Authentic characterization, informed entrepreneurship, and competent audio production are the three necessary components of a successful voice actor's journey.My objective is to instill a strong foundation that supports your journey, and it begins with the Fundamentals of Voice Acting.The Swiss Cheese Analogy below is your first step. Have a listen.

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June Yoon
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SWISS CHEESE ANALOGY 2.5

I am cheese. “June Yoon” cheese. Originating from Korea, I carry the distinct aroma of kimchi, the cleanliness of soju, and the warmth of a jovial dad. I pair well with carne asada tacos, am the happiest when teaching and directing actors, and insist on paying the bill when we eat together.At the time of this recording, it’ll have been 44 years of developing my cheese into what it is today. Of studying and deepening my self-awareness. Of being grateful in discovering this craft of acting, and being able to call myself an “actor” to this day. Suffice to say, I’ve come to know a lot of things about my cheese in great detail. And every time I audition for something, it is a piece of that cheese that the casting director experiences.And you, of course, in a very similar fashion, are also cheese. With your origins, flavors, colors, philosophies, beliefs, and more.Then characters are also cheeses. They are real people, after all, in their own dimensions: Romeo Montague cheese. Amber cheese. Anby Demara cheese. Romeo is a real person, just as we are real people. Amber. Anby. All real. Each with knowledge and information about their own self-awarenesses: their friends, their favorite songs, weapon of choice, their shoe sizes, even.However, we know they are fictitious characters. None of them are real people in this dimension, as far as we know. And as much as we’d like to personally ask Amber more questions about her grandfather, she is simply unable to tell us. We do not know how Anby came to selecting the Nimbus as her choice of weapon. And we can’t reach into the screen and ask her this question. They themselves know these things, but we do not.It means there are missing pieces of information when it comes to these characters. And that lack of information is the singularly unifying characteristic of every fictitious character ever devised. Therefore, all characters are Swiss Cheese. And those pieces of information that are missing from the description and specs are the holes in the Swiss Cheese.The idea is to examine the Swiss Cheese and identify the locations, the sizes, and the shapes of these holes. Then we’ll examine and identify the pieces of our own cheeses that could fit inside those holes. Finally, we’ll inject various parts of our cheeses into those holes.We are creating a sort of a hybrid cheese. One that has never existed before. The June-Swiss. Hannah-Swiss. Min-Swiss. That smells, looks, tastes, and feels like no other cheese like it, anywhere in the world, throughout history.It must be said that we’re actively trying to flavor the Swiss Cheese by adding ourselves into it. After all, to strictly adhere only to the specs provided and contribute nothing else would be like handing the Swiss Cheese right back to casting. You didn’t add anything to it except to maybe present the Swiss Cheese on your individual voice plate. The cheese sitting on top would have been constructed precisely according to the directions and specs provided, and sure enough, it would look, smell, and taste like regular, ordinary Swiss Cheese.And when the casting director takes a bite, she will know in the first two seconds. “Ah. This cheese tastes just like the 329 Swiss Cheeses that came before it. Cool plate, though.”They want you. More than just your voice — your flavor. So unique, so individual, unlike anything in this dimension. Not for the Swiss Cheese they sent out to come right back.As a concept, as an analogy, it makes sense. But how do we do that practically? How do we implement that? What is the process in analyzing both cheeses, and creating this flavorful fusion cheese? We use the fundamental story-building components found in improvisation: RELATIONSHIP, LOCATION, and CONFLICT.In every good story you’ve ever experienced, those moments you still remember to this day, you’ll find these three components: Relationship, Location, Conflict. And each component will influence the characters to behave and react in certain ways. Just as we do in our own lives. And all three must be present - stories lacking one or more of these components are not stories at all. Unless, of course, you’re waiting for Godot. Even then, it’s arguable.

