Script Mechanics—Suggestions for Writing Effective Voiceover Copy

As with any of the performing arts, an effective voiceover begins with a well-crafted script. You don’t have to have many years of writing experience to create copy that is both effective and a pleasure for the voice actor to perform. Here are some ideas to consider before you put your pen to paper or fingers to keyboard.

Commericals: Radio and TV

Determine the purpose of the ad, e.g. drive traffic to a store, produce direct response inquiries, announce a grand opening, move end-of-season merchandise, etc.

Determine who your customer is and speak to that person one to one, and, ideally, present one main idea in the copy.

Use A.I.D.A.: Attention, Interest, Desire, Action. Get the listener’s attention to the ad; get the listener interested in what you’re offering; get the listener to want to take some action on your offer; give the listener a means to act and urge that action.

Narrations (also called “Industrials”)

For a video script, use the story board, if you have one, to guide the development of the script. This will help you time the voice over to the video’s scenes.

For audio only, where no storyboard exists, do a rough outline. This will help you create a basic logical structure before you start writing. The result will be a script that flows much better for the narrator and the intended listener.

All Scripts

Leave room for “verbal white space.” Just as a large block of densely printed copy is intimidating and difficult to read, a voice-over script that’s crammed with copy is difficult to follow and understand. A good rule of thumb for 30-second radio or TV copy is eight lines down (double-spaced), 10 words across the page. For a slower, more intimate read, go with seven lines, 10 words across. The same idea applies for a briskly paced 60-second ad: 16 lines down, 10 words across. For a slower pace, 14 lines, 10 words across. This 60-second guideline is helpful in timing long-form scripts, too. Just count the pages and you have the total number of minutes.

Numbers are words, so be sure to consider them in your word count. A phone number, such as 1-860-291-9476, is eleven words. That’s more than one entire line of copy! Try spelling out numbers as words to get a good handle on the actual length of your copy. For example:

1-860-291-9476,

when typed or written out, is

one-eight-six-oh, two-nine-one, nine-four-seven-six.

You can see how long the line really is when the numbers are spelled out. Then, after you’re ready to print your final draft, convert the words back to numbers.

Write for the ear, not the eye. Construct short, conversational sentences, with natural breaks for taking a breath. This is especially helpful to narrators when they voice technical or medical copy, which contains large, complicated, and difficult-to-pronounce terms.

Read your copy out loud, just as you intend the voice talent to read it, and time it. Then adjust your copy accordingly for timing.

Try to write in the active voice, not passive voice. This is a passive construction: “When writing a script, be sure you’re saying some exciting things, or else you’ll be losing the attention of the listener.” Instead, use the active voice, structured something like this: “When you write a script, say something exciting, or you’ll lose the listener’s attention.” Active voice is more conversational and easier for the ear and mind to follow.

Happy writing!

February 2004

About The Author


Peter Drew, a freelance voice-over talent and copywriter/producer with 28 years of experience, is heard on radio and television stations, corporate presentations, web sites, and messages-on-hold across America. To hear samples of his work or to send an email regarding this article, please visit http://www.peterdrewvo.com/ .
pdrew@portone.com

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Writing For Free: When & When Not to Do It!

Right off the bat, I want to say that there is no right or wrong answer to this topic. A lot depends on your end goal — to get a job, garner publicity, build a portfolio, etc. However, there comes a time when every writer should say no to writing for free. Below are some issues that I've been pondering about freelance writing.

Issue 1: Content for websites. Content is king on the Internet and everyone wants something fresh and unique on a regular basis. If you are promoting a product/service and write articles to generate publicity, then by all means, give the content away.

However, if what you are selling is your writing skill and are not promoting anything, then don't give it away. You'd be better off doing a direct mail campaign and spending your time creating pieces for your portfolio — even if they are only make-believe companies.

One could argue that the reason good writing is taken for granted is so many give it away. I give a lot of content away, but only within the framework of WIIFM (what's in it for me).

Issue 2: Writing on spec: For those of you who don't know what this is, see this excellent primer article at http://inkwelleditorial.com/beginnersguideglatzer.htm. This established freelance writer explains spec writing brilliantly. The bottom line, once your portfolio is complete with good samples, stop this practice.

The exception would be if it's a credit from a noted source that you really want. After all, who's going to turn down Fortune? However, I believe there's a big enough need for good writers that you don't have to sell your soul for one credit, even if it is a "biggie."

How many samples should you have? I advise between five and ten. Try to get them from different sources — eg, two newspaper, three websites, two brochure, one sales letter, etc. This will give your portfolio a range. Nonprofits, friends with small businesses, neighborhood shops — all are possible non-paid sources to build your writing credits.

A tip: Choose a small business and do the brochure, sales letter, etc. first. Then, send it to your target and ask if they would mind if you included it in your portfolio. I don't know any small business that would refuse a well-written promotional piece that doesn't cost them a dime. Bang, a legitimate credit!

Issue 3: Original Content & Rights: I don't believe in giving away original content — again, unless you are promoting a product/service or are just starting out. I am constantly amazed at the number of publications that want original content but don't want to pay for it.

An example. I write a small business column. An editor saw it and approached me to be a regular contributor to their publication, which is quite noted in business circles. The kicker? They didn't want my column but wanted me to contribute original content with no pay. I had to turn them down. I offered the column at no charge (since I already write it), but explained that original content outside of this without payment was not possible.

If you write, then you know it's not easy coming up with original content on a regular basis. Some subjects are so covered that nine times out of ten, new ground is never being broken. We are usually just putting a new spin on it. This costs brain cells! And, trust me, not everybody can do it.

So, the next time you put finger to keyboard, think about your objective. If we all stopped giving away our pearls of wisdom, then the pay level across the board would be raised.

About The Author

May be reprinted with inclusion of the following: Yuwanda Black is an entrepreneur, author, speaker and syndicated small business columnist whose focus is controlling your destiny through small business ownership. Her most recent e-books, How to Really Make a Living as an Editorial Freelancer and Advice from Successful Freelancers: How They Built Their Careers & How You Can Too! are available for immediate download at http://www.InkwellEditorial.com/bizguides.html Visit her on the web at http://www.EntrepreDoer.biz for a complete list of how-to, small business books and articles.
columnist@EntrepreDoer.biz

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