Mature Woman Jogging
You’ve likely heard a great number of people in show biz say that auditioning is the real job and getting the gig is gravy!
In today’s Who Got the Gig, we’ll look at the significant role auditions play and how persistence is the key to landing voice over work.

When You’re An Actor, Auditioning Is Your Work

What preoccupies you throughout the day?
Generally, it’s the pursuit of work through auditioning or promotional activities focused on marketing your voice. It’s easy to get dragged down and think of auditioning as a mindless, repetitive act, but what many voice actors discover is that through auditioning, regardless of if they get the job, they are exercising their minds, their voices and are also presenting their talent in front of clients directly.

Attaining Voice Over Fitness

Compare auditioning to a fitness program.
To achieve the desired results that you’ve set out for yourself, you need to follow a consistent regiment that includes cardio and lifting weights before you can reap the reward which could be to improve your quality of life, tone your muscles or getting rid of some flab.

Now, translate what I’ve just said about physical fitness to voice over:
Each time you do an audition, you are conditioning yourself and keeping in shape for your next job. If you stop auditioning, you cease to challenge yourself and the potential to fall into a lazy, apathetic slump may become a very real consequence of failing to “work out” or continue refining your skills.

What happens when you get lazy?
Your energy levels and endurance for voice over work is affected. Possibly you may find that voice over doesn’t come as easily to you as it once did and that realization can be frustrating, indeed. To illustrate the point, if I stop writing original content for even a day or two, I notice a dramatic difference (generally an abnormal decrease) in the quality or quantity of what I am capable of producing. Sporadic writing doesn’t do much for the soul and at least for me, can induce writer’s block, something no writer ever wants to get and struggles to release themselves from.

Do you see how these principles can be applied to voice acting, too?
That being said, the best way to keep in vocal shape, mentally, physically and artistically, is to audition every business day.
If you’re still not convinced, here are 8 reasons why you should audition regularly.

8 Immediate Benefits of Auditioning

๏ Keeps you in good form
๏ Provides you with a diverse array of copy to experiment with and interpret
๏ Stimulates your mind
๏ Gives you a platform to strut your stuff
๏ Exponentially improves your job prospects
๏ Generates networking opportunities
๏ Is a validation of the need for voice over as a service
๏ Renews your faith that voice over work is out there

How do you feel about auditions? Why do you keep doing them?

Looking forward to hearing from you!
Best wishes,


  1. Stephanie,
    Let me be the first to say Bravo! Great article! I DO notice if I go a couple days without auditioning that it takes me longer to hit stride in a session.
    Thanks for shining a light on this!

  2. Wow, here it is Saturday morning and I have been doing auditions since 6am! Auditions are part of the job. And the harder you work at it, the better you become. Like they say practice makes perfect!
    The benefit of auditioning are absolutely all the things you noticed. And although we may all think we’re the “perfect” voice for every job, the reality is we’re not. However, although the client may think you’re totally wrong for what you auditioned for…you never know, you may be right for another job down the line.
    Even the “A-lister” voice talent need to continually audition to keep working. There are always the up comers nipping at their heels. So keep at it.
    OK back to auditioning – cheers
    Ed Victor

  3. Stephanie,
    I agree with everything in this article. Auditioning for voice over is a part of our work, and necessary to do early and often! The actual booking the job and resulting session is the sweetest part for sure! But even when you are busy with work, you must still audition in order to keep the potential of more work to come constantly in the “pipeline”.
    Bobbin Beam, ISDN Voice Actress

  4. When I started doing voiceover work I almost never had to audition. Pretty much everyone cast off the demo. I was also working at a radio/TV combo that did lots of production and I was the go-to girl for VO work. Not the same for on-camera work – lots of auditions for those.
    Then – after about a 10 year hiatus from talent work (I was a full-time producer/writer/spokesperson for a large corporation) – I had to rebuild my VO work and noticed the change to auditioning. Took me a while to appreciate the concept. More than once I lamented that people were NOT casting off the demo. (Actually, I still get a fair number of direct jobs without auditioning, but not like the “old” days.)
    Then the lead generating services arrived and I overdosed on auditioning. All things in moderation! Audition away, or at least verbalize anything that passes your eyeballs, but be sure that the audition is really “good” before hitting the send button.
    Today I would agree with your list of benefits…and am actually a better performer for auditioning more often.

  5. Hi all,
    I’m still very, very new to this, so please bear with my naivete. I’m seeing a slight conflict of advice in the world of voiceovers which is split between getting a gig through auditions vs getting a gig through a demo. Or is it both?
    In the world of voiceovers today, how critical is the demo? When I first began training, a mere few months ago, I viewed the demo as the holy grail. Now, I’m seeing it as a very small, yet very expensive, component of getting work.
    I look forward to your sage advice.
    thanks, Linda

  6. Hi Linda,
    Thank you for commenting. To answer your question, your demo still plays a vital role in the promotion of your voice. Remember that although auditions are quite significant, those are basically all custom samples on a client per client basis whereas your demo can represent you anywhere at any time and give any number of clients a taste of what you can do in advance of hiring you or inviting you to audition.
    Demos are great to have and handy “hands-off” promotion for your career.
    I hope I’ve answered your question to your satisfaction. If anyone else would like to add their thoughts on this, please do.

  7. Exactly right. I’m still fairly new to the field but I have noticed that my continued auditioning and persistance has begun to pay off. I’m a musician and if I don’t practice my guitar for a couple of days, the next time I pick it up I notice that I struggle with my playing. I feel the same thing with voice overs if I don’t try every day.
    Great article,
    Paul Hernandez

  8. I did my first voice-over gig in 1981 as a result of a referral from my voice coach, Susan McCollom. Same with the second gig. This certainly was before auditioning on the web. Another gig came from my membership in AdMark of Oakland. Then I received a phone call from a producer who asked me if I was interested in doing a commercial. I asked “When are the auditions?” She wasn’t doing auditions, she wanted me, and had been given my name by the gig that came from my AdMark membership. That gig lasted for 10 years.
    Yes I had a demo on cassette tape, but the random distribution did not net even an invitation to audition.
    Yes, I understand and agree that reading out loud and practicing every day is important, very important. But there is one more thing for me that is imporant in voice work (or stage work as I have also done) is encouragement between auditions. It does not help to have friends and relatives who see auditioning in competition with 50 or more other actors as “a cattle call.” I need a voice actors’ support group.
    Maybe a chat room to meet and blog with other voice actors?
    Bud Sisson

  9. Second year in the biz (okay, yes, very very new!) and I still get a great adren rush when an audition appears. I know a proportion will reliably lead to work, but I can’t know which. And every one is a learning opp.
    If a script is clunky or obscure, I apply James Alburger’s tips: invent a thrilling pre-story to project you headlong into the item, and perform the copy while imagining you’re telling a best friend about something really interesting.
    If it’s a fine script, you won’t tear me away from the mike if it’s 2 a.m. and the building’s on fire.

  10. This was very helpful because I am looking at taking another run at v/o. Any good forums on how to approach this work. Even though I have done radio and television talent work for years, v/o feels like a different animal and I guess it’s the endless auditions that get no response that made quit last time. I admit I only tried for a week or two then dropped it. Also, can someone start out and make any kind of a living off v/o? Any comments would be much appreciated. Thanks


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