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I moderate conferences, congresses, business and corporate events, panels, professional meetings, protocol and international events, as well as cultural, festival and public programmes.
I most enjoy formats where people, topic and audience need to be brought together, and where moderation is more than reading introductions and questions off cards.
I prepare thoroughly for every event: I get to know the topic, the speakers and the audience, understand the goal of the event and set up the structure together with the organiser. On stage, I then leave room for what can’t be written in advance: a good reaction, spontaneity, humour, an unplanned question or a moment that becomes the best part of the programme precisely because of that.
My job is to hold the pace and the structure, but also to listen. To lead the conversation without taking it over. To give the speakers space, and the audience a reason to stay present.
For me, good moderation means that after the event people remember what was worth saying, and also how they felt while it was being said.
The fee depends on the format and scope of the event, the number of days and hours, the number of programme blocks, the preparation needed and additional requirements such as rehearsals, travel or hosting in more than one language.
Moderation isn’t only the time spent on stage. Proper preparation includes getting to know the topic, the programme and the speakers, coordinating with the organiser, and preparing questions, transitions and possible scenarios.
Send me the basic information about your event, the date and the location, and after a short conversation I’ll send you a concrete quote.
Yes. A panel is always charged separately from the main event moderation.
A panel isn’t just an extra 30–60 minutes on stage. Proper preparation includes getting to know the topic, the participants and their perspectives, preparing the questions and the structure of the conversation, coordinating with the organiser, and actively leading and connecting the speakers during the panel.
That’s why the fee for a panel depends on its scope, the number of participants, the complexity of the topic and the preparation needed.
If you’d like a panel alongside the event moderation, both parts can be shown clearly in the quote.
The base moderation fee covers the agreed scope of the engagement. Anything that requires additional time, work or cost beyond that scope is agreed and charged separately.
This may include:
All additional items are defined in advance, based on the actual requirements of the event, so the quote is clear before the engagement is confirmed.
Yes. I host events in Croatian and English, and depending on the format and needs of the event, multilingual moderation is also possible.
I host international conferences, business and protocol events, and programmes where Croatian and English alternate during the same event.
If the event requires moderation in another language, I can bring in a suitable colleague from my network and coordinate the multilingual part of the programme.
Good preparation often means a shorter session.
Before I step up to the microphone, I want to know what I’m saying, who I’m saying it to and what we want the message to achieve. Once that’s clear, recording is usually very efficient, and short commercial formats are often done in a single session.
For narration, audiobooks, dubbing or other more demanding projects, the time depends on the scope, the amount of text, the number of versions and the interpretation required.
In other words: I don’t charge for the minutes spent in front of the microphone, but for the experience that makes sure we don’t waste them.
The price depends on the type of project, the scope of production, how and where the recording is used, and the length of the licence. An ad for local radio, a national TV campaign, an online spot, a corporate narration or multi-year use of a voice are different projects, and each needs its own approach.
Before recording, I like to have a clear picture of the project and how the recording will be used, so I can put together a transparent and concrete quote.
Send me the script and the basic information about the project, and I’ll suggest a suitable budget.
Of course, corrections are part of the job. If it’s about my interpretation or performance, I’ll re-record at no extra cost.
If the approved script, concept or brief changes after the recording, that’s a new scope of recording and the additional work is charged as agreed.
That’s why I like to have as clear a brief and as final a script as possible before recording. A well-prepared project saves everyone time.
I mostly record in several professional studios in Zagreb that I work with (Studio 45, Robson studio, D3 Studio and others), but I can also come to the studio you already work with. If you don’t have a studio, we’ll arrange a suitable space according to the project’s requirements.
I also have my own home studio, which I use to record raw material when the project and deadlines allow, for example for remote work or while travelling. Final processing of the recording to the project’s specifications is done in a professional studio, so the sound meets production standards.
The usual turnaround is 1–3 working days from confirmation of the project and the final script, depending on the scope of the recording and the processing required.
