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PAST VOICE OVER SCRIPT READING CONTESTS
Scroll down to see all entries, winners, prizes, breakdown articles, and The Contest Selection Video with David Goldberg

For the current contest → click here

Select a past contest
Smart Pets Around the World: January 1, 2024 - March 31, 2024
Committee for Cleaner Elections: October 1, 2023 - December 31, 2023
American Life Investment: July 1, 2023 - October 3, 2023

Smart Pets Around the World

January 1, 2024 - March 31, 2024
Contest

Voice Direction:

This simulated audition is seeking a friendly, natural voice, to engage pet lovers from all corners of the world. There will be on-going “in-show narrations” including show-intros, segues, outros, sponsored by announcements, and promos. The voice actor must have a genuine smile, warmth, and fun attitude, with pet passion. Nothing hokey, nothing announcer-ish, nothing radio-ish.

Script:

Our pets delight us…
Surprise us…
And show their smarts in many different ways…
They’re funny.
Crafty.
Athletic.
Heroic.
And unconditionally loving.
This summer, we’re searching for Smart Pets Around the World!

Analysis: Why the Winners Won ... and Why Others Didn't.

Congratulations to Kerry Manfredi, Maryanne Weeks, and Layne Ihde. In this simulated voice acting audition about people’s pets, they were loyal to the Voice Direction, while each smartly added a distinctive quality that made their performance special. Here are some tips to help show your smarts in future auditions.

For further perspective: Review the recording of Chief Edge Officer David Goldberg’s April 8, 2024, live session, where he – and a wide range of voice actors – review a random selection of this contest’s entries.  It gives insight into the casting review process – demonstrating how a casting person quickly moves through hundreds of submissions to create their shortlist. But — unlike real casting projects — David explains what casting teams listen for and how their decisions are made.

 

 Watch David Goldberg review and explain why some entries wouldn’t make the cut, some get short-listed, and one gets cast.

 

EDGE STUDIO TIP 1: Assure you will be understoodRemember — your listener doesn’t have the script. Many factors go into helping the listener understand what you say.  One of them is enunciation.  Some entrants gave us “new words” such as “smarpets,” “heroric,” and “dlydus.” Another factor is speed.  Many entrants sounded like they were directed to see how quickly they could get through the script. (More on that below.) Especially avoid rushing the first word or phrase. Your listener isn’t yet mentally on-board with you, and it’s a common error that causes audition reviewers to stop right there.

Some of these performance behaviors are more easily noted than corrected, but it will help if you practice on them for a brief time daily. Record yourself and listen back. Being able to “hear” yourself dispassionately, critically, analytically is part of what goes into being a professional voice actor. Each time you record, each time you listen, focus on one of these factors. Have you done it well — without overdoing it? Once you have it down, focus on another of these factors. And when you think you have it all together, ask a friend to listen and give their honest, candid thoughts.  Eventually, natural understandability should become a habit. That will let you focus on the thoughts you are voicing, rather than technical details such as these.

EDGE STUDIO TIP 2: Smooth it out, and watch your pacing. Above, we promised to elaborate on the subject of speed. But “speed” is not just one issue.  Overall speed is obviously a concern.  It’s common for even an experienced voice actor to sometimes read a script too quickly. Consider: Your listener doesn’t know what you’re going to say, and if they don’t catch what you said, they can’t ask you to repeat.  So in that way, even a “conversational” read isn’t like a conversation. You need to enunciate, without sounding unnatural.  At the other extreme, many people spoke too slowly. And yet others vacillated between fast and slow, without apparent logic to the changes.

What’s the correct speed? It depends on the genre, the medium, the audience, the tone of the subject matter, and more.  A video narration will need more pauses (to allow editing and to let the viewer absorb the visual).  Some other genres demand fewer pauses. To adjust your speed, we suggest you record yourself, slowing down one “notch” at a time. Listen back and see if it sounds more natural. Often, you should pause where the script indicates a pause — e.g., a period or “…”– and some pauses might be shorter than others. (In fact, you may not need to pause at every comma; some — as after “This summer,” — may just be typography.) Or pause only where you need to take a natural breath.

