30 scripts written by us, free to practice with, record and put in your reel.
Every one lists voice age, accent and length, so you can pick a read that fits the audition you are chasing.
[Rubble everywhere. KAITO pushes himself up on one arm as his opponent's shadow falls over him]
Heh. You hit hard. I'll give you that.
[breath]
But you made one mistake. You let me get back up.
[beat]
My whole life, people told me to stay down. The teachers. The village. My own dad.
And every single time, I got up anyway.
So go ahead. Hit me again. I've got nowhere else to be.
[Kaito stands]
Round two. Let's go!
What it is for: A beaten-down hero drags himself back to his feet. Trains the classic shonen build from a wheeze to a battle cry without blowing out the voice early. Coach's note: Watch out for starting loud. He's hurt and out of breath at the top, so 'Heh' is almost a cough. Save the full power for 'Round two'; everything before it climbs one step at a time. What casting listens for: Casting listens for a teen hero with grit and a sense of humor under the pain, and a shout that stays supported.
[The practice hall. RYOU SHIRAKAWA, top of the class, doesn't bother turning around]
You call that a technique? I've seen puddles with more pressure.
[beat]
Listen carefully, because I'll only say this once. Talent is not something you shout about. It's something you prove, quietly, every day, while people like you are busy making speeches.
[He finally looks back]
Come find me when you've stopped talking. I'll be waiting. Probably for a long time.
What it is for: The cool, untouchable rival putting the hero in his place. Trains restraint: the power comes from how little effort he spends. Coach's note: Watch out for sneering. Ryou doesn't need to sound mean, he's simply sure of himself. Keep it low and even, and let the dry joke on 'Probably for a long time' land by underplaying it. What casting listens for: Casting listens for a controlled, cool read with an edge, and someone who can be cutting without raising the volume.
[A mountain dojo. MASTER OGAWA pours tea very slowly while her impatient student fidgets]
Sit down. No, sit properly. The tea won't taste better if you glare at it.
You want to learn the Hollow Step today? Good. Everyone does. It's very flashy.
[She sips]
Ahh. That's the good leaf.
[beat]
Do you know why I make you wait? Not because I'm old. Well. Not only because I'm old.
When you fought the Thorn Brothers last week, you were fast. You were strong. And you were thinking about lunch.
The Hollow Step isn't about moving faster. It's about being so still inside that your enemy can't tell which way you'll go. Even you won't know, until you've already gone.
[She sets the cup down. Suddenly serious]
So. Finish your tea. Taste every drop. When you can do that without fidgeting, we begin.
[beat]
And wash the cups. That's also training.
What it is for: The playful old master who turns serious for one moment. Trains shifting gears between comedy and weight inside a single read. Coach's note: Watch out for playing her doddering. She's teasing, not confused. The gear change is 'So. Finish your tea': drop the playfulness there, then let it sneak back for the last line. What casting listens for: Casting listens for a mature voice with warmth and mischief, and a quiet authority that makes the room go still.
[A rooftop at dusk. MIHARU, fourteen, clutches a glowing pink lantern as a smoky shadow beast rises over the street]
No more running away. Hey! That's my best friend you just scared, you big, smoggy, rude jerk!
[breath]
Petal Lantern, light my heart!
[SFX: a burst of petals and chimes]
Guardian of the springtime streets, the girl who never skips a sunrise... Magical Blossom Miharu, here to sweep you away!
[beat]
Um. Was that pose too much? I practiced it in the mirror. My cat said it was fine.
What it is for: A full magical girl transformation with a hero speech and a comic button. Trains big, sincere energy and a quick drop back to a shy normal kid. Coach's note: Watch out for winking at the audience. The speech has to be fully believed, pose and all. The laugh only works if 'Um' is a real drop in size, straight after full power. What casting listens for: Casting listens for a bright teen voice that can sell a transformation call at full height and then come right back to earth.
[A launch bay. Sirens. PILOT TAKAHARA straps in as the cockpit lights flicker on]
Neural link holding at ninety percent. Engines hot. Good enough for today.