If your project is urgent, tell me right away when you get in touch. As a rule, I can arrange a shorter deadline, depending on availability and production requirements.
I like the agreed deadline to be clear in advance, and to be able to keep it.
Of course. For years I’ve worked with colleagues with different voices, styles and languages, so I can recommend a suitable voice for the character of your project, your target audience and production requirements.
If the project needs several voices or several languages, we can coordinate them within the same production process.
You can send me the script in whatever format is easiest for you. What matters is that it’s final and ready for recording.
Along with the script, please send clear production details: where the recording will be used (radio, TV, online, social media, internal communication…), the broadcast territory, the planned length of the campaign or use and, if relevant, the number of versions or formats.
A short brief about the audience and the tone you want, as well as a reference recording or an example of the interpretation you have in mind, are also very helpful. The better I understand the context, the easier it is to find the right voice, rhythm and character for the performance.
Yes. For quite a long time I recorded audiobooks for the Croatian Library for the Blind, which gave me valuable experience working with long-form text and keeping the interpretation consistent.
I’m open to long-term and more complex projects such as audiobooks, where concentration, consistency and commitment to the whole project matter as much as voice and interpretation.
If you have a project that calls for that kind of approach, feel free to get in touch. I’d be glad to learn about it and talk about working together.
I’d love to! I haven’t had the chance to narrate a cartoon yet, but it’s a format I’m really looking forward to, and one where I’d love to try out my voice and interpretation.
I have many years of experience working with voice, different characters and interpretations, and I’m especially drawn to projects that call for more play, imagination and an actor’s approach.
If you’re looking for a voice for a cartoon or an animated project, get in touch. I’d be happy to start that story.
I haven’t had the chance to work on a documentary yet, but I’d really love to.
I’ve been doing narration and various spoken formats for years, and documentary film appeals to me precisely because of the space it gives to the story, the atmosphere and the interpretation, without the voice needing to be more important than the content.
If you’re looking for a voice for a documentary or a similar narrative project, I’ll gladly come on board and get to know the story.
The buyout covers the right to use the recorded voice in the agreed media, in a defined territory and for a defined period.
In other words, recording and using the recording are two separate items: one covers my work and the production of the recording, the other the right to use that recording in a campaign under terms agreed in advance.
That’s why details such as the media, broadcast territory, campaign length and scope of use matter when calculating a quote. If the way or period of use is extended later, the corresponding usage rights are agreed as well.
I record in Croatian, English and Italian, from commercials and corporate narration to other formats, depending on the needs of the project.
For other languages, I can recommend suitable colleagues from my network.
I run training in public speaking, speech, voice and communication, but my approach isn’t only about teaching techniques. After more than 20 years in front of the microphone, on stage, on the radio and working with people, I’m interested in what happens beneath the technique: what holds us back, why we sometimes don’t say what we really think, and what we need in order to dare to be ourselves in front of others.
I love helping people find and ignite that dormant spark in themselves: encouraging them not to try to speak like others, but to find their own voice, rhythm and way of expressing themselves. In my work I use concrete tools, exercises, improvisation and what I’ve explored through years of practice, from voice and speech to presence, reacting in the moment and stepping out of your comfort zone.
I can’t change the way someone thinks, and I don’t try to. But I can open up space for awareness, give people tools and enough safety to practise. And when someone becomes aware of something, tries something different and repeats it long enough, the way they speak and perform often starts to change, and so does the way they see themselves in that situation.
I don’t teach you to sound like someone else. I help you dare to sound like yourself.
Both, individual and group.
So far I’ve focused mostly on one-on-one work, because it lets me devote myself fully to the person, their needs, their way of communicating and the specific challenges they face. That way we can work at a pace that suits them and explore much more precisely what holds them back or what they’re missing.
I also prepare group training, especially for teams and groups with a shared goal or communication challenge. I adapt the format, content and approach to the size of the group, the training goals and the participants’ experience.
Because not every person needs the same training, and not every group needs the same workshop.
The price depends on the format, goal and scope of the training. One-on-one work, a group workshop or training for a team don’t require the same time, preparation or approach.
