Traditionally Self-Published with Mica Merrill Rice

The Voice Behind the Bestsellers: A Conversation with Robb Moreira

• Mica Merrill Rice • Season 2 • Episode 14

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In this episode of Traditionally Self-Published, we sit down with professional audiobook narrator Robb Moreira to talk about what it really takes to bring stories to life in audio—and what authors and aspiring narrators need to know before stepping behind the mic. Robb has recorded for authors like Rebecca Yarros, James Patterson, Megan Lally, Frieda McFadden, Mica Merrill Rice, and so many more!

Robb shares how he got started in audiobook narration, the project that helped define his career, and why audiobook narration is about far more than having a good voice. We also dive into the realities of audiobook production, self-narration, and how AI is impacting the voice narration space. 

We Discuss:

  • How Robb got started in audiobook narration
  • The book that helped put him on the map
  • What makes a manuscript work (or struggle) in audio
  • Why audiobook narration is performance, not just reading
  • When authors should, and shouldn't, narrate their own books
  • The realities of production, stamina, and consistency
  • AI narration: limitations and listener trust

We conclude with the INK STARTER LIGHTNING ROUND and Robb’s 5 Best Tips for Authors and Aspiring Narrators.

About Robb: 

Robb Moreira is a Bilingual Voice Actor and audiobook narrator with over a decade of experience behind the microphone. With 7 years of Conservatory Acting training and over 10 years of stage experience, Robb was looking for something different. A chance conversation with a fellow actor changed his theater trajectory to one of voiceover and Robb never looked back. 

With over 200 audiobook credits and several voice award nominations (and wins!), Robb continues to venture further into the audiobook world and sees a very busy future in the genre. Keep an eye out for future titles!

Where to find Robb: 

Socials: @robbmorieravo

Website: https://www.robbmoreiravo.com/

You can also catch his voice on audiobooks via most major retailers!

Have a publishing question? Email me at mica@micamerrillrice.com 

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Website: micamerrillrice.com 

Instagram: @micamriceauthor

Facebook: @micamriceauthor

TikTok: @micamriceauthor

"Traditionally Self-Published" theme music is written by Landon Bailey and performed and produced by LNDÖ


SPEAKER_00

What's up plot twisters and a warm welcome to my page turners, the intrigued readers and listeners who are just stepping into the story. Whatever title you fancy today, I am so happy you're here with me. You're listening to Traditionally Self-Published, where we unravel the chaos of self-publishing and help you write your own success story like a pro. I'm your host, Mika Merrill Rice, author with a passion for learning and sharing the love. I'm bringing you real talk with publishing pros and authors just like me who flipped the script and built thriving author careers on their own terms and are doing it like a pro. Whether you're a first-time author or you're a seasoned pro, you're right where you need to be. So let's be bold, write smart, and learn how to keep readers turning the pages. Today's guest is an award-winning narrator whose works include authors like Rebecca Yarros, James Patterson, Megan Lally, and of course, yours truly. If you're on the fence about how a voice can elevate your story and want to learn more about audiobooks, then this episode is for you. I'm joined today by seasoned voice narrator Rob Morea. Today we're going to talk about his journey to voice narration, the audiobook that put him on the map, how to craft a great audiobook, The Threat of AI against human narration, do-it-yourself audiobook advice, and then of course we're going to conclude with the Ink Starter Lightning Round and Rob's five best tips for authors. Alright, today we're joined by Rob Morea, and we are going to talk today all about voice narration. If you have not heard about Rob, Rob is an amazing voice actor who has done so many books. We're talking from Rebecca Yarros to James Patterson. He's been on Megan Lolly, he's been on Freedom McFadden and everything in between. And he's going to join us today to talk about voice narration, what it's all about, the behind the scenes, and giving us his best tips for how to approach doing narration either with a professional, but also if you need to do it on your own. So welcome in, my friend. It's so nice to have you.

SPEAKER_02

Thank you. Thanks for having me. It was very exciting.

SPEAKER_00

All right. Well, I have a full-on confession. Um, TikTok. Let me just tell you that my TikTok is half watching voice narration live. Okay. And then the other half is like booktop. I am obsessed with watching you guys just record. I think it's great. I love um my audiobooks. They are truly like a lifesaver. I listen to them while I'm reading my physical books. I'm listening to them when I'm walking or working out. So shout out to you guys.

SPEAKER_02

Um yeah, no, thank you.

SPEAKER_03

Yeah, honestly, the book talk community is incredible. I have been blown away since I jumped on. Uh, I didn't really kind of take it seriously until this past July. Um, and it just exploded. I was like, man, I didn't realize there was such a craving for this kind of content. So it's very interesting.

SPEAKER_00

Oh, yeah, we love love behind the scenes. Let's come back a little bit before we talk about your journey. I'm gonna talk about how I found you. So I'm driving home. I am listening to this amazing book, and it's called That's Not My Name by Megan Lully. You were the voice of Drew, and I knew at that moment, I said, All right, I'm this book, this narrator is perfect for my book. And what am I gonna do to get this voice on my book? Not knowing like even what to expect, what to ask you, none of that stuff. And I reached out to you somewhere in between, maybe like Rebecca Yarros and like Frieda McFadden. You're like, sure, I've got some time in here, I'll handle your books. Oh so let's talk about your journey. That's how I found you, but let's talk about how you found this for you. So take us through it. What initially drew you to the voice work and the audiobook narration?

