The Art of Voice Acting: the art and business of performing for voice over (22 page)

How do you handle the
conjunctions
“and,” “but,” and “or” when they appear in a script? These three words are loaded with opportunity for creating transitions and building interest through your performance. “And” is an additive word used to connect two or more things: “We have small and medium and large sizes.” “But” indicates opposites: “Oranges are sweet but lemons are sour.” And “or” connotes a comparison between two things: “Do you prefer red or blue?” These little words can be stretched, emphasized, sped up, slowed down, charged with emotion, or thrown away.

How you handle these words when they come up will largely depend on your interpretation of the copy, the character you choose, and countless other choices. The challenge with conjunctions is that many voice talent will emphasize the conjunction in a misguided attempt to make whatever follows appear more important. What often happens is that the listener only hears the emphasized conjunction and what follows actually loses value.

There are many occasions when giving value, or emphasis, to the conjunction will enhance the meaning of the phrase. On the other hand, there are just as many, if not more, occasions when it will be more effective to deemphasize the conjunction. Be cautious when emphasizing conjunctions. The only way you’ll truly know what works best in the context of a script is to test the phrase in several different ways.

Lists
are common in all types of voiceover work, but the way a list is handled may differ depending the context of the script, the character speaking, or the genre of the voiceover work.

Some aspects of working with lists have been covered earlier. For example, in commercials, a list will most often be delivered with varying inflections that allow each item to stand alone, yet be still be tied to the list as a whole. However, a list in a promo will often be delivered with each item given a downward inflection to create a sense of intensity and dramatic impact.

The ideas of substitution and adding or subtracting a word or two, discussed on pages 97 and 98, are extremely useful when working with lists. If time permits, adding conjunctions between items of a list can add impact and eliminating conjunctions from a scripted list can create a sense of authority and drama.

A common writing technique is to present a comparison between two or more items, or to contrast the positive versus negative or other aspects of a topic. In almost all cases, a contrast and comparison will be followed by a benefit as to why one or the other is better. When you discover a contrast or comparison in a script, your job is to make the difference very clear to the listener. Here’s an example:

This script contains both a contrast and comparison. The comparison is between regular digital cameras that require batteries and the new solar camera. The contrast is between expensive, hard-to-find batteries and solar (light) power. The benefit is stated in the last line.

A contrast and comparison is best delivered by understanding the meaning of all aspects of the comparison and the ultimate benefit being discussed. When you understand the benefit you can create an emotional connection to that benefit and an appropriate thought that corresponds to that feeling. Use the feeling and thought as you speak the words for both parts of the contrast and comparison to create a believable delivery. If you don’t truly understand the comparison or why the contrast is important, your delivery of the copy will be flat and emotionless.

A good technique for getting to the contrast or comparison quickly is to tail off the unessential parts of the script.

Once you’ve got the essence of the contrast or comparison, it’s a simple matter to experiment with a variety of delivery options.

The biggest challenge with voiceover copy is to create, in the mind of the listener, a sense of authenticity, truth, reality, and knowledge through the performance. Without this, you stand a good chance of losing credibility with the listener and all your well-intended efforts will be for naught.

If you’ve ever played a game of poker, you know that a player can reveal their position through a simple unconscious gesture or facial expression. Another player who can read this
tell
, and knows what it means, may be able to maneuver the game to his advantage.

Voiceover has its
tells
as well, and many of them have been discussed earlier in this book. Voiceover
tells
are those performance characteristics that affect the believability of the character and credibility of the message.

The critical
tell
in fast-paced commercials is a catch-breath, or short, audible breath between phrases. The catch-breath, along with a pause are both also common in long-form narration. These breaks in the continuity of the delivery are a clear indication to the listener of a lack of confidence, expertise, or knowledge in the presenter. It doesn’t take much for a listener to know what this
tell
means. In fact it is understood on a subconscious level and can result in an instantaneous loss of credibility. The result is often a performance that shifts from a believable communication to one that sounds like the performer is reading the script or simply doesn’t care.

The best way to avoid this
tell
is, first, to be aware that you are doing it, and second, to master the ability to create a character and performance style that does not allow for this
tell
to take place. Training, practice, and study with a competent voiceover coach or director are the best ways to eliminate all tells from your performance.

