Join seasoned voice actor Jesse Adam for this month’s Mission Audition. In this episode Jesse breaks down exactly how to approach a script. Starting with problem, solution, and finally: call to action. Jesse also goes into detail on other snags that might stop voice actors from achieving success in the voice over industry.
It all depends on the script, too, right? So this one's kind of casual, conversational, like you're talking to a friend, so the pauses don't all have to be the same. Some of them could be a little longer, some of them could be a little shorter. If this was a much more emotional read, if this person's really sad that they have to move, then you would have longer pauses, and it would make more sense to make it a little slower. Welcome, everyone, to today's episode of Mission Audition. Thank you so much for joining us. Mission Audition is the voiceover podcast where we listen to real auditions from voices members, and we get to hear feedback from world-class voiceover coaches. My name is Vanessa, community manager, and I am joined by my co-host Tara, senior manager here at Voices. Hi, everyone. Before we get to the auditions, let me introduce our amazing guest, Jesse Adam, with over 20 years in the industry voicing projects for most of the top brands in the world. Jesse loves sharing his experience with the other voice talent, aspiring or experienced. He offers personalized one-to-one sessions to help you with everything from getting started to voiceover, nailing that next audition, treating clients in the way that keeps them coming back, and so much more. Why don't you say hi to everyone, Jesse? Hey, everybody. Thanks so much for having me. I really appreciate it. We're so happy to have you on the show. OK, Vanessa, are you ready to jump into this episode? Oh, I am so ready. I am so excited to jump into each audition. OK, the artistic direction reads, we envision a male or female senior voice that can portray satisfaction and delight about the ease of transitioning into retirement living. This style is engaging and nonchalant, a smooth tone with hints of excitement is welcome so long as it doesn't impede on the nonchalant and relaxed vibe. Let's jump into audition number one. Cedar Oasis Retirement Living is a luxury, long-term care facility in a beautiful woodland countryside area. We provide support to the elderly with varying mobility and ailments. You'll find clients, not patients, who run five miles a day and other clients, who require 24-7 care. Cedar Oasis Retirement Living is a luxury, long-term care facility in a beautiful woodland countryside area. We provide support to the elderly with varying mobility and ailments. You'll find clients, not patients, who run five miles a day and other clients, who require 24-7 care. Great first audition. Her tone was smooth and relaxed, in my opinion. But Jesse, you're the expert, so what are your thoughts? Yeah, it was smooth and relaxed. There's a couple of things with this one, though, that stood out to me. First of all, just a minor note. There was a decent amount of mouth noise that I could hear. And so that's something that clients might notice and move on from. The other big thing that I think would stop this one from moving forward is that they read the wrong part of the script. They were actually reading the job description as opposed to the actual script. And so I think that's usually a job killer. You usually want to read the actual script that the client is looking to hear. Wow, I hope our listeners have a pen and paper handy, because that's some really good feedback. Thank you very much, Jesse. Yeah, so it wasn't a terrible read, I think. The funny thing is that relaxed casual read can mean different things to different people, right? And so I liked that she actually gave two reads. She actually gave two reads. The problem was they were fairly similar. And so if you're the client listening on the other end, you're really hoping to see some range in those reads maybe. So two reads, I know not everyone will agree with me, but two reads, I think, is always good. But you really got to vary those reads up. You got to make them stand out. So that's one thing she could do is give a similar read to what she gave maybe in the first one, but then in the second one, really up that relaxed, casual kind of vibe that they're asking for. Another thing, again, is a little bit of mouth noise. So when you're recording, I like to record with headphones on so that I can hear if I've got pops or clicks happening. And then I can stop, grab a drink of water, whatever I need to do, and jump back in and get recording. So those would be two things. And then, yeah, it was fairly casual nonchalant, but I think it could have been ramped up even a little bit more or ramped down, I guess, would be maybe the term or the way to say it, to be a little bit more casual and conversational. That's interesting. You said you're OK with the two reads. Why would you say that would be OK in the sense of auditioning? And if they're similar reads, what's the point of the second one? Yeah, well, they