EDGE STUDIO TIP 3: Read the direction. And the script’s title. And look for repeated words. They’re clues to what words to emphasize. In the case of this script, the word “smart” appears in the title, and twice in the script. That suggests that “smart” is a word to be given special value. Don’t “throw it away.” It also indicates an effective mindset. As a voice actor, your mental self-image comes across in your voice. All those other adjectives (“funny, crafty, athletic, loving,” etc.) are ways of showing smarts. Casting reviewers will recognize your smarts when you demonstrate that you understand the underlying message.

Oh, and if there’s a client or brand name in the script, even if it’s only once, pay special attention to that.  How can you hit it in a natural way?

EDGE STUDIO TIP 4:  Incorporate relevant non-verbal vocal moments. By “non-verbal,” we mean almost anything that is not an actual word. Unless directed to ad-lib, never change the script, and do not add or overlook words. But a sigh, chuckle, laugh, “hmmm” or even (if appropriate) a sneeze is often seen as inventive — the kind of special quality that reviewers listen for.

As you listen to our winners and also-rans, you’ll hear many such moments.  Even in the many reads that came in well off the mark, there are some that have a non-verbal utterance or phrase that is particularly effective, or very real. For example, in one case, it was a sigh. In another, the word “unconditionally loving.”  The goal is to achieve that sense of reality throughout the script.

Winners

1st place winner: Kerry Manfredi

Judge's Comments

Great!  She’s light, trusting of her voice, with great emotion and variety.  There are some things, though, to work on. Her first word sounds like “Har.” And we don’t love the break between “and” and “unconditionally.” From the script layout and punctuation, it seems the client has already thought about where they want pauses and where they don’t.  (Unlike some clients.) So we don’t suggest adding pauses of your own.  The recording’s technical quality is good. There are some mouth clicks, but not horrible, and a few bad edits (mostly audible during breaths).

Recording submitted by Kerry Manfredi on 1 Apr 2024 - 01:20

2nd place winner: Maryanne Weeks

Judge's Comments

Quite good! Each word and phrase has emotion that will nicely match the likely visual.  There’s also good variety, and good consistency. She speaks with a nice smile, and she hit all the emotions the client requested. Three areas of improvement:

1) She’d sound even better if she stopped thinking about how she’s speaking, as that would eliminate the very, very slight ‘vocal rigidness.’ (Vocal “rigidness” or “stiffness” covers  a range of symptoms and effects. In this case, we mean simply a sense of tension, reflected in glottal stops and a certain tense quality in her vocalization.)

2) She should learn how to avoid the ‘click’ sound at the end of words ending after “ing.” (for example, she said “loving-ck”). This is a habit with some people, perhaps regional.

3) She should better value the last few words (seemingly the name of the show that’s being promoted), instead of rushing through the last few words and losing a bit of steam.

Her recording’s technical quality is not so great. It has consistent hiss, lots of room ambience, and room clicks (perhaps her headphone cable bouncing into something).

Recording submitted by Maryanne Weeks on 1 Apr 2024 - 02:59

3rd place winner: Layne Ihde

Judge's Comments

Terrific use of emotions and variety, with great timing.  But he sounds too announcerish.  This is partly because his natural voice has an announcer tone to it. But he also sounds announcerish because he’s “working his voice” more than necessary. We suggest relaxing and just speaking naturally, of course bearing in mind the qualities mentioned in our Tips above.  The recording quality is great, except that he did a poor job of removing breaths.  We urge keeping the breaths in recordings that are supposed to sound real, natural or spontaneous. Breaths do more than just pass air through your body….they also communicate emotion (consider a sexy breath vs a gasp or a long bellow). If breaths must be cut, then ensure they don’t cut off the end of words, and worse, don’t cause an unnatural abrupt end to the breath, both of which occur in this audition.

