In this two minute video clip, Jaren sings in the styles of Mariah Carey, Celine Dion, Alison Krauss, Joni Mitchell, Tori Amos, Sia, and Patsy Cline.

In case you are more of a visual person and less of a read-a-blog-post person, here's a quick video breakdown of days 1 - 3 of my series Things That Make My Life Easier. The posts can be found here: Day 1 - How to drink more water without a waterminder app Day 2 - Emergency Audio Card Day 3 - Earplugs - Not just for cutting the sound

Hey folks!  Most of you don’t know at the time of this writing that I’m going to nursing school fulltime right now…in French. Do I like torturing myself? I guess so.  For the last 9 months of school, I carried around two planners: one for school and another to organize all the stuff I needed to do at home. I’m old school - I need the pen-to-paper-to-brain connection in order to remember anything. (Side note: I also tried typing my notes and using a digital planner, but I never remember what I type, and worse, I cannot stand the sound of keys tapping. Thanks, sound processing disorder.) The other issue I have with weekly planners is the fact that there aren’t enough pages for notes. I need space for my ideas. I run through the notes section at the back of regular planners in the first weeks of the new year and I’m tired of carrying around extra notebooks.  Not anymore, homie. I created a 6-month perpetual weekly planner with weekly notes (you heard me—weekly  notes ), and I am psyched to share it with you!  Here are the top 6 things that make my 6-month perpetual planner with weekly notes different than the majority of planners out there: It’s perpetual. No more wasted paper. If you want to plan 5 days this week and then two days a week from now, be my guest! Also, your “weekend” might not be Saturday and Sunday (where there is traditionally less space given to write things down).  There’s a daily header to start each week (like I mentioned above) It has columns so you can track two things at once (you can easily draw in your own in a traditional planner, obviously. I used to do it, hahahah) Yes, it has a to-do list, a notes section on the side, and 5 habits you can customize (habit trackers typically make me feel like crap, unless I’m choosing what I track), but it also has a blank list you can customize . Need to put together a packing list for a trip? Grocery list? List of people to call this week? It’s flexible. Of course, most importantly, there are two extra pages   of notes.   Per week . This is a game changer for me. This is where I meal prep, plan, doodle, design, think out loud, budget, etc. Some of you might remember I published a book about transitioning to zero waste in 2018, so I’m conscious about waste. You can find that book here . One thing I love about this planner is that because it’s perpetual, you’re not wasting weeks of pages if you go on vacation or misplace your planner. The other thing is that it doesn’t have the spiral binding and extra plastic. It’s just paperbound. Also in hardcover so you have a sturdy surface to write on. Technically that would be #7. Check out the video above and some sweet AI-generated pictures below ( because that kind of budget? In this economy? ). All of them are available in softcover and hardcover except  the red version. That one is available in hardcover only. Feel free to pin away! I have these floating around Pinterest where I can. :) Who is this product for? Anyone who likes using a planner: my neurodivergent folks who like clean spaces without lots of overwhelm; my busy moms; my fellow nursing students; students in general; teens; business professionals…you name it. Happy planning, my friends! Let me know which one you purchased and how it’s working out for you. XoxoJaren Also, if you have or know kids over the age of 8, stay posted. I’m releasing two budget planners: Capital Kids: Budget Planner for kids 8+, and Capital Teens: Budget Planner for teens 14+.  They each contain a monthly page for tracking debits and credits, introducing the language of finance to them in an age-appropriate way, something many of us didn’t learn as kids.

