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4 Tips To Be Ear Prompter Proficient 

by Jill Monaco

 

My friend Chris Agos wrote a great piece about using the EAR Prompter, also know as the EAR,  a few weeks back. It was taken from his book Acting in Chicago, which helps people understand the industry more than any other book I’ve read.  

Chris and I have worked together many times. When I knew I was going to be booked with him I was thrilled. Why? Because if you are a great actor and have excellent skills, word will get around. This is the kind of actor people want to book again. 

Chris covered why being an expert on the EAR is a handy skill to have in your actors toolbox. I want to share four EAR Prompter tips that will make you stand out to your fellow actors and clients, so you get booked again and again!

Jill Monaco: Ear Prompter Coach

3-2-1

When you begin to lay down the copy, begin by recording on your Ear Prompter in a steady pace – three, two, one. It will give you the opportunity to know exactly when to look up to the camera (or the other actor) and start the copy. It also helps when you need to walk into a scene and hit the mark. You can pretty much take 3 steps into most frames. That little bit of headway gives you ample time to not be seen turning your EAR Prompter on in the shot. If you don’t have a remote you might want to lay down more time than three seconds. But if you’re doing this professionally you need a remote.

Pacing and Tone

One of the biggest challenges actors have while using the EAR  Prompter is making it sound natural. I could write a whole post on just that. But here are two tips to help. The best way to make it sound like you’re not listening to a recording is to master the pace of laying down copy. What might seem natural in a conversation won’t work as well when you’re listening and trying to repeat it. Keeping a steady pace and monotone delivery we’ll allow you to play with the copy in front of the camera. That way if the client wants you to emphasize a different word or take a pause in a different place you’re not married to the way you laid it down.

Jill Monaco using an EAR Prompter on set.

Over Enunciate

Laying down copy at the right pace is only half of the battle. Being able to know what you’re saying is the other half. You might think you’d understand your own voice but when it’s copy you’re not familiar with, the words can come out of your mouth in a tangled way. Over-enunciating will also help you with presenting technical terms, medical jargon or other industry phrasing that isn’t a part of your everyday language. For instance, pay attention to when a word ends in a “T” and then the next word starts in a T. You will want to over-enunciate both of them. It sounds ridiculous in real life but I promise you it’ll help you when you’re on set. 

Beeps

One of the tips I love most is inserting beeps or sounds in places where you need to do something physical, in addition to speaking. For instance, if you need to pick up the paintbrush or point when you say something, a quick beep sound will tell you that you need to do what’s instructed in the script. Because you’re hearing something ahead of what you’re saying, you’ll have a heads up. You can quickly add a “beep” between words and it won’t change the pace. I often do a long beep at the end of the copy or script. This allows me to finish my sentence in a way that sounds like it’s the ending. You’ll often be instructed to walk out of frame or end with a smile. The long beep tells you that that moment is coming.

I  come across situations with the client wants me to change one word while we’re on set. Or add a longer pause. And I don’t have time to lay down a new take. There are other tips that help you look like a pro;  every actor creates their own tips because of some sort client request. So feel free to add what works for you. Remember, when you’re really good at performing with an EAR, the client has no idea that it’s not memorized. Other actors will love working with you too … because you’re confident you have the right tools to succeed. 

Jill Monaco has her BFA in musical theatre from Millikin University and has been a professional actress for over 30 years. She is a member of SAG-AFTRA and AEA and has extensive experience in commercials, on-camera industrials, and voiceovers. She has performed in national tours, regional theatre and many Chicago area theaters. She is also an ICF certified life coach who loves to help people discover their best self, set goals and achieve their dreams.