It’s spooky season! 

Time for leaves to change colors, candy to be purchased in bulk, temperatures to drop (except in Texas, because fall is a myth here), and you to catch a fright from doing that very necessary but very scary voice-over task you keep putting off. You know the one. 

While that task might be looming in the dark like a monster from your dreams, there’s no need to do OTHER things that will also chill your bones and make you wish you had taken up needlepoint instead. Let’s face it: other than being in front of your mic in your booth, most of the voice work we do tends to be fairly mundane, and can be downright boring at times. But sometimes, you can run into situations that make you want to pull your hair out and trade your Sennheiser 416 for a 2015 Nissan Pathfinder and drive off into the sunset singing Carly Rae Jepsen. 

But here’s a secret: it doesn’t have to be so scary! I’ll share my frightening tales with you so that you can see that with a little confidence and preparation, the horrible can become humdrum. 

The Peculiar Case of the Unpaid Dubbing Assignment 

We all usually move with the best intentions, and we assume the best intentions in others. Most of us are nice people, and we engage with mostly nice people who are well-intentioned, but every so often, you find yourself in a murky swamp where you don’t get paid because you didn’t document the terms of your agreement. 

I agreed to perform some dubbing work for an international dubbing company that shall remain nameless. Along with some fellow Such A Voice alumni, my role was to supply ADR services for a variety of foreign-language television shows. It was a great opportunity: I had never done any dubbing before, and this was a way to learn, get my foot in the door with a dubbing company, and get paid. 

Eagerly, I dove into numerous assignments, working with some really talented voice actors and very nice producers who even asked for my input on translations and localization (like, “Would this person really say it like this in English?”). Over the course of several months, I took on several assignments and learned a lot about the process along the way. What I DIDN’T get, however, was payment. In my excitement to get started, I didn’t ask some important questions about when and how payment would come, how they were being funded, etc. In the end, I did not get paid for my work.

The Not-So-Scary Outcome: I learned to ask all the questions I need to ask about a project before I accept it, and I DID learn how to do ADR work. 

The Pay-To-Play Obsessive-Compulsion Fever

It’s very common for new voice actors to gravitate toward the numerous online services that will send you auditions for a monthly, quarterly, or yearly fee. I’m sure you can name a few off the top of your head without straining a brain muscle. Colloquially referred to as “pay-to-plays” or P2Ps, these sites and services are great places to source auditions curated (mostly) to your unique voice and preferences. I have used them from the beginning of my voice acting career, I still use them, and I know of several big-name voice actors who make quite a good living off of P2Ps. They are a reasonable, reliable source of both auditions and jobs. We can debate which ones are better than others, but much of that comes down to personal preference and how much you’re willing to spend to get the best opportunities. 

However, many new voice actors can get too caught up in “gamifying” the P2P experience, spending far too much time and mental energy on how many listens they get on their auditions, whether they’ve been shortlisted, and obsessively checking to see the status. In my case, I would stalk one particular site, hitting refresh over and over to see if any updates had occurred, feeling exhilaration if my audition was listened to and outright bliss if I was shortlisted, but also feeling disappointment, dejection, and doubt if I wasn’t selected. It was unhealthy. I began associating my worth as a voice actor with the statistics on the screen of whatever P2P site I was looking at, and I was so focused on the numbers that I wasn’t diversifying my outreach, I wasn’t doing nearly as much self-marketing. I was locked into a virtual death-spiral of audition, submit, refresh, rinse, and repeat. It was a toxic relationship. 

The Not-So-Scary Outcome: Once I recognized the signs, I took a beat and thought about what I was doing and whether the juice was worth the squeeze, so to speak. What was I gaining from the constant monitoring? I made a choice for myself: I began dialing back my presence on the particular P2Ps that offered that level of scrutiny, and focused more on my networking and marketing. I still do some P2Ps today, but I have fully adopted the “fire and forget” philosophy: giving the best audition I can, submitting it, then moving on with my life. It’s made my relationship with auditioning so much nicer.

There are lots of things to be wary of in voice acting: artificial intelligence, unscrupulous clients, a buildup of static electricity on your mic. But you shouldn’t be afraid of too many things. Most frights are simply the combination of you + inexperience with the situation. Listen to your mentors, your coaches, your peers, and you will find that it really doesn’t have to be so scary to be a voice actor.  

But go ahead and sing some Carly Rae Jepsen. I bet she’d appreciate that. 

Shaun Scott is a voice-over artist working in Medical Narration, Commercials, e-Learning, and more. His clients include Exxon, Temple University, Spotify, Stryker, SignifyHealth, and Carvykti.