For individual work, I take into account the number of sessions, their length and the person’s specific needs. For group training, what matters is the number of participants, the length, the goal of the training, the content to be prepared and how much it needs to be tailored to that particular group.
The price also covers the time needed to prepare the programme, materials and exercises, and everything required for the training to respond to the participants’ real challenges.
That’s why, before sending a quote, I like to know who the training is for, what you want to achieve and what challenges the participants are bringing. Based on that, I suggest a suitable format and send a concrete quote.
Yes. I’m happy to pass on my knowledge and experience to younger generations through guest lectures, conversations, workshops or practical exercises in communication, public speaking, voice and speech.
I’ve already been a guest at the Faculty of Economics and Business, University of Zagreb, and I especially enjoy bringing real-world experience closer to young people: honestly, concretely and without unnecessarily “polishing” the profession.
Depending on the programme, the goal and the institution’s possibilities, these visits can also be free of charge.
If you have an idea, a topic or a group that could benefit from my experience, get in touch. We’ll gladly design a format that makes sense for your pupils or students.
It depends on the agreement and the format of the training.
Individual sessions can take place at your place, at mine or at another agreed location. For group training, the location depends on whether it’s an open workshop or training for a specific organisation, i.e. corporate training. We can arrange a venue, or hold the training at the client’s premises.
I also have experience with online work: for a while I worked one-on-one as part of the Mentoring Byte programme. Still, for this type of training I prefer working in person whenever possible. Contact, energy, reacting in the moment and room for practice and improvisation are hard to transfer fully through a screen.
If circumstances call for an online format, that can be arranged too.
For anyone who wants to change something about the way they communicate, perform and express themselves, regardless of age, experience or profession.
Maybe public speaking blocks you. Maybe you get stage fright, speak too fast or too quietly, lose your train of thought in front of people or find it hard to structure what you want to say. Maybe you’ve been speaking in public for a long time but feel you could be freer, more natural and more convincing. Or maybe you simply want to get to know your voice better, and the way you present yourself to others.
In training we work on concrete things: clearer expression, using your voice and body, the structure of your message, presence, reacting in the moment and performing with more confidence. Along the way we become aware of what holds you back and, through practice, look for a way to gradually shift it.
Behind all of this is a personal motto of mine:
“You are the greatest project you’ll ever work on. Restart. Reset. Refocus. As many times as you need, just don’t give up.”
I believe we can always keep learning, questioning ourselves and changing. I can’t do it for you, but I can give you the tools, the space, the experience and a little courage to get started.
Because this training isn’t only about speaking better. Behind the character, the goal and the voice, there is always a person.
The earlier, the better, especially for larger conferences, multi-day events and dates in the busy season, when the calendar fills up quickly.
For shorter or urgent engagements, it’s still worth asking at short notice. If I’m available, I’ll gladly step in.
For larger events, I recommend getting in touch as soon as you know the date, so we have time to go through the format, programme, speakers and everything needed for proper preparation.
Once the engagement is confirmed in writing, the date is reserved for you and I can no longer offer it to another client. The booking fee is 30–50% of the total fee, depending on the type and scope of the engagement.
If the engagement is cancelled later, the following scale applies:
The booking fee already paid is counted towards the cancellation fee.
The scale also applies if the event goes ahead but my confirmed engagement is cancelled later, or another moderator is hired for the same engagement. Cancelling an event several months in advance is not the same as cancelling an engagement just before the date. In the meantime my date has been held, and time, preparation and other resources have often already been invested.
In addition to the cancellation fee, costs and work already incurred may also be charged, for example preparatory meetings, rehearsals, writing the synopsis, travel costs or other previously approved costs.
Everything related to the engagement (date, scope of work, fee, cancellation terms and other important details) is agreed in writing before confirmation. The written agreement is the basis of our contractual relationship.
The purpose of these terms isn’t to complicate our collaboration, but to clearly protect the time, preparation and commitments of both sides.
