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

Know your limits. Push a positive quality too far and it can too easily flip into its negative aspect. Ever experience being a comedian on stage, telling a funny story to a highly appreciative audience ... and then barreling on way past the punchline until the joke totally falls flat, and you bomb? Me neither. Well, actually I did experience it in a dream once, a very long time ago. It might have meant that I didn't have enough confidence in my performing talent. Or it may have been my subconscious clubbing me over the head with the obvious realization that I'm just not funny. Dreams have a way of revealing the truth. They say that "the road to hell is paved with good intentions." Well, religious and philosophical doctrine aside, good intentions CAN carry us off the deep end. Going too far in whatever we're doing and totally blowing past that something "good" and over into its flip side. There IS a tipping point at which a positive quality becomes negative. Such as when care about a neat, clean appearance turns into vanity. When wanting to spend time with someone slowly becomes an obsession. Or when concern for your health transforms into hypochondria. It's a fine line that separates the two. Moderation vs. Excess. Too much of a good thing often perverts it. "I'm 51% sweetheart, 49% b*tch. Don't push it." That fine line never fails to crack me up. In fact, I use it on the landing page for my on camera work , because it's ideal for describing the polar opposites that many actresses like to play. Me included. Especially when a role can mix the two and deliver the unexpected. Like the sweet neighbor lady who turns out to be a serial killer. Or the tough, uncompromising district attorney who goes to bat for the unjustly accused. Or like Dolly Parton, playing the brothel madame with a heart of gold in "The Best Little Whorehouse in Texas." Fun stuff. This type of fine line demonstrates what happens when we push someone too far. That line is crossed. That last straw finally broke the poor camel's back. That sweet little old library lady phantom in "Ghostbusters" turns vicious. And usually, one way or another, you get slimed in the aftermath. Messy. Stubborn, colorful characters who like to assert themselves The other type of fine line is when we push a positive quality or behavior in ourselves too far. What comes out is usually the opposite than our intended result. And it's usually not received well. We end up sliming ourselves. Again, messy. It's moderation taken to excess. And sometimes we don't know we've even crossed it, because where that line sits is situational, depending on geography, culture, and the mood of the people around you. Assertive vs. Aggressive I learned firsthand about this fine line when this straight-talking Midwestern gal moved to the South. As a woman, my Northern assertiveness was perceived as a bit too aggressive down here. What works in one area of the country can be interpreted quite differently in another. Fortunately, I learned how to soften my approach by watching successful Southern women. Whether it was a business deal, a social interaction, or whatever, they got away with saying the darnedest things, especially when they smiled while they said it. Let's not even get into the whole "bless your heart" thing. For those unfamiliar, it's a phrase added like an after-thought to the tail end of a very caustic comment that transforms it into an apparent compliment. Or at least confuses the heck out of the listener. It's a verbal weapon dipped in honey, best wielded while wearing the warmest smile this side of Southern sweet tea. No one's every going to mistake me for a true Southerner, so I can't pull it off, but it's a marvel to behold. Determined vs. Stubborn Determined is "good." You've made a decision and you're resolved not to change it. The word "determined" conjures up images of leadership, thoughtful analysis, and the Dudley Do Right of conviction. Stubborn is a stick-in-the-mud. How much it bothers you depends on how badly you want to get the stick out of the way. You see, there's stubborn and then there's STUBBORN. Stubborn is when the other person doesn't agree with your position. And you can't get them to change their mind. STUBBORN, on the other hand, means that the individual has gone off the deep end and refuses to see reason or consider other possibilities, even when all the evidence suggests that they're mistaken. Yeah, this fine line can be a hard one to parse, especially when it's applied to YOU. Not so hard when it's applied to others. Fortunately, you can usually expect your significant other to let you know when you've tipped the scales. Don’t worry. They will. Colorful Character vs. 1st Rate Jerk We’ve all met someone who’s lost sight of that line. Usually at a party after having had too much to drink. A little off-color humor is OK. Usually. Someone who thinks he's hilarious when he's obviously ... not... begins to slide over to the jerk side of the line. If he persists in what we consider truly obnoxious behavior, he is crowned "first rate jerk." Or worse. Likewise, an entertaining soul is great for laughs, but when those jokes turn into insults at someone else's expense, the line has definitely been crossed. Same thing for Mr. Friendly who morphs into a creepy touchy-feely guy, especially when he's focused on sweet young things. 