Each time a script is presented to me or to my students for a voiceover project, I know immediately if the script writer is experienced or novice. Many of you reading this will know some or all of this information, but this brief article is intended for those just getting into writing copy for voiceovers or for narrations for film or video. And yet again, I often see scripts written by so-called "pros" in the business that are not in correct form on the page for ease of reading and performance or that are not always the best for oral delivery as opposed to reading silently. Always remember when writing for announcers: The written script meant to be read silently is much different than the script intended for oral delivery. What's more, those in the voiceover field often "rip and read," broadcaster lingo for announcing material not seen previously...instant reading of new material before a microphone...a skill possessed by those in the announcing, broadcasting, voiceover field but seldom a skill easy to acquire without lots of practice!
Tips for Reading Ease
Double-space the text. Leave generous margins on the sides of pages too. Voice talents make copious notes and producers give directions often too complex to remember unless written on the script itself.
Use fonts of 11 or 12 and no italics. Choose a plain font such as Ariel or similar typefaces. Remember: Recording studios often have poor lighting, particularly at a microphone!
Never staple pages together. Always paper clip multiple pages. Page turns make NOISE when at a mic! And write only on one side of each page for this reason.
Do not use oversized paper. Use standard 8 1/2 X 11 sheets. Most announcers will be placing your papers on copy stands at the microphone. These are often rather flimsy and standard page size works best.
Clearly label sections or chapter headings so the voiceover talent can see that he or she is moving into a new section of the script.
Be careful about how you move on to another page of the text. when it would be better to finish that section of text on the same page. Leavespace at the bottom of a page if that's preferable to continuing a section on the top of the next page where the voice talent might not see it or might stumble with a page turn.
Script content:
Always read your script aloud. If you are not skilled at oral recitation, ask someone who is and have them read your script to determine problems before the recording studio experience.
Be aware of alliteration. Too many "s" sounds in a row or too many "b's" or other letters may not "read well." Rethink passages and rewrite them when they just don't seem "right" when read aloud.
Provide a pronunciation guide to difficult words usually not known to a layman in your field. Spell the words phonetically on the page immediately adjacent to that portion of the script.
If you are not going to be present at the recording session, provide a paragraph of written direction at the top of page one to tell the voice talent your thought on delivery. Of course, you also could contact the recording engineer or producer on the recording date to share with him or her your thoughts.
It is always better to write simply rather than to use big words to sound "scholarly" or "educated."
The redo, the rewrite is a writer's best friend! If you're not good at proofreading, ask for help from a colleague or friend. Leave your ego at the door and listen to comments. Then, rewrite until the script is improved to your (and other's) satisfaction.
Always remember that writing for reading aloud is a special writing skill. Hone this skill with experience. Write for announcers or narrators or broadcasters every chance you get and soon, you'll be a broadcast copywriter par excellence.
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