Audition Strategy: When Opportunity
Arises, Let Your Voice Come Out To Play
June 10, 2015
By Dan Hurst
Voice talents often struggle with how free they should get with an audition.
On the other hand, clients want their copy to come alive, but they are cautious about how far to let the talent stray, and rightly so.
Where and how do you draw the line?
I have a client who will send me copy and some explanation of what they are trying to accomplish with the spot they want me to voice. Occasionally this client will suggest the style that they were thinking about when they wrote it. But each time she ends her instructions with, "Please play with it.Ē
Very early when I started working for them, I asked if they wanted me to submit a take where I played a bit with the copy. There was a long pause, then she answered, "Well, no oneís ever asked that before. Sure, go ahead. We probably wonít use it but knock yourself out.Ē
Well, you know how the story ends. The client went with the delivery I played with.
BREAK THE MOLD ...
It doesnít happen every time, but a huge part of the time the client will hear that more casual read with a slight ad-lib or fresh interpretation thrown in and love it.
Iím convinced that one of the main reasons is that theyíve heard the submitted copy so many times, and debated it so many times, and heard so many people read it the same way over and over, that when something comes across that breaks the mold or the rhythm, their ears perk up and they hear their copy in a fresh and invigorating way.
And that is exactly what they want their customers to hear!
MY AUDITION APPROACH
I have a new approach to submitting VO takes to clients, whether as projects or as auditions: to get my clients to expect something they donít expect.
Itís not always possible. Sometimes the copy just doesn't lend itself to that. Sometimes the directions are very clear otherwise. But when the opportunity is there, take that shot. Surprise your client. Surprise yourself!
Here are some ways to do that:
1. Focus on the words of contrast, and let them do what they are supposed to do.
By contrast, I mean the words that make the copy come to life. Not by volume, but by interpretation - although occasionally that may require a change in volume. Show some love to descriptive words, such as verbs and adjectives, without selling or distracting.
2. Watch the rhythm and musicality of your delivery.
Itís real easy to get into a pattern of "rhythmic phrasing,Ē especially when reading out loud.
Hereís a great little experiment. While listening to something that youíve read and recorded, draw your voice pattern on a sheet of paper. If you see the same or similar pattern repeating itself, you need to work on your delivery!
The most common pattern is one that starts high and ends low. If you were to draw it, it would look something like this:
3. Be careful of "news reads.Ē
Youíll notice that most newscasters on TV and radio have a very specific lilt and volume to their delivery. Itís a very precise, mechanical, and consistent pattern that comes from reading news story after news story after news story.
It works fine for news, but it is almost never what the creative agency wants. They want a more natural and conversational delivery. It includes less projection and a greater connection with the copy and the targeted audience.
4. When it comes to the audition copy, forget about the time.
Now, sometimes the client will want to see if the copy fits the time. Fine, give them that, but make your money audition one that generally disregards time and focuses on the story. If you get the job, then you can focus on the timing.
5. If youíre stuck trying to find a creative interpretation, here are a few suggestions to get the juices flowing:
Itís real easy for voice talents to fall into a "default modeĒ and sound like every one else. Itís safe. Itís convenient.
Itís also lazy. And it wonít get you hired. Why even waste your time? Why waste the clientís time?
Playing with the copy - unless the client doesnít want that - will do a number of things if done right. It will get you out of a rut. It will brand you as creative; a risk taker. It will get the producerís attention, which is especially important if there are a lot of people auditioning for the project.
And most importantly, it will help you connect with the copy and the listener.
A SESSION'S LESSON
One of my favorite lessons I learned about this was from one of several opportunities I had to work with the late T. Max Graham.
A recording session with him was a crazy lesson in creativity and humor. T. Max had a knack for finding and interpreting little nuances in copy that made it come alive in a way none of the rest of us had seen.
In this one particular VO session, he played a customer looking for something at a hardware store. I was the store manager.
His first line was "UhÖI need a nail.Ē
As the store manager, it was my job to find out what kind of nail, what he was going to use it for, etc. But T. Max never got past that first line. He just kept repeating it different ways as an answer to each question that I asked. By the time we got to the AVO line at the end, we were howling!
The client, who had tears from laughing so hard said, "We gotta go with that!Ē
I have a client who will often ask me to submit an audition for a new project. Sometimes heíll close the conversation with, "If itíll make me smile, itíll be worth your while.Ē
I love that! Itís an invitation to play!
Dan (Daniel Eduardo) Hurst is an experienced bilingual (English and Spanish) voice talent operating out of the Kansas City area. His business now extends internationally, with clients including Maserati, Boehringer Ingelheim, British Petroleum, Kimberly-Clark, McDonalds, Volkswagen, Telemundo International, Shell, Hallmark, TransCanada, Walmart and many more. When heís not working, he spends his time cheering for losing sports teams and getting kicked off of golf courses.
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