30 original Christmas characters written by us, free to practice with, record and put in your reel.
These are for the cartoon and game side of holiday work: elves, creatures, kids and a villain or two, plus a few sets of short video game lines. Every character is our own, so you can record them and post them.
Tinsel Reporting for Duty
Elf, first dayYoung adult (18-25)Neutral AmericanOne narrator30 secondsabout 29s
[TINSEL, a very new elf, salutes with the wrong hand]
Tinsel, sir! First day, sir! I've read the handbook twice. Three times, if you count the pictures.
I can wrap, I can paint, I can sand a rocking horse so smooth you could skate on it.
[leans in]
One question. Which one is the hammer?
[beat]
That one? The big one? Great. Love it. Never been better. Point me at a toy!
What it is for: A brand-new workshop elf introduces himself to the foreman on day one. Trains bright, fast comic energy that still lands every word. Coach's note: Watch out for going so fast the jokes blur. Tinsel is excited, not rushed. The turn is 'Which one is the hammer?', which drops to a small, honest question before the energy comes back. What casting listens for: Casting listens for an eager character you'd root for, with clean diction at speed.
[A front yard, morning. BARTHOLOMEW, a lopsided snowman, has lost most of his left side]
Excuse me. Young man. Yes, you. With the shovel.
That was my side. My good side. I've been working on that side since Tuesday.
[sighs, a little snow falls off]
I know, I know. The driveway. Your mother needs the car. Everybody needs the car.
Do you know what I need? Nothing. I'm a snowman. I stand here. I watch the mailman slip. It's a quiet life, and I like it quiet.
[beat]
No, don't cry. Oh, for heaven's sake. Come here.
Look. Pat a little back on. There. And there. See? Lumpy. Lumpy is fine. Lumpy is character.
And the carrot? You were going to take the carrot back for the soup, weren't you?
[long pause]
Fine. You can keep the carrot. I never liked it anyway. Made me look nosy.
What it is for: A grumpy old snowman complains to a kid who has just shoveled half of him into the driveway. Trains a slow, dry comic grump with a soft heart underneath. Coach's note: Watch out for playing angry instead of tired. He's too cold and too old to shout. Keep it low and slow, and let the warmth leak through on 'Fine. You can keep the carrot.' What casting listens for: Animation casting listens for a lovable grump: dry timing, a lived-in voice, and a heart they can find by the last line.
[A snowy runway at the top of a hill. SPRUCE, a young reindeer, stares at the edge]
Okay. Okay, okay, okay. Hooves apart. Head up. Don't look down. I'm looking down.
[deep breath]
The instructor said it's all in the run-up. Run, run, run, and then you just... believe. Which is easy for her. She's been flying for eighty years.
My dad flew the big sleigh. My grandma flew the big sleigh. No pressure. None at all.
What if I go up and don't come down? What if I come down too fast? What if I land in the pond again? That was one time. Everybody saw.
Alright. On three. One. Two.
[beat]
Two and a half.
Three!
[running, puffing]
Run, run, run, believe, believe, believe...
[gasp]
I'm up. I'm up! My hooves aren't touching anything! Look at the workshop, it's so tiny!
[quieter, amazed]
I'm flying.
Dad. I'm actually flying.
What it is for: A nervous young reindeer talks himself through his first take-off. Trains building courage across a speech, from shaky to proud. Coach's note: Watch out for staying at one level of panic the whole way. Start small and shaky, let the counting steady him, and give 'I'm up' a real lift. The last line is quiet pride, not a cheer. What casting listens for: Casting listens for honest nerves a kid can relate to, and a clear arc that ends somewhere new.
[A kitchen table. CRUMB, a gingerbread kid with one icing button, looks up at a giant mug]
Um. Hi. Hello. Big person.
I couldn't help noticing the milk.
And I couldn't help noticing you looking at me, and then looking at the milk, and then looking at me.
[gulps]
I'm only a little bit crunchy. Hardly worth it.
How about the cookie next to me? He's got sprinkles. Kevin loves milk. Ask him!
What it is for: A small gingerbread child pleads with a giant human holding a mug of milk. Trains a tiny, quick, high-stakes kid voice that stays clear. Coach's note: Watch out for squeaking so high the words get lost. Find a small voice you can keep for a whole session. The turn is 'I'm only a little bit crunchy', a sad bargaining beat before the last plea. What casting listens for: Casting listens for a child character with real stakes and comic timing, not just a high pitch.