shouldn't be similar reads. That's the big thing, is they should really stand out from each other. They should be different. It's funny because if you're, let's say, you're a MTV and you want a casual read, that's going to sound different than if you're the Bank of Canada or because they're two different types of brands. They're going to have two different types of reads, potentially. And so your idea of casual conversational or nonchalant and relaxed, you might be way too nonchalant for the client in your first read. But maybe in your second read, you give one that's a little bit more professional, a little less nonchalant, and hopefully somewhere in there, you're hitting on what they're looking for. Or I've had it where I've given two or three reads sometimes. And the client will come back and they say, hey, we loved your third read. We're looking for something between two and three, actually, kind of in the middle. Do you think you could get there? And absolutely. A lot of people don't want to or are told not to give two reads because a lot of the times, the client will only listen to the first 10 seconds. But in my talking with clients and casting directors, what I've found out is that in their initial listen through the auditions, yes, they'll probably only listen to the first 5, 10 seconds and shortlist or make a smaller group of, OK, here's the people that are moving on to the next round. But then when they go back and listen to those shortlists, then they typically listen all the way through. And so you really want to hook people with that first read, the first couple of seconds of your read. But then you want to show some variety. You want to show some range because maybe the first read you gave is close, but not quite what they're looking for. So it's interesting you say that about the clients. And you only have that sweet spot of about 5 seconds. So what if someone goes the total opposite, where maybe the first two lines, they have a certain type of read, then knowing the client only has 5 seconds, then the next two lines, they have a completely different voice. Do you recommend doing that? So instead of two or three takes, it's all in one take? That's interesting. I've never thought about it that way. I've never given a read like that. I know for me, because sometimes I hire on Voices 2 or on Pay to Plays. And I know for me, if I get reads that sound, to me, they would sound a little disjointed, where it's like, well, does this person know how to stay in that range that they started in, or are they kind of all over the map? But it's a really interesting question. I don't actually know the answer to that, how most clients would take that. Some would probably really appreciate it, because they're in a hurry. They're just trying to get through them as quick as they can to find the right voice. But I think it might throw others. So that's the crazy thing with auditioning, is you never know how the person on the other end is going to hear things, or what they're looking for, or whether they want just one read or two. So I typically like to give more rather than less. Because if they're only going to listen to a little bit, then it doesn't matter if I gave two reads. But if they are going to listen to more, then it does matter. If they are looking for more, then a way to stand out in those short lists is to give a couple reads and show some range. OK, that's so helpful. Thank you. I'm really at audition one. So that's great. Thank you so much, Jesse. Let's jump into number two. Even in my early 80s, I'm still enjoying an independent lifestyle. I love the home that I raised my children in, but I miss the sense of family. When I heard about Cedar Oasis retirement living, where a strong community and 24-hour support came together with million-dollar views overlooking the park, I had to see what life would be like. I had my daughter visit CedarOasisRetirementLiving.com to set up a consultation for the next day. Now I live with the support I need and the scenery I love. OK, so Jesse, I like this deep voice. I'm getting like Morgan Freeman vibes from this audition. But what are your thoughts? Yeah, I love it too. It's a great read. He's got a great voice. He's very nonchalant. He's very casual. It sounds very real. It sounds like this guy's kind of just almost talking with a friend. He's thinking about his experience. He's not reading a script. I love how he threw certain words together. Sometimes when we're giving reads, especially when it comes to the product name or the client name, we like to really make sure we enunciate and say every word. He just kind of put it together. But it wasn't so rushed that it was mushed together. It was really good. And I love just the calm, chill. It wasn't too slow. He wasn't speeding through it. It was a great read. I really think he hit on what the brief is asking for. Is there something that you could suggest to this individual that they could improve on, even just in the future? Or yeah, just something that they could, to make it sound like this isn't the perfect audition, essentially. Yeah. Yeah, for