Visit his website at: www.shaunscottvo.com

P.S. If you haven’t yet taken our introductory voice-over class, where we go over everything one needs to know about getting started in the voice-over industry,  sign up here!

P.P.S If you want to learn more from VO experts and grow the knowledge you already have, join our VO Pro group!

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 When election season rolls around, campaigns are in full swing. Candidates are racing to make their case to the public, and one of the most powerful tools they use is the political commercial. At the heart of every strong political spot is a voice that connects, convinces, and compels. That is where political voice-over comes in. If you have the right sound, you could be the voice that helps shape the narrative and drive voters to action. 

But not every political ad sounds the same. Campaigns need different tones, pacing, and delivery depending on the message they want to send. Let us break down the major styles of political commercials and what makes them effective. Then we will talk about where you can find opportunities to book this kind of work. 

Inspirational and Uplifting 

These are the spots that make voters feel hopeful. Think soaring music, bright visuals, and a voice that lifts up the candidate’s story. The delivery is passionate yet approachable. You are telling people, “This is someone you can believe in, this is a vision worth supporting.” It works well for campaign launches, introductory ads, or closing arguments right before Election Day. 

Hard-Hitting and Urgent 

Sometimes campaigns want to strike with force. These ads are bold, fast-paced, and full of energy. The voice needs to punch through the noise and grab attention. You are not just delivering lines, you are rallying an audience to act right now. That concentrated energy makes them perfect for ads that respond to breaking news, highlight an opponent’s weaknesses, or drive turnout in the final days. 

Good Ol’ Fashioned Attack Ads 

Love them or hate them, attack ads are a staple of modern politics. These ads shine a spotlight on an opponent’s flaws, missteps, or policy positions. The voice in these ads has to balance concentration with credibility. Too theatrical, and it feels fake. Too soft, and the message does not land. The sweet spot is a concentrated delivery that carries authority and seriousness. This is where timing, tone, and emphasis matter most. Your job is to guide the listener to one conclusion: the opponent cannot be trusted with their vote. 

Conversational and Relatable 

Not every ad needs to sound like a blockbuster movie trailer. Many campaigns use a conversational tone, almost like a neighbor talking over the fence. The goal is to make voters feel comfortable and connected. These ads are especially effective for reaching everyday people who may not respond to high drama. A conversational read works great for testimonials, grassroots campaigns, and local elections. 

Narrative and Documentary-Style 

Some political ads lean into storytelling. These spots feel more like mini-documentaries, walking viewers through a candidate’s background, accomplishments, or vision. The voice-over here is calm, steady, and trustworthy. You are guiding the audience through a story that is meant to stick with them. This style is often paired with archival footage, interviews, and a slower pace. 

Where to Book Political Voice-over Work

Now that you know the main styles, where can you actually book these jobs? Political work is not always posted in the same places as commercial gigs, but there are several strong options. 

Casting Sites 

Many pay-to-play casting sites host political projects, especially during election years. Sites like Voices.com, Voice123, and Bodalgo often list campaign ads at the local, state, and national levels. Keep your profiles updated with political demos that show off your range. 

Direct Outreach 

Production companies and media agencies that specialize in political work are always looking for fresh talent. A targeted email introducing yourself with a polished political demo can open doors. Look for firms that have a history of producing political ads, especially in your region. 

Networking and Referrals 

Relationships matter in politics, maybe more than anywhere else. If you know people working on campaigns, let them know you do voice-over. Many jobs get filled through word of mouth long before they are ever posted. Do not discount going out to places where the politicians will be speaking or attending events. It may seem old-fashioned, but the best way to show a candidate what they will be getting from partnering with you is to let them hear your voice and passion live and in person. 

Social Media 

Campaigns and consultants are constantly on platforms like LinkedIn, Twitter, and even Facebook, looking for talent. Share your demos, post about your experience, and connect with political strategists and media professionals. 

Political Consultants and Agencies 

There are agencies that exclusively handle political advertising. Building relationships with these firms can mean steady work every election cycle. Do some research, compile a list, and start reaching out directly. 

Final Thoughts 

Political voice-over is fast-paced, high-stakes, and deeply rewarding work. Whether you are voicing an uplifting campaign anthem, a concentrated attack ad, or a neighborly testimonial, your voice has the power to move voters and shape the outcome of elections. If you are serious about breaking into this field, polish your political demos, start building relationships, and put yourself in the mix. The next great political campaign could be waiting for your voice to bring it to life.

P.S. If you haven’t yet taken our introductory voice-over class, where we go over everything one needs to know about getting started in the voice-over industry,  sign up here!

