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Karen Commins

Award Winning

Atlanta Audiobook Share-rator™

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3 pieces of email marketing research

19 July 2011

When I wrote the article 5 pieces of e-mail marketing advice, I was referring to those times when you send a personal message rather than a general newsletter to your voiceover clients and prospects.

As you might expect, an e-mail newsletter has its own considerations. Since newsletters can be a great way to unobtrusively remind people that I am a voice talent, I have just started publishing a monthly newsletter. I want to share 3 things I learned in this process in case you want to create one, too.

1.  Automated software is a must.

Lately, I’ve been hearing radio ads from ConstantContact — yes, RADIO ads about email marketing! I’ve also been seeing banner ads for multiple email solutions on numerous other sites. Email marketing systems have obviously become a big business since people continue to have success in using email as part of their marketing plan.

You could send mail to your list using your own database and email client like Outlook. Another, more popular approach is to upload your database to an on-line service. Since on-line email services are so prevalent and offer an array of built-in features including templates and tracked statistics, it makes a lot of sense to use one if your finances can accommodate it. You can try the systems at no cost for a limited time or number of users in order to decide the best one for you.

Here’s some research that may help you decide which one to use.

Earlier in the year, I saw a question in a LinkedIn group in which the participants were asked for pros and cons about email marketing systems. An assistant started compiling the results for me and got through 254 of the hundreds of responses. I had no idea so many email systems exist! If you’re interested, here’s the full list from those 254 comments.

Of the 84 companies found in those first 254 responses, the top 5 companies, representing 73% of the total votes in my list, were:

ConstantContact 41 votes

iContact 23 votes

MailChimp 22 votes

AWeber 18 votes

MyEmma 11 votes

Aside from this list, you can do a Google search and quickly find a chart like this one that compares numerous features across multiple systems.

2.  Permission-based marketing is a BIG deal. A VERY BIG DEAL.

You’ve probably noticed that most emails from companies include a link to unsubscribe to mailings. That feature is mandated in the CAN-SPAM Act of 2003.

Beyond that law, though, people have extremely strong feelings about being added to mailings without their permission. In fact, adding someone to your mailing list without asking them first is quite the polarizing issue.

I can make this assertion after reading questions about creating mailing lists in multiple LinkedIn forums. Each time, the question elicited extremely passionate responses. I decided to create a LinkedIn poll in which I asked the question:

“When is it okay with you if someone adds 
your e-mail address to their e-mail newsletter?”
I offered several choices for answers:
  • You’re connected on LinkedIn or other sites
  • They gave you their business card
  • You have exchanged e-mail messages
  • All of the above
  • None of the above — they need permission

Of the 14 respondents, 9 voted NONE OF THE ABOVE, with ALL OF THE ABOVE being the choice of the other 5 participants.

The comments on the poll page linked above and in a similar question I asked in 2008 when I first considered a newsletter give you a good snapshot of opinions on both sides.

I decided to use iContact for my newsletter host, and I felt they went overboard on ensuring that you have permission to send the message to each contact. You have to click a checkbox in several places to validate that you have the reader’s permission.

Here’s what happened to me when I set up my contact list in the system:

  • I removed from my database a number of voiceover clients that I’ve dropped and prospects with whom I hadn’t established a relationship. In some cases, I had been out of touch with a person for 2-3 years, so I removed their names, too.
  • I uploaded my list of solid contacts from my stand-alone database.
  • I couldn’t add a name to my iContact mailing until the person confirms I have their permission, so I decided to let my contacts confirm their mailing addresses could be added to the newsletter list before sending them the newsletter.
  • iContact made me initial that I could contact the person even when I was sending the pre-addition confirmation letter! That’s a Catch-22 if ever there was one!

3.  Timing is [not] everything.

Voice talent live by the clock. Radio and tv ads need to be 15, 30, or 60 seconds. Agents need auditions at a certain time, and clients expect a fast-turnaround for recordings.

Email has its own timing. I’ve read that the best time to send your message is on a Tuesday morning. I planned for my first issue of Success Leaves Tracks to be distributed on Tuesday, 5 July.

The only problem was that I didn’t realize that I was going to hit the permission-based wall.

