Reid My Mind

Music Begins – A smooth, funky mid tempo Hip Hop beat

TR:

What’s good Reid My Mind Radio Family!

It’s me, your brother Thomas Reid. I hope you’re doing well.

Me? Why thank you for asking. I am doing well.

Today, we’re bringing you part three of the Flipping the Script on Audio Description series.

You know, this was never actually supposed to be a series. I originally planned for one episode but it was quickly evident that several people had something to share on the subject.

It got me thinking about Audio Description in two categories.
First, mainstream.

These are the writers and narrators creating AD for major television and film projects.

Then you have the independents – these consist of a varying degree of theater, live performance, museum and other sorts of description work.

Flipping the Script is all about promoting different voices, alternative views and Audio Description topics that are often overlooked.

As we’ve seen, this applies to both mainstream and independent.

I can’t say for sure this is the end of the Flipping the Script series but I can say it’s the last for 2020.

You know, just when I think I’m done with the topic…

Audio: “… they keep pulling me back in” Al Pacino in Godfather Part 3

Audio: “And here we go!” Slick Rick, A Children’s Story

Audio: Reid My Mind Radio Intro
Rebecca:

My name is Rebecca Singh I am an Audio Describer also a performer. I’m the owner of Superior Description Services which is an Audio Description service which consults with the Blind and partially sighted community one hundred percent of the time. I am a cisgender woman of color and I live in Toronto Canada with my young family.

[TR in conversation with Rebecca:]

How’d you get involved with Audio Description?

Rebecca:

I got involved with Audio Description through the theater actually. I have been a performer for a very long time and just over ten years ago I saw an audition posting for this thing I’d never really heard about, Audio Description and it was a class that I had to audition to get into. I got the part. Started training, that led to something of a building up of the industry here in Toronto.

— Music Begins – A dance track with a driving beat!

TR:

That’s right Y’all, in this third part of Flipping the Script on Audio Description we’re going international!

What’s that? Canada’s right there to the north? Ok, let’s cross the Atlantic.

Audio: Airplane in flight.

Elaine:

My name is Elaine Lillian Joseph. I’m from a city called Birmingham which is the second biggest city in the U.K. I’m a proud Birmie! I’m a Black woman. I’ve just got my hair done. I’ve got long light brown extensions with cane row on top. I’m wearing a floral long just below the knee length dress. I’m sitting in my friend’s bedroom because I’m currently quarantining with my friend’s family. I’ve been doing AD for just under two years. I work for ITV which is our second biggest channel after the BBC. I’m also a freelance Subtitler so I do subtitles for Hard of Hearing as well. A lot of accessibility going on.

TR:

Subtitling or what we know here in the states as Captioning was Elaine’s gateway to Audio Description.

A fan of film and television, she studied English and German in college — oh my bad, University

Elaine:

It always seemed like a natural thing to want to go into media. Finding out that there was this whole kind of world of accessibility and it’s not just, it’s not just transcription I guess. Not that there’s anything wrong with transcription but that you can be a bit creative with it. Doing subtitles for Hard of Hearing for example, doing a Horror film and working out how to describe the sound of of an alien creature and what words am I going to use to do that. It seemed like a natural transition from that to also thinking about how to describe things in general.

TR:

Prior to working at ITV, Elaine was Subtitling at another firm, BTI. it just so happened to be the employer of an influential colleague.,

Elaine:

Veronica Hicks, who kind of really kick started AD in the U.K., certainly. She used to sit directly behind me and she has this velvety plummy (chuckles) voice. I was sitting subtitling and thinking what is it that she does because it sounds fascinating.

TR:

Elaine asked around and learned more about Audio Description. Eventually she left BTI.

Elaine:

Everybody at my company knew that I really really wanted to do it. A position came up; they kind of said go for it! I tested and I got the job and I’ve been very very happy ever since.

TR:

Such an important thing to keep in mind — let people know you’re interested.

Today, Elaine has written AD for projects including a remake of Roswell. She’s been trained on narration so we can expect to hear her post pandemic. She also narrates live performances.

Elaine:

I usually do kind of Queer Cabaret events. There’s like dance, spoken word, lip syncing and things like that.

— Music ends with a drum solo

[TR in conversation with Rebecca:]

I’m wondering what was the experience from your other work that you brought to Audio Description?

Rebecca:

I liked my drama class in junior high and I decided this is the best thing ever. I made my way to a performing arts high school and got bitten by the performing bug and was doing at first some film and television. As it goes as a performer, the work opportunities change.

Instead of just sitting by the phone as they say, I shifted over to doing more theater work, clowning.

[TR in conversation with Rebecca:]

The whole get up, the makeup and everything? Or is that something different? (Chuckles)
Rebecca:

I think that’s a certain kind of clown. I was living in Montreal, like the city of Circ De’ Sole. It was a little bit more movement, physical theater based kind of stuff. The acrobatic storytelling with the body. I went to dance school for a while. So it was really more about expressing myself through the body.

[TR in conversation with Rebecca:]

Okay, so you’re not jumping out of cars with like fifty other clowns. (Laughs)

Rebecca:

No!

TR:

She’s a creative person who found herself doing more arts administration. After moving to Toronto she moved back into the performance space gaining even more of the experience she needed for Audio Description. That physical performance for example prepared her for her first AD assignment describing physical comedy. And the administration work was quite valuable as it gave her a community of people to talk to or a network.

Rebecca:

There were people that had already worked with me in a different context and so I understood their concerns, what their fears were as producers. Everything from being afraid of touch tours because you’re potentially bringing a service animal onto a stage before the show. Rehearsal schedules, the time and space actors need. The types of conversations that are appropriate to have with directors if you’re having discussions. When is a good time to approach a designer if you have some questions? All of those things really help to mitigate any hesitancy that producers had in terms of adding something new to their palette.

