In putting together our “Hot Copy” crossover episode, it made me think of the old “Acting is Reacting” saying. Which I thought I’d expand upon here. Because there are a lot of audio dramas being put out into the podcasting ether that have fans of the genre, but aren’t necessarily trained in acting. Likewise, I see a lot of folks investing in a microphone and then putting themselves out there as “voice actors” without any experience or training. I mean, hey, it’s a great place to get experience. But if you want to really stand out and really bring something as a voice actor, you need to learn to listen, even when no one is talking.
A lot of audio dramas record like we do where the cast is given the script and asked to return a series of multiple takes of each of their lines so that production can edit them together. It’s a very specific skill to be able to give a performance as if you really are in the scene with the other characters when you are alone in your booth. And I see a lot of novice actors not devoting the time to learn that skill. You can learn to “react” to the other characters even if they aren’t present with you reading the lines. It all comes down to you being present in the scene as you record.
I have experienced many actors who appear to deliver their lines in a vacuum. They are reading them clearly, might even have a really nice recording set up, but they aren’t acting the lines. And this stems from two major things they simply aren’t doing. First, read the entire scene as you are recording. Too many novice actors highlight their lines and just jump from one line to another, the rest of the page is completely ignored. Many haven’t even read the whole scene. If you find yourself not sure how the writer wanted the line delivered, it’s probably because you haven’t been reading the scene. Whether I am doing Madison or the several other series I voice on, I read in between my character’s lines to keep with the energy of the scene. I then read the immediate line ahead of mine as if my character is hearing that line. I listen to that character in my head. Then I imagine, how does my character respond? Then, and only then, do I record my line. I have in past Musings talked about reading and analyzing the entire script before sitting down to record. So this is the next step after that. I am still reading and immersing myself in the moment as I record.
Second, you need to embody the character you are portraying. This isn’t narration. This isn’t an audiobook. You need to feel this character through your whole physical self. If you are sitting to deliver your lines, that’s the first thing I would correct. Look at photos of any of the old time radio performers in the Golden Age of Radio. They are standing. There is a level of energy that happens when you stand up. In read thrus of scripts, be it theater or TV, there is a moment of “Okay, let’s get on our feet.” Because if you are sitting, you are not bringing the full energy of the scene. Rarely are characters just sitting and talking. You are trying to physically embody what is happening in the scene. And you are not going to be present in the moment if you are sitting behind the mic. I will admit, with my theater background, I’m crazy animated when I do my voice recordings. That’s not something everyone has to do. But if your character is scared, let’s say, you will deliver it better in your voice if you are using your body to feel that emotion as well. And running? Any kind of labor your character is doing? You need to express that physical toll on your body in your delivery. And standing can help get it through you.
I support people who are jumping into audio drama as newbies, whether as a desired career path or a fun hobby. But this is not a medium that rewards minimal effort. Success and quality performances take work. It might just look like all you have to do is read the words on the page and anyone can do that. Sure. But who would you rather listen to as an audience member?
