Welcome to Resnick Interactive’s Spotlight Series. Twice a week, we take a little peek into the most pressing topics in today’s voice over industry. From services, to products, to the latest happenings, we’re revealing trade secrets and bringing you all the latest information. This week, we shine the spotlight on the role of the writer on a production.
Sometimes the writers– or at least the head writer/s– are in the room during voice over production, but most of the time, they are not. Their role in the process wrapped up long ago. Sometimes, they’re not even in the country in the case of shows that have been imported and translated.
But if the writer has truly done their job, we won’t need them in the room for the voice over production.
The difference between good writing and bad writing is very clear in the sound booth. Not all writing is meant to be read out loud, but ALL the writing for voice over is. Scripts for animation and video games should never lose sight that lines are meant to be read out loud by actors. Good writing is easy to say, makes sense the first time through, and doesn’t have actors tripping over their lines. Basically… iit flows.
As much fun as it is for us to have to rewrite lines in the booth, it’s probably better when we don’t have to.