I thought I'd sit down and write a long post about how much I enjoyed attending this year's That's Voiceover 2024 convention - about how I made so many friends, felt like I met my people and even won a spot on the SiriusXM/Pandora roster (I mean, what?!) - but I'll let the photos do the talking. Seriously. Look how happy I am. It's ridiculous. I can't wait to come back next year. If we met at SOVAS, keep in touch with me via LinkedIn ! I'll be there. xoJaren Holding onto my jacket because I can't believe I won. WHAT?!!! David Cuetter & Steve Pogatch - SiriusXM/Pandora Contest - English Sheer joy, folks. Sheer joy. TwoDudes Photography is the BEST. Hands down. With Joan Baker of SOVAS I took this photo before the SiriusXM/Pandora contest session. I had no idea I'd be up there later. :)

In today's globalized world, finding the right voiceover artist for your project can be both exciting and challenging, especially if you're looking for a non-union female voiceover artist based outside of the US. Whether you need a voice that can resonate with the intimacy of a whisper or evoke the commanding presence of a Hollywood star like Scarlett Johansson, this guide will walk you through the process of discovering and choosing the perfect voiceover talent. Understanding Non-Union and Non-US Based Female Voiceovers When considering a non-union female voiceover artist who resides outside of the US, it's essential to understand the nuances of the voiceover industry. Non-union voice actors often provide flexibility in pricing and usage rights, making them an attractive choice for a variety of projects, from independent films to global advertising campaigns.  Niche Expertise: Voices Like Hollywood Movie Stars Many clients seek voiceover artists who can emulate the distinctive tones and styles of well-known celebrities. A female voiceover artist capable of capturing the charm and wit of Kristin Bell or the powerful elegance of Charlize Theron brings a unique edge to projects ranging from film trailers to video game characters. Voiceover for Film: Bringing Characters to Life In the realm of film, voiceover artists play a vital role in bringing characters to life beyond the screen. Their ability to convey emotions, portray distinct personalities, and narrate compelling storylines enhances the cinematic experience, making them indispensable collaborators for filmmakers worldwide. Tips for Hiring the Right Voiceover Talent 1. Define Your Project Needs: Clearly outline the type of voice, tone, and style you're looking for. Even better: link examples . Your auditioning voice artists will thank you.     2. Review Portfolios and Demos: Listen to samples that showcase the artist's versatility and range. 3. Consider Experience and Expertise: Look for artists who have experience in your specific industry or genre. An easy way to do this is to search by keyword or to post an audition on one of the many sites listed in this blog post , so the right talent may find you. 4. Communication and Collaboration: Ensure the artist can take direction and communicate effectively throughout the project. You can do this by checking the artist’s ratings and testimonials.  5. Budget Considerations: Discuss pricing and usage rights upfront to avoid any misunderstandings later on. This includes things like: usage (broadcast, radio, local, B2B, organic social media, etc.), length of recording (:30, 45 minutes, etc.), and term period (13 weeks, 1 year, 5 years, etc.). For a list of standard rates, please visit the Global Voice Acting Academy website here . Ready to find your perfect voiceover match? Explore jarenthevoiceover.com today to discover a talented non-union female voiceover artist who can bring your project to life with professionalism and passion.

Q: Can you share your journey into the world of voiceover? What initially attracted you to this career path? A: To be frank, I was in the middle of an early-mid-life crisis. I’d left my music career after my divorce and gone to work as the creative director of a small toy manufacturing company. I was burnt out and depressed, suffering anxiety attacks regularly and I realized I was completely out of alignment. I quit my job with no backup plan other than to take some music courses online to see if there was a way to boost my previous career without getting back into the limelight (I didn’t want to tour). Out of sheer curiosity, I had taken a voiceover masterclass from Peter Baker, a British voiceover legend . Within two months of submitting auditions, I started making a better living than when I worked in the corporate world. I couldn’t believe it! I do credit my background in music for a lot of my success, because had I not worked with my voice for years or known how to record it, stepping into this industry would have been much more difficult. Q: What were some of the biggest challenges you faced when starting out as a voiceover artist, and how did you overcome them? A: Some of the biggest challenges I faced dealt with setting up a proper studio. In the beginning, I didn’t have a custom-built studio in my various apartments and it was too far away to drive to my old studio at my ex-husband’s house. So I would buy old Ikea cabinets off Marketplace and transform them into a recording space, which worked fairly well! I would line them with yoga mats and blankets and even though they were small, they were cheap and pretty efficient so long as my kids weren’t running around screaming.  