Control, this is Frame Seven. I'm not waiting for the other units. That thing is twelve kilometers from the evacuation shelters.
[breath]
I know what the simulator says. I wrote half the simulator. And I'm telling you, it's wrong about this one.
[beat]
Release the clamps. Now, please. Frame Seven... launching!
What it is for: A mecha pilot who breaks the rules for the right reason. Trains clipped, military delivery that builds to a launch call. Coach's note: Watch out for shouting the tech talk. The numbers are routine for Takahara, so keep them quick and flat. Save the lift for the launch call and let 'launching' ride the thrust. What casting listens for: Casting listens for a pilot who sounds competent under pressure, with steel under the calm.
[A nearly empty evening train. NATSUKI, sixteen, sits beside her best friend AYA, who has fallen asleep on her shoulder]
Hey. Aya. You're drooling on my good blazer.
[beat]
No, it's fine. Sleep.
I was going to tell you today. At the festival, after the fireworks. I had a whole speech. It had three parts. Part two was mostly apologizing.
But you were laughing so hard at Kenji's goldfish, and I thought... not yet. Just one more good day.
[breath]
Dad got the transfer. We move in March. Somewhere with snow.
I don't even own a real coat.
I keep picturing you walking to school without me. Taking the long way past the bakery, like always. Buying two melon buns out of habit.
[beat]
You'd better eat both. Don't give mine to anyone else.
[The train slows]
Our stop. Hey. Aya. Wake up.
[Brighter, covering]
Nothing. I didn't say anything. Come on, we'll miss it.
What it is for: A quiet slice-of-life confession to a friend who can't hear it. Trains close-mic intimacy and hiding real feelings behind a bright voice. Coach's note: Watch out for crying through it. Natsuki is holding it together because Aya might wake up. Keep it close and small; the only real crack is 'Somewhere with snow.' Then snap bright on 'Nothing.' What casting listens for: Casting listens for a natural teen voice that can play small and true, the kind of read that sounds overheard rather than performed.
Take all 30 anime dub scripts with you
One printable sheet with every script on this page, ready to mark up in the booth. Leave your email and it opens
straight away, and we'll send you new scripts as we write them.
[A glowing summoning circle in a royal throne room. SATO, a baker in a flour-covered apron, is still holding a whisk]
Okay. Okay, okay, okay. Let me just recap.
I was proofing sourdough in my tiny shop on Fourth Street. There was a bright light. And now a king, an actual king with an actual crown, is telling me I'm the Hero of the Seven Stars.
[beat]
Your Majesty, with respect, I think your prophecy has a typo.
"The one who kneads shall rise"? That's... that's bread. That's literally bread.
[breath]
No, no, please don't cry. Okay. Fine. What does the Demon Lord want? Gold? Land? The princess? The secret of eternal youth?
[beat]
...Cake. He wants cake. For his birthday. And nobody in this kingdom can make one that doesn't explode.
[Sato rolls up both sleeves]
Right. Clear me a table. Get me eggs, butter, and your least flammable oven. Hero of the Seven Stars, reporting for duty.
What it is for: An ordinary person dropped into a fantasy world, reacting in real time. Trains comic disbelief that turns into commitment. Coach's note: Watch out for staying at one level of panic. Sato moves from shock to polite logic to pity to pure baker's confidence. Each paragraph is a new gear; the biggest change is on '...Cake.' What casting listens for: Casting listens for relatable comic timing and a performer who can think out loud on mic.
Skill: Perfect Laundry Folding
Isekai, status screenYoung adultNeutral AmericanOne narrator30 secondsabout 35s
[A forest clearing. RIN has just woken up in a brand new world and opens a floating status screen]
Status open! Yes! Here we go. Everyone who gets reborn gets something amazing. Sword saint. Dragon tamer. Cheat skill, come on...
Strength: two. Magic: one. Luck... also one. Who gets a one in luck?
[beat]
Unique skill: Perfect Laundry Folding. Level ninety-nine.
