Get A Better Broadcast, Podcast and Voice-Over Voice

2022.05.15 – 0500 – The Anchor/Reporter RapportStructureYou are a reporter and so you need to be able to succinctly communicate the distinct points that ‘make the story the story’, boiling down the issue or the scene to what’s important. If you get stuck in the weeds of detail, you could end up the creek without a paddle. What is the main story here? What are the elements that took us from where we were to where we are, what order should they logically go in, and how do you explain them to someone who may not have been following every twist and turn as you, the reporter, has?A cliched format of scripting these two-ways has the presenter asking the reporter questions such as:·        What do we know so far?·        What does today’s news mean?·        What reaction has there been?·        What happens next?But these provide answers that the host would know already – and so asking them sounds false, misleading and patronising to the audience – and inevitably, unconversational. Instead, the anchor and reporter need to have a rapport to make it sound more natural:·        “OK in this question I’ve written for you to ask me, just so you know, when you get half way through I’m going to politely interrupt you and agree with what you’re asking”. ·        Get the host to give some of the information rather than the reporter. That way they are more involved and look more knowledgeable on a story that as an anchor frankly they ‘should’ know about: “We covered the warehouse fire on the show yesterday, remind us what happened…”. No! It’s the host’s show, they were on yesterday, they remember what the story was, so rephrase the question to make it sound more natural. And if the question is natural, the answer and the voice will sound more natural too. Hosted on Acast. See acast.com/privacy for more information.

2022.05.14 – 0499 – Off-The-Page and Off-The-CuffConversationalThe best two-ways are a balance between what’s off-the-page and what’s off-the-cuff. ‘Structured improvisation’ if you like, working with the script but not word for word. Choreographed. Reading every question and answer just as it was composed at a desk makes the flow, go … and unless you and the host are great actors, may sound stilted and artificial.So usually, you can both reply in bullet points – key facts and figures. For a complicated or controversial topic (especially court cases) those can have a bit more detail in them.Incorporate some of the tricks we have already seen:·        Call each other by name, naturally·        Use phrases such as “of course” and “y’know”·        Verbally agree with each other as they talk “uh-huh”, “mmmm” and then as you start a sentence “yes, that’s right”.In such a situation, the odd stumble (that’s a small mistake, and not many of them) makes the reporter seem more human, more authentic especially at a breaking news story for example in a typhoon or outside a court room. Hosted on Acast. See acast.com/privacy for more information.

2022.05.13 – 0498 – TV Two-ways  VOICE BOXTV Two-ways A two-way is when a studio presenter on radio or t,v interviews a reporter colleague (usually one who is on location, but maybe in the studio) about a story. The reporter:·        Is not working to a script·        Has to sound fluent and confident·        Must get over the main points in a succinct and accurate way·        Should be able to cope with any question asked of them from the host·        Can react to anything that happens while they are on air. ·        Must be prepared to go ‘open ended’ – that is to talk to a certain duration (say 30 seconds or a minute) with the possibility that they are cut short (a minutes’ worth of material now has to be cut down to 15 seconds), or go long (stretching that 30 seconds prepped work to 90 seconds), or ‘go open ended’ when the anchor and reporter will talk to fill the available time until, say the start of a live news conference or the President arrives, or the verdict is announced.Much of this is easier for radio reporters as they are not on screen and so can refer to notes rather than having to reply on their wits and their memory, but it can be quite daunting.Very often the questions and answers can be scripted – and sound as though they are: stilted, awkward and obviously written and read to a format.And yet they should be:·        Conversational ·        Have a clear structure and ‘journey’ – perhaps with background, what the latest is, what it means to people with examples or case studies, reaction, what happens next Hosted on Acast. See acast.com/privacy for more information.

2022.05.12 – 0497 – The Lead In – Working ExampleSCRIPT:“I’m fed up. Another Christmas lunch on the way battling with my worn-out kitchen. Stuck drawers, crammed cupboards and simply not enough surfaces. I’m heading to Kittyhawk Kitchens. They have an in -house design and fitting team, to advise and help every step of the way to your new dream kitchen. From their house to yours, Kittyhawk Kitchens. They soar above the rest.”So faced with that script, build in the imagined prompts for you to naturally reply to:·        Are you OK? > I’m fed up.·        Why’s that? > Another Christmas lunch on the way battling with my worn-out kitchen.·        Really? What’s wrong with it? > Stuck drawers, crammed cupboards and simply not enough surfaces.·        So, what’re you gonna do? > That’s why I’m heading to Kittyhawk Kitchens.·        Why there? > They have an in -house design and fitting team, t o advise and help every step of the way to your new dream kitchen. From their house to yours, Kittyhawk Kitchens. They soar above the rest. Lead-ins give you something to organically react to, to create an authentic atmosphere, and the situation for you to deliver your first line off from. Hosted on Acast. See acast.com/privacy for more information.

2022.05.11 – 0496 – React To ActOne way to do this is a ‘lead in’ (sometimes called ‘the moment before’ technique): think first (or maybe say aloud) part of the conversation that’d take you into that first line. What was said or what happened to cause your character to make this comment? So your scripted sentence is a natural reaction. Having a ‘lead in line’, that you either record and then edit off, or simply think, helps you find the emotion in what a scriptwriter at a desk has asked you to say. The recording will be you reacting to the ‘unsaid’ comment. So you can trick yourself into getting into that conversational frame of mind and tone of voice by adlibbing the earlier part of the conversation that precedes your script,  And for subsequent parts of the script you can do the same thing: imagine someone else asking you a question to prompt you into saying a line (some people actually write these ‘question prompts’ into their script to read to themselves – but not record – to get the correct on-mic ‘voice’). It could be a word, a phrase or even a sound “Hmmmm?”. And it’s not just considering the lines that are written, or the lines that another (unwritten) character might be saying for you to react to. Your performance also comes from what that character is and has been, thinking.That way you’ll sound more authentic – as though you are actually responding to someone with a problem that you can help solve, or a question that needs to be addressed. Hosted on Acast. See acast.com/privacy for more information.

