by Leo Wiles
09 December 2015
I’ve been approached by a media company to write 6 x 30 second radio scripts. The full service would have to include all editing rounds for the scripts until their client is happy, and voicing the commercials as well. The media company would own the final product. I have not done this before even though I do a lot of writing and I’m not sure what to quote. I believe that I should charge $250 per script to do the voice over but what would I charge for the writing and editing of each script? Also, this will be a national radio campaign, which will run for 4 weeks. Does this make a difference in the quote I should make? Really appreciate your input if you have time. Thanks! Jane Jackson
Hi Jane. The industry standard for voice-overs is actually $385 for up to five segments with the understanding it will take an hour to record them. After that you can charge another $385 to voice 6-10 scripts (with the understanding that it’s a second hour of studio time). So all up your voice-over fee will be $730 according to voice-over watchdogs EM Voices Voice Artist – who also offer a rate card (thanks Tim Stackpool for pointing us in the right direction!).
The upside EM points out is that if the client decides to air them again or after a three-month period you get paid again – hurrah. Perhaps even better news is the platinum lining over script writing and editing. With one established radio script house Eardrum charging approximately $1000 per script (and with edits built in for all 6 scripts) they recommended you charge between $10-$11k.
However, just before you dash out and lay-by that 1966 Shelby Mustang with the go-faster stripes you’ve been eyeing off (or maybe that’s just me) the Australian Writers Guild, the peak body representing Australian performance writers, warns that there’s no industry standard. So as with most of our writing jobs it will be based on your experience, ability and ability to negotiate. That said, working out how much to charge could be the least of your worries – because as soon as I read your email and the client’s stipulation that your quote is to ‘include all editing rounds for the scripts until their client is happy’ I heard big ding dong warning bells.
My advice? You need an airtight proposal. Because as we all know ‘happy’ is subjective and doesn’t mean that the person you are trying to please is reasonable or even knowledgeable about what their ads need to achieve and the tools needed to implement their desired outcome. (I once had to write something for a Telco and the brief was this: in 60 seconds include a script covering a new product; three contract options and full contact details as well as a disclaimer. Yeah, right.)
So, when your client reads your draft script, hopefully aloud to understand the flow and rhythm, they’ll be doing so in a quiet space. When the intended audience hears it they may be parenting, driving or at work. Therefore what is heard out in the real world may not translate that well in the conference room unless they understand the medium and its need for repetition and simplicity.
With any luck, the media company will act as a buffer and guiding hand with the client. Otherwise you could find yourself on a hiding to nothing if they are bending over backwards to get the contract – and if the poop hits the fan you could become the scapegoat. Pessimistic talk I know, but it’s really important with these jobs that the bulk of your ‘work’ goes into setting it up properly. And that means asking the right questions, including what constitutes a fair number of rewrites and re-records before changes incur extra costs… then put this in writing! Also does the client only need to be happy with the six scripts or will they hold payment if they have decided that your voice isn’t the right one for their ads after all? Where will they draw the line and how will your quote safeguard you?
The good news is that even though paying for airtime is a relatively inexpensive commercial medium, the initial production outlay is not. Given that the client is paying for studio time, potentially a sound engineer and a producer as well as you and your dulcet tones, they’ll want to hopefully put time into pre-planning rather than problem solving later. Because each time they change their mind the job gets that much more expensive… Which is why you need to be very clear in your quote that over a certain number of rewrites you’ll expect to be paid again. Standing firm may lose you the gig but it will save you tears and heartache, believe me.
Have you worked as a radio scriptwriter and editor? We’d love to hear your input regarding current rates…
