Read The Art of Voice Acting: the art and business of performing for voice over Online
Authors: James Alburger
The Art of Voice Acting: the art and business of performing for voice over (29 page)
When you become the character in the copy, you will be believable to the audience, and a suspension of disbelief will be created. When the audience suspends their disbelief in what they hear, they become more open to the message. This all starts when you discover the character in the copy.
- Don’t overanalyze your copy. Overanalyzing can cause you to lose spontaneity and cause your delivery to become flat and uninteresting.
- Rely on your instincts, and trust the director in your mind to guide your delivery to keep it on track, conversational, and real. Don’t read.
- Tell the story. All scripts tell a story. Storytelling is always about relationships. To be believable, make the relationships appear real.
- Make your character believable and unique by adding something of yourself. Let your imagination run wild. If you believe in the reality of your performance, the audience will believe.
- Don’t become so focused on your character that you lose sight of the story, the drama, and the relationships between characters and conflict.
- Internalize the wants and needs of your character, both physically and emotionally. Find the place in your body where a tension develops. Hold it there to
set your character
, and deliver your lines from that place. Use your imagination to create a vivid reality of the scene, situation, relationships, and conversation in your mind. - Play it over-the-top on your first time through. Use more attitude, dynamics, or energy in your delivery than you think may be necessary. It’s much easier to pull back than to push you further out.
- Underplay, rather than overplay. Louder may not be better. Pull back, speak more softly, and be more natural. Remember, “less is more.”
- Keep your posture in a stance consistent with the character and the choices you have made in regards to how your character stands, moves, and behaves. Maintain this attitude throughout your performance.
- Find the music in the copy. All copy has a tempo, rhythm, dynamics, and other musical qualities. Speak as quickly and as quietly as you would if you were talking to someone in a real conversation.
- Stay in the moment. Pick up cues. Interact with other performers. Don’t let your lines become separated from those of the other performers. Listen to yourself, the director, and other performers and respond appropriately (
listen and answer
).
1
“RISC AmeriScan: Western Socio-Cultural Scan”, RISC 1999 (1-2).
2
RISC 3-D map, scan, and other materials copyright RISC, 1999. Used by permission of Marshall Marketing and RISC International.
www.MarshallMarketingUSA.com
3
“RISC AmeriScan: Western Socio-Cultural Scan”, RISC 1999 (3).
4
Marshall Marketing RISC 3-D Guidebook
, RISC, 1999 (5).
Single∼Voice Copy
Single-voice copy
is written for a solo performer who will deliver the entire message, with the possible exception of a separate tag line which may be voiced by a different performer. Because there is only one character speaking, any interaction is implied, either between the character speaking and an unheard second character or between the performer and the listener.
Reading or “announcing” copy will rarely result in an effective communication. Both styles direct the performance inward and imply that the performer is speaking to himself or herself. To properly interrupt, engage, and educate a listener, a voice actor must speak to a one-person audience with the expectation of receiving a response. Only then can the
offer
be made with the expectation that the listener will take action. See
Chapter 9
, page 144 for more about
interrupt, engage, educate, offer
.
When discussing the target audience for any given script, the producer may speak in terms of the demographic audience she is wanting to reach, for example: women, 25–35. However, your performance must be focused on speaking to only one person. Knowing the broader demographic can help, but the fact that you and the producer are referring to two different things can be somewhat confusing. Remember, if you ask the producer specifically who you are speaking to (the one person), she will probably not know what you are talking about. Figuring out your one-person audience is your job, not the producer’s.
The target audience of a single-voice script can usually be determined pretty easily; however, sometimes it can be a challenge to define the character speaking. Well-written copy that clearly tells a story makes the character easy to define. Poorly written copy that contains only information in the form of facts and figures can make this difficult.
Consider single-voice copy as a story you are telling. Find your storyteller and commit to the attitude and style choices you make. Deliver the copy from a set point of view by finding the
subtext
(how you think and feel) behind the words you speak and express it through your voice. Study your script closely to determine if it was written to match a current trend.
One key to effective single-voice delivery is to use the basic dramatic principle of having a conversation with another person. Make the other person the ideal person who needs to hear what you have to say. Another key is to find the appropriate attitude or style. Both of these can be effective interrupts and engagements when done properly. Make your conversation natural, believable, and candid, speaking to only one person at a time.