TR:

Elaine’s love of reading & creative writing adds value to her description. But that merging of creativity with Audio Description has it’s challenges.

Elaine:

It’s a service and I think it’s important to remember it’s a service. There can be ego (Chuckles) in any industry and sometimes I think people forget the user and what’s most important to the user.

TR:

Rebecca has her own way of assuring Blind consumers are always centered throughout her process.

Rebecca:

Paid Blind and partially sighted consultants. I get two different kinds of feedback. I learned a long time ago it’s definitely not a one size fits all in terms of description. I have a roster of consultants with different interests as well. I also try to match the interests of the consultant. Some people like Opera, some people like dance. All of their different expertise filters into my descriptions. And they ask those really deep and probing questions that I have to find answers to.

[TR in conversation with Rebecca:]

What kind of differences do you find between the Blind and partially sighted feedback that you get?

Rebecca:

One of the most striking differences is things like when I’m describing a set. With people who are partially sighted some people need to sit really really far up close and they want a different type of perspective in terms of what the set looks like. they may not be sitting in the same place. If they have a service animal they may be sitting further back in the theater. Maybe they’re closer to a speaker where that might cause some sound level things that need to be worked out. Sometimes light matters in a production, sometimes it doesn’t. Sometimes I’ll get feedback from Blind consultants saying things like I really appreciated the fact that you called this thing almond shape because I know what an almond feels like. I really developed a sense of what words work better and what words are more inclusive over time working with both Blind and partially sighted consultants especially if they’re working together with me on the same show.

That’s the other benefit of having multiple consultants is that they can learn from one another and I always have a chance to bring in somebody new and widen my pool.

TR:

Inclusive language reflects all sorts of identities.

Elaine:

I’ve had conversations with people before about things like race. It’s wonderful that we’re kind of having a moment where we’re really grappling with that. And I’ve had conversations where people have said, Blind users don’t want to know about race, they want it to be completely neutral. I find that a really interesting argument because I’m like what does neutral actually mean and who are we assuming is neutral?

[TR in conversation with Elaine:]

How do those conversations come up when writing description?

Elaine:

When I first started I remember asking questions like should I describe color? Should I describe that this rose is red or that this car is blue or whatever? And then moving from that I guess to should I describe race and the color of somebody’s skin?

So I’ll talk specifically about race rather than diversity I guess because there are other things that we can describe.

The industry standard was to not describe race unless it’s important to the plot.

TR:

By now, if you’ve been following this ongoing conversation on the podcast, you should be pretty familiar with this AD guideline.

As an example of the guideline, Elaine refers to a production of Hamlet

Elaine:

And Hamlet is Black. Then I should mention it. But that doesn’t mean I should mention the race of anybody else. We can assume that everybody else is white. I took that on board and then I kind of ignored it a little bit. (Laughs)

[TR in conversation with Elaine:]

(Laughs…)

Elaine:

Because I just found it really difficult. I was like, but why? (Laughs)

I found that I was working on shows where I just wanted to describe like the color of somebody’s skin.

[TR in conversation with Elaine:]

Why?

Elaine:

Why!

Because I thought, what’s it mean for it to be relevant to the plot. If there’s a conversation happening between sighted users and they’re saying oh did you notice how the policeman in whatever show it is is Black? I just kind of feel that means that as a Blind user you can’t be part of that conversation because someone’s decided that that Black policeman isn’t relevant to the plot so we’re not going to mention them. Also personally I know Blind users who I’m friend’s with who definitely wanted that information to be included because they’ve definitely felt like there are conversations that they can’t be part of because people are making these decisions.

TR:

Decisions being made on behalf of Blind people without our input. How does that make you feel?

Elaine:

Initially I wasn’t bold enough to say the Black man. I would describe the texture of his hair. So I would say the man with black afro textured hair. (Laughs) I think it should be fairly clear, but I still felt like I was kind of skirting around it.

[TR in conversation with Elaine:]

Would you get any pushback?

Elaine:

We definitely didn’t receive any pushback. When my manager kind of reached out to a community of Blind users then it was an overwhelming yes! (Chuckles) Please do include that.

[TR in conversation with Elaine:]

Okay. So you never got pushback from management.

Elaine:

No. My immediate manager was like a resounding yes! When I went into the kind of wider Audio Describer community that’s where I definitely felt pushback.

TR:

Like the time Elaine attended a conference where for the first time she heard a discussion of race and Audio Description included in the conversation.

Elaine:

There was a lot of why do we need to do this? What terms do we use? People not feeling comfortable saying the Black man – will the terms change. We might offend somebody, so it’s better if we don’t use any terms at all and just kind of ignore race. It felt uncomfortable for me being the only Black person in the room.

TR:

That’s uncomfort when people are either looking to you for the answer. Or one that I know I’ve experienced, giving the impression that you’re doing something wrong by raising the issue. (Oh well!)

Elaine:

Maybe it’s my British politeness kicking in but I found it very difficult to sit and listen to kind of put in my two pence. Imagine if a user is Black, maybe they do want to know about race (laughs… You never know!

[TR in conversation with Elaine:]

Yeh, absolutely

It’s just as important for a Blind consumer who is not Black to know that there are Black people on the screen y’all, like this is real.

Elaine:

Definitely.

[TR in conversation with Elaine:]

I’m wondering if there’s an age gap here too. Is this the old guard that we’re talking about here?

Elaine:

I guess so, yes.

I have much respect for them. I feel like I need to put that disclaimer out . (Chuckling)

I really do and I felt like almost a young usurper at that conference and in some of these conversations I’ve had. I get that they’ve been trained in a specific way. If we look at the breakdown of describers in the U.K. it’s white middle age women.

Audio: “To be or not to be. That is the question” From Hamlet, Royal Shakespeare Company

Music ends with beat in reverse!

