us to take a break, Bree has started to experiment with her working patterns  Richard has also developed fluid boundaries between work and non-work time and Pilar has swapped her Saturday for the Friday. Is it allowed, to work on the weekend?30.50 Eva describes how the difference between separators and integrators is now more visible, Pilar suggests the work-life balance conversation is out of date and Simon thinks most knowledge workers can change our relationship with work - and shares why he thinks he's “got it wrong”.Mark talks about getting value from his work, Tim describes his new view of his role as a business leader, while Ross describes work as a mixture of insight, knowledge and experience.37.45 Eva shares how her own organisation has changed the focus of how they work. Anish would like to know what people are using the time they save in commuting for - building a new business or career, etc? Are we going to see the rise of the portfolio worker? Tim talks about cognitive consistency between who we are and who we see we are at work. Simon points out that the missing conversation at the moment is about how the working lives are going to be different.45.00 We tackle the broader question of what we're hearing from others. We start with the work from home experience. Mark has been thinking about the craftsmen working a few centuries ago whose workshops were tied to their homes, Richard has noticed how people have discovered the benefits of not going into an office every day, while Pinar suggests we're looking for more meaning in our work. Tim wonders whether we're closer to becoming a “self we recognise” at work, and this will lead to a better life experience. Ross wonders whether we're becoming different personalities when we are online. 50.31 The conversation around purpose at work, why we work, etc will continue. Pinar goes as far to suggest that the meaning of work is being redefined. Finally, Maya suggests that all the words we're using now to describe the location of our work and other aspects of it will disappear, and we'll just talk about work. Find us on https://www.virtualnotdistant.com/podcasts/300-part2

This is the first part of the celebratory episode 300!  Some of our guests return to the show to share how they see the world of remote work changing, how their own ways of working have changed and what they'd like this podcast to cover over the next 100 episodes (or is it  next 300!). We'll  hear from: Maya Middelmiss Dr Richard MacKinnon Mark Kilby  Tim Burgess Simon Wilson Bree Cagiatti Eva Rimbau-Gilabert Theresa Sigilito Hollema Ross Winter Pinar Akkaya Anish Hindocha and your host, Pilar Orti  00.00 Pilar introduces the 3 parts and introduces the guests. 09.30 The guests start answering the question: What do you think is going to stay the same in remote work most knowledge workers for the next three years and what do you think it's going to change? Bree predicts lots of changes as people recover from the shock of being forced into working from home, and Simon has seen some organisations rushing back to the office, while some have embraced the possibility of working remotely. Theresa reckons the desire for flexibility at work will continue, while Maya says that this raised self-awareness is here to stay. 13.25 But there's also a less rosy view of what's going on. Anish gives us the devil advocate's answer (and what he's observing in the UK), Maya thinks many people are keen to have more “analog conversations” and some resistance to sustain the change, while Eva is seeing a reluctance in seriously adopting remote work in Spain. Mark has his doubts about whether hybrid is going to survive, while Simon has seen a polarisation in how organisations approach the ability to work in person and online. 19.00 What skills, mindset, behaviours will we need? Richard would like to see more sharing of what's working and what successful remote work looks like, Tim thinks collaboration, communication and burnout will still be a problem - as they are a fundamental part of work. Pinar reckons we have developed some of these digital skills we've been needed for a while, and improved our interpersonal skills. Theresa has seen micromanagers become more facilitative, and Simon reckons that the organisations that survive are those that will adopt asynchronous communication successfully. 28.00 Pilar does her usual rant about the need for understanding asynchronous communication. 30.40 Theresa specialises in global teams and is interested in nurturing cultural awareness and creating inclusion in global teams, and she shares how virtual teams have affected these. 36.45 Pilar reminds us of the “remote work for social change” conversation, which was lost during the pandemic. (But you can catch up with it in episode 212!) 37.00 What will be next on our minds? Maya reckons organisations and teams will consolidate their technology and apps, and look out for stuff like digital identity and blockchain. Meanwhile Ross, with an eye out on the parallels between social media and remote work, predicts a more decentralised way of working in many ways. Pinar reckons there will also be changes in talent acquisition and retention, while Theresa has seen an increase in interest in how to work better with international colleagues. We end the episode with a reminder about “subcultures” in organisations. Tune in for the second part, where our guests reflect on how their own ways of working have changed and how they view the world of work in relation to the rest of their lives - and what they're hearing is going on with others.  https://www.virtualnotdistant.com/podcasts/300-part1

Welcome to the latest episode, where Richard and Pilar discuss delegation and the obstacles we need to deal with. While we might rationally understand the need for, and benefits of, delegation - lots of things can get in the way. Whether it's our beliefs about delegation, our workload, the competence of others or fear about it all going wrong - there's a lot we can do to cultivate a delegation habit and start to enjoy its benefits. If you've enjoyed this episode, let us know! And if you have questions about delegation, get in touch, You can email us at: podcast at worklifepsych dot com, send us a message on Twitter (@MyPocketPsych) or even leave us a voicemail. We love to hear from our listeners. Thanks for listening! Resources mentioned in this episode The WorkLifePsych online community: https://www.worklifepsych.club Our effectiveness training courses: https://www.worklifepsych.com/solutions/effectiveness/effectiveness-courses/

TodoPorLaRadio con Toni Martínez, Especialistas Secundarios, Marta Estévez, Pilar de Francisco y Juanma López Iturriaga

TodoPorLaRadio con Toni Martínez, Especialistas Secundarios, Marta Estévez, Pilar de Francisco y Juanma López Iturriaga

As a voice actor, you are often given the power (and burden) of setting your own rates. Now, where to begin? Anne & Pilar have been through taking low paying gigs, walking away from jobs, and even getting their way in financial negotiations. It all comes down to knowing your worth. Tune in to learn how to navigate price setting, negotiating with clients, finding strength in community, and getting paid as much as you are worth like a #VOBOSS. Transcript >> It's time to take your business to the next level, the BOSS level! These are the premiere Business Owner Strategies and Successes being utilized by the industry's top talent today. Rock your business like a BOSS, a VO BOSS! Now let's welcome your host, Anne Ganguzza. Pilar: Hola, BOSS Voces. Bienvenidos al podcast con Anne Ganguzza y Pilar Uribe. Anne: Hey everyone. Welcome to the VO BOSS podcast. I'm your host, Anne Ganguzza, and with me today is very, very special guest cohost Pilar Uribe. Pilar!   Pilar: Aloha. Anne: Hello, how are you? Pilar: I'm doing great today. And how are you doing? Anne: I am doing good. I'm doing really good. Except, ugh, I had a client that I had to let go the other day. Pilar: Why? Anne: Well, it was a new client that we were in a negotiation phase, and they wanted to kind of lowball me on a job. And it just turned out that what they wanted to pay, what their budget was, just did not align with where I am. And I was really standing tall and standing by what I'm worth. And I think that's a very valuable lesson that we should talk about for the BOSSes today is to know your worth. It is so very important. It's so hard to say no, to walk away from a client. Like it's terrifying I think for anybody starting out in the industry, right, to give up on an opportunity, especially when you felt like, well, I'm just getting started. I need the experience. Pilar: I wish I had known you when I was getting started, because I can't tell you how many times that happened to me. And it's interesting that you bring this up, Anne, because a lot of the times when we are starting out or let's say, you know, we've worked -- I did a lot of dubbing where the rates were standardized in Miami. Anne: So you didn't negotiate it. They were just, this is what we're paying you. Pilar: Exactly. So it's like, take it or leave it. And I was like, okay. But I think that voice actors sometimes think that there's something wrong with them because they don't know how to negotiate. And I think it's so important because this is such an industry where there is no standard set of -- there is a standard set of rates, yes, for the industry, but everybody offers a different price. So it really is up to you, the voice actor to figure out what it is that you are worth and to know how to negotiate. And so it's a skill that's learned. You may go into it, not knowing how to negotiate, but that doesn't make you any less of a voice actor. It's just, it's, it's a skill that has to be learned and it takes time. It's not something that happens immediately. Anne: It does. I think it's a skill that takes a little bit of practice. And I think you just have to be courageous. You have to be brave. And first of all, I want to just separate out, if you have an agent, the agent's job is to negotiate on your behalf, which is amazing. I love my agents who negotiate on my behalf. That's what they do. They get the work and then they negotiate the best price for us. And they're looking out for our best interests, hopefully for the most part, right? They're looking out for us getting the best price for who we are so they know what we're worth. So think about it. If you're put in a position where you are negotiating, and this job may not have come through an agent and you're got somebody that's inquiring on your website, I'd like to use your voice for this particular job, how much, that's where you have to stand firm in understanding that you are worthy of a fair market price, and a great place to go find out a baseline of rates is of course the GVAA, right? Who doesn't love the GVAA rate guide. There's also Gravy for the Brain. They have some good international rates there and SAG-AFTRA too. Pilar: SAG by the Numbers is the website. And I think that going to those different places gives you a gauge. So that will give you the confidence to be able to say, okay, this is how much I can command. Instead of taking the number out of a hat or allowing somebody to steam roll you. Anne: Yeah. It gives you a baseline. And I think too, the first time you say no, and then you're terrified, right, when you say no, or you walk away, and you're like, oh my gosh, I'll never get work in this town again. Because I've either made an assumption that is too large of a number, and everybody's laughing at me now because they're like, no, I can't pay that number -- that is part of the negotiation game, really. And you have to know that even if you're a beginner, you deserve as much as I do. I think we all deserve as much as the next person in terms of rates. Because there's so many new performers or new businesses, new voiceover artists that come to the game and say, well, I don't have the experience. You're not being hired for your experience. As a matter of fact, you're being hired for your voice and your performance. And your voice is just as worthy as my voice. So don't feel as though you cannot charge the same rate as I can. And I'm a big proponent of that because if you're not, and you're trying to undercut because you either feel you're not worthy, or maybe you just want to get the job, that doesn't do any favors to the industry either, bidding low. Because in reality, it's a market perception. I want to always bring it back to lipsticks or shoes. I have certain brands that I love, and I spend money for those brands. Let's say, maybe not lipstick or shoes, but yes, hair, but let's maybe talk tech, right? My Apple computer, my Apple iPhone. I buy brands and I pay the money. I pay the money. And so think of your voiceover business, the same way. I used to call myself Tiffany's. I don't go on sale. And I don't advertise my brand to be cheap. So anybody out here, you can do the very same. Now I'm not going to price myself out of, you know, I'm not going to be crazy high or anything, but that's where the rate guides come in handy. Right? You get a good baseline, and you take the chance to negotiate with a client. And most of the time, the best question that you can ask for this when you're starting in negotiation is do you have a budget? Okay? So if you're putting the position where they're asking you, how much would it cost? The best question to ask is, do you have a budget? Because sometimes their budget is a whole lot more than you thought. Um, that's happened to me multiple times. Well, I can't go over a $1000. Okay. I'll take that for a two-minute medical narration read. That's awesome. Yeah. I think I can make that work. That's what I've been known to say. And so it's a rule in negotiation that the person who mentions money first is usually the one that loses. So, so, there you go. So always have the question in the back of your head to ask if there is a budget. And then after that, if there is no budget, then go ahead and bid high or on the higher side of the range. Usually the rate guides, right, if you've looked at them, have ranges. Like a five minute corporate read could be $350 to $550 or whatever that is. Bid on the higher end. Because when you're starting a negotiation start high, because then the only place to go is not necessarily higher. Client's not going to say, oh no, let me pay you $800 instead of $500. Usually they're going to negotiate down. So pick the higher number that doesn't price you out of the competition like crazy and stand true to that. Because honestly, Apple doesn't care about, do you know what I mean? They're like your new iPhone is $2,000 or whatever it is, right? It's the price is that. And we choose to accept it or not. And so you as a business, same kind of thing. Pilar: Yeah. 