2022.05.10 – 0495 – 17 - Lead in Lines 17 - Lead in LinesBy creating the atmosphere of a conversation, it’s easier to pretend you’re in one.Most commercial copy sets up a problem, and then provides a product, brand or service as a potential solution. For example, “Want to get your laundry whiter than white?” After that you will presume that the answer will be “Yes I do, but how?” Acting is re-acting to the response that you got. You are having a conversation albeit a one-sided one. Do that and you will sound less robotic.Sometimes I like to surprise my friends by calling them up and just launching into a conversation. No preamble of “how are you?”, “have you got a moment?” or “I wanted to tell you about so and so…”. I may, as soon as they answer, simply say “You free Sunday?” or “Unbelievable!”. It throws them, because I’ve destroyed the ‘conversational expectation’. Similarly, if you start a script-read going straight into the first sentence, then mentally you are unprepared. It’s unnatural to just say “The all-new Pontiac Mercury has all-round safety buffer zones” or “Got a stubborn stain that you just can’t shift?” or “The port of Dover is closed tonight and hundreds of lorries and their drivers are queued-up through Kent…”. Logically and naturally, you need to have a reason to start saying those things, ‘permission’ if you like, from your listener, to get into the ‘zone tone’. Hosted on Acast. See acast.com/privacy for more information.

2022.05.09 – 0494 – 16 - Rhythm Nation 16 - Rhythm NationA formal script will sound ‘script perfect’. Each phrase and sentence will come with the regularity of waves on a shore, every one much like the previous one. Think perhaps of a documentary style of presentation or an announcer. It sounds like a script has been written, read, rehearsed and recorded.  But that’s not how we speak in real life. In real life our utterances have ebb and flow. We don’t really talk in sentences at all, but a series of phrases, of different lengths, with rises and falls in pitch and intonation, and yes with pauses as we search for the right word and stumbles as we correct ourselves. As though you’re discovering the thoughts as they occur to you.  Your story will have natural pacing if the thoughts and feeling in your script or story influence how you express them. Listeners should be able to hear different rhythms as the thoughts and feelings unfold. A ‘read read’ tends to be quite consistent and definite. A natural conversational read has more variety, more ebb and flow.  What are the rhythms?·        Some words and ideas should come quickly, while others - usually the important words – will take more time, more care and deliberation. As we search for the word, there’s a suspension or a stumble.·        There should be natural pauses between thoughts – after all, even though you can’t see your audience and have no verbal or facial feedback from them, it is still a dialogue and not a monologue that you are trying to achieve. And what a pause does, is that it creates a moment when they can inject their own thought, or nod or a nod or a shake of the head. Hosted on Acast. See acast.com/privacy for more information.

2022.05.08 – 0493 – Sounding Like An ExpertBe conscious of how you sound when you explain something to a friend and try and capture that feeling, mood, zone and so on to sound conversational on air.Here’s an example[1] Read the following aloud as if you are reading it to someone:“The future behaviour of America as the current lone superpower is terribly important to China not only because America can disrupt China's vision of a harmonising world by doing its own thing in the Middle East and elsewhere, but also because a recession in the American economy (caused by debt, deficits etc) would immediately have a knock-on effect on the Chinese economy.” Now read it as it is written below but·        Pause for a breath at ‘…’ ·        Intonate a word when it’s in bold·        Speak more quickly where words-are-run-together·        Slow down where a phrase has underlining "The future behaviour of *America* as the *current lone superpower* is … *terribly important to China* … not only because America can disrupt China's vision of a … harmonising world by … doing pretty-much its own thing in the-Middle-East-and-elsewhere … but also because a recession in the *American* economy would of course immediately have a knock-on effect on the *Chinese* economy.” Just by pausing and emphasising certain words and changing the pace you now sound as if you’re thinking about what you’re saying; as if you’re drawing on your vast general knowledge of China’s macroeconomic policies. You’ve also been bit sneaky and thrown in a word or two: “pretty-much” and “of course”, suggesting you’re familiar with the economic relationship between the US and China. [1] From https://www.mindofafox.com Hosted on Acast. See acast.com/privacy for more information.

2022.05.07 – 0492 – 15 - Pausing 15 - PausingPut pauses in different places - as you ‘search’ for the right word or phrase (just don’t make it too often). These may be silent, or vocalised (“errr”). I have heard (but been unable to verify) that Ira Glass the producer/presenter of the podcast “This American Life”, does not use commas or full stops/periods in his scripts … he uses ellipses. When you listen to him, he sounds as though he is talking and yet he’s actually reading … phrase to phrase to phrase. And with ellipses you can decide how long the pause should be: a beat, a pregnant pause or suspension before the final phrase…If it sounds as though you are reading an item, you are doing it wrong. You should sound as though you are telling a friend something of interest. Hosted on Acast. See acast.com/privacy for more information.

2022.05.06 – 0491 – 14 - Gestures 14 - GesturesBig gestures and facial expressions can be ‘over the top’ in a conversational presentation. Reign them back to sound more real and believable. But still keep doing some kind of gestures. ‘Talking with your hands’ will help you talk with your voice. Sitting on them will make you sound stilted. Don’t be afraid to smile or laugh where appropriate, shake your head as you read something worrying or surprising. Use ‘air quotes’ to help you lift certain words or phrases and give you the micro-beat to set it apart from the rest of the read. If you are in a voiceover booth and the script shows your character is in a bar, then lean on the edge of the desk as though that’s exactly where you are, with a drink in hand, to get your voice where it would sound in that situation.  Incorporating even minor physicality will subtly engage your voice to sound more authentic. Hosted on Acast. See acast.com/privacy for more information.

2022.05.05 – 0490 – 13 - Conversational Intonation 13 - Conversational IntonationFlattening out your intonation (but keeping it in the correct place) will, usually make your sound more conversational and move away from the ‘announcery sound’, or as though you’re on stage or to a room full of people. Look back at the section when I brought you the barbecue story and how you change your intonation and loudness levels depending on who you are talking to, how familiar you are with them, how many people there, where they are in relationship to you, and the subject matter. As we saw before, we often either going up at the end of a sentence (to indicate a question or hesitancy or an incomplete thought), or down (showing certainty and finality). But in a conversational read, your sentence inflection at the end is somewhere right in between those. It's in the middle: "It's the best floor mop on the market." Hosted on Acast. See acast.com/privacy for more information.