Rebecca:

I feel like I owe it to the listener and the listener is not necessarily a middle class cisgender white female or a male and sometimes I feel like from some of the teaching and reading and some of the history from what I’ve seen of Audio Description and words, it’s really taking one particular perspective. That is exclusionary and also not fair to people who are Black and Indigenous or people of color.

TR:

In general, no matter what country, fairness, access, equity that should be the goal.

Rebecca, who thinks quite critically on this subject of inclusion presented at a conference in Europe.

Rebecca:

The Advanced Research Seminar on Audio Description.

I, over the last, I would say five years or so, have been really been honing in on the idea of creating the Canadian accent for Audio Description. We here have had a lot of influences from England and also from the states. We haven’t had our own Audio Description culture in Canada. So I went and was the first person to present from Canada and I talked about creating the Canadian accent and describing race gender, class and recognizing our bias.

[TR in conversation with Rebecca:]

And how was that received?

Rebecca:

people were very interested. I think that there’s not a practice of using consultants quite as much as we do here in North America and specifically what I do. The other thing that was really well received was the fact that I presented it in a way that did not require any description. I described all of the images. I tried to make the entire experience inclusive to a point where the person who was operating the CART, the real time captioning, didn’t have anything to write. That was all just part of the example of how we can be more inclusive.

TR:

The responsibility of making media inclusive and accessible includes the role of Audio Description.

Rebecca:

Everybody deserves the opportunity to see themselves in a story. We as people who are helping to tell a story have a responsibility to do everything that we can to not exclude people from seeing themselves.

TR:

So what exactly does that responsibility include?

Rebecca:

even as Describers we need to understand what our own bias is. I live in a very progressive city. And I live in a arts bubble inside that city. I try and check myself against that as well. I don’t want to use language that is so open that only a very small amount of people with very specific references will understand.

We need to have more conversations with consultants and also understanding what the history is and what the perspective is of people who are heavy users of Audio Description. We need to talk about it.

TR:

She’s talking about multiple conversations from all perspectives. Some times that just means raising the issue.

Rebecca:

It’s all of those little tiny actions that every person can do just to point out when things could be better perhaps or when things could be more inclusive.

Just being self-reflective about how we’re receiving information. I think many voices is much better as opposed to a government mandate or something like that.

Sometimes words aren’t enough.

TR:

But the words can inspire actions that lead to real change. Like getting film makers and broadcasters to include a bit more space to allow for Audio Description.

Ultimately, the change happens when our thought process becomes more inclusive.

Rebecca:

If the creator of the material no matter what it is, has the Blind and partially sighted community in mind as part of their audience from the beginning.

TR:

Having Blind people in mind translates to our access not being an afterthought. When it comes to Audio Description?, we need to be centered.
[TR in conversation with Rebecca:]

So the idea that there are sighted people enjoying Audio Description?, that’s cool, that’s really cool and I get it because hopefully that means there will be more of it, right?

Rebecca:
Yeh!

[TR in conversation with Rebecca:]

Do you see the potential for that to be a problem?

Rebecca:

I’m really in favor of Audio Description guidelines and standards being created for the needs and wants of the Blind and partially sighted community. Anyone who is putting something forward that they call Audio Description is aware of these guidelines and is providing something that is standardized. That said I think it’s also okay to create things that are not necessarily Audio Description?, but use techniques of Audio Description and as long as they’re not called Audio Description. I think more is better and so as long as it’s not called Audio Description when it doesn’t meet the standard, go for it!

TR:

From my understanding, there are conversations happening today exploring these guidelines.
I’m not sure what will end up being decided, but I do know that if these conversations do not include people of color in a real way, including decision makers, then we have to ask the question, why? Is it just fashionable right now to appear as though we’re addressing issues of diversity?

It’s a similar question I asked of all those in the Flipping the Script series;

[TR in conversation with Elaine:]

It’s a simple question, so feel free to answer (laughs) because I’m asking it!

Elaine:

(Laughs) I see I have no choice. (Laughs) Okay!

[TR in conversation with Elaine:]

(Laughing )No, but answer it anyway you want.

My question is why, why AD?

Elaine:

Oh! That’s a lovely question.

AD has brought me into contact with people that I probably would have never have met. In terms of the Queer drag community that I’m now part of and speaking to Blind users and Blind performers as well. I think that’s enriched my life and I hope that the descriptions I give in turn enrich their experience.

Last year I remember telling someone another sighted person, that I did AD. They just laughed and were like Blind people don’t watch TV. That was just like a whole education let’s just say for that person. (Chuckles)

I think it’s a really, really beautiful service and I think that it’s having a bit of a moment over here where people are certainly from the describer point of view, people are starting to think about how we can change it and engage even further with the community who uses it and that’s really, really exciting to be part of honestly. It’s so so fun! I honestly want to keep on doing this and developing my skills and my confidence and listening to people.

— Music begins – a chill piano leads into a smooth jazz chill Hip Hop beat

Rebecca:

I am a storyteller, I was born that way (chuckles). I think it’s really important to be able to tell your story in a way that everyone can hear it, receive it. I don’t think we have any excuses to ignore that anymore. We have technology to help us out. I want to see the amazing wonderful gifts that actually like Blind and partially sighted creators present having had access to some of this more popular culture. Some kind of performance art. So I think it’s important for everybody to have those opportunities. and I really feel like access to art is as important as access to sport. I think it’s part of what makes us human. And so everybody should have this access.

I just think it’s fair!

TR:

That’s Rebecca Singh, you can call her CEO of SDS or Superior Description Services where she centers Audio Description.
Rebecca:

Also known as described Video here. I do live description, image description, I produce podcasts with the Blind and partially sighted community in mind. Consultation to help with Universal Design. My Twitter handle is @SDSDescriptions.. I’m also on Face Book Superior Description and you can always check me out at SuperiorDescription.com.

TR:

Elaine Lillian Joseph is on Twitter @@elaineLJoseph.

I’d like to thank Elaine for putting up with my attempt to include the London slang in our conversation.

[TR in conversation with Elaine:]

Init! (Hysterical laugh)

Elaine:

(Laughs) Oh my days, you really love Top Boy don’t you?

[TR in conversation with Elaine:]

I do!

I get in to the whole street shows and all that type of thing so, I’m sorry! it’s Hip Hop I’m going to be in there!

Elaine:

Ah, that makes you (possibly says me) really happy! I love it, I love it!

[TR in conversation with Elaine:]

Yeh! (Laughs)

TR:

Big shout out to Rebecca and Elaine for all they do and for openly sharing their experience and opinions for the improvement of AD for all.

So let me welcome you to the Reid My Mind Radio Family!

Audio: Air horn!

I’m hoping you’ll hear them back on the podcast in the future.

While this is the last official episode of 2020, you know I usually do something for the holiday season. Right now at the time of this recording, I have no idea what that is, but I’m pretty sure I’ll put something together to wrap up this incredibly challenging year.

To be sure you get that episode;
Subscribe wherever you get podcasts!
Transcripts & more are over at ReidMyMind.com. And let me do a bit of Audio Description for you. That’s R to the E I D
(Audio: “D and that’s me in the place to be” Slick Rick)

— Music Ends

Like my last name.

Audio: Reid My Mind Outro

Peace!

Hide the transcript

TR:
Welcome back!

My name is Thomas Reid. If this is your first time here, I’m the host and producer of Reid My Mind Radio, a podcast bringing you stories of compelling people impacted by all degrees of blindness and disability.

The objective is to reach those who are adjusting to vision loss or disability. I’m hopeful that the experiences of those who have travelled similar journeys will provide real information and encouragement to those new to vision loss.

For so many, acquiring vision loss or another disability can occur in the middle of a career. For others it could take place in that early phase.

There are definitely challenges and considerations that are unique to those with vision loss, but much of the process of finding employment is applicable to us all.

Today on the podcast, I’m bringing you an expert to talk a bit about the process of finding employment. So if you’ve been out of the job hunting game and suddenly find yourself back on the field, you’re going to want to hear from the coach!

Let’s play ball!

Audio: Reid My Mind Radio Intro

NK:

I teach people to be the CEO of their own life and career. No matter what life throws at us.

TR:

This is Nancy Karas. She’s an HR Leader and Executive Coach experienced
in building healthy companies.

I kind of like the sports metaphor I used in the intro so let’s call her Coach Nancy!

NK:

In addition, I focus on helping people to find their own version of happiness and success.

TR:

Coach Nancy understands this personally. Spending over 25 years in HR leadership roles throughout corporate America until the relationship became adversarial.

NK:

I had to fight management to get people what they deserve.

After 9/11 I felt really discouraged. I was in the middle of New York City, had been living there for 20 years and I just decided that I really wanted to help people unencumbered. So I stepped out of corporate and I started coaching.

TR:

That included working with corporate clients, private clients and group coaching to help people find their happiness. And if you think that’s something people inherently know, think again.

NK:

There’s a very big difference between what we do well and what we love to do. Sometimes we’re confused and we think that because we do it well, because we get good pay for it, because people recognize us for it that we love it. But sometimes our currencies change as a human being and maybe money and praise and title aren’t the most important thing anymore. I help people to really figure out what is the right thing for them next. What is their next step in life. I base it around what fits you.

TR:

Next step, in life, after for example a life change. That could be the loss of a career, loved one, maybe even acquiring a disability, the specifics don’t necessarily matter. Often we’re trying to answer the same question.

NK:

What’s the best thing for me right now? What will make me happy? What will make me feel successful in whatever way I’m searching for success; money, fulfillment, to make a difference in this world, or whatever it might be. That’s what I help people to figure out.

TR:

A life change can make this question feel more urgent. Even more difficult to answer.

NK:

We feel like the power is taken away from us by other people and we give away our power.

I help people to realize they’re already wearing the ruby slippers and that you have the power within you to do whatever you want.

So I teach people how to take back their power, raise the bar for themselves and really do what’s best for them.

TR:

Whatever the decision is, Coach Nancy is all about helping people achieve their goals.

With an understanding that whatever the personal challenge is, we all have our unique strengths and weaknesses.

NK:

I help people to showcase their strengths and find a way to harbor their weaknesses so they’re seen as a positive.

I give people that confidence and that boost they need to go out there and get what they deserve.

TR:

Before we head out onto the field, we need to know how best to play the game.

NK:

traditionally the way we were taught is a very me centric approach. I’m looking for a job where I can grow. Where I can have this and that.

In today’s market you have to approach your search in a I’m here to assist you. Whomever your target is that you’re looking to work for.

TR:

the means of doing this?

NK:

Through the resume, conversations, meetings, interpersonal skills, self-esteem, emotional intelligence. All the different pieces.

## Resume Style

TR:

Let’s take a look at some of the tools we have to help craft our play book.

First mentioned was the resume. That first representation not only of a person’s work experience but the individual them self.

NK:
[
Some people’s resumes I see are four and five pages long. Nobody’s going to read that anymore. Think about technology, everything is moving so rapidly. People don’t concentrate for very long on anything that’s on their computer screen. they listen to it for a second and then they’re distracted, it’s like hey squirrel! They’re gone.
]
We have to abbreviate what we give to people now. If it’s not relevant and applicable to the particular job you’re searching for and it’s going to cloud their ability to see how you’re a fit. We really have to look at resumes now and be more functional than chronological.

TR:

For many, vision loss or an acquired disability results in the loss of a job, or reduced responsibilities.

Rather than highlighting jobs you may choose to highlight skills and experience.