Eventually, I had a booth custom-built and that’s what I use today. It’s so quiet inside you can hear your brain cells dividing . I stole that line from a movie with Hugh Grant and Sarah Jessica Parker - the one where they go to my home state of Wyoming to work on their marriage. Haha! Q: How did you develop your unique vocal style or range? Were there specific techniques or training programs that were particularly helpful? A: I didn’t train specifically for different vocal ranges. I used all the knowledge I had from my previous career as a recording artist and my ability to mimic and impersonate (something my father and I enjoyed doing since I was a kid. He does a great Homer Simpson impersonation). I’ve spent my entire life listening and observing. As a teenager, I was always finding patterns in commercials which enabled me to identify what kind of voice works with what type of script, tone and music bed, etc. I did this with music as well, although I didn’t have the language for it back then. This skill is helpful for coaching! Sometimes during a directed session, even, I might suggest doing a take with a certain type of delivery different from what the director or the client asking - but only in the instances where the director and I have a good report and we trust each other.  Q: Can you describe a memorable project or role that helped shape your career as a voiceover artist? What made it stand out to you? A: Of course! My first big role happened in the third month of my career, if I’m not mistaken. I was hired by the ASPCA to voice one of their commercials. I was blown away - I couldn’t believe I was chosen. My career sort of took off afterward. Since then, I’ve had the fortune to work with some of the biggest brands in the world: Toyota, L’Oréal, Nestlé, etc. I really love working with small brands, too, though. In my experience, the smaller brands are a little more daring and fun with their scripts. Some of my absolute favourite auditions have been for small companies that use humour to make their product stand out. I could do those auditions all day long! Q: What advice would you give to someone looking to break into the voiceover industry today? Are there any crucial steps or strategies they should consider? A: For anyone trying to get into the industry today, I’d say do your homework. Make sure your editing skills are on point and you can edit quickly. That has been a massive help and one of the reasons I’m able to kick out as much material as I do daily. You don’t have to know how to edit songs - just vocal files.  Also, make sure you feel comfortable using a program like Logic Pro, ProTools, or Audacity, etc. I prefer Logic Pro, but that’s because I used it in my music career. I did some work with Audacity as well. I’d also say “know your style”. Try out a handful of random scripts (you can download free ones here https://www.voices.com/blog/voice-over-sample-scripts/ ), and listen back.  Here’s what I learned about my own voice: Traditional commercial projects are almost always a yes. Selling a product/idea to people aged 21+? I got you. My voice also happens to work well for traditional infomercials  I naturally want to read every explainer video like an episode of How It’s Made (which remains my favourite TV show) I get hired the most for eLearning videos, medical explainers, humorous social media spots, anything in tech, serious documentaries, guided meditations, and scripts requiring a “mom” voice.  Anything requiring a voice that resonates with college age and younger (unless it’s a character voice) does not seem to resonate with my voice as it is now. I have tried, lord how I have tried. Final bit of advice, take a course from Peter Baker . He doesn't just walk you through the how-tos of figuring out your voice. He walks you through setting up and running your business. His course was the best investment I've made to date. Q: How do you approach preparing for a voiceover session? Are there rituals or routines you follow to ensure a successful recording? A: I like to review the scripts I need to record before a directed session. Not many times because I don’t want to have a set idea before I hit record. I want to be as open as possible to what the client wants/needs - so I do a quick review of the script to check for difficult words or pronunciations. Typically, the client and I then decide that I will do one full read-through first, just to get a lay of the land and set a starting point. After that, the client will give me feedback on tone and direction and I will start making adjustments on each take thereafter during the session. One thing I am very strict about is getting enough sleep before a directed session. If I’m tired, I have a more difficult time reading. My voice also sounds worse. For this reason, I also don’t drink much alcohol. Finally, I don’t like to record past 2:00 or 3:00 in the afternoon. I am happy to do it for clients once in a while, but typically there are two big reasons I don’t offer directed sessions in the evenings: the first is that I read better in the mornings and make far fewer mistakes. This makes for a much smoother session. The second is that I need to limit how much I’m using my voice on a daily basis to avoid injury or burnout.  