2022.05.04 – 0489 – 12 - Volume and projection12 - Volume and projectionA conversational read is low key, subtle, friendly, authentic and so the voice you need is one of sharing not shouting. You need to engage not enrage. It’s a ‘closer’ voice, one you use when someone is near you and when you are giving calm and reassuring help or advice. Not the voice you use from the other side of a crowded pub when you spot a ‘long lost’ schoolfriend.  Consider either taking your headphones off altogether or taking just one ‘ear’ of the headphones (that is, moving the cup from one ear slightly to nearer the back of your head). Doing this will help you hear yourself naturally rather than through the artificial construct of the microphone, and its boosted-level of every breath and mouth click, and through the headphones. You’ll be concentrating more on what you’re saying and who you are saying them too, rather than how you sound. If you hear yourself as you usually do naturally, then there’s a good chance you will talk more naturally too. (Obviously in a recording session you will need at least one ear on so you can hear directions from a producer. And in a live radio studio you need at least one ear on to hear any other source that you bring ins, such as music, or a caller…)  Let the microphone do the work. Hosted on Acast. See acast.com/privacy for more information.

2022.05.03 – 0488 – The ‘Word Merge’As we saw much earlier, stringing words together can be good because talking too precisely leads to a clunky script. Another issue is, and again we touched on this before, the ‘glottal stop’ – where the last letter of one word is the same as the next word starts with:·        You never forget your first time·        It’s often a good idea to keep pet insurance·        It’s silky smooth and soft to touch·        It’s a red danger zone·        She’s the Parks Supervisor I’m sure you can think of several more examples, where saying the words ‘properly’ would cause a mini-pause mid-flow and a clunky read. Did you spot where they were in the sentences above? I’ve underlined them for you:·        You never forget your first time·        It’s often a good idea to keep pet insurance·        It’s silk smooth and soft to touch·        It’s a red danger zone ·        She’s the Parks Supervisor If saying those sentences spontaneously, we’d naturally merge the two words together:·        You never forget your firs-time·        It’s often a good idea to kee-pet insurance·        It’s silk smooth and sof-to touch·        It’s a re-danger zone (although you may separate ‘red’ and ‘danger’ to make it clear that it’s not an ‘amber’ zone for example, as the context suggests the information is important)·        She’s the Park-Supervisor (although you may separate ‘Parks’ and Supervisor’ to make it clear that she is the supervisor of several parks – Parks’ Supervisor - rather than one – Park Supervisor.) Remember, remove some letters to keep a smooth flow, to be ‘conversationally clear’, as long as that style fits with the request, the target audience and the brand. Hosted on Acast. See acast.com/privacy for more information.

2022.05.02 – 0487 – 11 - Contractions and Elisions11 - Contractions and ElisionsEnsure you have natural conversational contractions in your delivery: “they’ll”, “couldn’t” and (if appropriate for your programme or podcast) “coz”, “wanna”. (Obviously check with a director for ‘signed off’ scripts that you can make these kinds of changes.)We saw earlier how elision makes a read sound more natural. That is, the slight running on of words into one another, with a less choppy presentation that comes with sounding, each, individual, word. In English, we often don’t say a word exactly as it is spelt, because we want to sound natural and fluent for a way to make your read conversational, ‘every-day-of-the-week’ kind of read.For instance, look back at that previous sentence:·        Not everyone pronounces the ‘t’ in “often” (and say “offen” instead).·        Hardly anyone would say “exactly” with a clear ‘t’’, but smooth it out to say “exacly”·        We are likely to say “nd” or “n” rather than “and” (how do you really say “fish and chips”? I bet it’s close to “fishnchips”? ·        “For a” is often said “frer”·        “Your” could be changed to “yer”·        “Every” is said “evry”·        “Day of” would become “day’ve”, “kind of” changes to “kind’ve” Hosted on Acast. See acast.com/privacy for more information.

2022.05.01 – 0486 – A ‘Stream Of Consciousness’Ad-libbing is a way to inject some personality into a read, to humanise it. You’re not supposed to be just releasing the words, you are meant to be like the listener, so (if allowed) make the script your own, different and interesting. In the ‘stream of consciousness’ that makes a script sound conversational, maybe:·        Chuckle - as though something just occurred to you “Pfff – remember when you were as young as your grandkids are now…?”·        Ponder – if you’re confused by something – “Eh, why is it that with more tech, the world just seems to get more complicated?”·        Laugh – “and you know what, with this medication, life feels yeahhhhh!, great again!”  Hosted on Acast. See acast.com/privacy for more information.

2022.04.30 – 0485 – 10 - Ad-libs10 - Ad-libsAd-lib around, swapping out words as you come across themIt’s acting, isn’t it? And OK, it’s a bit odd to script sentences and then ignore the structure. And so too is creating a logical argument and then creating the impression that it’s ad-libbed!When I write a script, I’m certainly doing so with an ear for it to be read aloud. But sometimes on air, the rhythm or a word seems wrong and I adlib something different, with, I hope, greater effect.We look more at ad-libbing later, but here are a few more points:·        Highlight the key points of a script and practice logically moving from one of the ideas to another without looking at each individual word. ·        Ad-libbing will help you find a natural rhythm and alternative natural phrases that you hadn’t considered when sitting at your keyboard: “Y’know”, “Let’s face it”, “As you know”, “Which kinda makes sense” and so on which you can have to hand or build in to the presentation (but beware of verbal crutches – phrases that you use too much and come to rely on instead of clear, compelling content). ·        Include additional oral ejaculations – so if talking with a co-host this may include “well…” or “that’s right…”, “now” or “so” at the start of answers, or “uh-huh” to agree with them as they are talking. Hosted on Acast. See acast.com/privacy for more information.

2022.04.29 – 0484 – Articulation In Conversationality YOUR ARTICULATION Of course, people have to understand what it is you are saying, and as we saw before, the level of articulation has to be appropriate for the message and the audience, but if you worry too much about them sounding right, then you may sound artificial rather than conversational. Robotic rather than warm. And that means that in some situations it may be possible not to have to read every single word. When you have a voiceover script you of course have to read it exactly. It’s been written, edited, redrafted, submitted, approved, timed and signed off.News scripts too will (hopefully) have been crafted for clarity, fluency and legalities.But a script for a podcast may invite a little more fluidity and you know what, you don’t have to read every word as it is written.  Hosted on Acast. See acast.com/privacy for more information.

2022.04.28 – 0483 – Eliminate Banality and FormalityObviously, the kind of words you use will differ depending on your audience – another reason why you should have your target demographic front of mind. If someone feels left out of the conversation, confused by the formal phrases or technical terms, they’ll feel left out and will turn off.Using unnecessary jargon doesn’t make you sound smart, it makes your listeners feel excluded.So, eliminate banality, formality unnatural business-speak wherever you can. You want good writing that feels real. Formal writing creates a barrier between your idea and the audience, conversational writing (surprise!) can more easily lend itself to a conversational reading.The construction of the sentence should be conversational, not just in using less-formal words, but also without clauses, which we don’t normally use when speaking ‘normally and naturally. Hosted on Acast. See acast.com/privacy for more information.