NK:

In a more functional modern resume you bring whatever is relevant. it’s like a tapestry if we’re pulling the gold threads out of our tapestry because we only want the very best of the best. If we’re looking for the gold company that we want to work for we’re only going to pull our gold threads. Maybe the silver threads show that we started silver and moved up to gold. That’s great, but if we have blue, yellow pink, whatever color threads, they have nothing to do with the gold company. So we’re not going to throw them all our threads and they’re like what the heck!

It’s a new way of presenting ourselves.

TR:

But how would you account for jobs that you may have had to take that don’t necessarily highlight your real skill set or are applicable to your desired career path?

NK:

I was freelancing. I was consulting and here are the companies I worked for and you just bullet or include a couple of those companies.

TR:

Coach Nancy strongly recommends your resume doesn’t exceed two pages.

Go ahead and Google sample functional resumes.

there’s even a hybrid version that combines aspects of the traditional chronological resume with the functional.

No matter what format you choose, consider how you approach the next step.

NK:

The traditional way of job search was to look at the job postings or ads and then we would send a letter and a resume and you’d sit and wait and hope that you’d hear back. But technology has advanced our abilities to connect. We have an opportunity now to shortcut our job search.

These days you can really bridge yourself to that other party by doing a lot of homework. try to understand a little about them and the direction they’re headed.

You’ve leveled the playing field because you walk in that room and now you can talk about how you can help them. how your skills are a fit for them.

## Researching Companies

TR:

technology has made researching companies a lot easier and way more convenient. you’re already familiar with some of the tools, but are you using them effectively?

NK:

I love Google. If I want to know what does someone at Bloomberg make if they work in the Finance department at a VP level, that’s exactly what I’m going to type in.

We look at the first or second thing that pops up when we google and then go “eh didn’t find anything!” I click on everything on that page. Sometimes I go to the second google page because I’m looking for information about the company that’s going to give me a hint about their culture, about their work, about their progress.

TR:

Surprisingly, to me at least, ascertaining information about a corporate culture online is possible.

NK:

I first Google what is the culture at Bloomberg. See what comes up. I would also go to Glass Door.com.

Glass Door.com is a website . You have to be willing to anonymously take one of your former jobs and list that you were a programmer or that you were an HR Executive and you give feedback on that former company. It was good it was fair and then you could give specific comments and feedback. Once you do that you have access to Glass Door. And when you’re in Glass Door you can look up any company. There’s tons of information about salary ranges. What people are making in New York for that job, Philly, Georgia. It will also give you some feedback. people are saying it’s a great company but the leadership is never in the office and we can never get answers. If I see one person say it I think well!

TR:

You’re really looking for trends. But you can take all information into consideration during interviews.

NK:

Let’s say people are saying that the company promises bonuses and never gives them. I would make sure when I interview to ask, I’m curious about your bonus structure. Do you give bonuses? Oh, yes we do! Has there ever been a year where you weren’t able to give the bonus you promised? And then you watch them go uh, uh, or they say no we never had that. So you get to talk it out and see for yourself.

TR:

The idea here is to equip yourself with as much information as possible to make sure the company is a fit for you.

Another important part of the playbook; networking.

NK:

Networking is taking place virtually and in person. In person you should look for events where they’re specifically having an event or where it’s industry specific or job specific to you. For example, if I’m HR I want to go to HR conferences. If I can’t afford those big conferences independently of the company paying for it then you go to a one day event or you go to an evening lecture for an hour in HR where you know it’s going to draw the HR community.

##TR:

Whatever the venue, Coach Nancy says it’s not about making sure everyone has your business card.

NK:

What I teach my clients to do is rather than focus on handing out your info, collect info. Now You’re in charge of your next step. Now it’s up to you to figure out where it’s going to go. I wait two or three days after that meeting and then I send them a note on Linked In.

TR:

That’s Linked In.com, the virtual way to network.

NK:

You want to put a professional profile up on Linked In. Let’s say you have a little profile with nothing there and no photo people know that you’re not current.

[TR in conversation with NK:]

I know you’re talking to me Nancy … (laughs) Go ahead!

NK:

I’m talking to you Thomas.

TR:

I know she’s right. And even though I’m not looking for a job, Linked In still makes a lot of sense for someone like me.

NK:

Especially for your marketing and stuff for your show.

I’ve heard CEO’s say that Linked In is their Rolodex. To me it’s a treasure chest. I can find all kinds of people. I help in so many different industries. Linked In has so many capabilities also as a tool. To search, connect with people, post jobs, to apply to jobs.

TR:

That’s the beauty of online networking. The ability to find the connections while you’re in your pajamas!

NK:

It’s called direct contact.

TR:

. In theory this approach can make the job search process more accessible. It definitely puts you in control.

Here’s how it works.

NK:

Go onto Linked In. find the person who would be the hiring manager or if you’re senior enough in your career and your job function would be very senior in the company , I would write directly to the CEO.

TR:

It’s possible that the majority of those listening are on the CEO level, but No matter what level you occupy in the corporate structure, the process is the same. Sending a note directly to the person through Linked In.

NK:

you want to show them that you see why they’re special and you’ve got the goods to support the direction they’re going. So I say I recognize you and what makes you special. It’s so exciting to me or thrilling or I’m so passionate about the work you do. I believe I could be an immediate and significant contributor to your project, to your team, to your company or to your mission. Here’s specifically what I bring to the table. Bullet, bullet, bullet, bullet. Then would love to set up a meeting or take you out for a cup of coffee or set up a call. Whatever you feel comfortable with.

TR:

Coach Nancy shared an example of someone who wanted to leave their job. The right question dictated the next steps.

NK:

Why not get you your dream job? Tell me what it is. She wanted to work for Google. So we looked to see do we know anybody at Google. How did we do that? We went on Linked In, we looked in the search bar, typed in Google and then we filtered on people. All the people that work for google come up in that search and it’ll tell you if you’re a first, second or third connection.