SPEAKER_03

It was kind of by accident, it was very interesting how it all kind of happened. So um, I probably didn't start really doing audiobooks till maybe about four years ago. So at the time I was already full-time, I was doing commercials, video games, animation. I I kind of already had a pretty full plate avoided audiobooks. Um, because I was in a lot of social media groups with other voice actors and narrators who talk about cracking into audiobooks and how do you do it. And everybody kind of had the same, for the most part, the same answer. They would say, you know, try out through ACX, which is, you know, Amazon's audible arm of audio. You know, you go through there, there's plenty of indie authors that are looking for narrators to narrate their books. You get a book, you audition, uh, well, you audition, you get a book, and then you would ultimately produce the book on your own. Now, for me personally, as somebody who was already full-time and I record in my home, all I do is record. I don't edit, I don't master, I do don't do any of that. So hearing that I would have to produce work, I was like, whoa, hold on. That's that is not in my skill set. I know what I'm good at. That that is not it. And I wasn't looking to master that again. I was full time. So I'm like, if I did it, I really have to want to do read books, or I have like this need to be really tech savvy. I was like, I don't have a need for either. Um, I'm doing really well already, so maybe I'll just kind of stay in my lane and call it a day. So I kind of brushed the idea of doing books to the back of my mind. And then um one big thing that I've been incredibly fortunate about in my career is that uh my reputation does precede me, more so because I'm Latino and I'm bilingual. And uh a lot of books uh recently have been needing a lot of uh there, there's been a lot of a very big boom of Latin representation. So it with that they were looking for Latino narrators, but that could speak English without an accent. So there are plenty of Latin narrators, but they usually did audiobooks in Spanish, and their English obviously would have some kind of an accent. So they were looking for somebody who could be bilingual but spoke English, you know, with a neutral accent. And my name got passed along to a producer somewhere, um, with uh, I believe it was Macmillan. They reached out to me and they told me, hey, listen, would you be interested in reading this book? I was like, whoa, uh I don't, I don't know. What is that what does that mean? What does that entail? Well, they asked me, they were like, We have this book. What do you charge? You know, what what's your process? And I'm like, whoa, they're asking me like I've done this before. I don't know what to ask. So I asked a fellow narrator of mine, and I was like, hey, listen, this is how they approach me, but I don't want to come off like really green, and I want to make sure that, you know, I'm getting paid accordingly if I'm gonna take on this project. So they were like, Well, do you wanna do it? I was like, I mean, as long as I don't have to edit, like if I could just record it, like I'm pretty good. Like, I'm not gonna send them a bunch of mistakes, but I I don't want to have to edit anything. So they were like, Okay, so tell them that. I was like, Oh, yeah, like I could just be like, I'm gonna record and that's it. That's all I'm doing. They were like, Yeah, you that's what they're asking. What what is your process? If your process is that you don't edit, let them know and they'll probably get an editor, or they'll just say, cool, and they'll move on. I was like, okay, I guess I could do that because if they say no, I'll just move on. And I wasn't really all that interested anyway. And if they say yes, then cool, I'm doing a book. So I uh, you know, told them, you know, did did that what I felt like was my divinous, and I was like, this is how much I charge, and this is what I do, and I won't do editing, I'm only recording, you know. And they came back, they were like, Cool, sounds great. When can you start? I was like, oh, okay, I guess this is my first book, so here we go. That's kind of how it happened. So it was uh, you know, me kind of try, you know, kind of trying to, you know, dodge the proverbial bullet, but uh it got me, it got me. And then I did that first book, and I was like, I kind of dig this. I I could do more, I could do more of this. I guess we can see what happens here. Uh, and it was a slow burn. It was a slow burn for a bit. But again, I was doing so many other things that I wasn't necessarily pushing to do more books. I was kind of like, you know, if they come along, you know, I'll humor them. So that was kind of like year one. Um and it wasn't until like last year that you know, eventually the the damn the dam broke.

SPEAKER_00

Yes, it did. You're like literally on everything now. I see it every I see your name everywhere.

SPEAKER_03

Yeah, yeah, it was very interesting. And and it's funny because from my perspective, I was able to kind of track how my name was being passed along to different publishers. So, because it would be very random. It was like, I'm not I've never reached out to a publishing company, but they would reach out to me and they're like, hey, we got your name from a producer. They'll never say who it is, but it was somebody that I worked with somewhere. They're like, We got your name from a producer. We hear you're really great. Would you be interested in auditioning for this book? And I was like, okay, cool. And that's literally how I got onto every roster that I'm on right now is because somebody mentioned me to somebody else over coffee or hanging out. Lord knows how these exchanges, you know, transpire, but my name gets passed around. And yeah, I've been incredibly fortunate. And you know, thank I I've been very, very, very lucky that the people that enjoy my work and enjoy working with me speak so highly of me. It's made it very simple. So a lot of work has kind of come my way through that. That's awesome. Yeah.

SPEAKER_00

So you started obviously you started like commercials, you were doing video game voices, which you still do, but now this is kind of transitioning to your full-time career. So when did you sort of realize, like, all right, you know what? I can take this audiobook thing to the next level and be this could be the full-time gig.

SPEAKER_03

It was 2025. Uh it probably no, not even. It was like end of 24. So, like going into um October, yeah, I'd say like September, October-ish of 24 is when I mean this train was off the rails. And um it honestly, like like I had said, like you were kind of like at the crest of where I noticed that my audiobook career is starting to be something. Like, it wasn't just I'm a voice actor who does audiobooks. It's like, no, I'm I'm now an audiobook narrator who does all these other things. So, yeah, and honestly, I felt it with funny enough, that's not my name. Um, that's really the book that kind of did like this really hard shift. I didn't realize so many people heard that book, but that book like it changed something in the universe for my career, and it was very noticeable. Like, I felt it in my soul, like something shifted hard in my career because you contacted me. Freedom McFadden contacted me directly. Literally, what you did, Freda McFadden did. That wasn't through a producer or anything. She hit me up via email. Hey, I loved you in this book. Please read my book. I'm like, what? Hey, what's happening? I was like, what's happening right now? Like so uh, yeah, it was very there was something about that book that really just landed extremely well in people's ears. And I and I and I'm not going to be so modest, you know, to ignore obviously that my performance had a part to do with it, but it was a really well done book. It was a very good book. And the reason my performance was so good was because I enjoyed what I was reading. I actually really enjoyed the book, and I really liked the characters, so that sh that showed, and that made a huge, huge, huge impact. So yeah, I would say it was like end of 24. I was typically doing like one book maybe every two months. I would say that was about my norm for about a year and a half. Um, now I'm doing about three to four a month.

SPEAKER_00

Wow. That's a big dump. That's a big job.