'Cause it's like, when you go in and you buy a dress, and they tell you it's $100 or $500, you're not going to go and say, oh, can I buy $50 for the sleeve? No. Anne: Can I haggle that price? You might be able to haggle the price in some places, but not most stores that are retail. Pilar: Generally it's like, they're not going to sit there and give you half a dress because you're not going to -- Anne: At a garage sale maybe. Pilar: Maybe. Anne: Or consignment. You can negotiate those things down, but -- Pilar: We can start a trend, sleeves, just buying the sleeves. Yeah. But that's generally not going to happen. Anne: I'll take just the sleeve, please. Pilar: Exactly. Something, I think that's important though to mention is knowing your worth, yes, but also knowing your worth as to where you are and not trying to oversell yourself because I've seen this happen over and over where somebody throws out a number and then it turns out that they don't have a professional recording studio, for example. So there's nothing wrong with that. I mean, I know, I do know people who've actually worked with their USB mics. Great. So you need to be able to show your potential client, this is my studio. This is what my studio looks like. This is what my noise floor is. This is what my software is, everything. And then that way they know what they're dealing with instead of sort of projecting something that might not be true. Anne: I agree. But I feel that before you're in that position, right, before you're in the position of actually negotiating a job, you're going to make sure, hopefully, that you have a studio that can create great audio. But I totally agree with you there. If you're just starting out and you haven't had anybody evaluate that, that's one thing I think that's important, especially now, since the pandemic. We're all expected to have a quality space where we can generate great audio from. So yeah. Very important. Very important for you guys to know that. And yeah, you're right. There's that argument that demos don't necessarily showcase what your sound is like from the booth. I've actually known people to put sound files on their website. Here's what my booth sounds like, as kind of a precursor. And I actually think that's not a bad idea. I don't have it on my own website right now, but I actually thought about, here's a noise floor or here's a, here's a quick sample from my booth so you know what you're getting. Pilar: Yeah. Yeah. I think it's really important to show who you are, because just like when you walk into a store, you're seeing what the ground is like, the arrangement of the clothing, and the register, is the floor clean. So you want to be able to, since you are projecting a business out onto the world stage of voiceover, because you don't know who it's going to be reaching, you know, you want to have your office in order. And then that, that makes it just that much easier to be able to negotiate and to stand up for yourself. Anne: The presentation of a professional. I love that. Because they want to know that they're dealing with a business, right, that takes it seriously. Gosh, that brings up a whole other whole other side of things. So too like your website, right, you should have a domain name that is yourbusiness.com, anneganguzza.com. And that storefront should absolutely showcase who you are to the world professionally. A lot of times when I go to buy a product, right, online -- isn't that what we do all the time? Pilar: We Google people, we Google the product. Anne: We go to the website, we look at the -- if the website looks any kind of cheesy at all or not trustworthy, I don't buy. And so that's such a great thing that you brought up for people to understand that that helps so much in your negotiation, that you are representing yourself as a professional business. And I think it does help also in the negotiation process if, if you're known to be a full-time voice talent. If you're not, you don't necessarily have to state that. You just have to look like this is your business, and this is what you do. Sometimes I'll, if a customer's or a potential client is reaching out to me, I might throw in there full-time voice talent, just so they know that's all I do. Like I'm not, you know, doing three different jobs, and this is my business and this is how I make a living. So that's a -- what a great point that was, Pilar to present professional. Pilar: Yeah. You have to present yourself as a professional because otherwise, you know, you're not going to be taken seriously. You reminded me of when I was in my agent's office for the first time, and they were sweet as can be. And one of them was busy, and she was like, you know, don't pay attention to me because I've got all this stuff to do. Obviously she had a huge job that she had to get out at a certain time. And the only thing she said at the end, she piped up and she said, oh, we've looked at your website. We've listened to all of your material. Anne: Oh, don't you worry. Pilar: And I was like -- and it was just so interesting, 'cause I was like, oh, these people did their homework. So if somebody's looking at your stuff, believe me, they are checking you out regardless of -- Anne: Whether you know it or not. Pilar: Whether you know, but also it's, it's also a question of it doesn't have to be the fanciest thing or it doesn't have to have all the bells and whistles, just like a voiceover booth doesn't have to have all the bells and whistles. The important part is are you producing sound quality where you can literally hear where it's so quiet that you don't even hear a fish fart? I mean, I know of, I know this one very well known voice actor who does promos inside his car, and he is just fixed it so he's got the microphone, he does it in a certain way because a lot of the times he's driving, and he needs to do something. Anne: But yeah, he's not going to audition while he's driving. Just, just, just want to -- Pilar: No, no -- Anne: Just want to say that. Pilar: -- obviously, no he stops on the side of the road. He's out here and he'll have something from New York that's due at a certain time. He will stop on the side of the road. He's got his whole little preparation. I don't know what he does, but he's got a whole preparation. He does it. He sends it off. The promo gets aired that night. So it's really about, can you, you know, can you come up with the goods, and the goods are showing yourself, as you know, as I've been saying -- Anne: As a professional. Pilar: -- as a professional, this is, this is what my space is. This is where you can find my work. It's all here. It's all out on the table. It's, it'll be really easy to find. So you can hire me, and you can negotiate with me because I have all these parts of the puzzle. Anne: All the parts of the puzzle are together. Yeah. That -- absolutely. It's such a cool side piece that you don't think about, right, when you're talking about knowing your worth. I mean, understanding that you're prepared to deliver quality, audio quality performance from a quality storefront or booth, right? And also I am going to go so far as to say that your website says a lot about who you are professionally. And that has a lot to do with the power you can have in negotiation and also helping yourself know your worth. If you yourself are committed to doing this for a living and making money at it, then that is step one of knowing that you are worthy of getting paid for it and getting paid well for it, getting paid fairly. We can only hope that every job we do, we get paid well. And I will tell you, in the beginning, when I first started out in the industry, I didn't have a concept of what my worth was. And to be honest, there wasn't, you know, so long ago that there weren't many groups out there online. Again, this, one of the reasons why I created VO Peeps back in the day was to have a community online that we could talk and say, well, what did you charge? How do you handle negotiation? What is this job worth? And so now we have so many resources available at our fingertips. It only just says to me even more that we have to even more be vigilant about understanding who we are, what we're worth in this industry. And not that we even have to convince, but just showcase that we are worthy of getting paid something that's more than, oh my gosh, something like 8 cents a word. No, not at all. Those jobs exist. And those are the ones that you don't necessarily -- for me, I try not to align myself with jobs like that because if the client doesn't value the service, right, to begin with, and they're putting out budgets that don't value the service -- maybe they truly don't have the budget. But again, I think a budget is all in what you, all in what you make of it, right? I pay good money for certain services so that I can depend on them. And the same thing should be thought of you, right? So if your potential client doesn't value the service that you provide, then maybe you don't want to align yourself with them or work with them because trust me, there will be somebody out there that does value you and the courage that it takes for you to say no to those clients that don't value your services -- once you say no, it gives you the biggest sense of -- well, you're scared and you're terrified, but it allows the door to open for people who do value your services and that leaves the room for them to come in and pay you what you're worth. So I can't tell you -- you'll do it one time. And then that door will open and you will get paid by someone who believes in you and values your worth. And then that will give you all the confidence you need to go and just negotiate and understand your worth and put out those prices, put out those quotes that are worthy of your time, because you spent a lot of money. You spent a lot of time to get to where you are. There's training, there's demos, there's practice, there's you, your personal investment is what people are paying for, right? Your personal investment. And that is worth something. Pilar: Absolutely. I totally agree. Something also that I have found when I used to negotiate back in Miami, is that no doesn't always mean no forever. Anne: Yeah. Pilar: Because there's a way to stand your ground because a lot of things can happen between the time that a number's thrown out and you walk away. And I've had that happen to me more than once where I don't necessarily say, I'm not going to take any less. I say, this is my price. Anne: Yup. Pilar: And I've learned that from some amazing voiceover people in the industry when I was very, very green and I went to my first couple of conferences. I learned from them that they stand their ground basically. And they just, they stand up for themselves and they say, this is what I charge. And they're very, very specific. And there is room, there is wiggle room, and it is very important to throw out a decent number and not too low, but obviously not out of the range, but when you're in that negotiating stage, I've actually had people come back and say, okay, all right, let's do it. Anne: Yeah. I agree. Pilar: So it's just kind of funny. So it's just, maybe there's also a mental sort of attitude to have about that saying this is who I'm worth. So you're not necessarily closing the door, but basically saying, here, I invite you to partake of my services for this amount. Again, it doesn't happen always, but sometimes there's a door that can stay open. Anne: Sure, absolutely. I totally agree with that. And people might have gone and they had a budget that was lower. And so they went and hired somebody with that lower budget and they weren't as happy. Right? So they come back to you, and that has happened to me multiple times too. And again, it's one of those things where you have to have the confidence, and guys, if you're just starting out and you don't have the confidence, it's okay. We all were there. We were all there once. Right? You just have to take the step. You've got to have the courage to take the step, to stand by what you're worth and walk away if the client doesn't bite. And, and the thing of it is too, usually the clients that are offering a lower price are usually the ones that will nickel and dime you for everything. And I have run into that. I have lowered my price. You know, I've worked with a client's budget. I -- here's my number. We negotiated. And they said, I only have this. And I thought, okay, all right, I'll work with you. And it might've been lower than I would have wanted. At some point you get an idea, a sense of who this client will be. Sometimes clients will just, if they get that low ball price, they're just going to be painful. They're going to be painful clients that will want everything for no money. And you only have to work with a couple of those, like maybe one of them once. And you'll be like, okay, never again, never again, because the amount of time that you spent trying to please that client at that low rate could be better spent working with a client who did value you or does value you and doesn't try to nickel and dime you for a bunch of pickups afterwards. Pilar: You have to know when to walk away. Absolutely. But it's also an attitude that I think is so important. As we've been saying throughout this time, this is what I'm worth, here I am. When you walk into a, an Apple store, you know exactly what you're getting into. Anne: Apple doesn't go on sale, right? Pilar: Exactly. It's like, what you see is what you get. Anne: Chanel lipstick does not go on sale. I'm just saying, I am just saying, I have bought Chanel lipstick before. They do not go on sale. And the funny thing is, is in a way, it makes me relieved because I feel like sometimes when things do go on sale all the time, I'm like, oh my God, let me wait until the right price comes. But Chanel, they're just, I know they're dependable. I love them. They've got my colors. They last, and they're worth the money. And so think of that client hiring you. It's going to be, you know what, Anne, whatever, can you do this job? Sure. Give me an invoice. I love clients like that because that means that you've worked with them enough. They trust you. And they're just like, okay, whatever. They know they're going to get good value from you. And so it is something to be said to work with quality clients, rather than trying to just work your way up. And as I mentioned, I really, in the beginning I did, I didn't know better, but now BOSSes, we can't be the only podcast or the only people who have said know your worth. However, this is just another step where if you've listened to this podcast, you have to know your worth. You have no excuses now to take something that does not pay you what you are worth. And maybe you need the experience of working with a client who may not pay you what you think you're worth. And that's okay, because that's a learning and a growing experience for you. But we're here to tell you that you don't really have to go through that if you don't want to, because you, you are worthy, you are worthy of a fair price. Pilar: Yeah. I think it's really important to visualize yourself as a -- Anne: Yes. Pilar: Just because we are a voiceover, we are a brick and mortar store. We just do it from our own area. But why not visualize yourself as an Apple versus a -- Anne: Tiffany's, Apple, Chanel. Pilar: Yeah, exactly. You don't have to be a 7-11. I mean, 7-11 is great when you're, when you want a Slurpee, but why not visualize yourself as, as you know, this is who I am and this is what I have to offer? Anne: That's so important. I got so excited because you said visualize that you are worthy or manifest. Pilar: Yes. Anne: It's so important, manifest that you are worthy of it. And that will carry you really far, that whole belief and the manifestation that you are worthy of it will carry you really far in this industry. I just had to agree with you wholeheartedly. Pilar: And also that you are a working actor. Anne: Yes. Pilar: That you are a working voiceover actor capable of taking these jobs. I think that people think that when they visualize -- and you know, we could spend a whole podcast on this -- I think people think that when they visualize something, that all of a sudden it's just going to magically like [snaps], like that. That is not what happens when you see yourself and you present yourself. You put it out into the universe; it's not necessarily going to come back immediately, but it does come back. Because if you had told me over 12 years ago that I would be making a living doing voiceover -- Anne: Oh my gosh. Pilar: -- I would have said, are you kidding? There's no way. I'm an actor. I've done on camera. And I love this business. I just kept putting one foot in front of the other, seeing myself do this. And so there really is something to be said. It does take patience though. Anne: Yeah. Pilar: So, you know, you, you can get there and you can see yourself taking those steps. And once you're there, you can accept it. You can say, yep, it's done. It's done. And you just, what we're saying about knowing your worth is just that much closer to what it is that you want to accomplish. Anne: Yep. Yep. That successful business. And that's so funny. Like think of when you first started in this business. Did you ever believe -- like when I first started, I didn't really have a thought one way or the other. I just knew that I was passionate about it, and I just kept putting my head down and working. However, I will tell you in the beginning, it was a very different environment because coming from a corporate background, which I came from, you know, where that paycheck was given to me every two weeks or whatever, and I knew that money was coming -- coming into the entrepreneurship, and now all of a sudden being put in a position where I had to negotiate, my price was, oh my goodness. Like before people told me what I was worth, because I got a paycheck for it. Now it was me there to determine what was my worth. It's so interesting to go from the mentality of here, I've arranged a salary, and I work for this particular salary, and that's what I'm worth, to an environment and an entrepreneurship where I am determining what is my worth. That's a whole big pedagogical shift in your brain. And so yes, it takes time to learn how to do that. And it's okay guys. Just remember, there's always clients out there. I think if you make a choice, and you're brave, and you walk away from one client, there's always another client around the corner that opens the door for more clients and more work. You just have to manifest, and believe, and take that leap of faith. Pilar: Something definitely that you can learn to do. Anne: Good stuff, good stuff. Wow. So BOSSes, know your worth. You are worthy. So on that note, if you also want to make a difference and use your voice to make an immediate difference in our world, that will give back to the communities that are close to you, you can find out more and how to do that at 100voiceswhocare.org to commit. Wonderful, wonderful new sponsor. BOSSes, literally it takes less than a dollar a day, and you can make a humongous difference in a local organization of your choice. Visit 100voiceswhocare.org to find out more. Also, thank you so much to our amazing sponsor ipDTL, because I get to talk to Pilar every week, and we get to talk about really cool things about how wonderful you guys all are and how we are worthy. We are worthy. Much, much support, and thanks to ipdtl.com. Find out more at ipdtl.com. You guys, have a great week and we'll see you next week. Bye! Pilar: Goodbye, guys. >> Join us next week for another edition of VO BOSS with your host Anne Ganguzza. And take your business to the next level. Sign up for our mailing list at voboss.com and receive exclusive content, industry revolutionizing tips and strategies, and new ways to rock your business like a BOSS. Redistribution with permission. Coast to coast connectivity via ipDTL.

