12
Multiples and Dialogue
In This Chapter
You’ll find more scripts at AOVA.VoiceActing.com.
Types of Dialogue Copy
The Conversation
As with single-voice copy, dialogue copy involves a conversation between two or more characters. The primary difference with dialogue copy is that your one-person audience is present in the script.
Unlike most single-voice copy, dialogue usually involves a story with a specific plotline and interaction between two or more characters. It is important for you to understand the whole story, not just your part in it. If you limit your understanding to just your role, you may miss subtle details that are vital to effectively interacting with the other characters, or for creating the dramatic tension that is so necessary for giving the characters life and making them real to the listener. When two or more characters are having a conversation, I refer to it as interactive or conversational dialogue. When the characters are not in conversation, but are simply alternating lines, I refer to that as shared information dialogue.
The primary format for dialogue is conversational dialogue in which the characters interact with each other as the story is told. A less-used form of dialogue is what I call interactive dialogue, in which the characters are not talking to each other, but are instead speaking directly to the audience in turn. A conversation is still taking place, but in this case, it is more one-sided with each actor sharing a portion of the overall delivery.
All dialogue requires excellent listening, timing and performing skills. Interactions between characters must be believable and timing must be correct for a dialogue performance to be accepted by the listener.
Comedy
Comedy is a very popular form of dialogue copy. It is not the words on the page that make a script funny; it is the intention behind the words. In part, comedy is based on the unexpected—leading the audience in one direction and then suddenly changing direction and ending up someplace else. Comedy is often based on overstating the obvious or placing a totally serious character in a ludicrous situation. Comedy can also be achieved by creating a sense of discomfort in the mind of the audience.
Think of a comedy script as a slice of life—with a twist. Playing lines for laughs will never work. Laughs come only when the intention is authentic and the audience is surprised.
Rhythm and timing are essential with dialogue. A natural interaction between characters, overlapping lines, or stepping on lines, gives a more real feeling and helps set the rhythm and pace of the story. Pauses (where appropriate), and natural vocal embellishments can add naturalness and believability.
Ask the producer or director before taking too many liberties with any copy; this is especially true with comedy dialogue. If the producer understands comedy, you may be given the freedom to experiment with your character and how you deliver your lines. Ultimately, your character should have precedence over the copy and certain ad-libs or other adaptations may be necessary to create the illusion of reality. Say your lines in a natural, conversational way, appropriate to the situation, and the comedy will happen.
To be effective, comedy dialogue must have a sense of reality, even if the situation is ludicrous and the characters are exaggerated.
The Inevitible Ellipsis
Back in Chapter 6 (“Developing Style”) I explained how the ellipsis is used in the context of a script. Those three dots “ … ” are often used to represent a pause or a beat in the delivery. But in dialogue they can take on an entirely different meaning.
In dialogue, you’ll frequently see the ellipsis at the end of one character’s line before the thought is complete, then the next line is a comment, response, or interjection by another character. Then the next line begins with the ellipsis as the first character completes her thought. The ellipsis is effectively a scripted notation for the first actor to allow for a beat in their delivery long enough for the second actor to speak the interjection. The timing for this has to be right in order for the dialogue sequence to sound real.
If you have a line written like this, and the ellipsis is, indeed, breaking a thought or separating a sentence to allow for an interjection, you cannot wait for the second actor to say their short line. Simply leave a short beat or take a breath to allow for their line and keep going with your next line.
The same is true if you’re the actor speaking the interjection. You need to deliver your line as though it was a spontaneous thought. When delivered correctly, the dialogue will sound completely real.
We do this all the time in our everyday lives. The challenge is that, with a dialogue script, we’re now dealing with taking a conversation off a piece of paper and attempting to make it real.
Tips for Performing Comedic Dialogue Copy
- Be real. Keep your character spontaneous and natural. Use a back story or lead-in line to help get into the moment.
- Find the dialogue rhythm. The rhythm for a comedic script will be different from that of a serious script.
- Humanize your character by adding natural sounds, such as “uhh,” “yeah,” “uh-huh,” “mmm,” etc. These sounds help give the feeling of a real, natural conversation. Ask before making copy changes.
- Find the subtext—what’s going on behind the words. This is especially important with dialogue. If your character is that of a normal person in a ludicrous situation, you need to have a subtext of normalcy. If your thoughts anticipate the punch line, it will be communicated through your performance.
- Stay in the moment, listen and answer. Respond authentically to the other characters or situations that occur, expecting a response.
Dialogue and Multiple-Voice Scripts
As you work with the scripts in this chapter, you might find it interesting to read through the script before reading the copy notes. Come up with your interpretation for attitude, pacing, character, and performance, and then read through the notes to see how close you came to what the producers of these projects intended. You’ll find more scripts and associated recordings at AOVA.VoiceActing.com.
Carolina Homes Magazine - Craig Powers, VoiceActing Studios
Title/Media: “Celebration” Radio:60
Target Audience: 25-40 Home buyers
Style: Conversational. Husband and wife celebrating something.