[breath]
Okay. That's fine. That's fine! Somewhere in this world, there's a war that can only be won with nice crisp corners!
[SFX: a distant roar]
...Please?
What it is for: The isekai status-screen reveal played for laughs. Trains fast comic deflation and brave, fake optimism. Coach's note: Watch out for telegraphing the joke. Rin genuinely expects greatness, so read each stat hopeful until it lands. The last word is small and desperate, not a punchline shout. What casting listens for: Casting listens for quick comic reactions and a performer who can land a one-word button.
What it is for: A reborn noble who flatly refuses to play the villain. Trains elegant, high-status comedy with a modern brain behind the manners. Coach's note: Watch out for playing her smug. Cordelia is relieved, not cruel. Keep the ballroom polish on every line and let the modern office worker slip out only on 'I have read this story. Twice.' What casting listens for: Casting listens for poise, crisp diction and dry wit, a voice that can be regal and funny at once.
Rooftop, After School
Shonen, hero and rivalTeenNeutral AmericanTwo narrators (duet)60 secondsabout 68s
Cast: DAIGOSEIJI
A school rooftop at sunset. DAIGO, loud and bandaged, has finally cornered SEIJI, the quiet genius who beat him in the tournament
DAIGOFound you! Hiding up here like a pigeon!
SEIJII'm eating lunch. Pigeons don't eat lunch.
DAIGOIt's four o'clock!
SEIJII had a busy day. Someone kept challenging me to rematches.
DAIGOAnd you kept saying no! Why? You scared?
SEIJIYour left shoulder. It's still healing. I don't fight people who are half broken.
beat
DAIGO...You noticed that?
SEIJII notice everything. That's why I won.
DAIGOYou won because I tripped on a water bottle!
SEIJII noticed that too.
DAIGOThen notice this! Next month I'll be at a hundred percent, and I'm gonna knock that bored look right off your face!
SEIJIHm. Good.
DAIGOGood?
SEIJIIt's boring being the best when nobody's chasing you.
beat
DAIGO...Was that a compliment?
SEIJIFinish healing. And stop yelling. The pigeons are trying to eat.
DAIGOSo they DO eat lunch!
What it is for: Hot-headed hero versus cool rival, with respect hiding underneath. Trains contrast between scene partners and a rivalry that quietly turns warm. Coach's note: Watch out for both actors playing the same energy. Daigo pushes, Seiji refuses to be pushed. The turn is Daigo's '...You noticed that?': let him really hear it before he blusters again. What casting listens for: Casting listens for two clearly different energies and actors who listen, not just wait for their line.
A cluttered bedroom at midnight. HANA, thirteen, stares at TUFFLE, a small floating creature like a winged hamster, who has just appeared on her desk
TUFFLEGreetings, chosen one! I am Tuffle, emissary of the Dreamlight Kingdom!
HANAYou're eating my eraser.
TUFFLEIt was a long trip. From the other side of the moon. Now listen carefully. A great darkness is rising, and only you can...
HANAIs this because I wished on the vending machine?
TUFFLE...Why would you wish on a vending machine?
HANAIt gave me two sodas once. It felt lucky.
TUFFLEFocus! Take this brooch, speak the words of power, and become the Guardian of Dreams!
HANADo I get paid?
TUFFLEYou get the gratitude of the entire universe.
HANASo no.
beat
TUFFLE...There are snacks. Magical snacks.
HANAWhat kind of snacks?
TUFFLECloud pudding. It tastes like whatever you love most. Every single time.
beat
HANAGive me the brooch.
TUFFLEWonderful! Now repeat after me...
HANAAnd stop eating my stationery.
What it is for: The mascot-meets-heroine scene flipped into a comedy. Trains a squeaky, grand mascot voice against a flat, practical kid. Coach's note: Watch out for Tuffle losing the grandeur. The mascot believes every line is destiny, even while bribing her with pudding. Hana wins the laughs by staying unimpressed until 'Give me the brooch.' What casting listens for: Casting listens for a distinct creature voice you could sustain for a whole season, and a deadpan partner with sharp timing.