Q: Have you ever had to voice a character or style that was challenging or outside your comfort zone? How did you tackle that experience? A: Oh gosh, yes. I’ve had to record in accents and languages that are not my own - and I’m terribly self-conscious about it. The directors in those instances assured me that what I was recording was exactly what they were looking for so that eased my mind…ish. Q: In your opinion, what are some of the key differences between voiceover acting and other forms of performance, such as stage or screen acting? A: Well, as someone who has acted on both stage and film, I would say the biggest difference is the lack of real-time engagement with others on the stage or set. When you’re in a studio all by yourself, you’re in your own world. It’s like the difference between working in an office and working from home. In my case, I miss working with other humans in person from time to time, but for some of the projects I do, it’s much easier for me to explore characters in my own studio environment where I feel safe and comfortable. I have everything I need, and in some ways that allows me to free myself up a little bit more, creatively speaking. Q: What role has networking and building relationships played in your career as a voiceover artist? Any tips for aspiring artists on how to effectively network in this industry? A: I am terrible at networking at this point in my life. It’s something I’m working on and studying because this industry has changed a lot in the matter of a couple of years - thanks to AI, TTS, etc. Relationships are so important! My only advice is to consistently provide quality products and services (and communication!) to your clients so you can develop a solid relationship. I’m so lucky to have the client base I do. We work so well together and we trust each other.   Q: Looking back on your career so far, what are you most proud of achieving as a voiceover artist? Are there any goals or ambitions you still hope to accomplish in the future? A: I’m most proud of the connections I’ve made through this career. I reached out to my mentor a year and a half ago, Peter Baker (the voiceover legend mentioned above), to thank him for putting together his online course. I mentioned how this career allowed me to afford a house and the ability to help others. Since then, we started working together! Last year, I launched the first of two online singing courses An Introduction To Singing By Ear , and this spring launched the accessory course, Mastering Vocal Licks ! I’ve gone on to make friends with other voice actors in the industry and we help each other out. It's lovely to have such a warm little community that understands the ups and downs of the industry. As for the future, I dream of voicing a character in a video game or a series. If anyone has any connections they’d like to share, I’m all ears! Heehee.

My life is about to shift in a big way—I can feel it in my bones. Right now, two obvious options are on the table: A)  Quit my careers in voiceover and music to focus on something else entirely for a while because AI has dramatically shifted the business landscape, or B)  Dig deep, even though I’m exhausted from the past two years of trying like hell to get my income back to what it was in 2022. And when I say exhausted, I mean at-the-end-of-my-rope   exhausted. Let me outline the shift that brought me to this point: 2022 (January 1 – October 12):  875 auditions, 99 gigs booked (11.3% booking rate) 2023 (January 1 – October 12):  1,092 auditions, 91 gigs booked (8% booking rate) 2024 (January 1 – October 12):  1,384 auditions, 58 gigs booked (4% booking rate) (I obviously ran all the numbers and comparisons on October 12th of this year.) In two years, I’ve nearly doubled my audition load while achieving only a third of the bookings. The result? A more than 75% loss of income since 2022. What the hell happened?! Well, let me tell you what I was doing wrong . First, I put all my eggs in one basket: Voice123.com . Only in January 2024 did I decide to branch out, adding Voices.com to my daily agenda. I didn’t see much improvement. Eventually, I added Voquent and Bodalgo, and I submitted to several non-union casting agencies, like VoicesNow and VoxTalent. Despite all this effort, I haven’t booked a new client in two months. Am I bad at what I do? No. Does my quality suck? I’ll let you be the judge of that. Am I terrible at communication? Hardly—how else would I have earned the 5-star ratings I’ve worked so hard for? Quick aside for the obvious question:   Why didn’t I join the union?  