By Stacey Stahl
Guest Columnist

Voices are heard everywhere—on commercials, video games, cartoons, movies, TV, on-hold systems, you name it. There are a few common mistakes people make when seeking just the right voices and the people to do them.

Poorly written scripts lead to less than stellar VO performances. Read your script out loud before expecting someone else to. Remember to write for spoken word. And, keep in mind the amount of time the copy needs to take. We regularly receive scripts for a 30-second radio spot that take at least 45-60 seconds to perform.

Know how to communicate in a language that voice actors and agents understand. We often hear, "I’ll know what I want when I hear it" or "Can it be more exotic, more purple, or like XYZ famous star?" (who you liked the performance of in a film, but whose voice is not unique, and the script is not that film.) Make a checklist including the approximate age, texture, accent, persona and delivery expectation. Help make the agent or casting director’s job easier and your project tops by being specific and giving feedback or directly participating in the direction of the audition if possible.

Use a voice agency you trust. A good agency strives to go the extra mile to find out exactly what a client wants, establishing a good back-and-forth communication with all parties. From personal experience, we know our talent and can tell our clients how well someone takes direction, stays in character or how quickly and accurately they can cold read the copy. Every talent is unique and not every talent fits every project.

If your budget allows, use a good voice director. This can make all the difference in the world. A voice director doesn’t need to be physically present at your recording session. He or she can be connected via ISDN or analog phone patch.

Realize the difference between union, non-union, and financial core. A union card is obtainable without necessarily guaranteeing talent. Financial core status (a dues paying non-member of the union) allows performers to work both union and non-union.

Allow enough time for quality auditions of your copy. Voice is often one of the last items on the production list to handle, but one of the most important pieces.

The more information you share in regards to your voice project, the better it is for everyone involved and the less likely you will be to receive an audition that doesn’t match your needs.

Stacey Stahl is the owner of In Both Ears, a Portland, Oregon audio talent agency that is proud to have recently expanded from Portland to Seattle, with two offices, and a talent pool covering a huge area, both in location of talent, and in the diversity of the voices represented. Visit www.inbothears.com.