Inside a damaged mech, mid-battle. LIEUTENANT ASANO pilots Frame Nine. OPERATOR MINAMI speaks from the command bridge
MINAMIFrame Nine, your left arm is gone.
ASANOI noticed. It was the one holding the sword.
MINAMIRetreat to grid four. That's an order. The support squad is two minutes out.
ASANONegative. If I pull back, it walks straight into the harbor.
MINAMIAsano, your reactor is at sixty percent and dropping.
ASANOThen I've got forty percent of a plan.
MINAMIThat isn't how percentages work!
ASANOIt is today.
SFX: an alarm
ASANOMinami. Talk to me. Where's its weak point?
beat
MINAMI...Behind the neck plate. Two-second window when it turns.
ASANOTwo seconds. Plenty.
MINAMIYou said that last time.
ASANOAnd I came back.
MINAMIIn a tow truck!
ASANOA very dignified tow truck.
MINAMIYou were crying.
ASANOThe cockpit was dusty.
breath
ASANOIt's turning. Count me in.
MINAMIThree... two... now!
ASANOGoing in! Keep the coffee hot, Minami!
What it is for: A pilot and a bridge operator arguing under fire. Trains fast back-and-forth, radio urgency and banter that never drops the stakes. Coach's note: Watch out for leaving gaps. This is a radio conversation mid-fight, so pick up your cues fast. Minami's turn is the beat before '...Behind the neck plate': that's where she stops arguing and starts helping. What casting listens for: Casting listens for tight cue pickup and two actors who can be funny without letting the danger go.
Festival Committee
Slice-of-life, club comedyTeenNeutral AmericanOne narrator60 secondsabout 69s
Cast: KOMORIYUZUTAKESHI
An after-school clubroom. The Astronomy Club has one week to plan its festival booth. PRESIDENT KOMORI, cheerful YUZU and sleepy TAKESHI sit around a desk covered in snacks
KOMORIOkay! Ideas for the festival. Go!
YUZUA planetarium! We turn off the lights and put stars on the ceiling!
KOMORIGreat! Budget?
YUZU...What's a budget?
KOMORIIt's the four hundred yen in the cookie tin.
YUZUOh. We ate the cookies.
KOMORITakeshi?
TAKESHIA nap booth. People pay to lie down in the dark.
KOMORIThat's the planetarium without the stars.
TAKESHIIt's more honest.
YUZUWhat if we did both? Stars AND naps?
KOMORIWe are not charging people to sleep.
TAKESHIThe drama club charges people to watch them cry.
YUZUHe's got a point.
KOMORIHe does not have a point! Okay. Planetarium. Yuzu, you're on stars. Takeshi, you're on... blankets.
TAKESHISoft ones?
KOMORIFine. Soft ones.
beat
YUZUSo it IS a nap booth.
KOMORIIt's a relaxing astronomical experience!
TAKESHI...I'll make the sign. Tomorrow.
What it is for: A three-person club comedy with a leader, an optimist and a sleepy one. Trains clear character contrast and ensemble timing. Coach's note: Watch out for three voices blurring together. Komori drives, Yuzu bounces, Takeshi barely moves. Takeshi gets his laughs by having less energy than anyone, so don't let him wake up. What casting listens for: Casting listens for ensemble players who each own a lane and pass the energy on cleanly.
The Last Lesson
Mentor, farewellMature (55+) and TeenNeutral AmericanTwo narrators (duet)60 secondsabout 64s
Cast: KENHOSOKAWA
A burning temple courtyard. MASTER HOSOKAWA, wounded, kneels on the stones. Her student KEN runs to her side
KENMaster! Hold on, I'll get help! Somebody! Anybody!
HOSOKAWAThere's no time. And stop shaking. You'll spill your courage.
KENThis isn't funny!
HOSOKAWAEverything's a little funny. That was the first thing I taught you. You never listened.
beat
KENI listened. I just... I thought there'd be more lessons.