RELATIONSHIP

In any given moment, in every story ever told, and ever will materialize in the future, there will be another character in the story other than the one you’ll play. To deliver these lines in the script to. To stand there and listen to you rant. To completely ignore you with her back turned toward you. There will - almost always be - another character there. Your own reflections in the mirror, even when you’re “alone.”Relationship is “how two people know each other.” Teacher and Student. Parent and child. Boss and employee. Co-workers you like and ones you don’t. You and yourself in the mirror. These are all relationships.And toward this other character, you’re going to have an opinion. A feeling. A judgement. A history. Whether you’ve known each other for 27 years or have just met today, you’re going to feel a certain way about them, as they will about you. Have an opinion about them, as they will of you. As we do in real life. And that relationship will exert a significant influence on you saying those lines in a certain way.Here’s a random line from a random audition script:“Excellent. I trust that we will have zero problems from here on. Right?”Every time we speak, we are speaking to someone. Sometimes, the script will give you that information:“Excellent. I trust that we will have zero problems from here on. Right, mother?”When “mother” is used, it points to a certain relationship, does it not? “Mommy” is also a very different relationship. What if it was your mother?Most of the time, however, that information is not given to us. When it is provided, it’s a gift. Because now you know, and don’t have to make a choice about that. They’ve done the work for you. But when there’s zero information on what that relationship is, we have to make a choice.If you were to say these words to someone, who could that potentially be? It should never be some “friend.” Or anyone whose identity is vague. This is your story - a story which revolves around you as the main character. Therefore, this character must be someone you know. Either in real life, or someone you’ve gotten to know very well inside another fictitious dimension. I’m a gigantic fan of Final Fantasy 7 and I know Cloud Strife. As if he was real in this world, I know the guy.For demonstration purposes, let’s talk to Cloud. Now, we have more information about this brief moment. I’m talking to Cloud from Final Fantasy 7. That Cloud.Cloud is someone I look up to. A guy who I admire. A guy who showed me that it’s ok to be flawed. That despite everything, doing all I can to protect my friends and save the world from a gigantic meteor is the right thing to do. He showed me courage. To believe in myself and the people I’ve surrounded myself with. To live for something larger than myself. To go out and see the world. To treasure the people and the time I have with them because one day she might be ripped away from you.I’m an only child. I've never had siblings. Close friends who felt like brothers and sisters, sure - but no one has ever come as close to my heart as a sibling than Cloud Strife has. So whenever I need to talk to an older brother inside a fictitious moment, I always turn to Cloud.With every fiber of my being, I despise my father. He is the one person in my life that I have not forgiven and never will. Because of this relationship, I use him in stories where that relationship is required.In this exact way, I have a diverse cast of countless people - both real and fictitious - in my head. And I talk to them as if they were here in the booth with me. As best I can.The “who” - the identification - isn’t as important as the “how.” How you feel about this person. The relationship. These words in the audition script will come out a certain way, according to this relationship. Because if the relationship is different, even though it’s the same person, these words will most certainly come out differently. And the stronger, more specific, more honest, and more vulnerable you can make this one, particular choice about the relationship, the more engaging and the more interesting your performance becomes.What about this character you’re actually auditioning for? That’s easy - it’s you. You are this character. We’re not trying to “put on this character’s shoes.” We’re not “getting into this character’s headspace” or anything like that. We are simply existing, thinking, moving, talking, yelling, singing, and swinging the electric Nimbus at our enemies, as we authentically, naturally would do in our own, real lives.You are a character. So am I. And we have been, every single day, since the day we were born. From the moment I wake up, to the moment I go to bed, I play this character named June. In fact, I do it so well - so authentically, naturally, effortlessly - that I don’t even think about doing it. When I extend my hand out for a handshake, and say “hi, I’m June,” people believe me without a moment of hesitation. I’m really good at playing the character “June Yoon.”In fact, I am 100,000% confident that I am the best actor suited to play the character of June Yoon. There is no actor in the world who can play the character of June Yoon better than I can. Absolutely no one.“June” is a character. And I am the best actor for this role. Then this becomes rather obvious - why don’t I simply use the character that I know how to play the best, that character that I can naturally, authentically play without even thinking about acting as, and put him in that story? In that audition? In that moment with that other character with whom I share a certain relationship? Many things are uncertain in this world, but that — my character — I know that character will be real in whatever story I put him into. Authentic. Honest. Real. 100% of the time. Because I’m simply playing the role as myself - the character that I know how to play the best. Without thinking about it. Instead of trying to be someone else. Instead of “acting.”You’ll hear “be yourself” a lot - this is why. This is the logical, thought-out explanation behind the sentiments of “you’re enough,” “bring yourself,” and “just be yourself.” Because you are, indeed, enough - and authentic. In this universe. Just as you are.Let’s say that you come across an audition for a character named Sam. For the purposes of that audition, I want you to mentally - or literally - cross out the name “Sam” and put your name there. Their name is no longer Sam - because it’s you.Relationship between us - individually, each of us - and the other person in the moment. As well as the relationship with our own selves. It is the most important element of this craft called acting.

