The Art of Voice Acting: the art and business of performing for voice over (24 page)

Through experimentation, you will find a form of script analysis that works for you. You may find that it is very helpful to mark your script with notes, lines, and boxes designed to chart your path through a performance. Or you may find it unnecessary to mark your script, and instead only make minor notations as needed. Whatever works for you is what you should use.

If you find you are paying too much attention to your notations as you read a script, you are probably over-analyzing the text. This can result in a delivery that is unfocused and sounds like you are reading. As you develop your personal process for script analysis and notation, and your performing skills improve, you will most likely find you need to mark your script less and less.

Regardless of your individual process, or how much you mark your script, the basic process of
woodshedding
will remain the same. As you analyze a script, you will want to look for key words and phrases that reveal attitude and emotion, and give clues about your character and how your character responds to information, situations, and other characters. Notice the context of the copy and how the message is presented. Look for places where you can add variety by using the dynamics of pacing, energy, attitude, tone of voice, and emotion. Look for natural breaks, shifts of attitude or emotion, and transitions in the copy. Look for
catchphrases
that reveal something about your character’s attitude, emotion, or feelings.

By the time you read a script through once or twice, you should be able to make some solid choices on how you intend to perform it. You should know who the one person is you are speaking to (the
audience
); who you are as the speaker (your
character
); and what you are responding to, or why you are speaking the words in the script at this moment in time (your
back story
).

Marking your script with specific notations can help you create a map of how you will deliver it. These markings are your personal cues to guide you through an effective performance of the copy.

Practice marking magazine or newspaper articles or short stories and you will quickly find a system that works for you. In a short time, you will refine your system to a few key markings which you can use regularly to guide you through almost any script.

Here are a few suggested markings and possible uses. Adapt, modify and add to them as you like:

• Underline (
  _____
  )—emphasize a word, phrase, or descriptive adjectives
  
• Circle (
  )—key elements of conflict in the script
  
• Box (
  )—the peak moment in the copy—put a box around the words or phrase at that point in the copy
  
• Highlight (
  ) or different color underline—resolution or nonresolution of conflict
  
• Arrow pointing UP (
  )—take inflection on a word up
  
• Arrow pointing DOWN (
  )—take inflection on a word down
  
• Wavy line ( ~~~ )—modulate your voice or inflection
  
• Slash or double slash ( // )—indicate a pause
  

One of the most common markings is to simply underline a word that needs to be emphasized. This works fine in most cases, but there may be times when you want to make sure you say a word correctly. Try underlining only the syllable of the word that needs emphasis. For example:
de
fense or de
fense
. Another important thing about script marking is that, although you certainly should understand its proper use, it’s a good idea to

reduce your markings as your performing skills develop. A heavily marked script may not only be difficult to read, but may also require a great deal of thought as you follow your roadmap. The more you must think about what you are doing, the less you are truly in character.

The degree to which you mark your script may vary from project to project, but it will certainly help to have a system in place when you need it.

The role you play in a voiceover performance may be defined simply by the manner in which the words are written, or the context may be vague leaving it up to you to create something. Scripts written for specific or stereotyped characters occasionally have some directions written on the script, something like: “read with an English accent,” “cowboy attitude,” or “edgy and nervous.” Many times, producers or writers will be able to give you additional insight into their vision of the character. It will then be up to you to create an appropriate attitude and voice for that character.

In theater, this process of defining the attitude and personality of a character is called a
character analysis
. As a voice actor, you need to know as much about the role you are playing as possible. The more details you include in your character analysis, and the more you understand your character, the better you will be able to take an attitude and personality to “become” that character for your performance. Or, to put it another way, the more you understand the character in your copy, the easier it will be for you to find those emotions, attitudes, and personality traits within you that you can use to create your character and bring life to the words in the script.

As you have seen, there are many clues in copy that will help you discover the character and his or her personality. The target audience, the mood or attitude of the copy, the writing style, and any descriptive notes all give you valuable information. As with other parts of the woodshedding process, the process of character analysis is something that will become automatic in time. Once you know what to look for, you will soon be able to define your character after reading through the copy once or twice.