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Commercials are a funny thing. 

As listeners, when we hear commercials – whether on TV, the radio, or even on Instagram or Facebook – one of the biggest factors in determining whether we tune in or change the channel is whether or not we experience an emotional connection to the content. 

Think about it: when you see that epic commercial during the Super Bowl about the All-American family, you get a tear in your eye. But, when you hear the stereotypical used car commercial in your car, you bolt to change the channel.

So how do we create that genuine emotional connection, especially if we don’t consider ourselves to be sales

people? If you’ve gone through thoughtful script analysis, the next step is often connecting via other creative, non-written stimuli.

Imagery

Imagery is a very powerful tool. Civilizations have used it longer than written word to document our experiences and history. We often find that feelings come up when we view particular pieces of artwork, and it’s no surprise that even something as simple as color can have a profound effect on our mood.

You can use imagery to your advantage with commercials by adding photos – of people, places, or even things to which you feel connected – within your recording environment. I have photos of my husband, my dog, a favorite outing with friends, and more in my booth; they always help deepen that emotional connection with the subject of the copy. Let visuals help reinforce your imagination!

Music

Music is another – often overlooked – background actor in commercial reads. Sure, there’s usually music in the actual spot when it airs, but how many of us pause to consider what that soundtrack might be when we’re recording an audition?

If you’re seeking inspiration for your reads (or just looking for an alternate mood for a second take), try playing a couple of different songs as you read the copy out loud. Notice the backstory salsa music generates in your mind, and how that’s different from classic rock, folk music, or any other genre you feel called to explore. You will likely find that the difference is substantial, and it can help you in the creation of different, genuine characters and perspectives for your commercial reads. 

What You Wear

If you’ve tried recording more than a handful of times, you’ve probably noticed that you can’t wear things that make noise, like your favorite bangle bracelets or swooshy pleather jacket. The mic picks up those little sounds (thus the reason we get to record in comfortable attire, which is a plus). But have you ever considered the notion that what you wear can inform your read?

Many classically-trained actors insist that a huge part of their process when it comes to finding the character is what they wear. We act differently when we wear formal clothes, nice shoes, or style our hair than we do when it’s “Netflix-and-chill” day, right? So the next time you’re searching for a way to connect to commercial copy, perhaps try shifting your apparel. Try a crunchy pair of Birkenstocks, or wearing your hair in a peppy ponytail, or even sporting a nice (but quiet!) blazer, and see how it changes the character you drum up in your head.

While script analysis is incredibly useful for bringing life and believability to scripts, our creative, sensory connections are what take us the extra mile, from good to great.

How do you infuse creativity into your commercial reads? Share with us below!

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Stella Adler, a famous acting teacher, once recounted teaching method acting to a young Marlon Brando. In the exercise, the class was preparing to embody chickens. The teacher would yell out a different scenario, “You’re in a storm!” and the class would react accordingly. But when the teacher mentioned, “A nuclear bomb is about to drop!” every student panicked -except for Brando, who quietly sat on a nest and laid an egg calmly. Why?

“Because,” and to butcher the quote and a Brando impression all at once “a chicken doesn’t know anything about nuclear bombs.”

It’s my hope that preceding anecdote and this article will highlight the simple application of a complicated topic: Stanislavaski’s System or Method of acting. Over the years “method acting” has been extrapolated, interpreted, and given a rather “dramatic-wrap” but at it’s core it’s about responding truthfully.

Wait a second— what could Konstantin Stanislavsky have to say regarding voice-over? Konstantin Stanivalsky, was a Russian actor who rose to prominence in the late 1800s, but his theories and practices on acting paved the way for modern acting as we know it today. 

Before Konstatin Stanislavski, acting was considered “theatrical” or “presentational” -larger than life. Through his work and his teaching at the Moscow Art Theatre, he developed a system or what later became known as “method acting” to bringing realistic or truthful acting choices to any and every role.

Now, before you go out and purchase a lab coat for your medical narration or buy a luxury vehicle to help you make your Lexus commercials more believable,let’s talk a little about method acting.

The system has a series of questions that can very easily be applied to your VO reads and auditions:

1. Who Am I? — Be it an announcer for a Tide commercial or an orc warlord in a fantasy video game, there is always a “role”, and often answering this question can give some weight behind the words and add to the perspective of the speaker. 

2. Where Am I? – When approaching commercial copy, initially it can be very difficult to ask this question. Often I think of myself having a conversation at a coffee table, sitting 3-4 feet from the person I am speaking to. Depending on the spot or scene, I also consider background noise and environmental changes (such as a loud espresso machine).