HOSOKAWAThere's one more. Give me your hand.
breath
HOSOKAWAThe Ember Palm isn't a technique. It never was. It's what happens when you stop fighting for yourself and start fighting for someone behind you.
KENThen who's behind me now?
HOSOKAWAEveryone in this valley. The baker's twins. The girl who sells plums at the bridge. Old Mr. Fujita and his terrible dog.
beat
HOSOKAWAAnd me. Always.
KENMaster... I won't let you down.
HOSOKAWAGo on. And Ken? Sweep the courtyard when this is over. It's a mess.
What it is for: The mentor's last words, with humor still alive inside the pain. Trains playing grief without collapsing into it. Coach's note: Watch out for sobbing from the top. Hosokawa is dying and still teaching, so she stays dry and light. Ken can break on 'I thought there'd be more lessons,' but only there. The last line should get a wet laugh, not tears. What casting listens for: Casting listens for restraint in a big dramatic moment and two actors who let the silence work.
Do Not Pull
Isekai, party comedyYoung adultAny (character choice)One narrator60 secondsabout 73s
Cast: RYUUMIRABELGORRAN
The mouth of a dungeon. Three adventurers stand in front of a huge stone door: RYUU, the newly summoned hero; MIRABEL, an elf mage; and GORRAN, a knight in very heavy armor
RYUUOkay, team. Big door. Probably a boss. Maybe two bosses. Plan?
MIRABELI'll cast Frostbind on whatever comes out. It lasts nine seconds.
GORRANI will stand in front. As always. I am the wall.
RYUUGreat. And I'll... do hero stuff.
MIRABELWhat hero stuff? You've been here four days.
RYUUI have a strong sense of justice.
GORRANYour sword is still in its gift wrapping.
RYUUIt was a nice ribbon!
GORRANIt was. I helped tie it.
MIRABELFine. I freeze, Gorran blocks, and you pull the lever.
RYUUWhat lever?
MIRABELThe one that says "Do Not Pull."
beat
RYUUThat seems important. Like, legally.
GORRANEverything in a dungeon says "Do Not Pull." It is tradition.
RYUUOkay. On three. One, two...
SFX: the door creaks open by itself
GORRAN...It was not locked. It was never locked.
MIRABELNobody tell the guild. Ever.
What it is for: A fantasy adventuring party comedy in three distinct voices. Trains quick character contrast and dry group timing. Coach's note: Watch out for everyone trying to be the funny one. Mirabel is impatient, Gorran is solemn and literal, Ryuu is out of their depth. Play the characters and the jokes arrive. Give the SFX a full beat before Gorran speaks. What casting listens for: Casting listens for three clear character voices and players who stay in their lane.
A volleyball timeout. The score is 24 to 23. Setter HARUTO and ace spiker IKKI huddle at the bench
HARUTOTheir blocker reads your approach. Every time.
IKKISo I jump higher.
HARUTOYou can't jump higher. You're already hitting the ceiling lights.
IKKIThen what?
HARUTOFake left. I'll set it behind me. Quick. You won't see it coming either.
IKKIYou want me to hit a ball I can't see?
HARUTOI want you to trust me.
beat
IKKI...Fine. But if I miss, you're buying ramen for a month.
HARUTODeal. Now go win.
What it is for: A sports anime timeout, all trust and tactics. Trains quick, focused dialogue with a clear shift into partnership. Coach's note: Watch out for shouting because it's sports. This is a huddle, so keep it tight and close. The beat before 'Fine' is where Ikki decides to trust him; take it. What casting listens for: Casting listens for two young voices with focus and chemistry who keep it real.
[A throne room of black glass. THE GRAY SOVEREIGN watches the heroes stumble in]
Ah. You're early. How rude. I had a whole speech prepared for the next floor.
[beat]
No matter. Sit. Or stand. Heroes always stand. You want to know why I did it. Why I stopped the clocks. Why every bell in the empire has gone silent.
[The Sovereign rises]
You've come all this way expecting an explanation. A lonely childhood. A betrayal. Something you can pity. Perhaps a dead sister. Perhaps a broken promise under a cherry tree.
