The Most Common Mistakes to Avoid When Recording VO Auditions, Part 2

There have never been as many opportunities to land voiceover jobs as we have today. Yet, as bitter a pill that may be to swallow, statistics dictate it takes about 200 auditions to book a job. Considering a majority of your auditions for voiceover are done from home, here are some of the most common mistakes to avoid to increase your booking potential—continuing from part one.

8. Submit your voiceover auditions as MP3s, not WAV files. And not in stereo, but mono.

9. If you’re sent the same audition from more than one talent agent (or casting source), you do not submit an audition to both. Best rule of thumb: Whoever sent you the audition first—that’s who you audition through. Not both! Politely email the other agent, “Thanks for thinking of me. However, I’ve already auditioned for this project.”

10. Vary up your delivery from one take to another—especially when you have multiple auditions. Pay attention to the cadence and emotional tone of each script. Avoid delivering a blanket, cookie-cutter performance for each project. Make it your mission to build your agility and let the text dictate your delivery. Audio sample:

11. Rather than finding all the things you dislike about the script or direction, give yourself a fighting chance by concentrating on what you do like! There’s an old adage that states: You become the effect of that which you resist. Stop resisting and embrace the process.

12. Pay attention to how long the final submission length of the spot is required to be. For instance, if the specs (direction) says the spot is 15 seconds long and it took you 25 seconds to deliver the take, try it again and do your best to deliver your performance under 15 seconds without sounding rushed or forced. You still want to sound natural, just pick up the pace. Audio sample:

13. Don’t fool yourself into thinking the best audition books the job, otherwise you’ll only serve in frustrating yourself. Your job is to deliver as many remarkable auditions as possible. It’s your greatest form of promotion. (It simply shouldn’t be your only form of promotion!) Your objective is to consistently be among the top two percent of all the very best auditions. If you do, it’s likely you will be among five to ten of the best auditions those casting will struggle to decide who will carry the campaign and become the reliable “vocal brand” for the company.

14. Again, auditions are your most important form of promotion, but they should not be your only form of promotion if you intend to work with any regularity. This is your career. Own it! Make your name known and associated with being a reliable, professional voice talent with ongoing direct mail promotions to producers, casting sources, and potential clients.

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The views expressed in this article are solely that of the individual(s) providing them,
and do not necessarily reflect the opinions of Backstage or its staff.

Kate McClanaghan
Kate McClanaghan is a casting director, producer, and founder of both Big House Casting & Audio (Chicago and Los Angeles) and Actors’ Sound Advice. She’s a seasoned industry veteran and actor who has trained actors and produced demos for more than 5,000 performers over her 30 years in the business.
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