Special Guest: Tasia Valenza

Tasia Valenza is one of the most prolific voiceover bosses in the industry. So we jumped on the chance to talk to her about her career, her philanthropic endeavors and her latest passion. She’s at the top of her game and sharing her gifts with the world. Today, we introduce you to #givinggreatvoice. Join us in the challenge!



Takeaways

Quick Concepts from Today’s Episode:

  1. Tasia Valenza has been a voice actress for 20 years.

  2. She’s a prolific actress and coach.

  3. She’s the founder of The Giving Great Voice Challenge.

  4. Giving Great Voice is all about giving the gift of our voice and using them in favor of technology.

  5. It’s a kindness campaign that asks us to connect emotionally and vocally.

  6. In started during the 2018 Holiday Season.

  7. Giving Great Voice has become a viral effort that grassroots with voiceover actors telling the world what it means to them to give great voice.

  8. Tasia is asking voice actors to be ambassadors to the cause because we know the power of our voices.

  9. Tasia has also been a huge part of the online meditation app – Haven. Voicing and writing for the platform.

  10. Tasia’s efforts are geared toward people personally, professionally and interpersonally.

  11. We can and should create social connections with our voices.


Referenced in this Episode

Direct links to things we brought up ++


Tasia’s Website
Learn more about Giving Great Voice
Recorded on ipDTL

Transcript

>> Today’s voiceover talent is more than just a pretty voice.

>> Pretty voice.

>> Pretty voice.

>> Pretty voice.

>> Today’s voiceover talent has to be a BOSS.

>> BOSS.

>> A BOSS.

>> A BOSS.

>> Join us each week for business owner strategies and success with your hosts Anne Ganguzza and Gabrielle Nistico, along with some of the strongest voices in our industry.

>> Rock your business.

>> Rock your business.

>> Rock your business.

>> Like a BOSS.

>> Like a BOSS.

>> Rock your business like a BOSS.

>> Rock your business like a BOSS.

>> A VO BOSS.

>> A VO BOSS.

>> A VO BOSS.

Anne: Hey, everybody. Welcome to the VO BOSS podcast. I’m your host, Anne Ganguzza, with my amazingly wonderful BOSS bestie, Gabby Nistico. Hey, Gabby!

Gabby: Ciao.

Anne: Oo ciao. Ciao bella. [laughs] So Gabby, I was on Facebook the other day and happened to notice a post that was asking about how to write a contract, or what should I include in my contract from my client?

Gabby: Mmm. Mm-hmm, mm-hmm. Yeah.

Anne: And bam, I thought wow, this would be an amazing topic to talk about.

Gabby: Oh yeah, and I think there’s so many different aspects of it too. People are intimidated by contracts, afraid of contracts, don’t know what to do for a contract, don’t know where to get contracts. It’s a whole thing.

Anne: It is. [laughs] I think it’s important to understand, I guess in our industry, what’s important to include in a contract, and can you write one yourself? Is that a thing?

Gabby: Any decent contract I think originates from a legal attorney. That’s its beginning. You really want to have that initial structure set up by someone who knows and understands contract legalties. But it can be modified after the fact. And they can be kind of evolved. The contract that I use for all of my imaging and TV promo work is like that. It was created many, many years ago by an attorney that the casting company I worked for hired, and I was given permission to use it. But you know, like I said, it started with someone who really knows what the heck they’re doing in that world.

Anne: So let me ask you, Gabby, because I think we should differentiate, because you’ve an actual like document, correct, that you send for all of your clients to sign, or is this just for your radio imaging clients and TV promo?

Gabby: No. So in my world, anything that’s on retainer should have a contract.

Anne: Mm-hmm. Absolutely.

Gabby: That could be a commercial client. And, in the past I have had commercial clients on retainer. I’ve also had corporate clients on retainer. But whenever there’s a retainer and there’s an agreed upon amount of work for an agreed upon consistent amount of money, yeah, there has to be a contract in place. I’ll take the contract I’ve for imaging and promo and modify it depending on whatever that need is.

Anne: Also, Gabby, I think it’s important for our listeners to understand, there is a contract that you can draw up, or there’s a contract that you sign that your client draws up. I’ve had both.

Gabby: Yes. I have too.

[both laugh]

Gabby: The reason I’m laughing is because in many, many, many instances, a client is going to present you with a contract –

Anne: Right.

Gabby: but my feeling on it is, if you don’t have a counter contract of your own, or just a decent knowledge of contracts, then you really don’t want the client being the one to originate it.

Anne: Well now, that’s very interesting. Because I’ve had, for my corporate contracts,

I’ve had companies that originated with me, and I will not get that work unless I sign it. However I will say that every contract that, and this is important I think for you guys to listen to, every contract that you are presented with, you have an opportunity, right, to mark up that contract, and to negate points on that contract that you may or may not agree with. Don’t just sign a contract blindly, for goodness’ sake. Please God, don’t do that. I think it’s your responsibility as a good business person to absolutely review all points of the contract, and if you don’t agree with those points of contract, you can mark that up and submit that back to your client for review.

Gabby: Literally all you have to do is put a line through the thing you don’t like.

Anne: And initial.

Gabby: Exactly, and your initials next to it, and then you resubmit it. I’m always going to assume that if the client is handing me the contract, that the contract is not written in my best interest. That it’s written in their best interest.

Anne: Of course. Hence therefore if you write the contract [laughs] you’re at an advantage there, right, because you’re stating exactly what it is that you want from the client or are going to provide the client. Now I’ve had an instance where I’ve had a contract that was sent to me by a company, and it was a long-term contract, right, where I was getting a substantial amount of work for a substantial length of time. I then looked at the contract, marked up those areas which I didn’t agree with, and put my initials there, and you can sign that to see if your client will accept it. And then there is also something that I have sent to my clients after that takes place is a statement of work contract, a SOW, a statement of work, which you have to sign. It’s something you provide to the client if you’re expecting work from them, or they might send you and have you sign as well.

Gabby: Yup, I’ve also had cases where I’ve submitted my contract to a corporate client, typically one of the big radio conglomerates, and then they acknowledge my contract, but they attach their contract as an addendum.

[both laugh]

Anne: Exactly, exactly.

Gabby: So it’s –

Anne: Then we just addendum everything.

Gabby: Right, so it’s a contract merging with another contract –

Anne: Which then gets responded to with yet another maybe addendum. There’s always –

Gabby: And they make a baby called an NDA.

[both laugh]

Anne: That’s true, there are – there’s like addendums, and there’s A, B, C, addendum –

Gabby: It’s crazy.

Anne: – you know, whatever you want to call it. The bare minimum, I just want to say a contract can be as simple as an email. And an email that states those important things, and Gabby, you and I went through this in our negotiation class, what are the important points that we need to spec out for a voiceover job?

Gabby: You’ve got to outline the work that you’re willing to do versus the work you’re not willing to do and what would cost additional money above and beyond the contract.

Anne: Revisions, yeah.