TR:

What if you don’t have a dream job? Maybe the idea of a traditional job is more of a nightmare. For whatever reason!

NK:

We’re not happy at work. We’re not enjoying our work. We don’t want to commute anymore. We’re physically, emotionally or mentally challenged and cannot make that trip or do that grind everyday whatever it might be. And if that’s the case this is the perfect decade for that right now because more and more companies are allowing people to work from home or to work from a We Work or some other center where people can just go locally if they want to be in a shared setting. there are so many nontraditional jobs.

TR:

here’s a method for thinking and mapping out opportunities.

NK:

What I like to suggest is that people think of a food chain.

TR:

The idea here is to identify the industry connections based on the things that are of interest to you. Therefore, the beginning point is based on a certain set of questions.

NK:

Where am I right now? Where is my interest? Where is my challenge? What is my life about right now?

I’ll give you an example. You lost your sight and you found your way to developing your podcast, your show and all the stuff you do to support people who are going through the same challenges.

TR:

So in this example, this identifies the starting point of the chain. Now I need to figure out all of the opportunities or players in the industry.

NK:

You look at corporate opportunities, nontraditional associations or foundations. And you look all around and say who is in this field that I might work for that’s not the straight and direct line of what I thought I might do. It’s thinking outside of the box. And when you do sometimes you find jobs that you never even knew existed.

TR:

Maybe the jobs are based on the traditional employer employee relationship. perhaps they’re more like opportunities for freelancing or consulting that work for your lifestyle. Either way, attitude makes a difference!

NK:

I suggest first of all that people think and act all the time as if they were a consultant. Because consultants never have all the answers. That’s not our job. Our job is you tell me your problem, I’ll figure it out. I will get you the answers.

TR:

I think it’s fair to say that work is different now. The days of working for a company for 30 years are gone.

NK:

So people are forced to become more resilient, more flexible, more autonomous in their careers. You’re really your own boss, your own CEO and you’re going from company to company and you’re consulting whether you go in as a full time in house person or you actually consult for them.
But this way And the concept of finding a job one time

TR:

It may all sound tiring and hard to manage. But Coach Nancy has a method for managing it all. Just think of the ducks. You know the ones at a carnival or fair.

NK:

That booth where there’s a bunch of yellow ducks and everybody’s squirting the gun to squirt your duck and push it up to the top of the hill. The person who gets their duck up to the top first is the winner. In this game, in my head what we do is we line up the ducks.

TR:

Where each duck is a stand in for one of our tasks or responsibilities on that good old’ to do list.

That could look something like;

Edit the next podcast episode, [Audio: Quack!]
Research future guests and show ideas, [Audio: Quack!]
Finish that spreadsheet, [Audio: Quack!]
Clean the garage, [Audio: Quack!]

Now, back to the carnival and all the ducks.

NK:

Now the goal is not to race one duck to the top, we tend to do that in life sometimes. We pick one thing and we only focus on that. But then what happens is we’re at the top with one accomplishment and nothing else is moved forward.

TR:

Even worse, what about the days when you just don’t feel like pushing that stupid duck. [Audio: Quack!]
Sorry, it’s just sometimes you’re not feeling in the mood for spreadsheets, so You decide to read an article and next thing you know it’s the end of the day and you have nothing accomplished.

NK:
[
Pick another duck!

Maybe it’s the garage you’ve been meaning to clean out and it’s a beautiful afternoon. So instead of sitting inside and feeling depressed by pushing a different duck forward an easier duck that day, we still end the day feeling accomplished. Now the garage is half cleaned out! We start to create our own momentum. Momentum creates more momentum.

TR:

Who doesn’t like feeling accomplished at the end of the day?

I’m a fan of the duck approach, but you can use whatever works for you.

NK:

You have to keep in those parameters that it’s always something productive.

[TR in conversation with NK:]

Laughs… Sitting back and getting a six pack or something like that doesn’t count right?
Laughs to fade out

NK:

Uh no! No!

I think if you’re lost or stuck you really want to reach out to someone who’s walked your path before. Whether it’s professionally, personally. Just like people in AA have a mentor it’s really good for human beings to have somebody they could go talk to or get advice from. So whether it’s a therapist or coach or a support group, I think in order to move forward in life you do have to ask for help because that’s how we learn and grow.

[TR in conversation with MA:]
I might add one other thing to that is a podcast. And I’m not just promoting mine here (laughs) but in terms of you know having someone who’s walked that path, when you’re fearful about asking for help the thing that makes a podcast so cool is that you can get that information and nobody has to know that you’re getting it.

NK:

I love it! Very good advice.

And there’s so much good stuff out there. Not as good as yours…

[TR in conversation with MA:]
Thank you Nancy! Laughs…

NK:

your welcome !

There are so many resources on the internet. We really have to be our own advocate and we have to do our homework and really search.

TR:

We should be very used to that message. Being our own advocate.

I really do hope that this podcast is serving as a resource for those adjusting to vision loss.

So often it seems that the world has lowered the bar for those with disabilities. Whether it’s being falsely praised just for showing up or if it’s assuming you wouldn’t be able to do… [fill in the blank according to your own experience]

Shout out to Coach Nancy, her message is about empowering individuals not only when it comes to finding a job, but really, living your life.

[TR in conversation with NK:]

That makes you officially part of the Reid My Mind Radio Family!

NK:

Oh I love it! Thank you! Ohh!You just made my day. I love it!

[TR in conversation with NK:]

Laughs…

TR:

Can you guess how to contact Nancy?

NK:

Linked In. Nancy Karas (Then spelled out)
Instagram @Transition.Coach
I’m on Facebook, Transition Coaching and Career Management with Nancy Karas or you can just connect with me Nancy Karas. My website is www.Transition.Coach. No .com just .coach. My phone number is (661) 309-7055 and the email is HabitatForHR@gmail.com.

