Yes and…

I had a client call me yesterday and ask if I do a British accent. So going with my improv background I said, “Yes and…” and well, then my honest side kicked in so I added that I’ve never done it seriously but I play around with it all the time. Turns out it’s for a fun phone application. So a fun, not seriously true Brit’s voice would work. The app. obviously hasn’t launched yet so I can’t write more about it but the point is I got to audition for the part.

I believe being positive opens opportunities. Mix in being honest and that builds trust which will get you even more opportunities. I may not be the client’s first pick for this project but I let my personality shine through by giving it a shot and had a lot of fun with it so I feel I nailed it, even if I don’t book it!

Stay tuned and I’ll let you know if I get the part.

Don’t take it personally!


Sometimes you’re just not right for the part. When I go on an audition and I leave feeling like I gave it my best shot and really showed off my talent I leave feeling like I booked the spot. If I actually do book it it’s just icing on top!

On the down side, when you’re on an audition and it’s not going so well, again don’t take it personally. We all have our bad days so take a deep breath, try to let go of whatever it is on your mind-be it you’re last take was terrible, the food you ate for lunch is making your stomach do cartwheels or the lunch you didn’t eat is making your stomach growl (it’s natural and happens to all of us) or your fight with your boyfriend last night is weighing on your mind. LEAVE it at the DOOR. And if you brought it in with you shake the energy out of your limbs. Literally brush that crap off your body and flick it off your fingertips. Jump up and down to get in touch with the young, fun, creative you and start from scratch…even if it’s your third take!

I recently auditioned for a spot that I thought I nailed. The client came back with “we like her voice, but she sounds tired and jaded.” Wow! Worst feedback I’d ever gotten (and took personally). I WAS tired when I recorded and I could very well be jaded when it comes to talking about the subject matter – corporate jobs. But hey we’ve all been laid off at some point in this economy-right? 😉 So the client was dead on. Smart. Gave great notes…all I could do was let it go and try again-when I wasn’t tired!

So instead of saying fine, forget this job, let someone more bright-eyed and bushy-tailed have this gig. I took a deep breath and said great, thank you for the honest feedback and here’s my take 2. I did jumping jacks, smiled beyond my face’s range and sped through the copy faster than I felt was normal. Somewhere between there and tired, jaded me I booked the job!

So, Leave your crap at the door. Don’t take ANYTHING personal. Take it all as constructive criticism because that’s just, what it is. The client isn’t there to insult you. They’re there to help you, so they can get exactly what it is they want. And if all else fails remember the wisdom of Jerry Maguire – “Help me Help you!”


Getting started in voiceovers


I get asked all the time how to break into the voiceover industry. Many it’s because they’ve been told they have a great voice and they should do voiceovers, others are acting friends who know what the industry is like but never focused on voice acting and lastly are the ones who think it’s an easy way to make a lot of money. To all of them I say, Great! Go for it. But it’s not that simple so here’s my advice…

My very first suggestion is to learn how to read (hehe) and then take a class, actually take lots of classes because you’ll learn something new from every single person you listen to!

In the mean time here’s some stuff you can work on to see if you like what you’re doing and enjoy the types of challenges VO’s may bring. Try these exercises to see if you’re up for learning these skills that you’ll need to become a working voiceover artist.

OK, seriously learn to read-out loud. It’s not as easy as it sounds (if it is for you, you may be a natural at this-quit your day job!) Practice every day for a half hour. Record yourself on your iPhone, computer whatever tech gear you have, quality doesn’t matter just listen back to what you’ve read. When you start sounding like these are your words and you’re not just reading out loud you’re ready to graduate onto the next level. (But keep practicing daily).

Now that the words sound natural really add your voice to the words. Give them feeling and make them jump off the page as if they were your own. Everyone interprets things differently so say what it means to you, just make sure you give it meaning. Don’t be indifferent, indifference is boring and it won’t get you the job. Once you’ve added meaning try heightening what you’re saying make the words life or death, like it’s the most important thing you ever said. Of course when you’re reading a commercial for sneakers we all know you won’t die without them. But generally your client pretty much wants you to convey to the audience that they will in deed die without them. Then you let your director pull you back. Some times all the way down to, “That was great. Keep that intensity but throw it all away.” The point is play with it. Push your voice and acting abilities beyond a range your comfortable with to see just how far you can go.

If you like doing this and you still want to pursue voiceovers decide what genre you’d like to get into. If you’re in NYC like me, TV and Radio Commercials are where most of the high paid work is. It’s a very competitive industry but if you love it you can find work. Here’s what I recommend to start training for commercial work.

For Commercial Work:

I highly recommend Roger Becker’s Basics to Business class at Shut up and Talk. He’s a casting director and gives you honest feed back and a clear breakdown of how the industry works. This is a 6 week class that meets once a week and is worth the money ~ $350. Roger is fun, energetic, knowledgeable and honest. He’ll give you honest feedback and work with your uniqueness rather than try to mold you into the industry standard.

In general I find workshops or classes with Casting Directors much more valuable than with Voice Actors themselves. They may be able to teach you their personal technique but that’s a narrow point of view. Casting Directors are in the business knowing what they’re looking for everyday. But if you find a voice actor that you feel you can learn from by all means continue training with them.

