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rates

The line between the voice actor and our business?

February 28, 2022 by Laura Schreiber

The Philosophical Question of VO

Oh WaitWithout doubt people love John DiMaggio’s character Bender on “Futurama.” So when DiMaggio’s contract was up, he faced a dilemma. Many voice actors have actually faced this very dilemma. Does he hold out for the rate he deserves? Should does he walk? Or perhaps in this instance, DiMaggio responded like his character Bender would have.
 
This is a complex situation. If you have not watched the show or have not read about it, there are a few key details. DiMaggio has played Bender since the 90s. He has described Bender as being part of his soul. Hulu decided to revive the series. There are a lot of unanswered questions:
  • We do not know the entire budget.
  • What was John DiMaggio’s offer was relative to others in the cast like Billy West?
  • Was actually only about the rate?
 
As voice actors, we face a daily struggle. We are working artists. Creatives. How do we align artistic principles with business principles? If something is “part of your soul” how do you attach a rate? When a character becomes part of the fiber of who we are, how do we walk away? At the same time, we spend years training. We invest in pricey gear. We have a huge cost to maintain our business. How can we afford not to maintain our rates? If we do not stand up for our value, who will?
 
Recently I was on a college tour at Georgetown with my son. They tour guide spoke about religious and philosophical life on campus. He said they want the students to grapple with the questions to which there are no answers. When I read DiMaggio’s story, I thought back to this. As voice actors, we need to find the intersection between our acting goals and our business goals.
 

Voice Over Bookings Like Library Books

I don't have emotionsIn March of 2019, I was at the World Wide Radio Summit in Burbank. I remember Kelly Doherty saying something brilliant. She likened VO gigs to library books. Kelly said they are ours for a time then they go to someone else. I loved that. As someone who has always believed we get the jobs we are meant to get, that worked for me. My friend used to do the Burlington ads on Spotify, then I did them. Now someone else is. I used to do the IVR for Big Bear Gear. Then they wanted a male voice and I happily passed it on. That’s how it goes.
 
What makes it different in the scenario is with Bender, is that fans equate actor with the actor. The actor has developed the character. The actor has not only made the character who he is, but the character then becomes a part of the fiber of the actor.
 
Now, let’s flesh this out. There are times when actors assume roles that have already existed. For example, Bob Bergen took over as Porky Pig. Dora from Dora the Explorer has been voiced by three actors: Isabella Merced, Caitlyn Sanchez, and Fatima Ptacek. “Tom and Jerry” had no fewer than seven voice actors over the many years. There was not feuding when these actors stepped into a role, the role, like a library book, simply changed hands.
 

What Makes the Bender’s Voice Over Role Different

Some philosophical questions must be asked at this point in analysis:
  • Does fan attachment come into play?
  • Do some actors define a role?
  • Can actors seamlessly take over for each other?
  • Where is the line between budget and performance?
  • Is it more important for a talent to earn a living wage? Or, is it more important for the character to go on to exist and be part of a series?
Another Pointless DayWhen DiMaggio could not reach an agreement, many industry insiders came to his defense assuring everyone that they would not assume his role either. This leaves us with an open-ended question: imagine of someone had tried to replace Beaver Cleaver or Arther Fonzerelli? If someone tried to replace Peter Cullen as Optimus Prime, we would notice that too, so perhaps some characters are just different. Perhaps Bender is one of those characters. That, of course, leads to another great question: does the voice actor develop the role is does the role create the space for great talent?
 
As a professional voice actor, I can tell you that great scripts are a gift and they do not come your way so often. When they do, they give voice actors a chance to shine. It is hard to give a brilliant performance when the specs in no way match what you are sent script wise. So my thoughts are that when characters become iconic, it’s because an extremely gifted actor is placed in a wonderful cast and has a great script to work with.
 

Voice Actors Earning a Living Wage

All of that said, I am a voice actor because I have a passion for my craft. I have an advanced degree and while there are many things that I could do, there is only one thing that I want to do: voice over. Of my daily routine, I take joy in the minutiae with one exception: negotiating rates. Despite the prevalence of well-publicized rate cards, I constantly have to negotiate with clients. It is so frustrating. DiMaggio’s recent problems bring all of this to light. If the most famous and talented among us cannot get paid what they feel they need to continue an on-going role that they are known for, how are the rest of us supposed to hold out hope that we will get the rate we need on the next commercial or eLearning gig?
 