[The workshop floor, three in the morning, December twenty-fourth. FOREMAN BRAMBLE climbs onto a crate]
Alright. Listen up. Everybody. Gumdrop, put the glue down.
It is three in the morning. I have not slept since Thursday. I have glitter in places glitter should not go.
We have four hundred toys left to wrap and two hours to wrap them. That is not a problem. That is a Tuesday.
Wrappers on the left. Bows on the right. If it squeaks, it goes on the blue shelf. If it's on fire, it goes outside.
[beat]
And before we start, look around.
Every one of those boxes is going to a kid who's asleep right now. And in a few hours, they're going to wake up and run down the stairs.
That's us. That's what we do.
[claps once]
Now wrap like you mean it.
What it is for: An exhausted workshop foreman gives one last pep talk before the sleigh is loaded. Trains a tired voice that still has to rally a room. Coach's note: Watch out for playing tired as mumbling. He's worn out, but he's the boss, so every instruction is clear. The turn is 'Look around', where he slows down and means it. What casting listens for: Casting listens for gravel and fatigue with leadership underneath, and a moment of real warmth.
[An ice palace. MORWEN, the Winter Witch, walks slowly around a frozen sleigh]
Oh, don't struggle. You'll only crack the ice, and I've just had it polished.
You want to know why. They always want to know why. As if there has to be a speech.
Very well.
Every year, I make the snow. Every flake. By hand. Six points, never the same, not once in a thousand years. And what do they do with it?
They shovel it. They salt it. They complain about it on the radio.
They sing songs about how pretty it is, and then they curse it on the way to work.
They build little men out of it, and then they knock their heads off.
[she touches the sleigh. Frost spreads]
And then, one night a year, a jolly man in red takes all of my snow and makes it his.
His sleigh. His rooftops. His white Christmas.
Nobody ever invited me.
[beat]
But that's beside the point.
This year, there will be no sleigh. No reindeer. No presents. Only snow. Beautiful, silent, perfect snow, as far as anyone can see.
And for once, they'll have to look at it.
[she smiles]
Now. Somebody bring me a scarf. It's freezing in here.
What it is for: The villain of a holiday special explains, calmly, why she is about to freeze Christmas. Trains a controlled, elegant villain who never needs to shout. Coach's note: Watch out for cackling. She's cold, precise and a little bit hurt. Play the grievance like it's reasonable. The turn is 'Nobody ever invited me', where the mask slips for one line before she pulls it back. What casting listens for: Casting listens for menace through stillness, plus one glimpse of the character's wound.
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[The North Pole conference room. MRS. CLAUS taps a clipboard]
Good morning, everyone. Coffee's on the left, cocoa's on the right, and nobody touches my muffins.
Item one. The sleigh. Two runners are loose. Workshop B, you have until noon.
Item two. The reindeer are on a new diet. Whoever keeps feeding Comet doughnuts, I will find you.
Item two and a half. Somebody has been taking the sleigh to the shops. You know who you are. Put the seat back.
Item three. The list. It's been checked once. Checked twice is this afternoon. If you have a cousin on it, you leave the room.
[a chair scrapes]
Nicholas, sit down. You can say ho ho ho after the meeting.
Item four. Morale. I know it's a busy month. I know you're tired. I'm proud of every single one of you.
[beat]
Item five. That was item four. We're done. Go.
What it is for: Mrs. Claus, who actually runs the North Pole, gets through the morning meeting in record time. Trains brisk, warm authority with comic bite. Coach's note: Watch out for making her sweet and slow. She's kind, but she's busy, and the jokes come from how fast she moves on. Land 'Nicholas, sit down' firm and loving, like she's said it for centuries. What casting listens for: Casting listens for warmth and command in the same breath, with crisp timing.
[A living room. A family is decorating. A delicate glass ornament named PERCIVAL dangles from a hand]
Ah. Hello. Lovely to be out of the box.
I wonder if I might make one small request about placement.
Not the bottom branch. Anything but the bottom branch.
I'm antique. I'm hand-blown. My great-grandfather hung in a palace. I survived two moves.
[whispering]
And there is a cat under that sofa. She's looking at me.
Higher. Please. Higher!
What it is for: A fragile glass ornament begs not to be hung on a low branch. Trains a big, theatrical character in a small body. Coach's note: Watch out for going over the top so early there's nowhere to go. Start as a polite request and let the panic climb. The biggest moment is the whisper on 'She's looking at me.' What casting listens for: Casting listens for theatrical flair with control, and comic build.