'nuff said. I think we've all experienced these people at one time or another. And yes, they can be women, too. One type of fine line is pushing someone too far and receiving sudden blowback. The other type is pushing your own good quality or behavior to excess, only to watch your good work or reputation blown away. Tweaking 'til the cows come home Here's a fine line that I bump my head against professionally: Excellence vs. Perfection It's that compulsion to tweak and make something that's "good" that much better. The cold, hard truth is that perfection is a goal imagined differently by each person, and often constantly reset. The tweaking, rewrites, reorganizing, etc. can go on forever, begging the questions: When is enough, ENOUGH? And good, GOOD ENOUGH? The answer: usually when it involves limited available time and money. Or patience: yours, friends, family, or co-workers. Or when someone grabs whatever you're working on and hits you over the head with it. That's a clear indication that you might have slid into obsession. It helps to know where that fine line is for you and how to stay on the less painful side of it. Or, if not, to invest in some protective head gear. As a guideline, know your objective. Plan your work, taking into account your deadline and budget. And do the best you can. Aim for excellence, but don't drive yourself (and others) crazy about getting everything "just so." Most people won't be able to tell the difference anyways. That incremental improvement may end up costing more time and money than it's worth. At least that's what I tell myself every time I obsess over the details. It's commendable to devote time to developing skills and improving a piece of work, but when the real world comes calling, something has to give. Don't let it be your peace of mind. Laura's Quick Tips Every positive quality has its negative counterpart. Pushing too hard for a "good" result can cause you to lose sight of your goal - and flip you into more harmful, destructive territory. Perhaps without you even being aware of it. If you're unsure if you've crossed that line, ask those whom you trust. We all need a wingman once in a while to pull us back from the edge. It all boils down to this: Moderation vs. Excess. A little bit goes a long way. Too much of a good thing can just ruin everything. If you like living close to the edge, go ahead, fine, skirt up nice and cozy to that line - IF you can pull off the balancing act. Just make sure you're aware of what you're doing and what that tipping point is for you. Know how to readjust if and when you cross it. And if you like pushing other people's buttons ... well, you'd better know their fine lines and be prepared to deal with the aftermath. Slime and all. The fine line is all about maintaining our balance in life. Want to read more on the subject? Check out this blog post on keeping a balanced perspective. 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! 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Go ahead. Try stuffing it all in. But ... copy for a 60 sec commercial is NOT going to fit nicely into a 30 sec spot. Sometimes things fit. Sometimes they don't. We're taught these lessons early. Square peg in a round hole. Nope, unless we're making that hole a whole lot wider. Those cute pre-pregnancy pants a few weeks - or months - or, let's get real - a few years - post-baby. In your dreams, mama. That new waist size, courtesy of your new little bundle of joy, may be here to stay for a LONG time. Like forever. And while we're talking tiny tots, there's ... Baby vs. the Bathtub. If you're a parent, you probably already know where I'm going with this. When he was a small toddler, my son was terrified he’d be sucked down the drain with the bath water. Totally freaked out doesn't even begin to describe. it. 😘 No, I told him, we don’t throw out the baby with the bath water in this family. Besides, he wouldn’t fit through that tiny drain hole. He wasn’t having any of it. Fear and imagination are pretty powerful together, even in a little boy not quite two years old. He wasn’t convinced that his mother wasn’t pulling a fast one until he’d tested the drain thoroughly with all his bath toys. Can't really blame him. It’s human nature. We believe what we believe until it’s proven without a doubt that it’s otherwise. And still, that’s not always enough. But that doesn't mean we can still push the elephant through the doorway. Align expectations within given restraints. And work from there. Forcing an elephant through a doorway leads to a shattered doorway. And one really pissed off elephant. Chipmunk chops to the rescue There are other truisms regarding fit. Like "one size fits all." Ha! No, sir, it doesn't. Unless you're talking tent dresses. Or long bolts of cloth that can be wrapped and wrapped and wrapped around all sizes of bodies. Fit certainly applies to the business world, though we usually assign different names to it like: Budget Deadline. The 30 second commercial radio spot. Let's talk about that last one. One of my clients had written a radio commercial script that, when voiced, would run nearly 60 seconds. 