The Art of Voice Acting: the art and business of performing for voice over (55 page)

To submit auditions that stand a chance of getting you work, you must know how to properly use your equipment, you must know how to work the microphone (mic technique), you must know how to deal with adverse noise conditions, and you must know what you are doing as a performer. In short, you must know how to produce a “killer” audition.

Let’s assume you’ve taken care of all equipment and acoustic issues and that you’ve got the expertise to record excellent voice tracks. Now what?

The first thing you need to know is that just because you think a script is a perfect match for you, it doesn’t mean your performance is what the producer is looking for. All you can do for any audition is to perform to the best of your abilities, using what you consider to be the best choices for your performance. Then, let it go.

Most talent buyers request auditions be sent as MP3 files without any production, music, or effects. In other words, they want to hear only your
dry voice
at the best possible quality. An audition is not the place for you to demonstrate your production skills or your talent for choosing music.

For most auditions, you simply don’t have enough information and have absolutely no idea what the producer is looking for. You are effectively second-guessing the producer in an attempt to come up with a performance that you think will meet their needs. Sometimes, they don’t really know what they’re listening for, so it may be worth sending two, or at most three, different interpretations of their script.

One of the most important things to keep in mind when sending out an audition from your home studio is to follow instructions to the letter, especially if the audition request came from a talent agent. If you are asked to
slate
, or identify, your audition in a certain way, do it exactly as requested! If you are asked to name your MP3 file a certain way, name it that way. If you are asked to send only one track, don’t send two. If you are asked to send your MP3 file at a specific sample rate, you had better know how to do it. If you are asked to upload your audition to an FTP website, don’t email it. Producers want to know that you have the ability to follow their instructions and take their direction. There may be a specific reason for their request, they may simply be a very controlling producer, or they may be testing you. Read audition instructions carefully, and follow them. If you don’t, there’s an excellent chance your audition will be never be heard.

It is an unfortunate aspect of the voiceover business that many auditions will arrive as very poorly written scripts. Grammatical and punctuation errors, misspellings, nonsensical syntax, poor sentence structure, and confusing phrasing are commonplace. When you are auditioning a script with any of these issues, your gut instinct may be to change a word here or there, move a sentence, or even rewrite the script to make it “better.”

There are several problems with this idea. To begin with, no matter how “bad” a script might seem, you really don’t know that the way it is written might be exactly the way the writer intended. If the errors are obvious and extensive, it may be that the script was written in a hurry or perhaps the copywriter is inexperienced, not qualified, or may not be conversationally fluent in writing in English. Or, it could be that the errors are just simple mistakes. It really doesn’t matter because your job as a voice actor is to deliver the best audition you can with the script you are given. Your services as a copywriter are not on the table at this stage of the project.

Many inexperienced voice actors make the mistake of thinking that by taking the time to “fix” the copy, they are showing their prospective client that they can work as part of the team, or that their copywriting skills can be an additional benefit to the project. This is flawed thinking because at that stage of the process the client isn’t interested in anything you can do beyond your performance of their script. But that’s not the worst part.

Suppose you do take the time to massage the script, and you actually do improve upon the original copy. You record a brilliant performance of your revised audition script and submit it. The talent buyer is under no obligation to book your voiceover services, and aside from the fact that you were never asked to rewrite the copy, you have just given them an improved version of their script. If they like your revisions, they are under no obligation to pay you for it, and will very likely use it when they book someone else. Because you provided a free rewrite of their original script, you don’t even have any copyright to your new version. All your effort will have been to no avail.

Attempting to “fix” an audition script is essentially a waste of your time and energy. Of course, minor corrections might be appropriate, but the time to discuss major copy corrections is after you are booked for the recording session. You may be surprised that the final script has been miraculously fixed. Some talent buyers have been known to send out a flawed script as a sort of test to see (or hear) what auditioning voice actors do to handle the errors. It’s sneaky, but it does happen from time to time.

As a general rule of thumb, when you get a “bad” script, just do the best audition you possibly can and leave the copywriting to the client.