Filed Under: Uncategorized Tagged With: Bender, Cartoon, Futurama, Hulu, John DiMaggio, Living Wage, Negotiations, Philosophical issue, rates, voice actor, voice over, voiceover

Why Maintaining Rates In VO Matters

May 9, 2021 by Laura Schreiber

Recent Negotiation Examples

As a working, professional voice talent, one of the aspects of my job that I dread is negotiating rates with clients. When I think about “living the dream” part of the dream of pursuing my passion for voiceover as a talent, coach, and demo producer does not involve the back-and-forth banter to iron out a rate before a job begins. Yet, this banter is becoming more and more necessary as the days of jobs with desirable rates simply arriving in my in-box seem to be fewer that past years.

Accepting LessLet me share two experiences that happened in the past week. Last week, I heard from an Indie Video Game producer that I worked with in 2016. They were offering me the same role I played then. I had detailed notes in my CRM that they needed a discount as they were trying to launch the game with a kickstarter campaign. When I quoted them this time a normal, mid-range rate, they came back to me saying they were shocked that my rated had gone up. They went on to say that the five other talents had agreed to the rate they offered and they wanted to pay everyone the same. I referred them to the GVAA rate guide, which I will discuss later, and reminded them of the terms of 2016. They came up to my rate for me and for the other talents.

On Friday at the end of the day I client I have done quite a few TV campaigns for sent me two scripts. The rate for both was pathetic for one. It was clear he wanted a buy out, meaning he expects usage in perpetuity, which is never good for voice actors. I responded saying that I’d love to help but that the rate won’t work. I sent some suggestions their way, and said that we need to find a rate that is fare for both of us. My hope is that tomorrow we can work something out and that I don’t have to walk away from a long time client. I cannot, though, work for the rate offered. Maintaining industry standard rates matters for multiple reasons, not just for you as a solopreneur working to make  living, but for the some total of our industry as a whole.

If We all Accept Lower Rates, Will Only Get Lower Rates

Your Value Doesn't DecreaseImagine a scenario where we all just stopped negotiating. Let’s say a client offers $200 for two TV commercials with no mention of the length of usage, and instead of trying to negotiate, sort out the details, and explain why buy outs don’t work for us, we all just said “sure.” The implications would be staggering. The clients, then, would assume there is nothing wrong with this sweat shop pay, and would assume that our years of coaching and on-going professional development, that our expensive studio equipment, that the service we provide, that none of it has value, and that the can continue to lower and lower the rates. Where will it end? How low will they go? I shudder at the thought, and fear that if we are not willing to walk away, these bargain basement rates will become more and more common. You must know your worth and be willing to stand up for it.

Sometimes Client’s Genuinely Don’t Know and Need to Be Educated

As hard as this is to believe, sometimes clients are not actually trying to drive rates down. Sometimes they genuinely have no idea where the rates should be set and it is up to us to educate them. I have had this conversation with many other voice talents, and this is often the case. Often those casting us have never worked with voice actors before. Perhaps they were tasked with hiring a voice actor by someone else, and they know nothing about it. It’s possible, especially in eLearning, that they come from Human Resources or Academia and they know little to nothing about casting. When this is the case, a conversation about rates becomes a wonderful opportunity instead of frustrating and contentions.

Imagine How much Less You would Make If you Took the bottom Number on Every Job

Think about your financial goals for the month. Then think about your financial goals for the year. Then think about that over a three year period. Imagine, then, what would happen if you made 10% less on each job? Worse, what if you made 30% less on each job? It’s not just about having money to live off of and pay bills, at such a large income reduction, it will also effect your ability to save for the future and for your retirement. As solopreneurs, every booking we get matters in and of itself and in terms of building our client base. Each booking also matters for the industry as a whole. We all impact each other’s earning potential.