SPEAKER_03

And yeah, my turnover has exploded. So while I was doing them, you know, once once every month or so, just a book, this starting January of 2025, I have yet to stop recording. I I literally started the new year recording, and I've been recording books non-stop. I've had no gap in my schedule uh for recording. The one gap that I had was when I went on vacation. Wow and that was it. The minute I came back home, boom, back into another book. And it's and it's just been nonstop. And I think that also helped in my favor because I do have a very fast turnaround uh with books. I prep very quickly and I read very quickly. Um, not in terms of like reading speed, but I I just read through a lot with very little mistakes. I'm able to clear a lot of pages rather fast. So uh if I'm all if I'm on my own, on a book, I typically try to do about 40 pages a day. And that's just and that's very leisure. That's very leisurely. But like if I was in studio, I mean I clear about a hundred pages in in a session. Wow. No, I mean in a 400-page book, I'll bang out in like four days. So yeah, so yeah, I I read through a lot, and that was because I used to do a lot of audio descriptions, and um, audio descriptions you read cold, you never see the script beforehand. So that beefed up my cold reading very, very well. So that helped a lot. I did that for about five, six years. So now when I read a book, I mean I could clear through, you know, almost a whole chapter and very rarely have any kind of mistakes. And I any mess, any pickups that I have, I kind of fix them on the fly. Funny story, I actually had um, I've been working on this one series. I'm gonna start recording book 10 of this series called Victor of Tucson. And it's this very long lit RPG series, fantasy and level progression. Super cool. It's one of my favorites. It was like the first big series I ever got. Uh tie to this was now three, almost four years now that I've been working on this series. And um one of the producers, I think this was after book five, might have been book five. I sent the files through and he came back to me and he was like, I have a question. You're not editing this, are you? And I was like, What do you mean? He was like, before you send the files over, like you're not listening through everything and like taking out the mistakes, right? And I was like, no, no, ever what you get is me recording cold. I mean, obviously, if I make a mistake, I fix it, you know, on the spot, but I'm not I'm not going back and listening to anything. He was like, Oh, okay, because you know, you don't have to. And I'm like, I know, I'm not. And I was like, I'm like, don't worry, I'm not. He was like, okay. It's just that typically for the size of books that you know that you're working on, we see a lot more mistakes. And I was like, okay, um, thank you. I'm not sure if that's a compliment. I don't know what you're trying to say. And he was like, no, I mean, you're clearing like 500 pages and we're coming back with like 30 some odd pickups. Typically, we're looking at a hundred plus in terms of mistakes. And I was like, Oh, no. I mean, not to be that guy, but yeah, I'm I'm I'm I'm I'm good at what I do. I don't know what to say. Oh my god. And he was like, okay, cool. I just want to make sure you're not doing any extra work. I'm like, no, not at all. I'm glad I'm making it easy for you, though. That's great. So yeah, that was very, that was very interesting. But yeah, I've been I've been very very fortunate and thankfully my skill set helps me work very quickly. So I think the producers enjoy that.

SPEAKER_00

Yeah, for sure.

SPEAKER_03

Get their books back quick.

SPEAKER_00

Oh, yes. Well, that's so funny that you mentioned that because like when you did my book, Deep in the Woods, it came back in like maybe a week, maybe a week and a half. And I remember you saying, like, I don't edit you, and I asked you for you know presentation, you gave me reaping audio, they were fantastic. But I remember listening to it and I'm like, There, what is there to fix here? There's like literally nothing. Meanwhile, I think I had to, I think I had to record my own like acknowledgments at the end or something like that. And it probably took me a solid week just to do that. So yeah, pretty impressive.

SPEAKER_02

I'm a I'm a I'm a bit of a machine when it comes to reading, you know?

SPEAKER_00

Yeah, oh my gosh, that's so funny. I mean, who mentored you? Did you have like mentors early on, or who inspired you to even do this? Like, is this like a childhood dream? Like you woke up and you're like, I am definitely gonna be a voice actor when I grow up, and you're like little six-year-old Rob running around Long Island doing that, or is it more like I wish.

SPEAKER_03

I w I wish it was that. No, so I've always I've always had the dream of being an actor. Like uh that was since junior high. So I always wanted to be an actor. That was always in my head, but theater was actually what was like my calling. That's what I really I loved stage work. Um, more so because I enjoyed being able to see reactions right in front of me. Like I want to hear the crowd laugh right there. I want to see them be upset or depressed, or I want to see them feel feel everything live. You know, that's where I got my high, not even for the performance, but through my performance, I was able to make people feel things. You know, it's almost like it's a very odd God complex, I guess. I was like, yes, feel sad. Feel my anger, feel my sadness, you know. But I love that. I love being able to see the audience uh feel everything that was going on in in the show. So I did that, and you know, I I left high school and I went to high school of, you know, to LaGuardia High School of the Performing Arts. And, you know, at 18 you think you're gonna dominate the world, right? So, and that's kind of how it was, but you know, reality hit me very hard, and it's not easy. It's a very hard career, it's a very grueling process. And, you know, I was lost. I I didn't really know what to do. I did a lot of like very far off Broadway theater kind of stuff, you know. And I did that for years. I did that for yeah, almost 12 years. When I was in my 30s, uh 30s specifically, on right on the dot, I was doing a uh I was doing a a theater show, and one of the actresses, she actually was a voice actress. And I remember like I was on her social media and I saw something that she had posted about booking this commercial or whatnot. And I was like, hey, you know, but what what is that that you what what is what is voiceover? What is that what does that exactly entail? Because I see you're doing it, it seems like you're doing really well. Like I I want to know more. And she was like, honestly, if it wasn't for her, I probably never would have did it. But she had told me about voiceover, and then she like got really excited talking about it. And then she just looks at me and she goes, Oh my god, you would be great at this. You really should try it out. And I was like, Really? She said, Yeah. So she gave me a couple of work uh places that I could go to workshops uh here in New York City um just to kind of check out. And I was like, okay, yeah, I'll check it out. I was like, wow, thanks for the vote of confidence. And and it was just that little kind of spark of like, huh, maybe that she put in my head just made me think, you know what? I'm I'm working a full-time job. Well, you know, I'm I'm doing I'm doing well for myself. I'm I'm successful, you know, being a sales rep, right? Um, I was like, you know, I got a full-time job, I'm doing well, I'm supporting my family. Uh maybe I'll just take take a couple of weeks to dry this workshop and see where it goes. Why not? I'll invest so at least I can put my curiosity to rest. So I did it, and then I got a little bit of an itch. And then I um I did a demo because the coach there was uh through Abacus Entertainment, his name was Brian Falk. He kind of pulled me aside after one of the sessions. He's like, you know, I everybody's kind of new at this acting thing that's in this workshop right now, but like you know what you're doing. Like, you got this. I think you can like make something of this. And I was like, Yeah. He says, Yeah, you you should really think about it. Like, okay. So now this is the second person that I've come across that's like in the business and is like, you know, seriously think about this. I was like, okay. So I cut a demo with him, and then I sat on that demo for like a year because I was like, Well, I got a demo now what? You know, do people just start knocking on my door? Do people just call me, like, hey, here's work. Like, how does this work? So I didn't really understand where do I go from here? What do I do? So I was like, you know what? Let me just start back at the beginning. Let me just go back to doing workshops and just learn more, see if I could learn more about how how does this business move exactly? You know? So I think I needed that really long between 18 to 30 to grow up. Yeah. You know, and and and also humble myself as a talent. So I started, you know, kind of from back, you know, I'm 31, I'm doing workshops again. And then I was like, uh, as I was doing them, I'm like, you know, these people are learning kind of how to act. And I already know I have that skill because I've been trained at it for so long and I've done it for so long. Maybe I need to be a little bit more strategic on what workshops I'm taking. So I started kind of uh keeping my eyes on workshops because one big thing that these voiceover kind of groups would do is that they would bring agents in to listen to talent. And I was like, you know what? Maybe I should get in front of some of these people and just see what happens. You know, I'm not gonna ex- I'm not expecting somebody to be like, oh, you're signed, hired, you know. But maybe somebody might catch an interest and be like, hey, by the way, that maybe the maybe you should think about taking this next step. So at least maybe I could do that, especially from an agent who's working in the biz. Long story short, I ended up meeting my New York agent at one of these workshops. They asked if I was bilingual. I said I was, if I spoke, you know, both languages fluently, neutrally, with no accent. I said I did. And uh a week later I was signed with my agent in New York, and that's how I got like started. And then it was just kind of like, all right, we have auditions, start auditioning, get out there and just see what happens. And I was like, cool, you know, I granted, you know, I mean, I'm not expecting for this to be a huge life-changing thing, but cool, I'm doing the acting thing, and whoa, crazy thought, I just might get paid after doing after doing theater for so long and not getting paid. I was like, I might get paid this time. Whoa, awesome! Who to thunk that I could do that? Yeah, three months in, uh, I got my first job doing uh doing voiceover work, and I was like, wow, this is this is actually kind of cool. I I I'd like to keep doing this, and it just grew, it just grew from there. That's awesome.

