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Mary Morgan

voice over artist

Voice Over Life: Building My StudioBricks Booth part 1

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Alright folks, many, many people have been asking for this and it’s finally here: my StudioBricks booth.

Expect quite a few pictures!

You can find another post about why I chose StudioBricks over other sound booth products on my blog.

For this post, I’m discussing the process of putting it together in a two-part series.

Ready?

Warning: I am NOT a sound professional. Everything in this post and the next one are based on lots and lots and LOTS of research as well as input from colleagues and professionals in audio.

Ok, when I ordered my StudioBricks booth I was very careful to choose a triple-wall studio pro. So, to begin, I analyzed the most quiet space in my house or apartment.

Was there lots of traffic outside? Lawnmowers? Planes flying overhead? Those are situations that can’t be controlled, unfortunately, so now and then I’ll just have to wait them out. Thankfully most are distant and occasional; however, it did no good treating my space for recording because of a 60 Hz hum in my walls, which is common in older houses. It interfered heavily with my recordings, and was very difficult to edit. Over time the hum increased and I got tired of seeing my wave files distorted. That led me to the decision to get a sound booth.

While some clients are ok with booths, some are not and have expressed frustration with editing audio from sound booths. I’ve determined that if my space still isn’t good enough for a client then I’ll have to go to a professional studio. So far, I don’t think that’ll be the case.

After choosing my area I had to measure where I’d build the booth and be super precise with what I wanted. The ceiling height is important in this as well when putting the booth together, literally piece by piece. If too low it would be a problem. Thankfully my room has a slanted ceiling which I’ve been told is a good thing. I ordered a 5 x 6 x 7 foot booth in size with the purpose of having a good amount of space to stand, sit, or move. Experts in audio told me NOT to get a booth that was squared, so I went with something more rectangular. When I sought advice from fellow VO talent who also owned a StudioBricks most suggested a triple wall to be safe. As since I can’t predict where I’ll be in the future (new house in the suburbs, new apartment in a busy part of town, etc.) I decided to get the triple wall.

I sent in my order feeling good about my decision and waited 3 months for delivery. Originally it was suggested the time frame would only be 2 months. However, when it came time to ship the goods from Spain, the port dock workers had gone on strike and thus delayed my order for another month.

During a vacation to Lake Tahoe with my boyfriend, I received news that the booth had arrived at my house in a massive crate the size of a van. Here’s a picture to prove it.

I was prepared for this monster of a box and had planned weeks ahead to have the garage cleared out so we could store it in a safe place. After getting home and adjusting back to my routine, it was time to put it together.

My brother and my boyfriend were my helpers in this for the first round (that’s right, I’ll explain later).

My brother determined that my chosen space wasn’t adequate due to the ceiling height. So, we chose a different side where the slanted ceiling went upwards. Boy was that a WISE idea!

Next was the first phase: The floor

I have wooden floors instead of carpet so I had no need for holders. The booth came with adjustable feet to hold the outer frame together. So, we put together the outer layers so as to put the floor boards on top of them. That’s when the excitement came along of how easy it was to place everything together.

The bottom section of the booth was marked with letters and numbers: the A section, the B section, the C section and the D section. We began with putting A1 through A5 on first. There was no need for screws or nails. The pieces fit like giant Legos (but are called bricks) and held together by use of wooden staffs in corners and in between spaces on top so that other pieces could fit on top of them. It took the gentle use of a rubber mallet to ensure the staffs were fitted in place. Then came the B section, which we assembled by repeating the same process for the A section.

After that came the part that everyone owner of a StudioBricks booth warned me about: The dreaded door. Some of my colleagues have glass doors, but I chose to have a wooden door. Whichever one you go with know this: it will be HEAVY! Do NOT handle this piece on your own, mine weighed 175 pounds. It took my brother, my boyfriend, my father and me to get it out of the crate, then carried into the house, to my room, and finally to secure it onto the booth. At that moment, I realized what a blessing it was to live in a one-story house. And if I ever decide to get an apartment, it’ll have to be on the first floor.

