Search Results

Missed opportunities, obstacles, and disappointments. Sometimes bad news becomes a blessing that we don’t recognize until a later time. Recently, I had two on-camera bookings scheduled that I was rather excited about. A political commercial and a training video, both of which would pay fairly well and allow me to work with people whom I greatly respected. Both were cancelled the day before their scheduled shoots for different reasons. One was an indefinite postponement and the other was a last-minute change in the script that completely eliminated my character. It happens. Quite disappointing, as you can imagine, but the cancellations turned out to be … A Blessing in Disguise I had cleared my calendar on those dates to accommodate the bookings, because on-camera work can take anywhere from a few short hours to 12+ hours on set. You want to give the client and their project your full attention. It’s a bad idea to try to squeeze something else in on the off chance that the shoot day could end early. Murphy (see an earlier post!) ensures that it’s rarely going to work in your favor. Then the call came in. A family emergency out of town that required me to leave immediately for an indefinite length of time. Within seconds, disappointment over the lost bookings transformed into major sighs of relief. Otherwise, I would have to deal with the stress of either: Telling my agent and the client that I had to cancel my involvement last minute, which could have damaged my reputation with each. Generally, it’s acceptable (though not happily received) to cancel the actor last minute. NOT the other way around. Though to be fair, I’m sure they’d understand the circumstances of an emergency. But neither would forget that this particular talent caused the client delay and extra work or expense to find a replacement. Doing the job and then flying out immediately afterwards to deal with the emergency. This would not have gone over well with family members, some of whom do not take artistic pursuits seriously or understand that bailing out on bookings in the 11th hour is a major problem. The corporate world is more forgiving. I know, I spent years working in it and the usual response to a family emergency was “Go! Do what you need to do.” And in a family emergency, it’s rather challenging to focus on the job at hand when you’re in emotional turmoil. What would I have done? Family comes first. It has to, regardless of personal cost. Though if push came to shove, I would see if another close family member could attend the emergency until I could get there, unless it was so serious that I HAD to be there myself ASAP. But still … thank goodness the choice was taken out of my hands. No Man (or Woman) is an Island I’m a private person. I don’t air personal difficulties or grievances publicly. Usually. I do what has to be done and deal with the emotional fallout later afterwards. I’d make a pretty good soldier in that respect. But as human beings, there are times when we need other people for help and support. In my case, that’s other family members. It’s good to know that they have my back and that I can call on them when needed. I don’t like to burden friends and acquaintances – good people, all of them, willing to supply emotional support – if at all possible. From a humorous perspective, it would just be too exhausting to keep everyone up-to-date as the situation progressed. And I’m not about to post anything online about it. What DID help sustain me was the fun and camaraderie I had enjoyed at two recent networking events the week prior. You Don’t Know What You Need Until You Do The first event was put on by my local business community, the Buckhead Business Association. They host an annual foodie event called Taste of Atlanta, which truthfully was equal parts Swig of Atlanta (my name for it), since it seemed to lean so heavily into sampling adult beverages. Great for some, but I’m petite and make for a cheap date. A little sip goes along way. Most of the food offered was desserts. Hey, I like sugar as much as the next chocoholic, but again, a little goes a long way. Too bad I didn’t know to eat dinner at home first. Or at least plenty of salads and veggies to assuage the guilt of gorging on too many empty calories. (Yes, there was some other food, but most of it was meat-based and I’m a vegetarian.) It was an upbeat event and I met some great, interesting people and totally enjoyed networking in person once again. The second event was a weekend-long barbeque hosted by audio engineer extraordinaire “Uncle Roy” Yokelson of Antland Productions, who helped me create and equip my broadcast-qualilty home voiceover studio. This was his 17th annual VO BBQ social event, attended by approximately 150 voice actors and industry professionals throughout the country – and beyond. I saw a few familiar faces, now sprung from their little Zoom boxes into full 3D physical form, and made many, many new friends. Voice over is a wonderful community, full of generous people who treat each other as colleagues, not competition. I went home happy and charged up to take on the day. And then the bottom fell through. Keep your batteries charged. You never know when you’ll need to draw upon them. Remembering the Energizer Bunny It’s not easy dealing with crisis. It drains you physically, emotionally, mentally, and perhaps even a bit spiritually. Caregivers need to take care of themselves, or they are of no use to anyone else. It’s so important to keep our personal batteries charged. Thank goodness I was able to store up several days worth of fun, laughter, community, and friendship. I had no idea I would need to draw upon it so quickly. To keep going and going and going when It’s essential to do so, you have to know the priorities in your life. When crisis strikes, and it will at some point, it’s much easier to handle things when you know what is most important. Then you can more quickly and easily identify what’s crucial to attend to and what can wait. Or be cancelled. Equally important is to have the strength and inner resolve to accept – or at least deal with - whatever blowback that accompanies your choice. Nobody said that life is easy. Do yourself a favor. Enjoy the good times when they come and keep your batteries charged. You never know when you’ll need to draw upon them. And have fun! Laughter is truly so good for the soul. Laura's Quick Tips There are such things as silver linings, though they may look like storm clouds at first glance. Have one or two people - family or friends - that you can turn to in need. And vice versa. Enjoy the good times for what they are and relish the experience. Remember all the good in your life when dealing with the difficult or purely awful. It'll help give you perspective and confidence knowing that nothing lasts forever, that you WILL get through the tough times, and that the sun will shine once again upon you, Laugh, even at a stupid joke or two. It's an instant mood lifter and a temporary reprieve from dwelling on the matter at hand. People care. They can help you keep your battery charged and buoy your spirits. A cancelled booking can become a good thing when you have to deal with something much more pressing. And in the overall scheme of things, what's a booking or two? There'll be more down the road. And you've already built up goodwill with the people who had originally booked you. They liked you, thought you were a great fit for their project, and may even feel badly that the job was cancelled last minute and want to make up for it with a different or better job down the road. And sometimes, in the moment, other things are just that much more important. Yeah, sh*t happens. It’s all in how we deal with it. For a more humorous look at some of the things I’ve had to deal with in recent years – where you’re just, simply put, screwed and there’s nothing you can do about it – read this story. I'm Laura Doman, a former tech industry sales executive, hands-on mom, voice & TV/film actress, and improv performer. I create memorable characters that tell my client's stories, from the friendly CEO touting new upgrades to your sassy best gal pal dispensing some necessary, real-world advice... Let's Talk! COMMERCIALS •  EXPLAINER VIDEOS • CORPORATE NARRATION •  ELEARNING • K12 • MEDICAL NARRATION • CHARACTERS & ANIMATION • TELEPHONY

Voiceover accountability extends beyond wins and losses. Are we running our businesses professionally and ethically? Are you familiar with Yom Kippur ? In voiceover parlance, it’s the Jewish holiday of accountability. Specifically, for a deep dive into ourselves to reflect and atone for our mistakes, poor judgments, and deliberate misdeeds. A time to make amends and resolve to become better people in the coming year. A 25-hour fast to pray and seek redemption, purification, and reconciliation. There is nothing in Jewish prayer that refers to voice overs. Unless you consider references to the voice of G-d throughout the Old Testament and our prayer books. Hope the Big Guy doesn't hold it against me that I'm referring to His booming presence as a type of voice over, albeit the one, original, and most holy of all voice overs past, present, and future. I'd better stop before I get blasted with a bolt of lightening, but it did get me to thinking that there are voiceover sins that we voice actors are collectively likely to have committed. And now is as good time as any to acknowledge them and decide to do better. So, without meaning to be sacrilegious, and because Yom Kippur was just last week and thus fresh in my mind, here are the sins of voiceover for which I atone, on behalf of myself and all others in the past year who've slipped behind a microphone and called themselves professional voice actors. We have sinned, we have led astray, we have been led astray.... We have harmed our fellow voice actors (clients, agents, managers, loved ones, etc.) by committing: Sins of the Audition Auditioning before we're truly ready to do so. Professional training must come first. Failing to properly warm up before a session. Or warm up at all. Waiting to drink those 2 liters of water until just before your session. Not reading the audition specs carefully. Or again, at all. Not caring if we match the specs, because once they hear OUR audition, they'll change their minds about what they think they want once they hear our mind-blowing submission. Treating casting sites as places to practice, so therefore "it doesn't matter" if our sound or performance are any good, much less if we even remotely match the specs. Not following the file-naming specifications EXACTLY. Hey, we're artists, right? And that's what agents are there to fix. Overacting. You’re not playing to the back of the theater, fella. Underacting (as in, are you alive in there?). Submitting auditions with such poor sound quality that it reflects badly on the calibre of VOs in general. Failing to learn how to properly edit our auditions. Funny, but most clients really don’t like those loud mouth clicks and heavy breaths. Go figure. Thinking we’re different. As in: we don’t need coaching. Or training. Or help with our audio quality. And it shows in our auditions. Sins of the Booth Not investing in a professional, high-quality recording space. Claiming to have broadcast-quality sound when we know that we really don’t. Claiming to have paid Source Connect Standard when we really just have the free version. And thinking we can get away with it. Failing to consult with Uncle Roy Yokelson, George Whittam, or any of the other top-notch, trusted gurus of sound to certify that our booths are up to snuff. Or if our recording spaces fall short, enlisting their help to get us there so that we live up to our claims as pros with high quality sound. Not learning how to properly operate our equipment. And asking for help when needed. Not having sufficient back-up equipment or a plan in case your equipment, internet, or power go out. Which one or more WILL do at some point during a client-directed session. Sins of the Terribly Misplaced Attitude Failing to uphold decent rates (hello, GVAA rate guide!) to support the VO community. Cheerfully