SPEAKER_00

Yeah, I mean, I think like it takes time to kind of figure out where you're gonna go, right? Like you, you know, obviously, like you get out of high school, you're trying to figure out what you're gonna do, and you're right, there is like a lot of humbling experiences in between before you finally get where you're gonna go.

SPEAKER_03

Absolutely. It's funny, like I always tell people it's it if I had the success I have now that early on, I wouldn't have appreciated it. Yeah, you know, I appreciate it now because I lived so long without it as an adult that now I can appreciate it as an adult, you know what I mean?

SPEAKER_00

Yeah, for sure. That's awesome. Well, we talked a little bit about how you got your start. We talked about that's not my name, which honestly I think I have to agree. I think that that's probably where I saw you take off because that book was a game changer. Yeah, you would see your name everywhere, literally everywhere. I mean, it was a great, it's a great book. Okay, so for anybody that hasn't listened to it, hasn't read it, it's fantastic. And you it is emotional and you put a lot of emotion into that. So that was um fantastic. But when you get a manuscript, what do you think makes it like narration friendly for you?

SPEAKER_03

Uh for me personally, the way it's the formatting, like it really has to be formatted in a way that makes it easy. Like, I'm a I I really like having things fairly spaced out between lines. It's just you want it to be easy on the eyes, especially if this if this version is the one that you're going to be using as your narration template, and preferably in a PDF format for me. You know, everybody's different. Some like word word formats. Personally, for me, is PDF because I don't want to accidentally hit my keyboard, hit a G, and then add a G into a word somewhere, and then I'm like, I hit a button and I don't know what it did, but it did something in this manuscript, and I don't know where it is. So at least I know with a PDF, I can't mess it up. So that's always helpful. I'm very easy, truth be told. Like that, that's the biggest thing for me. As long as it's pretty spaced out, it's in a PDF format, just so I can see how long the book actually is. I can kind of skim through it very easily. Then that's that's really it for me. In my prep, sometimes, depending on the amount of characters there are, I may highlight some, but honestly, even then, I don't really necessarily do that. But that's just me. I'm crazy and I could keep a lot of information in my head at the same time while I'm narrating one book and then instantly dump it before I move on to the next one. So yeah, it's pretty it's pretty simple for me. Uh ultimately, PDF, nice and spaced out. And before I record, it's always helpful if the author can provide as much information that they feel is important that uh needs to be conveyed in the auditory experience. So, like if there's something about a character's background that's important that might affect how the character perceives things in their world, include that. If you think it might change the way they sound, if you think it might change the way they would react to certain situations that you know anybody would deem like, oh, this is how somebody normally would, but this character wouldn't because of something that may have happened. We like to know that kind of stuff up front. Um, now granted, you can probably glean a lot of that from reading the manuscript, but sometimes there may be things that aren't necessarily in there or are more important than we think. Same thing with like accents, if there are any accent preferences, that's huge, makes our lives incredibly easier. And then any words. If there's made-up words, I'm of two minds. You know, either if you if there are some made-up words that you've created and you want them to be pronounced in a certain way, then give me the entire list. If you don't care, then let me have at it and and don't suggest anything, and I'll make it up as I go along. I'm good either way. But um, yeah, definitely don't half and half it, you know what I mean? Like here, I need you to say these six words exactly this way, but I made up 12 others, and you can just go ham. I'm gonna be like, oh, okay, now I'm gonna get in my head about it, and I'm not gonna exactly be sure what you want. The more information we get, the easier it is for us ultimately, especially for prep.

SPEAKER_00

Yeah, that's awesome. Yeah, I think when I came to you, I was trying not to freak out. I'm like, oh my gosh, he said yes, don't say anything else. Just enter your manuscript, don't do anything else because he's gonna say no. So I don't even think I gave you accents, I didn't tell you anything. Thank God it was in New York, so you automatically knew like workers, we have a style, okay?

SPEAKER_03

Yeah, for sure. Thankfully, I mean that that makes it so much so much easier. I was like, oh, okay, like I I know the I know I know what we're talking about, I know how we speak, so I'm I'm good there. Yeah, no, that that was that was not a problem. And truth be told, if I don't get it, like you know, that doesn't that doesn't necessarily deter me. Again, I I work very quickly, like there's very little that would snag me up and make me say, like, hey, I have a question. Usually it's like, you know, they dump me the book and I'm like, all right, I'm gonna give it, I'm gonna give it my go, and this is what we're getting. Here we go.

SPEAKER_00

Oh my gosh, that's funny. What about like distinct and natural character voices without them sounding forced? You know, like I feel like some of the not all narrators are created equal. Some are obviously, you know, very good at doing accents and it doesn't sound fake, but how do you achieve that?