Where can you find Guides for Industry Standard Rates

If you are looking for sources or rates guides, let me refer you to three:

  • The GVAA Rates Guide is extremely thorough and covers most of what you need: https://globalvoiceacademy.com/gvaa-rate-guide-2/
  • The Gravy for The Brain Rates Guide is very specific, allows you to search by genre and usage, and is also great for EU and UK clients:

    Rate Guide

  • The SAG rate guide cal also be extremely helpful: https://www.sagaftra.org/contracts-industry-resources/voiceover

Think About the End Goal: Earning a Consistent, Sustainable Income

In the end, we all want to earn a consistent, sustainable income. I remember hearing Bill DeWees, one of my first mentor’s in voice over, talk about this back in 2015. Yes! That what I needed, consistency. But a consistent income doesn’t just fall into your lap, it requires a rigorous blend of hard work and a willingness to negotiate. If you can’t stand up for what you’re worth, you’ll never get it.

Filed Under: Rates, Voiceover Tagged With: Bill DeWees, booking, buy out, buyout, client education, coach, commercial, Gravy for the Brain, GVAA, income, industry standard rates, negotiating, professional voice actor, rates, SAG, social medial, solopreneur, usage, video game, VO, voice over, voice over coach, voiceover, working creative

Don’t Assume Anything When Quoting VO Jobs

January 17, 2021 by Laura Schreiber

The Scenario

This week a job came in from a repeat client. I actually saw the booking posted on Voice123, but it was with a different gal from the production company than I had worked with before. When I submitted the read, I mentioned I had done work for both their agency and that client. I heard back right away that they were booking me. Great!

The Script in QuestionThey sent me the script and asked for my rate. They needed a RUSH turn around, but I was not charging them an extra fee for that. Since they were a repeat client and I was available I didn’t want to nickel and dime them. Anyway, I made a mistake almost right away. The voice over job I did for them was for an explainer video with usage limited only to their website. I assumed, again, I assumed that this was the same. I assumed this because the top of the script was labeled in bold font “VIDEO SCRIPT.” I initially quoted the job based on the last, recent voiceover work I did for them and the assumption that it was a video.

The Call

I got a reply that the price quoted worked for them and they just wanted to have a quick call to go over their notes on the script. We set a time for in 15 minutes so I could turn in around really fast.

Photo of Laura Schreiber in a HurryOn the call, it was great to catch up with the client. As a full-time, professional female voice over actor, building client relationships means a lot to me, and phone calls like this always provide an opportunity not only to better understand my client’s unique and specific needs, but also to get to know them. How better to build a relationship than to actually speak?

Anyway, we jumped on the call, and my client immediately mentioned the television run. I resisted the urge to interrupt her and listened. I then resisted the urge to immediately discuss the rates, and instead focussed on her needs: discussing the new product and the script. Then, after we covered that, I delicately circled back with a “You mentioned this is a tv spot…” segue. I calmly and clearly explained that I had assumed, and yes that was on me, that the job was again a video as the script was labeled video in multiple places. I asked the client two key questions:

  • How long is the tv run (length of usage?
  • Is there social media usage too? If so, is the social media usage organic or paid placement?

GVAA RATE GUIDE TV Broadcast ratesNow, these questions should have been asked in my initial reply email when they were casting me. I should have asked them before I threw any numbers into the air. And as a long established professional voice talent, I should have know better.

I was extremely apologetic, my town was calm, but I also explained that I could not do a TV spot for an internal video rate. I then offered and did send my client the GVAA Rates guide, so that they could better understand what my pricing was based on.

The Resolution

Luckily for me the clients were very nice and understanding. It was clear that I thought it was a video and did not know it was a television commercial. The woman that I spoke to said that she would reach out to the rest of her team, find out the length of the run, and find out if there was social media usage and that they would get right back to me confirming the rate I had suggested.

It did work out. It turned out it was a four month local tv run in Mississippi, with no social media usage for now. We discussed pricing in the event that the client decides to add that usage down the line, or when they see the final spot.

