Attention Voiceover Pros...

These are some of the questions Nancy
answered in detail.

	Is being "serviceable" on an audition as important as being memorable? How can you do both?
	Do producers really want "the perfect voice" or just the person who "is available"? In other words, whoever is convenient, whoever is in their network, and whoever will get the job done quickly...?
	How important is my physical location?
	Do you think actors who do more than one take for an audition book more? I would think that it is a very fine line between "creativity" and "of course you have nothing else to do but listen to me more than once!"
	Assuming more than one take is required, what methods can be used to vary the reads?
	When submitting a voiceover audition via email do you give them what they asked for in the notes first, or do you give them your interpretation first and their suggestions second?
	How many interpretations of the read should you give in an audition?
	I've heard people say you should do a thing called an "audibile lead-in" to get into character and to stand out. I know it helps my acting to get thinking about what my character might have been thinking before that first line of the copy. Is using that kind of improv — adding a few words of my own at the beginning — during the audition a good idea?
	If you do 2 or 3 takes to give the client a range of how you can do the part, should you repeat only the first paragraph of the audition copy?
	The biggest issue I've had over the years is the "sounds like an announcer" complaint. If I try to go way out on the edge to avoid the "announcer sound" (using a character sounding voice, or something that is not my normal voice), how far is too far?
	It's recommended that a talent provide two takes when submitting an online audition — one you think they want and one you think they should have. How do you come up with the one you think they should have?
	Are auditions with multiple takes even heard after the first 6 – 10 seconds?
	How can a talent set themselves apart from others in a cattle call audition?
	How do I get my auditions to stand out among the rest?
	How can I make my audition stand out from the pack?
	I'm told that demos now play an almost meaningless role in winning auditions because producers don't listen to them. Is that true?
	In these days of "conversational" and "less is more," how do I determine how much to "do" with any given script, including improv and adlib?
	I am trying my best to be more conversational in my readings/auditions. Any advice to make this easier?
	How do you know when to use your regular "street voice" for an audition as opposed to your "signature sound" from your chest?
	What advice would you give me to most objectively assess my audition before submitting it?
	I voice mainly animation projects but sometimes I audition for commercials. Is there a specific audition technique for voice actors that can help them book more work?
	Recently on a voiceover website, a voice actor talked about a breakthrough audition he sent after repeated rejections. He created a strong performance and then took an extra step by including funny out-takes and goofs from his audition. The client loved it and he got much more work than expected. What do you think about this "blooper reel" approach?
	How do you decide what the copywriter/director is looking for when there is no direction given and you only receive the words of the copy? What thought process must the voiceover artist enter to deliver the best audition possible, given these conditions?
	How do I know the style of read that they are really looking for?
	How do I interpret the specs "correctly" and give the client what they want?
	How do I know when I should follow a potential client's audition instructions to the letter, and when to put a different spin on the copy based on my own understanding of how to best present it?
	For a person new to voice acting, does studying and mastering a single voiceover specialty (Commercial, Animation, Narration, etc.) help or hinder their ability to successfully book auditions vs. someone who tackles two or more specialties at once?
	How do I direct myself so that I'm not stuck in a rut of predictability and blandness?
	If auditioning for a narrator TV spot, are you ever asked to provide two takes? And if so, would you give the takes very similar in tone or range, or would you do something completely different to show variety?
	What is the one mistake rookie voice actors with radio experience make when looking to land even a small-time gig?
	Just before leaving an audition, I sometimes find my parting conversation with the caster either too long or too short. What would be the right way to make a lasting impression at this point?
	What is the best way to "normalize" a slight "Chicago" regional accent that will be more acceptable for auditions, especially promos/trailers?
	Is it worth my time to sign up with online companies that post my profile for free and send emails about upcoming voiceover auditions?
	The quote goes something like, "If someone really likes you, you can spill a whole plate of spaghetti in their lap and they'll laugh it off; if someone doesn't like you, even the way you hold your fork will be offensive." Okay, so how do I make sure I'm "liked"?
	What are the top 3 criteria for a successful audition?

Nancy Wolfson has had a profound effect on the voiceover world as
a Voiceover & Branding Coach, Demo Producer, and e-Casting
Director. She has helped thousands of beginners, celebrities and
working pros “crack the code” that brings their performances to a
higher level than they ever dreamed they could achieve. In addition to
coaching, Nancy casts talent daily. Recent and ongoing clients
include Playboy, VH-1, Muzak, the NHL, Nickelodeon, Clear Channel
Communications, and The Cartoon Network.

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