With the door in place it was time to add the sections marked with letter C and how many pieces came with it.

Then, we discovered that there weren’t enough wooden beams to keep the C pieces locked in place. That delayed building the rest of the booth for a week in a half.

The folks at StudioBricks were extremely helpful and rushed not one but two extra wooden beams just in case.

When they arrived my brother and my boyfriend added the final section marked as D which was mainly the top walls and ceiling parts. By this time the worst was out of the way, meaning the leftover pieces weren’t as heavy.

So, depending on your strength, expect most pieces to have dense structure. It’s not recommended whatsoever to put this together on your own.

Once done. It looked MARVELOUS! As you can imagine, I couldn’t wait to get in there to record samples and auditions.

However… something was wrong. And because of this detail, we had to take it apart piece by piece and put the entire thing back together again!!!!!!!!

To find out what was wrong and how we fixed it, stay tuned for part 2!

Voice Over Life: Building My StudioBricks Booth part 2

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Continuing from my last post with Part 2 of putting my StudioBricks booth together. If you haven’t read it yet, I suggest doing so to keep up with what I’m sharing here.

I had put my studio together with the help of my brother, my boyfriend and my Dad. It looked amazing and was quite cozy inside. However, after all the unloading, and putting it together one section at a time (which took maybe 3 hours), there was a problem.

The floor was creaking.

Each time I stepped in or moved my feet around, the wooden boards on the outer floor frame made slight scraping sounds that I knew would interfere with recording and be a pain to edit out. After speaking with the great folks at StudioBricks and my good friend Jerry Pelletier, who was instrumental in helping me understand the fine points of how to assemble it, we realized the floor was uneven. Now, foot holders came with the package and were easy to adjust. Unfortunately, we neglected to measure each area to make sure the sides were even. There was only one solution to treat the problem: Taking it apart piece by piece and starting all over again.

For this round, my boyfriend and two of our friends helped. We started from the ceiling, and took the whole thing apart from top to bottom. Once we got to the floor we spent 30-45 minutes making sure the feet were adjusted accordingly, and that each side was even. Then, we added foam beneath the floor boards. It’s not necessary to use expensive Auralex foam. We used cheap bedding foam from Walmart. We had to apply something heavy for the middle board for a while since it kept trying to pop up. But now it no longer needs pressure to keep it down. We walked on it several times to make sure the creaking was gone. I can occasionally hear a tiny scrape when stepping inside, but it doesn’t stick around. Now I can sit, stand and move without worry that noises will interfere with recordings.

We assembled each section yet again, starting from sections label A1 to A5, then B1 to B5, then C1 and C5 and onward.

Despite how exhausting the process was of putting it together, then taking it apart and building it back up, it was totally worth it!! I love going inside to record now. I don’t hear planes flying overhead, I don’t hear the 60 hz hum in the walls and I don’t hear my PC.

Some tidbits worth sharing about my experience thus far:

-I specifically asked the manufacturers not to include the aeropack fan. They assured me that it’s silent. However, it’s really not. Even still, they sent the fan anyway, free of charge. I don’t use it.

-The subject of airflow in the booth is an important discussion. At the moment, I have nothing filtering air outside in. It’s a process still in the works.

-I didn’t use all the foam that the booth came with, not even the bass traps. In fact, most of that stuff is in my closet. Quite a few people said to use the bass traps on the corners, but because they’re solid foam, I worry that they’ll make me sound boxed in with the foam already built on the walls. So, for the time being I have sound panels positioned around me, which I made with compressed fiberglass boards wrapped in calico cloth from a fabric store. I’d like to have one positioned above my head on the ceiling, as I’m not crazy about the egg shell foam above my head.

-I don’t like the desk that came with booth because when I sit to record and brush against the edge of the table it rattles a bit. It’s left in there for now, until I can find something better. I recommend a wooden table with wobble-proof legs.