Remember Core Element #5 from
Chapter 6
? That pesky element of
energy
is so important that it deserves some additional discussion here.

Be physical! Body movement is an expression of emotion, and your expression of emotions or feelings is the result of the thoughts you hold in your mind. When you verbalize those thoughts the meaning of the words will communicate through the tone of your voice. Move your body in
whatever manner works for you to effectively get to the core emotion of the message. Your
M
ovement
O
rchestrates your
V
ocal
E
xpression! M.O.V.E.

Try the following using this simple phrase: “You want me to do what?” Begin by standing straight and stiff, feet together, arms at your sides, head up, looking straight ahead with an expressionless face. Now, say the phrase out loud—without moving your body, arms, or face—and listen to the sound of your voice. Listen to the lack of expression in your voice. Listen to how totally boring you sound.

While keeping the same physical attitude—and still without moving, say the same phrase again and try to put some emotion into your reading. You will find it extremely difficult to put any emotion or drama into those words without moving. When you begin to communicate emotions, your body instinctively wants to move.

Now, relax your body, separate your feet slightly, bring your arms away from your sides, and loosen up. Think of something in your past that you can relate to the phrase and recall the physical tension or feeling you originally felt. Say the phrase again—this time moving your arms and body appropriately for that original feeling. Listen to how your physical attitude and facial expression change the sound of your voice. Try this with different physical positions and facial expressions and you may be amazed at the range of voices you will find. A big smile will add brightness and happiness to the sound of your voice. A frown or furrowed brow will give your voice a more serious tone. Tension in your face and body will communicate stress through your voice.

It’s a mistake to stand in front of the microphone with your hands hanging limp at your sides or stuffed in your pockets—unless that physical attitude is consistent with your character in the copy. Start your hands at about chest level and your elbows bent. This allows you the freedom to move your hands as you speak.

The way you stand can also affect your voice performance. Although body stance primarily communicates information visually, it can also be very important when creating a character. Body language, just as facial expression, translates through the voice. For example, to make a character of a self-conscious person more believable, you might roll your shoulders forward and bring your arms in close to the body, perhaps crossing the arms at certain points in the copy.

Physical changes help to create a believable character who is somewhat self-conscious, a bit defensive, perhaps unsure of the situation and who may even be shy and focused on how she or he is perceived by others. Your body posture assists in framing the attitude and personality of the character. The following are some typical body postures that will help you understand how body stance can affect your performance. If used unconsciously, these postures can have an adverse affect on your performance because they will have a direct impact on your speaking voice. However, when consciously applied to a character or attitude, these and other body postures can be used to enhance any voice performance:

• Arms behind back (“at-ease” stance)
  —This body posture reflects nervousness and implies that the speaker doesn’t know what to do with his or her hands or is uncomfortable in the current situation. Clasping the hands in back or in front of the body tends to minimize other body movement and can block the flow of energy through your body. This in turn may result in a “stiffer” sound with a restricted range of inflection and character.
  
• Straight, stiff body with hands at the side (“attention” stance)
  — Standing straight and tall, with chest out, head held high and shoulders back implies authority, control, and command of a situation. This projection of power and authority can be real or feigned. This stance is sometimes used as a bluff to create an outward image of authority to cover for an inward feeling of insecurity. This body stance can be useful for a character who must project power, authority, or dominance over a situation.
  
• Arms crossed in front of the body (“show me” stance)
  —Crossed arms often represent an unconscious feeling of self-consciousness and insecurity, creating an attitude of defiance or being defensive. Crossed arms can also imply a certain level of dishonesty.
  
• Hands crossed in front of the body (“Adam and Eve” stance)
  —As with the at-ease stance, this posture implies that the speaker doesn’t know what to do with his or her hands. This stance, with the hands crossed like a fig leaf, is commonly perceived as an indication that the speaker has something to hide. This stance can be useful in helping create a character who projects suspicion.
  