3. When Is It? —If it isn’t indicated, try this a few different ways. What happens when this breakfast scene takes place early in the morning, the sun isn’t even up or maybe it’s a breakfast for dinner scenario late at night? 

4-7. What Do I Want? Why Do I Want It? How Will I Get It? What Do I Need To Overcome?

Using numbers 4-7 to influence your read it should help you find natural breaks, pacing changes and pitch or volume adjustments in a given situation. The change of attitude or tactics in a voice-over scene are often what dictate rhythm, tone, and pauses.

When in doubt…Memory and the Magic IF

Another trick from Stanislavski’ss system was the use of memory work and “the magic if”

Using personal experience is always the preference, and I try to think of situations in my life that I can use to bounce off in a real-life scenario. If I’m reading a monologue about the love of my life leaving me, I can start by remembering how I felt when I was last broken up with. *pause for awwww*

Now IF I don’t have a memory or prior experience, I can use my imagination and keen sense of pretend to aid me by asking— the magic “IF”:What IF this happened to me? What IF someone approached ME in a grocery store singing the praises of Blue Diamond Almond Milk? How would I respond if someone had an “announcery” sound when speaking unsolicited?

What IF I wanted to tell someone about Blue Diamond Almond Milk, because I tried it and enjoyed it and wanted to pass that personal connection on?

We often mock the request of a conversational read in narrative and commercial VO but I think the application of Stanislvasky’s system of questions and the “magic if” will make it impossible to just sound like you’re just reading words off a page

Here’s hoping some of the basics of the Stanislavsky System will aid your VO auditions and bookings, and that like “Brando” you’ll be chicken enough to try them out!

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What is your background; what were you doing before you got into voice-over? Technically, just before I started training in voice-over I was a stay-at-home dad and a trophy husband, (at least, my wife loves calling me that!) However, I have been an actor and performer since I was five years old, working primarily in the theatre world. Like most performers, I have had a myriad of occupations from being a collections agent, a truck driver, a certified nursing assistant, to being a Game Master for an escape room. Part of being a Game Master was VO, so that was a great job.

How did you find out about VO, and what about it struck you as something you could do and excel at? 

Since I was young, I have always loved doing voices, and as a performer, most of my work has been as a character actor. Taking all the skills and knowledge that I have amassed over 30 years of performing, it just made sense that voice-over would be a great avenue to pursue. When I really started to look into VO and learned that it was mostly done from home, that was the tipping point that made me say, “I have to do this.” It affords me the flexibility to still be a stay-at-home dad (which I love) and allows me to use my artistic talents.

How would you say your experience in theatre has helped you in VO?

Oh my Odin! Ummm “short” answer, because this could be a whole post itself! 

Theatre opened up my world and allowed me to explore avenues of scripts and characters that I would have never thought possible. What it has helped with my VO journey is the ability to quickly look over a script and find the small nuances that give you an interesting read. Like the saying goes “the devil is in the details”. When you are preparing a script in any capacity it is easy to find how 80-90% of actors would read it, but after spending the majority of my life finding the one thing in a line that will make it more impactful or playful (just ask my coach Kelley) working in the theater has given me the understanding and freedom to take risks with my reads and while in the booth. 

I like the quote from Jack Nicholson, “If you get an impulse in a scene, no matter how wrong it seems, follow it. It might be something and if it ain’t: take two.” I also KNOW that the biggest help theatre has given me is the ability to fail over and over and over again and still get back up, learn from it, grow, and try it all again. This business will test you in many ways, however, it is your spirit and drive that will see you through. That is what a lifetime in theater has helped within VO.

How did you first come into contact with Such A Voice? 

I had been talking about wanting to do VO for a while and my wife found an “intro to voice-over” class at our local community center, so she signed me up and that is where I met the amazing and talented “Jazz Hands” of Wendy Shapero. A few months after that class I signed up for the SAV program. 

What was the most valuable part of your training with SAV? 

I absolutely loved the one-on-one coaching aspect. Getting real-world info and coaching from an active working professional is key and something that should be an ongoing practice in your career. Kelley Huston is a VO BADASS and I count myself very fortunate to have been able to learn from her. We clicked and were able to utilize our time in a way that set me up for great success.

Is there anyone in particular (at SAV or otherwise) that has been a mentor/role model in the industry? 