Voice acting does not usually require the same sort of in-depth, detailed character analysis that might be necessary for a theatrical performer. However, to be believable, you do need to have a good idea of the character you are portraying. Here are some things to look for and consider as you read through your copy to discover and define your character:

• Who is this character talking to? (target audience)
  
• What is the environment for the copy? (mood)
  
• What is the character’s age? (young, old, middle-aged)
  
• How does the character stand? (straight and tall, hunched over, arms crossed, hands on hips, etc.)
  
• Where is the character from? (geographic region, country)
  
• Does the character speak with an accent or in a dialect? (If so, what would be the country of origin? A poorly done dialect or accent can have negative results unless done as a parody or characterization.)
  
• How would the character dress? (business suit, or casual)
  
• What do you know (or can guess) about the character’s economic status? (financially well-off, struggling, etc.)
  
• What is the overall mood or attitude of the copy? (fast-paced, slow and relaxed, romantic feel, emotional, aggressive, etc.)
  
• What is the pace of the copy? (Slow-paced copy often calls for a relaxed type of character while fast-paced copy demands a character with more energy.)
  
• From the context of the script, what do you know about the way your character moves? (energy)
  
• What is the product or service for which the copy is written? (The subject of the copy often dictates a specific type of character.)
  
• What is the character’s purpose, or role, in the script? (protagonist, antagonist, delivering the message, part of a story script, comedic role, that of straight-man)
  
• What life events or actions brought the character to this moment in time? (theatrical back story)
  
• What is your character responding to? (back story)
  
• What does the character want from telling the story? (desires)
  

Finding answers to questions like these will help you develop a visual image of your character that will help you to instinctively know what is needed to deliver the copy effectively and believably. You will know, for example, if the character needs to speak quickly or slowly, with an accent, or with an attitude.

Creating a visual image of your character and the environment she finds herself in will help to develop the necessary tension for drama. The tension here is not between characters, but rather a physical tension located somewhere in your body. It is this tension that will allow you to bring energy to the words and give life to the character in the copy.

Discovering the character in the copy may appear to be a lengthy process, but, in fact, it happens quickly once you know what to look for.

All copy has a back story, also known as “the moment before.” There are two definitions for back story: the first is theatrical back story, which refers to the life experience of the character that brought him or her to the moment of the story. The second definition of back story is what we use in voiceover: that is, the specific event or action to which our character is responding.

No matter how you define it, the back story is the result of the wants and needs of the character that provides the motivation for the words, actions, and reactions to what happens in the environment of the story.

In theater, the back story is frequently unveiled during the course of the performance. With voiceover copy, there is rarely enough time to reveal the back story or provide much character development. A radio commercial must tell a complete story with a beginning, middle, and an end—and with fully developed characters from the outset—all in a very short period of time.

In a dialogue script, you will often be able to figure out the back story with ease simply because the interactions between characters are written into the script. It is these interactions and responses that reveal clues to the back story and the relationship between characters.

It can be more of a challenge with a single-voice script in which there may be few, if any, clues that reveal what brought your character to the point of speaking the words in the copy, or even why, or to what your character is responding. If a back story is not clear from the copy, make one up! After all, you are an actor and you do have permission to pretend.

The idea is to create a believable motivation for your character that brings him or her to the particular moment in time that is taking place in the script. The back story will reveal your character’s wants and needs at this moment in time, and that information will help guide you in your delivery. The fastest way to do this is to figure out what your character is responding to with those first few words of the script.

Define the back story and what the character wants in just a few words. Keep it concise, believable, and real.

Conflict is an essential part of dialogue copy, and can also be present in a single-voice script that tells a story. Conflict rarely occurs in information-based copy in which the message is more of a sales pitch or instructional in nature than a story. Conflict creates drama, and drama holds interest.

A dialogue script without conflict will be boring and uninteresting. On the other hand, a dialogue script with a well-defined conflict can be funny, emotional, heartwarming, and informative—all at the same time. Look for the primary conflict in the script. Usually, this will be some difference of opinion, a crisis, an impasse, or some other obstacle. Define this primary conflict in a few concise words.