me, well, I should just point out, too, I thought the audio quality was really good. There's no room noise. There's no echo or reverb. I don't hear any mouth pops or clicks. So really good sounding audio. Again, for me as a coach and then also as someone who sometimes hires people on this stuff, I would like to hear another read from him. I'd like to know, can you do one that's a little bit more excited? Like, he was super laid back. Like, you almost see him laying back in his chair and having a cigar and talking to his buddy who's lying over here, which is great, right? But maybe the client wants a little bit more energy than that. And so great first read, but I would give a second read. And I would shorten them up. So maybe you don't have to do the full script. Like, maybe he only does 15 seconds of that type of read. And then he does another 15 seconds where I'd just like to see maybe a little bit more energy or a little bit more of a smile. I found personally when I'm auditioning that I'll give a couple of reads. And I'll put the first read that I think the client's looking for, where I think that's exactly nailed the type of read they want. And then I'll give my second read that's more, you know, what I think they would or what I would do. And lots of times, I get it wrong. The read I put first, they're like, OK, you nailed it with the second read. That's what we want. We don't want that first read. So giving a couple of reads, that would be my main suggestion to him is just a second read that varies the energy, maybe the inflection in a few spots, and maybe the speed. Because it was nice and slow. Maybe I don't know if there's a time limit on this one. But if it's a 30-second spot, then maybe it needs to be a little faster. So that would be it for me, just another read. So before we jump on to the third audition, I do want to ask you a quick question. You had mentioned that you will do numerous reads, but you don't read the entire script. Do you recommend that to voice actors? So if they are doing numerous reads, only read the first maybe two or three lines? And how do you determine how much you read? That's a great question. I think for me, what I like to do is look at the brief, look at the client, and see what I can find out about them. So if I know it's a production company that produces lots of these every year, if they have hundreds of reviews on voices.com, and I know that they're in a rush, then it'll be a lot shorter. It'll be quick, little maybe 10-second reads, just to give them an idea. If I see that maybe they're new to voices, and sometimes you can tell that the person that's posted the job is actually very much connected to the company that they're posting this job for. And so this is much more close to them. It's maybe more personal, I guess. And so I don't mind on some of those ones giving a little bit of a longer read, because if they're not producing stuff all the time, they might want to hear more of the script. They might want to see what you sound like on more of their script. One thing I recommend, too, is it's nice. If you can do it really short, if they give you the whole script, it's nice to give a line right from the beginning, somewhere in the middle, and somewhere at the end. So three lines. And what that does is that shows, because typically, the beginning of any script is the problem.
They're setting up the problem. And then in the middle is the solution, where it's typically the brand name or the company. And then the bottom is the call to action. So if you can give quick reads on those lines, not necessarily quick as in speed-wise, but you don't have to give more than those lines, what you're going to do is you're going to show the client, OK, this is what it's going to sound like at the beginning, where the problem is set up. Here's what it's going to sound like when I get to your solution. And here's what the call to action is going to sound like. So you show them this range, because I think sometimes, if we only give the first couple lines, they might be missing. Because I've seen lots of spots where they'll say, OK, we want this upbeat, and we want this casual, conversational upbeat with some excitement about the product. But then they only give the first part of the script, which is the problem. And you can't read the problem like, hey, here's the problem. This is great. You have to read it kind of like, here's the problem. This isn't great. And so sometimes, I like to grab from all three of those spots. It's really kind of a guessing game sometimes. But the more research you can do on the client and get a better understanding, that sometimes tells you, should I give a longer read, shorter read, less reads, more reads. Yeah, that's kind of my advice on that. That's great. Thank you. Let's jump to audition number three. Even in my early 80s, I'm still enjoying an independent lifestyle. I loved the home that I raised my children in, but I missed the sense of family. When I heard about Cedar Oasis Retirement Living, where a strong community and 24-hour support came