[breath]
I'm not going to give you one.
Some things are simply done. Not because I was hurt. Not because I was wronged. Because I could. And because it was very, very quiet afterward. Listen. Isn't it lovely?
[beat]
You may attack now. I'll wait. I have, after all, all the time in the world.
What it is for: A calm, chilling anime villain who refuses the usual tragic backstory. Trains menace through stillness and control. Coach's note: Watch out for growling. The Sovereign is polite and almost bored, and that's what makes it frightening. Let the pauses sit, and keep the last line soft enough to sound like a promise. What casting listens for: Casting listens for a villain voice built on control and precision, not volume.
[KOTARO plants his feet as a wave of shadow soldiers charges the bridge]
You want my friends? You'll have to go through me.
[breath]
Every punch I've thrown, every time I fell... it all comes down to this!
Iron Tide...
BREAKER!
What it is for: A short signature-attack call. Trains building to a full battle shout safely and cleanly. Coach's note: Watch out for shredding your voice. The power on 'BREAKER' comes from breath and body, not your throat. Split the name: a held breath after 'Iron Tide,' then release. What casting listens for: Casting listens for a big, supported attack call that could be repeated take after take without strain.
[Dust settles. The rival, ARATA, lies flat on his back, beaten for the first time]
Tch.
[beat]
Don't look so happy. I slipped.
[breath]
...Fine. You won. This time.
But next time we meet, I won't hold back. So you'd better get stronger. Idiot.
What it is for: The proud rival admitting defeat, barely. Trains subtext: respect squeezed out through clenched teeth. Coach's note: Watch out for making it bitter. Arata is secretly thrilled to finally have a real rival. Let a smile leak into the last line, then cover it with 'idiot.' What casting listens for: Casting listens for pride with warmth underneath, and small sounds like 'Tch' that don't feel forced.
[Graduation day. The kendo club dojo is empty except for club captain AKIRA and the first-years lined up in front]
Okay, okay. Sit down, all of you. I'm not doing this standing up. My knees are shaking.
[beat]
Three years ago, I walked into this dojo because the tennis club was full. That's the truth. I didn't even know which end of the sword to hold. Captain Mori laughed at me for a week.
And then he stayed after practice with me. Every day. For a year.
[breath]
I never thanked him. I thought there'd be time. There's always time, right? Then graduation came, and he was gone, and I was captain, and I had no idea what I was doing.
So here's what I learned. You don't get strong by winning. You get strong by showing up on the days you're sure you'll lose.
[beat]
Takumi. Your footwork is still terrible. Fix it.
Hana. Stop apologizing when you land a hit. You earned it.
And all of you... stay after practice with whoever walks in next April not knowing which end to hold.
[breath]
That's it. That's my whole speech. I'm going to go cry in the equipment room now.
[beat]
Thank you. Really. Thank you.
What it is for: A graduating club captain's goodbye to the younger members. Trains a long, honest speech that moves between jokes and real feeling. Coach's note: Watch out for getting sentimental too early. Akira covers with jokes until 'I never thanked him.' Keep the notes to Takumi and Hana quick and real, and make the final thank-you the simplest line in the piece. What casting listens for: Casting listens for sincerity that doesn't sound performed, and someone who can hold a long read without losing the thread.
[A garden gone gray. QUEEN GRISAILLE floats above the magical girls, twirling a dead rose]
How sweet. Five brave little girls in matching ribbons, come to save the flowers.
[beat]
Do you know what happens to flowers, darlings? They wilt. Every single one. I'm simply... saving them the wait. Such a kindness, really.
[breath]
Go on. Sparkle at me. Throw your little hearts and stars. I've been looking forward to it all week.
[She crushes the rose]
Let's see who blooms.
What it is for: A theatrical magical girl villain who is having a wonderful time. Trains playful menace and a purring, luxurious read. Coach's note: Watch out for playing her angry. Grisaille is amused. Stretch the vowels on 'darlings' and 'wilt,' and keep the last line quiet so it lands harder. What casting listens for: Casting listens for a rich villainess with humor and control, one who owns the scene without shouting.