bidding $5 to record that voice over on a certain casting site that shall remain nameless, but we all know what it is anyways. Deliberately undercutting VOs everywhere – living, dead, and unborn – with notoriously low rates. There's a lot of making amends with this one; it'll take a full year to properly atone. Telling friends “you can do this! All you need is a (insert supercheap mic here).” Telling ourselves over and over again that we’re not good enough, will never be good enough, “I suck” mentality, etc. Comparing ourselves to voice actors with much more experience and judging ourselves accordingly, i.e. harshly. Failing to appreciate the teachers, coaches, managers, and agents who do their best on our behalf. Not caring if casting site clients don't want to listen to our poorly performed audition, complete with raunchy audio quality, because - hey! it's only a casting site and we want to get our money's worth out of our subscription. (This is the twin sin of one under Sins of the Audition.) Failing to appreciate other voice talent who’ve helped us along the way, even if with a word or two of encouragement. Refusing to help other voice talent who look up to us for advice. Not talking about giving away free coaching or gobs of time. Just a little kind payback for help that other more experienced people gave you once upon a time. Thinking "I don't need no accountability group" before even trying one. Deriding other talent who support one another with accountability and workout groups. Sins of Unprofessionalism Agreeing to do that commercial “in perpetuity and throughout the known universe.” Professionals avoid known conflicts and unacceptable terms of usage. Bad-mouthing other voice actors, casting directors, agents, clients, VO conferences, or casting sites that truly respect voice actors. (Sleazy casting sites are fair game in my book.) Bugging our agent or managers incessantly to get more work. Expecting our agents to correct our mistakes in labeling auditions. Begging our agents to let us send our auditions in after the deadlines have passed. Boasting about our accomplishments, especially to newer talent trying to find their footing. There’s a nice way to promote recent work and celebrate the clients who've hired us or the agents/managers that have brought us on board. Pure, unadulterated boasting is not it. Sins of Marketing Not doing any. Thinking that “they’ll find me.” Posting virulent social media content with heavy political, religious, or otherwise inappropriate content. Or at least don’t do it under our real or stage names. Having a poorly designed or non-functional website with faulty links to demos. Not keeping our materials up-to-date: website, demos, testimonials, social media profiles. Sending long-winded emails that fail to get to the point. Sending introductory emails without verifying that recipients are actually in our target group. Thinking that sending "hire me" emails to other voice actors will work because "everyone knows someone, so what the heck do I have to lose?" Representing ourselves as other than who we are or saying we have skills that we clearly don’t possess. Or can prove in a recording session. Or can replicate in a session the skills showcased in our demo. For all these sins, Lord, forgive us, pardon us, grant us atonement. Laura's Quick Tips Accountabililty is more than a list of wins and losses. It's also an assessment of how we conduct our businesses and how we can improve. We are a community. How one voice actor runs his/her business DOES affect us all. We can always improve, whether it's through performance, equipment, or in our marketing. Attitude is everything. A positive outlook will be reflected in your auditions and dealings with potential clients. And therefore, in your bottom line. Professionalism is expected from your clients, agents, managers, fellow voice actors. But the good news is that we have all year to do better. And truthfully, most voice actors reading past all the doom and gloom to get to this point are probably not the ones needing the most drastic course correction. I'm guessing that most professional voice actors are struggling with self-doubt, discouragement, and a drought of bookings. It happens to just about all of us in this intensely competitive field. Soldier on and know that your fellow voice actors are on your side. Because we're that kind of a caring, supportive community. May this next year bring your happiness and prosperity, plus contentment and gratitude for all you do achieve. And for Pete’s sake, whenever you're feeling a little down, take a lesson from a wise guru and say after me: “I’m good enough, smart enough, and doggone it, people like me!” - Stuart Smalley Even when we do try to do everything right, sh*t happens. Right? Here's a story or two of my near voiceover disasters. Read more about it here > I'm Laura Doman, a former tech industry sales executive, hands-on mom, voice & TV/film actress, and improv performer. I create memorable characters that tell my client's stories, from the friendly CEO touting new upgrades to your sassy best gal pal dispensing some necessary, real-world advice... Let's Talk! COMMERCIALS •  EXPLAINER VIDEOS • CORPORATE NARRATION •  ELEARNING • K12 • MEDICAL NARRATION • CHARACTERS & ANIMATION • TELEPHONY

Look at the bright side. We wouldn't have blooper reels if it weren't for ol' Murphy and his perverse, previously unreleased laws of voiceover. OK, let's take a count. Who here DOESN'T know our old friend Murphy? Didn't think so. Yeah, he’s a real people pleaser. Always there for us. In a perverse, unwanted way. For those of you scratching your heads, here’s the refresher course on Murphy’s 3 Laws: 1. Anything that can go wrong will go wrong. 2. Nothing is as easy as it looks. 3. Everything takes longer than you think it will. Sounds like a typical day in voiceover-land, where usually one of those three laws will sneak up and conk you on the head. So in the spirit of well, if it's gonna happen, it's gonna happen ... I present Murphy’s 10 Laws of Voice Over. Admittedly, they’re taken from Murphy’s subsequent Laws of Technology. But hey, I used to work in IT, so I think in all good faith I can mangle, er, borrow, them a bit. And I’ve thrown in a few more that no voice actor will ever dispute. So here we go: 1. Logic is a systematic method of coming to the wrong conclusion with confidence Take that, Mr. Spock! Yes, you may *think* that’s what the client wants, but just because they say so explicitly in the specs, doesn’t mean that’s truly what they’re looking for. Proven by that commercial or twelve that we’d auditioned for, only to hear it voiced completely different from what they had said they wanted. Lesson here: do your best “you” and send in a second take that’s your unique spin on their story. The client may like it so well that they decide to go in that other direction that you just showed them. After all, most commercial messages appeal to the emotions, not the intellect. Highly illogical as it may seem. 2. Whenever a system becomes completely defined, some fool discovers something which either abolishes the system or expands it beyond recognition Hello, casting sites? We’re talking about you. Just because it’s “new and improved” doesn’t mean it’s better. This law also applies to those times when a client books you for a project and then completely changes its scope. Like expanding a 5 minute narration to 10 minutes without expecting to pay more. Or changing usage from “internal use only” to include paid advertising or deciding that it’ll be used “without restriction in perpetuity.” Clients, we love you and we know you’re no fools … but neither are we and we have to talk. 3. All great discoveries are made by mistake Harkening back to Law #1, sometimes the client doesn’t really know what they want until you show them! It can inspire them to take their campaign in a totally different direction. Likewise, as artists, sometimes we don’t realize what we’re capable of until we try something new. So don’t be afraid to work with that new coach in a different genre. You may end up discovering your inner genius. (Wouldn’t that be nice?!) 4. A failure will not appear till a unit has passed final inspection Ouch. How many of us have completed a project and turned it in to the client, only to discover that an important name was mispronounced? Many failures can be avoided up front. That’s why it’s smart to check with the client BEFORE you begin to record to verify pronunciations, including things like numbers and currencies that could be voiced more than one way. You really don’t want the embarrassment of having your client point out your mistakes. Sometimes the “failure” is the client changing their minds after the agreed-upon recording has been delivered. That’s why it’s so important to state your revision policy up front, so that everyone’s on board with client-initiated changes after the fact. It's the professional way to conduct business. 5. To err is human, but to really foul things up requires a computer Hey, did AI enter anyone else’s mind? 😆 Yes, it’s here. Yes, it will improve. But will it ever truly replace the nuance and power of the living human voice? I think not. AI will be a fair substitute for some low budget projects or in areas that have always seemed a bit robotic, like telephony or basic eLearning scripts ("click here to go to the next slide.") But I truly believe that you get what you pay for. And quality shines through. We’ll see over time if businesses are helped or hurt by AI voices by how well their customers respond to them. 6. All things are possible except skiing through a revolving door That and cramming 90 seconds of copy into a 60 second spot. Not that it’ll stop some clients from trying. Hey, I’m a fast-talker, but some of these expectations are a bit ridiculous. Unless you want to rev up the speed to Chipmunk Chat. 7. When all else fails, read the instructions This earns a big, fat “duh!” It boggles the mind how many auditions get trashed by the client because the talent did not follow instructions. Not following naming conventions. Or by submitting for jobs that they in no way, shape, or form are a fit, especially when the client clearly specifies that they only want a particular gender, age range, ethnicity, skill, etc. applying. That’s disrespectful, people. A time waster. And it reflects badly on YOU. Now for my voiceover-specific favorites: 8. The job or hot audition comes in as soon as you head out on vacation Raise your hand if this HASN’T happened to you. My favorite was a rush request that came in while I was sitting on a plane, just as the overhead announcement told everyone to turn off all electronic devices. Quick! How fast can you respond before you get caught by an alert flight attendant?! It’s a whole new entertainment. 9. Neighbor fires up their lawn mower, leaf blower, or chainsaw just as you're about to start recording Grrr. Yeah, it happens. It's worst when you have a directed session involved. Most clients are understanding, but it’s frustrating. Ah, the joys of a home studio. That’s why I keep my favorite local voiceover academy/professional studio on speed dial. And pray for an open appointment slot if the client can’t reschedule. 10. Internet goes down and stays down for hours. Just when your overseas directed session begins Double grrr. This happened to me in my very first directed session ever. With my first overseas client. Who had a roomful of people in attendance. Embarrassing doesn’t begin to describe it. No appointments available for last-minute studio booking, either. Fortunately, my desperate prayers worked (or the ISP had a really fast-responding, skilled ground crew on hand), because that hours-long estimate turned into only 30 minutes. And my colorist was able to dye all those sudden gray hairs back into a nice brown on my next visit. One more! A bonus Murphy’s Law on Voice Over, just because it’s my all-time favorite and appeals to my love for science fiction: Any sufficiently advanced technology is indistinguishable from magic I mean, how cool is that we’re able to do this work at all? And from our homes? And for the most part, on our own time? My late uncle worked in the pioneering days of radio and television. He loved the equipment and collected some great vintage pieces. How incredible that we’re able to harness the power of major studios and funnel it all into a small laptop, some other small pieces of helpful equipment, and operate it worldwide from a closet in a spare room? Or wherever you’re working from. To someone from an earlier time, what we’re doing IS kinda magical. So whatever old Murphy throws my way … OK, it’s just part and parcel of being able to do this wonderful work for which I’m very grateful. Though it would be nice if he’d pick on someone else once in a while. But not you. You read through to the end of my post, so you're safe. For now. Maybe. Can't tell. I left my crystal ball back in my studio. Hey, we all have our share of disasters. I've touched on this before. Like when my VoiceOver studio was threatening to literally cave in and flatten everything down on the floor below. Fun times. You can read about it here.>> I'm Laura Doman, a former tech industry sales executive, hands-on mom, voice & TV/film actress, and improv performer. I create memorable characters that tell my client's stories, from the friendly CEO touting new upgrades to your sassy best gal pal dispensing some necessary, real-world advice... Let's Talk! COMMERCIALS •  EXPLAINER VIDEOS • CORPORATE NARRATION •  ELEARNING • K12 • MEDICAL NARRATION • CHARACTERS & ANIMATION • TELEPHONY

