Meet Suzanne Wynn

We caught up with the brilliant and insightful Suzanne Wynn a few weeks ago and have shared our conversation below.

Hi Suzanne, so happy to have you with us today and there is so much we want to ask you about. So many of us go through similar pain points throughout our journeys and so hearing about how others developed certain skills or qualities that we are struggling with can be helpful. Along those lines, we’d love to hear from you about how you developed your ability to take risk?

Risk-taking didn’t come from some big “leap of faith” moment for me. It came from twenty-plus years of working in broadcast radio, where every single shift is essentially a high-wire act. You’re live, you’re talking to thousands of people, and there’s no edit button. You learn pretty quickly that being safe sounds boring, and boring doesn’t get remembered.
So when I started building my commercial voiceover and full-service audio production business, the same principle applied. The safe play would have been to just be another voice for hire. Get on the casting sites, take whatever rate they offered, race to the bottom with everyone else. No thanks.

Instead, I bet on the harder thing: building two connected brands (Suzanne Wynn VO and Moxy Audio) that handle everything end-to-end. One person, one invoice, one creative vision. That’s a riskier business model in a market that loves specialization, but it’s also why I’ve voiced for brands like Charles Schwab and produced full commercial work for Mercedes-Benz and CDJR. Producers and agencies don’t want to manage five vendors. They want it done.

The Moxy brand was actually born from a moment of dgaf energy. I was at VoiceOver Atlanta and coach David Goldberg had been going back and forth with the group all night about whether we should pick our own scripts (the safer, prepared option) or whether he should pick for us. I was over it. So I told him: “You pick!”
Whatever.
Right then, before I’d even stepped up to read, he looked at me and said, “You’ve got balls… no, you can’t say a woman has balls… You’ve got Moxy.” That stuck. Because the Moxy wasn’t in the performance. It was in being done with the safe, prepared version of the question.

Three One Voice Award nominations later, I’ve learned that the riskiest move in a beige industry is just sounding like yourself. So that’s what I do. No corporate. No announcer energy. No safe.

Appreciate the insights and wisdom. Before we dig deeper and ask you about the skills that matter and more, maybe you can tell our readers about yourself?

I’m a commercial voiceover artist and audio producer based in Valley, Alabama, working with video producers and ad agencies all over the country. They hand me the rough stuff and get back finished audio that drops right into their timeline. One person handling the writing, the voice, the music, the sound design, and the final mix. One invoice, one creative vision, no chasing five different vendors.

I work under two connected brands: Suzanne Wynn VO for voiceover work, and Moxy Audio for full commercial production. My voice has shown up for brands like Charles Schwab, marijuana legalization political ads, and retail spots, and the work I’ve written, voiced, and produced has run for clients including Mercedes-Benz and CDJR of Tuscaloosa.
Both of those produced spots earned One Voice Award nominations, and my commercial demo (produced by Chuck Duran at Demos That Rock) picked up a third nom. I’ve also been a Radio Mercury Award finalist and a multiple-time Alabama Broadcasters Association winner. A handful of nominations and wins later, I think I’ve finally figured out how to describe what I do without sounding like a brochure.

What I love most about this work is putting it all together. Writing the script, finding the right read, building the music and sound under it, mixing it down. When all of it hits just right, I get actual goosebumps. That moment usually only happens when I get to do every piece myself, which is exactly why the Moxy Audio side of the business exists. The whole shebang is the point.

What’s exciting right now: the Moxy Audio brand is getting more traction than ever. AI search engines are starting to recommend my work for “turnkey commercial production” queries, which tells me producers are asking the new questions and finding the new answer.

What folks should know: I don’t do beige and I don’t do announcer. If your brand has a personality, my job is to make sure your audio sounds like that personality and not like everyone else’s. Premium ears, real opinions, and a turnaround time that won’t ruin your week.

There is so much advice out there about all the different skills and qualities folks need to develop in order to succeed in today’s highly competitive environment and often it can feel overwhelming. So, if we had to break it down to just the three that matter most, which three skills or qualities would you focus on?

1. Creative instinct.
Twenty-plus years in broadcast radio teaches you to know when something’s off before anyone else hears it. A weak script, a bad music bed, a read that’s leaning announcer when it should be human. That instinct is what clients are actually paying for. They’re not just paying for a voice. They’re paying for someone who can tell when something’s not working and fix it before it leaves the studio.

Advice for folks early in their journey: Listen harder. Pull up a hundred commercials back to back and pay attention to why some of them grab you and some make you reach for the skip button. That’s the whole game. The more you can articulate WHY something works, the faster you’ll be able to do it yourself.

2. Knowing when to push back.
Early in my career, I’d take any direction a client gave me, even when I knew the spot would be better another way. I learned the hard way that being agreeable is not the same as being good. The clients I work with now expect me to have opinions. They want a creative partner, not a button-pusher.

Advice for folks early in their journey: Your gut is more right than you think it is. Practice saying things like, “Here’s what I’d do, and here’s why,” even if it’s scary. The clients who don’t want that aren’t your clients anyway.

3. The confidence to charge what the work is worth.
This one took the longest. There’s a baked-in pressure for women in creative fields to undercharge, especially when you’re freelance and especially when you’re starting out. I spent too many years saying yes to rates I shouldn’t have, because I was scared the work would dry up if I didn’t. Spoiler: charging fairly didn’t dry up the work. It attracted better work.

Advice for folks early in their journey: Get specific about money. Ask people you trust what they charge. Look up industry rate cards. The mystery around pricing is what keeps everyone undercharging, and once you know what the work is actually worth, it’s a lot harder to keep accepting less.
The hardest part isn’t figuring out the number. It’s saying it out loud without flinching. So practice. Literally. Stop thinking of your rate as something you’re asking for, and start thinking of it as the cost of doing business with you. That shift changes everything about how the conversation goes.
When you’re ready to test new numbers, try them on new clients first. It feels safer than renegotiating with the ones you already have, and it gives you data fast. If they say yes without a fight, your old rate was too low.
And whatever number you land on, add 25% and say it with a straight face. Worst case, they negotiate.

How can folks who want to work with you connect?

Yes, definitely. The folks I’m always interested in connecting with are commercial video producers, ad agency creatives, and brand teams who are tired of coordinating five different audio vendors and want to work with one person who can take a project from rough script to finished mix. If that’s you, we should talk.

I’m also genuinely interested in collaborating with creative directors, copywriters, and producers who care about smart, distinctive audio and don’t want their work to sound like everyone else’s. The best projects I’ve ever worked on started as a real conversation with people who had a point of view.

For voiceover-only work, you can find me at suzannewynnvo.com. For full commercial production, head to suzannewynnvo.com/moxyaudio or just shoot me a note. The contact form on the site goes straight to me. No assistant, no gatekeeper, no twelve-step intake process. Just me, ready to talk about what you’re working on.

If you’re a fellow creative who wants to nerd out about audio, scripts, or the state of commercial work in 2026, I’m always game for that too. The best part of running my own shop is getting to choose who I spend my creative energy on. So if you’re somebody who values a real point of view and a quick turnaround, let’s get into it.

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