-The window is left uncovered for the time being, but if I hear too much reflection when I’m shouting for games or animation, I’ll cover it temporarily with some foam or moving blankets.

-If you get a chair, make sure it too doesn’t rattle when you sit or shift in it.

-If you get a booth of any kind, I recommend going with a rectangular space, not square. If you have doubts, contact home studio professionals like George Whittam, Dan Lenard, or Dan Friedman. If you Google their names, you’ll get great info.

It’s still a process to make it just right, but the booth is finished and I love it!

If you decide to specifically go with a StudioBricks booth consider the following:

-Know the exact size you want, and the space in your apartment or house for it. Measure out how much feet it’ll take and keep in mind the booth will weigh over 2,000 pounds. Be sure your floor can hold that amount of weight!

-Don’t rely on foam alone to fix all your problems acoustically. The booth will need more treatment no matter what. Some complain that the booths are too much of a pain to treat, but others say it’s great. I like mine so far.

-There are single-wall, double-wall and triple-wall booths. Don’t just consider the space you have now, especially if you plan to relocate. It’s more expensive, but I went with a triple wall so as to not worry about potential problems at future locations when I move to. Remember, this is an investment.

-A wooden door or a glass door? I don’t suffer from claustrophobia so I went with a wooden door so that I could mount a panel or foam on it if necessary. A glass door would cause too much reflection and I can’t hang a panel or glue foam on it since the surface would be damaged.

-Do NOT assemble the booth by yourself. Find friends or if need be, hire help.

-MAKE SURE THE FLOOR IS EVEN before assembling the whole thing!!

That’s my journey. So far no one has complained about my recordings. As I said earlier, I’m still going to make tweaks and changes here and there. It’ll never be perfect, but so far it’s helped a lot!

If anyone has questions, please feel free to ask them and I’ll do my best to answer.

Voice Over Knowledge Shared Updated List

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Yes folks! I’m still alive and quite busy these days. Due to the coronavirus I have a bit more time on my hands. I felt it best to update my Voice Over Knowledge Shared list as many things have changed. There are people on the old list I no longer associate with due to paying them for services that they did not deliver and thus have blocked me rather than handle the situation like a mature adult. People are scrambling to get into voice over more than ever before and competition is beyond challenging. You not only need solid acting skills and great demos. You MUST be able to record from your house and the audio needs to broadcast quality. No “ifs” and no “buts”. The biggest companies in the world are learning to record talent remotely and for a while, this is how it’s going to be until a miracle emerges for the human race.

There are numerous Facebook and Linkedin groups you can join as well in order to keep up with the radical changes that are happening at a rapid pace. Seriously. Some groups will not allow talent who are brand new or inexperienced but don’t let that get you down. Join those that are open to talent who are new or established. Everyone starts somewhere. There’s time to learn and get better, however, keep in mind the competition that’s out there.

And… take advantage of online classes and workshops NOW. Countless millions are out of work or struggling to make ends meet during this terrible time. Because of this, lots of wonderful teachers, producers, casting directors, etc have generously reduced the costs of their time and knowledge for the month of April. You don’t meed a super expensive webcam, or expensive audio equipment. Even your iPhone or android, or iPad and so on can be used. The majority of classes are taught through ZOOM which you can download for free and then click on any link sent from a VO coach through email.

Repeating what I posted last year: To be a Voice Over know first that acting is acting. I know of very few people who got into voice over work without being an actor first. Even if you only want to pursue commercials, narrations, or announcements, an acting class will benefit you in tremendous ways whether it be theater, film, or improvisation. You gain an understanding of what it means to be directed, how to use your voice correctly, and enhanced reading skills. If goals are focused towards animation, video games, anime or puppetry, acting classes are MUST. No excuses. Funny voices don’t make a character authentic, acting does. If you live somewhere that doesn’t have ongoing film, theater or improvisation classes to take in person fear not. Thanks to Skype, Zoom, YouTube and many others you can learn from a distance by attending webinars, online programs, group courses or one-on-one training with a reputable coach. Some names mentioned are people I haven’t trained with yet but through colleagues that I trust without any doubt whatsoever, I believe they’re experts worthy of notice. If there’s a name on my list of teachers that isn’t mentioned it’s due to one of two possible reasons: 1. I haven’t heard of the individual yet. 2. I have in fact trained with the individual and what they teach is false.