"So you do voice overs? Like 'what's his face' does?" Yeah, sure do. "What's his face" gets around enough that people know his voice, even though his name escapes them. He (or she) is the voice that sounds strangely familiar, but you just .... can't ... place it, though you know you've heard it somewhere plenty of times before. Rather similar to the guy (or gal) who shows up regularly in movies or TV shows as a supporting character, but whose name eludes you. Though you recognize them when you see them. As Harry Chapin sings, we're "the bright good-morning voice who's heard but never seen." It's true! Most of our work calls for an upbeat, if not cheerful voice, at whatever time of day we're working. We're usually not seen, unless the client wants a directed session with video. And our faces certainly don't accompany the finished spots; otherwise, they wouldn't be called voice overs at all, but on-camera commercials. And we'd probably be paid a bit more. We voice actors pretty much also labor in obscurity. Well, most of us do; there's always a few well-known superstars. But unlike Harry's woebegone DJ at W.O.L.D., many of us are quite happy in our work, which we perform from our home studios, with family just beyond our not-quite-soundproofed booths. Working when we wish to as freelancers. It's a great career. A lot of people aren't too familiar with what exactly a voice over IS, though. Sure, once they get the idea (the voice heard over a TV commercial or on a radio commercial, narrating a documentary or short video), it makes sense. Then they think of memorable, and familiar voices like those of James Earl Jones and Morgan Freeman who voice a lot of things. Terrific actors, both of them. Others "of a certain age" have additional touchpoints when it comes to voice over: Don Pardo, the ubiquitous announcer for "The Price is Right" and "Jeopardy!" Gary Owens of Laugh-In fame. Casey Kasem, the American Top 40 countdown DJ and the voice of Shaggy from "Scooby Doo." Mel Blanc, man of a thousand iconic cartoon voices. Once people get the idea of what a voice over is and that yes, they hear it all the time, they start thinking of all the famous animated commercial characters in pop culture: the Geico Gekko. the Pillsbury Dough Boy. Tony the Tiger. Charlie the Tuna. Smokey Bear. Mr. Peanut. Even the talking M&Ms. People tend also to think in stereotypes, like the derogatory old saw that an actor who does voice overs has "a face for radio." Or that men voice commercials for "manly" products like beer, cigarettes, and fast cars, while women primarily do spots for retail, fashion, and beauty. Or that VO artists are anti-social or extremely shy; after all, they shut themselves away in a small insulated space, usually without windows, all day. Maybe they're agoraphobic, too? Well, surprise surprise, a professional voice actor may be nearer than you think. News flash: "What's his face" may in fact be your next door neighbor. Everyday people doing voice overs Yes, people from all walks of life are making their way into voice over. True, not all of them should be doing it, but technology significantly lowered the bar to entry and it's up to agents or the clients themselves to sort it all out. In the past, most work came through agents who vetted the talent on their rosters, and recordings took place at their clients' preferred studio locations. Today, many voice actors find work on their own or through online casting sites, auditioning and recording jobs in home studios. And very few casting sites vet their talent. As a result, not everyone who calls themselves a voice talent is a well-trained professional who has invested a considerable amount of time and money into their voiceover career. So, if you're a client vetting freelancer credentials, be sure to do your due diligence: check out their voiceover websites and demos and ask them to record a sample from your script. You'll want to make sure that the quality you'll receive matches or exceeds your expectations. That includes the ability to delivery broadcast-quality audio files to your specs within a short turnaround time. There are, however, several big advantages to the opening up of the industry. You, the client, have much more choice than ever before. Many different types of voices, representing just about every ethnicity, age, or gender possibility on the planet. You'll also find voice actors with experience relevant to your line of work. Many have come from (or are still working in) professions like IT, education, finance, and medical or legal services, or have years of military experience. This means that your project can have a true voice of experience that understands and knows how to best relate your message. You also have the removal of middle men for many jobs. While agents are still best equipped to provide auditions from top-tiered talent for large, national commercial campaigns and other high profile work, you can manage your costs by contracting directly with the talent themselves. This may be done through the talents' websites, social media, the talents' own outreach, industry referrals, and casting sites (OK, that's a small middle man). You'll find that talent is available at more affordable price points. There IS an industry standard (see the GVAA rate guide for standard non-union rates in the US), but there are many more non-union jobs than ever before. (SAG/AFTRA is the union and has its own pre-negotiated rates for each type of job.) Just remember that you often get what you pay for. A fair rate will bring you auditions from many excellent voice actors. Offering bargain-basement payment will draw the newer, less trained and less experienced people, and you may not be satisfied with the final quality. Celebrities have jumped with both feet into the fray If you have the deep pockets, you can also get a bona fide A-lister celebrity to narrate your commercial or video. They can help sell your product, film, or cartoon by the power of their names alone. That and the powerful imagery they bring to the table is why you'll hear so many as the voice of a commercial brand or as a memorable character in an animated film. If you like the imagery that these celebrity voices evoke, but lack the budget to afford them, you can hire a celebrity soundalike. Similar to stage or screen actors who can impersonate a popular or well-known figure, there are those who can sound very much like them. More often than not, though, I've found that clients prefer to use celebrities as a reference for the qualities that they want to evoke in a voice over. For example, voice actors are hired that bring the authority and confidence of Allison Janney or Robin Wright to a script. Or Morgan Freeman's wisdom. Or any number of other signature voices that represent the type of person that the client audiences would be drawn to. It's all about the credibility of the voice and how the actor connects to the message, so that it resonates with the audience. "Just remember that you often get what you pay for. A fair rate will bring you auditions from many excellent voice actors. Offering bargain-basement payment will draw the newer, less trained and less experienced people, and you may not be satisfied with the final quality." Good-bye, stereotypes. Don't let the door hit you on your way out. Gone are the days when men voiced men's products and women only pitched those for other women. Women entered previously male-dominated domains because - hey, it was effective! The guys listening to these commercials preferred hearing a woman's voice over another man's. Especially if it had a compelling, sultry quality to it. Or an approachable, friendly tone. Gone, too, are the stereotypes of the announcer or DJ voice pitching products. Why? Generational change. Millennials and Gen Zers especially balk at being told and sold to, preferring "real" conversational voices that share experiences without the authoritarian overtones. And buh-bye to the notion that all working American voice actors live in LA or New York. Not at all! Plenty of talent work in small or regional markets, doing quite well, thank you very much. And with home studios and connectivity software like Source Connect and ipDTL (and Zoom and Microsoft Teams and FaceTime, etc.), voice artists can live and work just about anywhere they have an internet connection. What technology began, Covid hastened, and now it's hard to find a professional voice actor worth his or her salt who does NOT have a broadcast-quality home studio. Laura's Quick Tips Technology has given us a more even playing field: more and better available talent, more opportunities to book VO work You can find talent at every price point, from A-lister celebrities to professionals in your industry who are also accomplished voice actors Most audiences prefer to listen to the voice of a friend or caring professional sharing experience vs. the voice of authority telling them what to do Oh, one more thing... Remember when I said that the familiar, but can't-put-a-finger-on-who-that-is voice you hear in a commercial could be your next door neighbor? They - or should I say we - are somewhat easy to spot. We're the ones looking on in dismay when you decide to mow your grass or cut down a tree while we're in or about to start a recording session. We probably won't say anything, but the forlorn look will give us away. Hey, our recording booths may be good, but it's very hard if not impossible to block out high-powered noises. On the other hand, you'll know who to call the next time your neighborhood or club is putting on a live auction and is looking for a a dynamic pro to give your event some sizzle and fun. 😏 Now that you're past the stereotypes, would you like to know how to get a voice actor to spin around on his or her head? It's quite entertaining. Hint: jam 90 seconds worth of copy into a 60 second spot. It's not a pretty sight. Read all about it here > I'm Laura Doman, a former tech industry sales executive, hands-on mom, voice & TV/film actress, and improv performer. I create memorable characters that tell my client's stories, from the friendly CEO touting new upgrades to your sassy best gal pal dispensing some necessary, real-world advice... Let's Talk! COMMERCIALS •  EXPLAINER VIDEOS • CORPORATE NARRATION •  ELEARNING • K12 • MEDICAL NARRATION • CHARACTERS & ANIMATION • TELEPHONY