2022.04.27 – 0482 – 9 - The Form Of The Words   THE SCRIPTSpoken language doesn’t need grammar to give a meaning to the sequence of words. The grammar of the written word evolved to replace the intonation of the spoken voice, and that’s what causes problems when we try and read a sentence and make it sound natural.Spoken language doesn’t have sentences: we speak in a collection of phrases.9 - The Form Of The Words To sound conversational, use conversational language.A reason why studio script-reading is unnatural (alongside no immediate ‘facial feedback’ from the listener) is that we are usually not adlibbing our own words, inspired by the uniquenessof the moment, but instead by someone else’s words they thought at a different time and situation, and translated into grammatical sentences which are now represented by squiggles on a screen or on a piece of dried wood pulp. “Do you see what I did there? I used incomplete sentences. I said ‘kinda’. I used a simile with the words ‘really cool.’ I used the word ‘like’ in the same way I would have if I were talking to you at a bar. I said ‘really good’ instead of something print-newsy like ‘phenomenally gifted newsman’, or ‘a revolutionary voice that defied convention blah blah blah’.NPR reporter Sam Sanders[1]  If you use more of your own words where you can, writing like people talk and not writing how you think people ought to write, then you will be more conversational, and make more of a connection. [1] https://training.npr.org/2015/02/25/how-sam-sanders-is-finding-his-voice/ Hosted on Acast. See acast.com/privacy for more information.

2022.04.26 – 0481 – Conversation QuestionsTo summarise, ask yourself·        Who is this information important to?·        How can you talk to them 121?·        What are you telling them?·        Why should they listen to you?·        What are they likely doing while you’re telling them?·        What’s the point in you telling them this? If the key to the first part of this book was ‘breathing is the key thing’, then the overriding message for this part is ‘understand what you are talking about and who you’re talking to’. Your delivery is as important as the definition of the words you are saying. Only when you truly understand the significance of the script can you deliver it[1] with compelling conviction. [1] Again, the word ‘script’ or ‘story’ in this book can mean any pre-considered text such as a news story, voice over script, audio book, e-learning etc., or an adlibbed live show, in other words ‘verbal audio content’.  Hosted on Acast. See acast.com/privacy for more information.

2022.04.25 – 0480 – Focus On The Message More Than Your VoiceYou may find it useful to go further and question:·        What exactly is this product or service I’m advertising / recommending? What does it do and how? What are the benefits? How is it different from similar products or services on the market? What are the details not actually in the script so I can read it with a greater sense of understanding?·        What is the usual tone of this company’s commercials? What is their brand voice? (A casting director will consider the age of the voice they employ, their accent, their gender, and most importantly is their attitude, right? Do they have the right playfulness or energy for the product or brand or message?)  Knowing these answers will help you focus more on the message and less on your voice. Remember, if the ad features you as a father, targeting other new dads with a range of nappies, you are not selling nappies. You’re selling a clean bottom, and a happy baby and less crying and a happy household. Hosted on Acast. See acast.com/privacy for more information.

2022.04.24 – 0479 – Pitching Your Presentation Changing the words, the style, the pace and so on helps the message become more effective. Having a picture in your mind of the ‘target listener’ and their needs (a worried first-time dad, a time-poor businesswoman, a holiday-hungry teenager…), will help you pitch your presentation in a way that they will care more about the message. That ‘vocal connection’ will give you a more genuine delivery. The more you can get under their skin and work out why you want to reach them (do you want to calm, entice or excite them?), you’ll be better able to find the right ‘voice’ and style. If it’s your story then you should know what there is about it that you want to share it with your audience and inject that interest in your voice naturally. If it’s someone else’s, then work hard to find the intention in the script. Hosted on Acast. See acast.com/privacy for more information.

2022.04.23 – 0478 – The Emotion DuplicationYou need to be able to identify the different parts of the script that instil those emotions in you, so you are better able to replicate them in your voice and so connect with potential buyers:·        How will this new gadget improve someone’s life?·        What is the emotion that the copywriter wants to achieve in a listener to this car commercial?·        Why is this specific story in the bulletin, and do I understand it enough to explain its significance to my audience through my voice as well as the words…? So maybe it’s a commercial where a carpet stain (problem) can be solved by a new shampoo (resolution); an unboxing where intrigue about a new phone (problem) is satisfied by knowing what the expert thinks of it (resolution); a news story of a man crushed by a falling wall (problem) being rescued by fire crews. So, think of your tone, projection, speed, every element of scriptreading, are subtly altered depending on the developing emotional state. Hosted on Acast. See acast.com/privacy for more information.

2022.04.22 – 0477 - 8 – Know What The Desired Response Is Of That Audience 8 – Know What The Desired Response Is Of That Audience[1]So, you have the message and the person it’s being delivered to, but you also need to know the intention of what you are saying. Is the point of the message to inform them, drive them to action, amuse them, get them to sign up or buy, to change their habits, to tell someone else …? Knowing the answer to this will help you direct your voice to them in a meaningful way.Most news stories are to inform the audience as to what is going on – with others to amuse or entertain. But imagine your target listener, say a teenager, if you read them a story about an economic forecast? They may be confused, disinterested, distracted… Hmmm, not the response you want – after all the story may be of important to them even if it’s not immediately interesting. So, it’s up to you as a news writer and reader, to create that story in a way that will engage: the words and the presentation. That may be talking about the likelihood of getting a job, or a loan, or buying a first flat and so on, in a voice and style that’s similar to theirs.Commercial reads often follow a format of setting up a problem that the listener may be familiar with, and then providing a solution for it in the form of a product or service. And you need to know what to feel at each stage of that short scenario, say, frustration and then relief, or anger followed by calm, to be able to give an authentic delivery.[1] Which reminds me of the episode of Seinfeld where Kramer gets a line on a Woody Allen film, and the friends have different interpretations on how it should sound: https://www.youtube.com/watch?v=yMe7mlRv8UE Hosted on Acast. See acast.com/privacy for more information.