Geoffrey chats with screenwriter/instructor/podcaster Pilar Alessandra about her book, The Coffee Break Screenwriter, and how to incorporate quick writing exercises into your daily life.You can order her book here https://read.amazon.com/kp/embed?asin=B01DZ1UAHS&preview=newtab&linkCode=kpe&ref_=cm_sw_r_kb_dp_JKV12A5E9PHVR0V057X0&tag=tssp07-20You can find Pilar's screenwriting classes and podcast at https://www.onthepage.tv/on-the-page-podcast/The Guide For Every Screenwriter is available at:https://www.thesuccessfulscreenwriter.com/booksScript Evaluation --> https://www.wefixyourscript.com/Don't forget to visit our website for all your screenwriting needs at --> https://www.thesuccessfulscreenwriter.com/podcast

Regulation is increasingly shaping the agenda for environmental, social and governance-focused investors. In many parts of the world, regulators are working to bring clarity to an often-confusing ESG market amid an alphabet soup of different voluntary frameworks. The European Banking Authority, which oversees EU banks, is one such regulator. Earlier this year, it said it will ask banks to disclose information on climate risks and their plans to address those risks from 2023. For this episode of the ESG Insider podcast, we interviewed Pilar Gutierrez, Head of Reporting and Transparency at the EBA, about the new standards, how they fit with a push for more standardized reporting internationally, and what improvements banks will have to make. “Many corporates or banks are already providing disclosure reports on nonfinancial information according to the TCFD recommendations,” Pilar tells us. “But when assessing these reports, we still observe growth for improvement in terms of consistency and comparability of the disclosures.” We'd love to hear from you. To give us feedback on this episode or share ideas for future episodes, please contact hosts Lindsey Hall (lindsey.hall@spglobal.com) and Esther Whieldon (esther.whieldon@spglobal.com). Register for the S&P Global Sustainable1 Summit here: https://www.spglobal.com/esg/sp-global-sustainable1-summit?utm_medium=social&utm_source=podcast&utm_content=ESGInsiderAd Photo credit: Getty Images

LAPATRIARADIO. Escuche esta y más noticias de LA PATRIA Radio de lunes a viernes por los 1540 AM de Radio Cóndor en Manizales y en www.lapatria.com, encuentre videos de las transmisiones en nuestro Facebook Live: www.facebook.com/lapatria.manizales/videos

TodoPorLaRadio con Toni Martínez, Especialistas Secundarios, El Mundo Today, Mario Panadero, Marta del Vado, Susanna Ruiz, Pilar de Francisco e Iñaki de la Torre

TodoPorLaRadio con Toni Martínez, Especialistas Secundarios, El Mundo Today, Mario Panadero, Marta del Vado, Susanna Ruiz, Pilar de Francisco e Iñaki de la Torre

Forced Labor & Environmental Degradation in the Mining Industry Special re-release: In this special Spanish-language episode, Margarita sits down with Pilar Velasquez of the Office of Child Labor, Forced Labor, and Human Trafficking in the Bureau of International Labor Affairs at the United States Department of Labor (USDOL). They discuss artisanal and small-scale mining and its connection to environmental degradation, forced labor, and child labor in the Andean region. Pilar introduces some of the USDOL's efforts to mitigate these environmental and human rights effects and discusses how the private sector and civil society can engage with this issue. This episode originally aired January 7, 2021. Trabajo forzoso y degradación ambiental en el sector minero En este episodio especial en español, Margarita conversa con Pilar Velásquez de la Oficina de Trabajo Infantil, Trabajo Forzado, y Trata de Personas de la Oficina de Asuntos Internacionales Laborales en el Departamento de Trabajo de los Estados Unidos (USDOL). Pilar y Margarita conversan sobre la minería de oro informal e ilegal en la Región Andina y su conexión con la degradación ambiental y el trabajo forzoso. Pilar comparte algunos esfuerzos del USDOL para mitigar estos efectos y analiza el papel del sector privado y de la sociedad civil.

¿Podrán La Abuela, Fresh y Master sobrevivir a la guillotina? Acompáñenme a descubrirlo en esta nueva emisión sin spoilers de Planeta Terror Podcast. Un episodio colaborativo con Santofan13: https://www.instagram.com/santofan13/ https://www.youtube.com/channel/UCGAi8XKsLrd76f8MnUQD9ig https://letterboxd.com/santofan/ EN MASTER (2022) Dos mujeres afroamericanas comienzan a compartir experiencias inquietantes en una universidad predominantemente blanca en Nueva Inglaterra. Los horrores de las citas modernas se ven a través de los ojos de una mujer joven que lucha por sobrevivir a los inusuales apetitos de su nuevo novio. FRESH (2022) es una película de terror dirigida por Mimi Cave protagonizada por Sebastian Stan y Daisy Edgar-Jones. En LA ABUELA (2021) Susana (Almudena Amor) tiene que dejar su vida en París trabajando como modelo para regresar a Madrid. Su abuela Pilar (Vera Valdez) acaba de sufrir un derrame cerebral. Años atrás, cuando los padres de Susana murieron, su abuela la crió como si fuese su propia hija. Susana necesita encontrar a alguien que cuide de Pilar, pero lo que deberían ser solo unos días con su abuela, se acabarán convirtiendo en una terrorífica pesadilla. PLANETA TERROR es un podcast semanal en español dedicado al cine de horror/slasher/gore. Reseñas, noticias, rankings y discusión general desde el punto de vista de alguien cuyo “goal” en la vida es mudarse a Woodsboro, vivir en Elm Street y asistir al Campamento Crystal Lake. Apple Podcast https://podcasts.apple.com/ca/podcast/planeta-terror-podcast/id1539867451 Instagram https://www.instagram.com/planetaterrorpod/ Twitter https://mobile.twitter.com/planetaterrorpd

¿Eres consciente de que hay multitud de cosas que podemos aprender de la naturaleza? En el episodio de hoy vamos a hablar sobre cómo la naturaleza puede ejercer de maestro y de fuente de inspiración. El pilar naturaleza es uno de mis favoritos dentro del Sistema Hanasaki. Uno de los nueve que nos ayudarán a construir una vida que merezca la pena ser vivida. Voy a poneros varios ejemplos de cómo el ser humano ha observado y aprendido de ella a lo largo de la historia. Aunque ya os digo hay muchísimos más. Mi propósito con este episodio es que despierte en ti la voluntad de estar más atento a lo que te rodea. Muchas de las soluciones de los problemas a los que nos enfrentamos están ahí fuera. Solo hay que tener los ojos bien abiertos y ser capaz de reflexionar un poco acerca de lo que vemos. Notas del episodio: https://www.marcoscartagena.com/naturaleza-como-maestro/

Moreno Bonilla, Pilar Alegría y Antonio Muñoz protagonizan algunos de los sonidos más destacados de este miércoles, 27 de abril de 2022.