Shotgunning
, trying to speak to several people at once, tends to make your delivery sound more like a speech than a conversation, although that may be appropriate for some types of copy.
In single-voice scripts, as in others, there can be many different written references to the performer, such as VO, ANNCR, or TALENT—and all may be used interchangeably. You may also see references to music, SFX (sound effects), and even directorial cues, which are not to be read by the performer. The format may be single- or double-spaced and may or may not include a separate column for video and other instructions. Read everything on the page in order to fully understand the message and your character’s role. Then quickly run through your Seven Core Elements to set your choices.
- You are a storyteller, and stories are always about relationships. Find the relationships in the story you are telling.
- Analyze the copy for character, mood, attitude, conflict, rhythm, and so on. (See
Chapter 10
, “The Character in the Copy.”) - Look for the message, image, feeling, or unique quality that the advertiser wants to communicate to the listener. What separates this product or service from its competitors?
- Find the subtext, thoughts and feelings behind the words.
- Determine who the one perfect audience is and why she should be listening to what you have to say.
- Speak conversationally, having the expectation of a response. Talk
to
the other person,
not at
him or her. - Determine the creative strategy that will enable you to build dramatic tension and allow for expression of the message. Use sense-memory techniques to locate tension in your body and speak from that place.
- Find a way to deliver the first line of copy in a way that will interrupt the listener’s thoughts and bring them in to listening to your story.
- Be careful not to telegraph the message or send a message of “here comes another commercial.”
As you work with the following scripts, you might find it interesting to read through the script before reading the copy notes. Come up with your interpretation for attitude, pacing, character, and performance, and then read through the notes to see how close you came to what the producers of these projects intended. After working with a script, play the corresponding audio track on the CD that comes with this book to hear the actual commercial.
Title/Media:
“Expectations” Regional Radio :60
Agency:
CA Attorney General Office
USP/Slogan:
“Think through it… Don’t do it.”
Target Audience:
Parents of teenagers
Style:
Teenager, dry, remorseful
Character:
Male,
VO Talent:
Jon Allen
Copy Notes:
This radio commercial is intended to create an awareness of the potential ramifications for permissive parents who allow their teenage children to drink alcohol at a party, under the premise that it is “OK for teens to drink if they are supervised.” The challenge with a script and story as emotionally loaded as this, is keeping the character and delivery “real.”
There are certain things you expect from your parents. You expect them to love you. You expect them to protect you, and you expect them to know what’s best for you. But even though teenagers expect these things from our parents, we still “push” ’em whenever we can. But there were things I didn’t expect. Like them giving in when I wanted to have a party at the house and serve alcohol. I never expected them to do that! I mean, I’m only 17. I expected them to say “no way”. I wish they had. I wish I hadn’t pushed so hard. Because, if they’d said no, my best friend, Shari, might still be alive. If they’d said no, the police might never have traced the alcohol back to our party.
And if they’d said no—my mom and dad might still be together. I always expected them to be.
TAG: Never provide alcohol to a minor. Think through it… Don’t do it.
A message from the California Attorney General’s Office and the California office of traffic safety. To learn more, go to safestate.org/TRACE
Copyright © The Commercial Clinic. All rights reserved.
Title/Media:
“Numbers” Regional TV :30
Agency:
The Commercial Clinic;
www.commercialclinic.com
USP/Slogan:
“Where buyers and sellers come together.”
Target Audience:
Home owners looking to buy or sell a home.
Character:
Spokesperson – female; Tag – male
VO Talent:
Penny Abshire
Tag:
James Alburger
Copy Notes:
This is a typical TV script with separate columns for video and audio. It’s a very good idea to read, and thoroughly understand, what will be happening visually as your words are spoken. Many voice talent overlook the visual column and deliver a voiceover performance that is inappropriate. This wastes time in the studio and inevitably requires that the director explain the visuals—something he should not have to do.