together with million-dollar views overlooking the park, I had to see what life would be like. I had my daughter visit CedarOasisRetirementLiving.com to set up a consultation for the next day. Now, I live with the support I need and the scenery I love. OK, when we listened to this audition a few days ago, I was like, yep, yep, yep, short list. This is it. This one gave me the feeling of nonchalant and that she really missed her sense of family. When she said that, I was like, I believe it. So what do you think? Yeah, I love this read. It's very nonchalant, but still, there's some emotion in it that makes it real. I felt like she was kind of having fun with it. Like she had a little bit of a smile in it throughout. It was a great read. Audio quality was really solid. There was no reverb or echo or room noise. There's no mouth clicks or pops. It's just a solid, solid read that I believed. I believed that she was saying this. It almost felt like she wasn't reading a script. The only spot where I felt like maybe it sounded a little red was, and I mentioned it a little earlier, was when she said the name of the company. She said, when I heard about Cedar Oasis Retirement Living, it just came across a little red. But other than that, I thought it was a fantastic read. And can you go into depth a little bit of what you mean by a little red? Yeah, so her read was sounding great. And I don't want to try to duplicate it. But it was sounding very casual, conversational. She kind of had a little bit of a chuckle in her voice in some spots. And she's like, I love the home that I raised my children. I'm not doing a good job, sorry. But I missed the sense of family. When I heard about Cedar Oasis Retirement Living, it almost sounded like it's not robotic. But compared to the rest of her read, that little section felt robotic. Now, if I'm the casting director and I'm listening to this and I hear the rest of it sounds so natural, so conversational, I know she's probably not going to have any problems if we do a directed session or I give her a note that says, hey, just kind of run that together a little more. Keep that casual conversational vibe through the name of the company. So yeah, it sounded just a little stiff compared to the rest of it. And that's what I mean by that. Yeah, I can definitely hear that, where it just didn't flow as smoothly as the rest of her words. Yeah. And sometimes it's really important, depending on the style of read. If this was more of an explainer video or they were asking for a little bit more of a narrator read or something, reading the company name in that proper way and making sure you pronounce it properly and get it all said right is good. It's a good thing. But when they're asking for that nonchalant relaxed read, it can make it stand out in a negative way if you do it like that. And it's interesting because it's like even just that small portion, like those very few words, switched up the whole read in that sense and just kind of the vibe that when you hear it, those four or five words really just switched it up a little bit. Yeah, exactly. It can really stand out. So that's why it's important. Once you kind of pick up a vibe and a style that you're going to go with for your read, stick with it all the way through as much as possible. OK, let's move on to audition number four. Even in my early 80s, I'm still enjoying an independent lifestyle. I loved the home that I raised my children in, but I missed the sense of family. When I heard about Cedar Oasis requirement living, where a strong community and 24 hour support came together with million dollar views overlooking the park, I had to see what life would be like. I had my daughter visit CedarOasisRetirementLiving.com to set up a consultation for the next day. Now, I live with the support I need and the scenery I love. OK, let's get right to it, Jesse. I'm going to be honest, the pacing is off for me. What are your thoughts? Yeah, it's a little slow. And it's not so much the lines he's reading, but the pauses that he's putting between sections. That's really long, and it kind of throws it off. Honestly, I think if he tightened up those gaps between the commas and the periods, I think it would flow a little better. And that's a common mistake that I see people doing is we look at a script, especially when they're asking for something that's nonchalant or casual, and we see a comma or we see a period. We assume quite often that we have to leave a nice pause there, because the writer put a comma there. And no offense to any of the writers, I write stuff too, and I know it doesn't always sound natural. But sometimes when we're speaking more naturally, those commas shouldn't be there. And the break should be in other spots. Actually, one of the reads that we did earlier, that the guy did a great job of, the one line is, I love the home that I raised my children in, comma, but I missed the sense of family. And most of the people have kind of read it that way, but one of the ones earlier, sorry to jump back, but one of the ones earlier, he said, I love the home that