Every script is the answer to a question. It's up to the actor to discover (and sometimes create) that question. In this episode, Anne & Pilar are here to keep you on your toes with improv techniques + exercises. They will teach you how to stay fresh with your reads, and - more importantly - why it's necessary to know the script, scene, and emotions for everything you read. Whether it be E-Learning, IVR, or commercial, you'll be ready to tackle it with authentic reactions + diverse copy interpretations like a #VOBOSS. Transcript >> It's time to take your business to the next level, the BOSS level! These are the premiere Business Owner Strategies and Successes being utilized by the industry's top talent today. Rock your business like a BOSS, a VO BOSS! Now let's welcome your host, Anne Ganguzza. Pilar: Hola, BOSS Voces. Bienvenidos al podcast, con Anne Ganguzza y Pilar Uribe. Anne: Hey Pilar. I'm trying to figure out how to lead into today's episode. And I've been thinking about different scenes that maybe I could place myself in. So maybe I'll come at the introduction not like I've come at the introduction like people expect, so I want to do something different. So what are you thinking? Where can I start? Pilar: Where can you start? "Let's start at the very beginning. A very good place to start." What's that from? Anne: I'm on a mountainside. Pilar: No, quick, what's that from? Anne: No wait. Okay. I'm on a mountain side in the sun and I'm feeling like I'm very happy, and I want to sing because I dunno, I like to sing when I'm happy. Pilar: And you're twirling your arms. Anne: I am twirling my arms, and I'm going to not have a dress on with an apron. Okay. So, well, let's just put it this way. I'll have a dress on that really works with the twirl, but it won't have an apron on. Pilar: Nix the apron, okay. Anne: And I'm going to be young with long flowing hair. Pilar: Long blonde flowing hair. Anne: Yep. That's it. That's it. And there's going to be animals. Pilar: Okay. Anne: There's going to be, well, there'll be cats. Of course. Actually -- Pilar: How about llamas? How about llamas? Anne: Okay, cats and llamas I think go well, lots of cats. Pilar: Except that llamas spit. Anne: Yeah, but they're not going to spit on the cats. They're going to spit on me because maybe I'm not in tune. Pilar: You're going to ride off into the sunset on top of a llama. Anne: But then I'll make friends with the llama, and I will carry the cats in my arms and hop on the llama, and ride off into the sunset because I've had a wonderful morning and day of singing on the mountain side. Pilar: And you're singing "Do, a deer" at the same time.   Anne: Yes, exactly. Wow. Pilar: That's improv. Anne: Hey BOSSes. That's improv with that said, hey, everyone. I completely was so in the scene that I forgot my introduction. Pilar: You forgot who you were. Anne: I forgot who I was for just a moment. So here we go. Hey everyone. Welcome to the VO BOSS podcast. I'm your host Anne Ganguzza, up on the mountain, singing and twirling with my cats and llamas, along with my special guest cohost Pilar Uribe. Pilar, come to the mountain and sing with me. Pilar: "The hills are alive with the sound of llamas." Anne: -- "VO BOSSes." Pilar: "Llamas and VO BOSSes." Anne: So Pilar, that was fun. Pilar: That was fun. Anne: I think understanding and practicing improv can really, really help us in our performance and in our business. So I think we should have today's episode featuring improv, and talking about improv, and how can we better our performances with improv? Pilar: Yes. Improv is something that I -- it's funny, 'cause I've always been scared of it, and I've never really understood it, although I've done it most of my acting career without realizing it. It's just really funny. We improv all the time in our lives when we're talking. So improv is all about taking what somebody is saying and you keep going. It's that? Yes. And moment with improv. That's that's like the biggest rule. Anne: Yes, and. Pilar: Yes, and, meaning -- Anne: Yes, and, and then what happens? Pilar: And then you add onto the story, and the intent is to be positive always. I mean, unless it's a tragedy kind of a thing which improv is, is really about it's taking whatever that person gives you and running with it, however you're going to do it, so. Anne: Well, I think it needs to fit into the context, right? So if we're going to try to improv and get ourselves into a scene for a script that already sits in front of us, so that maybe we can improve our auditions, right, there is some context to the script. Maybe we should just talk from genre specific right now, like commercial or corporate or e-learning, those types of -- versus character-driven spots like animation and video games. We can talk about that in a minute, but let's focus on the genres where people go in, and they have a commercial audition to get out the gate. Right? What is it that we're going to do once we look at the context of the script there, how are we going to work the improv into it? Pilar: What I've learned early on is it's so important to have a moment before. Anne: Yes. Agreed. Pilar: Especially if it's a product, let's say, that you don't know much about, or it's a storyline, let's say it's a medical narration, for example. And you're kind of, you know, what is this drug that has seven syllables? And I don't even know how to pronounce it. Well, you have to come in, if you're talking from a voice of authority, you have to come in with that knowledge. Anne: Right. Pilar: Now, you don't necessarily have to have knowledge of that particular drug. You can use something else that you have knowledge about. And then you set the stage by making up like a little sort of maybe 15-second play, which can be your lead-in which you don't have to record, but you're making the story up about this particular product and how it affected you. And you basically just start doing storytelling. Anne: Well, I think that's absolutely wonderful advice. And I think too, again, going with the context of it, let's kind of go with the medical, right? Because I do a lot of medical work, medical narration. I think it's important to know that in this storyline who you're talking to, and a lot of times people will, if want it to be conversational, they'll say something like, oh, as if you're talking to your best friend, but I think you need to go deeper into this, because you want to talk to a person that's genuinely going to be interested in that product because your task in most copy like that is either going to be to educate or to sell. So you need to be very clear as to who you're speaking with. And I think that that needs to come into your improv, understanding that let's say you might be a pharmaceutical representative, that's coming into an office and speaking to a doctor who might be interested in this particular medicine that might be able to help his patients. And so going with that, setting that scene and then improv-ing in that before you even open your mouth, because that will help you develop a point of view that makes sense and an emotion that makes sense and a voice that makes sense for that scene. Pilar: Yeah. Yeah. Very true. And what you were saying, which ties right into that is the more specific you are, the better. Anne: Yes. Agreed. Pilar: A lot of the times, if you're doing medical copy -- let's say you've got the job. It's not like you're going to rewrite it or change, necessarily change the words, but you can give it a little bit of flavor by imagining different scenarios while you're speaking. Anne: And thinking of different subtexts too. Pilar: Yeah. Even like, you know, breaths or -- Anne: Rhythm. Pilar: Yeah. And just like little inflections that aren't necessarily in the script itself are going to give it a different flavor. Anne: I like that. Pilar: Yeah. So because it can't be all about the reading. It's -- there has to be -- a lot of people say, oh, well, you know, they, they won't let me improv. And it's like, it's not necessarily, it's about using those moments of improv where you can just kind of give a little inflection here, do a little something over there. Anne: Absolutely. Absolutely. Like that scene is playing while you are voicing the script, right? There's a scene that's playing. And so that improv, it doesn't necessarily have to come out in words, right? The improv, like you said, can be in breaths. It can be in rhythm. It can be in, again, if it's a medical narration and you're informing somebody about the capabilities of the product, right, it can be that subtext where maybe you're looking at the person that you're speaking to and they're not quite understanding. So you become more confident or you've slowed down on that explanation a little bit more. And so the subtext is, let me help you understand better what I'm saying. And so that improv comes into your scene, as you are voicing and into the storyteller, the sell of the spot. It really is something that I think adds a really nice layer and a realistic, authentic layer to when you are voicing. And this, by the way, does not allow you any time to listen to what you sound like. Again, I say this over and over and over again. Right? You cannot listen to what you sound like and say, oh, does that sound like they want it? No, you have to be in that improv, that story, in that scene, and really being there and telling the story. Pilar: I just want to clarify something for the VO BOSS warriors, that everyone thinks of improv as Second City or Saturday Night Live, but improv, you can use some of those rules and those tips of improv to give your script a different flavor, whether it's medical narration, whether it's e-learning, whether it's even, let's say, IVR, and you're saying, you know, "please hold." You know, you don't have to sound like the mechanical thing that you've always heard. If you maybe make a joke to yourself right beforehand, or you imagine something very specific. Anne: Imagine the person that's picking up the phone and listening to you and they're angry. Pilar: There you go. Anne: Because they want to speak to a person, right? So you're in that scene, and they're screaming at the other end. Right? And you're like, "thank you for calling. Your call is important to us." So as they're screaming, so it can change your voice. Right? It can change the way you're responding in a very interesting way, because I always used to say that I love telephony because I imagine that that person is on the other end of the line, and that they're not happy and they're concerned, they want to get to somebody quickly. So I actually will speed up a little bit. As long as I'm articulate, I'll speed up. I'll be kinder. And I'll try not to be that annoying sound at the other end of the line that I even get annoyed with. Pilar: Yes. Yes. And the important thing is specificity, which you've just mentioned. It's just to be as specific as possible. Anne: Right, because your message, when you're, that let's say telephony, right -- and this is crazy. We're talking about improv with telephony and medical narration, like the two genres that nobody would think, right, that you would use improv with, but think about telephony for a doctor's office, right? People are typically, they're not feeling well, or they're calling for maybe a member of the family that's not feeling well; they're upset. They could be nervous. They could be scared. And so that puts a different light on how I'm going to voice my message, right? Versus maybe a party store, you know, so understanding that scene and who you're going to be talking to again, is paramount. It is so important to get yourself in that scene and then play that scene before you even start talking. Because again, that helps you hit the notes. It helps you hit the emotion, the point of view that you need to be in once you start voicing that copy. Pilar: Yeah. Yeah, absolutely. All true. Anne: Let's talk about a commercial, commercial genre, right? Pilar: Okay. Anne: Because I think a lot of people think that might be more resonant with them. It might come to them simpler if you're thinking about a commercial, because there's, I think there's more realms of scenes that can take place. There's more emotions that can take place. It could be a funny commercial. It could be a serious commercial. It could be all different types of commercials and scenarios that are, and you have to create that scene and improv your way into the voicing. Pilar: And here's the thing. If you listen to actors, when they talk about the roles that they did, when they admit, they say, well, no, actually it was all scripted, and you sit there and you go, oh, hey, how did they do that? It looked completely improv. That's because they had a very, very specific pre-life into going into the scene. Anne: Oh yeah, absolutely. Pilar: Since as voice actors, we don't have to memorize. We've got the copy right in front of us. We can mark our script up. We can imagine a scene beforehand. There's always the moment before, you know, who, what, when, where and why you're talking. Anne: Right. Pilar: And then you bring those colors in. And this is something that I always think about too, when I'm doing commercial copy. And this is Mary Lynn Wisner taught me this, what is the answer I'm giving? There's always a question. So put the question before, and then you give the answer. Anne: Right. Act, react. Pilar: Right, exactly. And all those things being specific and question and putting yourself in the scene, let's say you're a Taco Bell. Don't just read the Taco Bell. Imagine you're sitting at a Taco Bell and you're looking at, at the menu and you're going, oh my gosh, the waffle. I mean, I don't go to Taco Bell anymore because, cause I will order that big, huge mother of a waffle thing. And it's so delicious and it's so caloric. So I'd like I have to stay away from them. So I like, I give that to myself once a month as like a prize. But if you focus on the scene and that -- Anne: Maybe you're eating that in the scene. And so you'll have a different reaction. Pilar: Right. You're chomping on it. And it's like, you know, the, the sour cream and the avocados just spilling down your mouth and everything, you know, and the more colorful details you give yourself, the more that's going to come out in your read. Anne: Absolutely. Absolutely. And, and you know, what's interesting is commercial spot, I think sometimes when there's dialogue, it makes things easier for the improv when it's a dialogue or first person written. I know that when I do dialogue spots for, let's say, e-learning characters in e-learning -- when it's a written dialogue on the piece of paper, I find that there are so many -- it's harder than most people think, because I'll find that initially people will read the dialogue instead of being in the dialogue. And that's where improv can really help you because set that scene. And what it will do is if you are engaged in that scene -- Let's say you're walking in the hallway with your colleague, Sally, and you want Sally to make sure she gets the accounting numbers to Joe before Friday. You can, as you're walking along, "oh Sally." And then you imagine yourself walking, right? And so the rhythm of your line that you're going to say is going to change as you're thinking about, "oh, we need you to get these numbers to Joe by Friday because he's going to need them for this." So it will really change the rhythm as you're walking along or creating that scene, as you're thinking of things to say to Sally, in order to get your point across, because that's what will happen. All that like subtext, where she's looking at you going, "why do I have to get these to Joe by Friday? Because this is a lot of work, Anne." You know, so that kind of improv where you're imagining that as you were speaking of voicing, the dialogue can really, really help. Pilar: Yup. Yup. Absolutely. Location is so important. Putting yourself into the scene wherever you are, focusing on the here and now of it. Because a lot of the times we think, okay, I have to get through the copy or it's 30 seconds. Forget all that. The most important is what is going on right at this moment? What is the, the person who is not maybe physically there, but you are speaking to someone, are they standing next to you? Are they standing moving away from you? And you're trying to get their attention? "Oh my goodness, let me get your attention," and all that stuff you can put, you know, obviously you can put into your body, but you can put into your intention and that's how you can improv a scene or a, a commercial or, you know, a piece of longer copy. So the here and now, the establishing the location -- Anne: And establishing movement, movement through it. Pilar: Establishing movement. Yes. Anne: Yeah. That's the biggest thing I find people forget is they'll set the scene up, but then they'll forget to move through it. They'll set it up and the first sentence will be very much in the scene. But then after that first sentence, they just go into their own little monologue, and they forget about the scene. They forget about who they're interacting with. And again, that movement through the scene and the sound as if you're moving through the scene is super important. Now there's a lot to be said for leading in to help you get into that. But I think just the verbal lead-in is not enough to get you through an entire piece of copy, because we can't be completely improvising every single line, but we can certainly lead into a line that helps us get to the place where we need to be. And some of those can even be left -- I would say in the commercial genre, you can kind of, oh, you can kind of lead in with maybe a, a sound, I think, maybe a little bit of a word, but in other types of copy, let's say for narration, corporate narration, medical narration, telephony, you can't really keep those lead in words in there, but they can certainly help you as to get you in the place. And then you can, you can take them out. I mean, we all, we all know how to edit our stuff. So if it helps you get there, I say, leave it in and then take it out in post, you know? Pilar: Exactly. Yeah, absolutely. But like extending a sentence. We don't say words the same way. We don't talk the exact same rhythm, every single -- I mean, some people do, but I'm always speeding up and slowing down. So why wouldn't I put that in? I mean, and it depends, obviously, because sometimes, you know, if you're doing a biography, you do need to have a certain pace, but -- and I'm speaking specifically for commercial copy, but improv is also about changing. It's like how the character changes. In a 30-second piece, there's always like, there's a problem. It's described. Anne: There's a solution. Pilar: And then there's the solution at the end. So the person reading the copy is going to go through all these changes, and they're not necessarily going to say them at the same time. Anne: Right. Pilar: So change is a big part obviously of, of that, which you can incorporate into, into the copy. Anne: And change, even in the middle of sentences, right? 'Cause emotion, because right, you've got a problem. Commercial copy, usually you have a problem or an implied problem. And then you have a solution. So as you have this problem, you know, it's I kind of have this problem, but oh, now I've got a solution. You can hear the change, right? You can hear the change within even a sentence. And that's where that improv and subtexts and imagination and being in the scene can really help you to make that a more authentic and believable voicing. Now question, Pilar. What about commercial copy that's written very selly, that doesn't seem to have, you know, those are always the ones that people talk about. They're like, oh God, look at the way they wrote this copy. And now they want me to sound like I'm talking to my best friend. So what are your tips there? Pilar: Well, honestly, I mean, that's not true. I mean, I get pieces of copy and I go, wow, this is really good. But a lot of the times they'll tell you, you want to sound, you know, conversational. That's like the big, the big word, conversation -- Like you're not going to, you're going to sound like a robot, but conversational and not announcer-like, and then they give you this copy. And you're like, you know, what do I do with it? You break it down, you break it down into beats. You run through it. You sing it. Anne: Question, answer. Right? Act, react. Pilar: Yes, question, answer. Right. Anne: For every sentence. Pilar: Yes. But that's not what you're going to put into the final part of the copy. Anne: No, no. Pilar: But it's basically like when you've got a piece of copy that you have to work on, it's like stretching your body. You have to stretch your body. So whatever, like let's say, I'm stretching my arms right now, and I'm stretching them forward. I'm also going to stretch my arms up, and I'm going to stretch my arms to the back. I'm not just going to do it one way. I think voice actors get a little stuck, and they go, oh, okay. I did it this way. This sounds okay. Let me stay there. And then we get stuck. 'Cause that happens to me all the time, and I'll listen back and I'll be like, what are you talking about, Pilar? All three reads were exactly the same. So I have to go back and I have to like, and I think I've used this before on the podcast, but it's kind of like when my dog would turn around three times and then, you know, all of a sudden he would go and do something else. And my cat does the same thing. So I, I do that too, because I realized that if I turned around three times really quickly, I either get dizzy or I start laughing, but I don't go back to where I was before. So I need that change. You know, improv is all about change. So it's like, if you get stuck, all you need to do is shake it off, go outside, touch your toes, scream in the booth, and start again because that's going to give you a little bit of a different scenario so you don't slide into that sameness, that sameness of reading the copy the same way. Anne: Then when your director is asking you for that ABC take, right, improv is going to help you get there. I'm always like -- Pilar: Yes, yes. Anne: You know, and I've said this before on a previous episode, everybody thinks about let's do the different sounds. This is take A. This is take B. This is take C. And that just is a, a simple, like change in your pitch. It's not even -- I want you guys, you BOSSes out there to really improv your way into ABC. And that is a skill, that is a muscle that, if you work on it, can really improve your ABC reads or your second take. And that is so important that, that second take, that ABC, they're all different. And I think there could be an entire like course on ABC takes and how you can get to them better because they do have to be different. And there's a lot of times myself even, Pilar, where I'm like, okay, let me give a second read. Right? And I haven't done the work enough. And I listen to that second read. I'm like, oh, that's kind of sounds the same. So really spend the extra moments and figure out what's happening in the scene or a change in the scene that can give you a different, alternate take. And don't just do the start of it. Right? Don't just say, okay, well now I'm on a mountain. Here, I'm in my office. But start and continue throughout the script. As you're reading the script, things change, right? The product solves your problem. And so then there's an evolution, and it may evolve in a different way. So create the scene all the way through the text. I would say, create the scene, be in the scene between the periods of the copy. Pilar: Yeah. I mean, I think it's simple that you could say, let's say for example, off the top of my head, um, I'm going to the store this morning. So I could say it, oh my God, it's 10:00, I'm going to the store this morning. Anne: Exactly. PIlar: Oh my God. I forgot the tomato sauce. I'm going to the store this morning. Or, oh my God, they're coming. They're coming at 7:00 and at six 15, I'm going to the store. I'm going to the store this evening. You know, I mean, and I'm exaggerating, but I just did three to four ideas. Anne: You just got up and you had a plant. I'm going to the store this morning, right? Pilar: Right. Or, or like, I'm going to, I'm going to surprise you. I'm going to the store this morning. Anne: I like that. Pilar: So you've just created different worlds. Anne: You just had four or five different reads, exactly different worlds, different scenes to react to. And that's where, BOSSes, I want you to start practicing, take a sentence, a tagline, and think of three different scenarios for it. Or take every piece of copy that you ever auditioned for and give yourself different scenes. Or maybe just take a line out of it and give yourself different scenes so that you can read it differently. And don't think about what sounds like. Don't think about what it -- think about being in the scene and reacting to the scene and improv-ing that scene. That's what's going to get you that different read. Pilar: Yeah. It's really important too, because I, I didn't even know what improv was, even though I was doing it. I was always a little scared of it. And so like, when I was working in Colombia, I used to improv all the time, not realizing that that's what I was doing, but stuff would come out of my mouth, and I would just do it. And they'd be like, oh my gosh. Yeah, let's keep that. And then I finally finally, because I read books about it and I would take like classes here and there. But finally, when I came out here to LA, I took an improv class at Second City. And then all of a sudden it all came together because all this stuff I'd kind of heard willy nilly randomly and what I'd seen and the way television and movies, people improv-ing, I was like, oh, that's what it is. You know, there, there are rules and there are things that you can do. And so I, you know, I think it's important. I mean, you know, that we are still going through what we're going through, but there are classes online that you can take. Anne: Absolutely. I've got one coming up as a matter of fact. Pilar: Oh, oh really? Oh, okay. Anne: Yeah. Yeah. With Scott Parkin, who is amazing -- Pilar: He's awesome. Anne: He is awesome at improv. Pilar: Yeah, yeah. He's really good. Yeah. And so it's about becoming loose because that's the whole point. When you're in the booth, then that's why you need to take classes. 'Cause it's like exercising that muscle. Anne: Yes, it's a muscle. Pilar: So when you're in the booth by yourself, and you've got a piece of copy, and you're like, what do I do with it? You've got these tools that you can use, the yes, and, the imagining, the being specific, you know, the being goofy. And you never know what's going to come out, but allowing yourself the space to say something and fall down and maybe not have it be right, and that's okay. Anne: Absolutely. I mean, I think that that is all part of it. Right? If it didn't work out, no, that's okay. Right? This is improv. Right? You change the scene. Right? Pilar: Exactly. Exactly. Because one thing that's really important to know is that yes, improv is an art, but it's also a craft. You have to practice it. You have to work on it. Anne: Absolutely. Absolutely. I think that's a daily thing. Like honestly, I think you should take a sentence every day and give yourself three different scenes and three different ways. And I think do that, or do that with your auditions, right? Do that with your auditions daily. Even if you don't have an audition, take an old audition and do that. And I'll tell you what, it will keep you, I think, on your toes. And it will give you a better performance. What a great discussion, Pilar. Pilar: Yeah. Anne: So much fun. Pilar: That was really fun. Anne: So much fun. BOSSes, make sure that you get in the booth and practice, practice, practice, and that will help you perform at your very best. I'd like to give a great, big shout-out to our sponsor, ipDTL. You too can network like a BOSS and find out more at ipdtl.com. Thanks so much, Pilar. Pilar: Thank you. Anne: Yeah. Pilar: You know, there's a new song that just came into my head when you said that it could be like, "network like a BOSS, network like BOSS" Anne: Who! Pilar: "Network like a BOSS. Yeah. Yeah." Anne: Alright. BOSSes. Have a great week, and we'll see you next week. Pilar: Bye. Anne: Bye. >> Join us next week for another edition of VO BOSS with your host Anne Ganguzza. And take your business to the next level. Sign up for our mailing list at voboss.com and receive exclusive content, industry revolutionizing tips and strategies, and new ways to rock your business like a BOSS. Redistribution with permission. Coast to coast connectivity via ipDTL.