SPEAKER_03

Uh, I use a lot of YouTube for one. A lot of YouTube. Um, I I'm I'm really lucky though, because a lot of the books that I do that are more grounded in reality, i.e., not the fantasy realm, um a 98% of what I do is in a neutral American accent, with the very rare occasional Spanish accent thrown in. So it's at least it's accents that I know. Fantasy, though, um, which I do a lot of as well, those I usually will have YouTube up, and I'm like, more often than not, I'm not told what accent they would want. So for like that one book series that I'm doing that I have, you know, 10 books in right now, that one doesn't even take place on Earth. Let's just start right there. There are no earthlings in this universe. But at some point I do run out of American sounding voices. And because we are 10 books deep and there are so many characters, I kind of had to decide okay, people from this area need to sound a specific way so that when people hear them, they know that's this group of people. Um, so I kind of had to create my own like diagram of where certain uh races are from and how they speak. So giants speak one way, um and then there's like these uh like these dark elves, they speak in a certain way, and it's not necessarily an accent, but because they they're they're these dark gray elves because uh they delved in black magic. So when they delved into this black magic, some of their soul kind of left them. So they're a little bit more airy in the way that they speak, and uh a little bit more a little quieter because they were raised in caves, basically. So they don't need to yell at each other because everything is echoed, and so it's like I had to create all these reasons for why these characters sound the way they sound. Um, which the author gave me complete carte blanche to do whatever I felt like. They they were just like, I just want the main character to sound like this. Everybody else, you have fun. So um, thankfully he's liked it.

SPEAKER_00

Um books in, yeah. Um thankfully he's liked it.

SPEAKER_03

And he's brought me on to two other series of his, so I think he likes what I do. Um but yeah, it it's very tricky. But yeah, I keep a lot of YouTube tabs open just so I can keep the sound in my head, especially when they're all talking to each other. That's when it could get really crazy. Because if I have an Irish guy, an English guy, and an American and they're all kind of going back and forth in a conversation, it's like, whoo, those take a little bit. Yeah, those take a little bit of time to record because I want to make sure that they sound as good as possible. But because it is a fantasy realm and it is a fantasy world, this character isn't Irish. They are from this other planet, so there's a little bit of grace if the accent is imperfect, which is nice.

SPEAKER_00

Yeah, yeah. So what I know we talked about, like, you know, the accents themselves. You read a lot of books, you read a lot of across a lot across the genre. So you're dealing with like fantasy books, you are doing thrillers, and some of these books may have like darker tones, but like what is the hardest type of scene do you feel to narrate? Like, do you feel like it's more the accents that are the hardest part, or do you feel like there's like topics that you're like, okay, I'm doing this, this is my job, but it's hard for you to do?

SPEAKER_03

Oh, that's that's a really good question. There was this one book that I did, and it was called uh Recked, uh, R-E-K-T by Alex Gonzalez. Now, this book was sent my way, and they let me know okay, this is it's not it's not a horror book per se, but it's pretty gory. So I was like, oh I don't know what that means, but okay. And then I started prepping it, and I was just like, whoa, the imagery that this author is using is heavy, and it's just the way people are being killed in this book is very extreme. It's very extreme stuff, very extreme topics, and I didn't know at the time how that would kind of sit with me. Now I did the book, it was it's a great book, but it is not one that I recommend lightly. I'm like, you you kind of this is this is the kind of book where I would throw into like heavy horror movie territory, you know. I mean, like you have horror movies that you can recommend to people be like, yeah, watch Halloween, it's fun, it's not too crazy. And then there's horror movies where you're like, I watch this, I enjoy it, but I'm a little sick. So maybe you might not enjoy it. This is one of those books, you know, it's it's very heavy. So that one I was very, I was very surprised. I was because I would read through a chapter where you know something particularly heinous would happen, and then I'd end the chapter and I would just kind of sit like, whoa, what the heck just happened? Like that was nuts. So those were very those were heavy to read. That, and then alternatively, what you may or may not know is that I do have a pseudonym because I I I do some dark romance stuff. Oh, well, and girl.

SPEAKER_02

Whoa. Oh, I know. Oh, yeah, those books, yeah. Okay, so it took me at least two books to kind of get the giggles out. So they weren't hard because I was just like, my word, like it wasn't that, it was just it was hard to read and not just have laughing fits. Like, what am I reading? Who's what am I saying right now? So it's that took me like a book or two to kind of get over. And even now, I'm still I I still get some giggle fits.

SPEAKER_00

So gosh, that is so freaking petty.

SPEAKER_02

Oh my god. That's that still happens.

SPEAKER_00

Oh my gosh. Well, as a reader, I think that um some of us, or maybe maybe it's just me. I I totally get embarrassed, so I can't imagine what that's like, especially like if you had to do it with another narrator. Like, I don't know how that works. If you're like looking each other in the eyes, like, how does that work?

SPEAKER_02

Well, we're we're not we're not ever in the same place. So yeah, it's it's definitely not awkward.

SPEAKER_03

I mean, it's awkward enough just reading it on my own, but I think what makes for me what makes it the trickiest, because like when it's just me describing what's happening in the scene, that's fine. But when it's like the male character and and the female character is also talking in my chapter, and I'm like, oh, I gotta be her too. Oh, this is gonna get really freaking weird.

SPEAKER_02

So yeah, that's when it gets weird because I'm like, I'm not just the dude, I'm also the woman, and now this is gonna now it's it's me with myself, and this is weird.

SPEAKER_01

I love it.

SPEAKER_02

So that gets that gets tricky. So yeah, I had to learn how to quiet the you know, the amateur, the immature Rob. Like, okay, settle down, teenage Rob.

SPEAKER_01

Oh my gosh.

SPEAKER_02

So those are tricky for a totally different reason. I love it. Oh my gosh.

SPEAKER_00

Well, let's turn to something a little bit more serious, and that's AI. I I desperately wanted to ask you about AI threats on human narration. I mean, AI is literally everywhere. I know it's not gonna go away, but now it's sort of like seeping into the narration. And so I wanted to know like your honest thoughts on AI-generated voice narration.

SPEAKER_03

Well, like you said, it's here and it's not going anywhere. I do think that AI as a whole is um is kind of like experiencing like it's it's having like the kind of like how the housing bubble happened. I feel like we're kind of in the thick of an AI bubble. At some point, it's going to pop. Like we just saw recently with Amazon, you know, they just released a uh an anime that was English dubbed completely with AI, and it absolutely got trashed so bad, Amazon had to pull it. They had to literally pull it off their thing, which is great, as they should, because it was god-awful. With that being said, on the flip side of the coin, AI is only going to continue to get better. That's the unfortunate, you know, reality. But while these big companies are looking for the fastest ways to create content at the lowest price point, creatives and thankfully the majority of people that consume said content still have a preference and they notice the difference. As long as we stay with that, I think I personally feel like not that I think, I feel that we will be okay. Um, I think at some point AI they're going to realize this isn't going to be sustainable. There's so much money that has been made and so much money that has been poured into it, but I think that well is going to run itself dry eventually, because we're not all looking for the fastest way to get these things. Only those that are trying to make money are. We're just trying to find actual quality. Thankfully, the quality still resonates with the consumer. So as long as we keep, you know, our requirements high with what it is that we consume, um, in terms of the quality of the work, the quality of the animation, which affects obviously all the animators uh and artists, the performances, which will hopefully keep AI actors out of live TV, and uh the quality of dubs and audiobooks high, which will keep AI voices out of the narrator space, I think we'll be okay. And generally people prefer to hear humans speak. Because can AI read a book well? Well? Yes. But can it perform it well? No. Because performance is ultimately a human aspect. It is not. Regardless of how good we build AI, AI will never actually gain the skill to perform as a human because it never was. As much as we want to per as much as a human programs it, AI is never going to be human and it will never sound human. It just it just won't happen.