I thought I could add my database during the July 4th holiday weekend and have the newsletter appear in mailboxes when people returned to work on Tuesday. Nope. I needed their permission. I ended up sending out the “please confirm it’s okay to mail to you” messages on Friday, 1 July.

Let’s just say that I didn’t get quite the enthusiastic response I had hoped for!

In hindsight, I wouldn’t have sent my confirmation notices on any Friday, particularly one before a holiday weekend! I’m sure that many people deleted the message and moved on, which limits my potential to send them messages through iContact.

Even though my timing in setting up the database could have been better, I’m confident that the newsletter will find the right audience. After all, in the words of Buddha:

An idea that is developed and put into action
is more important than an idea that exists only as an idea.

If you’re planning to start or are already publishing a newsletter for your voiceover business, please leave a comment on the blog!

 

Filed Under: Business, Marketing, Narrators, Success Leaves Tracks, Voice-Over

Launch of “Success Leaves Tracks” Newsletter

5 July 2011

For years, I have wanted to produce a newsletter as a gentle way to keep in touch with clients and prospects. When I started writing this blog 5 years ago, I thought it might take the place of a newsletter. However, I see now that my voiceover business can benefit from both tools.

This blog focuses primarily on topics dealing with voiceover, audiobooks, and marketing. Many of the articles are prompted from specific questions that I receive about working as a voice talent. I also have started a discussion board on Facebook where people may wish to pose these kinds of questions.

Long-time subscribers of this blog probably know that I draw inspiration from reading lots of biographies. I often find myself repeating things I’ve read while in meaningful conversation with people who are looking to make positive changes in their lives. I didn’t want to change the focus of my blog, but I still wanted some way to share inspirational stories with others.

I wasn’t sure that a newsletter would fit the bill. Most marketers would probably say that the purpose of a newsletter is to keep readers informed about your product and services. To me, this viewpoint seems self-indulgent when marketing myself and my services as a voice talent. Just as I don’t fill my blog with entries about my voiceover projects, I don’t want to create a newsletter with that kind of content, either.

Instead, I want to offer something that people would want to read, something they would actually look forward to receiving each month, like they did when I sent postcards in the mail.

You see, I would would highlight a successful, famous person who had nothing to do with voiceover. I loved picking a person and doing some research about them. Then, I would write about their accomplishments and include some of their best quotations on the postcard. People actually called and emailed me to tell me they appreciated the mailing. I stopped the postcard mailings due to the ever-increasing printing and postage costs associated with mailing to a large database.

I don’t know why it took me so long, but the lightbulb finally went on — why not publish a monthly newsletter using the same general idea so that it serves as a virtual postcard?!

And so I am, starting with the inaugural issue of Success Leaves Tracks, to be published today.

In addition to a short biography, the newsletter will include a Success Track that may help you on your path to success. If it sounds interesting to you, I invite you to sign up for the mailing list from my Facebook page. If you don’t receive the July issue, you’ll be able to find it in the newsletter archives.

Now that I’ve told you about my newsletter, my next post will provide some info I learned that may be useful to you if you intend to include a newsletter in your marketing mix.
 

Filed Under: Business, Marketing, Narrators, Success Leaves Tracks, Voice-Over

Simple math about audiobook rates

13 June 2011

Last updated 2/7/21

 

My email inbox continues to provide fodder for blog articles. Last week, someone sent me this question:

I’ve been asked to record a 200 page audiobook. I’m not in a union or guild. I do have some voiceover experience. What do you recommend I charge?

Original Answer

While the question you asked seems simple, the answer requires more explanation, as found in this blog post and the one from Paul Strikwerda linked within it.

As basic info, you need to know the WORD count, not the page count, of the book you would narrate. You can figure out the finished run-time based on the word count. For instance, Audible uses an average rate of speed of 155 words a minute, or 9300 words per finished hour.

Paul’s article shows you a formula to calculate finished time. My article shows you how to calculate the real time required for editing to produce the book. As Paul points out in his comment to my article, you also need to add time for preliminary research.

You’ll have to consider all of these factors about the time commitment along with your experience, relationship with the client, training, and studio equipment to determine a rate that is fair compensation.

Small publishers only pay $50-100 per finished hour. I would only perform an audiobook at that very low rate if I wanted to build commercial credits.

I hope these thoughts are helpful. Best wishes for your continued success!

New Answer (WARNING: MATH IS INVOLVED!)

