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 (31 page)
Industrials: Long∼Form and Narrative Copy
Sales presentation, marketing videos, in-house training tapes, point-of-purchase videos, film documentaries, telephone messages, and many other projects all fall into the category of corporate and narrative. Frequently, these scripts are written to be read and not spoken.
Writers of industrials—corporate and narrative—copy are often not experienced writers, or usually write copy for print. There are exceptions to this, but overall you can expect copy in this category to be pretty dry. Corporate and narrative copy is often full of statistics, complex names or phrases and terminology specific to a business or industry. These can be a challenge for even an experienced voiceover performer.
As you perform a corporate or narrative script, you are still performing a character telling a story, just as for any other type of copy. You should know who your character is, who you are talking to, and what you are talking about. You also need to find a way to create an image of knowledge and authority for your character. What is it about your character that gives him the authority to be speaking the words? Is your character the owner of the company, a satisfied customer, the company’s top salesperson, or a driver for one of the delivery trucks? To create an image of credibility, figure out an appropriate role for your character and commit to your choice.
A corporate or narrative script for a video project might have several performers on camera. These are often professional actors, but sometimes include employees of the business. There also may be several voiceover performers for different sections of the script. Many scripts in this category are written for a single voiceover performer, but occasionally two or more performers will alternate lines or voice different sections. There may also be some interactive dialogue sections of the script. The complexity of a corporate script will vary greatly depending on the intended purpose, the content, the length, and the budget for the project.
It is sometimes more challenging to deliver a script of this nature in a conversational manner, but it is possible. Facts, numbers, unusual terms,
and complex names all contribute to a presentation more like a lecture than a conversation. However, the information is important, and the audience must be able to relate to the presentation as well as clearly understand what they hear. If the presentation of the information (your performance) is interesting and entertaining, the effectiveness of the communication will be much better.
The following tips and suggestions will help you with corporate and narrative copy in general.
- Talk
to
the audience on their level, not
at
them, even though the script might be full of facts, statistics, and unusual names or phrases. - Take your time delivering the copy. Unlike radio or TV copy, which must be done within a specific time, there is rarely any time limitation for corporate and narrative copy.
- Be clear on the facts and pronunciation of complex words. These are important to the client and need to be correct and accurate.
- Slow your delivery or pace in sections where there is important information; speak more quickly in other parts of the script.
- If you are alternating lines with another performer, and the script is not written for dialogue, be careful to not overlap or step on the other performer’s lines. Keep your delivery more open for this type of script, unless the producer specifically requests that you tighten your delivery.
As you work with the following scripts, you might find it interesting to read through the script before reading the Copy Notes provided for each one. Come up with your own interpretation for attitude, pacing, character, and performance. Then read through the notes to see how close you came to what the producers of these projects intended. The following scripts are reproduced as accurately as possible, including typos, grammatical errors, and awkward phrasing.
Title:
“The Art of Risk”—audio training program
Agency:
Direct—Bobbin Beam
USP:
“Get comfortable with the uncomfortable.”
Target Audience:
Actors and performers
Character:
Educator—Motivator
VO Talent:
Bobbin Beam;
www.bobbinbeam.com
Copy Notes:
This script was originally written as part of a blog post. Its intention was to help and support voice actors who were experiencing frustration with their audition submissions. The author, who also voiced this recording, delivered her script from the point of view of a very experienced, international voice talent who knows the business well. Her tone of voice, although encouraging and supportive, simultaneously reveals an underlying truth of the voiceover business: that in order to have any level of success, it is essential that we allow ourselves to take risks and explore options and opportunities outside of our comfort zone.
Notice how, in her delivery, Bobbin captures the listener’s attention in the way she phrases the opening sentences. As she proceeds through the story, it is clear through the tone of her voice that she speaks from experience and has an underlying desire to help others who are experiencing what she describes.
How many auditions does the average actor perform to nail a single job? How many times do you “put yourself out there,” and see nothing come of it?
Good question. Obviously the answer varies, depending on so many factors, which would be difficult to quantify into a solid statistic. It is the question as well as the answer that makes me wonder.
In general, it would be safe to assume that you are in the majority if you take the risk of performing on any level. You run the risk of not booking the job more often than not.
Risk of failure. Risk of rejection. Risk of “de-selection.” Think about the Oscars: So many actors auditioned for the films and just so many got the job. Only so many films or actors were nominated, and just a few select won the “golden ticket.”
Being in this business is like the supreme rollercoaster ride of your life. If you want to ride, better strap yourself in. You may have exhilarating highs one week or one day, and have all the air let out of your balloon the next.
In voiceover acting, we are at a grander disadvantage. At least on a film or video shoot, you’re interacting with other human
beings. Not so in voiceover, unless you enjoy the rare occasion where you’re booked into a studio for a double or an ensemble gig. Even so, many times you end up perhaps with just the director, and or the engineer to record the session.
So most of the time, we work in a very isolated environment, and take our daily risks. We operate in a vacuum, and in so doing, we risk it all. We spill out our best, we think, and can still fall flat on our face.
Working through this “art” of the process is challenging at times. It can be quite painful, to risk and lose, as it can be incredibly heady in getting the recognition or landing a gig.