Everyone has a website these days so all you have to do is google their names for more info.

IMPORTANT NOTE ON DEMOS: Do not get a demo made until you’ve had enough training to start somewhere. False teachers/producers will try to talk you into letting them produce your demo when you’re far from ready. It’s an expensive mistake that can also damage your first impression to others. People remember bad demos. NEVER forget that. Visit websites for talent agencies such as like Dean Panaro Talent, CAA, VOX Inc., CESD, SBV, AVO, Atlas Talent Agency, Osbrink Agency, Coast to Coast Talent, and A3 Talent Agency. Listen to names who have representation on those sites (including celebrities). Can you do what they do and sound believable?

Teachers I have trained with, most have expertise in more than one genre or market. Google their names for more information about them: Andrea Toyias (video games), Trine Jensen (video games, acting, motion capture), Richard Dorton (video games, acting, motion capture), Sara Jane Sherman (animation), Rick Sellers (toys), Jennifer Trujillo (animation), Everett Oliver (animation), Pat Fraley (audio books, animation), Cliff Zellman (commercials and auto-motive), Carol Monda (audiobooks), David Rosenthal (animation, games, promos, commercials), Anne Ganguzza (corporate narration and e-learning), Cissy Jones (video games), Ginny McSwain (video games), Bob Bergen (animation), Dave Fennoy (video games), Joyce Castellanos (Promos), Mary Lynn Wissner (commercials), Katie Leigh (animation and ADR), Marice Tobias (commercials and narration), Richard Horvitz (animation), MJ Lallo (animation), Bill Holmes (commercials), Marc Cashman (commercials), Lani Minella (video games), John Swasey and Ned Lott (ADR Looping)

Demo Producers I have worked with or I have complete trust in: Trine Jensen, Chuck Duran, Marc Graue Studios, Susan Palyo at Voice Trax West, Rick Sellers, Cliff Zellman, Richard Horvitz, Nancy Wolfson, Roy B. Yokelson, David Rosenthal, Cristina Milizia

Voice Over Guides from Working Professionals in Animation, Video Games and Anime: (great place for beginners)

https://iwanttobeavoiceactor.com
http://www.kylehebert.com/
http://www.crispinfreeman.com/faq.html

Group/Private Training and Workouts for all kinds of Voice Over markets:

https://lonestarvo.com (great for beginners whether you’re in Texas or not)
https://www.thevopros.com/
http://www.globalvoiceacademy.com/ (great place for beginners)
http://www.voicetraxwest.com/classdescriptions/
http://www.fixinthemix.com/Voiceover_VO_Class.htm 

Voice Over Blogs or Web Talk Shows:

http://www.nethervoice.com/nethervoice/
http://www.vobuzzweekly.com/
https://www.vobs.tv/

Help with Marketing and more (I spend the vast majority of my time on Linkedin):

https://www.marcscottcoaching.com/lesson/marketing-for-success/
http://anneganguzza.com/services
http://www.celiasiegel.com/ (has a published book called VoiceOver Achiever that is highly recommended for voice over branding)

Voice Over Communities:

https://twitter.com/courvo/lists/voiceoverists (Also search for a plethora of groups on Linkedin, Facebook, Pinterest, etc.)
https://voiceactingclub.com/

Voice Over Conventions:

http://www.voatlanta.me/
http://www.faffcon.com/ (working professionals only)
http://faffcamp.com/ (those starting out or already seasoned in VO)
http://www.world-voices.org (runs WOVOCON)
http://randythomaspresents.com/
http://www.midatlanticvo.com/
http://www.midwestvoiceoverconference.com/
http://thatsvoiceover.com/

