ADVERTISING AGENCY marketing

[Bob Bergen]

Thanks, Joe! ;-)

I'm actually working on a book all about voice-over agents. Publisher is still pending, but as soon as it gets the green light I'll let everyone know!

[GregLittlefield]

Originally Posted by Bob Bergen

...just so I can hear an engineer slate ,"This is Bobbin Beam and Bob Bergen."

...for Bob's Big Boy?

[avitoots]

In this day and age, I don't really see the need to purchase a directory. I subscribe to many e-newsletters in the advertising industry, Screen Magazine (Midwest production info); Ruth Ratny's e-newsletter, among others all for free. When I see an ad agency mentioned I always Google them and check out their website. Time consuming, sure, but it not only gives me some insight into what the agency does, I also see their work, hear the voiceovers and can decide whether to try to contact them or not. Before the internet I subscribed to Screen Magazine so I could get their "Bible" which is a listing of production related entities in the Chicago area. Now all of that information is available for free if you take the time to look.

[Bob Bergen]

The purpose of the Red Books is it lists every advertising writer/producer in the business, what their campaigns are, what markets, etc. When marketing to an advertising agency you really need to submit to an individual for the best results. I've seen actors do mass mailings to advertising agencies with no "go to" contact person. Those will get thrown in the trash for the most part. Just like if you send your demo to an agent with a cover letter starting with, "To whom it may concern." Very impersonal and will most likely not get listened to. It's very easy to find out who the VO agents are. Just like it's easy to find out who the ad execs are. Most free listings don't have the details that the Red Books have. It's over a thousand dollars to subscribe. But if you get one national campaign from your submissions, that will more than pay for your lifetime of marketing.

A good rule in marketing is to be specific. Know who you are marketing to. Know their territories. Know their demographics.

[avitoots]

Bob -- Didn't realize it was so detailed as to markets, etc. However, a couple of the e-newsletters I get have the commercials in the articles along with all of the credits (no talent credits which I totally don't get). So, that's how I gather names of producers, copywriters, etc. The question then is, do you guys get updates on a regular basis from these directories? Years ago I worked at Burson Marsteller and had 13 bosses (I worked for Assistant Account Exeucitves and Account Executives) in 12 months. It was a revolving door. An agency loses a huge account and, often times, the staff attached to that client or brand are let go. So, if the books only come out annually, how current can they be over the course of the year?

I always take a look at the bios of the staff listed. For the smaller production companies and ad agencies I have found that they include the people we want to reach listed in the website. The larger agencies, on the other hand, such as FCB, BBDO, Burnett, generally only have the executives listed. I have found that the Ad Age and other publication reports about the commercials fill in some of those blanks.

I totally understand where you're coming from about talent sending materials just to the agency. It takes a lot of time and energy to do it right and, I've found over the years, a lot of people just don't want to put in the effort.


Arlene Kahn

[jsgilbert]

There are a few individuals in voice over, who either through singular acheivements or via some level of notariety have success in marketing themselves directly to major agencies.

A creative at Riney, Goodby Silverstein, Crispin, etc. simply has their script sent for auditions. There is no real reason for them to pay much attention to individual solicitations. If one were going to go to all of the aggravation and expense of sending out mailings to agency folks, why not just put a really nice ad in AdWeek or Ad Age?

Refferal marketing, which I advocate is considerably dofferent and is based on getting some at the client to ask the agency to have you read. This can be a sort of "six degrees of seperation" thing, but is very powerful when someone at Taco Bell calls up the agency and says "there's this guy named J.S. Gilbert. We would really appreciate you having him audition as our spokesperson." I lost out to Charlie Sheen in the end, but just being able to audition and get asked for callbacks for a six figure campaign wasn't too shabby.

Why not start by calling all the people you know and do business with, such as your insurance agent, realtor, former co-workers, dry cleaner, etc. and see if any of them knows someone who is involved in any level with a business that hires v.o. talent.

I guarantee it will yield far greater results than sending materials to Agency folks.

[Dina Monaco-Boland]

Originally Posted by avitoots

Bob -- It was a revolving door. An agency loses a huge account and, often times, the staff attached to that client or brand are let go. So, if the books only come out annually, how current can they be over the course of the year?

I always take a look at the bios of the staff listed. For the smaller production companies and ad agencies I have found that they include the people we want to reach listed in the website. The larger agencies, on the other hand, such as FCB, BBDO, Burnett, generally only have the executives listed. I have found that the Ad Age and other publication reports about the commercials fill in some of those blanks.

I totally understand where you're coming from about talent sending materials just to the agency. It takes a lot of time and energy to do it right and, I've found over the years, a lot of people just don't want to put in the effort.


Arlene Kahn

And FCB isn't FCB anymore. They're now Draft FCB. Not only revolving doors but a lot of doors closing and/or merging-- at least here in Chicago. It's not like it used to be here. Same with your big production houses--lots of shingles being taken down.... it's sad. (in memory of my beloved Post Effects)

[avitoots]

Dina -- The lates shock to me was when I read that Ebel closed up shop and joined another production house. As far as Draft-FCB, I still remember it as FCB and just can't keep up with all the name changes and mergers. When I was working at Burson Marsteller the sister ad agency was Marsteller which became Young & Rubicam which became Y&R and now it's something else and I can't even remember what it is now. I just gave myself a headache!

Arlene Kahn

[voicy1stef]

Thanks for your help guys. most enlightening. It's true if you know someone it's easier to get the gig. I've worked that route before.

Thanks for the tip too, that it only takes 1 who sees something that they can use in your demo. That's what it's all about. As they say over here, 'you don't ask, you don't get!' I've worked that route and found work too.

JS--you're a naughty boy! Throwing away peeps' CDs. At least you could have used them for cmas tree decorations! This is not a career for the fainthearted. Mind you don't get a paper cut next time you're ripping out those covers.

anyway enjoy your evening guys and thanks again. you're all stars!

[jsgilbert]

At least I recycle the covers. Most of the agency folks throw everything out. Alhough I did hear abot some enterprising fellow who alledgedly built a house out of all of the AOL CD's that we used to get every 10 seconds.

I suppose I could build a house out of v.o. demos