Apparently, I overwhelmed this person with good information that would require her to actually do some research because she re-posted her question on a voiceover forum within an hour of receiving my reply.

Here’s the simple mathematical formula for solving this problem:

1.  Divide the word count of the book by your rate of speech per hour to get the estimated number of finished hours. If you don’t know your rate of speech, Audible uses 9300 words per hour, or 155 words per minute (WPM), in its calculation for books posted on ACX. Your actual rate of speech and finished time may vary significantly from the estimate due to the complexity of the text and your acting choices.

Some narrators have reported that using 9000 words per hour (or 150 wpm) is a better average rate for more people. If you’ve done some projects where you were given a word count, divide the word count by your finished time to learn your average words-per-minute rate of speech.

If you don’t have the word count available, you can estimate the finished time by following these steps:

Let’s say you a have a 300-page book. To estimate finished time, start a stopwatch as you read 3-5 representative pages aloud as if narrating. Keep going when you have errors, and stop your timer when you’re done.

Divide the time you obtained doing the sample read by the number of pages in the sample to get the average time to read each page. For instance, if it takes you 10 minutes to read 5 pages, your average time per page would be 2 minutes per page. (10 / 5 = 2)

Multiply the total pages in the book by your average reading time per page from your sample read to see the total estimated minutes. (300 * 2 = 600 minutes)

Divide the total number of minutes in the previous step by 60 to get the finished hours. (600 / 60 = 10 finished hours)

Real life examples usually aren’t so tidy with whole numbers. You find it helpful to use a decimal-to-time calculator with your finished hours figure to see the minutes and seconds.

2.  Multiply the number of finished hours by 6. This number is a very conservative estimate of the number of real-time hours you and your team will spend in recording, editing, and transmitting your book.  For instance, a 10-hour book may require at least 20 and, if you are doing your own editing (which I don’t recommend — instead, outsource it), 60 or more hours of your life from the time you record the first word until the last byte is uploaded or mailed to the client.

The general breakdown of hours for experienced narrators is:

Recording: 2 hours for 1 finished hour

Editing: 3 hours for 1 finished hour

Proofing: 1.2 hours for proofing

Note that preparing to read (pre-reading the book, looking up pronunciations, etc.) is NOT included in this calculation, so you will need to add time for that process.

3.  Multiply the real-time hours by the hourly rate of pay you need to survive. Chances are very good that you will come up with a pay rate for this audiobook that is $1000s MORE than your client wishes to pay. You have to decide how to negotiate a rate acceptable to both of you.

Even with this formula in hand, you still will want to research current audiobook rates. Be aware that the SAG/AFTRA union minimum on ACX is $250 per finished hour. which is an all-inclusive rate. If you are producing the retail-ready project, you need to factor in costs for an editor and proofer as you will pay those out of your PFH rate. (Each publisher has negotiated contracts with SAG/AFTRA, and only the ACX rate is publicly available. The narration rate with other publishers varies.) If you want tips for negotiating a higher price, check out my article Cruising for a competitive advantage

Once you know the amount of time you’ll invest in the project and the amount of money you need to get for your time, you’ll know whether to accept an audiobook project.

For instance, I would voice a royalty-share book only if I’m willing to bet that based on from the book’s ratings and reviews that I would earn back my fee over time. Otherwise, I might do a RS book if I were passionate about the topic and had the time available for the project. I’m much more interested in a hybrid arrangement of a PFH payment up-front and a RS contract. On ACX, this type of arrangement is called a Royalty Share Plus contract.

It’s always good to be working and gaining credits if your survival needs are being met.

If you have more thoughts on this topic or questions on other topics related to voiceover, marketing, or just living your best life,, I’d love to get your comments on the blog!

Photo:  iStockPhoto.com/STEVECOLEcc

Filed Under: Audiobooks, Business, Narrators, Voice-Over

Trying to get a voiceover agent?

3 April 2011

Suddenly, I am receiving a rash of emails with the question: “can you direct me to some Atlanta voiceover agents?”

Many people think that the key to voiceover success lies with an agent. Once you get an agent, you just have to sit back and let the lucrative offers come in, right? Ah, if only it were so easy to make money at your microphone!

