| As with any of the performing arts, an effective | | | | 10 words across. The same idea applies for a |
| voiceover begins with a well-crafted script. You | | | | briskly paced 60-second ad: 16 lines down, 10 |
| don't have to have many years of writing | | | | words across. For a slower pace, 14 lines, 10 |
| experience to create copy that is both effective | | | | words across. This 60-second guideline is helpful in |
| and a pleasure for the voice actor to perform. | | | | timing long-form scripts, too. Just count the pages |
| Here are some ideas to consider before you put | | | | and you have the total number of minutes. |
| your pen to paper or fingers to keyboard. | | | | Numbers are words, so be sure to consider them |
| Commericals: Radio and TV | | | | in your word count. A phone number, such as |
| Determine the purpose of the ad, e.g. drive traffic | | | | 1-860-291-9476, is eleven words. That's more |
| to a store, produce direct response inquiries, | | | | than one entire line of copy! Try spelling out |
| announce a grand opening, move end-of-season | | | | numbers as words to get a good handle on the |
| merchandise, etc. | | | | actual length of your copy. For example: |
| Determine who your customer is and speak to | | | | 1-860-291-9476,when typed or written out, |
| that person one to one, and, ideally, present one | | | | isone-eight-six-oh, two-nine-one, |
| main idea in the copy. | | | | nine-four-seven-six. |
| Use A.I.D.A.: Attention, Interest, Desire, Action. | | | | You can see how long the line really is when the |
| Get the listener's attention to the ad; get the | | | | numbers are spelled out. Then, after you're ready |
| listener interested in what you're offering; get the | | | | to print your final draft, convert the words back |
| listener to want to take some action on your | | | | to numbers. |
| offer; give the listener a means to act and urge | | | | Write for the ear, not the eye. Construct short, |
| that action. | | | | conversational sentences, with natural breaks for |
| Narrations (also called "Industrials") | | | | taking a breath. This is especially helpful to |
| For a video script, use the story board, if you | | | | narrators when they voice technical or medical |
| have one, to guide the development of the script. | | | | copy, which contains large, complicated, and |
| This will help you time the voice over to the | | | | difficult-to-pronounce terms. |
| video's scenes. | | | | Read your copy out loud, just as you intend the |
| For audio only, where no storyboard exists, do a | | | | voice talent to read it, and time it. Then adjust |
| rough outline. This will help you create a basic | | | | your copy accordingly for timing. |
| logical structure before you start writing. The | | | | Try to write in the active voice, not passive |
| result will be a script that flows much better for | | | | voice. This is a passive construction: "When writing |
| the narrator and the intended listener. | | | | a script, be sure you're saying some exciting |
| All Scripts | | | | things, or else you'll be losing the attention of the |
| Leave room for "verbal white space." Just as a | | | | listener." Instead, use the active voice, structured |
| large block of densely printed copy is intimidating | | | | something like this: "When you write a script, say |
| and difficult to read, a voice-over script that's | | | | something exciting, or you'll lose the listener's |
| crammed with copy is difficult to follow and | | | | attention." Active voice is more conversational and |
| understand. A good rule of thumb for 30-second | | | | easier for the ear and mind to follow. |
| radio or TV copy is eight lines down | | | | To hear Peter Drew's voiceover demos, please |
| (double-spaced), 10 words across the page. For a | | | | visit |
| slower, more intimate read, go with seven lines, | | | | Happy writing! |