This spot is a short “story” using the
interrupt, engage, educate, offer
structure. The story is written in a way that anyone who has bought a home can relate to. The delivery is compelling in that it quickly establishes a meaningful relationship with potential home-buyers or sellers. Notice the use of tempo and rhythm to convey the message’s emotional context. Also notice the conversational delivery of both the main voice track and the tag.
| VIDEO | AUDIO |
| NO MUSIC: | |
| Rapid shots of numbers and related symbols. Numbers fades to BG as words fly forward, ending with a big question mark. Text graphic full screen “Give it to me Straight” dissolves to sequence of words, ending in 40% down… Diz: moving video of home with “sold” sign in foreground. Diz: Full screen graphic with URL and logo. | Numbers hurt my brain… you know? When 1 was buying my house I was overwhelmed with all the numbers. Fees, commissions, listing, mortgage – I just didn’t understand ‘em all. So I asked ‘em to give it to me straight, in words I could understand. And they did! And I like the words… ‘Free Listing’… ‘No money down’… ‘No closing costs.’ And one number I did understand… save up to 40% on real estate commissions. My brain feels better now. Tag (:05): Bringing buyers and sellers together… painlessly… MyOpenHouse.com. Copyright © The Commercial Clinic. All rights reserved. |
Title/Media:
“It’s Not Rocket Science” Local Radio :52/:08
Agency:
Direct
USP/Slogan:
“Connecting with customers.”
Target Audience:
Adult men and women
Style:
Friendly attitude projecting a sense of understanding
Character:
Spokesperson – female
VO Talent:
DB Cooper
Copy Notes:
This radio commercial was part of a larger campaign consisting of print, radio, and television. The intention of this spot is to make the point that ECSB provides more personal service than other banks. Experiment with different ways of delivering the first sentence in order to grab the listener’s attention. Then test different ways to tell the story so that it builds to the conclusion at the end of the second paragraph and resolves to the solution in the third paragraph. Because the message is about “… real, knowledgeable, people…” the delivery must be relaxed and conversational.
When you’ve made your choices for your delivery, listen to how DB Cooper delivered the actual voice track. Notice how she uses inflection, phrasing, and a hint of “attitude” to clearly imply how her character feels about the way other banks treat their customers “Do it BY yourself”, and how she feels about the positive experience to be had by doing business with ECSB.
At many banks, things are becoming more and more “Do It Yourself.” They talk about banking on the web and on your Smartphone, and how you’ll never have to actually SPEAK with them.
But what’s getting lost is that “Do It Yourself” often means “Do It BY Yourself.” Service has become an afterthought.
At East Cambridge Savings Bank, they know there will be times when what you want from your bank isn’t on the Internet or automated phone line. That’s why they have people there. Real, knowledgeable people with the experience and inclination to help you.
Call 1-866-354-ECSB. Someone will answer. It’s not rocket science. It’s people. And there, people come first.
Copyright © East Cambridge Savings Bank. All rights reserved. Used by permission.
Title/Media:
“Small Business” Internet Radio :60
Agency:
Sun Marketing
USP/Slogan:
“Growing your business”
Target Audience:
Adult entrepreneurial business owners
Style:
Very conversational
Character:
Independent business owner seeking success
VO Talent:
James R. Alburger
Copy Notes:
The advent of easily accessible Internet radio has created a new frontier for advertisers. Target audiences are often highly niched, according to the type of show, thus making it relatively easy for an advertiser to effectively reach her customers quickly. Notice that the first sentence of this script immediately attracts the attention of the intended audience. Also notice how the delivery tells the story through a combination of shifts in phrasing and repositioned punctuation.
You got a small business?
Well, then you know how tough it can be… marketing, finding new customers, and especially just staying focused on the day-to-day details of running your business.
Even though my business was doing OK, it wasn’t where I knew it could be. I was getting a bit discouraged. Then I heard about this little book called “Growing Your Business” by Marc Le Blanc.
Wow! I still can’t figure out how such a small book could make such a big difference in my business! It only took about an hour to read, and the things I learned… well, all I can say is I’ll be using Marc’s ideas for a long time to come. Why? Because they work!
I learned how to really focus on what I need to do to attract more customers and how to be more successful by creating a plan for generating more business. Guess that’s why Marc named his website small business success.
If you want to be more successful with your business— and who doesn’t—you should check out Marc Le Blanc’s website at
smallbusinesssuccess.com
.
No spaces—just… small business success.
Copyright © The Commercial Clinic. All rights reserved