54 seconds, to be exact. No problem, except that it needed to fit a 30 second spot. Hmmm. Some options here: Significantly cut the copy to the essentials. There was clearly some unnecessary verbiage that didn't need to be in there. Repetitive phrases, an abundance of adjectives, and details that could have been left out. Spring for longer air time. Break the copy into two different commercials. Since it was for a local attraction, each commercial could come from a different person's perspective and serve to reinforce the overall message (that this place is something to see!). Or, alternatively, keep the radio commercial simple and to the point and provide all the extra detailed information on the company website. Take on the challenge and voice it at break-neck speed. I'm talking chipmunk chops. To the point that even Alvin, Theodore, and Simon would have a hard time understanding what was being said. And the client chose to ... play Dave Seville. He'd always liked the cartoon and never had a problem understanding what Alvin and his brothers were saying. Okayyyy.... I'm no Alvin, but I did squeeze it all in. Though I thought it sounded more like a little rodent lawyer barreling through the disclaimers on a car commercial than a cute chipmunk singing in a Christmas special. In other words, not so good. The client concurred and that's when the cutting began. We went from 54 seconds to 43 seconds. OK, a start, but clearly not enough. Then another round of cuts. And another. And then - voila! - an honest-to-goodness 30 second commercial that was much more to the point and actually more interesting than the original. Having a hard time gauging the REAL length? Ask a pro. All this could have been easily avoided. When in doubt about how long the written word takes to properly voice ... ask a voice actor. Or better yet, work with a reputable agency or production company – they’ll know how to create a top notch spot for you. And save yourself a lot of aggravation and trouble. So you want some general guidelines? My friend Samantha Boffin, voice actor, director, and former BBC producer, says that the rule of thumb followed at the BBC is three words per second. And, she notes, numbers usually work out to be more words than you'd think. For example, “2022” would be at least three words (twenty twenty-two). Prices, too, take longer to say than you might think. $2499.99 is at least "twenty-four ninety-nine ninety-nine;" more if you say "two thousand four hundred ninety-nine dollars and ninety-nine cents." Before beginning any job, I like to ask the client how they want numbers, acronyms, and unusual names to be voiced. Just to avoid delaying the project with pickups. And, hey! It's always best to get the job right the first time, if you can. The rule of thumb followed at the BBC is three words per second. - Samantha Boffin, former BBC producer When it comes to copy, the truism is ... true. Less IS more! So many scripts are truly over-written. Instead of throwing everything in commercial copy - plus or minus the kitchen sink - focus on the message and be succinct. Then think about these points: Give the words space, so that the voice actor has something to work with. You'll find that intonation, pauses, and other delivery techniques can elevate the written word and create something memorable for the listener. Make sure that the copy is written to be spoken. I've worked with corporate scripts that were clearly lifted from their websites. They're pretty easy to identify because they read as formal dissertations, not as conversational or even casual instructional speech. Overlong phrasing is also a giveaway. A complex sentence may be fine on the page (or website), but it can be rather awkward to say aloud. It's always a challenge to make those types of script sound like they're being said naturally. And they can sometimes be hard for a listener to follow. Break up long phrases into shorter sentences. One idea per sentence. Keep to the point. Use action words to convey the message. It'll give the spot "legs" to lead the listener or viewer from one point to the next, beginning with your "hook" (or attention-grabber) and ending with your call to action. Laura's Quick Tips Let the copy breathe. Give the words space, so that the voice actor can really bring your message alive. Write the copy as a person would speak it. Don't just lift text off your website. Not sure where to begin? Reach out to one of the many excellent ad agencies or production companies who've raised creating commercials and videos to an art form. Not sure who to call to help you with your project? I'm familiar with quite a few excellent advertising agencies and video production companies, and I'd be happy to recommend one or two in your area. Same thing with voice over talent - my network extends around the world. I'm sure I can help you find the right voice for your project - just describe what you have in mind! Feel free to reach out to me here. In the meantime, if you'd like a few ideas on how to match voice talent to your project, 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