Talent: 2-Male / 1-Female
Copy Notes: This is a quick moving conversation with a sense of excitement. The characters should not be over the top but should be believable.
SFX: (Champaign cork popping)
Stella: Champaign? What are we celebrating, honey? Did you close that big deal?
Henry: Better! Carolina Homes Magazine is now available by subscription!
Stella: (not hearing Henry) You got a raise?
Henry: (more deliberate) Listen to me… it has nothing to do with work. We can now subscribe to Carolina Homes Magazine. No more searching all over to find a copy.
Stella: (condescending) Honey, we’ve been reading Carolina Homes magazine for years… It’s not new. It’s the one with info on area architects, community maps, real estate, decorating ideas… You know, it really helped us when we were looking for our beach house—remember?
Henry: (excited) Yeah! And now we can have a free subscription and get it delivered every month to our beautiful seaside doorstep.
Stella: That would be nice. I love reading the articles. But, honey…
Henry: Uh, huh.
Stella: You did get a raise, didn’t you?
Annc: Carolina Homes Magazine is now available with a free subscription. Go to Carolina Homes dot com to start your subscription today. Get the information you need to find your 2nd home, seaside mansion, or very first home. Carolina Homes dot com.
Bob's Remodeling - Writer: James Alburger, VoiceActing Studios
Title/Media: “Neighbor” Radio:60
Target Audience: Home remodeling
Style: Conversational
Talent: 1-Male / 1-Female or 2-Male
Copy Notes: This is a very fast-moving conversation. The characters should not be over the top, but should be believable.
SFX: (Sound of hammering)
M 1or F1: Uh… what’re you doing there?
Man 2: Hi! I’m remodeling my kitchen. Looks great doesn’t it? Who are you?
M1 or F1: Well, no, honestly, it looks pretty patched together. Those countertops and sink… never hold up. And where are you going to put the refrigerator?
Man 2: Excuuuuse me! Aren’t we judgmental? The refrigerator will go right… right… Uh-oh… Hey, who are you?
M1 or F1: I’m your condo neighbor from next door and this kitchen is really my kitchen. When did you cut through the wall?
Man 2: What? No! I couldn’t have… Oh, um, it seems I did. Oops. Sorry. Now what do I do?
M1 or F1: Call Bob’s Remodeling. You can get a team of expert craftsmen in here to plan and remodel this kitchen, making it first class.
Man 2: What about my kitchen?
M1 or F1: They can remodel your kitchen too. After they do mine. They have all the best materials available, so you have a lot of choices.
Man 2: And bathrooms? Did you say Bobs Remodeling does bathrooms?
M2 or F1: Yeah... they’re great with bathr… Oh, no! You haven’t started remodeling “your” bathroom, have you?
TAG: Need a new kitchen or bath? Bob’s Remodeling dot com.
Ferocious Media - Writer: Lisa Orkin, Radio-Ranch.com
Title/Media: “Lion Tamer” Radio:60
Target Audience: Small business
Style: Conversational
Talent: 1-Male / 1-Female / 1-Annc
Copy Notes: Boss clueless. Miss Flaps worried. Annc matter-of -fact.
SFX: (Intercom buzzer)
Boss: What is it Miss Flaps?
Miss Flaps: Sir, there’s a lion in the break room.
Boss: Excuse me?
Miss Flaps: Sir, a lion in the breakroom!
Boss: A lion!
SFX: (lion roar continues in BG)
Miss Flaps: From the jungle.
Boss: A lion!
Miss Flaps: Golden fur… big teeth…
SFX: (glass breaks)
Boss: Where did it come from?
Miss Flaps: I think our competition sent it over.
Boss: (un-phased) Um Hmmm.
Annc: (serious) This is an actual dramatization from Ferocious Media to prove that if you don’t get a handle on your digital media your competition will eat you for lunch.
SFX: (lion roar, scream)
Boss: A real lion?
Miss Flaps: (concerned) The lion just ate Connors from accounting and it’s sitting on Mrs. Weindot’s desk, and I don’t see her.
Annc: Ferocious Media. Our local staff is standing by to help you get noticed by helping small businesses use the Internet to find, track and capture customers.
SFX: (crash)
Miss Flaps: The lion just ate the new IT guy.
Boss: Great. No email.
SFX: (big roar, more screaming)
Boss: Miss Flaps? Do you have email?
Annc: Ferocious media dot com. We’re here. We’re local. And we’re ready to help.
Tiger Balm - Writer: Lisa Orkin, Radio-Ranch.com
Title/Media: “Bath Tub” Radio:60
Target Audience: People who exercise or have minor pain
Style: Conversational
Talent: 1-Male / 1-Female / 1-Annc
Copy Notes: Rapid-fire conversation with slightly overlapping lines.
SFX: (water lapping lightly)
Secretary: Sir, I’m a little uncomfortable with the way we’ve been having our Monday morning meetings.
Boss: A little uncomfortable?
Secretary: Well, extremely uncomfortable with meeting in your bathroom sir while you’re in the tub.
Boss: Well, I’m wearing a tie!
