Top 5 Problems New and Inexperienced Directors Face When Ordering Narration

Introduction

In video production, ordering narration is often underestimated as “just sending a script and asking someone to read it.” In reality, however, it involves many decisions: tone, target audience, running time, recording method, and revision handling. For new graduates and inexperienced directors, it can be an especially stressful process because it is not always clear what must be decided before reaching out.

In this article, I’ll break down the top five problems that new and inexperienced directors commonly face when ordering narration, and explain practical ways to handle each one. If you are about to brief a narrator for the first time or want smoother communication with voice talent and agencies, this guide is for you.

No. 5: Not Knowing Whom to Hire

One of the most common early concerns is simply: “How do I know which narrator is right?” Voice quality is often judged intuitively, and the less experience a director has, the harder it is to define clear selection criteria.

Common uncertainties

• Not knowing whether a calm or cheerful voice fits the video better
• Feeling unsure about choosing between a male or female voice
• Assuming experienced talent is safer, but finding them over budget
• Listening to samples without being able to explain the differences

How to approach it

When choosing a narrator, don’t focus only on whether the voice sounds “good.” Focus on who the video is for. A corporate video may need credibility, a recruitment video may benefit from warmth and approachability, and a web ad may need strong attention-grabbing energy from the first few seconds.

Before selecting talent, clarify these three points:

• Who is the target audience?
• What is the purpose of the video?
• What impression should the voice create?

Even rough phrases such as “for people in their 20s, not too formal, but not cheap-sounding” can help narrow the options.

No. 4: Not Knowing What to Include in the Request

Another major stumbling block is writing the actual brief. When important information is missing, the narrator or agency cannot make proper judgments, and repeated back-and-forth slows the schedule.

Minimum information to provide

• Project overview
• Distribution or usage media
• Preferred recording date and delivery date
• Script length or expected duration
• Desired voice image
• Whether the work can be listed as a credit
• Budget range
• Expected number of revisions

Having these basics in place already makes the project much easier to handle.

What matters most in the brief

Two points are especially important: what the audio will be used for, and what has or has not been finalized. For example, if the script is still being adjusted but everyone proceeds as if it is final, rerecording becomes much more likely later.

That is why it helps to clearly state:

• Whether the script is a first draft or final version
• Whether the video timing is fixed or temporary
• Whether client approval has happened yet

Many beginners worry that sharing incomplete information may seem unprofessional. In practice, clearly labeling what is still tentative and consulting early is often the more professional move.

No. 3: Struggling to Describe the Desired Voice

Phrases like “make it brighter” or “more calm, please” are often too broad. This is where many directors struggle: putting performance direction into words.

Why it often fails

Even the word “bright” can mean very different things:

• Energetic and fast-paced
• Friendly and soft
• Fresh and clean
• Light, but still premium

In other words, abstract adjectives alone leave too much room for interpretation.

Better ways to communicate tone

When explaining tone, pair abstract words with comparison points:

• “Not too energetic; trustworthiness matters more”
• “We want to avoid a TV shopping feel”
• “It’s a corporate piece, but not overly stiff”
• “Emotion should be restrained, but still human”

If possible, share a reference video or an example of a similar tone from a past project. Just avoid saying, “Do it exactly like this.” References should guide direction, not demand imitation.

No. 2: Worrying Whether It Will Fit the Runtime

In narration work, the script itself is only part of the challenge. Matching the audio to the video runtime is equally important. New directors often have not yet developed a feel for how many seconds a given script will take, and timing problems often surface right before recording.

Typical mistakes

• The script contains too much explanation to fit naturally
• The delivery becomes unnaturally fast just to meet the runtime
• Narration is added after editing, causing information overload
• Technical terms and dense wording take longer to read than expected

How to prevent timing problems

Before recording, it helps to do the following:

• Time a rough read or temporary narration
• Prepare optional lines that can be cut
• Separate the parts that need emphasis from the parts that can move quickly
• Confirm pronunciations and pause placement for technical terms

One key principle is not treating every sentence with the same intensity. A script works better when it distinguishes between “must-hear” moments and information that simply needs to be processed efficiently.

No. 1: Not Knowing How Far Revisions Will Go

The biggest concern of all is revision handling. After recording, comments such as “Can we make it a bit brighter?”, “Actually, let’s make it calmer,” or “We changed the script slightly” often appear. At that point, inexperienced directors may not know what counts as a minor correction and what becomes a paid rerecord.

Main reasons revisions increase

• The performance direction was vague from the beginning
• The script was not finalized
• Client review happens late in the process
• Different stakeholders prefer different styles

What should be decided in advance

To avoid revision-related trouble, clarify these points before placing the order:

• How pronunciation or reading mistakes will be handled
• How retakes due to direction changes will be handled
• What happens if the script is replaced
• The maximum number of revision rounds
• The deadline for submitting revision requests

If these points remain vague, both sides hesitate, and decisions become slower. Many new directors feel awkward asking about such matters, but confirming them early is part of professional project management.

When in Doubt, Share Decision-Making Material, Not a “Perfect” Brief

Beginners often freeze because they think they must send a flawless request. In practice, that is not necessary. What matters is giving the other party enough material to make informed decisions.

Useful materials to share

• The script
• The video or storyboard
• Expected runtime
• Reference tone
• Usage media
• Schedule
• Revision conditions

When these are shared, the narrator or audio director can make much better suggestions. Ordering narration is not a one-way request. It is a collaborative process of aligning conditions toward the final result.

Conclusion

The top five problems new and inexperienced directors face when ordering narration are:

1. Not knowing how far revisions will go
2. Worrying whether it will fit the runtime
3. Struggling to describe the desired voice
4. Not knowing what to include in the request
5. Not knowing whom to hire

What matters most in narration ordering is not perfect knowledge, but the willingness to share uncertainty early. If you can clarify the voice direction, script status, runtime, and revision rules, your chances of a smooth recording increase dramatically.

If your first narration order feels intimidating, that is normal. Organize the necessary information, ask questions in advance, and build the process step by step. That is how better, clearer, more effective video communication gets made.