Besides Kelley, which I cannot sing her praises enough, within the SAV world I would say, Heather Costa. She is a wealth of knowledge and insight. Her “Ask Heather…” segments are wonderful and well worth your time. Outside of SAV would be The VO Bosses Anne Ganguzza and Gabby Nistico. I found Gabby’s YouTube page about a year ago and watched so many of her videos, that even now when I go on YouTube usually the next suggested video is one of hers. The Bosses are incredible, and if you are not listening to their podcast you are missing out. One other Mentor I have is Everett Oliver of myboothdirector.com, he is a brilliant character/animation coach and honestly one of the most caring people I have met. He is always good for a kind word, an inspirational meme, or a butt-kicking if needed. The whole VO community is full of amazing and caring individuals that truly just want to see you succeed. #communitynotcompetition 

What advice would you have for folks currently going through their VO training? 

Trust your coaches, and they will guide you to a sound that will get you noticed. Take in everything they tell you, make sure and take good notes that you will remember and can reference often. Do the homework – you really get out what you put in. Practice, Practice, Practice. 

Honestly, the best piece of advice I can give is something that Nancy Wilson told me, “This is ultimately your journey and you have to choose what is best or right for you.” She is right, it is great and worthwhile to seek advice and counsel from other artists, professionals, and coaches, but this is your career and life you are creating. Take control of it and if you feel it is time to jump and do something then do it. Failing is a part of the journey, so stop being afraid of it, embrace it, learn from it, and grow!

What kind of projects have you been working on? 

The majority of my projects have been corporate e-learning and training materials. I just finished up one for Callebaut Chocolate and another one for PF Chang’s Restaurant.

How would you describe your sound? 

Have you ever wondered what would happen if you crossed a “Dad Bod Thor”-type with a Muppet? Well, that’s me! You’ll get an honest “down home” warmth with a subtle strength and a zaniness that will make you giggle and probably roll your eyes (that is the dad part). That is my sound!

What is your absolute dream VO project? 

My dream VO project would be a featured voice on a cartoon or movie that my kids and future grandkids would get to hear and be excited to tell their friends about, and/or something that would make my family say, “Hey, I guess you weren’t crazy for doing this!” 

Check out Morgan’s website and social channels at the links below!

MorganWaltonVO.com

Facebook: Morgan Walton Voice Artist 

Instagram: @morganwaltonvo

Eager to get your start in voice-over? Check out our introductory webinar to learn more about how to get started!

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You may not fancy yourself as much of an “actor.” Maybe friends, family, or even people you work with have just told you “you’ve got a great voice! You should do something with that voice, or at least take some classes.” While having a pleasant natural sound, appealing texture, or other distinctive biological feature is fantastic, it’s only the start. 

Consider, for example, some of the corporate presentations you’ve been forced to sit through, or the news anchor who comes on at 10 pm. Sure, they sound nice, but without some level of passion and energy behind that voice, it can easily lull you to sleep.

The good news is that you don’t have to have years of drama training or a background in theatre to successfully dig deeper with your character work. By simply understanding and then using character objectives and actions, you can fill the “inner life” of your reads with the sort of nuance and staying power that translates to being memorable and booking more work.

Objectives: What Do I Want?

Throughout our daily lives, we all have wants. We have both short- and long-term goals, like:

• I want my boss to agree to give me a raise.
• I want to take a vacation.
• I want to improve my family’s health.

Those are our objectives – the big desires that guide our days and broader lives, as people and as characters. We have many at any given time, and they can be big or small. 

For the purpose of creating a backstory for a character in a piece of copy, we generally focus on one specific objective. Notice that I used the word “specific.” Thinking about the examples listed above, they’re all wonderful goals, but could they be more precise? The more precise we are with our goals, the more likely they are to happen. For the sake of slipping into character, the more precise our goal is, the easier it is to pretend to be that person.

Here are some ways those objectives, for example, could be made more focused:

• I want my boss to agree to give me a raise of $5,000 per year, by the end of this year.
• I want to take a vacation to the Bahamas, at an all-inclusive, adults-only resort. 
• I want to improve my family’s health by preparing nutritious meals together five nights of the week and going for a hike every Sunday.

Already, if I asked you to imagine yourself in the shoes of one of these characters, you would probably feel more relaxed if choosing an option from the second list.

Now, how do you make that want a reality?

Actions: How Do I Get What I Want?

Having a want is the first step. The next step is finding a way to get what we desire. We use actions to move other people to help us move toward our goals (our objectives).

When this concept was first introduced to me many years ago, it felt a little icky. “I’m not trying to coerce other people into doing things they don’t want to!”, I thought. 

However, let’s think back to an everyday example. If you want to see a new movie that just came out, you may try to persuade your significant other to see the movie with you. “To persuade” is your action in this case. But you are likely trying to persuade him or her to see the movie with you because you think they will enjoy it, too. 

