Podcast Length: 11:37

The quality of your auditions when recording from home is as important as your performance. In fact, it’s never mattered more than it does today.

Since COVID, production demands now require every voice talent to not only be well-trained and prepared to deliver their best at a moment’s notice, but we’re also assuming the quality of your auditions (recorded from home) will inevitably be the quality of the audio of the final recording, should we hire you.

Other than that there are a few common mistakes to avoid to improve and increase your booking potential.

1. To slate or not to slate. 

Traditionally, a slate is done by stating your name at the top of the audition.

Some voiceover auditions ask you to include your slate at the end of your performance, or ‘post slate’. And others require you not slate at all.

Determining whether or not you should include a slate will vary with every audition. Many talent agencies require you to include the agency name with your slate as well.

Regardless, you should assume that you will include a slate at the start of your audition, unless you’re specifically instructed otherwise “no slate” in the specs (the ‘specific’ directions offered with the script).

For Example… “Kate McClanaghan, ASP”

Be sure your slate should match the volume of your performance as well as the emotional tone of the piece and the energy level or tempo of the overall audition. So, if the audition requires a somber, more serious approach from you, your slate should mirror the same drama with comparable pitch, volume, speed, personality and the mood of the audition. Your slate should match the tone of your read.

Never ‘cookie-cutter’ your slate by ‘pre-recording’ and repurposing the same slate on every audition you deliver. It’s lazy and inappropriate considering one size does not fit all when it comes to your auditions.

2. Follow the directions.

Every project has its own specific requirements or directions, which is why they are referred to as the ‘specs’.

It may seem like a no-brainer, but it’s surprising how many talent neglect to read all the details the agent painstakingly included in the email defining what’s needed and wanted from you.

3. Always double-check your work before you submit your audition.

Re-read the specs, then playback your audition. Then ask yourself honestly, did you follow the specs fully? Could you do better? If so, do it again. Get into the habit of always delivering your best.

Auditions are how you build your reputation. Your agents will gain confidence in you if you’re consistently delivering quality auditions. They believed in you enough to include you in this audition, but it’s your job to rise to the occasion.

Did you miss crucial words or mispronounce anything? Is your editing helping or hurting you? Start again if you have to!

Proofing your work prior to submitting, you’ll inevitably discover elements you may have overlooked, often an all-too-simple instruction that may have gone under your radar initially and can completely alter the outcome of your audition. Get back in that booth and do it again with your focus on what you want in the final result of your performance.

Look, I get it. We all have to fight that impulse where you can’t wait to get in the booth and get on the mic, and then, and just as quickly, get me out of here. Time to get on to something else. It’s not just you, it’s the world at large. But take your time. Building your agility takes a second. Stay out of your own way. It takes a minute. This is a learning curve and the only way out is to allow yourself to get through it.

Avoid rationalizing to yourself, “It’s good enough for now.

It’s NOT up to your talent agents to proof your work. That’s YOUR job. Your agent has more than enough to do, so don’t simply leave it to them to correct your mistakes. Or they simply might not include your sloppy audition because it would only backlash on them!

Should they discover you missed something important, be sure to promptly correct the issue. Re-record your resubmission, rather than repurpose it if necessary. Your agent isn’t insulting you by asking you to re-submit or follow the specs you overlooked; they’re offering you another chance to book this job! Pay attention to the modification they referenced. Focus on that and get to work. Pay better attention on your future auditions.

(Wouldn’t hurt to thank you agent for catching your faux pas, either. It’s great to have an advocate in this industry who cares whether you land the job or not.)

How well you follow directions, pay attention to details, not just how quickly you turnaround your auditions, but how well you take making adjustments from your agents (should they offer them) is done with your best interest, and speaks volumes to how much your agents will come to rely on you. THAT’S how you make yourself valuable.

You’re either building your reputation with every audition, or you’re undermining yourself.