[A dim cockpit, running on reserve power. PILOT YUNE records a log for no one in particular]
Pilot's log. Day forty. Still no signal from the fleet.
Frame Three is holding up better than I am. The left knee grinds when I walk, but it walks. That's more than I can say for my coffee supply.
[beat]
I passed the old research station today. The one from the training videos. It's all moss now. There was a bird's nest in the radar dish. Three eggs.
I stood there for a whole minute. Didn't want to scare her.
[breath]
Funny. I spent two years learning how to fight in this thing. Nobody ever taught us what to do when the fighting stops and you're still here.
[beat]
Tomorrow, I head north. If anyone finds this recording... the eggs hatched. I checked.
Yune, signing off.
What it is for: A lonely mecha pilot recording a log after the war has gone quiet. Trains intimate, understated sci-fi storytelling. Coach's note: Watch out for playing it tragic. Yune has made peace with the silence and finds small joys in it. The whole piece hangs on 'the eggs hatched. I checked': a tiny, real smile. What casting listens for: Casting listens for a grounded, close-mic read with quiet warmth, the kind that can hold a long pause.
[Warning lights. CAPTAIN VEGA grips the controls as the reactor screams]
All units, clear the blast zone. That's an order!
[breath]
No, I'm not ejecting. If I let go now, it hits the city.
[beat]
Tell my sister... she can keep the cat.
What it is for: A split-second heroic sacrifice with a small human button. Trains urgency that lands on a soft final line. Coach's note: Watch out for rushing the last line. The orders are fast and hard; then Vega stops fighting for one breath. 'Tell my sister' is a whole different voice. What casting listens for: Casting listens for commanding urgency and a real shift in the final moment.
[Lunchtime by the school gate. SHOTA, fifteen, holds out a lopsided lunch box to his classmate TSUBAKI]
Um. Tsubaki-san? Do you have a second?
[beat]
I made too much lunch. By accident. It happens. All the time. Constantly.
[breath]
The egg roll is supposed to be a heart. It's more of a... potato. I tried four times.
[beat]
You don't have to eat it. Or like me. I mean it! I mean... enjoy the potato.
What it is for: A nervous teen trying and failing to confess over a homemade lunch. Trains flustered comic timing with real sweetness. Coach's note: Watch out for mugging the nerves. Shota is truly trying to be cool and keeps tripping. The slip on 'Or like me' should surprise him too; then scramble out of it. What casting listens for: Casting listens for a young, sincere voice and natural comic stumbles.
[A tiny countryside candy shop, closed for a month. MAKOTO, twenty-four, back from the city, unlocks the door for the first time since Grandma's funeral]
Okay, Grandma. I'm here.
[beat]
It still smells like roasted beans and your hand cream. How is that possible?
The price tags are all in your writing. Twenty yen for the lemon drops. You never raised it once. Not in thirty years.
[breath]
Everyone keeps asking if I'm going to sell. The man from the real estate office brought me a very nice pen.
[beat]
But the Tanaka kids came by this morning. They pressed their faces on the glass. The little one asked if the lucky dip was still here.
[Makoto looks at the jar on the counter]
It is.
[breath]
So I guess we're open on Saturday. I don't know how to do the books. I don't know where you hid the spare keys.
But I know twenty yen for the lemon drops. That, I can do.
What it is for: A quiet grief-and-hope piece set in a small family shop. Trains restraint and letting details carry the feeling. Coach's note: Watch out for leaning on the sadness. Makoto talks to Grandma as if she's in the back room. Keep it conversational, and let 'It is.' be two plain words that change everything. What casting listens for: Casting listens for truthful, understated emotion and a performer who trusts the pauses.
[A silent gym. SAKI bounces the ball three times before the serve that decides the championship]
Breathe. In, out. Just like practice. Three bounces. Always three.
The crowd isn't here. The score isn't here. It's just me, the ball, and that one soft spot on their back line. Number four keeps drifting left when she's tired. She's tired.