Lessons Learned

Take your time QuoteI will never be in such a hurry, even when I tell myself it’s for the client, that I skip major parts of the information gathering process. The point of having years of experience in the industry is not only to serve the clients well and to provide an outstanding level of service, but is also for precisely these scenarios, when years in the industry should teach us to take a breath, pause, and look at what we are dealing with. I realize that if I could make this basic mistake, anyone can. So do yourself a favor, ask questions. Enjoy the dialogue and back and forth. Don’t be afraid to hop on the phone and clarify a few details. I realize the clients in this scenario could just as easily have been inflexible about the budget, and that would have led to a very different blog today.

Filed Under: Client Relationships, Rates, Voiceover Tagged With: Assume, commercial, female, full time, length of run, organic placement, paid placement, professional, Quotes, rates, Repeat Clients, Rush, Script, social media, television commercial, trust, tv commercial, usage, Video, VO, voice over, Voice123, voiceover

Another Instance of Why the VO Community Matters So Much

December 13, 2020 by Laura Schreiber

Now More than Ever…

Laura Schreiber and Industry Friends in NYC
With Uncle Roy, Lynn Norris, Michelle and Steve Sundholm, and my sister Julie Levin in NYC in Chinatown SOVAS Weekend

I think we can all agree that 2020 has presented us with some challenges. For those of us who enjoy the close knit voice over community, from the myriad of conferences each year to traditional events like Uncle Roy’s BBQ and Christmas Parties in NYC, when you work alone in a padded foam booth, interacting with others in voiceover is so much more than a chance to network. Any of us who go to these events will tell you about the gooey sweet bonding that happens between the karaoke and the shop talk. So the lack of face time in 2020 has been hard, but for me, the presence of social media groups, especially on Facebook (as much as I hate to admit it) has helped fill the gap. I feel like I still “see” my dear friends and have a sense of how they are and what’s going on. More than that, I crave the interaction, look for their posts, and try to be responsive. For me, these voice over groups on social media are not a distraction, they continue to give me a sense of connection when we are all forced to be distanced at the moment. This week, these connections in my Facebook voice over community genuinely helped me through an experience from a pay to play that had me feeling pretty exasperated.

The Frustrating Experience of this Week

Laura Schreiber at WoVo Con in Las Vegas with Industry Friends
Laura Schreiber with Michelle Blenker, Diana Birdsall, David Rosenthal, Lisa Suliteanu, and Kim Handysides at WoVoCon in Las Vegas in 2017!

On Thursday I got one of those messages we all love: I had been cast in a national spot. Spoiler: wait before you start celebrating for me, it does not end well. The initial offer was low and it needed negotiating, which in no way scared me off, negotiating is part of the job, right? But the good news was that they wanted me and I was available. The message came through Voice123 and the client asked me to call him right away. I called the client back immediately. I spent a long time chatting with the client. The spot was actually more regional in use but the client wanted national rights to not have to deal with his client more later. Fine. We also discussed pricing for web and social media. He was pleasant and very specific. He wanted a zoom session Friday morning. I gave him a choice of times and he said he would get back to me. I had a 5 pm zoom on Thursday and I was in a really good mood during that call. When I got off of that call, I got an email from the client. He said his client no longer had the budget and was going to use an in-house voice. They were going to use an in-house voice for a national spot? Are you kidding me? And he wasted so much of my time. I was really annoyed. I was aggravated. Frankly, I was pissed off.

I Was NOT Alone….

One of my VO besties suggested I post it on Facebook. We have a VO Red Flags group, and I also decided to post in our V123 Platinum members group. My wheels were turning and I was curious if he had interacted with anyone else. I wanted to see how others would have reacted and if this had happened to anyone else recently.

Laura Schreiber and Industry Friends at Uncle Roy's BBQ
Kim Handysides, Shelley Avellino, Devla Trainor, and Laura Schreiber at Uncle Roy’s BBQ in NJ

I got an immediate response in the V123 group. This guy had been making his rounds to other top voiceover talents. He had been negotiating with one male talent all week, since Monday! He had contacted other female voice actors at my level who also book a lot on that platform to negotiate with them! For some reason I have not seen my post go up in the Red Flags group yet. Sometimes that happens.