When we suffer losses, we must train ourselves to place them into perspective. You do this any way you can. But it helps to have practical training and experience to weather them.
Where we can get into trouble is when we allow our emotions and ego to take off on a self-absorbed “pity party.” Many of us do this because we are actors, we are competitive, and have innate and trained sensitivity, combined with a healthy ego. For those who can’t get this aspect of it simply give up.
That’s when it’s time for a break from the business. Really, take a break! Keep doing things you love and surround yourself with people who love you, and get back in touch with what truly matters.
Know it’s not your fault that you’ve been rejected, ignored, disrespected, overlooked, under-appreciated, low-rated, or the latest industry buzzword, “de-selected.”
Don’t let this stop you.
It’s OK to take the risk, while giving permission to others not to hire you for whatever reason that is not in your control. All you can control is your own performance and spill it out there.
And, next time, take the risk and get comfortable with the uncomfortable.
Copyright, © Bobbin Beam. Used by permission.
Title:
“Passion, Profit, and Power”—audio training program
Agency:
Mind Power, Inc.
USP:
“Reprogram your subconscious mind to create the relationships, wealth, and well-being that you deserve”
Target Audience:
Self-motivated people who desire to improve their life
Style:
Friendly, professional, expert
Characters:
Author/expert
VO Talent:
Marshall Sylver;
www.sylver.com
Copy Notes:
Marshall Sylver is a motivational speaker, professional hypnotist, and an expert in the area of subconscious reprogramming. This
excerpt from his program “Passion, Profit and Power” is an excellent example of taking the words “off the page.” Many professional speakers will produce an audio version of their seminar, or a training program. For studio recordings such as this, the material is scripted in advance and read during the recording session. The challenge for the presenter is to sound as though the words being spoken are coming off the top of the head. They must sound completely natural, very conversational, and be absolutely comfortable with the complexities of their topic—yet it is totally scripted.
With this sort of material, it is very easy to fall into a “read-y” narration style that can sound more like a lecture than a conversation. As an experienced motivational speaker, Marshall delivers his message in an intimate style that presents him as a knowledgeable expert. Notice how effectively he uses many voice-acting techniques like sense memory, pulling lines, pacing, and physicalization just to mention a few. Also notice how you, as a listener, are affected by the way in which Marshall tells the story. He draws you into what he is saying, and keeps you listening by presenting a skillful blend of intellectual and emotional content.
As you listen to the CD, observe the variety in Marshall’s delivery; the way he adjusts his pacing to emphasize a point, the way he changes the pitch of his voice, and the way he creates a vivid image in your imagination. Also listen for changes in his delivery that are affected by physical alterations of his body, arms, and face.
As you work with this script, keep in mind that as a voice actor you are both a communicator and a storyteller. Notice that there are several lists in this story, as well as lots of vivid imagery. Use the techniques you’ve learned in previous chapters to determine your audience, back story, and character so you can create a powerful interpretation. Use sense memory, visualization, and physical movement to create a totally believable experience in the imagination of your audience.
This story is excellent for stretching your performing abilities. Become familiar with the basic story, and then tell it to different groups of friends in different ways—for one group simply tell the story without much emphasis or feeling; for another group, pull out all the stops. Notice how much more effective and real the reaction will be for the second group.
Every single thought that you can have possesses the ability to psychosomatically affect you. What this means is that every thought has a response in the physical body. In a moment I’m going to cause your body to respond to something simply by the thought of it.
Recently, I was driving through a citrus orchard near my home, and as I looked around me I saw thousands and thousands of totally ripe lemons. If you’ve ever driven through a
citrus orchard, the first thing you’ll notice is the scent… it smells like “sweet tarts.” As I was driving through the citrus orchard, and looking at these juicy, plump, ripe lemons, I couldn’t resist. I pulled my car off to the side of the road and I got out. And I walked up to the nearest tree that was laden full and heavy with the juiciest, plumpest, biggest, sour lemons I’d ever seen in my life.
I couldn’t resist. I reached up to the tree… and I plucked the biggest, juiciest lemon I could find… and when I did, I smelled that scent, popping as the stem burst away from the fruit. That sour, tangy, juicy citrus scent from the lemon. I couldn’t resist any more. In that moment, I reached into my pocket. I pulled out my pocket knife, and I pressed the shiny metal blade of the knife against the smooth, juicy flesh of this yellow lemon. And I began to slice through this juicy, tangy, tart, sour lemon… and as I did, the pulp and the juices from the lemon ran down the knife blade and across my hand. I put the knife aside, and I took my thumbs and I pressed them between the halves of this juicy, sour, tangy, tart lemon – and I split them apart. It was like sunshine in both hands! I couldn’t wait – I tipped my head straight back – and I began squeezing half the lemon into my mouth. The sour juices, dripping, running down my chin, going back into my mouth. I couldn’t wait any more… I took the other half of the lemon and I bit into it fully… tasting the sour, juicy, tangy lemon. And when I did, my jowls tightened, just like yours are tightening now.
Every thought has a psychosomatic response in the body. By virtue of the fact that you think it – you’ll telegraph to your body to respond to that thought as if it were true. What you believe is true for you. Nothing else.
Copyright, © Marshall Sylver. Used by permission.