Pilar Gerasimo joins VIP's Casey Hasten in a discussion about how to change the way we think about and approach health improvement. Pilar is the Author of The Healthy Deviant, award-winning health journalist, and former CCO and Editor. Pilar's goal is to be healthy in an unhealthy world and to guide others to be that way, too.About The Guest:LinkedIn: https://www.linkedin.com/in/pilargerasimo/Website: https://pilargerasimo.com/About The We Are VIP Podcast:This podcast is brought to you by VIP to add value to your job or candidate search. Each week, we'll bring you helpful tips and insights from leading professionals to help candidates land their dream jobs and help employers find better talent.Hosted by:Casey Hasten, Director of Recruiting at VIPAbout VIP:We utilize a holistic approach to support your strategic initiatives in accounting and finance. From recruiting and strategic staffing, to project management consulting, our service model offers a comprehensive solution that allows for flexibility as you navigate transformation and growth within your organization.Connect:LinkedIn: https://www.linkedin.com/company/270216/Facebook: https://www.facebook.com/WeAreVIPCompanyJob Openings and Services: https://wearevip.com

La periodista y presidenta de la Fundación José Saramago, Pilar del Río, presentó su libro ‘La intuición de la isla’ y analizó

In this episode, Maya and Pilar discuss the mental health challenges in returning to the office space, the evolution of communication in the workplace and the reasons why many people do not want to work remotely – in Spain and other places. The set up of a hybrid workplace continues with its challenges. In episode 106 of My Pocket Psych, guest Dr. Hayley Lewis talked about how she was working with a government organisation whose chief exec wanted to reduce the office space in order to cut down on public spending.  However, when she looked into the living conditions of some of the employees, it was clear that asking (or offering) people to work from home would end up with some individuals working in difficult conditions.  While we're making sure we can have the conversation so that people can work flexibly, there's also a need to help people speak out when they feel they can't use their homes for work. In any case, saving money by reducing the office space might not be as straight-forward as it looks. According to a set of yet to be released data that Maya's had access to, to make remote work permanent in some organisations, they will have to invest heavily in IT and cybersecurity, etc. Something they maybe didn't do during the pandemic. 09.45 MINSThe return to the office is bringing some unexpected challenges and this article covers a few of them: Everyone Is Not OK, but Back at Work Anyway. For example, the dynamics of a team that used to be colocated might have changed when it went suddenly remote. And now that they have to return to their previous workspace… it might not be easy. Many people have changed, and had different experiences of working remotely during the pandemic.  We need to continue talking about how we're doing, we're still in transition. What medium people prefer for being open about how they're feeling might vary. For some, the best medium might be face to face, others might prefer to tell you how they are on Slack, there's great diversity in this.  Different people and different teams will figure it out as they go along. What's common is that there is still a lot of uncertainty around what the future of the workplace will look like, and still around the pandemic. (And have you heard of “Schrodinger's Covid”?)    19.00 MINS On a lighter note, Slack has published this article about how written communication at work is changing and becoming more informal: From jargon to emoji, the evolution of workplace communication styles. Instead of business jargon, people prefer to adopt more informal ways of talking to colleagues, using GIFs and emojis. Is this a hangover from the way we were taught to write “properly” at school? Or is it that we communicate much more in writing with colleagues and therefore can adopt more informal and playful ways of doing so?  However, we can't let informality bring a lack of clarity (Maya's words!) and we still need to adopt formal ways of writing when needed. Pilar doesn't like emojis that duplicate a message, like the article with a smiley face followed by “enjoying” in the text. Sometimes it feels like information overload. But some of these emojis have a lot of energy behind them, and they have their place.  Different teams will evolve their own ways of communicating, even how you react to messages, or even having their own designs.  (Let us know what you think of this!)   29.20 MINSWe move on to a recent article about how telework is being adopted now in Spain, post-lockdown, “Dos años después del confinamiento, ¿qué pasa con el teletrabajo en España?”(It's been two years after lockdown. What's going on with telework in Spain?). It's been written by regular guest on the show Eva Rimbau-Gilabert. (You can hear her talk about the state of remote work in Spain pre-pandemic in episode 214 The View from South Europe.) “The most prominent reason why there is not as much teleworking as possible is that a large part of the people who could telework prefer not to do so (58.5%). The reasons for wanting to work face-to-face include disadvantages of teleworking such as lack of social contact with colleagues, difficulties disconnecting from work or work overload. Added to this is the fact that the private home may not be suitable for teleworking.”This reflects much of what we were talking about earlier and we're sure this is not the case only in Spain. It's still difficult to disconnect from work, this sometimes has to do with culture, sometimes with individuals, and mobile phones don't make it any easier!This research says 58.5% people don't want to continue teleworking, which is similar to what we heard from previous guest Laurel in episode 298, that the number of people in the US asking to work remotely hasn't increased, it's just their negotiation power has changed. “The majority of people who have ever teleworked indicate that, once the pandemic is over, they would like to telework every day (23.5% without ever going to the workplace, and 24.7% going occasionally), with an average preference of 3.8 days of telecommuting per week.”Even though we hear that the main reason for going back to using the office is to see our colleagues, it looks like a decent percentage of people don't have a need to go back to the workplace. It's a minority, but it's there. (Maybe it was always there, but we didn't know about it…) Finally, the article talks about complex vs simple communication, and how they benefit from different spaces. It helps to define “communication” and “collaboration” when we're talking about how to best do it.  Some people might prefer the office for complex communication, while others might prefer to do that kind of communication away from each other, taking their time. (Thanks to listener Pedro for this latter point of view, the conversation on LinkedIn is here.) Different spaces are more suited to different kinds of interactions, and these will vary between teams, and even at different stages of the work. Coworking spaces don't seem to have gone mainstream yet in Spain, even though they can provide a good alternative to working from home.  To talk about all these different things takes time, so it's worth thinking about moving some of our more transactional, simple team communication to the asynchronous space so that we can use our time together to talk through the next iteration of how we work.  Finally, a shout out to Omnipresent and Oyster for their April Fool's memos! They almost got us!

TodoPorLaRadio con Toni Martínez, Especialistas Secundarios, Lucía Taboada, Marta del Vado, Pilar de Francisco y Juanma López Iturriaga

TodoPorLaRadio con Toni Martínez, Especialistas Secundarios, Lucía Taboada, Marta del Vado, Pilar de Francisco y Juanma López Iturriaga