Laura Schreiber and Industry Friends at VOA
Michelle Blenker, Michelle Sundholm, Diana Birdsall, and Laura Schreiber and VO Atlanta 2018

The point, though, is that I felt much better having a community to discuss this with. I was not alone in my booth, or alone in my kitchen talking it through with my husband. I was part of a pretty awesome group of talents dealing with this together. I went from feeling angry to being thankful for having such awesome people. I realized this guy was outnumbered. He had heard over and over and over that his budget was too low. We were all in sync. The reason that there are industry standard rates and that we can all work so hard to maintain them is because those of us in the industry are such a cohesive, tight knit network.

So to be clear, the response that I got on Facebook this week had both an emotional impact on my stability and also, at the same time, showed the impact of the VO bond on our business. By communicating and remaining close, we all benefit. It is so so important that we stick together!

So cheers to a better 2021, and to seeing you all in person, so that I can give you all a big hug and we can have some fun together again! I am so profoundly thankful for this community.

Filed Under: Voiceover Tagged With: female voice actors, live session, negotiating, rates, Uncle Roy’s BBQ, VO, VO Red Flags, voice over, voice over community, voice over conferences, Voice123, voiceover, Zoom

Biggest VO Surprises of 2020

November 29, 2020 by Laura Schreiber

Perhaps because it’s Thanksgiving weekend, or perhaps because it’s almost December, but it seems like the right time to reflect on 2020 and think about what I want for my voice over business the last month of the year. While I am delighted that my puppy has now learned to behave as well in the booth as my older dog, I have many more reflections about how 2020 is unique and the implications this year has had on my voiceover work. So, here is my countdown of observations of what has surprised me in 2020:

5. The Ways in Witch People Connect for Live Sessions

Direct Bookings preferenceIn 2020 live sessions have been more important than ever. Sure some clients still want us to self direct, but as no one or barely anyone) is recording in person, the live session is more important than ever. What surprises me is that I would have guessed that every client would want the quality offered by Source Connect. This is not the case. Surprisingly, I am asked for zoom and given phone patch dial-ins more often than I am asked to use Source Connect. As a professional voice actor, most live sessions are for commercials, but I have done a few for eLearning clients recently. Interestingly, it has been so long that I have been asked for ISDN that I gave up my direct bridge through ipDTL as no one seemed to want that anymore. So, despite the quality that some connections offer, clients seem to like what is easy for them and what they are comfortable with.

4. Rates

Rates changesRates have been all over the place in 2020. I have had to turn down more jobs in 2020 than in the past 5 years combined. This may be because I am being found more, or it is because more people who never cast a voice talent are now casting and are not familiar with industry standard rates, or budgets are changing. As a working voice over professional, it is one thing to be flexible and have a range of acceptable rates, and it is another issue entirely to compromise one’s worth to pick up a new client. I have found that the biggest area that clients lack understanding in is usage for social media. They do not understand the difference between organic usage and paid placement, and they do not understand that usage across multiple platforms matters. My hope is that if voice talents continue to work together to educate clients this will shift in coming years.

3. Buzz words

Buzz wordsThe specs are changing and the buzz words that we are asked for have changed. When I started the millennial conversational read was the go to read. Now it seems that, for commercial voice overs, the authentic, natural read is what is wanted. A real person who sounds believable is the go to read. Interestingly, I think there has been a backlash from millennials who do not like or enjoy a lot of the characteristics that have been assigned to their generation, and the shift that we see is a direct response to that.

2. Abundance

Abundance in 2020For those of us professional talents who are putting in the hours of work every single day, I am pleased and grateful for the abundance of work in 2020. Initially when the pandemic hit my business slowed in March and I panicked that everything would change. By April it seemed to bounce back and castings had picked up again. According to industry friends who are as established as I am or have been in the industry longer, this is the best year they have had yet. I realize it is Thanksgiving weekend, but I typically have an attitude of gratitude all year, whenever the bookings gods shine down on me. I realize that my clients have a choice and I am thankful when the choice goes my way, and this year it has happened more than last year. When so many businesses are struggling, in our industry and around the country, this is truly something to celebrate.