To be honest, I was making more money than any union voiceover artist I knew. As a single parent, I couldn't afford to lose any income, and there was plenty of work in eLearning and explainer videos—my bread and butter. So why the slowdown? One of my theories is that many of those bread-and-butter gigs have shifted to AI voices. Many of my clients are small agencies that need to innovate to save money. Curious, I reached out to a few. Yes, they admitted to using AI—but only as placeholder voices for their projects, they claimed. Sometimes, though, the client got used to the AI voice... You can see where I’m going with this. I kept digging. I reached out to a few successful voiceover artists to get their take on why things might be slowing down this year. Their answers? “It’s an election cycle—advertising is more expensive, so things slow down.” “Your voice type probably just isn’t trending this year.” “You’re not in a niche enough part of the industry.” No one mentioned AI—at least, not until I brought it up. Even then, most seemed to think it wasn’t affecting their careers. I wasn’t so sure, so I asked Voice123.com directly. I gave them my stats and asked if they’d onboarded thousands of new voiceover artists, changed their algorithm, or penalized me for taking payments off-platform when clients requested it. Their responses? Email #1: “No, you are not penalized for completing a booking off-platform. The ranking score is only affected by likes and booked proposals, even if the booking is closed or canceled after creation.Unreviewed proposals won’t affect you, nor will proposals with no likes where no other auditions received likes.” Email #2: “Your data shows you are receiving more auditions. This means Voice123 is meeting its goal of sending you leads to connect with clients. Ultimately, clients have the final say in who they choose to hire, so it’s difficult for us to provide a specific reason why you may not have been selected.” So, I’m receiving more  auditions than before...but booking fewer of them. I'm stumped. Now, push comes to shove, and I have to make my move. It’s sh*t or get off the pot  time. After a month of what I can only describe as a poor person’s mid-life crisis (days of crying and pillow punching, wild business ideas so far out of left field even I am shocked to have come up with them, and countless meditation attempts abandoned 5 minutes in because my brain refuses to shut up for even a millisecond), I decided to buckle in and buckle down. I booked a trip to the Society of Vocal Arts & Sciences’ That’s Voiceover 2024  in Los Angeles. I auditioned for every project associated with the event, and in the process of researching the hosts and attendees, I’ve actually gotten excited about some of the niches within the industry. Sure, many will likely be taken over by AI in the not-too-distant future, but I think a few will remain untouched—for now. Or, at least long enough for me to figure out a backup plan, like creating an OnlyFans account to sell pictures of my kneecaps. (Yes, that one girl on TikTok did it as a joke and actually made money.) sigh Okay, Universe. Let’s do this. I’m ready to WORK.

Article originally posted on Medium.com I recently connected with a friend from high school who has gone on to be something of a musical composing genius. Asked if she would give me an honest review of my music course called Singing By Ear, where I teach people how to listen to artists, identify their singing “thumbprint” so to speak, and then sing like them — she gladly did. However, when it came time to give me her feedback, I was terrified. What would someone so classically trained and technical think of my little humdrum course? What if she tells me I’m a fraud because I didn’t include anything about music theory? What if she makes fun of the way I present my course because it’s not written in musical notes? Will people think I don’t know what I’m talking about? “It’s great!” She announced. “The world needs this. Especially the academic world. They have an accessibility problem and this course makes singing accessible.” I can’t tell you how much I needed to hear those words. Only months earlier when I was approached about putting together this singing program, I hummed and hawed. Sure, I’d had a Billboard charting dance hit, several hits in the trance music industry, had performed all over the world and published over 200 song titles. I was known as a vocal chameleon who could sing Celine Dion to Joni Mitchell to Patsy Cline…but was that enough? Where were my formal credentials? Again, back to that word. Accessible. The thing is, there are a lot of people out there with learning disabilities, like mine, who struggle to learn new languages, including the language of written music and the theory that goes along with it. And in many cases, we let that hold us back. Not anymore. I want my lessons to be as accessible as possible. You don’t need to care about music theory, you don’t need to know how to read music, and you certainly don’t need any special instruments or gadgets. All you need are 10 minutes a day, your voice, and the desire to want to hear the world a little differently. If that’s you. I think I can help.