[beat]
Coach said I choke under pressure.
[breath]
Coach was right. Last year.
[Saki tosses the ball]
This year, I'm the pressure.
What it is for: A sports anime inner monologue just before the deciding moment. Trains focus and building intensity at low volume. Coach's note: Watch out for playing it loud. It's all inside Saki's head, so keep it close and controlled. The lift on 'This year, I'm the pressure' comes from certainty, not volume. What casting listens for: Casting listens for internal intensity and a steady, focused inner voice.
[Backstage, thirty seconds to curtain. RIRI, the newest member of the idol group Honeydrop Seven, can't stop shaking]
Okay. Okay. Center position. Me. The girl who fell off the stage at auditions.
[breath]
Everyone's waiting. Mom's in row twelve with a sign that's way too big. It has glitter. So much glitter.
[beat]
You can do this, Riri. Smile. Hit your mark. Don't trip on the cable. Don't look at Mom.
[The music starts]
Hi, everyone! We're Honeydrop Seven! Are you ready? Let's go!
What it is for: An idol's backstage panic flipping into on-stage sparkle. Trains a fast switch from private nerves to public energy. Coach's note: Watch out for getting to the sparkle too early. Riri is terrified until the music starts. Then flip instantly; the contrast is the whole point. What casting listens for: Casting listens for a bright, flexible teen voice that can go from whispered panic to an arena greeting.
[Upbeat preview music. JUNPEI, the hero, talks straight to the audience]
Hey, it's me, Junpei! Next time on Ember Crown Academy...
Midterms are here, and I haven't studied at all! Worse, my roommate turned my textbook into a frog! And the frog is smarter than me!
[beat]
Can I pass the exam, rescue my textbook, and still make the big tournament?
Next time: "The Frog Knows Everything!"
See you there! Probably! Unless I fail!
What it is for: The classic hyper episode preview, straight to the audience. Trains fast, bright energy with clean diction. Coach's note: Watch out for running out of steam halfway. Every sentence gets new air and a new kick. Hit the episode title clearly; it's the one line an editor has to use. What casting listens for: Casting listens for relentless bright energy and diction that stays clean at speed.
[The student council room. PRESIDENT KAEDE has just been handed a birthday card by the new treasurer]
What is this? A card? For me? Who told you it was my birthday?
[beat]
I-I'm not flustered. Why would I be flustered? It's paper. I handle paper all day. Important paper. Budgets.
[breath]
This is a violation of council policy. Section four, paragraph two. Unauthorized kindness during office hours.
[She tucks the card carefully into her blazer pocket]
I'm confiscating it. As evidence. Now get back to work... and thank you.
What it is for: The strict council president who can't handle a kind gesture. Trains comic overcorrection and a hidden soft spot. Coach's note: Watch out for stammering on every line. Kaede only cracks once, on 'I-I'm not flustered,' then armors up with rules. The 'thank you' should slip out fast and small. What casting listens for: Casting listens for crisp authority that can wobble on cue without falling apart.
A Really Good Stick
Shonen, kid sidekickChild (played by adult)Neutral AmericanOne narrator15 secondsabout 19s
[A village clinic. TOMO, seven, stands on a stool beside his big brother's bed]
Big brother! You're awake!
The doctor said you're not allowed to fight for a whole week. So I'm gonna guard you. I have a stick.
[beat]
Don't laugh! It's a really good stick!
What it is for: A small kid sidekick with very big feelings. Trains an adult playing young without going cartoonish. Coach's note: Watch out for squeaking. Find Tomo's age in energy and rhythm, not pitch. The outrage on 'It's a really good stick!' is completely serious to him. What casting listens for: Casting listens for a believable kid voice that could stay natural across a whole episode.
Reading alone only gets you so far
Members bring scripts like these to class every week and get feedback on the spot, from working coaches.
Use these freely. Every script here was written by VO Journey Academy.
Practice with them, record them, post them as demos, reels or social clips, and use them in auditions.
Please do not resell them or publish them as your own scripts. A credit is always welcome, never required.
