But let’s get back to the big agency audition scenario.

 

You navigate the building’s elevators and sign in at two or three guard’s desks, receiving badges each time. Finally you walk long halls, following instructions, to the audition rooms.

 

You enter to find the room populated with voice talents who are sitting quietly in chairs. Their heads are bent down, parsing scripts. Now and then, someone murmurs something softly to an acquaintance, but for the most part, very few in the room know any of the others.

 

 

The talents have been chosen mostly because their demo CDs are on the advertising agency’s shelves. Many have previously voiced for the agency and are sort-of "regulars." A large ad agency might also sometimes see a voice talent recommended by a talent agent. But typically they’ll insist on hearing that talent’s CD demo before admitting him or her to the audition.

 

 

Some people walk out into the hall to practice. Others go quickly to restrooms to practice behind closed doors, telling the room ‘monitor’ before leaving, though, so as not to miss out when their name is called.

 

Then the names are called.

 

 
One by one, the talents disappear down the hall to enter a closed room where the ad agency creatives - the decision makers - pass judgment on the talents as they audition.

 

The auditions are recorded. All agencies of any good size or importance have professional recording studios manned by audio engineers. Voice-over auditions (and video auditions) always are recorded. The auditions are played at later dates not only for casting a spot, but to keep on-file for future reference.

 

The ad agency reps direct the voice talents in various ways. Sometimes it seems as if a “committee” is directing the read.

 

 On occasion, the direction is confusing. So it’s important to ask questions if you don’t understand something. Don’t be shy. Speak up! Don’t be intimidated by the process.

 

You are spending your valuable time and money (parking, gasoline, lost wages, etc.) on this audition. Under AFTRA/SAG audition rules, talents should be paid the prescribed audition fee if kept at an audition longer than 90 minutes.

 

This is seldom enforced. But several times, I have reported dubious audition procedures to my agent or left an audition before reading because my time period simply was up. I had to go.

 

In the audition, you may hear words of praise, but they’re usually meaningless. The compliments are mostly politeness such as, “Good job. Thank you,” or “That was fine. You’ll hear from us.” Don’t bank on those compliments. It’s not until your agent calls to say you’ve won the job that you know the job is yours!

 

Often for the big-money jobs, there will be “call-backs.” Fewer people will be reading this time, but the process is the same.

 

Being called back to read does not mean you are “favored,” however. Perhaps the ad agency audition team simply wants to hear and record you again and to direct you differently.

 

It also can mean that there have been script changes since the first audition.

 

  
Remember: You will not be included in these big-money ad agency auditions (or seldom be included) unless you have agents with access to advertising agency work.

 

Although we sometimes see big-money jobs posted on Internet sites where many people audition, these are few and far between. The big money does not come from Internet casting.

 

I hope everyone gets at least a few chances to experience what it’s like to audition for huge voice jobs that pay huge sums. What’s more, I hope you win some of these big money jobs and earn residuals every 13 weeks, or get a one-year buyout now and then.

 

I’ve had a goodly number of these over the years. And it’s always a rush, a thrill - but also a bitter disappointment when I don’t win a big-money audition because in my mind’s eye, I pictured myself buying that new car, taking that dream trip, building that extra bedroom on my home with the money.

 

  
Yet that’s the thrill of this business - the ‘big one’ is always just a phone call away!

 

I love this business and keep remembering that dear old Clara Peller got the “Where’s the Beef?” voice-over gig - which made her and her family millionaires - when she was in her eighties!

 

One of my students voiced a Maybelline TV spot and bought a Mercedes with her first round of residuals. She took me for a ride that day and we celebrated!

 

We took our two boys on a family vacation for three weeks one summer on my residuals from a MasterCard spot. And residuals have made home improvement a reality on many occasions. One of my commercials paid residuals for 17 years, another for six years, and on and on.

 

Yes, there are years without residual payments. So I’m always happy when I win a new spot that will pay ‘installments.’ Of course, I’m also sad when that “pie in the sky spot” (my term for the good-money ones) stops running on TV and radio. Once, I voiced a spot that ran on Jay Leno, David Letterman, The Days of Our Lives, and The Price is Right! That was a VERY GOOD YEAR!

 

 

Email: btzol@aol.com

Web: www.voicesvoices.com