Hi, J.
If you can do a Scots accent well, go for it! If it's unnatural, it's far better to read in your own accent.
Regarding working in dramatic reading style, let me try to explain for you how those beasts work - hopefully in an understandable fashion!
It feels really strange, when compared to recording a normal LV section, to not do an intro/outro, but they would be completely superfluous in our color-code recordings here.
All of our recordings that we turn in will get chopped up and spliced into a new, cohesive, sound track. Picture the editor working with two Audacity windows open: One is for the "Master File," and the other holds all the "roles" turned in for that section, imported and stacked into one window. The editor will also have the script window open. Carefully following the script, the editor can move along on the Master File, cutting the appropriate portions from the roles in the stack window, and pasting them into the Master File as s/he builds that new track. The Master File will present a smooth stream of the poems as presented in the book, with our four voices rotating as the section is played (and it's all on one track). This Master File is what becomes the "real" section for the audiobook.
The splicing step is done visually, rather than aurally, which is why we need to leave empty space between "lines" (poems, in our case). Normally, that space should fall between 3 and 5 seconds. With these poems, where we'll have pauses here and there for stanzas, it would be helpful for the editing stage if we leave a good 6 or 7 seconds between our poems.
When we are finished, and Ann is doing the cataloging work, all our individual recordings will get deleted. Their entire purpose is to provide the working material to create the real sections for the audiobook. Thus, no need at all for intro/outros on them - we don't even need to announce who's recording or what section/division it is for!
All that's needed in our recordings is to read only what the script says each time our color comes up. We'll read the title, the poem, and then the poet name. Then we leave 6 seconds of silence, and start in on the next Title-poem-poet . . . and so forth until the end of that script, where we just stop. It's really weird at first.
(It does bug me that Lang only used first initials instead of complete names, but I'm pretty sure we can't change that in our readings. I'm going to ask Ann after I submit this response.)
P.S. Dramatic readings or plays can be quite fun - you might like trying a few bit parts out to see if you like it. Play projects typically leave you to pick out your lines from the play itself, while Dramatic Reading projects put up scripts that are usually color coded.