WORK THE CONSONANTS

Bringing life to a script will often mean giving value and importance to certain words and phrases. But you can achieve similar results on a smaller scale when you work the consonants. Rather than emphasize an entire word, limit the emphasis to only the primary consonant in the word. This approach will help a word “pop” giving it a crisper edge in the context of a sentence. To do this, simply give the consonants a bit crisper articulation. The trick with using this technique is to find the correct amount of emphasis or articulation. If you hit the consonant too soft, the word can get lost in the mix. If you hit the consonant too hard, it can sound artificial.

This technique works well with copy that is descriptive, or which must be delivered quickly. There may not be enough time to spend with specific words and working the consonants will often achieve the same result. Also, working the consonants may be helpful for discovering a strong delivery for a line of copy. For example, in the following line of copy, the strongest delivery will be one which enables the listener to taste the food.

Crispy duck lumpia, basil scented prawns

Working the consonants in a way that lets you taste the food, will help the listener taste the food. For fast copy, working the consonants can help your delivery “cut through” the mix when music and sound effects are added. Deliver the following line first in a conversational style, then by giving the consonants just a bit more articulation or emphasis at a faster pace, and observe the difference.

The greatest deals of the decade at our grand opening sale. Notice how working the consonants almost forces you into a certain

delivery style. If your delivery needs to be conversational, this technique may not be appropriate as it can produce a choppiness or insincere delivery style. Use care when applying this technique. It may not work for every script, but this is definitely a technique worth keeping in your back pocket. BUILDING TRANSITION BRIDGES

A copy transition is a bridge between concepts within a line, between

subjects within a script, or between characters, and it can take many forms. It may be a transition of a character’s mood or attitude. Or it may be a transition in the rhythm or pace of delivery. It might be a transition from a

question asked to an answer given. It could even be a transition between concepts or products within a list.

In a script these transitions may be indicated by an ellipsis, a comma, a hyphen, a colon, a semicolon, or even no punctuation at all. As an actor, you are at liberty to include transitions wherever they feel appropriate as you perform a script.

Transitions help “hook” the audience and keep their attention. Look for transitional phrases in the script and decide how you can make the transition interesting. Avoid keeping your delivery the same through all the transitions as you read a script. Give each transition a unique twist. Change your physical attitude, movement, mental picture, or use some other device to let your audience know that something special has happened, or that you have moved on to a new idea.

Sometimes all that is needed is a slight change in your facial expression or body posture. Sometimes a shift in volume, importance, back story, or who you are talking to will create the transition bridge. And sometimes, a simple pause in your delivery will do the trick. Experiment with different techniques to find out what will work best for the copy you are performing. In time you will develop a style that sets you apart from other voice talent. USING CONJUNCTIONS

How do you handle the conjunctions “and,” “but,” and “or” when they appear in a script? These three words are loaded with opportunity for creating transitions and building interest through your performance. “And” is an additive word used to connect two or more things: “We have small and medium and large sizes.” “But” indicates opposites: “Oranges are sweet but lemons are sour.” And “or” connotes a comparison between two things: “Do you prefer red or blue?” These little words can be stretched, emphasized, sped up, slowed down, charged with emotion, or thrown away.

How you handle these words when they come up will largely depend on your interpretation of the copy, the character you choose, and countless other choices. The challenge with conjunctions is that many voice talent will emphasize the conjunction in a misguided attempt to make whatever follows appear more important. What often happens is that the listener only hears the emphasized conjunction and what follows actually loses value. There are many occasions when giving value, or emphasis, to the conjunction will enhance the meaning of the phrase. On the other hand, there are just as many, if not more, occasions when it will be more effective to deemphasize the conjunction. Be cautious when emphasizing conjunctions. The only way you’ll truly know what works best in the context of a script is to test the phrase in several different ways.