Recording submitted by Layne Ihde on 1 Apr 2024 - 02:35
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brett collin's recording

Recording submitted by brett collin on 23 Mar 2024 - 03:03

Lyle McCartee's recording

Recording submitted by Lyle McCartee on 23 Mar 2024 - 00:20

Tatiana Steele-Mortimer's recording

Recording submitted by Tatiana Steele-Mortimer on 22 Mar 2024 - 17:14

Mary Schatschneider's recording

Recording submitted by Mary Schatschneider on 22 Mar 2024 - 00:38

Brian Knapp's recording

Recording submitted by Brian Knapp on 21 Mar 2024 - 19:25

George Griffin's recording

Recording submitted by George Griffin on 21 Mar 2024 - 14:04

Terra Ashe's recording

Recording submitted by Terra Ashe on 20 Mar 2024 - 19:24

Sean OConnor's recording

Recording submitted by Sean OConnor on 19 Mar 2024 - 07:45

Greg Beastrom's recording

Recording submitted by Greg Beastrom on 17 Mar 2024 - 20:04

Melanie Rose Lingenfelter's recording

Recording submitted by Melanie Rose Lingenfelter on 17 Mar 2024 - 18:03

Clayton Tam's recording

Recording submitted by Clayton Tam on 16 Mar 2024 - 23:18

Robert Wooldridge's recording

Recording submitted by Robert Wooldridge on 16 Mar 2024 - 21:27

Robert Wooldridge's recording

Recording submitted by Robert Wooldridge on 16 Mar 2024 - 21:26

Betsi D's recording

Recording submitted by Betsi D on 16 Mar 2024 - 08:56

Michelle Weisbom's recording

Recording submitted by Michelle Weisbom on 16 Mar 2024 - 06:02

Michelle Weisbom's recording

Recording submitted by Michelle Weisbom on 16 Mar 2024 - 05:59

Chryssa Rich's recording

Recording submitted by Chryssa Rich on 15 Mar 2024 - 18:16

Ksenia Podlesnova's recording

Recording submitted by Ksenia Podlesnova on 14 Mar 2024 - 19:38

Kenia Podlesnova's recording

Recording submitted by Kenia Podlesnova on 14 Mar 2024 - 19:36

Darrin Davis's recording

Recording submitted by Darrin Davis on 14 Mar 2024 - 19:34

Ellyn Zager's recording

Recording submitted by Ellyn Zager on 14 Mar 2024 - 18:51

Erika Silber's recording

Recording submitted by Erika Silber on 14 Mar 2024 - 18:15

Trey Hunzicker's recording

Recording submitted by Trey Hunzicker on 14 Mar 2024 - 14:36

Mary Perry's recording

Recording submitted by Mary Perry on 13 Mar 2024 - 18:45

Khadijah Umar Ragada's recording

Recording submitted by Khadijah Umar Ragada on 12 Mar 2024 - 20:24

Jonathan Gary's recording

Recording submitted by Jonathan Gary on 12 Mar 2024 - 15:54

Shelley Anderson's recording

Recording submitted by Shelley Anderson on 11 Mar 2024 - 23:41

Andrea Williams's recording

Recording submitted by Andrea Williams on 10 Mar 2024 - 02:05

Sophia Ivanova's recording

Recording submitted by Sophia Ivanova on 7 Mar 2024 - 15:32

Timothy QUINLAN's recording

Recording submitted by Timothy QUINLAN on 6 Mar 2024 - 19:00

Earl Dixon's recording

Recording submitted by Earl Dixon on 6 Mar 2024 - 04:18

Sophia Ivanova's recording

Recording submitted by Sophia Ivanova on 6 Mar 2024 - 02:17

Sophia Ivanova's recording

Recording submitted by Sophia Ivanova on 6 Mar 2024 - 02:11

Sophia Ivanova's recording

Recording submitted by Sophia Ivanova on 6 Mar 2024 - 02:11

Robert Brown's recording

Recording submitted by Robert Brown on 5 Mar 2024 - 02:09

Mary Keck's recording

Recording submitted by Mary Keck on 29 Feb 2024 - 21:31

Mary Keck's recording

Recording submitted by Mary Keck on 29 Feb 2024 - 21:31

Lyle Blaker's recording

Recording submitted by Lyle Blaker on 29 Feb 2024 - 15:41

Melanie Rose Lingenfelter's recording

Recording submitted by Melanie Rose Lingenfelter on 28 Feb 2024 - 16:34

Drew Allen's recording

Recording submitted by Drew Allen on 26 Feb 2024 - 21:15

Katie Alfieri's recording