I raised my children in, but I missed the sense of family. That sounds more natural. Like it sounds like he paused to think about it a little bit, right? And so that's one thing that I would suggest to people that are auditioning is you don't have to put the pauses where every comma and every period is, read it the way you would read it. Now maybe give, again, giving two reads, give one where you do put pauses where the commas are and the periods are, but then in the next one, especially if they're asking for that casual, conversational read, make it your own. Add some ums and ahs and pauses in different spots to make it just sound a little bit more natural. And so what do you recommend that pause time is? So do you do a count, like a one count and that's it? Do you do a two count? I feel like he maybe did a four count, which felt really long. I wasn't sure if he was done the script, if he was gonna keep reading. Yeah, I don't do a count. I just kind of go with the flow. Now that's such a cooperative answer, but typically if they're looking for a casual, conversational read, one of the things I like to do is imagine that I'm talking to a friend. Typically I pick my brother because he knows me really well and if I'm giving a casual, conversational read, if I listen back and if I imagine my brother listening to it or if I was speaking to my brother that way, if he stopped and said, why are you talking to me like that? Then I'm like, okay, this isn't right. And so those pauses, typically I just kind of gauge them on my own timing of if I was saying this or then how long of a pause would I leave? Now it all depends on the script too, right? So this one's kind of casual, conversational, like you're talking to a friend. So the pauses don't all have to be the same. Some of them could be a little longer, some of them could be a little shorter.
If this was a much more emotional read, if this person's really sad that they have to move to a retirement home, then you would have longer pauses and it would make more sense to make it a little more slower. So as far as timing on pauses goes, I don't think there's a hard rule on what you should do. I think honestly, most reads nowadays, even if they don't say they're looking for a natural conversational read, they want some element of believability and natural in it. And so going with your own timing, how you speak, how you would time it up is really important. I think if you start trying to time stuff, that's when you start pulling yourself out of the read, right? Cause you're like, you're giving the read and you're like, even in my early 80s, one, two, I'm still enjoying an independent lifestyle. Yeah, so it can really pull you out of the read. So my recommendation is not to do that unless the client has specifically said, please give a two second pause at each period, you know, then do that. But yeah, so that's my take. Try to make it your own timing, how you would read it. Well, it's also interesting because you said like, where the comma is placed, it's almost like, it's so different if it was placed before or after the word, it makes the whole read sound completely different. It's interesting that even like what I said before with like the, just a few words, and you saying it in a different like tone, switches up your character, when you switch up where your pauses are, it changes your character as well. That's my take on it. And I think it's helped me get, typically the reads or the jobs that I land are more of those casual conversational reads. I'm sure there's jobs where I've lost out because I have, you know, changed things around a bit and the casting director is like, how dare he? But most of the time in talking with casting directors, they like it when you take a script and make it your own, make it feel natural, make it feel real. Like you're the actual person talking as opposed to just a voice over talent reading a script. Well, and you even said that before when you were saying how you did two takes and then the first one was the one that you thought the client would like, but they actually liked your take better that you thought, you know, was more you. So it's interesting that you're saying that because it's like sometimes you just have to go with your gut. Absolutely. But even if you do, sometimes that might not work out. So it can be difficult for sure. Yeah, absolutely. Yeah, it really is, it's an educated guessing game, right? Where you, it's not just total fluke, but it is, you're making educated guesses and sometimes you win and sometimes you don't and that's just a part of auditioning. Yeah, and that's probably why it's really important to also hire a voiceover coach as well. There you go, yeah, get a voiceover coach. The pacing was a little slow. I thought that the reads weren't actually too bad. It might actually be the kind of relaxed that the client's looking for, the nonchalant the client's looking for. But one thing that really stood out to me was when he got to the company name, he unfortunately said Cedar Oasis requirement living as opposed to retirement