9
Wood Shedding and Script Analysis

In This Chapter

You’ll find more techniques for wood shedding at AOVA.VoiceActing.com.

Creating a Performance Road Map: Analyzing and Marking a Script

One of the first things you should do as you begin working with a script is to quickly analyze it; wood shed it, searching for clues to help you create a believable character and effective delivery.

At first, it might take you a few minutes to make the choices about your character and other aspects of the copy. However, as you gain experience, you will be able to thoroughly wood shed a script in the time it takes you to read through it once or twice.

The Script Analysis Worksheet at the end of this chapter can be used when working with any piece of copy. The worksheet is another tool you can use when breaking down a script to define the Seven Core Elements of a performance. If you find a sequential, linear process beneficial, you may find the worksheet helpful.

Once you’ve done this process a few times, it will become automatic and you won’t need the worksheet any longer. By answering the questions on the worksheet, you can quickly learn everything you need to know about a script and your character. If an answer is not clear from the copy, then make it up. You won’t be graded on your answers, I promise. The answers you come up with will give you critical information you can use in developing effective characters and delivery. They are simply a way for you to make practical choices for the script you are performing. For you to maintain a consistent performance, it is important that you stick with the choices you make in your script analysis. If something isn’t working for you, of course, you can change your mind. But any new choices or changes should only be made to make your performance and your character more real and believable.

To Mark or Not to Mark

Through experimentation, you will find a form of script analysis that works for you. You may find it helpful to mark your script with various cues to chart your path through a performance. Or you may find that you only need to make minor notations as needed. Whatever works for you is what you should use.

Regardless of your individual process, or how much you mark your script, the basic wood shedding process will remain the same. Analyze your script looking for key words and phrases that reveal attitude and emotion, and give clues about your character and how your character responds to information, situations, and other characters. Notice the context of the copy and how the message is presented. Look for catchphrases and places where you can add variety by using the dynamics of pacing, energy, attitude, tone of voice, and emotion. Look for natural breaks, shifts of attitude or emotion, and transitions in the copy. These elements may not be present or important in all copy, but by reading a script through once or twice, you should be able to make some solid choices.

If you find you are paying too much attention to your notations, or if your script has excessive markings, you are probably overanalyzing the text. This can result in a delivery that sounds like you are reading. The more you think about what you are doing, the less you are truly in character—even if that character is “you.” As you develop your personal process for script analysis and notation, and your performing skills improve, you will most likely find you need to mark your script less and less.

Mapping Your Performance

Marking your script can help you create a map of how you will deliver it. Practice marking magazine or newspaper articles or short stories and you will quickly find a system that works for you. In a short time, you will refine your system to a few key markings which you can use regularly to guide you through almost any script.

Here are a few suggested markings and possible uses. Adapt, modify and add to them as you like:

• Underline () emphasize a descriptive word or phrase
• Circle ( O ) key elements of conflict in the script
• Box ( □ ) the words or phrase at that peak moment in the copy
• Highlight ( ) or different color underline the conflict
• Arrow pointing UP ( ) to take inflection on a word up
• Arrow pointing DOWN ( ) to take inflection on a word down
• Wavy line () to modulate your voice or inflection
• Slash or double slash () to indicate a pause

One of the most common markings is to simply underline a word that needs to be made important. This works fine in most cases, but there may be times when you want to make sure you say a word correctly. Try underlining only the syllable of the word that needs emphasis. For example: defense or defense.

The degree to which you mark your script may vary from project to project, but it will certainly help to have a system in place when you need it.

"Wood Shed" Your Copy

The term wood shedding comes from the early days of American theater. As theatrical troupes traveled to new frontiers in the early West, the only place they could rehearse and work out their performances was in a wood shed. The term stuck and it’s still in common use today.

From the moment you first read any script, you will instinctively develop an interpretation. Sometimes your gut instincts and choices will be dead-on accurate. At other times, you may struggle as you try to figure out what the story is all about, your character’s role in telling the story, and the best way to tell the story. For almost every script, you’ll need to do some sort of basic analysis to uncover the information you need for an effective performance. The process you use may be very simple, or it may be a complex analysis of every detail in the script. As your skills develop, you will most likely change the way you wood shed a script.

Let’s review some of the key elements that can help you determine the many aspects of how you tell the story.