See?

In voice-over, actions are the verbs we choose to help us find the appropriate vocal and physical gestures to get closer to our objective. Think of them as tactics. They are always thought about as verbs, because verbs are actionable – we can do them, not just think about them.

Considering that any verb is fair game, as far as being considered an action, there are literally thousands of options. Some examples of common actions you might use as a character might be:

• To nudge
• To provoke
• To call to action
• To encourage
• To educate
• To soothe

The list goes on and on from there, with entire books dedicated to providing you with action words. 

Using character choices isn’t reserved only for those studying animation. While taking a few extra moments before you perform to think about your character objective and the action(s) you want to use, you free yourself up to play with those qualities and choices during the actual read. In this way, you become further committed to the character, which makes your read stand out as personable and unique, rather than generic.

What other parts of script analysis help you go deeper with your character work? Comment below!

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On more than one occasion I have been asked, “Hey Brock, when are you going to get back into real acting, like theatre?” After I manage to stifle a groan and a grimace, I typically gently reply, “Voice-over acting is everything I loved about theatre acting, without all the things I didn’t like.”

Think about it: no rehearsals, no tights, no 6-week runs, and no drama. What’s NOT to love about VO? However, despite your medium, your primary job as an actor never changes:  communicate the writer’s intent and to bring the copy and characters to life. 

There are many schools of thought on how best an actor can achieve this, and one that I’ve studied in my time as a stage actor and theatre student was Sanford Meisner. Sanford Meisner was a legendary acting teacher and a founding member of the Group Theatre. Throughout this article, I hope to help show you how the basics of the Meisner technique might be helpful behind the mic

(Author’s Note: I have peppered just a few of his quotes throughout this blog – but they simply don’t do justice to what a vibrant, playful and downright genius artist he was.)

Essentially, (and apologies in advance to my theatre professors) to sum up the thoughts of Sanford Meisner and his technique, was his focus on the reality of “doing”.

To oversimplify, if you are supposed to be smiling – you smile. Are you supposed to walk away in the scene? Well, you get up and walk away. Despite your intention, you lead with the truth in your acting by committing to the real action. 

So how does this apply to Voice-over? Well, say you have a fast-food commercial to audition for – although you aren’t actually in a car driving to the nearest Jack in the Box – do you remember the last time you had a food craving/or what it was like when you ate your favorite snack? Of course, you do! So once we set the scene (Scene: Driving to get food) we pinpoint the action (Action: Getting food with a friend).

Are you in a car talking to someone? Great, who is it? Chances are unless it’s an inner-thought spot, you are talking to someone, so if you don’t have a “scene partner” specified in the script, invent someone to play that part and to be on the receiving end of your speaking.  

Once we have our setting and our scene partner – how do you play the reality of talking to someone? You start your read by actually talking to them. Simple as that. This can be achieved by using a lead-in line or even just repeating the name of the person you are speaking with.

“Acting is behaving truthfully under imaginary circumstances” -Sanford Meisner

So, how do we apply this search for the reality of doing and truth to other forms of voice-over? I tend to work in the very “unreal” world of cartoons. Just this week I read for a talking hamburger and a cranky otter, where is the truth in that? 

First of all, reading the script will unveil all of this mystery. But let’s use a hypothetical. Say I am asked to voice an evil piece of French Toast that wants to rule the world, how do we do this truthfully? STOP! Before you run for your beret and attempt to roll around in maple syrup… let’s investigate what the character is doing, once you decide what the action is it doesn’t matter how nonsensical the character is. The question becomes: How can I play that action truthfully? Is the French Toast laughing at his maniacal plans to conquer the non-French-speaking territories of Canada? (Mon Dieu!)— then I laugh, and really try to laugh. Not just to force the sound out, either -I try to laugh and sometimes I end up laughing at the absurdity of trying to laugh. 

“Find in yourself those human things, which are universal” -Sanford Meisner

Ah. So there it is. The Evil French Toast has its own wants, desires, and perhaps a tragic backstory involving his delinquent father Pierre, an absent-minded sous chef from Quebec.

Often, despite the broad and wackier parts of the story, try and ground your performance in the simpler actions. The more specific you are with your action, the more truthful it is. 

When in doubt, imagine that the speaker or character just wants to be heard. Then consider: what are some things you do when you want to be heard? It’s as simple as that. You might speak slowly and clearly or you might speak loud and fast. I grew up with a very talkative family and a result I tend to speak loud and fast, and if I wanted to be heard I would raise my volume. Now, maybe this tactic or action won’t fit the copy or character and at that point that’s where a good director is invaluable -but start down the path of “doing what is true” rather than “doing what is right” and you will often come closer to some freeing and fun acting experiences.  