Once you have defined the primary conflict, look for any complications that support or exaggerate it. These are often secondary or minor conflicts that serve to add meaning and importance to the primary conflict.

Follow the development of the conflict to reveal its peak moment, which is the climax—the key moment in a commercial. It will usually be found immediately prior to the resolution or nonresolution of the conflict.

During the course of developing the conflict, the advertising benefit (
unique selling proposition
) should be revealed. The
peak moment
often is the point in the copy where the advertiser’s name is mentioned or the purpose of the commercial is revealed.

In commercial copy, it is through the resolution or nonresolution of the conflict that the message is expressed. Sometimes ending a commercial with an unresolved conflict can actually create a memorable impression in the mind of the listener. An unresolved conflict leaves the end of the story up to the listener’s imagination, and that can be a very effective motivation for action. For example, a radio commercial we produced for the high-end toy store, Toy Smart, presented a conflict between a mother and her “child.” As the story developed, the mother tried to coax her “child” to eat his green beans with less than satisfactory results. This conflict resolved when the “child” turned out to be the husband who said “I’ll be happy to eat all the green beans you want, as long as you put them with a T-bone steak!” However, at the very end of the commercial, the husband had one more line, which left the conflict in a state of nonresolution: “What do I get if I eat all my brussels sprouts?” This left the resolution of the conflict to the imagination of the listener and created a memorable impact moment in the commercial.

Look for details in the copy that give clues as to how the message is actually communicated. Are there a series of gags, jokes, or a play on words that lead to expression of the message? Do characters in the copy shift roles (reversals)? Is there a list of information that ends with an unusual twist? Does the story take place in an unusual location? Is there something in the story that appears to be out of context with what is taking place? Is there a personality problem or physical limitation with one or more of the characters? How are these resolved—or not?

As you analyze a script, remember that there are no right or wrong answers to the questions you ask, and there are no good or bad choices. Use your imagination and bring something of yourself into the copy. The idea is to create a believable character and situation for the copy you are reading. Bringing your personal experience into the character you create will aid in making him or her real to the listener.

Use what you learn from the copy and the tools at your disposal to make the copy your own. If you have a naturally dry and sarcastic style of speaking, you may be able to apply that trait to your character to make it unique. If you have a bubbly speaking style, that trait might give a unique twist to a character. Don’t be afraid to experiment and play with different approaches to performing a character.

On the surface, “making the copy your own” may appear to be a contradiction. After all, according to Core Element #6,
Forget Who You Are and Focus
, one of our objectives is to get out of our way to allow the character to become real. But bringing part of your own personality or attitude to your character can actually make it easier to create an interesting and compelling performance.

When making copy your own, it is important to be specific when defining a scene or character and to commit to the choices you make. Using specific terms creates a tension in your body that you can use in your voice. Without tension you will be unable to create drama, which is essential for capturing and holding the attention of the listener.

To create tension in your body, begin by observing your feelings and emotions as you read the copy. Allow your senses to be open to experience whatever sensations might appear and make a mental note of where that sensation occurred in your body. As you begin to add life to your character, recall the memory of the sensation you just experienced (
sense memory
). Focus on placing your voice or performance at that place in your body. This technique may be somewhat difficult to master at first, but keep working at it—the result is truly amazing once you have the knack of doing it.

To quickly get an idea of the copywriter’s intent, the target audience, the client’s message, and some solid clues about your character and the story in the copy, try looking at the last line of the script first. The end of a script is where the resolution or nonresolution of conflict occurs and is usually the point where a character’s attitude or true motivation is revealed. It is also where the most important part of the client’s message usually resides. By working from the bottom of the script to the top, you will be able to learn important information that you can use to quickly create a basic character and attitude. Then use other clues in the copy to more fully develop your character.

These are the words or phrases that carry an emotional impact. Call on your past experience to recall a memory of a similar emotion (
sense memory
). Notice that the memory of the emotion creates a certain physical tension someplace in your body (see “create tension” on page 138.) Observe the tension’s position in your body and what it feels like. Hold this tension or sensation as you deliver the copy, reexperiencing the emotion or feeling. Now speak from that place in your body, fully expressing the tension. This technique helps to make your performance more believable and your character more real.