living. And so that's a big one. If you say the client's name wrong, that can be something right away where the client moves on to the next person. So it's important as you're editing, because I do that too, where I'll say the wrong word or I'll read their name wrong, right? I just, my eyes see it wrong. But typically I like to listen as I'm listening back and I'm really paying attention to, okay, did I actually say what is on the script? And I know there's times where stuff like that has snuck through for me too, where I just miss it. But that's one thing. The client's name is usually pretty important to them. So do your best to make sure you're getting it right. And also do some research. If you don't know how to say it, like if it's a weird spelling, there's a lot of weird spelling companies out there nowadays. Try to find a video of them on YouTube where they say their name so that you say it right. Because that means a lot. That shows that if 90% of the people that are auditioning are saying it a little off, but you took the time and you said it right, that can be one of those ways that can just help you stand out from the crowd and move you on in the list. Yeah, and it's just like going, there's like the extra step just to make sure it's properly done. And then that could be the difference from you getting booked and not booked. Sorry, you're getting not booked and getting booked. So, great tip. It actually reminds me of, I don't know if you guys did this, but back in the day when you would apply for jobs, you would send a handwritten note. And such a small amount of candidates did that, that it totally set you aside from anyone else. And it made you stand out. It's very similar in this circumstance. If you don't get the client's name right, it's, I'm sure the client would feel a bit of like it's a slap in the face. Yeah, yeah, especially if there's places where you could find the name. But yeah, you're right, you're totally right. It shows that little bit of extra care and that extra time and it can help you stand out for sure. Yeah, that's so great. Okay, last audition. Even in my early 80s, I'm still enjoying an independent lifestyle. I loved the home that I raised my children in, but I missed the sense of family. When I heard about Cedar Oasis Retirement Living, where a strong community and 24-hour support came together with million-dollar views overlooking the park, I had to see what life would be like. I had my daughter visit Cedar Oasis RetirementLiving.com to set up a consultation for the next day. Now I live with the support I need and the scenery I love. All right, I'll let you take the lead with this one, Jesse. What are your thoughts? I didn't think it was a bad read. It sounded, again, it could be that casual vibe that the client's looking for that's a little, it's not as casual as some of the reads we heard, but maybe that's kind of more what the client's looking for. The big thing for me on this one that I think would stop it from moving on is that I can hear a little bit of reverb. I can hear a little bit of room noise and the audio quality is just not quite there. And unfortunately, because this person's up against other professionals who've gotten rid of all those audio issues, I think typically a casting director would hear that and say, oh, it's not a bad read, but I can hear this. That's gonna be a lot of work on our end to try and fix. We're gonna move on to the next candidate. Wow, yeah, you mentioned that's a lot of work on their end so that they would just say it automatic, no. Yeah, audio quality, like you guys said earlier, is so important. You have to have that audio quality. If you don't, I mean, you could give the best reads, you could be the perfect voice for the job. The client could actually want you, but if there's issues with your audio, because 99% of the stuff we're doing, we have to record it on our own. So we're gonna be recording, or we have to record in our setup. And so, yeah, if the client hears issues like echo or reverb or room noise that they then have to try to eliminate on their end, and then there's 50 other people that auditioned that don't have that issue and gave perhaps similar reads. Because typically, when people audition, there's no one that is usually miles and miles ahead of the final competition. It's usually, there's the finalists and they're pretty close. And, but that room noise, that's one of those things that will totally eliminate you from the running right off the bat. And so for you, because your studio is amazing, like look at it, like what is something that you, I mean, having there, like, I don't know, like equipment that you actually use to block out that noise. Yeah, I mean, I have a booth that I'm very thankful for, that I got on a great deal and I love it. But not everyone can start out in this. When I started, I just had blankets. I had a blanket for it. It was awesome. I was like, I was 10 years old again. But I had this thick blanket for it. I had like three or four layers of blankets all around me to really absorb any of the audio waves that were