• The structure of the copy (the way it is written): Is the copy written in a dialect style? Is the wording “flowery” or expressive in some way? Is the copy a straight pitch? What is the pace of the copy? What is the mood of the copy? What is the attitude of the character speaking the words?
• Know the audience: Identifying the target audience is a good way to discover your character. Experienced copywriters know that most people fit into one or more clearly defined personality types. The words and style they choose for their copy will be carefully chosen to target the specific behaviors and characteristics of the public they want to reach. Specific words and phrases will be used to elicit an emotional response and even define the attitude and thought process of your character speaking the words.
• What is the back story (the moment before)?: What happened before the first word of copy? This is the specific event that brought your character to this moment in time and to which he or she is responding. This may or may not be obvious. Every script has a back story. If a back story is not defined within the context of the script, make one up.
• Who are the characters?: Who is your character and how do other characters, known or unknown, interact with your character and each other (as in a dialog script)? This interaction can give solid clues about your character.
• What is the scene?: Where does the story in the script take place? What is the environment? Understanding the big picture will reveal a tremendous amount of information that will help lead you to your most effective performance.
• What does your character want?: What is the underlying want and need of your character or his/her purpose for speaking, and what is ultimately achieved by the end of the script?
• How does your character behave or move?: The writing style or context of a script will often reveal how your character moves and behaves as he or she responds to various other characters or situations occurring in the story.
• Are there any comparisons in the copy?: Does the story include a contrast or comparison between two or more items or ideas? If a contrast or comparison exists, how many different ways can you speak the words in a way that makes the comparison clear to the listener?
• What is the conflict?: What happens in the copy to draw the listener into the story? Where is the drama in the story? Is the conflict humorous or serious? When you discover the conflict, your performance will be much more interesting and compelling. Almost every script contains some form of conflict.
• How is the conflict resolved… or not?: How is the product or message presented through the resolution or non-resolution of conflict? Does the resolution result in a change in attitude, behavior or energy? If the conflict is not resolved, how does the story end? Is there a logical conclusion? Or does the story end by leaving the listener to arrive at their own resolution?

There are many other clues in the copy that will lead you to discover the character and the best way to tell the story. As the performer, you may have one idea for delivering a script and your client or producer may have another. If there is any question about your character or other aspects of the message, you would be wise to discuss it with the producer.

Wood Shed to Be More Believable

Wood shedding is about getting to the essence of the message or story. What core, underlying emotional need is being satisfied? Convenience? Comfort? Friendship? Satisfaction? Hunger? Using your wood shedding process to put this into a short phrase will help to reveal the ideal tone of voice and attitude for your delivery.

Just as you have a personality, so does the character written into every script. The character for a single-voice script is often simply that of an announcer or spokesperson delivering a sales pitch, or communicating basic information. But, even this “announcer” has a personality that is appropriate to the copy. He or she needs to be perceived as a real person talking to another real person.

For all types of copy, finding the personality of the character you are playing allows you to lend authenticity to the role which gives the character life and helps make your performance believable. Your performance must include variety, tension, conflict, and sincerity. It must also be easy to listen to and be in a style that the audience can relate to. Believability is what voice acting is all about.

Character Analysis: Core Element #3

The role you play in a voiceover performance may be defined simply by the manner in which the words are written, or the context may be vague, leaving it up to you to create something. If you are fortunate, there may be some direction written on the script to help you understand the writer’s vision of the story. Phrases like: “read with an English accent,” “cowboy attitude,” “edgy and nervous,” or references to other actors who have the “sound” the writer is looking for are common. It is up to you to create an appropriate attitude and voice for that character by following their directions or through your own choices.

In theater, this process of defining the attitude and personality of a character is called character analysis. As a voice actor, you need to know as much about the role you are playing as possible. The more you understand your character, the easier it will be for you to find those emotions, attitudes, and personality traits within you that you can adapt and use to create a believable character and bring life to the words in the script.

The target audience, the mood or attitude of the copy, the writing style, and any descriptive notes all give you valuable information about your role. As with other parts of the wood shedding process, character analysis is something that will become automatic in time. Once you know what to look for, you will soon be able to define your character after reading through the copy once or twice.