Interested in expanding from voice over into on camera work? This webinar is for you! You already have many of the skills from your voiceover work. But ... the camera is a very different medium, just like the stage, and there are specific adjustments you need to make, as well as new skills to pick up. I'll go over them all and show you how to get started navigating the on camera world. Oh, and contrary to popular thinking, there IS a lot of work for we mature actors. Hint: there's less competition as we age, er, season! I'll spill the secrets with Rhonda in this 90 minute webinar, so be sure to join in. Replays are available with paid registration. Only $20 for tons of useful info. Tuesday, September 20th 9pm - 10:30 pm EST I'm Laura Doman, a former tech industry sales executive, hands-on mom, voice & TV/film actress, and improv performer. I create memorable characters that tell my client's stories, from the friendly CEO touting new upgrades to your sassy best gal pal dispensing some necessary, real-world advice... Let's Talk! COMMERCIALS •  EXPLAINER VIDEOS • CORPORATE NARRATION •  ELEARNING • K12 • MEDICAL NARRATION • CHARACTERS & ANIMATION • TELEPHONY

Observation and experience. Think of them as twin muses. When someone learns that I do voice overs, their first questions is if they’ve heard me anywhere. Good question. Have they? I have no idea what they listen to, though I usually answer that they probably haven’t. Most of my work is non-broadcast, so I’d be a little surprised if they were familiar with it. The second question is about what characters or funny voices I’ve lent to projects, because most people identify voice overs with animation. Well, there I have something to answer. I have yet to take part in a famous cartoon or animated show, but I HAVE voiced a talking goldfish in a pretty funny short film. Not your run-of-the-mill talking goldfish, either. Nope, this goldfish was the reincarnation of the owner’s overprotective, loudly critical mother who began nagging her son again right from where she had previously left off. Before she kicked the bucket as a human, that is. It was a fun project. And creative. I mean, what does a goldfish say as it’s being flushed down a toilet? Spoiler: lots of gurgling and some rather foul goldfish language. The follow-up question is how I come up with these character voices. It’s actually pretty straightforward: I look to real life. Though, in all fairness and honesty, my mother sounds nothing like that goldfish. She doesn’t have to. As a former teacher, she long ago got that “teacher look” that brooks no objection down pat. Real life. It just makes sense to draw inspiration from it. After all, most stories are about human experience and are meant to reflect our own foibles back to us. Non-human characters like aliens, animals, and even inanimate objects are given real people personalities, often based on some of the unique folks around us. Goldfish too. Draw on real life experiences to add color and depth to your story. You don’t have to look far from home to find your characters Great characters are hiding in plain sight. They’re everywhere! Remember great-aunt Mabel with the throaty, husky voice sneaking around with you kids to indulge in her secret cookies stash? The stash the other grown-ups don’t know about because she’s supposed to be on a strict diet? Or the guy you remember as your strict high school history teacher moonlighting as a bartender at a strip joint? Not to mention the glad-handing neighbor who knows everyone and everything going on in your community and likes nothing better than to loudly express his opinions. Especially those that outrage the more staid types. A treasure trove. Inspiration for those personal, emotional reads Our own experience helps us find the right characters to tell commercial and corporate stories, too. As a mom, even though my two kids are grown and mostly gone, I remember every parenting stage. From sleepless nights comforting a newborn to tearfully waving goodbye as my youngest goes off to college, these memories and emotions are right there with me. I feel right at home talking about caring for a sick child, finding a great time-saving device, or an easy way to get dinner on the table after a long crazy day at the office. Even exasperating experiences can be used, like when I recently missed a flight due to ridiculously long security lines. Especially for voice overs needing a guttural cry of angst. I’ve got that one down pretty well. It doesn’t have to be the exact same situation as a project’s subject matter. Just close enough to genuinely channel the emotion and perspective of “hey, I know what that’s like, I’ve been there, too.” We relate to people who talk to us from a real shared experience. Fodder for work-related foibles My previous career was in Information Technology. IT. High tech. Fortune 500 companies and rogue start-ups. In other words, crazy new stuff happening all the time. Exciting ground-breaking technology. Mergers, acquisitions, bankruptcies, clashing corporate cultures, the works. Whoever said business is dull hasn’t really lived it. All that and more can and has been used in my corporate voiceover work. These projects combine lived experience with emotion. Like anticipation voiced in a new product announcement. Or the worry about shrinking financial margins – followed by a sigh of relief that help is on its way. I have an affinity for videos focusing on technology, finance, and medical topics because that was my background and experience for many years. Especially for anything requiring some degree of mastery handling difficult terminology or the ability to clearly explain complex concepts to a lay audience. I know those corporate environments from having lived them, as well as the feelings and moods that you’ll often find there. It helps me more authentically narrate these business stories, because I better understand where the clients are coming from and what they’re trying to achieve in their videos. It’s the same for anyone coming from a particular background. Who better to talk about services for veterans than someone who used to be in the military? Or a former mechanic narrating a documentary on the automotive industry? Real life. It just makes sense to draw inspiration from it. After all, most stories are about human experience and are meant to reflect our own foibles back to us. Relevance to current social issues Our personal experience can also bring intensity to a topic that is meant to inspire people to action. Especially on social issues, whether that’s being a victim of prejudice, sexual harassment or senseless crime. Nothing brings a story to life like the quiet intensity and emotion of someone who has lived it themselves. As a young, rather naïve girl in her early 20s, I ran into more than my share of uncomfortable and sometimes downright scary encounters with sexual harassment. While at the time I wasn’t sure how to best handle the situation, I certainly do now, and that’s the energy and intention I bring to those kinds of reads. Anyone hearing those spots will certainly come away with the impression that it’s being voiced by someone who has experienced that problem. Or by an expert who’s advising exactly how the problem should be handled. Laura's Quick Tips Find inspiration in the everyday world you live in. Observe and borrow the quirks, habits, and expressiveness of interesting people you come across to use in your own work. Bring your observations and your own experience to the work – make it your own! It’ll be that much more powerful when it comes from a place of authenticity. Actors reflect back to society the world we live in, complete with all its joy, pain, and contradictions. Acting is truly about reacting: to the people, events, and happenings all around us, filtered through our own personal experience. This is what makes each individual performance unique – because we are all unique individuals, with unique filters and powers of expression. Want to give an inspired performance or voiceover read? Call on your twin muses of observation and experience and live your character’s life through all that brought you to the role. Or in a pinch, ask a goldfish. I know one who’d be more than happy to tell you exactly how you should go about it. Interested in other sources of inspiration? Check out this post> I'm Laura Doman, a former tech industry sales executive, hands-on mom, voice & TV/film actress, and improv performer. I create memorable characters that tell my client's stories, from the friendly CEO touting new upgrades to your sassy best gal pal dispensing some necessary, real-world advice... Let's Talk! COMMERCIALS •  EXPLAINER VIDEOS • CORPORATE NARRATION •  ELEARNING • K12 • MEDICAL NARRATION • CHARACTERS & ANIMATION • TELEPHONY

Want to make sure you're putting your best foot forward? Take a tip or two from some handy-dandy on camera techniques. We all want to get ahead. Be successful. Be more likable. Put our best foot forward. Or, if we're shooting rather low, at least not fall SPLAT! on our faces when we open our mouths. Most of us, anyways. There are always the instigators, the self-destructive types, and those who probably wouldn't be reading this style of blog anyways. Forget about them. I'm addressing the rest of us who actually want to make a good, lasting impression at work, with friends and with the world at large. The Golden Rule , "do unto others as you would have others do unto you," is always a great place to start. Phrased in various ways by multiple traditions, it comes down to being a good person, a mensch. But wait, there's more .... As an actor working on camera and behind the mic, I've noticed that much of what we're taught in acting class and applied on set works just as effectively in real life. I'm not necessarily referring to character roles played on TV or in movies, but rather when an actor is speaking directly to the audience in a commercial, corporate film (called an industrial), or as the company spokesperson in a website video. So here are some tips, borrowed from the actor's handbook, to boost your own chances for professional success and personal likability. Keep in mind, if you're from outside the US, that these suggestions stem from American culture. Results WILL vary when applied in societies with different cultural norms. Welcome other people with a genuine smile and your undivided attention. Smile! Be positive A smile is welcoming. It says you're accepting of the other person and open to interacting with them. The context of your encounter will certainly give clues to the other person what that interaction may look like. It's a good bet that a smile at the office is going to have a much more professional context than a smile at a bar at 1 am. But of course there are the fake smiles. Ah, yes. Fake smiles trying to mask insincerity, discomfort, or plain old dislike. How do you spot a fake? Look to the eyes. After all, a grimace is also a type of smile, albeit a rather twisted one. And some people will smile at you with a flat or disinterested look in their eyes. A real smile radiates to the eyes and to a warmth in the voice. That ol' twinkle in the eyes means something. Yes, Santa really does like you. Make sure that you have a positive attitude to go along with a smile, or again it'll scream FAKE! Or at best, politeness. People are drawn to optimistic types. If you want to win friends and influence people, read up Dale Carnegie . and adopt a positive outlook in your personal and professional encounters. Though this may seem obvious to most of us, actors are taught these basics, especially when we're doing commercials and industrials. You'd be surprised how "the obvious" can fly out of your head when you're nervous or inexperienced with the spotlight early in your career. Actors learn to smile easily and readily, maintaining an upbeat energy, once the director calls "Action!" Voice actors do this, too, actively smiling when delivering a particularly upbeat type of copy. Even if no one sees it, the warmth comes through in the read. When the job is to talk directly to the camera, or even just into a mic, we actors take this one step further ... by imagining that we're talking to one - and only one - person. We imagine that person as a good friend who wants to hear what we have to say, a patient who's waited a long time for medical advice, or some specific person appropriate to the scenario at hand. Whatever makes sense in that particular commercial or industrial. When