SPEAKER_00

Yeah, I agree. I and that's even for like human narration, it can make or break a book. Um and bringing that emotion, bringing that the right accents, bringing all of that to the book is huge. And I think that for me anyway, like I'll obviously I'll always support humans, and I think that humans will support humans in the end. Like whatever, like I think we'll look at it and be like, all right, this is what we're doing.

SPEAKER_03

Because I mean, if you just think about some of the best on-screen performances that you know that you've ever seen, do you really think the smartest engineer in the world can dial in a bunch of ones and zeros and somehow replicate that exact performance? No, they like it can't. It can't. It can mirror it, but it will never actually be able to perform that well. Um, it just can't happen. Not organically, it's just it just won't happen. You know, and that's that's that's something that will always lie at the hands of the creator, you know, which is why I think we'll we'll we'll all be pr pretty alright. AI does amazing things. Um, you know, don't get me wrong, it has its place. I I do think it is something that can be used to do great things. The creative space is in it, though.

SPEAKER_00

Yeah, I agree.

SPEAKER_03

Yeah.

SPEAKER_00

Well, and speaking of AI, so it obviously like I think a lot of people may turn to it because it saves money, but I think there are other ways they can save money. So let's talk about like the author who really wants to have an audiobook, can't really do it with an audiobook narrator. Maybe the profit sharing or uh royalty sharing, I think is what it's called, won't work for them. They want to do it themselves. So if they wanted to do their own book, where would you suggest they start?

SPEAKER_03

I uh personally I would say that they should get comfortable with listening to audiobooks. They should listen to many before they tackle that so they can see what narrators are doing. Um, preferably if they can, you know, kind of crowdsource and figure out who are some of the you know uh higher end narrators so they can see what good narration sounds like. Listen to that, and then sit down and read just a chapter from any book out loud and see if this is something they want to do for 40 hours, you know, depending on their book. It may take a bit, especially if they're not a practiced actor, it could take a while, and just see if that's something that they want to take on. Now, many authors have narrated their own books, so it's you know, it's not to say that it can't be done, but it's just really wrap your head around the marathon that is narrating an entire book, especially one that you're so intimate with, because you also have to kind of turn off your author brain while you're narrating, because you don't want to be narrating and think, oh, you know what, this doesn't sound right, and then you start trying to make changes while you're trying to narrate. It's like if you're gonna do that one job, then then just do that one job. Yeah, you know, and don't look at it through your critical eye. Stick with the performance because that will show that will show in how you're reading. Yeah, for sure. Yeah, so which is it's it's tough, you know, especially if maybe like this is your first book, like it's your baby, that would be difficult. Not impossible, but it is it is a tricky task.

SPEAKER_00

Yeah, it's a job on top of the job, right?

SPEAKER_03

You're already doing a lot as the author. So yeah, it's kind of like you're adding a very another pretty big layer to to to your plate.

SPEAKER_00

Yeah. Let's talk about must-haves. So I'm looking at you in this gorgeous audio recording space, right? You got all the lights, you got the fancy, like, you know, noise cancellation back there or whatever is going on. But if we were doing it on our own, what are like the basics, your basic wrecks for gear? Like something out of the box, this is what you can do that will get you on the road.

SPEAKER_03

A closet. A closet that has a lot of clothes, preferably clothing, not boxes. Yeah. But if there's a lot of clothing in there, uh just carve yourself a space. Doesn't have to be a huge closet. I mean, obviously that's free up to your own comfort, but find yourself a closet that has a lot of clothing in it. Because all that clothing is your is basically this. Um, it's going to be your sound absorption. So have a lot of clothes in there. One. Um, if you're going to have a microphone, I don't suggest a USB one. Don't don't get one that plugs into your computer. The best way to go is to do an XLR mic, which means uh it's okay. It's okay. Everybody starts somewhere. But if you're going to but if you're going to be recording your stuff, I would say get a nice mic. It doesn't have to be an expensive microphone, but an XLR microphone would be the best to capture, you know, to capture your voice as good as possible. Because I will say you can you can hear the difference. It'll if you're just hearing yourself on your one mic and you're just recording, you're like, yeah, yeah, you know, it sounds good, but then you hear somebody on my setup and you're gonna be like, Whoa, okay, yeah, I can I can hear the the the vast difference. And you can get really close to what I have without having what I have. Um, it's just a matter of getting the right tools. Like, you know, I use what's called a shotgun microphone, which as you can see, it's like a long, kind of like a long form microphone. Um there is you know, I'd call it like a cousin to this microphone that's only like 200 bucks. It's not bad. It does the same, same idea. Obviously, it's not gonna be exactly, but this it'll get you really, really darn close.

SPEAKER_01

Yeah.

SPEAKER_03

Um, have yourself like a desk arm, which the one that I have, I got from Amazon. It was 25 bucks, very cheap. And then get yourself an interface to connect to your computer and to connect the microphone to. Um, honestly, any interface works. I always suggest the Scarlet Solo. It's about$130, very affordable. And then, and that's really it. And then, you know, if you have a laptop, have the laptop drive the whole thing. If you can have the laptop sit outside of the closet, even better because you don't want that fan going off while you're recording. And that's really about it. A lot of the stuff I have, like when you know, people see my setup and they're like, oh my goodness, like, I gotta get this thing, you gotta get that. It's like I have what I have because they're my creature comforts, but I would be hard pressed to say that everything I have is a necessity. You know what I mean? So, like half of what I have, I would say, is necessities. I mean, I have I have three screens in here. That's that's something you can't see. I have three screens. I have a 34-inch screen like in in front of me. I have a smaller 12-inch screen and then another 15-inch right here. Nobody needs that much screen real estate in their booth. I just have it because I'm a spoiled tech brat. You know, that's just me. Oh my gosh. That's just me. You know what I mean? I'm I I I make too much money and I love tech too much. So this is what happens. I buy unnecessary things. But um, but it makes my flow better. Yeah. You know, personally. And everybody's flow is different. So yeah, nice shotgun microphone because it also mitigates a lot of outside noise. Uh, good interface, Scarlet Solo, the Focus Right Scarlet Solo, always a great option. Good workhorse. Have yourself a good laptop, hopefully, preferably outside of your very clothing-filled closet. And that is more than enough. That's awesome. To get started.