2022.04.21 – 0476 - 7 – Imagine Where That Audience Is Listening / What They Are Doing 7 – Imagine Where That Audience Is Listening / What They Are DoingSo now you know the kind of person the story or the script is aimed at, and why they should be interested. In a moment we’ll consider the desired response of that audience, but first let’s spend a short time thinking of where that audience is when they are listening to you – because that too will help ‘direct’ your voice appropriately. For instance, won’t you naturally change your voice if you are talking on a video that will be to a room full of people – or to one person listening on headphones? Won’t your style change if you are a presenter on a Saturday night radio show , or a late-night bedtime show? Or if your commercial is for an instore supermarket read, or one that’s on a podcast? It may be similar content – or the same content – but thinking what the listener will be doing as they hear you will help you create the best, most engaging voice for the message. It will help style it, and focus on the listener if you imagine them in a car with kids on the way to work, hearing the announcement on an airport Tannoy as they wait for their flight to be announced, or taking a shower before bedtime. Oh, err, …. It’s a small and perhaps subtle change, but even if makes an incremental difference to your style, then it’s one that will benefit your connection with the listener. Hosted on Acast. See acast.com/privacy for more information.

2022.04.20 – 0475 – The Geller Principle Radio presentation trainer Valerie Geller[1] says “there are no boring stories, only boring storytellers” and she’s right: it’s how you tell the story the images you create and the words you use… but also your voice. She says “be interested and you will be interesting”, in other words if you know what you are talking about, believe in and care about it, and want to share that knowledge, then you will become more engaging. [1] https://www.gellermedia.com/ Hosted on Acast. See acast.com/privacy for more information.

2022.04.19 – 0474 – The Information Equation Information + Presentation = Communication Successful communication is largely a matter of presentation, and that depends on how it’s written and how it’s read. A good presenter will remember that they are not reeling off information or reading from a script, but telling someone a story. Hosted on Acast. See acast.com/privacy for more information.

2022.04.18 – 0473 - The Listener's B-S Detector If you do not care, don’t know the audience, or do not understand the content - and let it show - the listener is very likely not to bother either. Their natural B-S detector will be triggered at a hundred paces. If you sound as though you are ‘reading aloud’, you’re doing it wrong. If you sound like you are talking to someone about something interesting, and ‘telling them the story’, or better still explaining something to them, you are doing it correctly. So never hesitate to query something which is uncertain. If you don’t, the chances are high that the listener, who cannot ask questions of anyone, will be left completely in the dark. Concentrate on the story, not the voice you are using to tell it. Think and care about the information you give, understand why it is important to people, why it deserves to be on air. If it was not worth reporting or reading – why are you doing it? If the story or the service is worth telling people about, it is worth telling with some interest and sense of significance. Hosted on Acast. See acast.com/privacy for more information.

2022.04.17 – 0472 - 6 – Understand The Story Or The Message 6 – Understand The Story Or The MessageOnce you know who you are talking to you need to understand the message that you are giving them. Putting them together is part of a ___ step process to engaging naturally with your voice (the tone, words, rhythm, pace, pauses etc etc). What do I mean by ‘understanding’? You have got to actually be interested in the material, and understand why others might be too. In a news situation, ask yourself: why are we running this item? What is the significance of it to the ‘target audience’? In commercial copy, you may ask: why would the listener be interested in this product or service? What si their problem that this can help solve? How will it save them time or money? How will it improve their lives? Answers to those kinds of questions will help shape how you put over the content to connect with them, with engaging, authentic audio.  The clear and present danger is that some reporters, out of deadline pressure or laziness, may put something down on paper which they don’t really understand in the hope that those who hear it will. They won’t. Some of the ability to understand the story and understand its significance, comes perhaps with a bit of life-experience: “I do think that it’s all about trust… and it’s not just age, it’s also about experience. If you’re looking at someone on television who you know has been out and perhaps seen a bit of the word and understands the horrors that man can do to man, but also can share in its triumphs as well and has seen that first hand.”Simon McCoy, news presenter/journalist, “You’re On The Air” podcast November 2020 Hosted on Acast. See acast.com/privacy for more information.

2022.04.16 – 0471 - 5 – Know Who *You* Are 5 – Know Who You AreYou need to know your role in this script-reading, what perspective you are speaking from, what gives you the ‘right’ to pass on this information or advice:·        Voice Of God – a disembodied, unnamed voice that makes announcements and pronouncements without any emotion.·        Representative – perhaps seemingly an employee or brand ambassador, talking to potential clients: look for phrases such as “call us” or “we’d like to help” and so on. (Incidentally I personally think there’s a bit of a brand disconnect when commercials feature famous voices in the role as brand ambassador. Hearing a famous actor talk as though they are a member of staff of a supermarket, bank or whatever (“Here at SuperStore ABC we have created the finest Indian cuisine…”, “call us at ABC bank where we have experts who can advise you on your pension plan…”  sounds unrealistic, disingenuous and plain daft. I know the actor is only paid to front the ad, so don’t give me the impression they work there full time…·        A friend or neighbour of the listener – “Want a new sofa in time for Christmas…?” ·        A reassuring expert such as a doctor or dentist – “I know just how painful receding gums can be…”·        And so on … If you haven’t been given a ‘character brief’ as part of your direction notes on the script, you could go one step further yourself, and think for a few seconds about your character:·        Who they are and how they know the listener – close friend and confident or passing acquaintance?·        Their name and age – to add a bit of detailWhere they are talking to them – over a garden fence, at the school gate, in an office… Hosted on Acast. See acast.com/privacy for more information.

2022.04.15 – 0470 – NPR Advice “So many of us listen to audio stories through earbuds. It becomes really intimate. One person standing really close and telling a story right to someone's ear. And this is the other key thing to remember about effective audio storytelling. This is really a one-to-one medium. It isn't about you orating to a big audience. You're not performing for a crowd when you tell an audio story, you're talking directly to one person. And that's the experience the listener has. It's you talking to them. So, talk directly to one person. Think about a friend or a mentor or someone you respect and care about. As you craft your story and think about telling the story to them and think about the language you would use to best communicate to that one person.”Tamar Charney, NPR“The Power of Digital Audio Storytelling: From Podcasts to Voice Assistants” webinar series,The Knight Centre.  Hosted on Acast. See acast.com/privacy for more information.