Home Recording Studio Experts:

Dan Lenard – www.homevoiceoverstudio.com/
George Whittam – http://www.vostudiotech.com/
Dan Friedman – http://www.sound4vo.com/

A few examples of Professional Voice Over Websites:

http://voiceoversandvocals.com/
http://bethchaplin.com/VO/
http://www.bernadettesullivan.com/
http://www.nazvoice.com/
http://www.lorialan.com/
http://www.mikematheson.com/
https://dbcoopervo.com/

Miscellaneous Resources:

http://www.voiceoverresourceguide.com/
https://www.audiopub.org/ (for audio book narrators)
https://www.voiceoverxtra.com/

Last but nowhere near the least are Don’ts and Do’s that I’ve compiled based on my own experiences. May you all follow your dreams and find success!

WHAT NOT TO DO

– Don’t stop in the middle of a recording. If you mess up during a recording or audition don’t ask the engineer to stop recording and don’t waste time apologizing, just go back to the beginning of a line or paragraph and start again. Engineers can edit out mistakes.

-Don’t offer suggestions to the director unless you are asked

-Don’t let any coach (no matter how reputable) convince you that you’re ready to make demo after 2-3 sessions, especially if you’re a beginner.

-Don’t have a friend make an edit for you unless they have extensive professional experience. It’s very easy to tell if an audio production was produced on cheap software ore a high quality studio. You want the best to make you sound the best.

-Don’t eat dairy products or a super heavy meal before a recording session.

-Don’t spend thousands of dollars on a home studio, ask around for advice on good microphones, recording software, speakers, headphones, etc.

-Don’t show up in person to hand studios, agents, or casting directors your demo. Look at their website for rules on submissions (if there are any), then call to see if the company has a casting department or ask who casts the shows/games. Most casting directors prefer a link to your demo from a website rather than an mp3 as they take up space.

-Don’t tell everyone about a project you’ve recorded on social media unless the client is okay with it. Overzealous anime and video game fans will do almost anything to get the gossip on who voiced what character. Wait until the studio makes a cast announcement online or ask them personally if it’s okay to share news about your latest voice over job.

-DON’T EXAGGERATE ON YOUR RESUME. People in this business do look up people and places that you list and if it’s not legit, word will spread super quickly.

-Don’t call studios, agents or casting directors saying someone referred you if it’s not true. You won’t be hired and more than likely never trusted as second time.

-Don’t strike up a conversation with another VO actor at an audition in person. If there’s a script for you to look over, read it, study the available information. Afterwards, make friends, but be respectful to those auditioning after you.

-Don’t beg for a job. Ask about upcoming auditions or share news of a recent project (without bragging) or a new voice over demo, but don’t e-mail clients specifically asking if they can give you a job.

WHAT TO DO

-Do be on time when recording in a professional studio, fifteen minutes early at best.

-Do let producers, casting directors or your agent know if you’re running late (traffic, accidents, events, etc.)

-Do pay attention to all direction given to you in a session

-Do ask questions if something doesn’t make sense, don’t give the director a hard time pretending you understand if you really don’t

-Do bring your own water. Some studios have some for you but not always.

-Do practice a script if the client sends you a copy to work with. If you can look at your script the day before recording READ it and PRACTICE out loud.

-Do always keep training in some way, take ongoing acting lessons, attend workshops, seminars, watch youtube videos, read articles, listen to other demos

-Do market yourself with business cards, postcards, CDs, websites,

-Do network with others at events (see conventions list) you never know who you might meet

-Do keep up with what’s happening in the industry. So many do not do this.

-Do make friends with other VO talent. Many pass jobs to each other or recommend friends to agents and studios.

-Do keep a positive attitude, it’s a VERY competitive business and everyone goes through ups and downs. Everyone. But if you’re negative, especially around people in the business, people will not want to work with you or recommend you to clients.

