Not everyone feels that commercials suit them. There’s a challenge in that: We’re actors. We get paid to use our voice, so it doesn’t matter if the gig is narration or commercial. Sometimes when we think of commercials we think of obnoxious ones we dislike, but that is not how all commercials either sound or are meant to sound. Many copywriters are changing commercial copy to a more relatable feel. Regardless, a paying gig that is a commercial is still a paying gig. Don’t skip commercials.
Here are some tips to help you effectively analyze commercial copy on the go.
Understand where the client is coming from. In a commercial context, clients want to engage their audience in a way where the audience understands the intended message, invests emotionally in what they hear, and responds to the call to action. See it, feel it, do it. It’s the nature of communication, and it’s our job to facilitate that process.
Here’s an example: “Arthritis pain? It’s a part of my life. So, I keep Advil close by. Just one works as well as two regular Tylenol. Advil works at the site of minor arthritis pain, stopping it where it starts. Nothing’s proven to work better or last longer than Advil. Advil. Advanced medicine for pain.”
Analyze your script properly. This is a straightforward example of a commercial; nothing up the sleeve. Should we just grip it and rip it on the delivery then, assuming it should sound sales-pitchy like some other commercials? Not necessarily. The difference between artistry and competency is in the details, and there are always details when you know where to look. Know what motivates the copywriter to say what they’re saying, and why they’re saying it.
Understand your client’s perspective. If commercials are designed to sell, it’s in our best interest to understand the sales process through the eyes of our client. Let’s look at the script: “Arthritis pain? It’s a part of my life. So, I keep Advil close by.” What’s the writer saying and why? Effectively, the writer is saying, “Do you experience this? I do. We can relate to each other. You know pain and so do I. I have the solution.” The logic makes sense from the client’s perspective. They know that to sell their product they must solve a problem: pain. They set the story up as a peer-to-peer relationship because listeners are more likely to engage with and believe someone like themselves that experiences what they experience. Knowing this gives us our first insight into the ‘why’. We’re not just selling a product, Advil, we’re selling a solution: pain relief.
Look for the competitive advantage and key-in on that wording. “Just one works as well as two regular Tylenol. Advil works at the site of minor arthritis pain, stopping it where it starts.” The first of these sentences positions our brand over a competitor. Our client is backing up our initial claim with proof. People are more likely to buy if they have not only an emotional reason to buy, but a logical reason as well. This gives us the understanding to then map out how best to say the brand names and how to emphasize or deemphasize words accordingly. The second sentence here shows the listener how the product works. It stops pain at the source; that’s a selling point too. The script is building on itself; problem, relationship, solution, competitive advantage, method of accomplishment.
“Nothing’s proven to work better or last longer than Advil.” This is all about objective proof that our product works as stated. Therefore, punch the word ‘proven’ along with the results of the proof; better, longer.
“Advil. Advanced medicine for pain.” Everything lands right here, on your solution. First, the name: “Advil.” It stands alone. Powerful, effective, helpful. There’s a finality to it, so deliver that with both strength and encouragement as the solution to pain. The wording of the tag is purposeful: “Advanced”, not average, not moderate and not the beginner level. It’s advanced. “Medicine”. This isn’t snake oil, it’s medical, and that means scientific and effective. Deliver that word to its purpose. This statement is the answer, period.
There’s a scene in an old movie where a budding actress is awarded a part. She approaches the director and tells him that she feels that the part really “isn’t her” to which he simply responds, “Well, act like it is.”
Bringing scripts to life is one of the fun parts of being a voice actor.. If you open yourself up to commercial work, you’re likely to find new levels of challenge and fun in your script analysis and performance, particularly when you truly understand where the client is coming from and where they want it to go. Act like commercials are your thing, and you’ll find incredible ways to deliver the simplest of scripts. Remember, you’re the actor. It’s your job, and your pleasure, to make the audience feel the story behind the copy!
Brian Thon (pronounced ‘TONE’) is an international voice artist and national producer. He has worked behind the mic and behind the board in studios throughout the US, with up and coming voice talent to published authors and Rock and Roll Hall of Fame musicians. For more of his work visit brianthon.com.
Did you see last week’s post? Nancy Wilson went over the importance of audition coaching and unveiled her new Audition Mastery Program.