 2022.04.14 – 0469 - Keep yourself single  Keep yourself singleIt will be easier to talk conversationally, as though to one person, if your script reflects that hypothesis.  Radio people often talk in terms of ‘the listener’ rather than ‘the listeners’, because we speak to them on an individual basis. So it’s never ‘all our listeners’, it’s ‘you’; it’s never ‘all of you’, it’s ‘you’; it’s never ‘some of you’, it’s ‘you’; it’s never ‘everybody’, it’s ‘you’, etc. Don’t talk about ‘our listeners’, or ask if ‘anybody heard what happened . . .’ (especially not, ‘anybody out there . . .’) or refer to ‘you all’.  Like a confirmed bachelor, keep yourself single. Speaking in the plural breaks the personal connection you have with each listener. Ok there are many of them, but they are all listening alone, and saying “everyone” breaks that illusion and reminds them they are not alone. Always keep in mind the first eight letters of the word ‘personality’.  Each listener should feel as though you’re having a personal conversation with them. Include them, don’t exclude them. Hosted on Acast. See acast.com/privacy for more information.

2022.04.13 – 0468 – Intimate Audio To sound credibly intimate, and less like ‘an announcer’, you need to convince yourself that you are talking to one single person. That way each listener will fantasise that that person is them. Direct your comments to this person, and in doing so you’ll become more ‘real’; communicating on a one-to-one basis with someone that you know and with whom you feel at ease. You will feel freer to express real emotions, and so become more relatable and believable.  Radio is intimate and personal in a way that television is not. People often listen to the radio alone – in the bathroom, bedroom, kitchen or in the car and it is the skill of talking to people singly while actually speaking to an audience of thousands that the presenter has to master. ‘TV at its best is an amazing medium of pizzazz and excitement. But radio is fantastically intimate: one person a microphone and a relationship.’[1] Talking to everyone, one at a time, is something that many newcomers to radio have trouble grasping – especially those who have previously been television presenters where the style is different. You’re still broadcasting, so you would think it natural to refer to listeners as a group, a crowd. But where most TV viewers tend to watch in a group, most radio listening is done alone.  ‘In broadcasting your audience is conjectural, but it is an audience of one. Millions may be listening, but each is listening alone, or as a member of a small group, and each has (or ought to have) the feeling that you are speaking to him individually’[2] So, part of being conversational is imagining you are having a conversation with someone you know, who is interested in what you are talking with them about. [1] Roger Mosey, Head of BBC Sport, ex-Controller BBC Radio Five Live, Radio Academy event, November 2005 [2] George Orwell, author, March 1945 Hosted on Acast. See acast.com/privacy for more information.

2022.04.12 – 0467 – Talk To TeddyWhen I’m podcasting I… talk and feel like I am having a conversation with somebody, as do other people.When I started off I actually got my old teddy bear out and I sat him in front of my computer and I talked to him. It gave me a focus for my conversation, I was explaining to him. And I did find to start off with that helped me, particularly for solo episodes to come across more naturally, rather less robotically than when I was starting!Podcaster John Colley on “The Podcraft” podcast, S4/E4John had a great analogy in this podcast. He said that your voice projection and ‘attitude’ for a podcast should be the same as though you were on the phone to friend: talking one-to-one and straight in their ear (though not shouting as though hands-free in a car!). You’re just changing a tele-phone, for a micro-phone… And by using the teddy bear in the studio, John created eye contact – another useful trick to sound natural. Hosted on Acast. See acast.com/privacy for more information.

2022.04.11 – 0466 – Where Are They Listening  The next step is, in your mind’s eye, place ‘your listener’ in an appropriate location to hear your message. It’s what we do naturally when we call someone on the phone, whether it’s a colleague or a call-centre, mum or a mate: we ‘see’ them and where they are in our mind’s eye.·        The room in which they’re watching the YouTube video·        The kitchen as they listen to your radio programme·        Where they are as they do the exercising or dog-walking while hearing you on the podcast.Now you’ll be talking to one person and pitching the content conversationally, as you would a friend or neighbour, to someone who wants to engage. You’ll be better able to imagine their reaction if you see them ‘on location’, that is where they are as they consume your content. And if you put the photo the other side of the mic, at the distance at which that person would normally be standing, you will also be ‘throwing your voice’ naturally to them, which will help you with the volume on air too. Only you and the (imaginary) person you are talking to are in the studio. Not ‘the audience’, not the producer or the director or the pop filter. Hosted on Acast. See acast.com/privacy for more information.

2022.04.10 – 0465 – Your Audience Reminder That person should be:·        A specific person·        A real person – so not a character in a film·        Someone to whom you have some connection – so not a celebrity·        Not someone who might be disapproving or with whom you have a parent /child relationship – such as your actual parent! ·        Not someone who is too supportive and in whose eyes you can do no wrong – so again, maybe not a parent·        Someone you know well and respect – such as a sister, uncle, old university lecturer·        Someone who is encouraging and can give constructive feedback and who will be interested in what you are saying – like… well, that’s up to you! It’ll be a different for each of us depending on who we know and our relationship with them·        If you can’t have a real person who you know, then have a clear idea of your ‘composite listener’ But ideally it will be someone to whom the message you are giving will have some kind of resonance, someone who will find it interesting and of use. Your aunt may fit the criteria above, but it’s no good ‘talking to her’ if you’re in a voice-over booth trying to sell a new pair of sneakers. If you are lecturing to a theatre of undergrad chemists, it’s probably not helpful to picture your grandmother. If you are speaking with a board, then it may not be appropriate to picture an undergrad chemist. Hosted on Acast. See acast.com/privacy for more information.

2022.04.09 – 0464 – 4 – Talk To Them One To One 4 – Talk To Them One To OnePart of feeling comfortable is also being able to continually monitor the audience, their face, body language and voice for signs of agreement or understanding, or other emotions such as disgust, anger, humour or enthusiasm. But that’s difficult when we are in an environment such as a studio, or with a microphone pointed towards us recording every word we say. Or to a camera or to an auditorium of people. Or when the event is being recorded and there’s no live audience anyway. There is no single person who we can talk to, and we get nothing from the ‘feedback loop’ when we speak to tell us how the message is being received and whether it needs to be altered in some way.  If we are not comfortable then we are to some extent likely to be nervous and nerves cause tension which can be felt in the body and heard in the voice. Nervous tension can muddle the message. So, to be conversational, don’t talk to the microphone or think of the huge number of people listening or watching, just be yourself and imagine talking with one single person - perhaps like you’re talking on the phone to them. (After all, most people listen to audio while they are alone.) Hosted on Acast. See acast.com/privacy for more information.