This week, someone wrote to me about getting an agent while still enjoying the flush of success from working his first paid gig. He lives in another city and was ready to get on a plane to Atlanta to meet agents. In responding, I explained that I was offering this information in the same spirit of helpfulness that I write my blog.

If you’ve only booked one job, it’s doubtful that you’re ready for a voice-over agent to want to represent you.

In order to land a voice-over agent, you have to show that you are a marketable commodity and can offer them something that they don’t already have among the people they represent. You should listen to the reels of their talent to determine whether and how you might fit on their roster.

You also want to compare the professional sound of your demo against those you hear on-line. Those professionals are your competition for booking jobs. If your demo is homemade, you’ll want to invest in any necessary training with a coach before getting a professionally produced demo.

Hard work, initiative, and knocking on doors does indeed pay off. I just think you need to knock on some other doors to establish yourself before you approach an agent. You can get work without an agent; agents are just one avenue, not the only avenue, of obtaining work.

Check out the advice page on my site and look in the archives of my blog for more in-depth advice and resources on finding and marketing yourself to people who might hire you right where you are. To quote Teddy Roosevelt:  do what you can, where you are, with what you have.

 
I guess my answer above is just another case where I tell people what they need to know, not what they want to hear.

A few other thoughts about agents:

  • Far too many organizations are ready to prey on people’s dreams by taking their money and giving them unfilled promises in return. Modeling/talent agencies that set up in malls, organizations that hold “open casting calls” or regular searches for new talent, and places that run radio ads are probably some sort of school that makes their money from selling classes and pictures, not from booking talent. A legitimate voiceover agent doesn’t need to solicit more talent, and they only charge you when you book a gig through them, usually 10-15% of the gig!
  • If the agency doesn’t have a voiceover department, I doubt they could really help you.
  • You probably don’t want to sign an exclusive agreement with one agent. Many voice actors have numerous agents located across the country and in other parts of the world. To reduce potential conflicts of interest among your agents and clients, it’s best if you only have one agent per city or geographic region. Also, the relationship gets tricky when you receive the same copy from multiple agents. In those cases, I send the audition to whomever sent it to me first.
  • If you are active with your marketing, be sure any prospective agents are not threatened by your efforts. One agent asked to represent me because she loved my clever pieces of direct mail and then dropped me a year later (after rarely sending me an audition), telling me that she felt my marketing competed with her. I have booked most of my work as a result of my own marketing, so I would not sign with another agent who discourages it.

 
If you still worry that you don’t have an agent, you are focusing on what you perceive you lack in your life. Instead, look at and be grateful for all you have. Keep a list of your accomplishments ready for review so that you can maintain your confidence and positive outlook.

A good talent agent can send you auditions and open doors that were previously closed to you. With polished skills, research, and patience, you will be able to attract the right agent representation at just the right time.

Photo: iStockphoto / Talaj
 

Filed Under: Business, Marketing, Narrators, Voice-Over

Fantastic FaffCon!

27 February 2011

Attendees at the original FaffCon had nothing but glowing things to say about it. After all, how often do voiceover actors get to spend an entire weekend in the company of other working professional voice talent, much less actually sharing ways to improve our performances and business operations to get more work?

I was unable to attend the first FaffCon, held last September in Portland, OR. To be perfectly honest, I don’t know that I would have attended the second one if travel had been involved. However, to my great delight, FaffCon2 was held this weekend in Atlanta. Add me to the list of the glowing FaffCon alumni! Not only that, but I’m already making plans to attend the next one! And yes — there WILL BE a next one, so keep reading!

Let me start by saying that this or any other blog post cannot do justice to the event! I have pages of notes and a head full of great ideas about tactics to take my voiceover business to an even higher level. I finally met people in person whom I’ve known on-line for years, and I also made new friends. Most exciting of all, another participant had an amazing idea as a result of one of the sessions and asked me to collaborate on a new project!

FaffCon Founder Amy Snively guides participants in Atlanta.

 
FaffCon is the brain child of the vivacious and indefatigable Amy Snively. While FaffCon might seem like a big voice talent meet-up where people just schmooze with each other, it actually is a potentially life-changing educational event that requires tremendous planning and organizational skills. I am extremely impressed with how smoothly everything ran, and I don’t know how Amy possibly had time to sit and enjoy the sessions.