Secretary: I can see that, sir.
Boss: Well, over the weekends I play ball with the kids, do yard work and play tennis, so by Monday, my muscles are very sore. Spending all day in a hot tub is the only thing that helps.
Secretary: Have you tried…
Boss: Wrapping myself in cabbage leaves? Yes, I have.
Secretary: Actually, sir, I was thinking of Tiger Balm pain relieving patches.
Boss: Tiger balm. A little jar with the tiger on it?
Secretary: Yeah, right. Tiger Balm. It’s been around for about a hundred years.
Boss: Jinkies!
Secretary: And now Tiger Balm comes in these neat pain relief patches.
Boss: Um. Could you hand me that duck, there.
Secretary: You just stick the patch on where it hurts. Same tiger on the package.
Boss: Uh huh.
Secretary: And Tiger Balm’s pain relief patches are very fast acting and long lasting, so we wouldn’t have to meet in your bathroom every Monday.
Boss: And I’d be less pruney and your report wouldn’t be in the microwave.
Secretary: What?
Boss: I dropped your report in the tub, so I put it in the dryer but it caught fire so my wife doused it with water and put it in the microwave. Let me just go grab it.
Secretary: No, no! Don’t get up, sir.
Boss: Whoops, sorry. Sitting back down.
Annc: Long lasting, fast acting, pain relieving Tiger Balm patch. Works where it hurts.
IRA Store - Writer: Lisa Orkin, Radio-Ranch.com
Title/Media: “Yak” Radio:60
Target Audience: Investors, retirement
Style: Conversational
Talent: 2-Male / 1-Annc
Copy Notes: Rapid-fire conversation with slightly overlapping lines.
Man: Go ahead, pet him.
Stan: I don’t want to pet him.
Man: He’s very friendly.
Stan: He stinks!
SFX: (Yak snort)
Man: Stan, Yaks are very sensitive.
Stan: They’re also very big.
Man: 1200 pounds.
Stan: And a backyard in Tinley Park is no place for them…
Man: Stan, these babies are my retirement next egg. (pats his Yak)
Stan: What?
Man: When I left my last job, I didn’t know what to do with the money in my 401K.
Stan: Yeah?
Man: Then my uncle told me about Yaks. (pats his Yak) Great investment. Have you ever eaten Yak cheese? Like swiss…
Stan: Why didn’t you call the I R A store?
Man: Do they specialize in animal cheeses?
Stan: Noooo. The I-R-A store specializes in helping people who leave their job for whatever reason, maximize the value of the golden egg they already own.
Man: Yaks don’t lay eggs, but you can use their hair for ropes and burn their dung for energy.
Stan: The I R A store reviews short term and long term objectives and helps determine what’s best for you. At no cost to you!
Man: No cost.
Stan: Yeah.
Man: Wow. If you knew what I was spending a day on Yak kibble… I’ve grown fond of my little nest eggs.
Stan: Yeah? Well it looks like most of your nest eggs have escaped and are running toward La Grange road.
Man: Oh, no! Twila… Abbey… come back.
Stan: Ahhh.
Annc: Keep your golden egg golden. Call the I-R-A store 866-964-IRAS. That’s 866-964-IRAS. Securities offered through MTL Equity Products, Inc.
Rochester Help Wanted - Writer: Lisa Orkin, Radio-Ranch.com
Title/Media: “Naked Dream” Radio:60
Target Audience: Job seekers
Style: Conversational
Talent: 2-Female
Copy Notes: Rapid-fire conversation with tight repartee.
SFX: (phone rings) Women 1: Wow... it's so cold in the office today.
Women 2: Probably because you're naked.
Women 1: I'm naked?
Women 2: You're naked.
Women 1: I'm naked?
Women 2: As a Jaybird.
Women 1: (gasps)
Women 2: It's OK. You're just having a stress dream about work.
Women 1: This is a nightmare!
Women 2: Um hmm. You feeling kinda trapped in the wrong job?
Women 1: That's true!
Women 2: I know. I know. But there's help. You hear it every day on the radio.
Women 1: I do?
Women 2: Rochester Help Wanted dot com.
Women 1: Oh... right! With hundreds of local jobs to choose from; medical, restaurant, IT, accounting...
Both: ...drivers, retail...
Women 2: Hey, you search by keyword and categories. You can find the perfect job for you.
Women 1: I can?
Women 2: And you can post your resume in minutes... for free.
Women 1: Who are you?
Women 2: Your subconscious.
Women 1: You look like Mrs. Shiroobidooby in accounting.
Women 2: You know, I get that a lot.
WOmen 1: So, I'm not standing naked at the office?
Women 2: Oh, you are standing naked...
Women 1: What?
Women 2: ... but you're in your front yard.
Women 1: Oh, but I'm dreaming still.
Women 2: No.
Women 1: Huh???
Women 2: Say hi to the Wilsons next door.
Womwn 1: Hi!
Women 2: Rochester Help Wanted dot com.
Women 1: Can I borrow a bath robe?
Womwen 2: Long name - amazing results.