LOCATION

Let’s bring that line back:“Excellent. I trust that we will have zero problems from here on. Right?”Now that I know I’m speaking with Cloud, let’s decide on a location. Once we board the little cargo ship in Junon that goes to Costa Del Sol, we find ourselves in the lower deck. If you search “FF7 cargo ship downstairs” on Google Images, you’ll see it: a set of two ascending stairs, metal walls, boxes and crates of things that are being transported to their destinations. A few of them, probably carrying the bodies of the crew from whom we’ve stolen their Shinra uniforms and sailor uniforms. I know this location. And we’d just changed into our Shinra soldier uniforms and sailor uniforms, and do not expect any troubles until we arrive. This line would come out one way: reassuringly, maybe slightly doubtful, but definitely quietly.If we were on a sunny boardwalk of Costa Del Sol, zipping around on our scooters with colorful drinks with little umbrellas in the cup holders, this line would certainly come out very differently. If I were floating on a pond in some forest, while Cloud held me from under, holding back his tears as I force out this line with my last breath before I sink to the bottom, this line would come out very differently. Right?Also consider the material things that we have access to. In the corner of the lower decks with just me and Cloud, in this moment, I could choose to have a knife in my hand. The sharp edge, grazing Cloud’s neck because I’m actually here to kill him. That change in the relationship could also lead to an interesting fanfic, don’t you think? Maybe, in this highly fictitious moment, in this bold-choices-were-made moment, I secretly work for Shinra. A spy. An assassin. A traitor. Much more loyal to Shinra than Reeve could ever be. And this moment is an opportunity I’ve been waiting for. No one will know, and no one will be suspicious. His body in a crate, dumped into the ocean before we arrive in Costa Del Sol. It’s so clean, perfectly executed according to plan, as I’d done a thousand times. I’d nearly whisper the line into his ears - I have the knife at his throat, after all. The direction says “(confidently)” - I think it works rather well.The location of the story taking place, as well as the physical, material items around us and in our hands, the distance between our mouths and their ears - is all location.

CONFLICT

Up till now, we’ve been filling the empty holes of the cheese, assuming that no information was given to us whatsoever from the get-go. If the script does not inform us of these details, we need to fill the holes with our own cheese. However, sometimes the script does tell us some of these things.Again, the example audition line:“Excellent. I trust that we will have zero problems from here on. Right?”This line is only a tiny sliver of a larger story. Meaning, there are words that come before that line and after that line, as the story continues on. What comes before this line? We do not know. And no one will answer us. Something must have happened that prompts us to say this specific line. A conflict.A conflict is the clashing of two directly-opposed objectives. Without conflict, a story is not an interesting story. I want to leave this room. Yae Miko wants to keep me here. I want that Neumann U87, the store wants money. What is the conflict in this moment? What is my objective and what am I clashing against?The information is found in “from here on,” which indicates there have been problems in the past. Whether the problem was a centuries-long feud between two clans or a problem that happened 20 seconds ago, there was, indeed, some sort of a problem in the past, and it has apparently been resolved. Some thing has happened right before the line or some words were spoken in my direction. I’m sure you can come up with your own interpretation, but here are a few that I can think of:My neighbor John, whose house had been under construction for a few months - noise, pollution, dust, etc - is on the front lawn of his house. I happen to come outside to retrieve the newspaper and see him. Seeing how the construction is finally over, I tell him, “so, it’s all finished, huh? Looks great.” He replies, “yeah, all done here. Sorry for the noise and the dust.” To which I could reply with “Excellent. I trust that we will have zero problems from here on. Right?” in a friendly, neighborly way, with a smile. Fist bump, and back into the house.It’s 3am. Construction finally concluded earlier today, and now John is having a loud, raucous party to celebrate the remodel. My kids have been woken up for the third time due to the noise, so I grab Sephiroth’s Masamune, walk over to the house, go inside, grab John by the neck, and throw him against the TV on the wall. As the TV shatters and hits the floor along with John’s body, the shocked guests react. I take the Masamune and deeply pierce his left shoulder. There’s blood everywhere, and I can already hear the sirens in the distance. I lean down into his face, as I slowly rotate the Masamune’s blade in his shoulder, and say the following calmly, poignantly, as I enjoy the sound of his pained reactions: “Excellent. I trust that we will have zero problems from here on. Right?” and that’s how I would do it.I am the chairman of the home owners’ association in this community and I hold some influential powers over my neighbors. Harley and her family recently moved in and they’re not well-aware of who I am and “how things work around here.” Against the rules, she had built a fence around her front lawn two weeks ago. I casually informed her that this was against the community rules and that it needed to be taken down. She proceeds to ignore me and keeps it up. So I hire Ben and his Belobog Heavy Industries guys to tear it all down and send her an invoice. In rebellion, Harley knocks over my mailbox with a baseball bat. So, naturally, her husband has an unfortunate accident that nearly kills him. Realizing what has happened, Harley comes over and apologizes with a large envelope filled with twenty-dollar bills. To which I reply, smugly, arrogantly, perhaps: “Excellent. I trust that we will have zero problems from here on. Right?” and that’s how I would do it.Yes, I’m aware that I have an antagonistic tendency when it comes to these - it’s fun.In the stories above, if you were the character in this story, you would also know how you would say these words. These instances are, indeed, fictitious in nature. John and I have a great neighborly relationship, I have no idea who Harley is. However, I can imagine how I would say those words if these conflicts were actual occurrences.Now is a great time for this question - if we’re relying on the fact that we’re using ourselves in the story, then shouldn’t these contextual information that we’re establishing also be based on our own history and experience only, and not fictitious ones? What if you’ve never stabbed your neighbor? Have I, do you think?The stories that are leaning closer to the real-world one that you yourself have experienced, it would be most beneficial to make your contextual choices from the real world experiences and history of your character - that is, you.At the same time, voice acting is dynamic and vast - involving characters and stories that are vastly out of our normal boundaries of what “real” is.Here’s a question. If you had won the 100-million dollar lottery, how would you react? What would you buy? How would you spend the money? What will you do? More importantly, as the sixth number clicks into place, do you know how you would react in that moment? As your brain registered that the sixth number is indeed a match and that you had just won 100 million dollars? Do you know precisely what your reaction would be, physically, mentally, emotionally? I would bet that you do know. Even if it hasn’t happened in real life. Because you know yourself.Whether we get the details from our own lives or from another fictitious story, one thing is constant: the more specific you can get - in the information you establish and the choices that you make - the more interesting and engaging your own experience of existing in the story becomes for you. And as a by-product, for others who are listening.