Our talent agents professional reputation is closely tethered to our own. If your agent offers a change to the audition you submitted, you should understand they did so because they believe in you. And while it may be a slight inconvenience at the onset to re-do your audition, embrace the fact you have someone who took the time to pay attention and took the time to give you another chance.

4. Submit multiple takes with each audition, unless only one is requested.

We often overlook a key opportunity: most commercial auditions are 15-20 seconds or less, which means you have the chance to offer more than one delivery options to the client on the same MP3.

Considering much of your job as a voice actor is to offer a handful of appropriate, creative options within the context of the project with every take, rather than attempt to craft a single-solitary delivery, you’re expected to continually create with every take.

In fact, if the audition you’re voicing is only about 15-20 seconds long, it’s generally expected you offer two-three distinct options on the same slate, the same MP3. This is referred to as a ‘3-in-a-row’, also known as a ‘3-wild’, or an ‘a-b-c’.

Each take on a ‘3-in-a-row’ should be distinctly different in your expression however your volume, pitch and speed should remain relatively similar from one take to the next.

If you’re happy with just two takes, then simply submit the two takes you’re most happy with on the same slate, the same MP3 audition.

INSERT example, “SOUND ADVICE, the most complete voiceover demo service… (x3)”

5. Do your homework.

Have you heard of the product or service? Not sure how to pronounce it, or any of the other terms used in the text. You’re expected to sound like an approachable expert. Look them up! And not strictly on Merriam-Webster.com (m-w.com), but if it’s a product you’ve never heard of, reference iSpot.TV or YouTube.

Determine if this audition is part of an on-going, familiar campaign. Is this a dramatic script departure from anything they’ve done before? In other words, are they rebranding?

How is this spot similar to the promotions this potential client produced in the past? How is it similar/different to campaigns for other similar products or services?

Pay attention to the style and context of the project. Let it elevate your performance to take as much guess work out of the audition process as possible. Producers hope to determine with your audition whether you “get it” or not. A little perfunctory study allows you a better opportunity to demonstrate how well you understand your role in forwarding the concepts the product or service intends to convey as well.

6. Submit your auditions well before they are due.

Pay attention to WHEN the audition is due. Is it a quick turnaround and due in a couple hours? Or do the specs say you have till the end of the week?

Be sure to submit your audition well in advance of when it’s due. Make a habit of turning around your auditions within a couple hours or so of receiving it. The more your agents come to rely on you, the more they will likely include you in far more projects—even when the project might be something of stretch for you.

Producers typically cast the project well before the designated deadline stated in the specs. Keep in mind, their objective is to get the project produced, approved and shipped… and move on! That should be your objective as well.

7. Avoid falling into complacency in your performance.

Self-direction has it’s perils. Not the least of which is becoming repetitive and dull.

Ensuring each audition you submit is a fresh approach is a challenge, and there’s a learning curve to it. Be sure to consider the context of the project rather than defaulting to your same-old-same-old, muscle memory delivery.

It’s imperative you continually challenge yourself. Regardless of your experience level, it’s far too easy to fall into delivering the same approach to every script, and then rationalize to yourself, “This is my ‘sound’.” This is in part why we continually coach throughout our voiceover careers—to evolve, to overcome the Sophomore Slump, and to challenge our comfort zones.

It doesn’t take long to create and establish an exceptional reputation. Be aware the opposite is also true because it comes from complacency. We’re all creatures of habit.

As Aristotle said, “We are we repeatedly do. Excellence, then, is not an act but a habit.”

If your diction becomes sloppy, or your performance sounds like an afterthought, you won’t be doing yourself any favors by hurriedly submitting auditions that you could’ve given more attention to. Otherwise, don’t be surprised if your agents gradually evaporate along with the opportunities they offer with every audition.

Mastering your ability to self-direct demands time and attention regardless of your experience and skill level. Carefully craft each audition. Make a habit out of excellence.

Keep in mind: energy is interest. If you are interested you are interesting. You’re paid to have a pulse.

Stay creative!

Copyright © 2023 by Kate McClanaghan. All Rights Reserved.