# Close

Big shout out to Coach Nancy! And check this out here, I am very happy to report that as of this episode, one of my [Quack, Quack!]ing ducks has finally reached the top. At least for now. I cleaned up my Linked In profile a bit. I added a pic, updated some other info and made it look current. In fact, I’d invite you all to connect with me on Linked In if you’re there. How’s that Coach!

You can also find me, well Reid My Mind Radio on Apple, Spotify, Google or where ever you get podcasts.

You can always send me feedback or recommend a guest or topic all you have to do is hollaback!

We have the comments section on the blog, ReidMyMind.com.
The email; ReidMyMindRadio@gmail.com
The Reid My Mind Radio Feedback Line where you can leave a voice mail: 1 570-798-7343

I would really love voice messages that I can share on the podcast. If you don’t want to call, you can grab your smart phone and record a voice memo and email the finished recording to ReidMyMindRadio@gmail.com.

I’d love to hear and share the voices of those who are listening. If you want to send a message but don’t want it shared just say so and it’s all good.

I appreciate you listening and if you liked what you heard please rate and even review the show via Apple Podcast. And please, tell a friend to listen. Spread the love, man!

You can always visit www.ReidMyMind.com, that’s R to the E I D like my last name!

Audio: Reid My Mind Radio Outro

[Audio, Quack, Quack!]

Peace!

Audio: Quack!

Hide the transcript

TR:

What’s up Reid My Mind Radio Family.

I had to take a little break from the podcast. I’ll explain more about that in a future episode as its directly related both to this podcast and adjustment to blindness.

This episode is actually being posted on an off week. So that means expect to get another next week. In fact the two sort of support one another.

We’ll be moving forward with episodes every two weeks after that taking us through the end of the year, with a break beginning some time in December.
For now, let’s get it!

Audio: Reid My Mind Radio IntroMusic

TR:

One question that I suppose is asked by just about anyone adjusting to becoming Blind as an adult, especially working age, is what sort of work can a Blind person do?

If this is your first time listening to this podcast, I’d encourage you to take a listen to the archives. We indirectly answer that question in many episodes where we profile different individuals most often impacted by some degree of blindness or low vision.

Today we’re going to continue with our look at Audio Description or what some around the globe call descriptive video. Specifically, the opportunities available for Blind and low vision people in the creation process.

To do this, I reached out to Colleen Connor. Colleen is a podcaster, web accessibility tester, Audio Description Consultant and Co-founder of Audio Description Training Retreats.

Diagnosed with Cone Rod Dystrophy as a child, Colleen lost most of her usable vision by her Junior year in high school.

CC:

I’m grateful to my parents because they didn’t treat me any differently. I’m a black belt in Tai Kwon Do, participated in school fully and never was held back from doing anything. And so you know I decided to super, super logically major in musical theater (Laughs…).

[TR in conversation with CC:]
Laughs…

CC:

because that’s so practical.
[TR in conversation with CC:]
What did your parents say about that, about that choice?

CC:

I think they just wanted me to be able to do what I wanted and what I was good at. They weren’t thrilled but they didn’t actively stop me. They knew how passionate I was about theater and acting and studying dialects and singing.

TR:

Colleen’s introduction to audio description isn’t what you might have suspected.

CC:
I ended up working in the Spy Museum in Washington DC. They had a described tour there but it was very out of date.

TR:

Guess what Colleen offered

CC:

Hey I’m visually impaired, can I update this for you. And I was too Naive to ask for money. Much like a lot of my work I did it for free.

I was in theater and musical theater almost my entire life and I had no idea that Audio Description existed. No one had ever told me about it. I didn’t know it was something I could ask for. Once I discovered the audio tours in museums someone mentioned to me about Audio Description of plays and musicals and live theater and I was blown away. And then of course I discovered that they were also doing Audio Description for film and television.

TR:

That project at the Spy Museum?

CC:

I rewrote this tour. I added some tactile elements. People were really impressed by it. I got hired by Cortina Productions after that to work on the audio tour of the George W. Bush Heritage Library and Museum in Texas.

TR:

Doing the work and having it well received is great, but AD meant more to Colleen.

CC:

This could be kind of my way back into theater. I started looking into it realizing that there isn’t a lot of training.

TR:

Maybe you’re familiar with the saying, get in where you fit in. That’s what Colleen did.

CC:

As those of us who can’t see we are the users of Audio Description. Therefore it’s my belief that we are your best source of quality control. We are your best source of feedback. One of the things that I started doing was critiquing people. So I would contact people whether it was from a live show or a TV show or film and I would say here are some notes about your description. I thought you did this well, I think this could be an improvement, I don’t think you should have used this voice artist. I started from a place of editing and critiquing.

[TR in conversation with CC:]

How was that received?

CC:

Sometimes it just straight up wasn’t. (Laughs…)
So my messages are somewhere in the ether, I’m sure. Other times people were amazed and then especially as far as live they were very hungry for feedback and critique because they do these shows and half the time nobody’s even listening to their description and so to get legitimate feedback. Some people have an ego about it they think they’re infallible but most of the time people are like thank you so much , what else.

So I realized in a sense it would be ideal if you have people teaching audio description or if someone was an audio describer to have a consultant who is visually impaired or blind who is a user of the experience.

TR:

While in the role of Quality Control Consultant during a conference, Colleen came across another opportunity.

CC:

I met my business partner Jan Vulgaropulos and she is a professional Audio Describer.

TR:

Jan, who specialized in live theater description had a question for Colleen.

CC:

Listen, I’m thinking of starting my own training. Would you do it with me and start a company?

I said yes, let’s do it lets create something new! We both decided that rather than a classroom kind of conference where you’re there for two days 8 to 5 with fluorescent lighting in a hotel trying to get the basics of Audio Description that we would create Audio Description Training Retreats, which is our company, and we would have people in sort of a natural environment . We would do courses in Audio Description . That has become part of my passion and my focus.