-Do take care of your body with vocal warm-ups, physical exercises, and good personal hygiene.

-Do research coaches, classes, to see if they’re legit, ask around forums, get REAL opinions, don’t necessarily rely on online testimonials alone.

-Do listen very carefully to demos. Recognize what sounds real and what sounds fake. A voice actor (even a coach) may say they can sound like a baby, kids, teens, but vocally they’re incapable of sounding authentic. If you can sound like a baby, have it on your demo or be prepared to have a dynamite audition. First impressions really do matter.

-Do take criticism and learn from it.

Beware of the Generic Voice Over Email

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Funny title for today’s blog post right? Well, there’s a reason for that. Last November, I received an email with the subject line “CASTINGS / BARN TALENT/ SEEKING MGMT REP”. For this post, I used fake names for the agency and the owner’s name, as well as marked them out on the email screenshot as I don’t wish to slander. I sensed this email was blasted to many people all at once and upon reading the note, I was right!

The first sentence as you can see, says: Hope all is well. This email is only being used for submissions of new talent. Then someone who called themselves Barney’s Assistant (not the actual name) wrote a poorly fashioned letter asking if I was seeking representation, talent management, or more opportunities.

Next, there was a super short description of the agency being around for 10 years and working with top casting directors, producers, etc, a request to visit the company website for more information, and an invitation to submit my demos. Oh, they also included the phrase “We are freelancing with talent and understand what that entails.”

Unsolicited emails are nothing new and I get them often. But I decided not to respond to this particular one for quite a few reasons:

As I mentioned above, I could tell the email was blasted out to lots of people. It started with “Hello” instead of “Hello Mary”, or “Hello Ms. Morgan”. It wasn’t directed solely to me.

Barney’s Assistant didn’t give their real name or even explain who Barney was.

Why was I specifically being contacted? Yes, I’m a voice over but there’s no mention of what genres they work most with or where I’d fit best in the agency’s VO department (if they have one): commercials, animation, video games, promos, etc.

Something told me I needed to find out if other colleagues received a similar email. So, I went on social media to visit a few voice-over groups and lo and behold, almost every talent and colleague I knew as well as many, many others had received the EXACT same email! Everyone questioned the legitimacy of the agency and who was Barney’s Assistant? But alas, there were no answers, just memes, and jokes.

A friend and colleague discussed some very interesting points as to why this email backfired the way it did, and I got his permission to share them:

The email was impersonal/generic. They didn’t address their message to anyone in particular and therefore had no idea who they were contacting.

The message felt arrogant, as though the receiver was expected to know who exactly Barney was and expected me to trust that they really know the business.

The proposal seemed fake and much like a scam. With no name from the sender, “Barney” was either acting as his own assistant or he had hired someone inexperienced at writing emails. The note felt like a “jump in the bandwagon while it’s hot” scheme or a “let’s make lots of money together in this new venture” propaganda completely ignorant to the nuances of what a successful voice acting career would entail.

The email was poorly planned with terrible use of phrases, typos, and little to no knowledge of voice-over other than starting up a department for it. If this is how they communicate with voice actors, what does their communication with casting directors, ad agencies, producers, and directors look like?

The sender didn’t do proper research on whom they were emailing. They more than likely found a list of names somewhere and sent their email to anyone with an address.

Instead of curating a roster that fills a need for the agency or their existing talent, they just wanted to add as many names as possible, which means they didn’t value the people they were contacting.

Lastly, the so-called owner of the agency, Barney himself, made a video on Instagram defending the email blast by explaining it was legitimate, how much he wanted to build the VO department at his agency, and finally mentioning that his Instagram page was in fact verified.

What’s more unfortunate is that new and unsuspecting voice-over talent are likely to fall for this gimmick which is why I wanted to blog about it. Always do your research! Legitimate agents/agencies DO NOT mass solicit talent. It’s also been reported by various sources that “Barney” shares jobs on social media that are supposed to be confidential, thus violating NDAs!