Article originally posted on Medium.com A few years ago, I asked a very well-respected music A&R, during a spring industry gathering, why there didn’t seem to be any new female artists over the age of 30 entering Top 40 radio. Also, how come there weren’t any mom artists entering the mainstream music scene? Is the industry ageist, perhaps? I swear to go…YES. Duh. But also, it’s complicated. Wanting to save face in front of our other musical colleagues, he answered back something to the effect of “There are lots of pop stars over 30. Lots of moms, too.” Really? I asked. Like who? Pink. Beyoncé. Britney, to name a few. “How many Top 40 female pop stars can you count who became mothers before they became pop stars?” I refined my question. “I can count 5. Since 1975.” I tell you what, I am really good at making people uncomfortable. “Perhaps there are more, but that’s what I can count off the top of my head,” I continued, “and I’m including Shania Twain in that group because she had to take care of her siblings after their parents were killed in a car crash before she got famous.” Cricket. Cricket. Now, how did I get to the point where I was even thinking about mothers in the music industry, anyway? Bitterness. Jealousy, probably? I mean, I’d like to say something cool like curiosity, but let’s be honest — after I became a mom, the phone stopped ringing. So, I spent years trying to figure out exactly why. Why does society dislike moms in the music industry so much? Why do so many women every year hide their pregnancies or even fail to mention they have kids when they’re trying to get a foot in the door? It happens in all industries to some pretty wild extents, unless you’re a Mommy YouTuber or Influencer and that’s the whole point. And then every year or so, a slew of articles comes out noting the astonishing fact that only insert-any-number-under-five percent of all music producers/directors/etc. are female and where have they all gone? Um. They left. Because they’re not idiots. They chose happiness over chaos. Why would anyone of sound mind choose to wear themselves out even more than they already have to trying to manage a career, raising a brood, maintaining a partner relationship, blah blah blah the list goes on, when this industry has proven for decades that they fundamentally don’t believe motherhood has any value? That sounds like the definition of insanity to me. “Mothers aren’t sexy and sex is what sells. Availability is what sells. And in fact, we don’t even like it when our favorite pop star starts dating or gets married. You know why? Because now we can’t have sex with her. She’s taken. My totally unrealistic dream of sleeping with her is no more. So now, as a listener, I’m subconsciously less interested in her music,” a fellow music friend of mine once told me. His analysis, though not surprising, did piss me off. So to all the music executives out there asking themselves how they can attract more women into their industry (which they should definitely be asking because we have proof that women kick ass at innovating), let me say something loud and clear. MAKE. YOUR. INDUSTRY. INCLUSIVE. TO. EVERYONE. EVERY. ONE. Including mothers. Why? DOLLAR BILLS, DUDES. Who actually pays for the music memberships and the concert tickets? I’ll give you a hint. It’s not the 14-year-olds deciding what music gets played on the radio thanks to trending app statistics. It’s the parents (and also advertisers, but that’s a different beast…). We are the ones paying the credit cards. So maybe market to us once in a while and see what happens. Make us feel valuable. For once, I’d love to hear a song about something other than high school crushes and hook-up culture on Top 40 radio — not that I don’t enjoy it, but all the time..? Could you give me something real? Like a song about how everything on my body is starting to sag, or even better — I dare Top 40 radio stations to start playing PMS, by Mary J. Blige. That would start a motherevolution. What kinds of music would you like to hear on Top 40 radio? More or the same of different perspectives? Leave a comment!

It's been awhile since I've posted any of my more recent work. While I'm waiting for some clients to send me final versions, I thought I'd post one of two explainer videos I worked on for Napa. I love narrating explainer/tutorial/eLearning videos! It's concise, it's fun, and I get to pretend I'm hosting an episode of How It's Made, which is the greatest TV show ever made. Come at me.