The language<\/h2>\n\n\n\n![\"\"](\"data:image\/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==\")
Photo by lucia<\/a> on Unsplash<\/a><\/figcaption><\/figure>\n\n\n\nThe good news is, voice acting isn\u2019t entirely abstract like\u2026 abstract art. Luckily, we can speak in a way that is meaningful to a voice actor.<\/p>\n\n\n\n
It helps to understand some of the language that voice actors use during the creative process. A great way to start is by learning some voice acting terms<\/a>. <\/p>\n\n\n\nThis way, when someone refers to the ‘bed’, you\u2019ll know it\u2019s the instrumental track underneath the voice, and not that the voice actor needs to rest.<\/p>\n\n\n\n
More frequently-used terms might include cadence: how breaks are placed between words; or copy-points: unique features of a product or service that should be emphasized in an ad read.<\/p>\n\n\n\n
Getting familiar with voice acting terms not only helps you direct a voice actor, it also builds a common language. Consistent use of a common language will smoothen your workflow, and help you start producing better and faster results.<\/p>\n\n\n\n
Get technical<\/h2>\n\n\n\n
We can also look at terms like timbre, inflection, and tempo, just to name a few. These can help direct a voice actor and pinpoint what\u2019s desired in a script read.<\/p>\n\n\n\n
Timbre is the quality of the voice \u2014 is it raspy, or clear? Inflection is the way the pitch (whether the voice sounds high or low) changes during the pronunciation of a word. And tempo is the speed at which the script is read.<\/p>\n\n\n\n
Using technical language is better than using subjective language. Using general words like happy or sad can create many interpretations!<\/p>\n\n\n\nPhoto by Maxwell Hunt<\/a> on Unsplash<\/a><\/figcaption><\/figure>\n\n\n\nGiven circumstances<\/h2>\n\n\n\n
Once you\u2019ve briefed yourself on voice-acting lingo, it\u2019s important to know what goes on inside a voice actor\u2019s head.<\/p>\n\n\n\n
Yes, there is more than bells, whistles, and the constant repetition of that one line they\u2019re trying to memorize. You\u2019re more likely to find that a good actor\u2019s head is full of given circumstances<\/em>, noted in the Stanislavski Method<\/a>, a popular method of acting.<\/p>\n\n\n\nGiven circumstances are what set the scene for the actor to act in. Think \u2014 who, what, when, where, and why?<\/p>\n\n\n\n
Voice actors can spend hours studying given circumstances by diving into source materials, storyboards, character backstories, pictures and descriptions, lore, and more. It helps them create a character and bring a script to life.<\/p>\n\n\n\n
Goals and objectives<\/h2>\n\n\n\n
Speaking of creating a character, it\u2019s worth knowing the system of objectives<\/a> from the Stanislavski Method.<\/p>\n\n\n\nObjectives in voice-acting are equivalent to a character’s goals. <\/p>\n\n\n\n
\u201cCharacter,\u201d you ask? Consider this: even a plain script-read of an ad has a character behind the voice.<\/p>\n\n\n\nPhoto by Mike Palmowski<\/a> on Unsplash<\/a><\/figcaption><\/figure>\n\n\n\nIt can be simple. The goal of the character in, let\u2019s say a commercial read for laundry detergent, is to tell the audience how spotlessly-clean the detergent will make the clothes. The next objective is to tell the audience how the scent of the detergent will be like a cool, summer breeze.<\/p>\n\n\n\n
There\u2019s also the super-objective, which is something like an overarching objective. Such as sharing everything the character likes about the detergent.<\/p>\n\n\n\n
Voice actors use objectives to build a realistic character as they move from moment to moment in a script. It\u2019s how we speak from day to day, we discover what we want to say as we say it.<\/p>\n\n\n\n
Intention<\/h2>\n\n\n\n
Intention is the mental equivalent of \u201cputting your back into it.\u201d It\u2019s very general and not necessarily something you can act on.<\/p>\n\n\n\n
It\u2019s the aim or plan, and not an action or objective. Different intentions will change how a voice actor reads a script, and it\u2019s worth thinking about in order to communicate with a voice actor.<\/p>\n\n\n\n
Final thoughts<\/h2>\n\n\n\n
It\u2019s a lot to go through, but learning the language of voice acting is going to give a lot of value when you’re working with the wonderful roster of talented, professional voice actors<\/a> we have at Voice123<\/a>.<\/p>\n\n\n\nPhoto by Joshua Hoehne<\/a> on Unsplash<\/a><\/figcaption><\/figure>\n\n\n\nTo summarize, it\u2019s all focused on building a character for the voice actor. Everything is just meant to support that. Even if you don\u2019t use all the lingo, if you have the same focus, you\u2019ll be on the right path to using the language of voice acting!<\/p>\n\n\n\n
![\"\"](\"https:\/\/voice123.com\/blog\/wp-content\/uploads\/2020\/10\/lucia-YYsz1qTnA50-unsplash.jpg\")