All in all, it’s not unusual to hear from an agent interested in representing you. It can be rare for certain due to agents being incredibly busy. Nonetheless, beware of generic emails that don’t address you by your name or mention how they found you.

Do your research, ask questions, and be careful out there!

The One Voice Conference Experience

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Hello again! It’s… been a while. Last year was a nightmare, this year has been a mix of good and bad, but it’s not over yet.

I’ve stayed busy in voice over with some new clients and last month I attended my first voice over convention in 3 years. It’s called the One Voice Conference. The program started in the UK but has become international with a convention in Dallas, Texas, USA! Having attended many voice over conventions like Faffcon and VO Atlanta, I came to see quite a few colleagues who also attended in person. Not only that, I met connections I only knew on Facebook or LinkedIn as well as introduces myself to talent I’d never met. I’d forgotten how joyous it was to meet fellow VO people face to face. Being on the autism spectrum I’ll admit my social skills aren’t great. Nonetheless, no one complained!

One Voice offered lectures, free workshops, and paid workshops as well as the opportunity for those staying home to attend everything virtually.

A slight downside for me was that I already knew the vast majority of what was being taught in the workshops and lectures. However, as my good friend Roy Yokelson (Or “Uncle Roy” as many VO colleagues call him) pointed out, attending VO conventions is also a great way to “brush up on your skills” whether they be in performance, technology or marketing.

Voice over is constantly changing and only talent who are serious about the profession will take time to learn and adapt to those changes. There’s also networking which I can never stress enough how important it is. Also, something unique I had never seen at a voice over convention was the inclusion of a conference for Latin American VO talent with a specially created agenda in Spanish.

I sadly didn’t get to attend all the panels and lessons I wanted since I had a recording session that took up my Friday morning and a yoga class to teach Saturday morning. But a benefit to signing up for One Voice is having access to all recorded sessions (except workshops). You might feel overwhelmed but at the same time, you can never learn too much.


Conventions are a fantastic way for new talent to get their feet wet and read for casting directors, agents, producers, and top coaches. It’s not about being able to impress them, it’s about learning. Here’s an example: I attended a promo/narration workshop with one of the top VO agents in Los Angeles. Of the 15 people in the room, I was the only one with a young-sounding voice. So, the agent gave me promo copy from Spongebob Squarepants while others got copy from Divorce Court, Real Wives of Beverly Hills, CNN, or ESPN. Don’t get me wrong, I LOVE promos for cartoons and totally want to read and record them. But what more can I do besides cartoons and kid shows? The agent said I had potential in narration, especially when it came to sci-fi, or horror shows. He demonstrated this by having me read a narration from the show Spirit Hunters in my natural young voice. Taking his advice, I crept closer to the microphone, and without adjusting my voice, I read the copy as it was. The agent complimented me and barely have any further direction. So now I’ve learned that despite sounding young, there’s a place for my voice in various shows with themes of sci-fi, horror, and a little drama!

After meeting one of the top website designers and SEO specialists in voice over, she encouraged me to start blogging again even though I expressed concerns that my blogging about voice over didn’t stand out amongst those who’ve been in the business for decades whereas it’s my 13th year. Nonetheless, she told me to try again and that’s what I’m doing.
Another great workshop was with Shelley Avellino who is not only a fabulous talent but an expert at international marketing. For an hour she talked about ways to not only look for potential clients but also methods of contacting them such as how to engage in a conversation with them before discussing the possibility of collaborations. Such information is not easy to come by, so I highly recommend learning from her.

My overall thoughts on One Voice are a tad mixed, but quite positive. As mentioned above, it’s perfect for talent starting out in voice over yet also nice for professional talent to brush up on skills if not learning anything new.

If the conference stays in Dallas, Texas I’ll likely attend each year that I can, especially if I can sell or cater the even with my macarons!

Do you have a thick skin to work in Voice Over?

