Tag Archives: voice acting

More Mastery of Keywords for Voiceover Success

If you want to book voice over jobs, you need more than just a pretty voice.  Way more.  Acting chops.  Good timing.  Articulation (but not too much).  And an understanding of the voiceover script.  This tells the writer or producer that you GET IT.  How exactly will they “hear” that you “get” the script?  You tell them in each and every sentence by emphasizing the most important words.  How do you know what the most important words are?  (cue the ironic laugh here)  You cross your fingers, pay attention to what you’re reading, and learn a little bit of detective work here at Voiceover Gurus.  Today we’ll go over some possible strategies (and why there is no “exact” strategy) and we’ll also dissect a few scripts.  Ready to peel some voice over onions?  Let’s get started!

First, let’s talk about the “ish.”  There is no specific formula for understanding what the key words are in each sentence, and this is mostly due to the fact that none of these thousands of writers are following an exact formula themselves.  Writers are creative, which means they go by the beat of their own drum, or pen.  Or laptop.  But after casting, coaching, and analyzing my way through thousands of scripts, I’ve begun to compile a few tools for identifying keywords that amounts to a method…of sorts.  Method-ish.

One aspect to finding what is at the heart of the sentence is to determine what is good about the product….what the benefit is.  This aspect usually only applies to commercials, so I promise to cover aspects that are universal to other voiceover genres as well.  These keywords can be adjectives, point out an aspect of the product that is unique to the market, or perhaps even speak to a solution it provides to a common problem.  These are just a few of the possibilities to keep your eyes open for.  While you want to focus on as few keywords  as possible per sentence, there will be exceptions.  Sometimes writers are looking for drama.  This means emphasizing a few words that seem to drive home the point harder.  Another case will be when there are commas in the sentence (see the Traditional Medicinals example below).  Commas are essentially used as a pause, when a writer has a separate, but connected point to make.

One thing that is most likely NOT a keyword is the word “you” or “your” (with a very limited amount of exceptions.)  The reason for this is that most people who are listening to a commercial automatically know that they are the potential “you” that is being addressed.  But what they are really listening for is what’s IN IT FOR THEM.  That means you haven’t arrived at your keyword yet on an empty word like “you.”  Same thing goes for words that are repeated – by the nature of their repetition they are already being emphasized.  It also sounds awkward when you emphasize the same word twice in one sentence, almost as if the listener may be dumb and didn’t “get it” the first time.  Example:  “The phones you want, for whatever you want.”  Try reading it out loud emphasizing just the “you’s” or just the “want’s”.  It will sound absurd.  Now emphasize phones and whatever (the product and its benefit).  Better?  Let’s get back to more of those keywords we want to find….here’s a commercial script for Traditional Medicinals Throat Coat tea:

If, like us, you’re vocal about sustainability, you’ll like that we partner with rural Appalachian families who harvest limited amounts of slippery elm by hand to help, well, make you even more vocal.  Literally.  Plant power for a better you.  Traditional Medicinals.

So – we’ve got our work cut out for us here on this first monster sentence.  Several commas mean several individual points being made by the writer.  If there’s a stand-alone word then obviously it gets attention….you don’t really have to “punch” it or emphasize it in any special way since the pause after it that comes with acknowledging the comma will be sufficient enough to put it on its own platform.  After that you have a choice between the words like or us.  Given what comes after it I would choose us.  The first reason is that they’re clearly creating a connection between their company’s stance on sustainability with your own.  If you’re not convinced, I covered that as well on my second reason – I read it aloud and punched the word like instead.  It sounds as if you’re using it incorrectly, as if you’re talking about someone “liking” them.  It didn’t stand up when actually tested.  The best way to believe this is to record yourself.  It’s hard to hear yourself while you’re in the act of performing/being.  Next I would say the heart of the whole spot is here in the word sustainability, however I would also raise my inflection up higher on the word vocal, as it creates a leading sound….it creates expectation on the part of the listener.  It makes us perk up (thinking…vocal about what?!).  Next I would choose limited and by hand.  I think Appalachian families are important, and we’ll still hear it no matter what, but the exact execution of that sustainability they were promising comes in the form of the “limited” and “by hand” points they’re making.  The last point in that sentence comes in the word more.  It can’t be vocal, because we’ve already made that point.  It’s redundant.  As was just saying that.  The last line before the product is mentioned may break some rules.  It reads like a tag line, and that usually means they’re making their biggest, most memorable point.  The most impactful here if made to choose would be plant and better, because it sums things up in a concise cause and effect manner.  Let’s explore more possibilities with this ad for Naturtint:

Unlike most dyes, Naturtint’s ground-breaking formula brings maximum color and shine to your locks without harsh chemicals like ammonia and resorcinol.  Enriched with natural ingredients like non-GMO corn, oat, and soy, Naturtint provides strength and vitality to even the most damaged hair.  With 29 exclusive shades, what color will you choose?

First keyword here is most, as they are setting up a comparison.  Next would be Naturtint,  maximum, and without.  It obvious we are speaking about color and shine when we are speaking of hair dye, but THEIR dye brings out the MAXIMUM effect.  Same goes for the chemicals.  There are common chemical culprits in the world of hair dyes, and the benefit to using their dye is that you don’t have them(without!). I ignored empty promises like ground-breaking in favor of the RESULTS of that formula.  Same would go for the next sentence – I would favor the actual ingredients over the promise of “natural ingredients” – non-GMO corn, oat, and soy.  Then it would be strength, vitality, and perhaps damaged.  Lastly,  we have 29 and exclusive (every dye company offers shades), and then (rule breaker alert!) YOU.  The reason is that color is a given, as we know, and choices are obvious given the “29”, so by default you can assume they just want to draw the listener in and give them ownership of this possibility.