TR:

Back to the earlier question; what sort of work can Blind people do? In this case as it pertains to Audio Description.

CC:

I’m not only there to give the student’s feedback, I co-teach Audio Description. I help teach them about Disability awareness and the history of Audio Description, where it comes from. The update as to what’s going on now. We go over kind of our guidelines for helping people establish Audio Description.

And then my colleague does the actual description teaching. The main goal is to give people as much feedback and performance opportunity as possible. So we have our students do a lot of description.

TR:

The hands on approach enables these future describers to figure out what aspect of Audio Description they like.

CC:

Hey you know I like writing, but I don’t want to do the voice artist thing or I don’t think I could do live theater and just say what I’m seeing in real time that’s too hard. Or they might enjoy that challenge.

TR:

I don’t want to be one to say that something can’t be done based on the current process. It may appear that way until someone comes along and changes how it’s done.

Yes, right now, live description and writing the description for a film or television show requires sight. But wordsmithing doesn’t.

What are the other challenges for a Blind person to participate in this work?

How about narration?

CC:

When you are recording in a studio, what normally happens is the script is on one screen and then on the screen next to it the film or TV show is playing and it has the time stamps on it and the Sound Engineer will say ok you have three seconds to record this line will do it three times ready? And they will play the clip and you’re watching the clip and trying to say what’s on the script at the same time.

TR:

Ok, maybe it’s me but this doesn’t seem to be a real obstacle. It’s a process that’s currently in place but there’s no reason it couldn’t be done differently.
For example, a Sound Engineer could cue the Narrator.

A Narrator/Editor with time stamp info alone could easily run through and record and be sure that the narration falls as indicated.

CC:

I think if you were doing it independently you could be successful at it. I think some of the larger studios everything has to happen so fast in post-production that they’re like you have one day to do this. You have one day to record the Audio Description and they just don’t think Blind people can do it.

[TR in conversation with CC:]
Huh!

TR:

That sounds like the biggest obstacle to me, attitude.

CC:

As far as quality control, as far as the people who should be editing, I think that should be Blind people. We’re more attuned to consuming Audio Description as our means of delving into a story and we have more of a legitimate leg up to say something like this voice over artist is super annoying and takes you of the story. The script writer repeated this line twice. At one point in the scene you named this person this and now you’re calling him this. Those kind of things are what we would be more efficient at editing.

TR:

For example, tell me if you think there’s something off with this narration.

[Audio: Shooters Season 2]

This is from season 2 of a Netflix series called “Shooters”. No offense to the Narrator but why in the world is he practically singing every line. I had to abandon the series. I just couldn’t do it. This guy!

CC:

There is room for more employment for visually impaired and Blind people. It’s just a matter of the same that it every was which is unfortunately we have to break down the barriers. We have to be the ones to say , no like we can edit, we can be involved in this, we can be voice artist, like it can happen.

TR:

Colleen is currently a member of an ACB Committee tasked to create an AD Accreditation. They’re developing guidelines that define audio description and requirements for live theater, plays, movies and television.

CC:

It’s not just for the describers, we’re also going to be creating a certification for quality control or consumers of Audio Description. My goal is to make sure that Blind and visually impaired people have a chance to also be certified as quality control and as description consultants.

TR:

When it comes to standards and guidelines for creating Audio Description, there’s a lot of room for growth. How to handle diversity is just one question.

CC:

How much do you say about a person? How do you very quickly categorize somebody if you need a really short term for this one burly guy?What do you say? What’s appropriate to say? What terms are you going to use that may in five in a year, may be no longer appropriate?

A lot of times you may want to reference something, but the main default as far as guidelines will most likely be only if it’s relevant to the story do you need to reference something and then you need to keep in mind you have to reference for everybody because that’s why it would be significant.

TR:

To learn more about Audio Description Training Retreats you can reach them on Facebook or Twitter @ADRetreats or visit ADTrainingRetreats.com.

They have some trainings taking place this fall so go on over to the site and get all the information.

[TR in conversation with CC:]

And your podcast? The name and where can folks take a listen?

CC:

My personal kind of podcast and any of my videos and information can be found at BlindInspirationCast.com

TR:

I’ll have all of these links at ReidMyMind.com on the episodes post.

Shout out to Colleen Connor for taking the time to speak with me for this episode.

I think we may hear from her again in the future regarding AD and more. She and I have some things in common. For example, like when I asked her to try using headphones during our interview and I noticed she too like me enjoys making up songs about nothing.

CC:

Humming a tune…

“Getting my headset!”

[TR in conversation with CC:]

Laughs!

# Closing

TR:

Hey, I’m not sure if you all know this but right now, there’s an incredible sale taking place just about wherever podcasts are distributed.

It costs nothing, absolutely nada, free 99 to subscribe to a podcast including this one. So do yourself a favor and…

Subscribe!
Apple Podcast, Spotify, Google Podcast, Stitcher, Tune In Radio or wherever you get podcasts.

You can always send me feedback or recommend a guest or topic all you have to do is hollaback!

We have the comments section on the blog, ReidMyMind.com.
The email; ReidMyMindRadio@gmail.com
The Reid My Mind Radio Feedback Line where you can leave a voice mail: 1 570-798-7343

I would really love voice messages that I can share on the podcast. If you don’t want to call, you can grab your smart phone and record a voice memo and email the finished recording to ReidMyMindRadio@gmail.com.

I’d love to hear and share the voices of those who are listening. If you want to send a message but don’t want it shared just say so and it’s all good.

I appreciate you listening and if you liked what you heard please rate and even review the show via Apple Podcast. And please, tell a friend to listen. Spread the love, man!

You can always visit www.ReidMyMind.com, that’s R to the E I D like my last name!

Audio: Reid My Mind Radio Outro

Peace!

Hide the transcript