Knowing what to look for in a job posting
When you first see a job posting that interests you, you want to double-check a few key specifications about the job, including the following:
The language or accent required: Verify you can speak the language that the job is calling for. Sometimes a job wants you to speak a language such as Spanish or French. Other times, the client wants a particular accent, such as a British or Australian accent. Pay attention because even though the language states English, you want to double-check the accent requirement.
The gender: On a similar level of importance, clients state in their job postings the gender of voice they want. On the one hand, if the job calls for a deep male announcer and you sound like a teenage girl, you can save yourself the embarrassment and skip the audition. However, if it’s an animation job, you may be able to perform a voice for the opposite gender.
The work type: Identify the type of work the job listing is for. Different types of work include radio and television commercials, animation for film and cartoons, audiobooks, and so on. Check out Chapter 6 where we discuss in depth the many types of work you can do with voice acting.
The deadline to receive auditions: Consider when the client has set the deadline to receive auditions. If you aren’t able to audition in time or are booked solid when the client needs the voice-over recorded, you need to pass on the opportunity. You don’t want to give the impression that you’re available when you aren’t and then potentially disappoint and come across as being unreliable.
How the client needs the work delivered: Most of the time the client wants it uploaded to a website, but the possibility remains that some clients may require that you have access to ISDN, phone patch, or Source-Connect. Refer to Chapter 21 for how these technologies differ.
Pay rate: This may be the deal maker or deal breaker for some people. Does the pay line up with the amount of work required? Look for a budget range, for instance between $100 and $250 for shorter recordings and a range of $500 to $1,000 for longer projects. (Refer to the later section, “Paying attention to the pay,” to help you know whether to audition or not based on the pay.)
After you review a few job postings, you can get better at scanning them for these details.
Making VoiceMatch work for you
Voices.com has a feature called VoiceMatch, an indicator for how qualified voice actors are for a particular job, saving time when auditioning online. The VoiceMatch score is out of 100 and puts a numerical value on their direct match and helps to take the guesswork out of their chances for being considered for a job.
Knowing how well matched a voice actor is helps to prioritize which auditions to respond to first. The higher a VoiceMatch score is, the more relevant a voice actor’s audition submissions are when submitted to clients for review.
To maximize your VoiceMatch score, you want to
Complete your profile: A voice actor’s VoiceMatch score is based upon how well his or her profile matches a client’s job posting. The more complete a profile is, the more job invitations and opportunities a voice actor receives. A complete profile also dramatically increases the potential of being a closer match for a given job posting and by virtue of that fact, the actor may be the recipient of a higher VoiceMatch score.
Have unique demos in each category: If you have three or fewer voice samples, you may want to consider recording more demos and uploading them to your account. If you have a number of demos, but they all fall under the same category, see if one or more may fit in multiple categories, and edit your demos to spread the wealth. For instance, categories such as documentary and Internet may be considered interchangeable depending on the contents of the demo. The search engine searches your demos. Being listed in more categories can help you to show up in additional searches as well as provide you with a boost to your VoiceMatch.
Tag your demos: We encourage voice actors to use ten tags per demo to help increase their VoiceMatch scores and search visibility. A tag is a descriptive word that can be used to reflect the demo’s contents. These words can be adjectives that describe how the voice sounds, vocal range, moods, qualities embodied in a read, the kind of character being portrayed, and more. You also want to diversify your tags. Make sure that your tags vary from demo to demo and try to incorporate as many diverse tags as possible that relate to your voice samples.
Spotting vital project information before an audition
Job postings provide important information about the client and project. By thoroughly reviewing this information, you can fully grasp what is required before submitting your audition. Figuring out whether or not you can meet these needs is a very important decision to make.
In this section, we examine four important areas of client requirements that can give you a better idea of what the job posting is about.
Artistic requirements
When you view job listings, consider artistic direction, which gives you instruction on how the client wants your read to come across. This may include how old your voice sounds, the register of voice you speak in, or vocal characteristics, such as mood. Artistic direction also can relate to a manner of speaking or characterization.
You need to be honest with yourself and objective about your voice and abilities and discern whether you fit the specifications for artistic requirements. Not everyone has the skills that the job listing asks for so when reviewing job listings, look at what artistic direction the job requires and do those auditions you have the confidence you can deliver.