For one more example of keyword dissection, as well as an understanding of what else it takes to nail a voiceover performance, check this out:  http://www.voiceovergurus.com/guru_blog/?p=80

Voiceover ACTING Part 2

It’s called Voice Acting for a reason, so to continue writing about the best voiceover techniques, I’ll continue writing about the craft of acting. I’m still so chock full of Uta Hagen brilliance, so it’s gonna be Uta Uta Uta for at least this blog article and maybe a few more. I promise you won’t bore of her and her insight into acting.

Insight into acting, for Uta at least, but probably for many acting teachers, is really about the insight into human nature. On a personal level, if you are translating this information for yourself, the pursuit of acting truly begins with insight into yourself. Your character. Your emotions. Your body language. Your voice. Your behavior. Dig deep. As Uta might have said, this pursuit is about finding the essence of who you are and trusting it, respecting it, and working with IT, not putting on a mask. I see this every day with the actors I work with – they all want to be something they are not. They either believe acting is about being something totally different from what you already are (rather, think you are) or they too are subconsciously mistrusting their own selves and what they have to offer, and simply can’t accept that acting may involve their own actual and true selves. I can see the conundrum here perhaps – many actors are in pursuit of a new possibility for themselves, and therefore are trying to escape the very things they don’t like about themselves. But yes, the problem here is that most acting techniques will draw from the well of experience and therefore of developed character that already exist within. Perhaps the very crux then of acting, and therefore voiceover acting, is understanding and acceptance of oneself. Uta elaborates on this problem with self acceptance. She believes this need to stray completely from oneself, to put on a mask, comes from an inherent distrust in our own selves. She suggests that perhaps we all feel we are boring, and that only by becoming something else can we arouse interest from the audience. She uses the example of a cat to illustrate some possible hope in our own depth of character – a party of actors are in the midst of a dramatic moment onstage and yet the audience’s attention is laser-focused on a cat who is following a bit of blowing lint with its eyes. The cat is truly in the moment, and not following any prescribed notions of how to be or what to do. He is in a spontaneous, focused, and forward-moving situation with his attention. The cat is engaged, truly engaged, and therefore captures our attention in a way that the actors onstage who are predictably going through the scene cannot. Uta poses that we can learn from this cat to trust in our own spontaneity – that the only boring thing would be the mechanical execution of our “part”, not the real “us” in action.

For those of you trusting in your SELVES already, I’ve stumbled upon a new site for voiceover auditions and other information related to the voiceover universe at Behind The Voice Actors. I haven’t fully vetted it but I did notice an award given on the site to an excellent voice actor I knew when casting commercials in NYC –John DiMaggio. John now lives in LA, is constantly busy voicing projects such as Futurama, Adventure Time, and Penguins of Madagascar. Here’s to John, who most likely is bringing the best of HIMSELF to his voice work.

Voiceover ACTING Part 1

In the next coming months I’ll be teaching you voiceover technique from the acting side. What I mean by side is that there are two major “ways” you can get to your voiceover mastery. One way is the left-brain strategy employed by many in this business. These are multiple strategies that have many different names but they’re generally categorized as such: pacing, inflection, volume, energy, projection, pitch…..the list goes on, and some of these might even be considered redundant, but either way this is not the focus right now. The focus will be on that other side….the acting side. When I refer to some of the acting strategies with my students I’ll often just use the word intention. I’ll ask them to forget about raising their inflection on the second syllable of the third word in the fifth sentence, because it’s not working. Instead – I ask them to remember what they’re intention is. In one case it may be to convey confidence, in another…warmth. Intention is what grounds you in your person. It’s what allows you to BE, instead of read. It’s acting. Let’s make it work for voice acting.

Uta Hagen has taught us so much about what it means to be an actor. She focuses on the fact that we are not actually hiding behind some façade, some character, that is not US. In fact, when we discover the many many facets to our own selves, is when we truly begin the work of acting. She has seen so many people write themselves off as “quirky” or “aggressive” or “cuddly.” I am so NOT that, she hears. But when faced with a brand-new puppy, does that person get down on their needs, raise their inflection higher, and get very, very affectionate? Yes. This person is in fact cuddly, they only needed to recall the situation that brought it out. Our own image of whom and what we are can get dangerously pigeon-holed by us, which is to our own acting detriment. Allowing ourselves to see those parts of ourselves that we have forgotten or denied will expand our acting toolbox. Everyone has these facets. What Hagen stresses here is that accepting them, analyzing them, and deeply knowing them will grow their emotional repertoire dramatically. It is when we fight those parts of ourselves that we find distasteful in “real-life” that we lose the incredible opportunities to channel them and capitalize on them in our acting life. The final key here is to understanding the feelings and emotions involved with these traits and aligning them with the actual behaviors we witness accompanying them. In Voiceover, this means at the very least noticing how fast or slow we speak, how high or low, how loud or soft, etc….when experiencing a certain feeling. This will channel the voice into conveying the proper personality trait.

To reinforce those last few points, recall a recent emotional moment. It could be anything from an argument with a family member to getting excited over some great news. We often can recall the feeling that accompanied the situation with ease, but it is the behavior that ensues during that accounts for filling our technique toolbox. Do you speak with gritted teeth and a low serious voice when angry, or do you launch into a loud and aggressive monologue? HOW are you when angry? How do you act when you are excited? Does your pitch go up? Do you talk faster? Do you pace? Do you speak positively but with a bit of whisper as if it is so exciting that you feel the need to control your response so you don’t get over-the-top? The feeling is for you, the behavior is for the audience, and you must use it. Start by paying attention to your own body language, your facial expressions, your voice. Notice how it changes based on the situation at hand. Start taking notes that detail the behaviors. Noticing is half the work, so get started.