Here are some things to look for and consider as you read through your copy to define your character:

• Who is this character talking to? (target audience)
• What is the character’s age? (young, old, middle-aged)
• How does the character stand? (straight and tall, hunched over, arms crossed, hands on hips, etc.)
• Where is the character from? (geographic region, country)
• Does the character speak with an accent or dialect? Note: A poorly done dialect or accent can have negative results unless done as a parody or characterization.
• How would the character dress? (business suit, or casual)
• What do you know (or can guess) about the character’s economic status? (financially well-off, struggling, etc.)
• What is the overall mood or attitude of the copy? (fast-paced, slow and relaxed, romantic feel, emotional, aggressive, etc.)
• What is the pace of the copy? (Slow-paced copy often calls for a relaxed type of character while fast-paced copy demands a character with more energy.)
• From the context of the script, what do you know about the way your character moves? (energy)
• What is the product or service? (The subject of the copy often dictates a specific type of character.)
• What is the character’s or role in the story? (protagonist, antagonist, spokesperson, comedy relief, straight-man)
• What life events or actions brought the character to this moment in time? (theatrical back story)
• What is your character responding to? (back story)
• What does the character want from telling the story? (desires)

Finding answers to questions like these will help you develop a visual image of your character that will help you to instinctively know what is needed to deliver the copy effectively and believably. You will know, for example, if the character needs to speak quickly or slowly, with an accent, or with an attitude.

Creating a visual image of your character and the environment in which the conversation is taking place will help to develop the necessary tension for drama. The tension here is not between characters, but rather a physical tension located somewhere in your body. It is this tension that will allow you to bring energy to the words and give life to the character in the copy.

Discovering the character in the copy may appear to be a lengthy process, but, in fact, it happens quickly once you know what to look for. Character development is further discussed in Chapter 10, “The Character in the Copy.”

Find the Back Story: Core Element #2

All copy has a back story, also known as “the moment before.” There are two definitions for back story: the first is theatrical back story, which refers to the life experience of the character that brought him or her to the moment of the story. The second definition of back story is what we use in voiceover: that is, the specific event or action to which our character is responding.

No matter how you define it, the back story is the result of the wants and needs of the character that provides the motivation for the words, actions, and reactions to what happens throughout the story.

In theater, the back story is frequently unveiled during the course of the performance. With voiceover copy, there is rarely enough time to fully analyze the back story or provide much character development. A radio commercial must tell a complete story with a beginning, middle, and an end—and with fully developed characters from the outset—all in a very short period of time.

In a dialog script, the interactions between characters are written into the script. It is these interactions and responses that reveal clues to the back story and the relationship between characters.

It can be more of a challenge with a single-voice script in which there may be few, if any, clues that reveal what brought your character to the point of speaking the words in the copy, or even why, or to what your character is responding. If a back story is not clear from the copy, make one up! After all, you are an actor and you do have permission to pretend.

The idea is to create a believable motivation for your character. The back story will reveal your character’s wants and needs at this moment in time, and that information will help guide you in your delivery. The fastest way to do this is to figure out what your character is responding to with the first few words of the script.

Define the back story and what the character wants in just a few words. Keep it concise, believable, and real.

Unveil the Conflict

Conflict is an essential part of dialog copy, and is often also present in a single-voice script that tells a story. Conflict rarely occurs in information-based copy in which the message is less of a story and more of a laundry list, a sales pitch or instructional in nature. Conflict creates drama, and drama holds interest.

A dialog script without conflict will be boring and uninteresting. On the other hand, a script with a well-defined conflict can be funny, emotional, heartwarming, and informative—all at the same time. Look for the primary conflict in the script. Usually, this will be some difference of opinion, a crisis, an impasse, or some other obstacle. Define this primary conflict in a few concise words.

Now look for any complications that support or exaggerate the conflict. These are often secondary or minor conflicts that serve to add meaning and importance to the primary conflict.

Follow the development of the conflict to reveal its peak moment, or climax. It will usually be found immediately prior to the resolution or non-resolution of the conflict. The peak moment is often the point in the copy where the advertiser’s name is mentioned or the purpose of the commercial is revealed.

Discover the Resolution or Non-Resolution of the Conflict

In commercial copy, it is through the resolution or non-resolution of the conflict that the message is expressed. Sometimes ending a commercial with an unresolved conflict can create a memorable impression in the mind of the listener. An unresolved conflict leaves the end of the story up to the listener’s imagination, and that can be a very powerful motivation for action. For example, a radio commercial we produced for the high-end toy store, Toy Smart, presented a conflict between a mother and her “child.” As the story developed, the mother tried to coax her “child” to eat his green beans with less than satisfactory results. This conflict resolved when the “child” turned out to be the husband who said, “I’ll be happy to eat all the green beans you want, as long as you put them with a T-bone steak!” However, at the very end of the commercial, the husband had one more line, which left the conflict in a state of nonresolution: “What do I get if I eat all my brussels sprouts?” This left the resolution of the conflict to the imagination of the listener and created a memorable impact moment in the commercial.