“Acting is fun…don’t let that get around” – Sanford Meisner 

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Every time I approach a script, I tend to go back to my stage acting roots.

On-stage there is a set, a costume, and an audience (and perhaps the kind of applause that would make us addicted to acting in the first place).

In my booth there’s…foam and maybe a green apple (and hopefully silence).

 Yes, as a voice actor, we are responsible for imagining everything. And I’m not just talking about the story and the stakes – we’re creating the audience, the set, even our scene partner 

So today for Working Wednesday, I wanted to discuss how I try to bring a little bit of the stage to my voice-over booth. And just because I don’t have room in my booth for a ceiling full of lights and rows of cheering fans, doesn’t mean I can’t take some time to picture those elemental things that make stage acting so vibrant.  

Using a faux audition, I’m going to walk you through to see how you can apply some stage-acting habits directly into voice-over. To follow along, here are a few of the things we are going to imagine/visualize… (To see the script, please follow along with the video portion)

Costume: When going through animation and interactive auditions, I try to picture myself as the character— in the case where I don’t have an image, I try to alter my posture to reflect the character— I sometimes refer to it as “wearing” the character. 

Setting: I picture the place I am in. If it’s a coffee shop for a commercial, I try to hear the sounds of people chatting, muffled Kenny G, and smell the rich notes of ground coffee in the air.

Scene Partner: The person or persons I am talking to in a scene, keeping in mind how far they are from me, if that proximity changes, etc.

Audience: I prefer, when I can, to audition in person, that’s just the stage actor in me. I think things tend to pop with an audience at the receiving end of them. Maybe it’s an energy thing, or maybe it’s just the fact that you can actually see what is “landing”, but when it’s an “audience of one” and you are recording alone, don’t be afraid to shake it out, let it go, and aim for what your instincts say!

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Audiobook narration is a huge genre for any voice-over artist. It’s interesting and fun and I, personally, love getting to read longer narrations – getting paid to tell stories? DREAM. COME. TRUE. I mean, I read for fun on my downtime anyway, making it part of my job is just icing on the cake. 

But reading for an audiobook is a wee bit more complicated than reading yourself to sleep at night. It’s a performance for an audience, a way to bring the book to life off the page and it’s a serious responsibility to the work the author has created. An 800-page fantasy novel with 50+ characters can be extremely challenging if you’re not following any sort of organized method to keep your characters consistent.

If you’re headed into the audiobook narration world unawares or without a plan, you might be tempted to give up on the whole genre after your first project if you don’t have a positive experience. I urge you to give it another chance – work smarter, not harder. Get a plan together and don’t shy away from the challenge. Creating characters is not only super fun, but a real selling point to authors – they want someone to breathe life into their books, not read them like a robot.

You’ve got the acting chops AND the voice-over experience. It’s time to act like a boss and get paid to tell stories. 

Get a Character List

I always ask authors for a complete character list before I start any long narration. I need to know who’s related to who, relevant back story and character origin information, gender, and age. These are non-negotiable. If an author is hesitant to provide this, stress kindly that knowing this ahead of time will ensure you’re able to create consistent characters for their listeners to enjoy the book. It will improve the overall quality and, in turn, sales. 

Take Notes

Next, print out the list and keep it handy with a pencil when you record. I don’t typically print out longer manuscripts (gotta save the trees!), but I always print out the list so I can reference it easily while reading the manuscript from my phone or tablet in the booth. Every time a new character appears in the text, I create the voice on the spot and jot down a few notes I can refer to later to keep the voice consistent later on. 

Before we get into specifics, remember that first and foremost you’re creating a character-based who the author has created. Use the character’s personality and temperament as the ultimate guide for how they sound — your acting skills are incredibly important here and should guide you above all. 

But if you’re needing nitty-gritty specifics for creating unique voices for each character, here are the top things I make sure to take notes on and differentiate from voice to voice. 

Pitch

Does the character speak with a high, low or medium pitch? Varying these among your characters (especially your main protagonists and antagonists) helps them sound different immediately to a listener’s ear, which makes it easier to follow the story even before the text tells them who’s speaking. 

Tone

How do they speak? Roughly? Lightly? Crisp and clear? Occasionally an author will write something about the character’s voice the first time they speak in the story. Always take note of this and incorporate it into how you create the character’s voice. 