So, you’ve followed all the instructions and you’ve sent out a very good dry voice track recording as your audition. At this point, you don’t really know who you’re sending your audition to, and you certainly don’t have any sort of agreement for compensation should you be chosen for the job. If you’ve sent out a clean recording, the only thing preventing a producer from using your work without telling you is their personal morals and ethics. The vast majority of producers maintain ethical standards and will not use a performer’s work without compensation. But there are those unscrupulous producers who will take advantage of a situation. How can you protect yourself so your work will not be used without compensation?

There are several ways to do this, all with the goal of making the audition unusable as a final recording but still providing a good representation of your work. One is to simply send only a partial performance as your audition, leaving out a few critical lines. A similar approach is to change the client name, product name, or phone number. This is not a substantial rewrite, but it does serve to make the audition track unusable while giving the producer a good idea of your performance.

Yet another approach to protecting your audition is to use a
watermark
or drop out the audio at certain key words. In its simplest form, a watermark is a beep, tone, or click, usually on a second audio track, that is strategically placed to interfere with certain words, thus making the track unusable. At first glance this might make perfect sense as a way to protect your performance, and some of the pay-to-play audition sites encourage its use. However, there is a definite down side to using a watermark.

The only reason you would use a watermark is if you suspect that the recipient might steal your work. Producers know this! And many consider use of a watermark to be a reflection of the voice actor’s level of experience and professionalism. The logical thought is this: “If this voice actor doesn’t trust me to handle their audition with integrity, why should I hire them for this job?” This is simply not a good way to start a professional relationship.

Aside from this negative affect, a watermark can easily be a serious distraction for a realistic evaluation of an audition. No matter how low the volume is set for the watermark, the beep, click, or tone can be extremely distracting and annoying. The result of a watermarked audition can easily be loss of the job. A far better approach to protecting your audition performance is to simply change a few key words of the script.

As soon as you get the call for a live audition, you will probably begin to feel butterflies in your stomach. This is a good time for you to practice some relaxation exercises. You need to prepare yourself mentally and physically for the audition. Just the fact that you were called to audition is a good sign, so keep a positive mental attitude. After all, you have been invited to be there, and the client wants you to succeed.

On the day of the audition, loosen up with your daily stretches and voice exercises. Dress comfortably, yet professionally. Be careful not to wear clothing or jewelry that will make noise when you are on-mic. If your audition is close to a meal, eat lightly and avoid foods that you know cause problems with your performance.

Plan to arrive at your audition about 15 to 20 minutes before your scheduled time. Make sure you leave enough time to allow for any traffic problems and for parking. If you do not plan ahead, you may arrive too late to read for your part, especially for multiple-voice auditions. When in your car, continue with some warm-up exercises and listen to music that will put you in a positive frame of mind. Sing to songs on the radio to loosen up your voice and relax your inhibitions, but don’t overdo it. Use your cork.

Always bring several sharpened pencils for making copy notes and changes, and a bottle of water. A briefcase or tote bag containing your supplies, business cards, a bottle of water, and several copies of your demo can add that extra touch of professionalism to your image. Don’t plan on giving your demo or business cards to the people you are auditioning for, unless they request them—they already know who you are. These are for other people you might meet whom you did not expect to be there.

Act as if you know what you are doing, even if this is your first audition. Watch others, follow their lead, and keep a positive attitude.

Under current tax laws, any expenses you incur that directly relate to earning income are deductible, including travel expenses to and from auditions and parking fees, whether or not you get the job. It’s a good idea to keep a journal with you so that you can itemize your mileage and expenses. You also may want to keep a record of auditions you are sent on, who the casting people are, where the audition was held, and how you felt about it. You might include names, addresses, and phone numbers to add to your follow-up mailing list. If you are using computer software or an online service to keep track of your expenses, be certain to keep it up to date.

Even if the audition starts on schedule, chances are that within a short time, the producers will be running late. Have something to read or do while you wait for your turn. Stay relaxed and calm, and keep breathing. This is a good opportunity to get to know some of the other performers who are there, if they are willing to talk to you. Many performers prefer to keep to themselves at an audition in order to stay focused or prepare themselves. Always respect the other people who are auditioning. You may end up working with them some day. If the opportunity arises to get to know someone new, it might be in your best interest to take advantage of it.