"Having a teenage daughter is like having a cat that only comes out to eat and hisses at you when you try and be nice to it." I saw this on a dish towel at a little gift shop. It cracked me up, because it perfectly sums up how my husband sees his relationship with our daughter. At least for now, during her teenage years at home. I suspect it's because they're too much alike, though neither may admit it. Teenagers, especially girls, can be challenging. I know, because I was one, and I did more than my share of throwing up challenges. It's all part of the push-pull dance kids do with their parents as they assert their growing independence. It is what it is. Even when it's at its most frustrating. What I'm really looking forward to is the next phase in our daughter's life. Seeing who she becomes as a young adult. The work she chooses for herself. Where she'll end up living, the new friendships she'll make ... maybe even a special someone, too? She may even come to us asking for ... *gasp!* ... advice. But the real fun will come when she discovers that mom was right about a few things all along. Heh heh heh. Managing the mercurial teenager. Yeah, right.... From the terrible twos to the trying teen years, parenting ain't easy. All we can do is remember that we ourselves were there once. Not that it helps all that much, except to give us perspective. Seems that parents deserve a graduation ceremony, too, once our youngest flies the nest. Mom has to laugh when the chickens come home to roost You know that time-old threat that parents toss out when a kid is being particularly difficult? "May you have a child that is just like you." Ha! I didn't even have to wait for her to have a baby of her own. No, karma zinged her a good one recently, when she landed a baby-sitting job with a baby and a toddler who were not going along with the program. Meaning, her program where she puts them to bed, they quietly go to sleep without a fuss, and they STAY THERE. It's not that she exactly had the baby from hell, but she did have one that was clearly not happy with her parents' plans to go out and leave her behind. To say that she protested loudly is an understatement. Apparently, there was some crying involved. All evening. For hours. Apparently at the top of her lungs. That advice about raising babies that I thought wouldn't be asked of me for quite a few more years? Turns out I didn't have to wait that long; my phone didn't stop ringing with pleas of "Mom, what do I do NOW?" and refrains of "That baby won't stop crying!" Being a good mom, I naturally empathized with her and offered my best advice. All of which came straight from my experience of having to deal with HER as a highly vocal, unhappy tyke. While I felt badly for her, I couldn't help relishing the music to my ears when she blurted, "I don't know how you did it." Do you see me smirking? Of course, you do. Naturally, I took the opportunity to remind her that Mother's Day - the time to appreciate all your mother put up with to take care of you - is coming up. Now please excuse me while I try to wipe the smile off my face. (It's hard.) We're judged by the company we keep The time with our daughter, though, has truthfully been mostly wonderful. And I can see the quality of her character reflected in her choice of friends. If we are truly judged by the company we keep, then I don't think I have to worry about what sort of a human being I've raised. During their senior year of high school, many of these kids were on edge. Would they get into the college of their dreams? Would they even get into ANY decent school? As admissions decisions rolled out over the months, these boys and girls banded together to celebrate each other's acceptances, console and support each other's disappointments, and cheer one another on throughout a very stressful time. We love watching her interact with her friends. Just this weekend, a group of girls arranged a surprise decoration of our daughter's bedroom to celebrate her recent college decision. Two friends spirited her away while the others coordinated with me to come and fill her room with streamers and balloons in her new school's colors, accented with various chocolate goodies. (They know her well. Like her mom, my daughter is a proud, card-carrying chocoholic.) It was so heart-warming, seeing her surrounded by her smiling, cheering friends. In a nutshell? You're a success if you've raised a person of good character. Mom and Dad are graduating, too Last week was the end of the school year for seniors, with only AP exams and graduation ceremonies ahead. It was a whirlwind week for the parents, too: A reunion of her