Does the character have an accent? Obviously, this is incredibly important, and you need to keep it consistent. A few accents peppered throughout a novel are both fun to narrate and great for audiences to recognize the voices easily. Plus, it’s always a fun acting challenge to learn a new accent for a project! 

Speed

How quickly does a character speak? If they’re a nervous sort of character, maybe they say everything a bit faster than the people around them. If they’re a bit older maybe they speak a bit slower. 

Having all of this information at your fingertips will help immensely in keeping characters consistent. 

Character Audio Roster or Album

If you have an extremely large cast of characters (cough, the previously mentioned fantasy novel, cough) you may want to call in the big guns and create an audio character roster or save individual character samples. For books with less than 20 characters, the list with my notes is usually sufficient for me to create recognizable and unique character voices, but recently I had a project that was too much for even that. 

I worked with my producer to create an exhaustive character reference MP3 that I could listen to when I needed to recreate a character from 300 pages ago. This isn’t my typical method, but it was extremely helpful for that particular project – you might want to use it at some point too. 

Or perhaps, instead of scanning through one mp3 as needed, you may want to create a “Character Album” with 15-30 second snippets of each character as separate tracks. That way you can reference them easily when you need a quick refresher. 

Whatever method you choose will save you a lot of time and frustration. So when you’re in the throes of a long narration, cursing yourself for signing up for this ridiculously long project with such extensive editing, or confusing pronunciations, or funny names, or just too many darn characters, remind yourself how fun your job truly is. You get to read professionally! You’re telling stories and creating characters – it is truly the best job in the world. Stay organized, find the joy in creating each and every voice, and bring that story to life like the enthusiastic, consummate professional, gosh-darn amazing voice-over artist that you are. 

Happy storytelling!

Caroline Turner Cole is a storyteller from Dallas, TX. Find out more at www.carolinecolestories.com or follow her on social media @carolinecolestories on Instagram and @ccolestories on Twitter.

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Welcome to part two of “When To Talk and When To Listen” if you haven’t had a chance to read part one, you can find that here. 

As a voice actor, talking is obviously part of the job description. Some actors struggle with speaking up because they are afraid to ruffle feathers or upset the client, but remember: when you are in the booth for a gig, you’ve already booked the job and everything from that point is about making the project the best that you can. Sometimes, that requires additional communication, so let’s highlight some situations in which you may need to remember to talk or even speak up.

When You Want To Make Sure The Client Is Happy

As actors, we know we tend to seek approval so I want to clarify here that, “making sure the client is happy” is not about fishing for compliments, it’s about making sure they have what they need. This might include: double-checking your pronunciation of a product name, or that you’ve given them the correct number of takes, variations, and flavors they’ll need to complete their project. Especially after receiving a direction that might be confusing or up for interpretation, there’s no harm in simply asking, “Is that what you were looking for” or “so to clarify, you want XYZ?”

When You Are Hurting

Hopefully, this one won’t apply, but in case it does,I wanted to cover this situation. I tend to get hired to voice gruff, high energy, and gravely characters and sometimes those voices can take their toll on the vocal instrument. Before I start using a character voice that might cause faster than usual fatigue, I communicate “I’ve got about 2-3 takes in me for this voice” and most directors appreciate the heads up. I think everyone would prefer the heads up before the voice or performance starts slipping and you haven’t said it’s hurting. I had a very actor-oriented video game director once tell me that since she couldn’t know if it was painful or not, it had to be my job to advocate for my health, and I haven’t stopped speaking up since. 

When Your Time Is Worth More

There’s nothing worse than feeling taken advantage of, and when you are just getting started in voice-over it might be hard to know how much your skills and time are worth. But what happens when you establish a rate, and the project takes longer or the client is requiring more pick-ups than initially agreed upon? It’s time to speak up and let them know. It’s one thing if you communicate and decide to continue free-of-charge due to financial constraints of the client, but you should always communicate FIRST that what you are doing is a one-time consideration and not a pattern. 

When You’re Feeling Grateful

This is one moment I think some voice actors can forget (especially yours truly) : gratitude. Saying thank you, not just to the director and casting teams, but your engineers, production staff, and even your agent. Getting from A (audition) to B (booking) isn’t a one-person phenomenon, there are a lot of variables and most of them are out of our control. But when we DO book, we can enjoy it to the fullest and let everyone know how much we appreciate getting to work with them. 

Here’s hoping some of this advice will help empower and encourage you to listen and speak up on your VO journey. I’m also hoping you’ll find some new opportunities or moments to consider that I didn’t cover here, I look forward to hearing about them and feel free to share them in the comments below or email me at: brockpowell@suchavoice.com 

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