Remember, networking can be a valuable tool when used properly—it’s often not what you know, but who you know that gets you work. Even though these people may be your direct competition, you may make a connection for future jobs that would have otherwise passed you by.

If the copy is for a dialogue spot, you may find another performer willing to
run lines
, or practice the copy with you. This can be an advantage for both of you, even if you do not do the audition together. However, do keep in mind that interaction with the competition can often be distracting.

Nervous energy is only natural, but it is something you need to control. You must be able to convert your nervous energy into productive energy for your performance. Focus on your acting rather than on the words. You know you are nervous and so do the casting people. Don’t waste time trying to suppress or conceal your nervousness. Breathe through it and focus on converting the nervous energy into positive energy. Many of the top stage and screen actors become very nervous before a performance. It’s a common condition of all performing arts. Bob Hope, one of the top comedians of the twentieth century, was known to be incredibly nervous before going on stage. When asked about it, Mr. Hope said he valued his nervousness because he felt it gave him an edge while performing. Adjust for your nervousness by taking a long breath deep down through your body to center yourself and focus your vocal awareness.
Chapter 5
, “Using Your Instrument,” explains how to do this.

At most auditions, the people there really want you to be the right person for the job. However, if the audition is for a major account in a major city, expect the possibility of being treated rudely by people who just don’t care and are trying to rush as many performers through the audition as possible in a limited amount of time. If anything other than this happens, consider yourself lucky. Many times, the people handling the audition are just there to record your performance and have little or nothing to do with the client who will eventually be hiring the actors.

Use your waiting time for woodshedding: to study it for your character, key words, target audience, and for anything that is unclear—especially words you don’t understand or don’t know how to pronounce. Try to get a feel for what they are looking for. What attitude? What sort of delivery? Most of the time, your choices will be clear. Sometimes, there will be a character description on the copy, or some notes as to what the producers are after. If there is a graphic or sketch of the character you are to play,
make note of any physical features, body language or other characteristics that might be used to develop your performance choices. Note the important words or phrases, the advertiser and product name, where to add drama or emotion, where to pull back. Mark your copy in advance so that you will know what you need to do to achieve the delivery you want. Rehearse out loud and time yourself. Don’t rehearse silently by merely reading and saying the words in your mind. In order to get an accurate timing and believable delivery, you must vocalize the copy. Make sure you know how you will deliver the copy in the allotted time.

Be careful not to overanalyze. Read the copy enough times to become familiar with it, then put it aside. Overanalyzing can cause you to lose your spontaneity. Decide on the initial choices for your delivery, and commit to them. But be prepared to give several different variations. Also, be prepared for the director to ask for something completely unexpected.

Auditions for a TV spot may or may not have a storyboard available. This may be attached to the script, or posted on a wall. It may be legible or it may be a poor copy. A
storyboard
is a series of drawings, similar to a cartoon strip, that describes the visual elements of a TV commercial or film that correspond to the copy. If there is a storyboard for your audition, study it thoroughly. Instead of a storyboard, many TV-commercial scripts have a description of the visuals on the left side of the page with the voiceover copy on the right side. The storyboard or visual description is the best tool you have to gain an understanding of a video or film project. If you only focus on the words in the script, you will be overlooking valuable information that could give you the inspiration you need to create the performance that gets you the job.

Greet the producer or host, introduce yourself, shake hands, be spontaneous, be sincere, and be friendly. If you are auditioning near the end of a long day, the people in the room may not be in the best of moods. You still need to be friendly and professional as long as you are in that room. Remember, first impressions are important. Your first impression of them might not be very good, but you need to make sure that their first impression of you is as good as possible. Your personality and willingness to meet their needs will go a long way.

Answer any questions the casting producer, agency rep, or engineer ask of you. They will show you where the mic is and let you know when they are ready for you to begin. Do not touch any equipment—especially the mic. Let the engineer or someone from the audition staff handle the equipment, unless you are specifically asked to make an adjustment.

There will probably be a music stand near the microphone. Put your copy here. If there is no stand, you will have to hold the copy, which may restrict your physicalization. If headphones are available, put them on—this may be the only way you will hear cues and direction from the control
room. In some cases, you may be asked to read along with a
scratch track
for timing purposes and you will need the headphones to hear it.