we do this, we come across as talking directly to the viewer, and not just as some talking head yapping into a vacuum. It's an intimate approach that draws viewers to us and invites them to really pay attention to our message. In real life, we can take that one step further. Stop talking so much! Listen to what the other person is saying. Be genuinely interested in them, their work, their families, or hobbies. My sales experience in the competitive high tech world also advises refraining from gossip or disparaging other people, businesses, or products. Especially if you can't back it up with facts to support your claims. That's not to say you have to be bland and without strong preferences and opinions. Far from it! Just ... think first, understand where the other person is coming from and meet there before trying to draw them over to your side. Look people in the eye when you're talking to them Our culture holds that addressing people while looking them in the eye shows confidence, sincerity, and trustworthiness. It's not a staredown - that's just creepy. But the eyes are the windows to the soul and it's how most of us establish a connection. Even with a wordless greeting like a sincere smile. Looking away while speaking shows that you're disconnected with the subject and/or the person. And just as with a smile, your eyes will reveal how you really feel about what you're saying. If your mouth and face are animated with exciting news, are your eyes dancing to the same rhythm? It's easy to spot actors on screen who are disconnected from the message they're trying to deliver or the scene they're in. They just don't seem to truly be in the moment, part of the story, or quite simply, doing anything interesting. Just a talking head. Blah blah blah (beat) blah blah. Disengagement is even more obvious when an actor is in a scene and not talking. Or when he's just silently looking directly into the camera. Is there ANYTHING going on in his expression or body language? No? Boring! Change the channel. Now. And watch a little of Bill Murray's work to see how to say tons (most of it snarky) without saying a word. Do you know that acting is really all about reacting? Stella Adler , one of the most influential teachers in acting history, taught how to discover the nature of our own emotional mechanics and therefore those of others. And that means listening and reacting to what's happening around you and to what your scene partners are saying and doing. Especially when you don't have any dialogue. The same thing holds true in real life. People can tell when you're disconnected from the conversation, off in your own thoughts, or just giving lip service. Look people in the eye and truly listen and focus on what they're saying. They'll gauge that you're invested in the conversation and will like and respect you all the more for it. Unless you're wearing an insufferably snarky expression. In that case, all bets are off. 😆 If your mouth and face are animated with exciting news, are your eyes dancing to the same rhythm? Speak clearly and directly, but with respect for your listeners Public speakers and instructional specialists know - or should know - the drill. Several points here: Clear, concise communications. Mean what you say and say what you mean. And say it plainly so that it's easily understood. And don't take too long to get to your point. That's true whether you're a spokesperson talking to the camera, a public speaker addressing an audience, or a professional sharing important information with a colleague or client. If people don't understand what you're talking about, then there's no communication. Speak with a purpose Know why you're speaking. Is it to explain? Inform? Persuade? Your purpose will influence how you speak, just like training videos, as an example, are meant to transfer information and/or skills to their viewers. And sometimes, your purpose is just to connect with another human being, perhaps through humor or perhaps through direct communication. Know your audience Every script for an on-camera presentation, narrated video, or training video is carefully worded and cast to appeal to its audience. When there's a serious disconnect, viewership drops like a rock and analytics show that viewers aren't staying on site for very long. With a live webinar or an in-person presentation, it becomes pretty obvious rather quickly. Just look to those disengaged or impatient audience reactions. Zoom heads disappearing off-screen. Participant count dropping. Or the classic scenario, people getting up and walking out of the auditorium. At least throwing rotten fruit at the speaker isn't a thing like it used to be in ye olden days. Avoid all this by asking yourself this question: Where's the other person coming from? What's their experience? Expectations? Knowledge base? If they speak from emotion and personal experience, then that's how you'll connect with them. If you're in a work setting, you'll probably share a common industry background. The general environment and subject matter often dictate the formality of conversation, too. After all, a company picnic is quite different than an annual corporate sales kickoff event. We speak differently in different situations. And the expectations of your audience change with the environment, too. If you're a speaker addressing a specific audience, don't assume that they are familiar or not with your subject matter. A little research works wonders. Be careful not to talk over their heads, but then again, you should never talk down to people either. No one likes to feel patronized. And use technical jargon or acronyms only if your audience is familiar with them. Otherwise, you'll be ineffective at best, or at worst, develop a poor reputation as a speaker or trainer. Laura's Quick Tips A smile and positive attitude can be the start of a beautiful relationship Show interest in the other person and what they have to say Speak clearly and appropriately to your audience We can tell when someone is an effective speaker. They tug at our hearts and engage our minds, often as much with their expressions and body language as with the message itself. We can reverse engineer the whole thing and watch a great speaker in action, noting what they do along the way to connect with us so that we remain interested. But here's the Cliff Notes version. Effective speakers touch on all the things we associate with friendliness, openness, and a desire to know someone: a genuine smile, great energy, a positive outlook, eye contact, and respect for the listener/viewer, There's no reason why we can't do the same! No acting lessons required. 😉 Interested in knowing a bit more about becoming a better, more effective speaker? Via a video or in real life ... watch this quickie video (less than 3 minutes long!). I'm Laura Doman, a former tech industry sales executive, hands-on mom, voice & TV/film actress, and improv performer. I create memorable characters that tell my client's stories, from the friendly CEO touting new upgrades to your sassy best gal pal dispensing some necessary, real-world advice... Let's Talk! COMMERCIALS •  EXPLAINER VIDEOS • CORPORATE NARRATION •  ELEARNING • K12 • MEDICAL NARRATION • CHARACTERS & ANIMATION • TELEPHONY

Choosing a voice over for your project is like shopping a gigantic arts festival Been to an arts festival lately? It's an explosion of color, dimension, texture, and materials - all clamoring for your attention. Kinda like voice over when you're casting a project. Where to start ... how to expedite the whole process ... what to choose, what to choose…. This past week, on a visit to my elderly parents in Ohio, my 18 year old daughter and I took a side trip to the Ann Arbor Art Fair, a three day arts festival that’s reputed to be the largest in the U.S. No boast there - it took us two days to explore everything. Block after block of gorgeous pieces. I love art festivals. They’re my favorite places to find unique items and gifts. Glass, ceramics, jewelry, sculpture, fabrics, leathers, children’s toys … and I’m sure I’m leaving some things out. So many different types of expression within each genre, all incredibly unique and beautiful. It's a real feast for the eyes. And a constant temptation to the pocketbook. OK, there was SOME schlock, cheap products and cast-offs from local businesses who had quite obviously rummaged through their bottom-basement sales racks, hauling out their least popular wares and plunking them down onto makeshift tables in the street in front of their stores. That section aside, though, the rest of the fair was of very good to museum-worthy quality. It reminded me of the extensive variety – and personal choice – within voice over. Many diverse options and a wide range of quality and experience. OK, as with the art fair schlock section, some questionable talent occasionally gets mixed in from people who really aren’t quite ready to market themselves as professionals. It can be a time waster for the buyer and reflect poorly on the overall experience. Luckily, it’s more the exception than the rule. Voice over is an art form, expressed in multiple ways, unique, and totally subject to individual tastes and preferences. The right one is the one YOU like. So many choices, so little time It’s easy to get lost and a bit overwhelmed at a huge, well-juried art festival like the one at Ann Arbor. It’s not much different for the voiceover buyer who invites talent to audition for a job, provided the pay is in line with industry standards. (A quick note here: Jobs that fall far short of this standard are a subject for an entirely different blog post. See the GVAA Rate Guide if you’re unfamiliar with non-union industry standards. Jobs posted with very low rates on casting sites are NOT going to attract the more professional, experienced talent. And most talent agents, managers, and casting directors won't take on those types of projects, either. Just sayin' ....) To find the voice that will make your copy sing, dance, and do a little jig, you’re going to want to apply a filter or two. You don't want to be inundated with auditions that don’t fit your needs. State your requirements up front. These may include an age range, gender sound, ethnicity, or a specific attitude or level of maturity. Know your budget Ask yourself, too, if you are willing to pay a premium amount for a higher priced talent. We all have to work within our budgets, but sometimes exceptions are made for that perfect fit. Decide on the source(s) of talent you’ll pull from: ==> Casting director This is someone you hire to write the correct specifications for your job, to send the audition directly to known qualified talent or to trusted voiceover agents and managers, and who will present the top choices for your decision. ==> Voiceover agents and/or managers These people will send your audition to the talent on their rosters, clarify any questions their talent may have, and facilitate the delivery of auditions to you. They may or may not screen the submitted auditions beforehand. ==> Your own roster of voiceover talent This will most often be a smaller pool of voice actors than by any other method. Advantageous in that you may already be familiar with them and have pre-qualified their professionalism and ability to get the job done. ==> A casting site or “pay to play” If you go this route, be sure to supply enough specifications so that you receive auditions that fit your needs. Even so, you may still receive some auditions from voice actors who clearly don’t fit the specs, whose sound quality is poor, or who are insufficiently trained and experienced. Unless you limit the number of auditions you’re willing to consider, you may be flooded with more responses than you care to listen to. The perfect voice over to hit you over the head Just like some art is judged to be more original or of higher quality than others, so it is with voice overs. Most submissions you’ll receive will probably sound fairly much alike, because people tend to interpret things in the same general vein. Ho hum, you'll think, after listening to a dozen or three. A few, though, will catch your attention and stand out as something special, perhaps a … Unique spin on your script Top notch performance or an Unusual vocal quality that truly seems to capture the essence of your message Occasionally, too, we discover something we weren’t looking for at all! This is what I consider the unexpected prize of wandering through a great art festival. It’s makes for a perfect gift – or even a perfect present just for myself. (Honestly, this is where it usually ends up!) In voice over, this may be an interpretation or vocal quality that suggests an even better approach to your script than you had originally intended. It happens! Every so often, we hear a finished spot that sounds much different than what the original specs had requested. Why that particular audition stands a good chance of hitting you over the head Have you ever noticed that it’s the little things that elevates some art above the rest? I saw some perfect examples of this at the art fair. The use of white space when a small watercolor is matted and positioned within a large frame. Clever themes infused with sly humor that make you stop in your tracks as you walk past the artist’s booth. 