• Hands on the hips (“mannequin” stance)
  —This posture makes the speaker appear inexperienced or unqualified. Hands on the hips also blocks the flow of energy through the body and limits the performer’s ability to inject emotion and drama into a performance. This stance can be used to create an attitude of arrogance.
  

Don’t be afraid to be physical in the studio. Remember, movement orchestrates vocal expression! A simple adjustment of your
physical energy
can make a huge change in your performance. I have seen voiceover performers do some of the strangest things to get into character. The basic rule is “whatever works—do it.” I once worked with a voice actor who arrived at the studio wearing a tennis outfit and carrying a tennis racket. Throughout the session, he used that tennis racket as a prop to help with his character and delivery. I’ve seen other voice actors go through a series of contortions and exercises to set the physical attitude for the character they are playing. A friend of mine was working a dialogue script and her male dialogue partner was having trouble getting into the right delivery. To get into the proper attitude, the two of them actually lay down on the studio floor as they delivered their lines. Your analysis of the copy can give you a
starting point for your physical attitude. When you’ve decided on your physical attitude, commit to it and use your body to express yourself.

Many people are self-conscious when just starting in this business, and that’s normal. However, when you are in the “booth,” you really need to leave any judgments you may have about your performance outside. If you are concerned about what the people in the control room think about you as you are performing (rather than what they think about your performance), you will not be able to do your best work. It comes down to taking on an attitude of “I don’t care” when walking into the booth or studio. It’s not that you don’t care about doing your best, or making the character in the copy real and believable. You must care about these things. But you cannot afford to care about what others think of you and what you are doing as you perform to the best of your abilities. And besides, as you may be starting to realize, it’s not you delivering those words anyway—it’s really your character who’s speaking!

If getting to your best performance means moving your entire body and waving your arms wildly are appropriate for your character, that’s what you need to do. You can’t afford to worry that the people in the control room might think you are crazy. The engineer and producer certainly don’t care! They are only interested in recording your best performance as quickly as possible, and I guarantee they’ve seen some pretty strange things.

Usually you can perform better if you are standing, but in some cases, being seated may help with your character. If you sit, remember that a straight back will help your breathing and delivery. If possible, use a stool rather than a chair. Sitting in a chair tends to compress the diaphragm, while a stool allows you to sit straight and breathe properly. If a chair is all that’s available, sit forward on the seat rather than all the way back. This helps you keep a straight back and control your breath. Most studios are set up for the performers to stand in front of the microphone. Standing allows for more body movement and gives you a wider range of motion without being restricted.

Your physical attitude is expressed through the relaxation and tension of your face and other muscles. All human emotions and feelings can be communicated vocally by simply changing physical attitudes. Often, the copy expresses a specific emotion or attitude. Find a place in your body where you can feel the tension of that emotion or attitude—and hold it there. Holding tension in your body contributes to the realism and believability of your character. Focus on centering your voice at the location of the tension in your body and speak from that center. This helps give your voice a sense of realism and believability.

A tense face and body will communicate as anger, frustration, or hostility. A relaxed face and body result in a softer delivery. Try reading some light copy with a tense body; you will find it very difficult to make the copy believable. You can make your delivery friendlier and more personable simply by delivering your lines with a smile on your face.
Tilting your head to the side and wrinkling your forehead will help convey an attitude of puzzlement. Wide-open eyes will help create an attitude of surprise. Practice reading with different physical attitudes and you will be amazed at the changes you hear. Your physical attitude comes through in your voice.

Another physical gesture that can make a big difference in your delivery is something commonly referred to as
air quotes
. When a word or phrase needs special emphasis or needs to be set apart from the rest of the copy, simply raise both hands and use your index and middle fingers to simulate making quotation marks in the air surrounding the words as you speak. The mere gesture almost forces you to say the words differently by separating them from the rest of the sentence with a distinctive shift of attitude. Air quotes are best used in moderation and must be part of the fluid physicality of your performance. The challenge with using air quotes is to maintain the authenticity of your character and the context of the phrasing. This gesture may not be appropriate for all copy, and excessive use of air quotes can result in a delivery that sounds choppy and artificial. If you do nothing more than this single gesture, you will hear a difference, but when you use air quotes in combination with other physical movement, the effect can be profound.