gonna bounce off the wall and come back to the mic. So, and then I made sure I put my computer outside of that. I was, I didn't have my computer in there with me because it had a bit of a fan, so there was noise there. Every room, even this booth, because it has a fan that circulates the air, it has a little bit of room noise. And so finding out the editing software that you're using, finding noise cancellation, finding ways to eliminate that room noise is really important. But I honestly think one of the biggest killers is that echo, that reverb. And so padding any type of hard surface that might create that bounce where that audio wave hits the mic a microsecond after it first hit it is so important. So anything from pillows to blankets to moving blankets to foam, I had a bunch of like old couch cushion foam that I set up in my first booth too. Anything like that that can help eliminate the echo is so important. Okay, well that's great to know. And it's interesting because you've even just said like the computer, like your laptop fan, even that small amount of noise can lead you to not book the gig. So take it from Jesse, everybody listening. So jumping on that though. So what do you do if you need your laptop in the booth? If you need to have it in the booth, then you really got to find some good noise canceling filters in your editing software. There are some really good ones. There are some not so good ones. So that's, you kind of got to do some research. The nice thing about the internet is there's tons of tutorials on every piece of software on how to fix certain problems. The best way though, like so there's filters that can get rid of certain things like kind of get rid of echo and reverb can get rid of room noise. But the best way to eliminate those things is to get rid of them right from the start to not even have them there. It just saves you so much time and effort and energy. And especially when you're starting out, I coach a lot of people that they'll send me some auditions or they'll send me a file and I can hear a little bit of echo or reverb and they don't hear it yet. Their ears aren't trained, they can't hear it. And so that's where coaching can come in or somebody that you trust or if you know an audio engineer or you can send your files to them and say, hey, do you hear anything in this? Can I, you know, is there echo or reverb or room noise? Because again, you could, you know, if you don't get that figured out at the start, you could do months and months and months of auditioning and not book anything and then feel like, oh, I'm just not good enough to do this. When really you have the voice, you can give good reads but the audio quality's off, you're just not, you gotta get that fixed right at the beginning. And sometimes you just need that second ear that's just like, I can hear it and you can't. So this needs to be fixed. So that's really interesting because some people, I guess, like you said, they don't notice it but like when you reviewed it, you were like, oh, I noticed, you know, this reverb.
So that's really interesting. I didn't know that, cool. Okay, so Jesse, the time has come. We've listened to all five auditions. If you wanna know drum roll, who would you choose as the winner for this roll? Even in my early 80s, I'm still enjoying an independent lifestyle. I loved the home that I raised my children in but I missed the sense of family. When I heard about Cedar Oasis Retirement Living, where a strong community and 24 hour support came together with million dollar views overlooking the park, I had to see what life would be like. I had my daughter visit CedarOasisRetirementLiving.com to set up a consultation for the next day. Now, I live with the support I need and the scenery I love. Oh, okay, nice, congratulations. Yeah, congrats. And I know I said that the way she said the retirement living, the name sounded a little stilted but again, as a casting director, I know because of the rest of the read that she gave, I know that she's gonna be able to get that nice and smooth and more natural sounding. All right, well, what a great choice for the winner. Thank you all so much for tuning into Mission Audition. We hope this episode has really helped you learn more on how to land more work with the three cues. So, Jesse, how can talent get in touch with you? They can go to my website, jessyadamvo.com and they can connect with me there. Yeah, that would be the main place. Head to my website. I'd be happy to connect. Do any coaching with people as, answer any questions that they might have. And yeah, so jessyadamvo.com. Amazing. Well, listeners, if you wanna brush up on your skills, we have many scripts that you can practice, including today's, at voices.com slash blog. And for any additional resources from Jesse, feel free to follow him and reach out to him on socials. Thank you all for tuning in. My name is Vanessa and my amazing co-host is Tara and we're signing off. See you next time and happy auditioning. Thanks, Jesse. Thank you so much, Jesse.
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