CONCLUSION

If you think about it, there’s really no “acting” going on. No pretense of emotion, speech, or physicality. It is real. It is reactionary, it is strategic, and it is, and should be, honest, vulnerable, and authentic.Write these down on a large piece of paper and put it inside your recording space: 1. Relationship. 2. Location. 3. Conflict. Quickly make these decisions and fill the holes with your cheese. And then go for it. Unapologetically, courageously. When you’re done, take out those chunks and try filling the same holes with chunks from another part of your cheese for take two - it’ll create a different story. Insert that ultra-creative, boldest-and-smelliest part of your cheese. Why not? See what sort of moment that becomes.To conclude, the work that we do - the craft that we hone - is multi-faceted. One is the active exercise of the creative imagination muscle that allows us to consistently create moments filled with strong and bold choices. Another is the work of widening and deepening our self-awareness. Actors who know a lot about themselves as people are generally better actors. They’ve observed, analyzed, and studied themselves and others. And they’ve archived that information inside their bones. Another is the ability to exist in a story as bare and vulnerable as we naturally are. Giving ourselves that permission, granting us that freedom, and absolutely eliminating all judgement - from others, from ourselves, unapologetically - so that we can focus singularly on existing authentically in that specific moment. In that moment when those words may fall out of our mouths, as they honestly would.Lastly, happiness. This process should provide you with happiness. Not necessarily the roles you book - although that’s great as well - but the process of gearing up for an audition session, the execution of characterization, and the consistent persistency in the desire to hone one’s capabilities in characterization. When the process of acting becomes, or is, the happiness, then you know you’re most definitely in the right place. It is entirely possible to discover that this is a happiness as well. Everyone belongs and is offered a seat. However you arrive here, as long as the happiness is undoubtably evident during the processes of characterization, you will succeed. Of this, I have no doubt.I hope this information has been helpful to you. This is version 2.5 and there may be more revisions down the line as I continue to hone my own craft of teaching. Should you have any questions about any of this, please feel free to reach out - via email, DM, or any other way. Education is a huge happiness in my life, and I look forward to helping you on your journey as a voice ACTOR.

STRIKE WORKOUT SESSIONS

These Pay-What-You-Can, 30-minute private workout sessions are open to all actors supporting the strike.
Proceeds will be donated to NAVA's Interactive Strike Fund.

EXPECTATIONS

This is a workout. No coaching will take place. The goal is to maintain your acting muscles strong and healthy during the strike. I will choose a script - or you may bring your own - and we will get right to acting.Learn more about my qualifications here -- juneyoon.info/#coaching

UPDATE: Each actor is limited to TWO sessions only.

DIRECTIONS

1. Click the image below for payment. Enter "STRIKE WORKOUT" in the Invoice Number field.
2. You will receive an email from me with directions on scheduling.

IMPORTANT - You are paying for my services and it pertains to your voice acting work. Where applicable, it may qualify as a tax-deductible business expense. Should you choose to directly donate to NAVA, NAVA is a California 501(c)(3) organization and your donation may also be tax-deductible. Go to their website to donate - https://navavoices.org/donate

Happy to answer any questions! 💪

TAXES AND FINANCES 101 FOR VOICE ACTORS

IMPORTANT - Again, I am not a tax professional. I am not a finance professional. The information below is 100% anecdotal and are derived from my own personal experiences. Seek a qualified tax professional or a finance professional for advice.

You can also find the AUDIO-ONLY version on the Red Scythe Studio Podcast:

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