1. Direct Bookings

Direct BookingsMy direct bookings, bookings where clients come straight to me, are triple my pay to play bookings in 2020 and up 14% from 2019. I am really pleased with this. These direct bookings are a combination of clients that find my website, rosters that I am on because I found them, or repeat clients who were initially from a pay to play but not they continue to come back to me. I also have direct bookings from social media, including instagram and LinkedIn. The number of direct bookings being so high means that I am not dependent on pay to plays to survive. Instead, I use the pat to plays to add to my client pool. I am extremely thankful for all of the direct bookings.

Filed Under: Voiceover Tagged With: authentic, gratitude, live sessions, natural, phone patch, rates, real person, Repeat Clients, Source Connect, VO, voice over, voiceover, website driven, Zoom

Q & A About Recent eLearning Trends

November 22, 2020 by Laura Schreiber

A Lot of eLearning Trends In 2020

Whether it’s because of the Covid 19 Pandemic or the industry just continues to boom, there is more eLearning work than ever! The demand for female voice over roles is continual, and as a full-time professional voice actor, every time an eLearning job arrives in my inbox I am delighted. I have always loved working with the instructional designers and project managers to bring their content to life. Before I became a voice actor, I was a teacher, so perhaps that it was I feel so at home with this genre. At the moment, there is a huge amount of eLearning content and based on the work coming in I have noticed a lot of trends in the type of work being sought, rates, tech needs, and what books the work. If you are looking to expand your eLearning bookings or to work more in this genre, these are questions you should be asking:

What gets your foot in the door with eLearning content creators?

The Demo MattersYou need a solid demo that represents both a range of your abilities and your understanding of the industry. My vocal range is from teen to middle age, and that is demonstrated in my eLearning demo, which goes from tech industries to pharma to medical. My demo switches gears from upbeat and engaging to serious and professional. My demo is set to music, which is controversial is often eLearning is dry. I wanted my demo to standout and by pleasant to listen to, and I believe it meets that goal.

What are you typically asked for when cast in an eLearning role?

You need toIt has been a while since I was cast as a generic third person narrator in eLearning. Instead, for the last sic months, ever booking to land on my desk is a character role, where the instructional designer wants an authentic, genuine role that is believable for their training. For example, this week I was cast as a college student who had gone down the wrong path and had a drug problem and was now in recovery. I had to be sensitive and relatable. It had to be believable. I was telling this girl’s story in this university’s training scenario. Last week I was a caller in a pay roll company’s HR training. I was the good caller this time, but in the past I’ve been the bad caller. In both instances the character had to be believable, authentic, and sincere. As a female eLearning narrator, this is a big responsibility: to continue booking work for clients you have to be able to switch gears and maintain whatever character you are playing for them that day. The character must be consistent throughout and must have nuance.

What Rates are you booking at?

Maintain Industry Standard RatesRates are really important. My bookings typically range between $0.25/word and $0.45/word with a $150 minimum and $1 per split. I charge for splits if there are more than 10. I prefer to quote the price per word and not per finished minute as I speak quickly. Last week I had a potential client reach out and ask me if I was on Upwork. I told them I was not. They wanted to know if I would honor Upwork’s rates, and I explained that at this point in my career I could not work for those rates. I then referred the client to GVAA and Gravy for The Brain, in hopes of keeping the conversation going. They did come back to me that if they had flexibility they would let me know, but in the mean time it is important to be willing to walk away. The next day I had a job come in that was 617 words and paid of $400. It is important never to settle.

What technological requests do you get from clients?

The Tech MattersMost typically, my eLearning clients want MP3s that are split and fully edited. I typically add EQ, compression, and a d-esser. If you are booking eLearning work for big companies, it is expected that you should have a professional grade studio at this point. Especially because they often do not have music or effects behind their training, the quality of the audio that you provide matters more than ever.

Final Thoughts:

There is a lot of eLearning work for voice actors at the moment. If you intend to be booking it, you need to have great sound and be able to maintain a character consistently for the duration of the script. Your demo gets you in the door, but if you can’t sound as good as that on every single job, then you are not ready to work.

Filed Under: Elearning Tagged With: authentic, believable, character, demo, elearning, eLearning demo, Fully edited, genuine, industry standard, instructional designers, MP3s, narrator, project managers, rates, real person, role, sincere, Specs, studio, teacher, VO, voiceover

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