Do you know the difference between dubbing, ADR, walla walla, and looping? In this episode, Anne & Pilar cover it all. Since the pandemic, there has been a boom in content creation globally. Dubbing movies & TV shows into other languages, and creating audio descriptions for the visually impaired has made content much more accessible and given voice artists more work! Stay tuned for Pilar's experience with voice dubbing + Anne's tricks for lending your voice artistry to on-screen performances like a #VOBOSS. >> It's time to take your business to the next level, the BOSS level! These are the premiere Business Owner Strategies and Successes being utilized by the industry's top talent today. Rock your business like a BOSS, a VO BOSS! Now let's welcome your host, Anne Ganguzza. Pilar: Hola, BOSS Voces. Bienvenidos al podcast, con Anne Ganguzza y Pilar Uribe. Anne: Hey everyone. Welcome to the VO BOSS podcast. I'm your host Anne Ganguzza along with my very special guest cohost, Pilar Uribe. Pilar. How are you today? Pilar: Hola, Anne. ¿Cómo estás? Anne: Ah, tired. I am tired. Pilar. You know, why? Pilar: Why? Anne: Because I binged watched the entire season of "Succession" last night and ah, oh my gosh. Pilar: It's so good. Anne: So good. Pilar: So many cliffhangers. Anne: I know. Oh my gosh. Pilar: Yeah. I loved it. Anne: And I'll tell you what, sometimes I stay up later than my husband, so I'm always putting on subtitles. And when I put on subtitles, it makes me think of all these shows now that are coming out in streaming media, and dubbing, and ADR and all of these techniques that are coming out and really offering a lot of jobs these days to people in the VO industry. And I thought we should talk about dubbing and ADR for a little bit. What do you think? Pilar: Yup. Dubbing is very close to my heart. Anne: Oh my goodness, and it's just since the pandemic, just an explosion of so much content and media, and you have had some experience dubbing. I personally have not had much at all. I went to a training class on dubbing, but talk to me about dubbing because that's something I think you actively do, right? Pilar: Yes. Yes. That's where I got started in voiceover. Anne: Okay. Pilar: I did like two series in Colombia. There were animated, but I actually cut my teeth on dubbing. Dubbing is a skill like any other, and it requires being a good actor. Anne: Wait, back that truck up again and say that very important, right? When you watch dubbing shows and of course, what is the latest one? When people are talking about the quality of the dubbing, there is something that was recently released, and we don't have to name it, but there was talk about how the dubbing was not great. There was not great actors. So I think acting is so, so important to be a good dubbing actor. Pilar: Well, if you want to see examples of bad dubbing, just go to the Godzilla movies. Anne: Oh yeah. Pilar: It's hysterical. Anne: You're right. Pilar: Those are so funny to watch. But since Netflix has -- and HBO as well and uh, and Amazon, since they have entered the marketplace, uh, you know, over the past couple of years, and when I started back in two thousand... I guess I started dubbing in 2010, Netflix, wasn't really doing that much. They've been doing more and more in HBO, and Netflix is just all over the place. They have so much content. So one of the things that they look for is, yes, are you a good actor? Because you have to be able to portray what is being said in whatever language it is, whether it's, you know, German or Spanish or Portuguese, you need to be able to portray those same emotions. So it's kind of like, 'cause I used to actually teach dubbing. It's kind of like, you're like a one man band stand. You remember those little, those figures of the monkey where they have -- Anne: Yes, they play the tambourine. They play the drums. Yeah, absolutely. Pilar: All at the same time. Anne: You have to do it all. Pilar: It's kind of like being a drummer because if you look at a drummer, he's got one beat going in one arm, another beat going in the other arm, and he's got two different beats going in his, with his legs. Anne: Yeah. So Pilar, just to back up just a little bit, I want to make sure that, because we are going to talk about both dubbing and ADR, what exactly is dubbing? Let's just clear up the definition. Pilar: Yes. So dubbing is when you have got a telanovela, say, or a movie in Spanish, and they are speaking in Spanish. And they want you to put your voice onto that person's body basically so it sounds -- Anne: In another language. Pilar: In another -- in English, in English. So if it's in Spanish, they want you to dub exactly what they are saying in Spanish into English. Anne: Right. Or vice versa. Pilar: Or vice versa. Anne: Or any other language. Pilar: Or any, 'cause it doesn't matter. I mean, I've dubbed in Chinese, from Chinese to English, German, Swedish. It depends on the project. Anne: Do you dub mostly in English or in Spanish? Or both? Pilar: I actually do both. Yeah. I do both. Yeah. I do more other languages to English because that's what the demand is, but I definitely do a lot of times English to Spanish. Anne: Okay. Pilar: So basically when you walk into the booth, and you are given a movie or an episode that is in whatever language it's going to be, and I will say this, just because I speak Spanish and French, that doesn't necessarily help you when you're dubbing. Sometimes it can actually be a hindrance because you're listening and you're going, wait a minute. They're not saying exactly what they're saying in English, so. Anne: Ah, yeah. There's translation there. Pilar: Yeah. You do not have to know the language that you're dubbing at all for anybody who has that kind of question. Anne: We should clarify too, you said, when you walk into the studio. Now, this is typically done in a studio, right? It's not something that we can do remotely. Pilar: Yeah. I would say when we went through the past two years, and everybody had to go inside, there was obviously, it was only remote. So I did a lot of things remotely, but ideally they want you to be in the same studio because you are recording with the same mic and in the same environment. Anne: Got it. That makes sense. Pilar: And that's when it makes it really, really makes a difference. So a lot of times they would send kits out. Studios would send kits. So everybody would have the same exact setup in their booth. Anne: Got it. And you're talking about the same mic as what was recorded in the movie? Is that what you're talking about? Or -- Pilar: No, no, because this is voiceover. So, you know, whatever, whatever the movie is, you know, they have different mix for that. Although actually -- Anne: That's what I was thinking. Like they wanted to specify what kind of mic was being used. That's what I was. Pilar: Yeah. But that was, you know, more so for, for just voiceover. Anne: Got it. Pilar: So what's ironic is that, you know, the Sennheiser, it was originally a mic used on sets, but generally for dubbing, you know, they have their own extremely high powered mics. I mean, I was in a session the other day, and I was standing very far away from the mic technically 'cause here I'm, you know, I'm standing pretty close to the mic, and that mic picks up everything. I mean that mic picks up a burp. That mic picks up a little breath, and it's, it's just amazing. So yeah, they generally want you to go into the studio, and so you get there, you walk in. And of course now with all the protocols, everything is, you know, sanitized and wiped down. And usually you're asked to bring your own headphones. You go in and you watch a piece of copy, and the dubbing director will explain. And there's also the engineer. Anne: You mean you watch a video? Pilar: Yeah. You watch a piece. Yeah. So you've got the mic in front of you. You've got the video. And so you're seeing it in the original language. So you get to see it -- now, here's the thing. Out here in LA, you actually get a dress rehearsal. The majority, I would say 99% of the time when I lived in Miami, I didn't get a dress rehearsal. It was just like -- Anne: Oh wow, go. That's tough. Pilar: Get out of the stable and go. Yeah. Anne: Because you have to match the lip. Pilar: Right. And you don't know what's coming. So when you're doing a character, but because I was doing so much of it, what I learned to do is after like an episode or two, I would see what that actor's rhythms were. So then I could mimic and kind of go with her breaths and where she did sighs and where she stopped because I was always looking at her lips. But I also -- see, that's the thing. That's why I brought in the analogy of the drummer. So what are you doing when you dub? You are watching the screen. You are acting because you're doing what the other, what that character in front of you is doing. You are voicing, you're reading, and you're adding your own breaths. So you're also usually seeing the -- I mean, at least that, that was the case in Miami, not so much out here, but you're seeing the script for the first time. Anne: Right, right. Pilar: So you're doing all these things. You're employing more than one sense, and you're doing it without a dress rehearsal. Anne: Wow. Pilar: It's kind of intense. Anne: That's a lot. And I remember my class was just like that. I mean, we did not even really know the copy that was coming up when it was coming up. And we had not really, we did not have a dress rehearsal, so it's a lot of things to do at once. And so what are the prerequisites for you as a voice actor that wants to get into dubbing? What sort of things should you do if you want to make this part of your career to get good at it? Pilar: So the most important thing is listening, and observing, and putting yourself into that character's shoes for however long you are in the booth. So I played this character a while back, and it's out on Netflix now. And it's a terror series. It's literally terrifying. I said to my mom, listen, I'm going to give you the times that my character is there because I don't want you to see anything else because it's so terrifying. It's so, so scary. Anne: Oh, I'm gonna assume that you just did this one and that you had a dress rehearsal. So you had an idea of what the whole show was about. Right? And I think that that helps, right? Pilar: Well, rehearsal means you. Yeah. You get to see the scene, but you don't really know what you're getting into because you haven't seen the moments before. You're just looking at when you are speaking as a character. Anne: Got it, got it. Pilar: So it's up to you to -- Anne: Understand the vibe. Pilar: And not just that, but that's what I mean by you really have to be completely on because you are looking and you're listening at the same time. You're evaluating what that character is doing at that moment and why -- Anne: What happened. Pilar: -- are you doing it, right. Anne: And what might've happened beforehand so you can act, right? Pilar: Exactly. Yeah. And then you have to do it and you only get one dress rehearsal. So you have to be very acutely aware. You have to be present in the booth. So what they do is you'll do a scene on, they'll give you a pass of the entire scene and then you'll go back. You'll do another take or you'll do pick-ups. They do give you headphones. But if you have really good headphones, it's great to bring those with you. 'Cause you have to hear every nuance with that character -- where are they breathing? Anne: Now, are they doing sentences at a time? Or just periods of time when this character is talking? Is there back and forth between dialogue from other characters? Pilar: Oh yes, absolutely. Yes. Anne: They will do an entire, let's say three minutes of the characters going back and forth? So you have to also watch the other character and then react. Right? Pilar: Absolutely. Yes, exactly. And so here's the thing. Back in the day, I used to get pieces of paper, and then they switched to the monitor, and now there's this thing, that's, it's a band. And it was, I think it was invented actually in France, if I'm not mistaken. And it's a band that goes at the bottom of your screen, and most of the companies that I've worked for, the studios that I've worked for, they all use this. So it's a band, and it's in your specific color for that episode. So like my character, Anna, Anna's lines are going to be in green. They're going to have the highlight green. But then I'm also listening to the other characters and their lines are there as well. Anne: But not in green, obviously. Pilar: No, they're like in purple or whatever, but I have to be very aware of who's speaking when. Anne: So you have to look at the bottom of the screen, which has the band. Plus you also have to understand where the lips are happening and when they're saying it, so you've got to go, you've got to look from the bottom of the screen to the lips. Pilar: Yes, ma'am. Anne: And so that is fast focusing I'm sure. Pilar: Totally. Anne: And total focus and it's got to be exhausting. I can't imagine like when you're doing a dubbing session, how long are you doing a dubbing session for? An hour, two hours, five hours? Pilar: The standard time is two hours. Anne: Okay. But that has got to be an exhausting two hours sometimes. Pilar: It can be exhausting, but it's really exhilarating because you're in the booth, and I always stand. Anne: I can't imagine sitting when you have to be that focused and on top of things. Pilar: Exactly. Yeah, exactly. You have to use the whole body. But I rest, like when they're doing, when they're trying to decide between the dubbing director and the engineer, you know, do we do this? Do we do that? Um, and they're rewinding and they're trying to sync it up and everything. So, so that's when I can just take a little break, drink some water. They tend to be generally two hour sessions. I've done, you know, up to four. You know, it's, it's, it is work. It's a lot of work. Anne: But so now that you have the band that's running on the screen, right, do you have a copy as well of the actual script at all in front of you? Pilar: No, nope. Anne: Because I remember when I took my class, I had both. I had the script that was down in front of me, but I also had to keep my eye on the screen as well and the lips of the actor that I was dubbing. So it was a lot, but when they were doing whatever work they needed to do in the studio, I was kind of looking at the script coming up next so I could get a little familiar with it. Pilar: Yeah. It actually depends on the studio because there was a studio that did the paper. I don't know if they still do because you know, things have evolved in the past couple of years. It kind of depends. But sometimes you do, sometimes you do get a paper, which in a way is actually worse because you have to look farther down. I'd rather have it on the screen. Anne: Yeah. Yeah. I agree. Pilar: But whatever it is that you're doing, whether you have a piece of paper in your hand, or you're looking at it on a monitor, or you're looking at the stuff on one screen and the script on another screen, 'cause that also happens, whatever it is that you do, you have to learn to read quickly. Anne: Yeah. Pilar: And so you're basically constantly evaluating and looking at getting the information. So then you can spit it out -- Anne: Yeah, right. Pilar: -- and then move on to the next moment that that character has. Anne: So dubbing is going into the studio and having the band and checking the lip movement of the actor that you're replacing, right, that you're dubbing. Now what's looping then. So that's dubbing. What's looping then? Pilar: Looping, technically it's called ADR, which is additional dialogue replacement. Like, so for example, let's say there is a scene where there are two people in a restaurant, and they're outside in a cafe, in a little restaurant cafe in New York. And you know, there are people going back and forth, and there are people walking on the street, and there are people inside. And then there's the person at the bar. All that noise, all that noise gets put in, in post. None of that is real because basically what they figured out, and sometimes you can get it, but there's so much incidental noise. So you're going to get a honking of a horn or somebody shouting that they can't control all those extra elements. So what they do is that they come back, and once the scene is done and it's ready -- or let's say the actress spoke really low. So she was looking at her food saying, "I don't love you anymore." So it's like, they didn't get that. They didn't get that from the mic, the boom that was hanging, you know, five feet above her. So the actors come back. So basically it's like background extra work but for voices. Anne: Is that not also called Walla Walla? Pilar: So Walla Walla is a type of ADR. Walla Walla is kind of like, you're just kinda like talking and it's like -- Anne: So many terms. Pilar: -- rhubarb, peas, and carrots, rhubarb, peas, and carrots. This is what I used to do on stage. You know, when you, when you weren't speaking, but you had to look like you were talking sure. Then there's something called call-outs where you say -- so each character sits there and says, "hey, I'm going to the store. I'll see you later." And so it's like, you're literally having like a pretend conversation. And so ADR has, you know, so many different -- ADR has its own genres too. Anne: So dubbing is not necessarily related to ADR and looping. Pilar: ADR, I would say it's like a, it's like a third cousin, second or third cousin, because there are aspects of it. So for example, I did a movie last year, which came out, I guess it came out at Christmas? It was called "Eternals". It was a Marvel movie. And of course, you know, when you sign up for something like that, you sign NDAs up to an inch of your life, and you can't say anything. And so the only reason I'm saying it is because I asked them -- Anne: Now you can. Pilar: - I asked them, yeah. Now you can, and now it's out. And so, you know, the person who hired me was like, yeah, it's okay. 'Cause I always check. And that's something that's really important. Whatever it is that you're doing, when it's like dubbing or, or ADR, they're going to make you sign NDAs. So in fact, at one studio, they make you put your cell phone in a little box before you walk in and lock it up because they don't want any kind of -- Anne: That makes sense. Pilar: You know, they bought the rights, it's their property. Anne: Absolutely. Pilar: And so to have some actors sit there and go, oh, I was at this studio and I was dubbing look at me is just, I mean, come on. You know, you've just ruined all their hard work. So -- Anne: Exactly. Pilar: -- in the world of dubbing, they're very, very demanding on that. You know, you can't say a word. Anne: Well, that makes a lot of sense. And I'm glad that you brought it up because how many times have we seen a voice actor, either bragging on social media, or here's a picture of me leaving and just thinking that nobody will see that, that is a big, big, big no-no. So yeah, that makes a whole lot of sense that you don't want to give away any, any secrets until they're revealed. I get that. Pilar: Because basically when you are an actor, you are lending your voice. That's what you're doing, or you're lending your acting to the project. The project isn't yours. You don't own the project. Anne: It's a great point. Pilar: You know, I remember one time I did this commercial. Magic, the big basketball player, Magic Johnson. I mean, I'm seeing him right now. And all of a sudden I had a brain fart in his name. So it was a commercial and he was, he's so adorable and he's so nice. And so we were all gathered around, and of course at the end they let us take pictures. And so of course I took my picture and I had it in my phone. And then literally a couple of weeks later, I see this actor post and like, "hey yeah, I got, I was, I was," and I was like, what are you doing? The commercial isn't out, that's not yours. That's their material. Somebody owns that material. And you have to respect that this is a situation. So for something like a Marvel movie, you know, you sign NDAs up the wazoo. Anne: Oh yeah, I've seen people get fired. Pilar: Yeah. And -- Anne: Hard. Fired Hard. Pilar: To be honest, I, I can't blame them because it's like, it's, it's not my material to come -- to go out and play with. So with ADR, and this all changed in the pandemic too, because with ADR, what you would do is that you would go with a group of people, and you would be in the same room with them. So that's where you have these things called donuts, which is you walk around and you do these sort of loops. And you talk as you pass by the microphone. And then the call-outs where you're "hey, let's go get some ice cream" kind of a thing. And "Dr. George Michael to line one in, you know, room 222," that kind of a thing. So that all went away. And so now when you go to a studio, we were all separated. So we were in the same studio, but we were all in different booths. So that's the difference. So it's all, you're not together. Anne: Right, during the pandemic. Pilar: Right during, yeah, exactly. Pilar: So they had to kind of change that the way that, that happens. Anne: Also, so not just that, there's also, if you need to replace a line, right. If they couldn't get the actor, if they couldn't get the line or they changed the line, and they could get the actor back in, sometimes there's just a line replacement. Pilar: Yeah. Right. Exactly. And that will happen, let's say, with a specific actor, but when you're talking about ADR, like when you're in that scenario that I said about the coffee shop, there are people talking. So you need to have, let's say, if you're doing a cop show, you need to have the lingo all ready to go, you know, and they encourage you to bring -- paper makes noise, but like iPads. And then you have your "Adam 24," you know, that kind of a thing or "nurse code blue," you know? So all the different genres have different language. So you have that ready. And then when you're called on, because you're just basically, it's like, okay, who wants to do this? And you just get up and you do it, and you do it in front of your mic. I don't know if it's gone back to the grouping. 'Cause I, I did something recently, and we were still in separate booths. So I don't know if that's actually gone to the group thing again, but ADR basically takes care of all that sort of subtle murmuring that goes on. And so whatever it is that you do -- and there's, there are a lot of rules. Like, you know, you never want to say, have anything to do with God. There's a lot of, since it is all improv, because you know, it is, you know, as we had mentioned before about, you want to be positive, that's another thing. That's another big thing; you want to be positive. You don't want to be negative. So there are, there are a couple of different rules you don't necessarily want to talk about the time of day. You don't want to say people's names or the actor or the characters' names in the movie itself. Anne: That makes sense. Pilar: So you're constantly improvising. And so flexibility is key in ADR. So you can just get up and, you know, in front of the mic and talk about this car that overturned in a tractor trailer and this and that. And you just, and you know, you have a little cheat sheet, so you have little sentences or, or themes that you can expound upon. Anne: So they give that to you. And you're just improv-ing off of that. Pilar: They give you the, the scene, but it's up to you to come up with the lines. It's like, they don't, they don't give you the lines. So I took a class, my very first ADR class when I got to LA was with Johnny Gidcomb. So, you know, for anybody out there who wants to do ADR, he's fantastic. And he teaches you the ropes. So we did as if we were blooping this one show that he had done, one of the many "Planet of the Apes" movies. And so, you know, we had to sit there and see, and it was sometimes it was difficult because you didn't know who was speaking. So you had to be, you know, eagle eye on these characters saying who was speaking when and, who was loud and who wasn't. So it's like a lot of, you know, observation comes in to play when you're doing ADR as well. Anne: And then if that's not enough, so there's the dubbing, there's the ADR and looping and Walla Walla. And then we also have audio description. Pilar: Yes. Anne: Audio description is something that's similar, but yet different. And that's also kind of, I feel like because there's more content out there, there's been a lot of work in this area as well with audio description. And there's just some really great instructors out there. I had Roy Samuelson is part of one of my meetups who came and talked about audio description. And there's some great groups out there that you can get involved in and learn from and lots of work out there. So let's talk about audio description now. Pilar: Yes. Let's talk about it because I will be honest with you. I am not that familiar with it. I know that it, audio description can be used for people who have trouble seeing, that that's a lot of it, but it does have many uses, correct? Anne: Yes, exactly. So audio description will be describing the scene. It kind of happens along with the dialogue, and that is something that will be describing the scene as it's happening. And so that is copy that is provided to you, but you know, it is a skill, and it is something that I think you have to be quick on your feet in order to do it well. And I think you also have to add in acting because you are really, for people who are not necessarily seeing the video in front of them, you are audibly describing what's happening in the scene, and you can't just be a robot doing that. I feel like you've got to bring the experience to the listener. And so there is definitely quality of acting for audio description as well. For sure, for sure. Pilar: Yes. And I'm looking at this. Yeah. And it is definitely for people who have low vision or who are visually impaired. So you definitely have to have acting chops because you are, you are the narrator for these people who can't see. So you are providing everything, you're being their eyes. Anne: It's like audio drama in a way. Pilar: Exactly. Anne: But you don't want to be overly, right, dramatic because -- Pilar: Yeah. Not emoting, right, either. Anne: Right. Exactly. Because obviously you're not overtaking the acting that's going on that they're listening to. You are simply describing the scenes and what's happening. So while you need to act, you may not need to act as if you are a direct character in the scene. That's for sure. Pilar: Well, and also because in -- when there are gaps in the dialogue, you will be describing visual elements. So you're going to be describing costumes, the action, the setting, the mountain in the background. And so you have to make that interesting, but you're not going to make it monotone picture. And you're also not going to go crazy talking about the mountain. Anne: Exactly. Pilar: You know, so exactly it has to sacrifice to be some kind of middle ground. So you're making it because you are the eyes for that person. So you have to be able to transmit the emotions that are going on. Anne: Yeah. So I'll tell you, all of these things that we have been talking about today really require someone who has acting experience, right, or who is an actor. And I love that because that just really broadens the scope of what we can do as voiceover artists. And it really pinpoints the importance in everything that we do, that acting is a part of it. And so there's a lot of areas in which as a performer, if you want to improve and up your game, you can have these opportunities if you just keep developing those acting skills and improv skills. And I just love that we're talking about where all these skills, we just had our episode on improv, you know, how they can help you to really grow your business as a voiceover artist. So thanks so much, Pilar, for chatting with me about this. I love you've just brought so much to the table for our listeners. So thank you for that. Pilar: No, thank you. This was so much fun. Anne: Awesome. Well, I'm going to give a great, big shout-out to our sponsor, ipDTL. You too can network and perform like a BOSS and find out more at ipdtl.com. You guys have an amazing week and Pilar and I will see you next week. Pilar: Ciao. Anne: All right, bye. >> Join us next week for another edition of VO BOSS with your host Anne Ganguzza. And take your business to the next level. Sign up for our mailing list at voboss.com and receive exclusive content, industry revolutionizing tips and strategies, and new ways to rock your business like a BOSS. Redistribution with permission. Coast to coast connectivity via ipDTL.