elementary school classmates, all celebrating their next steps in life. Farewell events sponsored by her athletic team and theater group. A party that paid tribute to the graduating seniors, sponsored by the school. Games, events, and so much going on that it was hard to believe she still had to take a few exams and finish a project during all that hoopla. But what a nice way to finish your high school experience. Especially since she's our last child, it felt like we, as parents, were graduating, too. From parents of school-age kids to empty-nesters. Which we are, even if it's rather strange to think that this stage of life is finally here. Laura's Quick Tips Enjoy your kids while you have them with you. Even the unpleasant bits. You're a success if you've raised a person of good character. Life moves quickly. Savor the memories and look forward to new adventures. I've been asked what I'll be doing as an empty-nester. Retiring? Moving to Florida? Downsizing and traveling the country? Nope. I can't imagine myself retiring or picking up stakes and settling somewhere else. No reason to! I have plenty of interesting, creative stuff going on right now in my life, thank you very much: voice and film/TV acting. Coaching business folks on how to become more comfortable and effective on camera. Speaking to groups on a range of topics. And as an empty-nester, I'll have time to focus once more on myself. Something that was pretty much shelved while I was raising our kids. As I see it, empty-nesterhood will be a time of greater creativity and the freedom to explore it all. Hey! Who wouldn't enjoy that! You can see what I've already started creating on my YouTube channel: https://bit.ly/3KlVoPd . 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

Sprung from Covid jail! In-person networking is BACK. Earlier this month, I attended my first in-person networking conference in two years. Yes, everyone was required to be vaccinated. Yes, virtual attendance was possible, too, thanks to trusty, now oh-so-familiar Zoom technology. And yes, it felt to everyone that we all had just been sprung from a two-year jail sentence. VO Atlanta 2022, the largest voiceover industry event of its kind in the world. And people came from EVERYWHERE. How lucky for me that it was in my hometown, just a 20 minute drive away! Way back in 2018, this conference was my very first exposure to the wider voiceover community. So much talent and expertise! More information than I could possibly absorb within a few days. Fast forward to 2022, and here I was ... a speaker, as well as an enthusiastic attendee. Reinventing yourself - and the way you do business - is a constant. Might as well be in charge of the change. As the past two years have showed us, expect the unexpected. Change is a constant. And it can hit us over the head HARD with a 2x4. Just like Covid did. But even without a pandemic to force us to adapt, we should be able to adjust to shifting circumstances. Especially if we see it coming. Or decide to make a major change ourselves. Plan when you can and anticipate problems. Because 2x4s and bricks dropped out of the sky onto our heads hurt. Reinventing yourself later in life I talked about pivoting careers, rebalancing work and family, discovering your true talents and turning them into new businesses. What I call personal reinvention. Because none of us is just one thing in life. And I've lived it, having reinvented myself more than once, both personally and professionally. It was a terrific experience. The session was well-attended and the Q&A was full of interesting people who were doing or looking into some reinvention themselves: changing careers, turning hobbies into businesses, re-entering the work force, and creating a fulfilling retirement for themselves. As a group, we discussed the practical and the psychological. How to take the germ of an idea and turn it into a business. How to navigate the ups and downs of early entrepreneurship. All while juggling existing work and family obligations to prevent anything from slipping through the cracks. Not an easy balancing act. But certainly doable. It meant a great deal to me when people came up afterwards to say how helpful my session was to them. This is a topic I had been mulling over for a few years. The majority of voice actors begin their careers in other fields, some related to the industry, but most not. I thought this topic would be of relevance to others. I'm gratified to find out that was so, and look forward to addressing other groups in the near future. The subject of reinventing oneself, figuring out life's next phase, is certainly not restricted to voice actors! Joining a well-regarded blogging community As a regular blogger over the past two years or so, I am grateful to have been invited to join a group of voiceover bloggers, many of whom are very well-known in the voiceover community. Thanks to Josh Alexander, who introduced me as one of his new blogging buddies in his recent post . You'll find many in this group to be quite entertaining and informative about the