Look for details in the copy that give clues as to how the message is actually communicated. Are there a series of gags, jokes, or a play on words that lead to expression of the message? Do characters in the copy shift roles (reversals)? Is there a list of information that ends with an unusual twist? Does the story take place in an unusual location? Is there something in the story that appears to be out of context with what is taking place? Is there a personality problem or physical limitation with one or more of the characters? How are these resolved—or not?

Discover the Unique Selling Proposition (USP)

In all advertising, at some point during the course of developing a story line, the primary benefit will be revealed. Something will be stated that positions the company, product or service as being uniquely better than or different from the competition. This is as aspect of the advertiser’s positioning statement. It could be a sentence, a paragraph, or, in some cases, the entire message.

But somewhere within that larger statement will be a singular concept or idea that sets the product, service, or company apart from its competition. This singular “idea” is the unique selling proposition, or USP. It might be a descriptive adjective, a complete sentence, or simply a short slogan and it’s usually not hard to find.

As you wood shed your copy, pay particular attention to the USP. Not only is it important in terms of the overall message, but when you understand the uniqueness of whatever it is you are talking about, that knowledge, alone, can shade your entire performance. Your understanding the unique aspect of the message will open up opportunities for you to communicate on a much deeper emotional level. And when you reach your audience on an emotional level, they will be much more likely to remember the message and take action.

Make the Copy Your Own

As you analyze a script, remember that there are no right or wrong answers to the questions you ask, and there are no good or bad choices. Use your imagination and bring something of yourself into the copy. The idea is to create a believable character and situation for the copy you are reading. Bringing your personal experience into the character you create will aid in making him or her real to the listener.

Use what you learn to make the copy your own. If you have a naturally dry and sarcastic style, you may be able to apply that trait to your character to make it unique. If you have a bubbly speaking style, that trait might give a unique twist to a character. Don’t be afraid to experiment and play with different approaches to performing a character. Use the “What if…” and “As If…” exercises (page 88-89) to explore options for personalizing your delivery of each line.

On the surface, “making the copy your own” may appear to be a contradiction. After all, according to Core Element #6, Forget Who You Are and Focus, one of our objectives is to get out of our way to allow the character to become real. But bringing part of your own personality or attitude to your character can actually make it easier to create an interesting and compelling performance.

Create Tension

It is important to be specific when defining a scene or character and to commit to the choices you make. Using specific terms creates tension in your body that can be heard in your voice. Without tension you will be unable to create drama, which is essential for capturing and holding the attention of the listener.

To create tension in your body, begin by observing your feelings and emotions as you read the copy. Allow your senses to be open to experience whatever sensations might appear and make a mental note of where that sensation occurred in your body. As you begin to add life to your character, recall the memory of the sensation you just experienced (sense memory). Focus on placing your voice or performance at that place in your body. This technique may be somewhat difficult to master at first, but keep working at it—the result is truly amazing once you have the knack of doing it.

Look for Question Marks in the Copy

Question marks are opportunities for dramatic punctuation. I’m not referring to the punctuation mark—?. I’m referring to words or phrases in the copy that give you the opportunity to ask a question. If the copy specifically asks a question, you should make that clear with your performance either through an upward inflection typical of asking a question, or making it clear that the question is rhetorical through your tone of voice. Question marks that do not ask questions are usually found in sentences that describe or explain something. Someplace in the sentence there will be an opportunity to answer the unasked question.

Find those opportunities, ask the questions, and figure out your own answers to the questions. This wood shedding technique can be incredibly useful to bring your character to life because the answers you come up with are part of the character’s knowledge or history, which helps make the character real.

One of the secrets to using this technique is to break down your search for question marks to single words or very short phrases. The more precise you can be with the questions you ask and the answers you come up with, the more subtext you will be creating for your performance. Your answers really do not need to have anything to do with the context of the script. The important thing is that you have some sort of subtext for the words as you speak them.

Look for the questions in this 30-second radio script and come up with some answers. As you work through the script, notice how the questions you ask and the answers you arrive at affect your character and interpretation of the story.

Now, let’s break down that script to see where some possible question marks in the copy might be present:

You can take this process as far as you like, even to the point of asking questions about every word in the script. As you choose the answers to the unasked questions, you will create the foundation of your character’s attitude and personality, and a context for your performance. Commit to the answers you come up with and use them to give your character life. However, be prepared to modify your answers as your character develops and you receive direction.

Tips for Wood Shedding

• Develop your wood shedding skills so they become automatic.
• Look below the surface to discover subtlety arid nuance.
• Don't settle on your first choices.
• Always experiment and test different options for delivery.
• Explore emotion, attitude, pacing, rhythm, tempo, and so on to reveal alternative choices.
• Look for key words and catchphrases.
• Mark your script with a pencil. It is inevitable that at least some of your choices will change.
• Be careful not to over-analyze your script. Over-analysis can result in a flat delivery.
• Find a way to deliver the first line in a way that gets the listener's attention and evolve your telling of the story using the interrupt, engage, educate, and offer concept.
• Look for the Unique Selling Proposition in advertising copy.

Script Analysis Worksheet

Answering the following questions, based on the copy, will help you discover the audience you are speaking to, your character, and any special attitude you need to incorporate into your performance.

Who is the advertiser or client?_____________________________________ ____________________________________________________

What is the product or service?___________________________________________ ___________________________________________________________

What is the delivery style?

• Fast and punchy
• Single voice
• Authoritative
• Conversational/friendly
• Dialog/multiple
• Business-to-business
• Relaxed/mellow
• Character/animation
• Narration

Who is the advertiser/client trying to reach (target AUDIENCE)? Determine the age range, income, gender, buying habits, and any other specific details that become apparent from the way the script is written. Who is the “other person” you are talking to? Visualize this individual as you perform the copy.

_________________________________________________________ _________________________________________________________ _________________________________________________________

Find important key words or catchphrases where the use of dynamics of loudness or emotion will give value and importance. Look for the advertiser’s name, product, descriptive adjectives, and an address or phone number. These elements may need special attention during your performance. Underline or highlight the words or phrases you want to make important.

What is the message the advertiser/client wants to communicate to the target audience? What is the story you are telling through your performance? What is the USP (unique selling proposition)?

_______________________________________________________ ______________________________________________________

How does the story (plot) develop? For dialog copy, find the setup, the conflict, and how the conflict is resolved or not resolved. Discover how the plot flows. Are there any attitude changes with your character or others? Plot development is critical to effective dialog copy. Determine your role in the plot and how your character develops.

_______________________________________________________ ________________________________________________________

Use up and down arrows to indicate copy points for changes in inflection or attitude.

What is your role (CHARACTER in the story) in terms of how the story is being told? Do a basic character analysis to define your character’s age, lifestyle, clothing, speaking style, attitude toward the product or situation in the script, etc. What are your character’s motivations? What are your character’s WANTS and NEEDS (DESIRES) at this moment in time? What happened immediately before the copy to which your character is responding (BACK STORY)? Be as detailed as you can in order to discover your character.

_______________________________________________________ _____________________________________________________

How does your character relate to any other characters in the script, or to the audience in general? Is your character an active player in telling the story (as in a dialog commercial), or is your character that of a narrator imparting information to a captive audience (as in a single-voice “spokesperson” commercial)? What can you do to create a bond between your character, other characters in the script, and the audience?

________________________________________________________ ________________________________________________________

What can you do to make your character believable? Any special vocal treatments or physical attitudes? “What if” you speak “as if…?”

________________________________________________________ ________________________________________________________

Does your character have any unique or interesting attitudes, body postures, or speaking characteristics (speaks slowly, fast, with an accent, squeaky voice, etc.)? If so, identify these.

________________________________________________________ ______________________________________________________

Study the copy for pauses that might be used to create tension or drama, and for places to breathe. This is especially important for industrial copy, which frequently contains long, run-on sentences with technical terminology. Mark breaths and pauses with a slash mark ( / ).

Find the rhythm of the copy. All copy has a rhythm, a beat, and timing. Discover the proper timing for the copy you are reading. Dialog copy has a separate rhythm for each character as well as an interactive rhythm.

Look for transitions in the script (similar to attitude changes). These may be transitions from asking a question to providing an answer (common in commercial copy), or a transition between the attitudes of your character.

Look for key words you can give importance to, and that will connect you with the audience. Personal pronouns, such as “you,” “our,” “my,” and “I,” may be written into the script or simply implied. If connecting words are implied, find a way to make that implied connection through your performance (without actually saying the words).