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They are out there lurking around the Internet waiting for the right opportunity to strike you down with malicious criticism. Yes, I mean the trolls. The online bullies. The ones who look for any excuse to ruin your day or your whole life. They love to linger on YouTube so they can dislike your videos and post cruel comments. And when you succeed at something they post taunts and in some cases death threats just to unnerve you.

It happens in every profession but in the arts and entertainment industry it is prominent.

Ok, bear with me. Remember Star Wars: The Phantom Menace? If you do you probably know where I’m going with this. That’s right, Jar Jar Binks. I wholeheartedly agree his character was… not good. It just didn’t work at all. A handful of people liked him but more didn’t and voiced their opinion anywhere they could.

Last year the actor, Ahmed Best, who voiced Jar Jar Binks wrote an article about the time that all took place. There was a picture of him with his son as they were looking at the water far below from the bridge they were standing on. What bothered me was when Ahmed Best said that years ago he contemplated jumping off that same bridge because of the backlash he received from his work in Star Wars: The Phantom Menace. He still received work in voice over and occasionally on film. However, he would forever be known for a character most audiences hated. The criticism was severe enough that his presence was incredibly short and forgettable in the other two films. I understood his pain right away. I’ve known 3 people in my life who committed suicide, one of whom was a very close friend. What stopped Best, he says in the article, was the birth of his son. Ahmed Best isn’t responsible for the malicious reactions of the Star Wars prequels. It was the writing, direction and maybe a few misled casting choices. Yet the franchise solely belonged to George Lucas at the time (way before Disney bought it) and therefore he created what he felt worked. All Ahmed Best did was his job as a character.

I can tell you without a doubt that there are projects I sometimes wish I hadn’t been part of. But acting is acting and work is work. The scripts/stories were the main reasons. When a script is poorly written our job as voice overs is to make it sound beautiful when spoken or bring it to life.

What you have to expect is that people will like it, love it, hate it, or really hate it. Then you decide how to handle the situation in a professional manner.

Remember the infamous song “Friday” by a 13-year-old girl named Rebecca Black? She was a teenager, well behaved, had a nice smile and a good attitude despite the thousands of horrific insults flung at her. Ms. Black not only received verbal attacks, she received death threats, and a number of talk shows made fun of her.

Yet no one wanted to acknowledge that it was the song and the production that caused the problem, not her. The lyrics were amateurish. The songwriter even included a section where he rapped with no purpose for it in the song. Rebecca’s voice had been auto-tuned way, way too much. The producer was to blame for that part.

She received instant fame but also tremendous infamy, and for what? Singing a poorly written, poorly recorded song. Despite the verbal abuse, online bullies, and more, she kept a positive attitude which should be commended for someone so young entering a cutthroat industry.

Fame has a shelf life of 15 minutes, but infamy lasts a bit longer. Without a thick skin, infamy big or small can tear your soul to pieces.

Strangely though, there are occasions when a thick skin can backfire. Some celebrities are caught in the spotlight these days due to their horrible behavior, some of which has been going on for many years. And a few have destroyed their careers because of a single post, picture or video on social media that even when deleted still remains on the internet forever. When you look at a famous face who’s been in great movies, won awards, and who has done great charity work, everything changes when you find out the person committed crimes or made hateful comments online. Suddenly those movies aren’t enjoyable anymore because you see the actor in a different light, and there’s no going back. It’s especially hard on people who look up to celebrities and in some cases consider them heroes and mentors. And yet with all this drama, those big names play it cool in front of the camera. They’ve put up with criticism left and right throughout their careers. Perhaps over time the attention numbed them so much that their thick skin became a massive shield. As a consequence they think nothing can stop them with their millions of dollars, powerhouse lawyers, etc.

As performers we’re going to have admirers and, no matter what, we are definitely going to have haters. The question is whether or not you’re going to let it affect how far you’ve come.

©2025 Mary Morgan // Voice Over Site by Voice Actor Websites

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