2022.04.08 – 0463 – 3 - Know Who Your Audience Is  3 - Know Who Your Audience IsWhether it’s a news bulletin for a radio station, a YouTube video or a voice over, you need to know who you are talking to. We have already seen how we change our voice, tone, language, speed … everything! – when we speak to different people in our everyday life. So we need to do it with a script as well.  Your tone and style will need to change so there is no ‘relationship disconnect’: you want to sound appropriate and not be perceived as patronising or too deferential, or too unfeeling or emotional. You won’t engage your audience if you don’t know who it is. That’s from the writing (the angle, the words) to the presentation (speed, tone and so on). Over time you will become adept at adapting to different styles, formats, audiences, stations – a great skill for a freelance scriptwriter or presenter. So, it’s Ok to imagine you are talking to a friend – but not if that friend has no interest in what you are talking about. Instead imagine someone for whom the content is appropriate, who will listen and respond, react and act on the message.  Hosted on Acast. See acast.com/privacy for more information.

2022.04.07 – 0462 - 2 - Be Comfortable  2 - Be Comfortable You will sound more natural, conversational and as though talking to a friend, if you are feeling confident and comfortable, warm and relaxed. It’s easy to work your way up to the state of a ‘fairground barker’[1] announcer, but less easy to pull back, step back and sit back, relaxing into a conversational tone. (We have more on how stress affects the voice and how relaxation in your mind and body also relaxes the voice, later in the book/series.)  A lot of ‘sounding good’ is down to confidence. Part of that comes from knowing what you’re reading and being comfortable where you’re sitting. So, take every chance you can to become familiar with the script and the studio. It’ll make you sound so much more relaxed, which will be heard in a more relatable voice. Good preparation and breath control will calm you and you will hold your body more confidently and a natural smile will break out – where appropriate (you don’t want to appear like a Jack Nicholson character about to sneer “Here’s Johnny!”[2]). Relax and react naturally, and your emotions and expressions will follow suit with a relaxed and natural voice and a more conversational style. [1] https://en.wikipedia.org/wiki/Barker_(occupation) [2] "Here's Johnny", the catchphrase used by the Jack Nicholson character in the 1980 film ‘The Shining’  Hosted on Acast. See acast.com/privacy for more information.

2022.04.06 – 0461 – 1 - Study Natural Conversations In The Wild1 - Study Natural Conversations In The WildTo sound conversational, you need to give the impression that you are talking without a script. If the audience has the perception that you are reading pre-written, edited, and rehearsed words then that sheet of paper or computer screen has come between you and the message. You need to give the impression that you are talking to them unimpeded, with adlibbed fluency. If you want to replicate the sound of naturalness in your reading, then it makes sense to study that ‘nature’ in the wild. Listen to other people’s conversations, and monitor your own. How do they speak (is it in sentences?). What is their pace and use of the pause? What is their level of intonation, the rise and fall in pitch of their voice as they speak?For example, consider the naturalness of talking to a friend, live, perhaps about a great new ‘potential partner’ you just met:·        Your pitch rose when you talked about the excitement of seeing them for the first time.·        It dropped when you mentioned how you got closer for a kiss and a cuddle.·        You spoke faster over the ‘bits you don’t want to mention’ (“anyway one thing led to another and yadda-yadda-yadda…”)·        You elongated words just before describing what happened next, to build drama (“… and the next morrrr-niiiiing….!”)·        And you increased volume and pronunciation to emphasise certain facts (“it was like …. OH. MY. ACTUAL. GOD!”) If you can hear and understand what natural conversation then you will be better able to replicate it in the studio. Hosted on Acast. See acast.com/privacy for more information.

2022.04.05 – 0460 – The Keys To ConversationalityTHE KEYS TO CONVERSATIONALITY or ‘Tips To Make It Sound Like You’re Making It Up’or ‘ABCDE: A Better Conversational Delivery for Engagement’.  Hosted on Acast. See acast.com/privacy for more information.

2022.04.04 – 0459 – Does A Conversational Read Lessen Your Authority? VOICE BOXThe best reads are a combination of intonation, volume, speed, pause, pitch – all slightly dialled up or down depending on the story, the sentence, the word, the situation, the audience… But does being conversational lessen one’s authority? For example, in news reading. Presenting ‘the facts’ you are the voice of authority, the trusted conveyor of important information. But if you sound too official, your message (arguably) won’t be received as well as it might were you to have a more accessible, engaging and authentic style. There’s a balance to be struck:·        Informal formality·        Familiar but not overly·        Relaxed but not lazy·        Loose but in control “Good radio speech should be:Warm but not smarmyFriendly but not intrusive or too cosyClear, but not over-elocuted or preciseNatural but not undisciplined, authoritative but not aggressiveFluent but not unbelievableSympathetic but not patronising”BBC Local Radio Training Manual, 1987 Hosted on Acast. See acast.com/privacy for more information.

2022.04.03 – 0458 – BBC Presentation Advice ‘Be yourself. Keep your style natural, conversational, lively and engaging. Try to help the listener feel they’re part of the discussion. Address the listener in the first person — this is more intimate and encourages a sense of belonging. Use the present tense wherever possible — it gives a sense of immediacy. Five Live vocabulary should be accessible, jargon-free, simple, clear and intelligent. Be careful not to overcomplicate things and don’t be unnecessarily formal in your delivery. Try to avoid becoming too predictable or repetitive, particularly at regular junctions. It’s easy to get into habits such as repeating the same expressions e.g.: “to be fair”, “you know”, “I have to say”, “I mean” or starting your programme, strand or bulletin with exactly the same phrase every day.1BBC Radio Five Live Style Guide Hosted on Acast. See acast.com/privacy for more information.

2022.04.02 – 0457 – Don’t Be A Micro-Phoney Radio presenters talk to millions of listeners, one at a time and yet the best ones still sound natural. But some new (and young) presenters hide behind an artificial ‘radio persona’ of what they think a presenter ‘should’ sound like. They sound ‘micro-phoney’.  In the following pages/podcasts, learn how to read aloud and sound as though you are not reading, but talking, as though the words are just coming to you spontaneously: Levels 2 and 3 of the guide above. You will learn how to tap into your own natural sound (albeit enhanced with the advice you have heard so far), rather than emulating another broadcaster or celebrity. You will sound truthful, simple and authentic: conversationality without compromising credibility. You will sound relaxed and in control, and the show or script will be an easy listen for your listeners. Hosted on Acast. See acast.com/privacy for more information.