A
scratch track
is a preliminary test recording that is usually used as a guide for video editing or as a sample for the client. Sometimes, you might be lucky enough to actually have a music track to listen to as you perform. This can be very helpful, because music is often used to help set the mood and tone for a commercial and can provide clues about the target audience. If you don’t have anything to work against, you might ask the producer or director to give you an idea of the rhythm and pacing for the project.

Before you start, the engineer or producer will ask you for a
level
. This is so he can set the proper record volume. When giving a level, read your copy exactly the way you plan to perform it. Many people make the mistake of just saying their name or counting 1, 2, 3,… or speaking in a softer voice than when they read for the audition. Use this as an opportunity to rehearse your performance with all the emotion and dynamics you will use when the engineer starts recording. In fact, many times, the engineer will actually record your level test—and occasionally, that take, or portions of it, may end up in the final product.

Your best bet for getting a job from an audition is to discover the character in the copy and allow that character to be revealed through your performance. Play with the words! Have fun with them! Put your personal spin on the copy! Do not change words, but rather add your own unique twist to the delivery. Don’t focus on technique or over-analyze the script. Use the skills of voice acting you have mastered to make the copy your own. If they want something else, they will tell you.

Making the copy your own is an acquired acting skill. It may take you a while to find your unique style, but the search will be worthwhile.
Chapter 10
, “The Character in the Copy,” discusses this aspect of voiceover work.

You will have only a few moments to deliver your best performance. Remember, you are auditioning as a professional, and those holding the audition expect a certain level of competency. When asked to begin, start by slating your name, then perform as you have planned.

To
slate
, clearly give both your first and last name, your agent (or contact info), and the title of your audition. Your agent or the instructions may request that you slate in a specific order, add additional information, or leave an item out. Many talent buyers only want your name and your agent’s name in the slate. The following is a typical audition slate:

There are two schools of thought on slates: One is to slate with your natural voice. The other is to slate in character or in a manner consistent with the copy. Slating in your natural voice may be like a second audition by giving the casting person a taste of who you really are and what your voice is like. This may result in a future booking based only on your slate. Slating in character provides continuity for the audition. Neither approach is correct in all situations. If you have an agent, ask how they would prefer you handle the slate. For some auditions, you may be asked to
not
include a slate, but you may be asked, instead, to include your name as part of the MP3 file name if you are auditioning from your home studio. Use your best judgment when slating, but always keep it short.

After your slate, wait a few beats as you prepare yourself mentally with a visualization of the scene, and physically with a good diaphragmatic breath, then begin your performance. Don’t just jump in and start reading. If you are auditioning from home, you have the luxury of editing later on.

At a live audition, you may, or may not, receive direction or coaching from the casting person. If you are given direction, it may be completely different from your interpretation. You may be asked to give several different reads, and you need to be flexible enough to give the producer what he or she wants, regardless of whether you think it is the right way. You may, or may not, be able to ask questions. It depends entirely on the producer. There may be one, two, three, or more people in attendance. Stay focused and don’t let yourself get distracted by the people in the room.

Many auditions are simply intended to narrow down possible voices and the performance is secondary. The copy used in some auditions may be an early draft, while other auditions may provide a final script. Either way, you are expected to perform to the best of your abilities. Do your best interpretation first, and let the producer ask for changes after that. It may be that your interpretation gives the producer an idea he or she had not thought of, which could be the detail that gets you the job. In some cases, you might be asked to simply improvise something, and won’t even have a script.

Offering your opinions is usually not a good idea at an audition, but it is something you can do if it feels appropriate. Some producers may be open to suggestions or a different interpretation, while others are totally set in their ways. If the producer is not open to it, he or she will tell you. These are not shy people. At other times, the audition producer will be doing little more than simply giving slate instructions and recording your performance.

The casting person will let you know when they have what they want. Two or three reads of the copy may be all the opportunity you have to do your best work. They may, or may not, play back your audition before you leave—usually not. If you do get a playback, this is a good opportunity for you to study your performance. Do not ask if you can do another take unless you honestly believe you can do a much better performance, or unless the producer asks if you can do something different. When you are done, thank them, and then leave. Your audition is over. If you like, take the script with you, unless you are asked to return it.