Microphone on a pink backgroundWhen sitting in on a number of sessions during VOICE 2010, there were a great deal of concepts explored and tidbits of information presented.

I’ve gathered a few of them here for you and hope that you find them useful.
Keep your eyes open for more great content in the coming days!

Auditions And Moving On

Read it and leave it. Period. This advice comes from a panel representing some of the most successful voice over talent working today in promo and trailers and had been shared with one of the panelists by two actors of note, namely Jim Cummings and Brian Cummings.
I’ve heard this concept echoed by many, many people in the industry and we’ve touched on this topic before. I love the way it was said though and wanted to be sure that you got to hear about “Read it and leave it.”

Realities of Auditioning

Even on the big jobs that are completed in the agency world, there are upwards of 200-300 people submitted to casting directors for consideration. As you can see, this happens industry wide and large casting calls can be held for even top tier talent.
To add to this, 80% of the work that your agent will want to book you on is commercial work.


Insecurity doesn’t just affect voice talent, in fact, if you were to look at insecurity in terms of who has the least to the most, voice talent are at the lesser end of the scale, talent agents are more insecure than the talent they represent and at the top of the insecurity scale you’ll find the casting directors.
Casting directors are the most insecure people because their entire job depends on auditioning and finding the right voice for the job. An agent’s success, and most definitely a casting director’s success, is determined by what you can do as a voice talent to please their client.

What To Have and What Not to Have

When seeking representation, there are qualities that people look for
๏ Confidence
๏ Honesty
๏ Personality
๏ Be needy
๏ Second guess yourself
๏ Make other people want to avoid you

Anything You’d Like to Add?

Looking forward to hearing from you!
Best wishes,
©iStockphoto.com/james steidl

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Stephanie Ciccarelli is the Co-Founder and Chief Brand Officer of Voices.com. Classically trained in voice, piano, violin and musical theatre, as well as a respected mentor and industry speaker, Stephanie graduated with a Bachelor of Musical Arts from the Don Wright Faculty of Music at the University of Western Ontario. Possessing a great love for imparting knowledge and empowering others, her podcast Sound Stories serves an audience that wants to achieve excellence in storytelling. Stephanie is found on the PROFIT Magazine W100 list three times (2013, 2015 and 2016), a ranking of Canada's top female entrepreneurs, and is the author of Voice Acting for Dummies®.


  1. Couldn’t agree more about read it, forget it.
    I was delighted yesterday when an audition I’d put in weeks ago for a big job was selected, and this was 3 weeks after the initial deadline!
    It was a lovely surprise as I’d completely forgotten about it.

  2. So true. I would often work on my auditions to the point of “over auditioning”, (if that’s possible) but, I discovered that my success rate went up when I just read the copy (three x’s) and submit. I’ve stopped trying to make my auditions perfect. Read, record, quick edit, and submit.. Still trying to nail down the copy interpretation, however.

  3. I totally agree with the Cummings’. I realize that many talent talk about their stats on ptp sites. I know you enable us to track that…and that’s cool. But I dont’ have time to track that. I just voice audition…then go on with my life. Who’s got time to think about the jobs they didn’t get?
    BTW, Stephanie, It was great to see you again at VOICE 2010. You are such a CLASSY lady! And a lady of integrity. And I –and so many others-appreciate that about you!

  4. I’ll chime in with a couple of things I have learned.
    Be brief, be brilliant, be gone.
    There often isn’t enough time in the day for your agent to do what they feel they need to do. A good talent will communicate succinctly, share opportunities with their agents and not require hand holding or babysitting.
    To add to this – show me the money!
    In particular with those of you who market yourselves and/or do non-union work, make sure that whatever you do has an extra 10 – 20% in there for your agent or better yet, just turn things over to your agent to negotiate, as in “You (Mr. or Ms. Client) can communicate with me directly if you want me to audition or discuss a project, but all billing and negotiating goes through my agent…”


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