The good news is, voice acting isn\u2019t entirely abstract like\u2026 abstract art. Luckily, we can speak in a way that is meaningful to a voice actor.<\/p>\n\n\n\n
It helps to understand some of the language that voice actors use during the creative process. A great way to start is by learning some voice acting terms<\/a>. <\/p>\n\n\n\n This way, when someone refers to the ‘bed’, you\u2019ll know it\u2019s the instrumental track underneath the voice, and not that the voice actor needs to rest.<\/p>\n\n\n\n More frequently-used terms might include cadence: how breaks are placed between words; or copy-points: unique features of a product or service that should be emphasized in an ad read.<\/p>\n\n\n\n Getting familiar with voice acting terms not only helps you direct a voice actor, it also builds a common language. Consistent use of a common language will smoothen your workflow, and help you start producing better and faster results.<\/p>\n\n\n\n We can also look at terms like timbre, inflection, and tempo, just to name a few. These can help direct a voice actor and pinpoint what\u2019s desired in a script read.<\/p>\n\n\n\n Timbre is the quality of the voice \u2014 is it raspy, or clear? Inflection is the way the pitch (whether the voice sounds high or low) changes during the pronunciation of a word. And tempo is the speed at which the script is read.<\/p>\n\n\n\n Using technical language is better than using subjective language. Using general words like happy or sad can create many interpretations!<\/p>\n\n\n\n Once you\u2019ve briefed yourself on voice-acting lingo, it\u2019s important to know what goes on inside a voice actor\u2019s head.<\/p>\n\n\n\n Yes, there is more than bells, whistles, and the constant repetition of that one line they\u2019re trying to memorize. You\u2019re more likely to find that a good actor\u2019s head is full of given circumstances<\/em>, noted in the Stanislavski Method<\/a>, a popular method of acting.<\/p>\n\n\n\n Given circumstances are what set the scene for the actor to act in. Think \u2014 who, what, when, where, and why?<\/p>\n\n\n\n Voice actors can spend hours studying given circumstances by diving into source materials, storyboards, character backstories, pictures and descriptions, lore, and more. It helps them create a character and bring a script to life.<\/p>\n\n\n\n Speaking of creating a character, it\u2019s worth knowing the system of objectives<\/a> from the Stanislavski Method.<\/p>\n\n\n\n Objectives in voice-acting are equivalent to a character’s goals. <\/p>\n\n\n\n \u201cCharacter,\u201d you ask? Consider this: even a plain script-read of an ad has a character behind the voice.<\/p>\n\n\n\n It can be simple. The goal of the character in, let\u2019s say a commercial read for laundry detergent, is to tell the audience how spotlessly-clean the detergent will make the clothes. The next objective is to tell the audience how the scent of the detergent will be like a cool, summer breeze.<\/p>\n\n\n\n There\u2019s also the super-objective, which is something like an overarching objective. Such as sharing everything the character likes about the detergent.<\/p>\n\n\n\n Voice actors use objectives to build a realistic character as they move from moment to moment in a script. It\u2019s how we speak from day to day, we discover what we want to say as we say it.<\/p>\n\n\n\n Intention is the mental equivalent of \u201cputting your back into it.\u201d It\u2019s very general and not necessarily something you can act on.<\/p>\n\n\n\n It\u2019s the aim or plan, and not an action or objective. Different intentions will change how a voice actor reads a script, and it\u2019s worth thinking about in order to communicate with a voice actor.<\/p>\n\n\n\n It\u2019s a lot to go through, but learning the language of voice acting is going to give a lot of value when you’re working with the wonderful roster of talented, professional voice actors<\/a> we have at Voice123<\/a>.<\/p>\n\n\n\n To summarize, it\u2019s all focused on building a character for the voice actor. Everything is just meant to support that. Even if you don\u2019t use all the lingo, if you have the same focus, you\u2019ll be on the right path to using the language of voice acting!<\/p>\n\n\n\nGet technical<\/h2>\n\n\n\n
![\"\"](\"https:\/\/voice123.com\/blog\/wp-content\/uploads\/2020\/10\/maxwell-hunt-cyKlinHCwV4-unsplash.jpg\")
Given circumstances<\/h2>\n\n\n\n
Goals and objectives<\/h2>\n\n\n\n
![\"\"](\"https:\/\/voice123.com\/blog\/wp-content\/uploads\/2020\/10\/mike-palmowski-GpNr3HlExUo-unsplash.jpg\")
Intention<\/h2>\n\n\n\n
Final thoughts<\/h2>\n\n\n\n
![\"\"](\"https:\/\/voice123.com\/blog\/wp-content\/uploads\/2020\/10\/joshua-hoehne-j2Qa8culzDY-unsplash.jpg\")
![](\"https:\/\/voice123.com\/blog\/wp-content\/uploads\/2021\/09\/V123.png\")
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