2022.04.01 – 0456 – The ‘Level 1’ Read Level 1Style: A very loose style, more ‘street speak’ perhaps. The style may be almost ‘throwaway’. Further contractions in the script, and the ‘slurring’ of words (not in a drunk style, but meaning looser articulation). The pace may be quite fast, or changeable, the projection might be more, the voice having a variety of tone and life, possibly with some up-tone at the end of sentences, and maybe some other vocalisation such as a chuckle, a sigh, or a stammer. If level 2 is ‘family’, this is ‘two mates with a beer’ or ‘BFFs with a bottle of wine’. It’s certainly not a ‘hard sell’. Brand: Like the other extreme Level this is rarely used, but can be heard in such areas as video games and animations, but unlikely to be heard on air. Level 0Completely flat. No intonation or speed or life. Robotic, Flat and AI-like. Hosted on Acast. See acast.com/privacy for more information.

2022.03.31 – 0455 – The ‘Level 2’ Read Level 2 - ConversationalStyle: More ‘articulate’ than 1 (below), but not too much more. It’s still a conversational ‘speak’, casual but more ‘chilled’ than ‘street’. Even though you need to sound like you’re having a conversation, you still have to read the actual scripted words, and that’s quite a feat.You may, if the director allows, be allowed to play with pace and pause and include some authentic adlibs, an appropriate sigh, chuckle or a laugh. This voice is friendly and ‘young family’ but without being lazy and sloppy.As I said above “a style that’s more personal and trustworthy. It’s more understated, heartfelt, real and credible. In fact, the kind of way you’d talk to a friend offering insight, experience and suggesting advice, rather than a ‘hard sell’.” It feels unplanned and more spontaneous.It may also be a slower read to better connect the listener with the content, giving them time to absorb the message.Level 2 and 3 are where most people talk most of the time. To the listener you will sound ‘someone like me’. The scripted words reflect how they are used by most people, and read in a way to engage a specific demographic: ‘real people’ talking to ‘real people’ with a sentence structure to closely resemble the rhythms of natural conversation. Brand: Levels, 2,3 and 4 are the styles mainly used in explainer videos, e-learning and commercials: perhaps to people who have sought out the information and are already interested. Think everyday items such as mobile phones, pizza restaurants and washing powder. It’s often called ‘peer to peer’ read, because you sound like someone to whom you’re talking, someone who’ll buy the product or service. There’s a bit more emotion and less logic. It’s less directive and more subjective.  Hosted on Acast. See acast.com/privacy for more information.

2022.03.30 – 0454 – The ‘Level 3’ Read Level 3Style: The style relaxes further, with a bit more character in the voice. In some situations, this may mean less projection, less pace, with a touch of ‘sell’ and a few conversational and casual contractions in the text. Becoming more authentic, relatable and believable. Brand: Conversational e-learning and commercials for businesses in, say, the finance and medical fields, not targeted at traders and medics, but the users of the services, ‘real people’. These are serious businesses but your voice style needs to reassure the customer. Hosted on Acast. See acast.com/privacy for more information.

2022.03.29 – 0453 – The ‘Level 4’ Read Level 4Style: Serious, focused and formal; less ‘heavy’ and ‘polished’ than Level 5, and certainly warmer, but still reasonable slow, dry and articulate. At this Level and Level 3 below, your presentation style is to give trusted information to a broad market,  Brand: Perhaps for a corporate HR statement on a serious protocol such as health and safety, or a medical or ethical narration, training programs, e-learning or instructional videos or audio. On-air work may be a heart-rending appeal for charity donations: serious, but with a warm and sensitive edge and a touch of business-like formality. The voice is lower-key than previously and still ‘speaking on behalf of’ the brand.These scripts require you to be a confident, skilled reader. You’re delivering information that the listener needs to understand.   Hosted on Acast. See acast.com/privacy for more information.

2022.03.28 – 0452 – The ‘Level 5’ Read Level 5 Style: Clear and paced diction, shorter sentences (or even ‘statements’), and quite directive. There’s a still a heightened performance, it’s energised, direct, animated and salesy. Slick and polished. Brand: Less common nowadays for many companies, products and services but still used for presentations where luxury or class is being suggested – although in these situations although the delivery may be clipped and formal it will carry less volume and speed. Think premium service hotels, high end holidays, luxury cars, sophisticated restaurants and expensive jewellery, where the voice may be on a corporate video, commercial or telephone greeting. The language may still be formal: “our operatives are busy just at this moment in time, we request that you redial again at your convenience”. Hosted on Acast. See acast.com/privacy for more information.

2022.03.27 – 0451 – “Can You Dial It Down A Bit?” And in doing so, if a director says “Hmm, you may wanna dial that down a bit”, you’ll be more aware of what it is that you need to dial down on, to give them the read that they need.  VOICE BOX(The list is subjective and not definitive.) Level 6 – Announcer[1] readsStyle: Loud and fast, this presenter almost shouts at the audience with energy and emotion. They are ‘in your face’ and designed to be clear and directive – although they may also turn off the audience and are pretty rare. Clichéd and cheesy, like a circus ringmaster “Ladies, gentlemen and children! Roll up, roll up!”. They are often written in a very stylised way, with irregular words and syntax[2]. Short, sharp sentences, with a high volume and high speed. Brand: Think of car salesroom adverts (and others[3]) on local TV in the US[4], gospel preachers on religious TV channels or the UK’s own Cillit Bang adverts[5]. Often used for ‘what you see is what you get’ adverts, shouting about money-saving deals, simplistic solutions, and basic brands. Basic brands? Yep. Because it sounds cheap and in your face. They were often used to announce variety-type TV shows and the style just stuck, until it became a parody of itself. Such ‘reads’ target a very broad demographic and tries to capture attention. [1] Enunciatory - https://wordsmith.org/words/enunciatory.html [2] The arrangement of words and phrases to create well-formed sentences in a language.[3] https://www.youtube.com/watch?v=xTlI634j_hk [4] Such as in these spoofs: https://www.youtube.com/watch?v=UKT4BOtpHOw and https://www.youtube.com/watch?v=zqHZWdFVyyQ [5] https://www.youtube.com/watch?v=t5ycJrJNMMo Hosted on Acast. See acast.com/privacy for more information.