In terms of voiceover training, FaffCon is unique because it:

  • is entirely participant-driven
  • fosters cooperation and camaraderie rather than competition as egos are left at home
  • doesn’t have sales booths in the back — or in any part — of the meeting rooms
  • gives participants unparalleled access to go “behind the curtains” to learn success strategies from other professional voice talent and industry leaders

Participants jockey to post topics and decide sessions to attend.

 
Amy explained that we should think of FaffCon as a field of golden nuggets. You have golden nuggets to share with others, and you’ll get some in return. However, no one knows when and how those nuggets might turn up. You may not even know you received a nugget until you’re away from FaffCon and review your notes.

In order to encourage everyone to reveal their secret formulas to success, what happens at FaffCon is supposed to stay at FaffCon. Some of the session highlights for me were:

  • 3 sessions with the charming and extremely knowledgeable David Goldberg from Edge Studio in which he discussed and demonstrated why the vast majority of demos are rejected along with other marketing Q&As
  • Numerous methods to attract repeat clients from the creative and clever Mercedes Rose
  • Inspiration to “invite the avalanche” from the highly esteemed yet incredibly humble Bob Souer
  • Positive energy and synergy generated in the session that I led, “The Power of Your Words Away From the Mic”.

I need to decompress, think carefully about what I heard, and develop an action plan to use the armful of golden nuggets that I received. As I said to a number of people over the weekend, everything about my voiceover business is an evolution. FaffCon was a much-needed jolt to help my business evolve exponentially instead of incrementally!

If you’re a working voice-over talent who wants to improve your business, make plans NOW to attend FaffCon3 this fall! I hope to see you there!

FaffCon logo for event scheduled 23-25 September 2011 in Hershey, PA.

 

Filed Under: Away From the Mic, Business, Narrators, Voice-Over

Beware of 5 Techniques of the “Information Marketer”

5 December 2010

We live in the Information Age. A dizzying array of information on any topic, including starting and marketing your voiceover business, is freely available on the Internet. For instance, I Googled “how to get started in voiceover” and received a list containing more than 3 million hits!

With so much information freely available, you may find it difficult to believe that one of the biggest ways to make money on-line is through information marketing. However, people are always looking for shortcuts to success, so they gladly pay a perceived expert to guide them through the process. Just for grins, check out the number of hits when you Google “how to be an information marketer”. The number of hits is staggering, to say the least.

I believe in obtaining coaching and mentoring from a more experienced person in order to attain the next level of success. I don’t believe in predatory marketing practices from people who offer those kinds of services. If you’re looking for a coach or mentor in voiceover or any other facet in your life, you should do your own research to determine the best fit for your needs and budget.

Since information marketing on the Internet is viewed and heavily promoted as the quick path to wealth, many, if not most, information marketers are preying on people’s emotions and seek only to line their own pockets. I am growing increasingly concerned about these practices in the voiceover industry as more and more people flock to this field and look for the magic secret to success.

I was thinking about this topic today after attending 2 webinars this past week. One was aimed at a group from multiple industries, while the other was specifically targeted to voice talent. Each lasted about 1.5 hours, but I ended each with widely varying thoughts about the host. I decided to point out a few of their sales techniques in hopes that I can save someone from making a serious financial mistake. (Note that I deliberately will be vague in describing each marketer’s approach and offer.)

1. Like a drug dealer approaching potential junkies, the first sample is always free. They hope to get you hooked so that you’ll shell out money for their program and/or products.

How many offers of “free reports” have you seen on-line? How many free webinars have you seen or attended? You never know how useful they will be to you until you actually commit the time to view the material.

Sometimes these “free” offers contain some very good information. For instance, the first of 2 free webinars that I attended this week showed me all the steps needed to create a particular thing. I now have the confidence to create one on my own, and I had an inspired idea about how I might use the thing in my life. The marketer provided solid content and then explained the benefits of the paid program.

Other times, the webinar is a poorly-concealed and aggressive attempt to market the host’s paid program or product. Such was the case in the second webinar I attended this week. It started with the marketer offering some useful tidbits but progressively degenerated into testimonials from hand-picked participants.

Dont get me wrong — testimonials are vital for your voiceover business. Comments from satisfied clients can help to convince a prospect to hire you to voice their project. You should include testimonials on your voiceover web site, as well as on your profiles on LinkedIn and the voiceover pay-to-play sites. My point is that a webinar should provide some sort of useful content for those viewing it. It shouldn’t be an infomercial for the host’s products and services.

2. The sales pitch or copy is overflowing with adjectives designed to tap into your emotional response.

People make buying decisions based on how they feel. Who wouldn’t want to achieve success, have whiter teeth, be able to retire sooner, win fame and fortune, and exceed their fondest dream? How would it feel to have all the money, fame, and jobs you could imagine? Wouldn’t you like to know this oh-so-easy method of living your dream life in the shortest amount of time possible?

An experienced copywriter can create such enticing text that it makes you salivate and WANT the product. Once you fall in the trap of imagining all the great and wonderful things the marketer is talking about, you are extremely vulnerable to buy whatever they are selling.

3. They always make the offer seem very limited or exclusive. If you don’t ACT NOW, you may miss out!

This technique surfaces in several different ways:

  • Only a limited number of products remain at this price. It will either sell out FOREVER or be available for a much higher price later.
  • Only a certain number of seats are available for this event.
  • We only accept a certain number or type of people into this program.

Remember, they are counting on you acting due to an emotional response, and this technique adds the avoidance of negative emotions on top of the acquisition of positive emotions promised in the other copy. If you’ve ever sat through a timeshare presentation, you’ll be familiar with this tactic. The marketer knows that if you walk away and think about their offer, you are less likely to buy it with each passing minute.

4. A higher-priced paid program or service often has a salutary effect on the minds of would-be buyers.

I tend to think that information offered as a report or webinar to a group of people is meant to ensnare many unsuspecting people into buying something they previously had not considered. The same is often true when you attend a free seminar in-person, such as when Drew and I went to an event promoted as an Internet marketing seminar.

On the other hand, a complimentary, private, one-on-one consultation with an expert about your specific business needs can be a smart business move. Many advisors provide a free, 30-minute meeting, You need to interview someone to see how well their product or service meshes with your needs, so I’m not talking about that situation in this post.

In Webinar #1 this week where I obtained some good info, I thought the cost of the paid program was reasonable for the time involved. In Webinar #2 which contained all of the testimonials, I was shocked and appalled by the prices of the paid program. I wondered who in their right mind would actually pay those prices.

Sadly, I think a number of people will make undue sacrifices in order to buy that program if they perceive the marketer to be expert. A higher price can indicate to people that the marketer is in such extreme demand that they can command any price. A high price tag is also another way of making the program seem available to only a chosen few. We all like to feel (there’s that word again) that we know things or have opportunities that aren’t available to all.

I’m sure the participants in such a program would obtain some value, but would the program really fulfill all of the amazing promises made about it?

5. If someone is really trying to sell you something, look for the PS at the end of the sales copy.

The sales copy is often several pages long so that every possible benefit can be explored in depth, and testimonials can be seen in every other paragraph. When this copy is sent through the mail in a letter, the common thought is that people may skip all of the sales copy and go right to end to see who sent the offer. On-line information marketers continue to use this ploy and add some final glorious adjectives with a call to action as a postscript.

If you’re considering buying any type of program or service to gain the advantages promised by the expert, I suggest these steps:

A) Don’t make any decision for at least a 3-day cooling off period. Get away from the emotion of the sales pitch to think logically and clearly about the offer and its usefulness in your life.

B) Do some simple math. Figure out how much money you have available for this program or service. Look at the offer and assign some sort of monetary value to each part of it: materials, time with the expert, and other resources provided. Does it require additional costs, such as travel? How does the sum of the parts compare to the price as a whole?

C) Do some research for similar products and services. If it’s something targeted only to voice talent, ask your colleagues on your favorite voiceover chat board whether they have experience with the provider or can recommend other options. Do a Google search for info about the expert and their products. Subscribe to their blog; you’ll get a good feel for how they present information.

In this Information Age, continue to sign up for free webinars and reports. You never know where that next sparkling idea for building your voiceover business will appear! Just be aware that free webinars and reports usually come with a hidden agenda to sell you something. By considering the points outlined in this article, you can make an objective and informed buying decision.

Do you have any thoughts about the methods used to market products and services to voice talent? Please leave a comment on the blog!

Photo: Greg Grieco

 

Filed Under: Business, Marketing, Narrators, Voice-Over

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