Artistic requirements include the following areas:
Vocal range
Ability to produce a certain voice age
The tone quality of a voice
Characterization
For example, a role is being cast for a boy’s voice aged 7 to14. A grown man probably shouldn’t audition for this role because his voice is too deep for the range needed. Women whose voices sound younger or can be made to sound younger may want to audition, because a woman’s voice falls within a treble range similar to that of a child, and a woman can more easily stretch her voice to sound like a younger boy (although the perfect fit would be a boy in that age range).
In addition to knowing if you’re a good fit, you also need to be able to interpret scripts well and direct yourself. Most voice actors working independently from home spend time developing their skills in the area of self-direction. As we discuss in Chapter 5, you can inspire yourself in many ways to create a more effective and believable performance.
Kids are sometimes best for the job
When a job listing asks for a child’s voice, sometimes the best actor for that job, surprise, is a child. Many children have been cast to give a more authentic read in their normal speaking range. The cast of the Backyardigans, a show for preschoolers, is a good example because all the characters were voiced by children, lending greater authenticity to the characters and more connectivity with the audience.
Another great example is the cast of Dora The Explorer. The original voice of Dora, Kathleen Herles, didn’t do anything out of the ordinary to change the way she spoke when voicing Dora, a role she booked as a child. She simply delivered her lines with feeling as Dora in her own voice. As she got older, she needed to adapt her read slightly to keep with the younger Dora voice she started with.
Technical requirements
In your perusal of job postings, you also want to be aware of the technical requirements for the different jobs. Technical requirements include the following:
Special equipment: Some jobs specify that you have equipment to do a job. Some of that special equipment includes
•ISDN line: Technical requirements may include how the voice-over is recorded. Some means of recording, such as using an Integrated Services Digital Network (ISDN) line, literally bridge multiple studios so that they’re all involved
in the same session. (AT&T and Bell Canada offer ISDNs.)
Other technical requirements include a phone patch, which means that the client wants to call in and listen to you as you do the recording and provide feedback and direction in real time. Source-Connect is another popular option. Similar to ISDN, Source-Connect leverages the power of the Internet. Refer to Chapter 21 for how this equipment works.
•Uncommon audio file format: Some clients specify in job listings that they need an uncommon audio file format for their telephone system recording. Be sure you can export in that format or at least search online to find software that allows you to convert for recordings into the required format.
Special skills with editing, producing, mixing, and mastering: Whenever you see those skills listed in a job posting, what the client expects is someone who can not only serve as a voice actor, but can also provide audio engineering services. Audio engineering is an art and a science, so only step up to the plate to audition if you’re competently skilled in this area. If you aren’t, find someone who is to help you with the production of a piece and be sure to include what it will cost for him or her to provide those services in your quote.
Location requirements
Another area to consider when reviewing job postings is the location requirement. Location requirement basically means the client requires that the work be completed in a particular location, such as New York or Los Angeles, where the industry is more concentrated and established. In fact, we know of a global industrial company that flies a gentleman from Montreal to Chicago because the company wants him in person when he records its French voice-overs.
Animation is one area of voice acting that requires actors to be in a particular city. Most producers and voice directors want to have their voice cast recording on-site at their preferred recording studio. That explains why a lot of people who do voice acting for animation tend to live where the work is. In Canada, Vancouver is a hotspot for animation voice acting and dubbing, with Toronto offering some work as well. In the United States, Los Angeles is the hub for animation voice acting.
The good news is that with a huge amount of voice acting nowadays being done online, your physical location may not be relevant. However, some clients still prefer a collaborative process that requires you to visit their recording studio. That’s right; you may actually have to drive or catch a cab to the recording session. Although location requirements are becoming rarer, keep your eyes open for them when reviewing job postings.
Location may also have to do with how someone communicates or pronounces his words, coming across as naturally as possible to the specific audience he is recording for. Such a job requires understanding of the culture and the ability to fluently speak the language. This requirement may come into play if the casting director needs a native speaker who not only sounds like he comes from a particular place, but also is familiar with the colloquialisms of that group of people and whose delivery of the script comes across well to the audience.
Legal requirements
As you review job postings, you also want to keep in mind the legal requirements. Consider these legal questions as you read through the postings:
Is the job union or non-union? Most voice-over jobs posted online are non-union, which means you don’t need to be a member of SAG-AFTRA (see Chapter 16 for more on this union). Having said that, more union work is being conducted online. Look to see if you meet the union requirements.
Do you have to sign a nondisclosure agreement? The company may require you to sign a nondisclosure agreement. This type of agreement typically limits you from being able to reveal information about the job, the company, and that you’ve done the work. The nondisclosure agreement may even state that you’re not allowed to include the company on your client list.