En 'Los Gremios', nuestra sección dedicada a los profesionales anónimos, hablamos con Pilar y Javier, dos experimentados tintoreros que nos hablan de los aspectos más desconocidos de su profesión.

En självständighetskämpe besjälad av idéer och beväpnad med revolutionslust men som fälldes av sin egen kompromisslösa övertygelse. Redaktionen för detta avsnitt består av:Cecilia Düringer programledareElina Perdahl producent och manusPablo Leiva Wenger  scenuppläsareElias Klenell ljuddesign och slutmixMedverkar gör också Pilar Álvarez, lektor i spanska på Karlstad Universitet.Vill du veta mer om Simón Bolívar och den sydamerikanska kampen för självständighet? Här är några av de böcker som ligger till grund för avsnittet:Liberators - Latin Americas struggle for independence 1810-1830 av Robert HarveySimón Bolívar - a life av John LynchBolívar av Marie AranaFemhundra år av latinamerikansk historia av Dag RetsöLatinamerikas historia av John Charles Chasteen.

Welcome back Cowe's!! This week's episode is long-awaited, and one we've been dying to talk about -- what it means to have "Good Hair" and how that's impacted each of our journies differently as Black and Bi-Racial women. We talk about our first hair memories, the ridiculous things people have said and done to our hair (read: trying to touch it without permission) and our best-kept secrets. This episode was sponsored by our amazing friends at SHARK Canada, who you can follow on IG and you can check out the HyperAIR blowdryer we mentioned in the episode, HERE. Make sure to follow us @cocoandcowe and check out our blog www.cocoandcowe.com. You can follow Cleo and Pilar on Instagram too! See acast.com/privacy for privacy and opt-out information.

La periodista Pilar Cernuda presenta en 'Más de uno' su nueva novela 'Amigas' y censura la incultura que hay ahora entre los jóvenes. 

¿Conoces las mejores actitudes de los centenarios de Okinawa? Esas actitudes que les ayudan día a día y de las cuales podríamos aprender. De esto habla el pilar numero 9 del libro del Sistema Hanasaki, el de actitud. Porque dependiendo de cómo afrontemos lo que nos ocurre en la vida, los resultados que obtendremos cambiarán de forma sustancial. En el episodio de hoy te quiero hablar de cómo afrontar la vejez con entusiasmo es clave para vivir una vida larga y de la importancia que tiene sentirse siempre útil incluso a pesar de nuestra edad y de los pequeños problemas físicos que van apareciendo con los años. Son dos pequeñas cosas que albergan en su interior un gran poder. Notas del episodio: https://www.marcoscartagena.com/vejez-con-entusiasmo/

Acting is more than just using your voice. It requires whole body movement, agility, and engagement. In this episode, Anne & Pilar share their favorite stretches, exercises, and warmups that can be done in and out of the booth. From Pilar's jaw release warmup to Anne's neck stretch, by the end of this episode you'll be warmed up + ready to perform like a #VOBOSS. More at https://voboss.com/move-in-the-booth Transcript >> It's time to take your business to the next level, the BOSS level! These are the premiere Business Owner Strategies and Successes being utilized by the industry's top talent today. Rock your business like a BOSS, a VO BOSS! Now let's welcome your host, Anne Ganguzza. Pilar: Hola, BOSS Voces. Bienvenidos al podcast, con Anne Ganguzza y Pilar Uribe. Anne: Hey everyone. Welcome to the VO BOSS podcast. I'm your host Anne Ganguzza. And I am so excited to bring back to my booth, my special guest cohost Pilar Uribe. Pilar, how are you? Pilar: Hello, Anne. Anne: Look, I feel I'm very spry. I'm very spry today in the booth. And you know why? Do you know I'm spry? Pilar: Why are you spry? Why are you spry? Why are you spry, Anne? Anne: Because I did a little warmup, so I'm kind of feeling good in the booth. And I think it's important that we always do awesome warmups and move around in the booth so we can have good energy going forth into our voiceover. Pilar: I totally agree. Anne: Thoughts? Pilar: That that is something that I, something that I just did. Do as I say, not as I do. Try not to do what I just did, honestly. VO BOSSes -- Anne: Drink dairy? Pilar: Because, well, that's one thing. Yes, of course. I had dairy. I had yogurt this morning, so of course I'm all phlegmy. Anne: Me too. Pilar: That's not, that's not fun, especially when you're going to do an audition. That's not great. So drink your water. But one of the things that I was told by a professional is it's really bad to clear your throat. You know, like when people [clear throat noise], that is like the worst thing you can do. Drink water, wait till it passes, stop doing that. But that's literally like putting sandpaper on your throat. It's the worst thing you can do. Anne: Yes, I have heard the same, and it's very hard because I think it's like a habit from before voiceover. That would be BF -- BFO, before voiceover, before voiceover, when I used to scream and do all sorts of harmful things to my vocal cords, before I realized that we need to treat this like gold, because it is our livelihood. Pilar: Okay. I have one question though. Did you say BFO? Anne: Did I say BF -- Pilar: You meant BVO, BVO. Anne: BVO, okay, okay. I was thinking like best friend in VO. So I kind of combined -- Pilar: Anne, Anne -- Anne: Pilar, that's how I think of you. Pilar: Anne, will you be my BFO? Anne: My BFO. there's -- Pilar: Will you be my BFO? Anne: -- best friend, best friend in VO. So hey -- Pilar: I love it. Anne: So being best friends, I think I want all of our BOSS listenership -- they're our friends. And I think it would be a really great episode if we talked about how moving in the booth and how warming up and just physicality in the booth can really help us to perform better and just be better all around, better mental, spiritual, physical to improve our performances. Pilar: Okay. So since we are starting our day, Anne, I invite you to do something with me. Anne: Okay. All right. Pilar: We're going to do it all together. Anne: What is this, a warmup? Pilar: This is a warmup exercise. It's a jaw release. Anne: Oh yes. Pilar: Which we don't even realize half the time how much tension we're carrying in our jaw. Anne: You know what's so funny, that I actually really need this because the other day, I woke up, and my ear was hurting, but it wasn't like an earache kind of hurt. It was an ear hurting because I might've clenched my jaw at night. And I, I know so many people that clench their jaws at night, and anything to relieve this ache in my jaw will be very helpful. Yes. Pilar: Okay. Cool. Anne: I'm ready. Pilar: All right. So I want you to place your palms on the sides of your face. Okay? I'll hold it on my headphones. You can still hear me, right? Okay. So you're going to place your palms on the side of your face and slowly massage the jaw and the cheek muscles. Okay. So you're taking the palm, and you're massaging the jaw line up and down the jaw line and also your cheekbones and, and with small circular motions. Anne: Good for when you have sinus issues too. Pilar: Yes. Anne: Or you feel it. Can you hear me going, can you hear it? Like, I'm very close to the mic. I am in circular motions. Pilar: So you can, you can go all the way up to where your cheekbone is and massage there, and you can go all the way towards the ear. Anne: Okay, BOSSes, you're doing this, I hope you're doing this with us, BOSSes. Pilar: Absolutely. Just try it. And then you go all the way down to your jaw line and go way up almost to your, your ear, almost to the ear. So continue to massage while lowering and raising your jaw. Now -- Anne: You're lowering and raising the jaw while you're doing this. Pilar: Yeah, so you're going, ahhh, in the jaw. Anne: Are we saying anything when we're doing? Pilar: No, not yet. Not yet. Just lower and raise your jaw. I can't speak right now. Anne: But you're my -- you're instructing us, so. Pilar: I am instructing you. Okay. Now -- Anne: I don't know if you can do it while you're instructing. Pilar: I will. You're going to hear it in a minute. So now keep lowering and raising your jaw while you're massaging. And now you're going to add the sound ma ma ma with a very light lip contact. So it's not, mmm. It's just a light lip contact for the mic. Anne: Now what is ] that doing? Pilar: And then you're going to change to whoa, whoa, Anne: Wait. I'm still massaging, right? Pilar: Yeah. You're still massaging, and you're changing from ma ma to wa wa. Anne: Oh, I can feel the vibration. Pilar: VO BOSSes, if you're doing this, you're hearing the resonance. That's really important because that means that you're using all those muscles. Anne: That's awesome. Pilar: We tend to think that we're just using the vocal box and that's it. And sometimes we can hear the chest. Anne: No, it's our entire it's like facial jaw. Pilar: Exactly. It's that whole, and it goes up practically -- it's like, like you're using all those muscles and all that movement there, and that will help your sound as it comes out. Anne: Love it. Pilar: So do you wanna try another one? Anne: Yeah, let's try another one. Let's try another one. Pilar: It's a lip trill. Okay. So this releases lip tension, which we tend to do and we don't even realize it. And it also helps you to connect your breathing and speaking. So place your lips loosely together. Okay? And you're going to release air in a steady stream to create a trill or a raspberry kind of a sound. So it's like [whistle-like breathing] Anne: That's a raspberry sound? Pilar: I'm not really sure what a raspberry sound is. Anne: [lip trill] Isn't that what it is, the trill? Pilar: But that's what I say -- yeah, yeah, yeah. But you can also do this. [whistle breathing] What is a raspberry sound? That is a raspberry sound, but it's like, what I'm trying to do is I'm trying to get the sound out without moving my lips, which is really cool. Hold on. [lip buzzing] That's a raspberry sound. That's a raspberry. [lip buzzing] So first try. So our microphone is getting a lot of action here. First, try it with an H sound. Then try it with a B sound. Anne: Oh my God, that tickles. Pilar: Yeah, it does, it tickles, right? Anne: I can not, I can not do it. It's like when the dentist does the teeth cleaning, the polishing, and it gets on my lip, it just, I can't. It makes me tear up. Pilar: So first try it with an H sound and then repeat with a B sound. Okay? And then [sound]. And it seems like it wouldn't be, but it is different. It's a different feeling. So now I want you to try doing the B trill. It can be either [lip trill] or it can be [lip buzz] and go up and down the scales. Okay? And whatever's comfortable. You don't have to go all the way -- whatever's comfortable at the top or the bottom. Anne: I really think for the trill, you have to let your lips just trill like that. Pilar: Because there's two ways to do it. There's [one way] which is more the H sound. And then there's the [lip trill]. Anne: That's easy. Okay. My lips are relaxed now. Pilar: Yeah. Don't they feel kind of like, they feel like you can kind of feel the reverberations. Anne: Well, once the tickle goes away, I'll, yeah. I'm not sure I can do this everyday 'cause it just tickles. I wonder if I'll get used to it. Pilar: Yeah. And there's more, there, there are other things, there's tongue trills. There's lip buzzing. We kind of did the lip buzzing, and here's one thing that's really important: humming. You can do this anywhere. You can do this while you're walking. Humming is really great. So [hums]. Anne: Oh yes. Pilar: So if you do humming and you concentrate, you will feel it in different parts of your face. Anne: Oh yeah, absolutely. Pilar: You will, you'll be able to feel it in your teeth, in your lips, and in your facial bones. So let's just try that really quickly. Just the humming. Anne: BOSSes are humming. Pilar: And if you go low, It's a different feeling from when you go high. And in your nose, if you concentrate on feeling it in your nose, you're going to feel all this vibration. Anne: Yep. I feel it my nose. And I think if you visualize where it's coming from, that helps, that helps. Now this is doing some vocal lip, trills, and hums. Now I also think any exercise around your head, neck, muscles, shoulders is very helpful in the booth. So I feel like I do a lot of the neck stretches where you take your right hand, place it on your left ear and tilt your head to the side. Right? So right hand -- Pilar: Hold on, right hand, left ear. Anne: Right-hand, left ear. Pilar: Is your hand over your head or is it under? Anne: It's over my head, over my head. And so as you breathe in through your nose for three seconds, then exhale, pull your head more to the right. Breathe in for three seconds. Hold it. And as you exhale, stretch your neck further towards your right shoulder. Breathe in for three and then exhale and stretch even further to your shoulder. And then you basically take your head and do on the other side. So take your left hand, put your left hand over your right ear. Pilar: I was doing it, I was doing it the wrong way at first. I'm like, she's crazy. And then I realized I was doing it wrong. Anne: Yeah. Breathe in through your nose. And then when you exhale, bring that head down towards your shoulder, toward the left shoulder. Exactly. Then breathe in again. And then as you exhale, bring it further towards your left shoulder. So you're stretching that neck. Pilar: Oh, that feels good. Oh yeah, you can feel it. Anne: Yeah. And then you can do that also forward. So take your hand, your right hand, put it on the top of your head, and breathe in for three through your nose and then exhale and then pull your head down to your chest. So chin to your chest. Pilar: Oh my God. I can feel it all up and down the back of my neck. Anne: So yeah, those muscles around your neck, when you warm them up, right, your vocal cords are right there. So it's super that that's warmed up as well. And in addition to the physical, like, and I also do head rolls, right? So from left to right, roll your head around the back 'til it reaches your right shoulder and then back again towards your left, and that will help you to relax those muscles around your vocal cords. Pilar: Okay. Very important. Yeah. And one other that I will suggest is interlocking your hands in front of you and then twisting them and pushing your palms out. Anne: Oh, forward, yeah. Pilar: Forward. So you're stretching those, those shoulders. Anne: Shoulder muscles. Yeah. Pilar: And then you can bring them up and, and then, and you can actually pull your left -- Anne: Over your head, right? Pilar: Over your head and then pull your left wrist with your right hand and then go to the right. Oh. And you can feel all up and down the arm. Anne: And so you're stretching to the left. So you're doing that -- Pilar: Your side. Anne: Yeah. You're doing a side stretch. Pilar: You're doing a side stretch. Right. And you're doing, yeah. And then you go to the other side. You can feel all the way up and down the side of your body. Because when you're in the booth, you're using everything. I know that a lot of people sit in terms of moving in the booth. That's an important part of this. People ask me all the time, do you sit or do you stand? And it's like, I do both. It depends on the read. However, whatever it is that you do, make sure you don't -- if you're standing for a very long time, make sure you have a chair that you can sit. And if you're sitting for a long time, make sure you get up, move around, touch your toes, raise your arms up, you know, lift your knees a little bit, because sitting or standing in the same position for a very long time will lead you to feeling tension and -- Anne: Exactly. Pilar: And so, you know, it's like, you want to be flexible. You want to be easy. Anne: So we've warmed up, and we're moving in the booth as we sit. And literally this takes a few minutes. You don't even have to spend an hour doing this, but every little bit helps. And I think that not only just warming up in the booth by moving around, 'cause now I'm like, wow, I've got some heat going on in this booth. Maybe you do it outside the booth if you don't have any ventilation, but wherever you do the, the exercises and the movement, the lip trills, and the head rolls, and the neck rolls, and all of the side stretches, that's wonderful before you get into do your auditioning for the day. And once you're there too, you can physicate while you're performing your script. And that actually is something that I tell my students every single day, get physical behind the mic. Because number one, it helps you be much more believable because it's taking away all of that energy that you focus specifically just on the words coming out of your mouth. And a lot of times that doesn't make things realistic because if all you're moving is your mouth and your vocal cords, things become very consistent, right? There's no other energy coming out of you to kind of move or shape a rhythm. That would be something that we do when we're talking to one another, right? When we talk to one another or we converse or we're interacting with other people, which is kind of what you're doing with your audience behind the mic, right, you're interacting with people, you're moving your arms. You're moving your body. You have facial expressions. There's all of this movement happening behind the mic or behind your voice. And that helps us to sound the way that we do. I mean, it, it has every bit of influence on how we sound. So if I'm just standing or sitting or standing here and I'm just here, I'm just moving my mouth and that's what I'm doing, you can notice that I sound a little bit more staccato. I don't really have a lot of, I don't know, depth or feeling. Right? So now I'm just going to like, I'm going to move stuff around. I'm going to move my hands because I really love to move around because that's what I do when I talk to people, like that's that Ganguzza, you know, moving the hands around and, and all of the expression. And if I want to really convince you of something, you can tell, you can hear it. Right? You can hear it come out in my voice. What do you do, Pilar? Pilar: I'm all about, of course, I want to use my imagination all the time. But for example, even something as simple as a raising an eyebrow, like, I'll, I'll be like, oh yeah, right. Instead of saying, oh yeah, right. But if I raise my eyebrow, I've already changed the expression. Oh yeah. Right. And it can be an ironic raising of an eyebrow. Anne: I'm confused. There's my furrowed eyebrow. Confused eyebrow. I have a confused eyebrow. Pilar: Or it could be like, I'm confused. That's like an ironic raising of an eyebrow. I'm confused. Anne: No, you're not. That's a sarcastic eyebrow. Pilar: Exactly. Anne: That would be a sarcastic eyebrow. Pilar: Right, right. It's a sarcastic eyebrow. Anne: Eyebrows, they really help. Pilar: They really do. They really do. Anne: They really help to give you that point of view, to give you that little bit of nuanced emotion about that read, and I'll tell you over and over again, that's what we keep hearing. Right? It is that kind of emotion, that point of view that, the you that you bring to the script that helps you to bring yourself to the script. Otherwise we're just spewing words into the microphone. Pilar: Exactly. Anne: We don't want to spew words. Let's not spew. Pilar: Like an inward chuckle, like -- Anne: Yeah. Pilar: You know, just the shrugging of the shoulders that we, that you know, that you mentioned in your minute. And like, for example, when you, when you say your name, you can say your name, Pilar Uribe, or you can say Pilar Uribe. So I just shrugged my shoulders Pilar Uribe. Anne: Pilar! Or Pilar Uribe. Pi-lar. Pilar: Yeah. And so we have this whole stretch of body, which is our shoulders that we can do so much. We can shrug one shoulder. We can shrug to shoulders. We can shrug kind of just like a little kind of a yeah, right. We're just kind of like a little inward chuckle. I just raised my shoulder. So you've got all these parts of your body that you can use that can help you when you're doing a read. Like right now I'm using my hands. You know, what you were saying before, I can be pointing to somebody. I can be gesticulating. I can be raising my arms. You know, another one we were talking about earlier is just when you do a read and you put your hands behind your back. There's kind of like -- Anne: Yeah. Yeah, here I am. Pilar: Hands behind your back. Anne: Or hands behind your head, right? So you're just, you're casual. If you happen to be standing or sitting, and you want to relax a little bit -- because sometimes when people are trying hard to sound a particular way, their focus is all upfront and it's all here, like in their mouth and in their, like, I feel like it's all around their face. And when you are moving your hands, moving other parts of your body, it just dissipates that energy and really reshapes the tone of what you sound like. Because we're very physical people when we talk, I think, just to each other, when we engage with one another, we're using those hands. And so why should that stop once we're in the booth, right? Because we want it. We're still engaging with our audience. Pilar: Yeah, exactly. And it's something as simple as putting your arms on your shoulders if you're playing a character, that's in a protective stance or is scared and it's like, this is the way I am now. Or if you've got your hands on the side of your waist, and you're just speaking like this, and you're sticking your chest out, that's a completely different read because you've put something in front of it instead of just speaking here and being really intense. It's almost like you have to trick your mind and you have to give your body an assignment. And then that way, when you give your body an assignment, the tension kind of dissipates as we were talking about. And then you can give a more interesting read and then that's what stops the monotony. You know, even just when you're like, when you're doing long-form, just changing your body stance because it's very hard sometimes to keep the momentum and not be boring. Anne: Well, exactly. I'm so glad you mentioned that. Because a lot of times I work with a lot of students on, on long format narration like e-learning or corporate narration, something that, anything that's longer than even like 30 seconds, right? We have such small attention spans these days. And so you need to really be conscious and focused on keeping that audience engaged for longer than a minute, in between the periods, in between the sentences, right? There's still things happening. And if you kind of forget about that scene and engaging with the person who's listening, then it becomes a monologue. It just becomes you speaking out into the air. A lot of times I'll refer to you're reading the PowerPoint, and that does not engage with us because you're no longer speaking to me, the listener behind the mic, you're speaking off into the air, and it's only serving yourself. And that, that comes out in the read, that comes out in the emotion that -- well, are you really talking to me? Are you concerned about how I feel? Not really, because you're reading that PowerPoint. And when you introduce physicality behind the mic, what happens, it will take the focus off of the monologue and bring it back hopefully to where you're engaging or you're not giving a consistent metronome-like read where we all become bored. It becomes more engaged on you. So I would think the only thing that you don't do when you are physicating behind the mic is take your eyes off the page because that's the one thing that's different, right? Unless you're an actor and you're on stage and you've memorized your lines or on camera, then you can obviously not use the piece of paper, but with us, we're not memorizing.   So if we play the paper -- I was told that a long time ago, play the paper. So the person you're talking to is the person right behind the words on the paper. So if that paper became a transparency for us people who are of a certain age and know what a transparency is, you can see a face or think of it as like a teleprompter with you. You can see faces behind it. You're talking to the people behind it, but you are never taking your eyes off that word or the words, because a lot of times, if you do, and I know with my actor students, I know exactly when they're taking their eyes off the paper, because they're missing words. They're stumbling and that's, that's a telltale sign, but play the paper and physicate like crazy. And nobody's, I mean, we can all be silly, right? I mean, nobody's watching you. I mean, maybe they are. Pilar: Obviously, as long as you don't make noise, there are things that you can do. Like, for example, this is just something that I've done. And then I was thinking, how could it translate to a man? So sometimes what I'll do is I've got my hair up in a ponytail, and I'll just kind of whip my hair out. And just the movement of my head, you know, like a slow motion, like, you know, those hair commercials when they move their hair slowly, that'll give me a different reason. Anne: I've got a visual now. The brat girl, she's like the brat girl. Pilar: Exactly, exactly. So that'll give me a different read. And so for men, you know, if you have short hair, it's harder, but like just even putting a hat on and taking the hat off, just like the slow motion of it. Because a lot of the times when we're doing reads, you know, we want to get it done -- Anne: Yes, quickly. Pilar: -- or not that we want to get it done quickly, but we want to get it over with, and it's in that moment, it's in that present moment that it's so important to be feeling, yes, you're reading, but you can also be doing other things with your arms, and your shoulders, and your head, and just give it that full body because that will -- even though we think it doesn't, it's going to come out in the read. Anne: I like the full body. Yeah. And I'm glad that you said that because I tell people when they're making movements behind the mic, right, in order to make a point, sometimes it takes more of an effort. Like, 'cause I could just sit here, like here I am behind the mic, and I want to demonstrate a large circle. Right? So I use my hands and I draw a circle with my hand, right? So I say here's a large circle, but I didn't really draw a large circle. I just drew a circle in front of me. What I want to do is I want to draw a large circle. And so if you can hear what just happened is I actually drew a larger circle, and it just kind of drew my voice into a different sound and a different tone. And you may not want to go that large, but a lot of times you have to go a little bit larger than the immediate inch or two in front of your face. Pilar: If you're doing video games, you definitely have to go larger. Anne: Even narration. As a matter of fact, narration, because God, you've got to make sure that those nuances come out. They may not be grand emotions, but they're going to be -- I really want you to listen to this next line. It's really important. And let me talk about the circumference of this large circle over here. And so, as opposed to let me talk about the circumference of this large circle over here, right? There's a big difference when I don't move versus when I do move. And so you need to make that corresponding physical movement that gives it enough point of view, enough emphasis enough passion, whatever that is. I just -- see, I got so passionate. I plosived on my mic. I heard that. And so, or I might've hit the mic with my hand, but you've got to give that performance behind the mic that allows you to express something that people are listening to because remember you're reeling them back into the story because they don't have to listen to you. If you're in front of someone and you're actually engaging with them, right, they're physically in front of you. And so you've got your body that you can use to help like control the conversation. Maybe not control, but use your body and your face and your hands and your voice to keep people engaged. But behind the mic, it's an imaginary audience that we're playing to, so. Pilar: Well, and I think it's really important because along the lines of what you just said, what are we doing as voice actors? Whether we're doing long-form or we're doing an audition, our goal is not to get the words out or not to say the words in the pretty way. Just like in a conversation, you are engaging the person who's in front of you. Anne: Yeah, absolutely. Pilar: That's the whole point of it. You're doing it for the other person. You're not doing it for yourself. Anne: Right. Pilar: So in that sense, you have to be as if that person were right there in the booth with you. So you have to engage, and whatever it is, you can be physical about it. And the great thing about being in the booth is that nobody has to see you making these silly faces. You know, so if you're doing your exercises, you know, and it's like -- Anne: It's so true. Pilar: -- you're going by them as -- this is a great exercise -- my name is -- and so you open your mouth wide and you go "my name is Tommy, the wide-mouthed frog." And that -- Anne: Tommy, okay, Tommy. Pilar: "My name is -- hi! I'm Tommy!" And you just opened your mouth so much. And then when you go to do the normal stuff -- Anne: Yeah. Pilar: -- also those kinds of silly exercises, you know, the big black bug -- Anne: Break the tension. Pilar: Yep. Yeah. And then they bring you to another space if you're stuck and you're going, my gosh, this sounds the same. What am I going to do? You know, it's like, you turn yourself around, and then boom, you're in a different space and you can continue. Anne: Yep. So you didn't think that voiceover was so physical, did you, BOSSes? Because it is, it really is. Whether we're warming up our vocal cords, whether we're warming up our muscles around the vocal cords, or whether we're performing in the booth and expressing physicality behind the mic, it is extra, extra, super, uber important. Pilar: Agreed. Anne: Then it really can help your performance. Pilar: It's a lifelong thing. Anne: That's right, that's right. Pilar: Really and truly, if you're a voice actor and you're just starting out or you've been doing it for 20 years or you've been doing it for five, you can always pick up new tips and incorporate them. And that's going to make your voiceover time in the booth that much richer. Anne: Yeah. Great stuff today, Pilar. You guys, you BOSSes, get moving in the booth. Big shout-out to our sponsor ipDTL, where we can connect and move in the booth with our colleagues and clients. Find out more at ipdtl.com. You guys, have an amazing week and keep on moving. We'll see you next week. Pilar: See you next week. Anne: Bye! Pilar: Bye. >> Join us next week for another edition of VO BOSS with your host Anne Ganguzza. And take your business to the next level. Sign up for our mailing list at voboss.com and receive exclusive content, industry revolutionizing tips and strategies, and new ways to rock your business like a BOSS. Redistribution with permission. Coast to coast connectivity via ipDTL.