SPEAKER_00

That's very good. So let's talk about aspiring narrators. So, all of 26 of 2026 is my word of the year, I told you, is community. Um, before we started this. So, for those that are aspiring narrators, they're looking to you, Rob, who has been doing this for a long time and you're very good at what you do. So, what if what would you tell somebody, like, where should someone start if this is where their heart is, you know, this is what they're being drawn to?

SPEAKER_03

I would say to if the usually if you're really into audiobook narration, I would say figure out what genre you'd like to dip your toes into. And if you can, find indie authors that are looking to get started and offer your services to them first. Because you're just getting started, they're just getting started. And it'll be one, it'll be a great place for you to begin, but you'll also be priced at a point that they will that they will probably be able to afford comfortably, and you both will be able to kind of grow together. And I think that's a really great way to start. One of my friends, uh Danny Staro, she just started audiobook narration this year, January, she started. Right now, she and I have already recorded three books together, and we have about another. Now, granted, about three of them are series. We have like another 16 books that we're gonna be recording together.

SPEAKER_00

Wow.

SPEAKER_03

Now she got all that. She just brought me along for the ride. That's awesome. And she's somebody who just started in January. And and it's funny because like she, you know, like any creative, uh, you get imposter syndrome. She doesn't think she's doing enough, she thinks she could do more. Uh, you know, she gets in her head and I tell her, do me a favor, cut your crap. Okay. I was like, first of all, you're doing incredibly well for somebody who like just started. By the way, thanks for the business. You know what I mean? Like, oh my God. But I mean, this is somebody who's like, she really grabbed the bull by the horns and really went for it. And that's how she started. And it worked out incredibly well for her. Um, because there were so many authors that wanted to get their books out, but obviously they can't pay the premium of a high-end narrator. So she reached out to me for one of the books that she was uh that she was recording because she had heard me in another book. And uh she just wanted to see, just see if I was around. And you know, you know how I work, Mika. You reach out to me and I'm like, yeah, why not? I'll fit it in somewhere. I have a hundred hours in my day. Oh my gosh. Um, so she reached out and she was like, Yeah, you know, I have this indie, this indie author. She wants to get this book off the ground, but you know, she can't pay your rate. So I said, Cool, not a problem. I'll take a pay cut. Let's get this book off the ground for her. Why not? That's awesome. Why not? Yeah, you know what I mean? Like, I'm not looking to get rich. And I'm saying that's not why I do this. I do this because I like to be creative. And there's somebody who has their baby out that they want to get out to the world, right? I'm like, why wouldn't I help them? Why not? I'm like, let's do it. Why not? I'm like, whatever, I'm like, whatever rate you're comfortable with, I was like, let's do it. I'm I'm I'm with it. Let's help this author out. Who knows what might come of this? You know what I mean? But why wouldn't I do that? Now she got an established narrator on her book. You know, my friend, she's getting more books under her catalog. And this author gets her book now, hopefully, more recognized. You know, ever everybody's winning here. I'm getting, I'm getting more work, I'm getting exposure in a different genre. Like, why wouldn't I do that? Um, you know, and I think that's also a really big, you know, lending to your word community. I I think that's a big part of it. It's not just about just voice actors or just authors or just this or just that. It's just creatives in general. You know, we all have to kind of rely on each other to some capacity. And if I have what little fame that I have out there, if I can hopefully give that, you know, hopefully that can fuel some attention to this book, why wouldn't I use it for that? You know, why not? Yeah, like why not use that for that capacity? Um, and hopefully it does work out. Hopefully it does get super popular, you know. Maybe more eyes will get on it because I'm tied to it. Who knows? But why not do that? You know, but again, for the example, Danny, she was that's how she attacked becoming a narrator. And within less than a year, I mean, she has um over 20 some odd books already ready to come out. And it's just like if you're going to do it, you really gotta go hard for it. Reach out to people, contact these authors, ask them if they're interested, even if it's just to read a snippet that you can post on Instagram. Any little bit of practice is absolutely worth it. And then alternatively, also going through ACX is another way of doing it if you want to get started and see if you can get books through that route as well. I mean, those I think are the two best ways to go about it. One is more direct, not necessarily comfortable for everybody, absolutely understandable. And then the other one's a little easier because you can just submit where you can, record on your own, and then go from there. So I think those are probably the two best ways to go about it. Do what feels right.

SPEAKER_00

Very good advice. What about red flags? Would you tell any of your aspiring narrators what red flags to consider when evaluating um any audiobook contracts? Like what to you would stand out and be like, I can't do this.

SPEAKER_03

Uh, I would I would look for content. Um, you know, if there happen to be any trigger warnings, find out what those trigger warnings are and what in the book inspired those trigger warnings. You never want to traumatize yourself while you're reading something if it's something that might affect you. You know, I'm a maniac. Trigger warnings don't stop me from doing anything. So I'm a I'm a I'm a psychopath. What can I say? But um it takes a lot to stop me. Um, but um, but yeah, I would say uh definitely look to see what the genre is. Usually you won't see anything too crazy unless you're getting into now the more spicy, darker kind of stuff, because um that there are some books that can get very, you know, very heavy, um, either in the horror or the content, or some some of the trigger warnings could be, you know, there's sometimes there's abuse in them. Those are things that you want to know up front before taking it. And and and at the same time, just because you express interest, don't think that that it has you handcuffed to the project either. If some if you see something that in your prep, that's why you always prep the book before you actually narrate. You know, you always want to kind of go through it before before you always want to go through it before you actually say you're going to narrate it. Um just in case anything stands out that you're like, oh, I read this part, it doesn't soak very well with me, then at least you can you can move on from there. But yeah, and and I would say if you are somebody that has potentially a lot of, you know, uh, you know, if the if you have triggers that you know of that may affect you in a certain way, and you can always say that up front, like, listen, this kind of content might be bothersome for me. Do you have anything like that in in this specific book? And just be upfront with it. The more upfront with it that you are, the better it is. Yeah. It's okay to say no to work if it's going to make you uncomfortable. Never feel like you have to do everything. That's that that's not at all the case. You always have the option to walk away as a creative, and you should remember that you have that power. Keep yourself comfortable, keep yourself safe. You always come first.

