This month’s Q&A is with voice actor Louise Porter. We connected while she was narrating the audiobook of my novel, Everything in Between.

I gained a new appreciation for the work of voice actors who help bring to life the characters in books, cartoons, and video games. I enjoyed comparing how my characters sound in my head with how they sound when voiced by someone

else. I marveled at her ability to capture the subtle nuances of conversations, the emotions of the characters, and their personal quirks.

Voice actors are everywhere. We hear their voice overs for many of the commercials on television or radio. They narrate documentaries and instructional videos.

You may have heard Louise’s voice on an audiobook, commercial, or video game,

Public Service Announcement, or a pre-recorded tour through real estate listings,

museums, or famous buildings.

I’ve included links to websites with samples of her work and her contact information at the end of the Q&A. I think you’ll recognize her voice. It’s a voice you’re going to be hearing a lot.

British born Louise Porter was raised in Canada. Currently, she lives in Vancouver,

British Columbia, Canada. She attended the Ontario College of Art and Design

University (OCAD University), the Center for Actors’ Study of Toronto (C.A.S.T.), and

the Equity Showcase Theater for acting, and received a certificate for voiceover technique, marketing, and engineering from the Voiceover School, as well as having studied with many incredible voice over coaches.

With over thirty years of live theatre experience, script analysis, and character development, she understands the importance of subtle nuances of vocal inflection in storytelling or conversations.

She has graciously agreed to answer questions about her work. Thanks, Louise!

1. What made you want to be an actor?

This is such a great question, and has a really long answer, but I’ll try to keep it brief! I’ve always had a vivid imagination and been a chronic daydreamer. Immersing myself in stories and characters came naturally to me from as early as I can remember. But I actually wanted to be a veterinarian. It wasn’t until some friends in high school convinced me I should audition for the school play, and I won the lead, that I got hooked. That play (Rabbit by David Foxton) went on to a large regional festival where I was also awarded best actress. The stage is such a special place, and plays and the cast and crews and everything involved I’ve always found absolutely magical.

2. How did you get involved in voice acting? When did you realize you had a talent for accents?

I remember when I was a kid recording radio songs from the radio onto my tape deck, and then recording my own DJ intros, and spoof commercials. But I never actually clued in that it could be a job or a career. Many years ago I took a workshop for voice acting and vowed that I would give it a go, but it wasn’t until I started dating my now partner (an audio engineer) that I finally decided to really give it a go with everything I had. He really encouraged me after seeing my theatre work and hearing all the silly voices and accents I do. The accent thing… I think I get that from my dad. He’s great at it. We’d imitate accents all the time when I was a kid.

3. Do you have a favorite accent in your arsenal? Why or why not?

Yes! Scouse. For those who aren’t familiar, that’s the accent/dialect spoken in Liverpool, England. When I was little my folks loved the film ‘Shirley Valentine’ and my dad would recite his favourite lines in the Scouse accent, and I’d chime in. That became regular banter between the two of us and is to this day. Like so many accents in the UK, it’s really unique with its own sounds, rhythms, and melody, informed by the city’s location and rich, mostly working-class, history. A few years ago I had the opportunity to actually play Shirley Valentine in the original play version, which is actually a one woman show. That was a dream come true.

4. I especially liked the accent you used for a minor character in Everything in Between (Kathy Greyson from the teacher’s union). How do you decide what type (if any) accent characters in a novel should have? How do you keep track of multiple characters’ accents while narrating an audiobook?

I try not to overcomplicate it. If the author has no specifications regarding the way a character speaks, I will generally keep things fairly neutral for all the main characters, with slight variances between them. For minor characters I might add a little more flavour depending on how they feel to me. And sometimes it just comes down to too many people in a scene, or the whole book, with similar voices, so I’ll choose something completely different for one minor character (such was the case with Kathy Greyson) but that would still be realistic, and not distracting. You have to balance creating different enough characters, so the listener knows who is speaking, and so it is interesting, without it being a distraction, or pulling them out of the story. With good writing, characters’ voices will come fairly naturally, and a first rule of thumb in acting is to respect the playwright or author. You’re not reinventing the wheel! In terms of keeping track, if there are a crazy amount of characters I’ll create an audio file for each. But that rarely happens. Mostly I just jot down a few notes that would only make sense to me, and the rest is just knowing who they are. They become like friends or people in your life, for a while. I just remember what they sound like, look like, their mannerisms, etc. Slight physicalities while narrating will add nuance to voices that you wouldn’t find any other way. So I might jot down “hand in pocket, slouched.” and that takes me the rest of the way to the voice.

5. If you could voice any cartoon/animated character for one episode who would you choose? Why?

I’ve actually never thought about it! I was once asked if I could do a decent Peggy Hill (from King of the Hill) for a fan-dub, and I guess I kind of nailed it. So that would be a fun one! And such a hilarious show.

6. When you are narrating an audiobook, how long can you typically work without taking a break? How do you keep from straining your voice?