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De perras, inspiración y niños versa este episodio especial grabado en la Universidad de Puerto Rico. Pilar Quintana, novelista colombiana,  ganó el premio Alfaguara 2021 y estuvo en Puerto Rico para el Festival Internacional de Escritores que organizó la ciudad de Caguas. Conversamos largo con ella sobre su inspiración, sus afanes y sus emociones. Fue muy grato. Pasen, disfruten y compartan.

A peaceful life is one where your work and personal lives are balanced yet separate…but how does that translate to finances? Anne & Pilar have done it all: from TurboTax and nerve-wrecking audits to having an accountant on retainer. There is no one-size fits all plan for business finances, but keeping things organized + separated is a good start. Be ready to evolve your strategy as your business does and tackle tax season like a #VOBOSS! More at https://voboss.com/tax-season Transcript >> It's time to take your business to the next level, the BOSS level! These are the premiere Business Owner Strategies and Successes being utilized by the industry's top talent today. Rock your business like a BOSS, a VO BOSS! Now let's welcome your host, Anne Ganguzza. Pilar: Hola, BOSS Voces. Bienvenidos al podcast con Anne Ganguzza y Pilar Uribe. Anne: Hey everyone. Welcome to the VO BOSS podcast. I'm your host, Anne Ganguzza, and I'm excited to welcome back to the podcast very special guest cohost Pilar Uribe. Pilar: Hi, Anne. Anne: Pilar, Pilar, I, ugh, it's that time again. Pilar: It's tax time. Anne: Pilar, I think this might be the time of year where every voiceover artist entrepreneur says, oh, 'cause we got to start the process or at least forms are coming in. We're gathering receipts. We're doing all of that good stuff to prepare for the tax season. Pilar: It's a communal flip-out. Anne: Yes, it is. Pilar: It's a hootenanny of flipping out. Anne: It is. And it's always like, oh God, I don't want to, oh. Or I want to just get a nice refund. And it's been kind of crazy with the extension last year with the pandemic and things got all out of whack, but I'll tell you, I've got a few things that I've learned along the way that may help BOSSes out there. And I'm sure you do, Pilar, may help you guys when it comes time to getting ready for tax season. Pilar: You know, I think the most important thing, Anne, is to start looking at what you've spent, how you've spent it, how you've earned it. And you know, there are people who are listening to this podcast who are going to say, oh yeah, I've got it all together. And then there are people who are just beginning their career. And so for those VO BOSSes, whatever stage you're in, it's really important to, to start it. And it doesn't matter if you don't have it all together because every single person started out not knowing what they were doing. Anne: But, but I will tell you what helped me immensely right away for my business, whether I was part-time or full-time. 'Cause I started and I did a couple of years part-time before I went full time, was getting a separate bank account, a business bank account, so that I could separate the monies that I was using for my business in and out. So that was the single most important thing I think I started, I mean, outside of researching, do I create an LLC? Do I create -- I actually started as a DBA. Do I create an LLC? Do I have an S Corp? And I think for everyone that is just starting, that's something that you want to research. You may not need to start an LLC right away, whatever it takes. I guess it depends on -- it does depend on the state. I only required a DBA when I first started. So that's what I did. And I followed the rules and did what I needed to do. Got my DBA, and made sure I had a separate bank account so that I could account for all the money coming in and flowing out as well. Pilar: Yeah. I completely agree with that statement. So here's something that I did. So all you VO BOSSes listening out there can do the opposite. I did actually, because my bank gave me that option. I had my regular checking account and my business checking account. Anne: And you didn't have to have a DBA or a -- Pilar: No. Anne: -- something that proved your business? Pilar: No. This was when I first got to Miami after Colombia, and it was, um, Wachovia, which is now Wells Fargo, but they, they just offered that and I was like, sure, I'll take it. So it was two, two different savings accounts, two different checking accounts. But here's what I didn't do. So I really wanted to get my frequent flyer miles. So I thought I'm just going to use my regular credit card for everything. Big mistake, big mistake. So I, and I didn't do it until relatively recently that I got a separate credit card for my business. So nothing that I put on my business has anything to do with my private life and what I do when I'm buying groceries or whatever has nothing to do with what I put on the expense credit card. And that is so important because what ends up happening is if you say, oh yeah, I can just put everything on one credit card and then I'll divvy it up at the end of the year, like right now, then you're just basically pouring over and over through all your statements and it becomes a nightmare. Anne: Well, that's just as bad as not having a business bank account. Pilar: Yes. I agree. Anne: And it could be worse because you tend to spend more on that credit card. Yeah. A business credit card is, I absolutely agree, one of the best things that I ever got, and you know what, I limited it to one. I actually went with American Express, and most, most places take American Express. So if I'm going to buy equipment or I'm going to make an investment, buy office supplies, whatever it is, office supplies, nice mics by the way. Those are the office supplies, Hey, a new studio, nice. Everything went on that business credit card. And it was so easy to categorize, because a lot of times they do that for you. And the other single most important thing I did, and I say this constantly, so if you guys have listened to at least one VO BOSS episode, you probably know that the accountant was the best thing I ever did. I have her on retainer. So every month she balances my accounts. She's very familiar with my company's spending and ins and outs. And we meet every other, once every three weeks or so to go over things. And she keeps my books up to date and that makes tax season super simple. Pilar: Right. Instead of a huge headache where your, like, heart is palpitating every day -- Anne: But I have had that happen. Pilar: -- which is what used to happen to me. Anne: I have had -- Pilar: Oh, I had that for years. Yeah. Anne: And it was one of those things back -- remember when there was paper with paper receipts. I mean, I'm kind of happy now that things are electronic and at least digital, because it's easy to go recover those receipts because remember when you would put those receipts in the box, and they would be those thermal paper receipts. And so at the end of the day, they would all like wear off and you're like, what did I even buy? What is that number? What does that say? So. Pilar: What a nightmare. What a nightmare. Yeah. Or you write something in pencil, remember the days of pencil, and then you can't read your writing for crying out loud. Anne: Yeah. Yeah, so I would say first tax tip is figure out what your business is. And I always say if after you make a certain amount of money, yes, you need to like incorporate. You need to look at options for your business. But I was a DBA for quite a number of years, actually, Pilar. And it served me fine. I didn't have to pay a ton of money, and up to a certain amount, if you're not making over a certain amount of money, it worked really well for me. I did have to start prepaying taxes. But again, that helps when you have an accountant on your side, that's helping you do your books every month. And once I started making more money, I had to start making prepayments. And so I kind of evolved over the years. And then most recently I think you and I were discussing, and we can talk in a minute about that, I'm now an S-corp. So I pay myself and that becomes a little more complex. Pilar: Yes. Agreed. Now, just for those of you who may not know what a DBA is -- Anne: Oh yes. Pilar: -- what it means is "doing business as," so it is actually your registered, you register your name, your business name with whatever state you are living in, and you become like your own organization. So it, it actually, it really depends on the state that you're in because every state works differently. And so you create this entity, so you can have a way of collecting checks and payments. And then when people come to your business, you can give them that name, whatever it is. And that is your business name. You're not just Anne Ganguzza. You are Anne Ganguzza, a company. Anne: Yep. Anne Ganguzza is a company name, like Voice Productions. And so a lot of times that does a lot for indicating to your clients that you are truly a professional, and you're not just a hobbyist here. Pilar: Yeah. It's the official, it's official, it's an official registration of your business name. And that's really important when you're doing business and you're not just saying, oh yeah, well, yeah, it's like $.25 a word. And here -- you have to be able to present yourself as a business because we are a business first and foremost. Anne: And at the end of the year, right, or when you have to provide w nine forms for people, you can use an EIN number instead of your Social Security number, which is a big advantage. So that EIN number is your federally assigned employer identification, if I remember correctly. Pilar: Employer Identification Number, yes. Anne: Employer Identification Number. So you don't have to share your Social Security with every Joe that you work for. Pilar: Tom, Dick, and Harry. Anne: Yeah, exactly. Exactly. Pilar: Yeah. And that's also, that makes a big, huge difference further on down the line. Because I became an S Corp as well recently, just very recently, and this has taken me years and years to understand. Anne: Did you get help from a lawyer or an accountant or? Pilar: I got help from an accountant. My accountant is my go-to person. I have a relative, who's also a tax lawyer. So that helps. But really, and truly it's, it's so important. And what you say, what you were saying gives me a great idea too, is to really have a close relationship with your accountant. I don't have her on retainer, but that's a really good idea. I call her for anytime I have to sign a paper that my agents send me. I always call and I check with her first. So we know what it is that I'm getting into because there are lots of things I don't understand. I mean, before, when I said, yes, you are first and foremost a business, we are voice actors, but that is our business. So we have to be able to do both. We have to study the craft, which is what we were talking about, you know, over the past couple of weeks. But we also have to know how to conduct ourselves in a business-like manner. Anne: Absolutely. Pilar: And that means knowing what you spend, how you spend it, having a competent CPA who will be able to help you and go over things with you. So for example, one of the things that I didn't know was that there are a lot of expenses that we have that we can deduct. Anne: Yes. Pilar: But you have to know which are the ones that you can deduct. You can't just deduct everything willy-nilly. That's what you check with your accountant for. And so my accountant every year gives me an organizer, and it's really helpful because it just, there are categories of expenses that I can look at that I may not even have realized that I can deduct. Anne: Does this change yearly? Do you get a new one every year? So -- Pilar: I do. Anne: Because the tax laws change every year. So my accountant has to stay up to date. And of course that's why I pay her. So she knows the latest. How much can I donate every year? How much can I deduct for this? How much can I deduct for that? And is this a deduction really? And so the cool thing about having one on retainer, and it's not as expensive as you might think, because she just, she's very good at it. And she does it. She just does it for a set number of clients. I'm not that complicated in reality. My business is not that -- it's not like I have retail that I'm shipping out every day and I've got all sorts of vendors that I'm purchasing from. Literally it is essentially my expense is buying equipment and things for the office and things for my business and literally people paying me. And that is a simpler business than let's say a corporation that has employees and all that sort of thing and health benefits. And so for her to manage my account, it's fairly, for what she does, inexpensive. And the nice thing about it is that because she manages it monthly, by the time tax season rolls around, usually most accountants are crazy busy. And I remember like panicking because before I had hired her on a monthly retainer, it was the end of the year, and I was scrambling, right? Oh, here, here are my forms. And I would make copies, scan my copies of everything, and send it to her because she was not local. I used to go to a local one, but you know, now she's, she lives in another state. And so I would make sure I, back in the day, faxed it, sent it securely to her so she could do the taxes, but then it was like, you know, nail-biting because she was working on other clients as well. And there was that deadline. And so she would be so crazy busy that I would be like, oh my God, did you get, you know, and then -- do I owe, do I owe? And if I, oh, I have to prepare or am I getting anything back? And so that's whole that nail-biting period of time, where a good month or two, even if I started at the end of January, here are all my forms. She was insanely busy. So she got to me when she got to me. And so sometimes I'd be waiting a month and I'd be like, do I owe money? So ultimately it's so much nicer now that she already knows my accounts well, and we meet periodically so I can explain, you know, things, money that comes in. What was that for? Where should I categorize that? And basically that's it. And she manages by the way, not just the income coming in in one payment, because I allow my clients to pay me either PayPal credit card, ACH. There's multiple ways that my clients can pay me. And she handles all of those accounts, including my personal account that comes in so that we can make sure that I get the best tax advantages that I can for the year. Pilar: Yeah. That's really important. One of the things that I think is for me, so my brother-in-law used to do my taxes way, way back when, and then one day he basically said, okay, Pilar, you're all grown up. You need to start doing your own taxes. And I was like, what? I was incensed. I was so hurt. And then I was like, yeah, it's called being a grownup. So I went to TurboTax, and I think I might've done one year. Anne: Yeah. We tried that too. It gets complicated when you're personal. And then business. Pilar: The reason why I mentioned is because that's exactly what happened to me is that I thought that I could do it all because -- I know a lot of people who do their -- I know a lot of actors who do their own taxes. And I think that that's awesome. And if you are really good with numbers, and you understand bookkeeping, good for you. But if you don't, and this is something that a really good friend of mine taught me, if there is something that you can't do when you're just butting your head against the wall, there are people who know how to do it better than you. Anne: Oh my gosh. Pilar: So stop be trying to invent the wheel. Anne: Be smart, outsource. Pilar: Exactly. Go and get an accountant. There are plenty of accountants who are specialized, and that's important, to find an accountant who is specialized in the kind of business that you have. Anne: Oh yeah, absolutely. Pilar: And so they know what to deduct, and they know that they can -- you know, so if you have a business, and you're inside your house, they can figure out, you know, I can take this much for, in terms of using my business in the home, because there are ways to structure that, and they know how to do that. Anne: Right. Pilar: But trying to do it on your own when you don't know what you're doing, and you're using a platform, I can't tell you the amount of times I messed up on TurboTax. Anne: Oh yeah, oh yeah. Well, and us too, it's a nightmare. It is a nightmare. Pilar: And it can cost you a lot of money. And luckily my brother-in-law would, he would like, you know, drag me from the edge. And finally I said, okay, that's fine. I get it. I'm hiring an accountant. Anne: Yeah. Well, it's like one of the, I can do it. Yeah. I'll save money if I do it. In reality, by the time you've finished doing it, you've spent so many hours trying to learn -- Pilar: That you can't get back -- Anne: -- and then do it -- Pilar: You can't get back those hours. Anne: And plus you're not up on all the tax laws. That's the other thing. You could be making deductions that you did not, or you're, you may not know about deductions that you can take. And that is so, so important, which is why for me, I'd rather invest it. I consider it an investment. My accountant is an investment in my business ,and she helps to -- she explains things to me and has to tell her, like, what does this even mean? And I'll just say, hey, look, I'm not proud. We are entrepreneurs. We own our own business. If you do well at that business, I remember the first few years, of course I showed a loss, right? And the government expects that right for businesses. So you can have a loss and I actually did have a loss, but when you start making money, and then if you start making a certain amount of money and you are a self-employed, they look harder at you. And so it is not inconceivable that you will get audited, even if, you know, I mean, look, I'm on the up and up. I mean, my accountant's on the up and up, and I got audited a couple of years ago, and it's not fun, but because we were organized, and she had done my taxes for so long, it was super easy for us to submit, like they thought we were missing paperwork or they wanted proof for some donations or whatever it was. I can't even remember what it was, but we had it. It wasn't a big deal at all, but anything that goes through the government, as you know, takes that amount of time. And she was able to like send the certified letters, send everything that they needed. And then of course they didn't receive it. I got another letter that said, blah, blah, blah, or I owed, and I needed to pay. Whatever that was, she was able to take care of it for me. And it was just, uh, it was, oh, it was just a godsend because otherwise I would have had to do it myself. And it's scary when you get audited. You're like, oh my God, did I do something wrong? Of course I didn't do my, you know, she did it for me. I'm like, oh my God, did something happen? Did we take a deduction that shouldn't have happened? Of course not. So, but you've got to prove it. You've got to prove it to them. So. Pilar: And they know, because they've been doing it for so many years, they know how to go up against the government and say, no, no, it's right here. Anne: Line here. I deducted this. Yup. Pilar: Yeah. They know the lingo. They know how to do it. And also something that I learned this past year is that they are behind a good six weeks. Anne: Always. If, if not more. Pilar: If you ever get a letter from the government, they're responding to something that happened six to eight weeks before this. And so if you're like panicking going, oh my gosh, I don't know what to do, that's why it's always great to have an account in your corner, knowing what's going on, because then everything is up, and it's out in the open. Trying to be underhanded is not great. And if you make a mistake, you're setting yourself back and you're giving yourself a headache when guess what? You could be spending time in the booth. Anne: Sure. Pilar: So like, for example, in this organizer that we were talking about before, it gives you ideas and things that you can deduct. So let's say you haven't really paid attention to your stuff. You can go ahead and look back. That's why a credit card is so important because that's where you see the spending, and you can see, oh, I spent this money on that. Or, oh, I can actually deduct this, but you have to have your receipts all in one place. That's why you want to have a separate credit card. Anne: Oh. And I try to use that credit card for every single transaction. And that includes healthcare as well. Because as part of my business, right, taking care of my health, I have a deductible. I have a healthcare plan through my husband, but what I pay that's not covered by that is also deductible. And that can be towards my tax year. And so if I pay for everything on that credit card, it's super simple to organize for my accountant. Just almost everything goes on the credit card as a matter of fact. I think I only write, I only write checks and that and checks really, the one credit card and checks, and it's been probably the easiest thing ever. I think the fact that I accept multiple credit cards coming in and checks coming in and PayPal and Venmo, I accept all these other incoming pathways of income, that's harder for her to organize than the fact that I only pay out on my credit card or I write a check once in a while. It's funny because I almost don't know how to write a check anymore. Pilar: I know I never do. I almost never do. It's really funny. Anne: And who mails a check? I mean, like oh my God. Pilar: Well, what about when you're sending it to the IRS? Anne: Yes, exactly. Pilar: Then you have to certify it and make sure they get it and return receipt. That whole business. Anne: Goodness. Yep. Pilar: Something that I started doing too for myself, even though I hand everything over, but I like having my stuff organized. So this is, and I'm going to tell the VO BOSSes, this is how I used to do my taxes. Just so you realize -- Anne: The shoe box. Pilar: Practically. Anne: Yeah. Pilar: So I would have different folders. I had different folders, but I mean, we're talking less than three years ago, I was still doing this. All right? We're not talking like 10, 20 years ago. And I would use either my laptop calculator or I would use my iPhone calculator to add up all my gas. Okay. That's how backward I was. Anne: Oh. And mileage too, remember mileage like, when you would travel anywhere, to a studio. Pilar: Back then. Yeah. But back in the old days. Anne: Before the pandemic. Pilar: Right, exactly. Before the pandemic, but I would literally add everything up, and then I would give her the totals, you know, how much I spent on clothing for auditions, on headshots, and resumes, blah, blah, blah. And there's so many now on the market, but the one I use, and I'm actually thinking of changing to QuickBooks, but I use Quicken. So Quicken is great for you to -- and it's basically, it doesn't really matter what the program is. It's basically for you to be able to see A, you can balance, you can balance your budget that way, which is really important, but you can also see, and it can give you summaries of what you spent over the year. So then you go, oh, okay. This is how much I'm spending on groceries. So this is how much I'm spending on takeout, since you've got all these categories and then you can sit there and you can look. Okay, do I really need, you know, in terms of creating a budget for yourself, because you know, we're still kind of going through this situation and where people, jobs and whatever -- the whole market has changed. So it's really great to keep an inventory of what you're doing, and for tax time, then you've got it all in one place. You just have to say, oh yes, okay. This is how much I spent on classes. This is how much I spent on new equipment. Anne: Yep, coaching or yep, new equipment, studio costs. I have an entire folder when I built my studio for just studio costs. Pilar: Exactly. And all of that of course is deductible because it's your business. And so that way, when you've got a program like Quicken or QuickBooks and there's, you can keep track of it through waves. There's the waves app, the Mint, there's, there's so many, Next Wallet, you just keep track of what you're spending and also what you're earning. And I think it's really helpful because really, and truly, we are voice artists. We're also entrepreneurs. We're also our own business. If we treat ourselves like that, if we treat ourselves like serious business people, other people are going to, when they look at our business, they're going to go, oh, okay. She knows where this is. She knows how to, you know, the invoice, this, this is how I do my business. And that is something that, you know, you can go home at night and go, yeah, I'm a business. I'm an artist doing my business. And that's really important. And then when tax time rolls around -- tax time -- you're not freaking out. Right? Because you've got your stuff organized. Anne: That's the biggest thing. BOSSes, if you take anything away from this, it's being organized sooner rather than later, all through the year, every single day. Be organized, track those expenses and have that account, try to keep it as simple as possible. And like I said, we're actually kind of lucky. We're not as complex as some corporations that provide healthcare and hire employees. I mean, I outsource, so that's a whole other thing because I pay people as well. But honestly, compared to like a normal corporation, it's fairly simple what we do and what we need to keep track of. So I think that if you can give yourself a certain amount of time each week, each day to just make sure those expenses are categorized, they're organized, they're put into financial software, you talk about QuickBooks or Quicken -- I used to use Quicken, but now I use QuickBooks online with my accountant. We can both go into the same account and look and try to reconcile. If she has any questions, she can ask me. And it's a really great way to just keep on track with things. That's the best thing you can do is keep on track because by the end of the year, the last thing you want to do is to be scrambling. Pilar: Yeah, exactly. It really is great to be able to see what it is that you do in your daily life. We couldn't really do this before the age of digital. And so it's really nice to be able to see, because we're freelancers at the end of the day. Unless you have a nine to five job doing this, you don't really know how you're spending your money. So it's, it's a really nice sort of bird's-eye view of seeing, okay, this is what I spent on gas. This is what I spent on takeout. Maybe I can cook a little bit more at home if the money situation, if it's that time of year, when there're not a lot of auditions coming in and you're not booking work as much as you'd like to, then you can say, oh, okay, I can shave a little bit off of this. Because you see, and you have your totals and you see what you've spent for the month. You've, you've already figured out what your budget is, so. And it takes time. I didn't come to this, these realizations overnight. It took a lot of blood, sweat, and tears to figure it out. Anne: And tears. Pilar: You know, but there're great resources online. You know, I don't know if people are aware, there's this organization called actorsfund.com and you just have to basically, you know, you can do orientation sign up as an actor because we are actors, and they have all these great courses like budgeting nuts and bolts, how to create your own budget. Anne: Oh, nice. How do people get there again? What is that, actorsfund.com? Pilar: Actorsfund.com. Anne: Awesome. Great. Pilar: There're all sorts of programs. I mean, if you live in New York, there's ways you can, they talk about housing. They talk about mindfulness meditation. Anne: Because after we do our taxes, we need that. Pilar: We need to lay down. Anne: We need mindful meditation to calm down. I also want to say though, that not just for full-time entrepreneurs, but for people who are doing this part-time, I remember when I did it part-time, I didn't at the time have enough opportunity to make a certain amount of money so that the taxes were simpler. If I made a thousand dollars in the year, did I actually report that as a business income? Not necessarily, but if you are part-time, and you intend on either you're getting enough work, and you're intending on going full time, getting that business bank account, figuring out if you're going to be an LLC or an S-corp or DBA, whatever that is, I think the sooner you start that, the better. And it's always good to be mindful of keeping your accounts separate. So if you are doing this part-time, maybe get, if you're not incorporated yet, or you're not a DBA yet, just get a separate credit card and only use that. And then maybe see if you can get a different bank account. Hopefully your bank will allow you to get a business bank account so that anything that comes in or goes out, goes through that account. So start early with that. Pilar: And check out, I think it's, Next Wallet. You can actually do comparison of credit cards to get really good deals. So you can get a credit card that can give you points, and you can even pay for some of your bill with the points. Anne: Yeah, that's, that's what mine is. So whenever I use to buy, I get money back at the end of the year. I get like 2%, 3% back. And that's typically what I do because I don't want to pay my full bill. Right? Pilar: There are a lot of resources out there. You just have to look for them to help you. And it does get easier with time. Anne: It does get easier, guys. BOSSes, you can survive tax time. Pilar, and I are here to tell you that. Get yourself organized. Pilar: It'll go from "it's Tax Time" to "it's tax time, yay." Anne: There you go. There we go. Wow. Good topic. Not always one that I love talking about, but hey, it's a necessary topic. And to be BOSSes, we have to move forward and get prepared and pay those taxes and survive the season. So BOSSes, we have the faith that you can do this. I'd like to give a great, big shout-out to our sponsor ipDTL that allows you to network and connect like a BOSS. Find out more at ipdtl.com. You guys, have an amazing week and we'll see you next week. Pilar: See you next time. Anne: Bye. >> Join us next week for another edition of VO BOSS with your host Anne Ganguzza. And take your business to the next level. Sign up for our mailing list at voboss.com and receive exclusive content, industry revolutionizing tips and strategies, and new ways to rock your business like a BOSS. Redistribution with permission. Coast to coast connectivity via ipDTL.