SPEAKER_00

Yeah. Now that's really good advice. I hadn't actually thought about that. I was thinking like how what red flags would there be? I never really considered like there are um a lot of books. We talked about it before too, just with the darker themes or just you know, whatever. Um, and everybody takes that differently. So it's it's good. That's um a good thing to remember and good thing to be forthcoming with as well.

SPEAKER_03

So absolutely. Like, I did a book recently, it was a it was a young adult book, no, no spice in it at all. But you know, there was the death of a grandparent there. And it was a it was a very emotional reading it, you know, when I was prepping, I cried. And then when I narrated it, I cried. It was just a heavy emotional thing. I was okay with it. Obviously, it it added to the performance, but if you happen to be somebody who may have just lost a grandparent recently, that could potentially crush you. Yeah. Um, you know what I mean? So you want to know that up front, you know, and and and if you that is something that might come into play, you know, you let the author or the product or the producer know up front, like, hey, listen, does anything like this happen? If you know it's something that might set you off. But also if you do experience it while prepping, you know, if they say like, no, you know, it's nothing bad, and then something else pops up because you weren't thinking about it, you didn't think it would be a trigger. But while you're prepping, you see that, let the producer andor author know immediately. Like, listen, I read through this and I don't know if I'd be able to get through this. You let them know. As long as they as long as you're being forthcoming with the information, as long as you're giving them notification, they'll be able to get somebody else to do that. You know, don't don't don't sacrifice yourself just because you already said yes, you know, again keep keep you keep your mental health safe.

SPEAKER_00

That's awesome. All right, we're up. We made it to the Ink Starter Lightning round. So I am going to give you a series of questions, okay? And you're gonna give me the first thing that comes to your mind, or you know, whatever. Um, so we're gonna start with the first one. What snack or beverage is your must-have during a recording session?

SPEAKER_03

Seltzer.

SPEAKER_00

Hardest word or name you've ever had to pronounce.

SPEAKER_03

Oh um, oh man, there's like it's not a word, but it's it's a combination of words, and it's anything that it ends in a T S in a S T S and the next word starts with an S T. So like last standard, like anything like that just messes with my mouth and my tongue, and it's just it just doesn't work. I don't know. It's that combination of sounds that it just drives me nuts. I'm like, please, author, stop adding those words together.

SPEAKER_00

Fair enough. Fair enough. What about favorite genre to narrate?

SPEAKER_03

I don't I'm not gonna say spicy.

SPEAKER_00

I was gonna say dark romance.

SPEAKER_03

Dark romance. No, uh lit RPG, hands down. That's my favorite.

SPEAKER_00

Okay. Morning or night recorder. Morning. Morning. Okay. And dream author or series you wish you could narrate someday.

SPEAKER_03

Ooh. Oh, uh, it would be author. I would love to do a Stephen King book.

unknown

Oh, yes.

SPEAKER_03

I would absolutely love to do a Stephen King. If you have a book, I still remember when you first read the stand. Oh man. That book, that book lives rent-free in my head.

SPEAKER_00

Oh my gosh. I'm gonna I'm gonna drop this in his email and be like, I think you need to listen to this too.

SPEAKER_03

By the way, you have a 19-year-old guy in one of your books. I got a great voice.

SPEAKER_00

And he does he does all ages, so you're never gonna know.

SPEAKER_02

Right? Even Richard Buckman, you know, if he decides to you know go the pseudo route. I'm gonna. Oh my gosh. I'll take it.

SPEAKER_00

Awesome. Alright, and now you're gonna end us with your five best tips. So this could be a combination. This could be like you're telling your telling us authors like what your tips are. You could be narrators, it could be a combo, one or the other.

SPEAKER_03

It doesn't matter. I would say first tip would be don't burn yourself out. That's a big one. Stay hydrated. That's huge, especially in the winter because the air gets incredibly dry. Yes. Please stay hydrated. That's a huge one. That's for authors and narrators both. Let me tell you, towards the end of the day, it gets really hard to talk. I would say those two. For authors, I think for the audible experience, having dialogues going back and forth right away sounds better than saying blah blah blah said this and so-and-so said that. If you just have the two kind of going back and forth kind of like an uh kind of like a play, I think from the narrator's perspective, it actually sounds good because when they start changing their voices, you already know who's saying what. I think that's just that's that fli makes it flow more like a like a movie. Um so like you know, that's that's one that I think is is more enjoyable from what I noticed when I narrate, it moves the story along a lot quicker. And then lastly, don't read anything you don't read anything you wouldn't enjoy reading on your own. I think that's a big one for narrators. Because I've read some nonfiction business books, and those were painful. I did it, I did it like three times, and those are painful to read, and I would never do them again. I said, why did I do this? Why did I okay this? I don't have to do these. So yeah, if there's a genre that you wouldn't read for fun, don't read it for work. It makes it that much harder.

SPEAKER_00

I think that's a good tip. Yes, very, very nice. All right, Rob. Well, of where I am gonna ask you, where can listeners find you? If they are just oh, I love Rob's voice, gotta have him. How do we contact you?

SPEAKER_03

Uh, you can find me on Instagram or TikTok. You could just uh look for me as Rob with two B's, Moreda, M-O-R-E-I-R-A-V as in voiceover, and uh you can find me on all socials with that user, or easiest if you just want to hit Google and type my name in. I'm like the first nine pages of Google at this point. I have a lot of stuff out there.

SPEAKER_00

That's awesome. Well, thank you so much for coming on today. I've had so much fun for with you. I've learned so much about narration. Um, and I'm really, really excited for everybody to hear this. And I am gonna manifest Stephen King for you, my friend. I think that it's definitely that's definitely on the horizon. Somehow, some way we're gonna make that happen.

SPEAKER_03

Thank you. Well, hopefully, you know, he checks out this really good book that I narrated this one time called Deep in the Woods.

SPEAKER_02

Oh my gosh, please.

SPEAKER_03

Maybe he'll see that. You know, I got the thriller game down, you know. Oh my gosh. Too funny. Oh man. Oh yeah, no, this is great though. Thank you for having me. This is very awesome. Thank you.

SPEAKER_00

Thank you for listening to this episode of Traditionally Self-Published. If this episode helped you, subscribe, leave a review, and share with your author and reader friends alike. And be sure to check the first episode where I share a bit about how this all came to be and why building a helpful community is so important. Until next time, be bold, write smart, and keep turning those pages.