In terms of the actual narration, I try to limit it to one-hour blocks, max twice a day. But I’m mostly self-directed, so I get to make that decision. Vocal health is a big consideration. I try to stay hydrated and also use voice, breath, and mic technique to prevent vocal strain. I’ve also trained with the incredible D’Arcy Smith in Vocal Combat Technique which has been hugely helpful, especially in long video game sessions that are live directed. Whilst I’m engaged in an audiobook contract I’m still running my voice over business, and all its other cogs need to keep turning. This includes voicing other short form projects for both regular and new clients, auditioning, and doing all the unglamorous stuff that comes along with being a solopreneur. And because I’m also doing all of my own postproduction (audio editing, mastering, proofing etc.), that takes up quite a bit of the time involved in creating the final audiobook, so it’s like a built-in break from the actual narration.

7. Your website lists the equipment you use to record your work. Like me, many of our readers aren’t familiar with sound engineering. What are the most important criteria for selecting recording equipment?

Thanks for reminding me… I think I need to update that actually! Contrary to popular belief, the quality of your equipment isn’t nearly as important as having a professionally treated studio. The acoustic environment can make the most expensive equipment sound terrible if done incorrectly, and a really well-treated room can make some lower end equipment sound great. Having said that, there are specific types of microphones that you want to steer clear of if you want a professional sound. The best advice I could give is, if you are starting out, don’t invest in any equipment at all. Invest in some coaching and classes from reputable working professionals to see if this is something you really want to pursue, and at which you might actually succeed. Plenty of people break the bank and get all excited about their new equipment and studio only to sell it a year or so later when they realize how competitive the industry really is.

8. How involved were you with the creation of your studio?

100%. My partner had a lot of knowledge from his experience in the music industry, and there is a lot of cross-over there. So I did as much research as possible in those early days with regards to the specifics of expectations in the voice over industry specifically, and we kept tweaking and revising over and over again until we got it right. There was a lot of trial and error, but you learn so much that way, so it became a really rewarding (albeit frustrating at times) experience.

9. How do you use vocal inflection to engage your audience? During a voice over? Narrating an audiobook?

I think being a trained and experienced actor, I don’t necessarily give the minutiae that much thought. You need to be engaged in the content, and understand it, to have any hope of anyone else being engaged and understanding what you are saying. The trick I guess is to become truly invested in it, and eventually it all comes together. If you are worrying about how you sound, you are kind of dead in the water. Self-consciousness is the enemy of art.

10. How do you approach narrating a work of non-fiction as opposed to a work of fiction?

Essentially exactly the same way. Understanding the material, and investing in it. The difference being with fiction you are taking on actual characters within the story. In terms of overall tone, which will differ from genre to genre, but once again a good writer gives so many clues in the writing, usually just from an opening sentence (your book ‘Everything In Between’ sets the tone right off the hop). Now, there are instances where I do not understand certain material, like overly complex medical narration, or non-fiction topics that are far beyond my grasp. In those cases, you rely on your training to SOUND like you understand and are invested. A great teacher, Kurt Reis (founder of C.A.S.T.) once told me “I can’t teach you how to act. What I can do is to give you tools that you may draw upon should inspiration fail. And it will from time to time.”

11. How challenging is it to be the voice of a video game character? Do you play video games to help prepare for the role?

I wouldn’t say it’s challenging in terms of finding the character or their voice… I think the challenges generally come from longer, more demanding recording sessions! I do not play video games; however most clients will provide references with the copy/sides. And I’ll sometimes hop on Steam or YouTube to watch actual game plays to give me ideas or a better feel for a particular genre.

12. How do you mentally prepare for a recording session?

I make sure I’m physically prepared, meaning, if it’s a live directed session from home, making sure everything is working, testing things like Source Connect before the session starts, being hydrated, shaking out the cobwebs and trying to stay relaxed as much as possible. I have terrible stage fright, but luckily it has never reared its ugly head in the recording studio. And then of course familiarizing myself with the script and specs, and any references they may have sent along.

13. You stated on your website that your ability/willingness to listen to your clients’ wants/needs is one of the most important skills you bring to any project. Why is that so important?

Because it’s their project, and the voice over is generally the final cog in a massive production wheel. A lot of actors make the mistake of getting artistically precious about certain work, and sure, I get it. You’ve trained, you’ve got all these years of experience, you definitely are the pro in the room at what you are doing. But the most important thing beyond all of that is directability. You need to be open to giving them exactly what they are asking for, and let go of what you may have preconceived. You CAN actually over-prepare, believe it or not. Do your homework, absolutely, but stay open so the creative juices can flow when you are suddenly asked to pivot, or when last minute script changes happen on the fly. What they will remember most will be how easy you were to work with, and how you made them feel. That ultimately is what will keep you working in a very tough and competitive industry.

14. If you are working on a lengthy project, does it stay with you during your off hours? How do you turn off the voices in your head?

I think so… but it doesn’t bother me. I’m constantly watching and listening to relevant content, or things to inspire me, whether with a current project, or just ideas for down the road. Why would I want to turn off the voices? They spark my imagination and keep me curious.

15. Do you have any upcoming projects you can tell us about?

A couple of the bigger upcoming projects I have to wait to announce, one which I recorded last week, and another I recorded over a year ago that I’m still under NDA for… those will be fun to announce when I’m finally allowed to! So I’ll instead point you to a big project for Patagonia I was involved in earlier this year that I’m super proud to be a part of, that is now making the rounds at film festivals. The filmmakers wanted a ‘Cunk on Earth’ type of narration vibe. Being a huge Diane Morgan fan myself, I was thrilled when they asked me. It’s a mockumentary-style documentary film about the socio-economic impacts of fast fashion called The Shitthropocene: