![]() ![]() ![]() ![]() When you read your voice over script aloud, you can improve the rhythm by considering the words as sounds and listening to their flow and timing. Speaking is similar to music-it’s got a rhythm related to the tempo of the speech and the alternation of stressed and unstressed words. Note: to accommodate those who are visually impaired, provide an option for having the text read aloud. It takes more cognitive resources to match up redundant information, such as reading text while listening to audio than it does to manage one modality alone. Adults tend to dislike being read text that is on the screen.Īlso, Mayer addresses this in his Redundancy Principle. In these cases, use audio to introduce what needs to be read and then let the participant do the reading. No one likes screens filled with text, but there are some situations that demand it, due to legal regulations or other requirements. To keep sentences on the shorter side: 1) stick to one idea per sentence 2) delete all the extra verbiage and 3) break sentences into two whenever possible. ![]() The risk of relying on short sentences, however, is that the script may sound stilted or too simplistic.Ī better approach might be to aim for short sentences that vary in length. And it’s true that in an eLearning environment, you can’t count on your busy audience to click Replay if they miss something. Many people recommend using short sentences when writing for audio. Then let one anointed editor read the scripts to smooth out all of the inconsistencies. Contractions: Will you use them or not?.If you forget what all of this is, Wikipedia explains. Person: whether you’ll be using first, second or third person.Role: Determine if the speaker is playing the role of a colleague or peer, an expert, a teacher or an omniscient narrator.Tone: Decide on a tone that will best connect with your audience (conversational, folksy, sophisticated, etc.).To achieve the sound of one voice, consider defining these aspects of a voice over script from the start: It sounds like the voice artist understands the topic, because consistency makes the speaker credible. Speaking with one voice arises out of consistency. Or perhaps you’re the only one writing, but some days you start with one voice and other days you use another. Perhaps you’re on a big project with several instructional designers furiously writing away, oblivious to the voice they are using. This isn’t a bad formula for instructional scripts-say it-explain it-repeat it. The next few sentences provide the details. The lead sentence gets your attention and evokes curiosity. They often use this formula: say it-explain it-repeat it. You can learn from their 30-second radio commercials. Have you stopped listening to commercial radio? You may want to listen once more. I like to think of it as intelligent simplicity. Focus on what’s most important and be concise. You have to get there quickly before you lose your audience. When you’re writing for audio, you don’t have much time to lead up to the point. Pro Tip: a voice over script should not sound like it was scripted. When you write like you speak, you will naturally use smaller words, a more conversational tone and shorter sentences. Imagine you are speaking to someone while you are writing. In most cases, writing for the ear is more informal than writing to be read. If you need help making the transition from eye to ear, here are some tips. Writing to be heard is a different kind of writing. Yet, that’s what you’re expected to do when storyboarding for audio or writing audio scripts. Unless you’ve had special training, how could you suddenly know how to write for the ear? Fast forward to the world of work where you are responsible for writing voice over scripts. Remember all those essays and reports you wrote in school? They were written for a teacher to silently read. ![]()
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