There are some great affordable Meet and Greets around the city with various casting directors and agents and usually only cost $35. It’s a great place to learn some stuff and can sometimes act as an audition because casting directors are always casting something and if they are impressed with your work that day and your ability to take direction well, they may bring you in for an audition. So do your best work and bring your headshots or demos to these events. I get the Ripley Grier Studios newsletter which has all types of events. Sign up I think there’s good workshops for new and working VO artists.

And honestly, don’t even consider doing a demo right away. Practice for a few months because the more you do it the better you will become and you don’t want to spend money on a demo that doesn’t show off your skills!

If you have any tips, exercises you do or know any great coaches or classes you’d like to share please feel free to comment!



Do your homework, take direction and choose what you’re doing.


I recently booked two national TV commercials for a couple of Dora products. If you’re not familiar with children’s shows, Dora the Explorer is an American cartoon created by Chris Gifford, Valerie Walsh, and Eric Weinea. Throughout the show Dora goes on exciting adventures with friends and strategically teaches her viewers Spanish words and phrases.

Part of being a successful voiceover artist is doing your homework. If you’re not familiar with the product, or who the consumer/audience is, you need to do some research before your audition or recording session. I have young nieces and nephews so my knowledge of Nickelodeon programs, such as Dora the Explorer is current. Had it not been, I’d have been googling, youtubing and netflixing all things Dora. This time I had it easy. My sister’s kids are the client’s demographic so I was completely comfortable with my intended audience.

At the recording session they wanted even more range and energy than I was giving. They needed more excitement that reached beyond using a cool toy to capture attention of kids. To do this I needed to make a few adjustments.

I nailed the direction I was given because I immediately knew who I needed to be talking to in that booth. I focused exactly on who makes my voice raise a notch and instantly puts an energetic smile on my face-Charlie, my dog! Once I mentally put him on the floor in front of me in that audio booth, everything clicked. My niece is still the audience but my dog is the magic behind the curtain.

Remember you are the artist. The director or production team can only tell you what they think they want. It’s up to you to interpret the script as well as any direction you’re given and make it yours. They’ll always want to make tweaks or ask for alternate takes so for every note you get it’s best to make a distinct choice so you can recreate it time and time again. And if you’ve already done something with the copy you find unique or bold and they didn’t comment on it, it means you’re nailing it so keep doing what you’re doing!


SAG or not to SAG?

Is union talent actually more talented than those who have not been invited to join?
The truth is not always.
It’s a catch-22 for voice-actors to get into the union. The general rule is the artist has to get a union job before he can join yet he needs to be union before he can audition. Now of course there are loop holes in joining the union or there would never be any new talent for us to hire. But finding those loopholes is not as easy to do without an agent or the right networking circle.

If you have the time for paperwork and the budget it’s great to use union talent. The actor has already been screened and hired by someone else and deemed as a talented professional suitable for use in a union production. But what is talent? What makes an actor great? Are you willing to let someone else decide such subjective questions for you?  It really comes down to who’s perfect for the exact role you’re casting. This person may not have ever had the opportunity to join SAG-AFTRA or rejected Screen Actors Guild jobs to keep her non-union clientele.
With the industry today it’s hard to say if union is better. Hundreds of jobs are posted daily on, and many other pay-to-play websites. Using these sites for auditions can be a little bit of extra effort up front while sifting through the non-union for a reason talent. But will save upfront costs, residual money and union paperwork in the end.

I’d bet if we held an audition open to only union VO talent and then another with the same copy for non-union talent we’d find very usable talent in both groups.  On average I’d imagine Union would have a more steady flow of hire-able talent and non-union would have some rough patches. But you only need one diamond in the rough…so it could be worth your time to sift through the hidden gems.

Voiceover Voice-over or Voice Over?

OK, so we’re the people reading the copy not the people writing it. But isn’t there a way we can unite on how to spell what it is we do!? I know we use the spelling “Voice-Over”, “Voice Over” and “Voiceover” interchangeably. We understand the idea behind the spelling, which is what really matters, and you never hear, “it’s not what you say it’s how you spell it”. But I find it interesting how interchangeably people are using these spellings, even within one document!

I’m certainly no English major or accomplished playwright but I’d like to know when I’m not using proper grammar and spelling (common mistakes I make-which is why I’ll continue to READ and not WRITE for mass publications) but really now…what’s the proper spelling for “VO” work?

My agent’s website refers to it as Voiceover.

CESD one of the biggest talent agencies here in NY lists the tab on its website: “Commercial Voice-Over”. The header of that page says: “Commercial  Voice Over” with a visual design in the background displaying “Voice-over”.

SAG-AFTRA refers to us a Voice Over Performers.

In a link on the SAG-AFTRA website there was a workshop announcement with “Voiceover” in the title, stating this was a class for ‘Voice-over talent” taught by a “Voice actor“.

The Mirriam-Webster online Dictionary made me laugh. When I looked up “Voiceover.” I was  directed to the word “Voice-over” with a hyphen. Then a Google generated ad for “Voice Overs” popped up between the Word and its definition. Aahh!

I suppose I’ll never know the answer to this age old debate – are we Voiceover Talents? Voice-over Performers? Voice Over Actors?  Or maybe just VO Worker Bees?

In the end it really is not what you say it’s how you say it. I guess that’s why we’re the ones saying it and not determining the standard English-American way of spelling it! Good thing we are because if were weren’t good at our craft we might have been dubbed as Voice-Unders.