3D vs. 2D photography that lets you see a mundane object quite differently from perspectives you had never thought possible. The incorporation of (mathematical) fractals in wild color and fantastical images in digital art. Enough to make a calculus teacher giddy. It’s the same thing in voice over. Well, maybe not the giddy part, but certainly the “stop and take notice” effect. Pauses that create suspense. Unexpected variations of tone or pitch that truly lift the story off the page. A really cool voice that you just can’t get out of your head, it just seems so right for your spot. Interpretations that prove to be insightfully different from anything any other voice actor – or your writers – imagined. That’s what you’re really looking for, something to wake you up (after all, you ARE listening to umpteen auditions), make you sit up, and take notice. “Not everything is going to appeal to everyone. Certainly, not every festival-goer is going to be clamoring for any given piece of art. Except, of course, in the artist’s dreams. But the art festival shows buyers what each artist can do.” It all comes down to personal preference When all’s said and done, the only criteria that matters to you as the buyer is what YOU like. Artists of all types know this. Or at least we should. Not everything is going to appeal to everyone. Certainly, not every festival-goer is going to be clamoring for any given piece of art. Except, of course, in the artist’s dreams. But the art festival shows buyers what each artist can do. This is where our voiceover demos and custom auditions come in. Either you hear a fit for your project or you don’t. Or perhaps you make a note of those voice actors you’re impressed with for future projects and keep a few of us on file. You’re shopping a festival of talent to find what you consider the perfect voice to tell your story. Other factors come into play, too: Your project’s budget Availability of the voice actor Flexibility to work within your project’s time frame, especially if you have a longform project like an audiobook or training course or a promo that requires exceptionally quick and responsive turnarounds Required studio equipment, like Source Connect or ipDTL Ability to deliver broadcast-quality, edited, processed audio files; music beds; or other needs Specific or related industry experience, such as real-world IT experience if delivering technical narration or healthcare experience if recording medical narration With so much voice talent out there, it’s rarely an easy decision. But after applying due diligence, chances are that whichever voice actor you choose to work with, you’ll receive professional, broadcast-quality audio files tailored to your specifications. That’s what we voice actors strive to deliver. And to make you, our clients, happy. Laura's Quick Tips Have a good, clear idea of what you want BEFORE you begin looking for a voice actor Decide how you’ll source talent: casting directors, agents, managers, internal roster, or casting site Send out the audition with a specific description of the type of voice and tone you need Verify that the selected talent can meet your project’s requirements and deadlines: availability, responsiveness, studio capabilities, customer service, etc. – and has sufficient range so that you can land that nuanced final take you’re wanting Have fun with the process! And open yourself to being entertained, which is most likely what you want your customers or leads to be doing while they learn about your product, service, or training materials. Here’s one more idea: ask for a referral from a voice actor you’re already using. Just like we may direct our friends and family to check out our favorite artist at a huge festival, many of us have a wide network of other voice actors who could be perfect for your job. Give it a try! Most of us, like me, would be happy to help and it could really expedite your search. Interested in knowing what voice over’s like from the talent’s perspective? Check out what happens when Shakespeare meets Sorkin meets commercial copy in this recent blog . I'm Laura Doman, a former tech industry sales executive, hands-on mom, voice & TV/film actress, and improv performer. I create memorable characters that tell my client's stories, from the friendly CEO touting new upgrades to your sassy best gal pal dispensing some necessary, real-world advice... Let's Talk! COMMERCIALS •  EXPLAINER VIDEOS • CORPORATE NARRATION •  ELEARNING • K12 • MEDICAL NARRATION • CHARACTERS & ANIMATION • TELEPHONY

The key to booking well-known TV shows and movies is ... a good agent. Does an actor need an agent? Um, I’m talking legitimate ones here. Not the fly-by-night scamsters who tell you that they can make you a star of stage, screen, or whatnot within a short time. That is, of course, dear reader, after you pony up some significant $$ for headshots, training, etc. that they - and only they - provide. The short answer is YES. You do need an agent. If you’re an on-camera actor, it’s tough to land highly-sought, highly competitive TV, film, and national commercial auditions without one. It’s different than in voice over. OK, it’s true that if you’re wanting to play in broadcast genres, like commercials and many documentary, animation and gaming opportunities … well, you’re going to need a good agent with access to those types of auditions. But – if you’re focused on non-broadcast genres like corporate narration, explainer videos, and eLearning, you can earn a nice six-figure living, as many successful VO actors do, by finding and developing clients on your own. On-camera actors CAN find bookings on their own. Don’t get me wrong. Those roles, though, are mostly going to be for non-union productions, smaller and more local projects that pay less, and independent films. Occasionally, a casting director will post a small SAG-AFTRA union role (a few lines at most) on a casting site. And there’ll be a lot of background roles, which are non-speaking parts to fill in the ambience of a scene. Most self-respecting on-camera actors don’t do background, as there’s very little acting involved. As background, you’re pretty much a human prop, moved around as needed by the director, and too often treated the same as a chair, table, or other non-sentient piece of equipment. The pay, too, is below minimum wage, often a whopping $88 for a twelve hour day. Booking on your own carries the same hazards and responsibilities that the veteran voice actor knows all too well. Check and verify your contracts and make sure that everything is as promised in the booking offer. And for heaven’s sake, be careful of commercials that you book on your own to avoid conflicts. The last thing you want to do is to sign away your ability to appear in a Home Depot commercial because you’ve signed a contract with Ma and Pa Kettle local hardware store that is “in perpetuity.” That $300 may sound nice, but do you really want to eliminate yourself from consideration for a national deal that could generate tens of thousands of dollars for you? Every year? I didn’t think so. That said, an on-camera actor ultimately needs a good agent, one who can submit you for good projects and professionally handle your bookings, contracts, and payments. But what if you don’t have one? Or leave one agent to find another who’s better suited to represent you? The client/agent relationship works both ways. They bring you auditions. You make them money. Be sure you’re well-matched re: expectations and delivery of services. Or there’ll be a change. Be an attractive client I’m not talking physical beauty here, though that doesn’t hurt, especially if you’re pursuing a modeling contract. Be the type of client – actor – that the agent WANTS to represent. That mean: Well-trained Experienced Good industry reputation Up to date materials (headshot, reel with clips of recent work) Profiles on the main casting sites, like Actors Access and Casting Networks, which are most used here in the Southeastern US. Remember, the agency expects to make money off of you, whether that’s 10% on every union job you do or 15-20% on non-union bookings. Know when it’s time to move on But what if you’ve been with an agent for some time and it becomes apparent that it’s time to move on? There are lots of reasons that actors change agents. Some are initiated by the actor, some by the agent. Here are a few of them: You’ve not booked much (or anything) within a certain period of time and the agency wants to clean house. In other words, make room on their roster for someone else of your type who might be able to do a better job of making them money. Hey, don’t fret. Chances are that this is how YOU got on their roster in the first place. Yup, it’s a competitive industry. You’ve gone off and made a real bonehead move that annoyed, insulted, or otherwise embarrassed productions personnel or your agency itself. Maybe you weren’t the team player that you’re expected to be, or you revealed yourself to be hostile, rude, or prejudiced against another ethnic, religious, or cultural group. Or anyone, for that matter. You’ve changed markets, moving from a smaller film/TV market to a full-blown, top industry market like those enjoyed in LA, New York, Atlanta, and Chicago, You want a different type of agency experience. Some agencies are known for hand-holding (but not too many!), others have large actor to agent ratios where individual attention is given primarily only to top performers. Some are boutique agencies with known specializations. Others have strong relationships with certain casting directors, directors, or producers and receive auditions that other agencies may not see. You want an agency with representatives in more than one market. For instance, both your home base and the agency are in Atlanta, but they also have someone in the LA market or a close relationship with a top agency there. You’ve outgrown an agency and are ready to “level up” to greater opportunities. Let’s say you’ve mostly received co-star and guest-star opportunities, but now you’re aiming for more regular recurring or lead roles that your current agent rarely receives. Or you’re looking for an agent who will go to bat for you and pitch you to production for a particular role, rather than one who’s content to wait for a particular audition from the casting director. How do you know when it’s time? You’ll know when you become frustrated with your current situation and have ALREADY DONE EVERYTHING IN YOUR OWN POWER TO HELP YOURSELF. (That last bit is really important, in case you haven’t noticed.) That means continuing with your training, keeping materials current and competitive within the industry (headshots, acting reels/clips of your work), networking, and seeking and securing some work on your own, too. You’ll also know when it’s time when respected teachers, coaches, and even experienced colleagues gently suggest that you may not be receiving the opportunities you would if you were represented elsewhere. It’s not something to take lightly, but