Recording submitted by Katie Alfieri on 26 Feb 2024 - 17:16

TImothy McCaffrey's recording

Recording submitted by TImothy McCaffrey on 23 Feb 2024 - 23:58

Grace Parke's recording

Recording submitted by Grace Parke on 23 Feb 2024 - 16:23

Emma Tanner's recording

Recording submitted by Emma Tanner on 23 Feb 2024 - 06:16

Oliver Aparicio's recording

Recording submitted by Oliver Aparicio on 23 Feb 2024 - 02:24

Evan Bowers's recording

Recording submitted by Evan Bowers on 22 Feb 2024 - 06:07

tanner collier's recording

Recording submitted by tanner collier on 22 Feb 2024 - 02:31

Thomas Burton's recording

Recording submitted by Thomas Burton on 21 Feb 2024 - 21:24

Stephanie Beeson's recording

Recording submitted by Stephanie Beeson on 21 Feb 2024 - 18:50

Greg Raymond's recording

Recording submitted by Greg Raymond on 19 Feb 2024 - 23:19

Rich Summers's recording

Recording submitted by Rich Summers on 19 Feb 2024 - 21:01

Victoria Bullion's recording

Recording submitted by Victoria Bullion on 19 Feb 2024 - 20:36

Richard Woodlands's recording

Recording submitted by Richard Woodlands on 18 Feb 2024 - 18:44

Don Geddis's recording

Recording submitted by Don Geddis on 18 Feb 2024 - 17:21

Colin Orvis's recording

Recording submitted by Colin Orvis on 17 Feb 2024 - 18:17

Ricky Vaughn's recording

Recording submitted by Ricky Vaughn on 16 Feb 2024 - 18:43

Tiffany Ford's recording

Recording submitted by Tiffany Ford on 12 Feb 2024 - 20:53

Pete Morgan's recording

Recording submitted by Pete Morgan on 11 Feb 2024 - 18:30

Beckett Arnold's recording

Recording submitted by Beckett Arnold on 10 Feb 2024 - 19:31

Denise Charlot's recording

Recording submitted by Denise Charlot on 10 Feb 2024 - 09:10

Debra Turner's recording

Recording submitted by Debra Turner on 8 Feb 2024 - 01:28

Carson McCamy's recording

Recording submitted by Carson McCamy on 8 Feb 2024 - 00:41

Jean Rosolino's recording

Recording submitted by Jean Rosolino on 6 Feb 2024 - 02:09

Debby Consiglio's recording

Recording submitted by Debby Consiglio on 6 Feb 2024 - 01:15

Theresa Falco-Callari's recording

Recording submitted by Theresa Falco-Callari on 5 Feb 2024 - 22:25

Krista Andersen's recording

Recording submitted by Krista Andersen on 5 Feb 2024 - 21:19

Derrick Deason's recording

Recording submitted by Derrick Deason on 5 Feb 2024 - 06:49

Josef Dicken's recording

Recording submitted by Josef Dicken on 4 Feb 2024 - 23:05

Susie Hackel's recording

Recording submitted by Susie Hackel on 3 Feb 2024 - 03:41

Marcus Roberts's recording

Recording submitted by Marcus Roberts on 2 Feb 2024 - 03:25

Vincent Wanjala's recording

Recording submitted by Vincent Wanjala on 30 Jan 2024 - 18:44

Tierra Montgomery's recording

Recording submitted by Tierra Montgomery on 28 Jan 2024 - 20:03

Ronald Vanderzwaag's recording

Recording submitted by Ronald Vanderzwaag on 26 Jan 2024 - 20:13

Timothy David's recording

Recording submitted by Timothy David on 25 Jan 2024 - 17:24

Melissa Wilson's recording

Recording submitted by Melissa Wilson on 24 Jan 2024 - 21:51

Melissa Wilson's recording

Recording submitted by Melissa Wilson on 24 Jan 2024 - 21:51

Crispian Jones's recording

Recording submitted by Crispian Jones on 24 Jan 2024 - 05:20

Crispian Jones's recording

Recording submitted by Crispian Jones on 24 Jan 2024 - 05:13

Miriam Edwards's recording

Recording submitted by Miriam Edwards on 21 Jan 2024 - 23:14

Sophia Flot-Warner's recording

Recording submitted by Sophia Flot-Warner on 20 Jan 2024 - 00:27

Stephanie Schneider's recording

Recording submitted by Stephanie Schneider on 19 Jan 2024 - 20:49

Debbie Randall's recording

Recording submitted by Debbie Randall on 18 Jan 2024 - 19:32