business of voiceover, demonstrating (once again) how wonderfully supportive and down-to-earth the people in this industry are. Another benefit to in-person events! You make - or re-establish - connections beyond what you can do on-line. Or at least more quickly. After all, you're seeing the whole person, probably spending more time with them, and getting a better sense of who they are and what they offer. People are generally more cordial, too, when there's a real live person standing in front of them. There are always those who like to attack, or at least disparage, from the relative safety or anonymity of the screen. They may not be the types to attend conferences that build stronger communities. Even if they did, very few are "brave" enough to act out in real physical time what they'd perpetrate in private. Conversely, the many good and decent people attending in-person events are usually happy to be there. By and large, they're there to meet new people as much as they are there to learn, which fosters a more welcoming atmosphere for everyone. In this (almost!) post-Covid world, it feels like we're springing back to 3D social interactions beyond the imposed 2D limitations. Can the 4th dimension be far behind?! The biggest thrill of all was to finally see people IN PERSON. Who knew, before Covid, the degree to which human beings are truly social animals. I'd made new friends on Zoom through webinars, conference calls, and virtual group practices. When we're confined to our little boxes, Brady Bunch style, we all look to be about the same size. Usually a collection of heads and shoulders. But shazam! Like the genie released from the lamp, it was like we'd suddenly grown to our true dimensions. Funny how some guys I'd imagined to be of average height turned out to be so tall. No one towers over another on Zoom. But I'm a bit of a munchkin, standing a petite 5'3" without heels, so my sense of proportion must have gone out the window these past two years. Being isolated behind a computer screen will do that to you. Did you ever read Flatland ? It's a fictional account of a three-dimensional object visiting a two-dimensional world and the perspectives of those 2D creatures, especially when encountering an object that exceeds their physical boundaries. A middle school mathematics teacher had recommended it to me, and it made a big impression on me at the time. As an adult, I can appreciate its greater message about limitations, social strictures, and especially how we're prone to restricting our own thinking to what we can readily experience. But in this (almost!) post-Covid world, it feels like we're springing back to 3D social interactions beyond the imposed 2D limitations. Can the 4th dimension be far behind? Well, in a way, technology is enabling that. We can connect with people all over the world in different time zones. We can watch replays outside of their live broadcast. Not truly 4th dimensional stuff (experiencing everything all at once without the limitations of time), but it's a fair substitute. Covid accelerated this development and I'm hoping that this use of technology stays with us, at least to complement in-person events for those unable to physically attend. Laura's Quick Tips Get out there and be with people when you can! When you're once again comfortable attending in-person events, feeling that the threat of Covid is behind you, take a deep breath and enjoy being with other people again. Try something new and different. Have you been thinking of starting a business or turning a hobby into a new career? Take the first step and explore the possibility. After all, if you don't take a risk, you'll never discover the reward. Give a hug. Receive a hug. You won't realize how much you've missed human interaction until you've had one. Now that we're all starting to pop out from behind our screens in 3D, I, for one, am looking forward to more in-person networking events. The whole meet and greet thing, making new acquaintances, creating new partnerships. And doing some public speaking. In addition to talking about Reinventing Yourself Later in Life (or really, any time), I also talk and work with groups on two other topics: How to Become More Comfortable and Effective On Camera (great for business people or anyone else making videos) an Introduction to Voice Over (with real scripts, for adults, kids, and teens) Looking for a speaker for your next event? Hey, even a Zoom-based one. Email me at laura@lauradoman.com. I'd love to customize one of my presentations for your group! 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