if you’re thinking of making the move, make sure that it’s for a good reason. Before you change agents, make sure that you’re doing everything in your power to help yourself. Be the consummate professional Reputation is everything. When you’re ready to leave an agency, especially if you’ve been there for a long time, do so respectfully and professionally. I’ve seen too many actors take out their frustrations, and even their own emotional instabilities, on an agent. Besides burning a bridge and tarnishing their industry reputations – word gets around fast and social media documents everything FOREVER – some of these actors refused to even consider that they may be the source of their problems. See the checklist above for those things each actor needs to be doing for himself. Most agencies prefer to terminate the professional relationship immediately upon notice, though as a former corporate gal, I always will give two weeks’ notice. And what is an appropriate notice? A professionally worded, respectful email followed up by a mailed letter. Of course, if the agent sends a termination notice immediately in response and you find yourself removed from their online roster before you can say “wow, that was fast,” I’d say the email was sufficient. This was my case very recently. After over six years with my agent and a growing dissatisfaction over time, I made the decision that it was time to leave. Not an easy choice, as I’m a very loyal person, and my last year saw some pretty nice bookings. But my career felt stagnant and I was ready for a change. I gave two weeks’ notice, but unsurprisingly, the agent ended the relationship immediately upon receiving my email. Also not unexpectedly, my daughter was dropped from the roster at the same time, which is why I waited to leave until she was just about to go off to college. If you and other family members are represented by the same agency, this is not an uncommon occurrence. This begs the question: do you leave one agent before finding a new one or do you look for a new agent while still being represented? That’s one of those “it depends” answers. It’s hard to tell. Some agencies won’t look at an actor who’s already represented, while others aren’t concerned. It’s a matter of how comfortable you are going without representation until you’re picked up by a new agency. My situation is a combination of both. I’m with a top Southeastern agency for voice over and they’ve recently welcomed me into their Commercial team for commercials, industrials, and print jobs. I’m thrilled, to say the least. But their TV/film roster is closed to new talent for a couple of months. At the time of the offer to join their Commercial team, I had a choice of accepting, knowing I’d need to wait to see if their TV/film division is interested in representing me (assuming their roster opens), or declining and looking for a different agency to represent me across the board. I chose the former. And if their TV/film roster doesn’t reopen or I’m not deemed the right fit for what they currently need, I can begin looking for TV/film representation with another agency at that time. Looking for a new agent How do you find a good agent? Primarily from two sources: Referrals from actors, teachers, coaches, casting directors, directors, or producers. People who know the person or agency involved and have direct experience with them. Industry reputation. Look, you already KNOW who’s good. For a lesser-known or newer agency or agent, Google is your friend. Don’t rush into anything. And be sure to carefully review any contract that’s presented to you to avoid any gotchas, like a requirement to pay them upfront for any fees. Remember, you’re not supposed to be paying your agent to represent you. They make their commissions off the work they help you book. In the meantime ... Indies are calling Until I get a new film/TV agent, I’ll focus on opportunities that I can find for myself through current contacts, referrals, casting site auditions, and independent productions. There’s always something a motivated actor can do! Some of those independent productions offer great acting roles or exposure. Many end up in well-known film festivals and garner awards for both the production and the actors. And no matter what, continue to train and focus on those areas where you are well-represented. For me, that’s in commercials, industrials, print work and voice over. And, of course, voice over jobs that I book on my own. Moral of the story: no excuses, just buckle down and make something happen for yourself. After all, you’re the one who cares most about YOU. Laura's Quick Tips A good, reliable agent is essential for consideration for many professional acting roles. Know when it’s time to change agents and know how to do so professionally. Be the kind of client a new agency WANTS to represent and continue to expand your skills. Be resourceful and do what you can to network and find good opportunities on your own. Like they say, acting is a journey, not a destination. A marathon, not a sprint. And so forth. An acting career is like a lot of things, but most of all, it’s about resiliency. There are a lot of ups, downs, and sideways moves in this business, changes in representation notwithstanding. Stay the course, keep your chin up … and wish yourself and your fellow actors good luck! Curious about life on set and what goes on between shouts of “Action!” (Yes, they really do say that.) Check out this story. I'm Laura Doman, a former tech industry sales executive, hands-on mom, voice & TV/film actress, and improv performer. I create memorable characters that tell my client's stories, from the friendly CEO touting new upgrades to your sassy best gal pal dispensing some necessary, real-world advice... Let's Talk! COMMERCIALS •  EXPLAINER VIDEOS • CORPORATE NARRATION •  ELEARNING • K12 • MEDICAL NARRATION • CHARACTERS & ANIMATION • TELEPHONY

Bee-yond the unbee-lievable. When the unexpected strikes hard, call in the true experts. A bee in your bonnet. A bee in your britches. Take your pick. Either is better than several dozen bees in your kitchen. Yup, that’s what I came home to from a recent trip. My husband is allergic to bees, wasps, etc., so it was up to me to get rid of them. Lucky guy. A fun time for me. The big questions we wrestled with afterwards were: How the heck did they get IN?! Is there (gulp) a hive in our house, the walls, the floor joists? Or was this just a scouting party? It was high time to call in the experts. Now there are two types of "experts": The honest-to-goodness true expert who specializes in this sort of thing. Like a real beekeeper. The so-called expert who comes in, looks around, Googles around on his phone, and then announces he'll have to take out part of our kitchen to look around for the hive that is ... somewhere. Oh, and his company doesn't repair anything afterwards. Uh huh. There's the door, bub. That was an easy decision. We went with the expert who already had the right diagnostic equipment with him to precisely locate the hive, if one was determined to exist. And his company promised minimal, if any, damage to our home with a contractual obligation to repair anything that might get damaged in the process. HIRED. Fortunately, the several dozen bees in our kitchen appeared to have been a scouting party. Evidently, our home failed to gain bee approval. We were never so happy to fail a test. It goes to show that when you have a problem and you want it handled right, you go about it the smart way. Don't mess around with amateurs. Hire the right person to get the job done right the first time. Step 1: Do your research Avoid unnecessary problems - and hiring unqualified so-called "experts" - by taking a little time to do some basic research. No wonder the rube was Googling on his phone. The internet contains a wealth of information. There's no reason why you can't do the same. Negotiate a resolution from a position of strength. Learn as much as you can about the situation BEFORE calling in anyone to do the job. Or even before you try to remedy it yourself. Note: don't try to remove a bee hive yourself, that is, if you can find it. More likely than not, if you don't know what you're doing, you'll only get yourself stung twelve ways or more to Sunday. If you don't know what that old euphemism means, pray that you're not allergic to bee stings! Research the problem and possible solutions. That's how we learned the difference between an active bee environment and a scouting party. We also learned about the behaviors of honeybees (which we had) versus the more aggressive Yellowjacket. We also learned to check for other hive-building bee behavior outside, unknown damage to the house that could provide entry and exit points to our house, and the type of bee we were dealing with. Step 2: The right people for the job Make sure you research experts who can and will complete the project expeditiously. And do it right the first time. That goes for pest control pros, tax accountants, and voice actors (hey, I had to throw it in there!). Hopefully, you're not dealing with an emergency that can brook no delay. We weren't happy that we had bees in the house - which we were afraid could return at any moment - but we weren't about to make an expensive mistake either. And honestly, it doesn't take too long to Google and find what you need. Take the shortcut and go the cheap route, if you must, but don't be surprised if you end up with more problems afterwards that cost even more time and money to fix. We were lucky to find a few nearby companies with experienced beekeepers on their pest removal staff. One came out the following day to assess the situation. From the dead bees found, he'd determined that they were scouts, because they had no pollen on them. And the intense buzzing along the roof of our house was gone. Evidently, the bees were off to find another possible home, leaving our home thankfully free from their intrusion. Whew. That was close. The internet contains a wealth of information. Negotiate a resolution from a position of strength. Step 3: An ounce of prevention is ALWAYS worth a pound of cure The point of this story goes beyond "finding the right person for the job." It also serves to remind us to check for cracks in our homes - and in our business models, projects, or whatever else we're working on - BEFORE problems show up. Prevention is part of doing things right the first time. Being proactive and anticipating problems helps us forestall many of them from occurring. That could mean keeping organized, easy to access records. Checking for loopholes in legal codes ... or in return policies. And making sure that there's no unwanted entry to your home made by bugs, animals, or sheer accidents of nature, even if it's hard to see some of the higher, more out-of-reach areas. Ol' Ben Franklin knew a thing or two about avoiding problems. Laura's Quick Tips Got a problem? Research it before calling in any ol' Tom, Dick, or Harry. Or Lucy, Ethel, or Marge. (I made that last one up.) Do things right the first time. It might cost more, but bring in a real expert to get the job done. It saves you money and aggravation in the end. Be proactive and anticipate problems before they occur. Think ahead for loopholes, resolve known issues before they become bigger and more expensive to fix. I hope you never have to deal with home intruders, human or insect. But if you see bees where they definitely don't belong, know that it's not uncommon for bees to build hives in your walls, along floor joists, or near vents in your home, like for chimneys and cooktop range hoods. Here's how I ushered them outside without killing them or getting myself stung in the process. (My husband is conveniently allergic to wasp and hornet stings, so he stayed safely away. Lucky guy. Even if he does have his epipens handy.) I used a long-poled feather duster, the type you'd use to reach very tall shelves, to very gently sweep the bees one at a time through an open door. The feathery end was soft and easy to entrap the bees, and I was able to shake them loose once I positioned the duster outside. I hope those little pollinators show some gratitude by pollinating the flowers in my vegetable garden on their way to freedom. The good thing to know is that bees do not return to build a new hive in a formerly used location. Or even (I hope) to a site that their scouts deemed unsuitable. Their hive minds seem to learn from their mistakes fairly quickly. But still, invest in a long-poled feather duster, just to be on the safe side. Bees in your home are certainly not fun to deal with. But, they did motivate us to more closely inspect the outside of our home, where we discovered a few cracks that needed sealing. We also took care of some cleaning we'd been putting off, as we hunted for the source of the bees. Amazing how much dirt you find when you'd rather pretend it's not there. But clean we did. Here are some other ways to find the silver lining in the storm cloud and turn the bitter to sweet> I'm Laura Doman, a former tech industry sales executive, hands-on mom, voice & TV/film actress, and improv performer. I create memorable characters that tell my client's stories, from the friendly CEO touting new upgrades to your sassy best gal pal dispensing some necessary, real-world advice... Let's Talk! COMMERCIALS •  EXPLAINER VIDEOS • CORPORATE NARRATION •  ELEARNING • K12 • MEDICAL NARRATION • CHARACTERS & ANIMATION • TELEPHONY

