In this blog we're not just going to talk about the actual audition, but the process of getting auditions, finding the potential work, and then what to do to impress the client - and stand out from the crowd.
There's been many an article, podcast and opinion piece over the past month about pay to play sites and finding voiceover work. Now like them or loathe them, P2P's often have many a job for talent to audition for, but of course therein lies the rub. Sending out countless auditions that you may not even be right for can often hinder you, and your self esteem, more than it can help.
So, lets look at the ways we can get auditions, and then look at what to do once we have them.
Getting the auditions can often be the hardest part, but there is plenty of things you can do to give yourself those oppertunities.
Demos: You're demos are your calling cards, they are your auditions for work that you don't even know your are auditioning for. Many times over the years a client has approached me via a site I am listed on or directly, and informed me that I have been chosen for a job based on my demos. So make sure you have demos for the areas you want to work in, and they represent your actual skills.
Pay to Plays: Now we've touched on this already but lets just get it out of the way. These sites, like voices or voice123 can be expensive, and take up a lot of your time, don't go joining them all at once. If you're interested, pick one, research the way it works and give it some time. Most of these should be used as an addition to finding work in other ways. But, they are a great way to access auditions, and see if your skill is up to par. But be aware, many auditions on these sites feature lacklustre information about tone, style or pacing, so you have to know how to identify what the copy is telling you.
Rosters: Joining professional rosters can not only provide you with immediate work from your demos, but it can also provide you with auditons from clients who like your sound, but want to hear you on their script.
Agents: Now this is an obvious one, many agents will have access to some of the bigger jobs, and when it comes to animation and gaming, pretty much all that professional work is guarded by the agencies. So if you want to audition for that work, you need to focus on getting an agent.
Recommendations: This is another great way to get auditions through, and that's with either your clients or your colleagues recommending you to someone new.
Direct Marketing: Of course, one of the best ways to get direct auditions is to market yourself to wonderful people who might need a voiceover. Often these auditions are more specific, more detailed and allow for a better creative process.
Freelancer sites: And finally, another way to recieve auditions and custom sample requests is to be on sites like Fiverr, Upwork or Freelancer. These sites have there own ups and downs, and we're not going to talk about them here, so do your research!
Ok, you've go the audition through, whether it's come from a pay to play, a direct client or a referral. Now what...!?
Well there are plenty of tips and tricks out there, but here's a few things I like to consider when auditioning:
Lead in: Give yourself a lead in line. If the script were to start with 'In todays digital age...' I might begin by saying 'We all know that...' and then cut it out before submission. The lead in line takes the emphasis off the first word, it gives you a thought to run into and it helps to keep the read more natural.
Tone and Pacing: Many auditions will say ' Believable, Conversational, Corporate, Upbeat, Energetic, Enigmatic, Gritty and so on and so on. But it's your job to interpret those words in relation to the script. So don't be vague about the tone and the pacing. If it's upbeat, what does that mean, upward inflexions? Bouncy? Youthful? And where does that sit in your voice? If its meant to be a quick read, is there a time limit? Is it stocatto? Is there a rythm to it? You have to make choices about these things and stick to them. So take a minute to define those choices.
Talk to someone: We've all heard this one before, but whether its an imaginary person, or your best friend, make sure you are talking to someone. Picture them, communicate with them. If it's a hearfelt script, hold their hand, if it's upbeat, put you and that person in an appropriate environment. Using those imaginative skills can not only help you to communicate the key parts of the copy, but they will bring your read to life.
Technique Matters: When dealing with a microphone and recording yourself, technique can play a big part in sounding professional. So keep an eye on proximity to the mic, plosives, hard breaths and unwelcome mouth noise. There's no need to obsess, our mouths make plenty of sounds, but sloppy technique is not just about popping p's, its about placement and performance, and marrying those elements together.
Varying Styles: If you can nail a job, and have confidence in your delivery, then great, deliver one take and be done with it. However, if a breakdown is vague (which they often are) or you think there is another way to deliver the audition, then go for it. But make sure they are actually different, a slightly quicker pace with the same read doesn't really count. If you're going to deliver two takes, then make sure they show your versatility.
Go big, or go home: This especially applies to the more personality and character driven work. With gaming auditions, you've got to give it your all. And when it comes to things that are personality reads, don't be shy. Show yourself, because that's what's likely to get you the job, more than going by the book, or trying to sound like everyone else.
Don't overdo it: I mentioned this in a post on LinkedIn earlier this week, but I try not to read out the audition script in practise mode. I read it in my head, and then I start recording and listening back. As far as I'm concerned, if I have done ten takes of something, then I'm probably not doing it right. The more you read it, the more entrenched those speaking patterns are going to become. Keep it fresh!
Know your craft: Now this one is a no brainer, but knowing your craft is very important. From being confident in your skills, to identifying the copy, and to honing in on your corporate voice, your explainer voice, your commercial voice, and being able to bring them each to life when you need them.
So the next time you get an audition through, no matter where it comes from, take a deep breath and go to work, because you know what they say,
'The auditions of today, are the work of tomorrow.'
Happy auditioning everyone,
Signing off
SBVO
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