You may be the hapless victim of circumstance, but that doesn't mean you have to act or think like one. In the telling, this story is rather amusing. In real life, it was incredibly frustrating. Upsetting. And very hard on the bladder. This was the Gilligan's Island of bus rides. A short 25 minute trip that stretched to five hours. With nary a modern convenience (read: potty) in sight. I was on a ski vacation and took one day off to visit a nearby town for some shopping and sight-seeing. It started nice and easy. I arrived, I shopped, I drank some nice hot apple cider. It was a good trip, I thought, as I boarded the bus for the return. A blizzard had just blown up, but I was warm and comfy in my padded seat. Then ... word arrived that a tractor-trailer had just jackknifed across the only road in or out of town, blocking traffic in both directions and causing multi-car pileups. We weren't going anywhere. Not to worry, said the bus company. We might be delayed an hour, but we're pretty resourceful up here in the mountains and we'll get moving shortly. Uh huh. After 90 minutes, the bus finally began moving. Hooray! I'd still get back in plenty of time for the special dinner plans I'd made months ago for my family to celebrate us all being together. Or so I thought. Yes, we were moving, but at the speed of a tiptoeing mouse. Plan for the worst. Hope for the best. Plan B? Yeah, and throw in a Plan C for good measure. You never know. Stuff happens. That whole lemonade out of lemons thing. It was very, very slow progress. I decided I might as well make the best of the situation by finishing a business book I had on my iPhone's Kindle. I did. And I took notes. And I outlined a plan to apply what I learned to my business. I felt very good about the progress I made. Which was a lot more than that bus made. Hey, was that a snail that just raced past?! Biology beats the evil eye. Every time. The hardest thing about being on a bus creeping along in super-slow motion was recognizing that certain biological needs weren't slowed down in sympatico. We got hungry. (I ate the chocolates I'd bought to bring back to my kids.) We were thirsty. (Drinking as little as possible, because....) We needed a restroom break. This was not a tour bus. It did not come equipped with a toilet. It did, however, provide a large, moving barrier against the prying eyes of traffic for the guys on the bus to step outside and do their business along the side of the road. And then to jog a few feet to catch up with the bus and climb back on board. We women sitting by the windows could do nothing but give them the evil eye when they returned. Keeping our own legs tightly crossed, of course. Stay positive. Negativity just breeds more of the same and it doesn't make you feel any better. Fighting the dying of the light. And that of the phone battery. What do you do? No sense just sitting there fuming over a situation in which I had no control. Don't call me Pollyanna, but I did resolve to focus instead on any positives I could come up with: Well, I finished my book. Which was a good thing, because the eye strain from taking notes in the dark was getting to me. I'd come up with a new business strategy. Not bad for a vacation day. I wasn't outside in the blizzard. Thank goodness for at least being moderately warm! I wasn't hurt in the horrible wreck I saw as we slowly inched past the scene of the accident. Even in the dark, the pile-up was impressive. And I was able to nurse the last few percentages of battery power left on my phone. Just enough to have texted my husband the situation a few hours earlier and tell him to go ahead with dinner plans without me. The positive? Well, the best I could come up with on that one were the pity points I'd racked up to cash in another time. And I was impressed with myself that I could cajole 1% power to last as long as it did. Ultimately to the end of the ride. And there was one more. After finally arriving five hours later, I made a beeline to a popular restaurant where I'd earlier tried (and failed) to get a reservation. First to their restroom. (Ahhh!) Then to the hostess stand, where at such a late hour they were able to seat me at the bar. I actually had a wonderful dinner and a great conversation with another woman who sat next to me. A local, who told some terrific stories. Turned out, she had many more problems in her life than the temporary inconvenience I'd suffered sitting on a bus for five hours. She loved having someone to talk (read: complain) to and I realized that overall I had it pretty good in comparison. Laura's Quick Tips Focus on what you CAN do, not on what you can't. Adopt an attitude of gratitude. Think about the positives or, if you can't do that, how much worse it COULD have been. Remember: this too shall pass. The moral of the story? Sh*t happen. Deal with it. As best you can. Make the best of a bad situation and focus on thinking and doing something positive or constructive with it, rather than stewing in your frustrations. Negativity just breeds more of the same and it doesn't make you feel any better. Oh, and keep a battery-powered phone charger handy at all times. A Porta-potty wouldn't hurt, either. We've all been through stuff. The challenge is to put it in perspective. Sometimes that "stuff" is really awful. Most times, though, it's just awfully inconvenient. So, if you can, turn it around. Look for the silver lining, etc. Here are some other musings - drawn from personal experience! - on the subject: 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