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Product Description

This Product Is a 2-hour, 24-Minute mp3 Audio Seminar,
which you can download immediately upon purchasing.

A personal recommendation from Dan O'Day:

See that long list of questions below? I had the pleasure of asking every one of them of voice acting coach extraordinaire Nancy Wolfson in a marathon 2 hour, 24 minute audio seminar.

If you're a voice actor and you'd like to book more auditions, downloading this mp3 recording is the easiest decision you'll make this year.

These are some of the questions Nancy
answered in detail.

checkmark.jpeg Is being "serviceable" on an audition as important as being memorable? How can you do both?

checkmark.jpeg Do producers really want "the perfect voice" or just the person who "is available"? In other words, whoever is convenient, whoever is in their network, and whoever will get the job done quickly...?

checkmark.jpeg How important is my physical location?

checkmark.jpeg Do you think actors who do more than one take for an audition book more? I would think that it is a very fine line between "creativity" and "of course you have nothing else to do but listen to me more than once!"

checkmark.jpeg Assuming more than one take is required, what methods can be used to vary the reads?

checkmark.jpeg When submitting a voiceover audition via email do you give them what they asked for in the notes first, or do you give them your interpretation first and their suggestions second?

checkmark.jpeg How many interpretations of the read should you give in an audition?

checkmark.jpeg What percentage of voiceover auditions are done with ad agencies, creative firms, talent agencies or the clients themselves?

checkmark.jpeg I've heard people say you should do a thing called an "audibile lead-in" to get into character and to stand out. I know it helps my acting to get thinking about what my character might have been thinking before that first line of the copy. Is using that kind of improv — adding a few words of my own at the beginning — during the audition a good idea?

checkmark.jpeg If you do 2 or 3 takes to give the client a range of how you can do the part, should you repeat only the first paragraph of the audition copy?

checkmark.jpeg The biggest issue I've had over the years is the "sounds like an announcer" complaint. If I try to go way out on the edge to avoid the "announcer sound" (using a character sounding voice, or something that is not my normal voice), how far is too far?

checkmark.jpeg It's recommended that a talent provide two takes when submitting an online audition — one you think they want and one you think they should have. How do you come up with the one you think they should have?

checkmark.jpeg Are auditions with multiple takes even heard after the first 6 – 10 seconds?

checkmark.jpeg How can a talent set themselves apart from others in a cattle call audition?

checkmark.jpeg How do I get my auditions to stand out among the rest?

checkmark.jpeg How can I make my audition stand out from the pack?

checkmark.jpeg I'm told that demos now play an almost meaningless role in winning auditions because producers don't listen to them. Is that true?

checkmark.jpeg In these days of "conversational" and "less is more," how do I determine how much to "do" with any given script, including improv and adlib?

checkmark.jpeg I am trying my best to be more conversational in my readings/auditions. Any advice to make this easier?

checkmark.jpeg How do you know when to use your regular "street voice" for an audition as opposed to your "signature sound" from your chest?

checkmark.jpeg What advice would you give me to most objectively assess my audition before submitting it?

checkmark.jpeg I voice mainly animation projects but sometimes I audition for commercials. Is there a specific audition technique for voice actors that can help them book more work?

checkmark.jpeg Recently on a voiceover website, a voice actor talked about a breakthrough audition he sent after repeated rejections. He created a strong performance and then took an extra step by including funny out-takes and goofs from his audition. The client loved it and he got much more work than expected. What do you think about this "blooper reel" approach?

checkmark.jpeg How do you decide what the copywriter/director is looking for when there is no direction given and you only receive the words of the copy? What thought process must the voiceover artist enter to deliver the best audition possible, given these conditions?

checkmark.jpeg How do I know the style of read that they are really looking for

checkmark.jpeg How do I interpret the specs "correctly" and give the client what they want

checkmark.jpeg How do I know when I should follow a potential client's audition instructions to the letter, and when to put a different spin on the copy based on my own understanding of how to best present it

checkmark.jpeg For a person new to voice acting, does studying and mastering a single voiceover specialty (Commercial, Animation, Narration, etc.) help or hinder their ability to successfully book auditions vs. someone who tackles two or more specialties at once?

checkmark.jpeg How do I direct myself so that I'm not stuck in a rut of predictability and blandness?

checkmark.jpeg If auditioning for a narrator TV spot, are you ever asked to provide two takes? And if so, would you give the takes very similar in tone or range, or would you do something completely different to show variety?

checkmark.jpeg In the case of auditioning online, what is the most successful way to indicate your fee? Generic rate sheet or just a quote estimate for that particular job? Are there other ways I haven't mentioned?

checkmark.jpeg What is the one mistake rookie voice actors with radio experience make when looking to land even a small-time gig?

checkmark.jpeg Just before leaving an audition, I sometimes find my parting conversation with the caster either too long or too short. What would be the right way to make a lasting impression at this point?

checkmark.jpeg What is the best way to "normalize" a slight "Chicago" regional accent that will be more acceptable for auditions, especially promos/trailers

checkmark.jpeg Is there a single "Yeah - that's IT!" factor across the spectrum of producers, directors, and casting directors upon hearing auditions, and, if so, what is it?

checkmark.jpeg Is it worth my time to sign up with online companies that post my profile for free and send emails about upcoming voiceover auditions?

checkmark.jpeg The quote goes something like, "If someone really likes you, you can spill a whole plate of spaghetti in their lap and they'll laugh it off; if someone doesn't like you, even the way you hold your fork will be offensive." Okay, so how do I make sure I'm "liked"?

checkmark.jpeg What are the top 3 criteria for a successful audition?

A lot of information there, right? That's why this audio seminar lasted nearly 2.5 hours; Nancy answered every question people had about booking more voiceover auditions.

Nancy Wolfson has had a profound effect on the voiceover world as a Voiceover & Branding Coach, Demo Producer, and e-Casting Director. She has helped thousands of beginners, celebrities and working pros “crack the code” that brings their performances to a higher level than they ever dreamed they could achieve. In addition to coaching, Nancy casts talent daily. Recent and ongoing clients include Playboy, VH-1, Muzak, the NHL, Nickelodeon, Clear Channel Communications, and The Cartoon Network.

Immediate delivery! When you submit your order, you’ll be able to download this valuable audio seminar immediately. 

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