Do you have to acquire or license music and sound effects? If the client needs only the voice-over from you without production, that’s great! Sometimes the client will also supply you with preselected music. Other times, a client may let you find music from which the client can choose. Make sure you’re versed in what royalty-free means and also understand licensing music for use. (Refer to Chapter 8 for what you need to know about choosing music.)
Researching and Evaluating Job Opportunities before Auditioning
When you’re looking for work and different job opportunities, we can’t state enough the importance of taking the time to research and evaluate the postings to find a good match for your skills and abilities. Some due diligence on your part can help inform you beforehand when making the decision to audition or not. Understanding how a voice-over can impact you personally should factor into this process. What we mean is that you need to weigh the opportunity with your own values and beliefs before pursuing it. Your integrity is far more important than making a quick buck.
In this section, we discuss the significance of the work you choose to do and provide you with tools to discern opportunities that may prove invaluable to your career. We also provide you a healthy dose of everything you need to know to properly understand what is being asked of you in an audition situation.
Selecting your auditions
Although auditioning is part of what voice actors need to do to get work, most voice actors want to do work that satisfies both their personal interests and business needs. That means being more selective with the jobs that they apply for.
As a result, when you’re researching and reviewing job listings, you more than likely want to have a positive experience with a job opportunity. The way you feel toward the project in general may be enough to help you determine whether auditioning is the way to go. Voice acting is living truthfully under imaginary circumstances. That being said, you can act out imaginary circumstances with integrity by using discernment. Whenever you do something you feel comfortable with or know to be right, your read will sound better and more genuine, and your conscience will be clear, saving you from compromising yourself both personally and professionally.
Disregarding your own convictions simply because you can make a dollar in the short term has long-term implications. If you’re not in favor of a job opportunity or the company associated with that job, and you decide to take it despite your reservations, remember that you’re the one who is making the compromise, not the company in question. Ultimately, it’s your decision to participate in the process and live with the consequences. (To help you identify potential red flags with a script or project, check out the next section.)
When you’re selecting an audition and trying to find the right fit for you, consider your own perception or opinion of what is being presented and by whom. Carefully read the copy and identify anything that might be misleading or incredible.
Some people think that if you can fake sincerity in this business, you’ve made it, but you may not be able to mask your underlying feelings or apprehension regarding a script or project. Can good acting camouflage how you really feel about a script or your depth of knowledge?
In a time when very few people are fooled by advertising and marketing, many voice actors who don’t agree with a script’s content or don’t understand its meaning think they can still convince an audience to believe otherwise. Your voice conveys more than you think it might! As Marice Tobias, also known as The Voice Whisperer, said, you can liken the voice to the mirror of the mind.
Making sure the project is in line with your personal beliefs and convictions
When you’re researching different job listings, it’s time to pull out your Sherlock Holmes gear and thoroughly examine the script for any potential traps or red flags. What do we mean by traps? Traps or red flags basically consist of anything that goes against your personal morals, beliefs, principles, and/or politics. If you identify any potential problems and don’t feel comfortable reading a script, don’t even think about auditioning for it!
Just because you make a living as a voic
e actor doesn’t mean you have to audition for every job you see. Be selective and remember that although the listening audience probably won’t know who you are, you do and so will other people who follow your career or employ you. In other words, if you wouldn’t publicly affix your name to it or you wouldn’t want anyone to know that you recorded it, don’t stress over the content and don’t bother auditioning for it.
Say what you mean and mean what you say
Words play an enormous role in voice acting. That being the case, every word that comes out of your mouth comes from you regardless of how you came to voice it. When you don’t fully invest yourself into a project because of personal reservations, that incongruity can come across in your read, which in turn can negatively impact the performance and how the listening audience receives it. People can spot a hypocrite a mile away.
How often do you publicly support something that you strongly disagree with in private, or do you say things to your family and friends that you don’t really mean? Not at all, we hope. Being authentic also applies to your work. Words that come from a voice actor’s mouth are still words with meaning. Voice acting doesn’t separate actors from their tongues, minds, or hearts.
That isn’t to say that there aren’t instances where voice actors record for projects with content that they don’t personally agree with. On one occasion, we contacted a voice actor to congratulate her on work she booked with an offer to share the YouTube video she had narrated with our Voices.com community to celebrate. After presenting her with the opportunity, she turned it down and asked that her name not be associated with that project.
On the flip side, one voice actor shared that he has never regretted a decision to turn down work that wasn’t aligned with his morals, values, and beliefs. You can’t put a price on integrity, he said.
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