Man cave. Quiet place. Secret hideaway. Whatever you call your personal retreat, get thee to it and away from whatever's stressing you. I call it my home voiceover studio. When I need some time to myself - away from husband, kids, that neighbor down the street (we don't need to name names, do we?), I have my own little retreat. In there, I can scream, shout, curse, pray, or meditate. All at once or one at a time. But usually only when the script calls for it. No reason to get totally carried away. We all need alone time, either as a refuge from frustration or as our fortress of solitude to think, plan, or create. A little peace and quiet can birth great creative noise. Your escape from demands, quarrels, and plain old boring routine Fortunately, with a home studio, I don't have far to go. My voiceover studio is MY place to create. I do my best to keep it an intruder-free sanctuary, but certain people (read: husband) like to barge in anyways. So much for the bright electric "Voiceover Recording" sign that signals that there's work being done. Maybe I need to hire a body double that he can glimpse walking out the front door so he doesn't realize I'm home and available for disturbing. My home studio's not a big place, but it is a creative space. The microphone is always there, a willing collaborator that encourages the characters inside of me to come out and play. The mic is just waiting for those corporate narration scripts to transform into stories told aloud. Commercials become short entertainments, complete with a call to action. My VO booth is also a respite from the routine of everyday life. The day becomes more interesting when you mix creativity with the mundane. Need a break from marketing or the demands of a household? Just slip into the booth for a bit and throw out a good excuse for doing so. "You need me to go over those tax returns with you? Sure, sounds like fun, but gee, I've got to get these auditions out, that corporate job finished. See ya in an hour or so, ho ...." Give me a little time to myself and I'll be more refreshed to handle everything else. Creativity unleashed in the privacy of your booth Yes, the VO booth is a perfect place to recharge the old emotional batteries by creating, playing, and channeling frustrations into vocal art forms. Especially therapeutic to voice villains, complete with an evil laugh, or any other wild creature for a video game or animated project. Shut out the world for a wee bit and artistically go to town. On the flip side, the VO booth is also the place to go to be of service to others. There are projects needing voice actors that support fundraisers or give to charities. For example, last summer, I was asked to narrate a chapter of an audiobook, the proceeds of which would raise money and awareness for medical research. (Each chapter was narrated by a different voice actor to showcase the many stories of those affected by this disease.) More recently, I voiced animated characters for a locally-produced student film. Today's talented student filmmakers are tomorrow's producers and directors, and they have to start somewhere. When time allows, I enjoy helping them out with their projects, provided they're also well-organized, are sufficiently trained to know what they're doing, and have interesting or entertaining stories to tell. Playtime, where much creativity originates. Thought, experimentation, and a willingness to try new things. Artistic accomplishment: something creative to show for your efforts The best thing to come out of the VO booth, besides peace of mind, is a sense of accomplishment. Hey, you just created something in there! That's a pretty good feeling, crafting a character or piece of work that carries meaning. Your work could very well entertain, educate, or inspire someone down the road to think, do, or just smile. So you were recording and submitting auditions? Then you probably created some pretty good competitive choices for the client or casting director to consider. Working on a client project? Who knows, your work might be heard by an audience of thousands, perhaps millions. The bottom line is: YOU created something that not just anyone can do. Or do well. And THAT'S something! Laura's Quick Tips Your voice over studio is YOURS - a place to create, if not also a place to retreat for a little peace and quiet! Your booth is where your creativity has free reign to come out and play You never leave empty-handed - you leave your studio having made something that hadn't existed before Every artist needs a special place to think, plan, and create. How nice that today's voice actor has a home studio - even if it's in a closet sharing space with your wardrobe! - to go to just for this kind of work. Or should I say play? Because that's where most creativity comes from. Playtime: thought, experimentation, and a willingness to try new things. We don't always have or need a special place to be creative. But it sure is nice! Want to read more about what it's like to do voice overs? Read more about it here > I'm Laura Doman, a former tech industry sales executive, hands-on mom, voice & TV/film actress, and improv performer. I create memorable characters that tell my client's stories, from the friendly CEO touting new upgrades to your sassy best gal pal dispensing some necessary, real-world advice... Let's Talk! COMMERCIALS •  EXPLAINER VIDEOS • CORPORATE NARRATION •  ELEARNING • K12 • MEDICAL NARRATION • CHARACTERS & ANIMATION • TELEPHONY

Comedies - where mischief-makers, jokesters, and original thinkers come out to play I love working on a comedy. Not only is the material pretty funny, but the goings-on behind the scenes can rival anything that eventually shows up on film. The producers of my latest short film knew this to be true. That's why they created a fun, almost goofball atmosphere for their cast and crew. They trusted that the actors knew their characters through and through, but they wanted those characters to be off the leash, so to speak. They wanted to see these characters in unscripted life and how they would react in unpredictable, surprising situations - in other words, like regular people. Some actors may balk at that. But for those of us who've been trained in improv, it was a golden opportunity to let loose and play with the material. And play we did. We took the silliness off set into our work, which raised the energy considerably. We connected better with each other and came up with some pretty interesting stuff, parts of which were certainly usable and others ... well, it was a good exercise in experimentation. The director would stop and whisper in an actor's ear every so often to do this, say that, just to see how the other characters would react. He got some terrific takes that way. Have fun! Improv = training + a devilish sense of humor Get to know your character inside and out Improv is a glorious thing, but you have to know a few things before diving into it. First, know your character and your place within the overall story. See your character as a real person with a full life. Use whatever clues are in the script, whether it's description or in the dialogue of other characters. How is your character viewed by everyone else in the story? Then ask yourself: what's your background, including family, point of origin, dreams, goals, and past struggles? What's your character's perspective on life? What are the objectives and obstacles being faced now in the story? Based on your character's personality and foibles, how would you react to different types of events? Take your character to new places You also want to figure out how your character feels about everyone and everything else happening in the story. We all react differently depending on different circumstances. Play around with different emotions and take your character to new places within the storyline. Sometimes you'll be the victor, other times the poor schlub getting the raw end of the deal. Just like in real life. The trick is to be true to your character and to live that person's life within the scenario at hand. Just remember to stay within the storyline unless you've been given express permission to expand beyond it or even change it altogether. The director probably wants the same outcome, so that one scene build to the next. The spontaneity stays within the storyline and supports it, rather than dominates or drives it elsewhere. True responses are often the funniest. And in life, they often come when we're not even thinking about them. Enjoy yourself! Funny comes when we're not trying The key to improv is to keep it light, fun - and enjoy yourself! If you're making a comedy, you'll know - or discover - that funny situations often arise unexpectedly. Yes, brilliant comedic writing and careful rehearsals birth amazing stuff, not through careful rehearsals, though comedians and brilliant actors do both very well. The other key is to really listen to what the other characters are saying and doing. Play off each other and react to whatever is going on. Even the smallest instinctual reaction can be hilarious if it's authentic. Improv games teach the "yes and ..." response. Keep the game going. If one person says or does something outrageous, go along with it. Accept it and take it further, whether to exaggerate whatever's going on or take it in a new direction. Same with improv within a filmed story. Take in what the other person is saying or doing and react to it as your character would. Even if you're reaction is just a facial expression, it's something and often all that's needed. True responses are often the funniest. And in life, they often come when we're not even thinking about them. Laura's Quick Tips Play! Don't take yourself too seriously. Let your real self shine through. You have to know the rules to break them. Know your character and storyline - then push the limits. Or go beyond. Have fun. The joy you feel in your work is contagious. Too few comedies - film or TV - are made here in Atlanta. Great dramas, but outside of local improv companies, comedies are few and far between. So when one comes along that you're cast in - hoo boy!! Fun times for all. Especially when the director lets the actors improvise and bring their own unique takes on the material. Improv is great fun ... and terrific training whether you're crafting acting skills or wanting experience pivoting to the unexpected. You can Read more about it here > I'm Laura Doman, a former tech industry sales executive, hands-on mom, voice & TV/film actress, and improv performer. I create memorable characters that tell my client's stories, from the friendly CEO touting new upgrades to your sassy best gal pal dispensing some necessary, real-world advice... Let's Talk! COMMERCIALS •  EXPLAINER VIDEOS • CORPORATE NARRATION •  ELEARNING • K12 • MEDICAL NARRATION • CHARACTERS & ANIMATION • TELEPHONY