[The front door of the workshop. A small PENGUIN in a courier cap holds out a clipboard]
Penguin Express. Parcel for a Mister S. Claus.
It says signature required.
No, an elf can't sign. It says Mister S. Claus.
I walked here from the South Pole. That's the whole planet. I'm not leaving it on the step.
Do you have a pen? I can't hold one. Flippers.
[beat]
I'll wait.
[very long beat]
Nice place. Cold. I like it.
What it is for: A deadpan penguin courier delivers a parcel to the North Pole and will not leave without a signature. Trains dry, flat comic delivery. Coach's note: Watch out for adding energy. The joke is that he never changes gear. Keep it flat and patient, and let the pause before 'I'll wait' do the work. What casting listens for: Casting listens for confident deadpan and a voice that makes a small creature feel official.
[CHRISTMAS EVE. A little kid, nose against the window]
Is it snowing yet?
Is it snowing now?
What about now?
I can't sleep. I'm too excited. Can I just look one more time?
[gasp]
Mom. Mom! It's snowing. It's really, really snowing!
What it is for: A small child at the window on Christmas Eve. Trains an honest, unforced kid voice for a short line set. Coach's note: Watch out for pushing into a cartoon squeak. Think of a real five-year-old at a window, breath on the glass. The turn is the tiny gasp before 'It's snowing.' What casting listens for: Casting listens for a child voice that sounds real, not performed.
[January. A hand reaches toward the top of the tree. The STAR flashes]
Absolutely not. Hands off. I am the star.
For six weeks I have stood at the very top of this house. I have been photographed. I have been admired. Your aunt cried.
And now you want me in a shoebox. In the attic. Next to the fan.
[smaller]
It's dark in there.
[back to grand]
One more week. I'll dim. You won't even notice me.
What it is for: The star on top of the tree refuses to be packed away in January. Trains a grand, faded-star diva voice. Coach's note: Watch out for making the diva mean. She's dramatic because she's scared of the box. The turn is 'It's dark in there', which drops the act for one line. What casting listens for: Casting listens for grand style and comic vanity with a crack of vulnerability.
[LEDGER, an elf with tiny glasses, flips through a very long scroll]
Year-end report. Wooden trains, nine million. Dolls, twelve million. Yo-yos, four million and one. Wrapping paper, eighty thousand miles.
The extra yo-yo is mine. I'm declaring it.
Candy canes made, fifty million. Candy canes shipped, forty-nine million.
Which is a problem.
[slowly turns]
Because somebody in this room ate a million candy canes. And I will find you. I have receipts.
What it is for: A precise accountant elf reports the workshop numbers. Trains a fussy, rapid-fire, detail-loving character. Coach's note: Watch out for losing the numbers in a mumble. He loves every figure, so each one is crisp. The joke lands on 'which is a problem', said like a disaster. What casting listens for: Casting listens for a clear, specific character voice that can handle dense copy with ease.
[A stone bridge, deep snow. GROMBLE, a huge troll, blocks the way]
Halt. Who crosses Gromble's bridge?
Toll is one cookie.
[sniffs]
Is that gingerbread? Toll is two cookies.
Okay. You may pass. Mind the ice. Gromble slipped Tuesday.
What it is for: A big, dim snow troll who guards a bridge on the way to the North Pole. Trains a large creature voice with comic clarity. Coach's note: Watch out for grinding the throat. Build size with low resonance and slow pace, not rasp. Let 'Toll is one cookie' be clear enough to understand at once. What casting listens for: Casting listens for size, warmth and a voice the actor can sustain for a full episode.
[The sleigh harness, hanging in the barn. A small brass bell named PIP speaks quietly]
It's not a big deal. Really. There are twenty-three other bells on this harness. Nobody's going to miss one.
[beat]
It happened last year. Halfway over the ocean. Everyone was ringing, and I opened my mouth, and nothing came out.
And I thought, well. Maybe I was never that loud anyway.
The big bells are so loud. Did you hear Clarence? You can hear him in Norway. And Dorothy, at the front. She doesn't even ring. She sings. Really sings.
I was so busy listening to the others that I forgot what I sounded like.
[small laugh]
That's silly, isn't it? A bell that forgot her own ring.
[pause]
You think I should try? Now? Here, with nobody listening?
[a breath]
Okay.
[the softest jingle]
Oh.
Oh, there it is.
What it is for: A small sleigh bell has gone silent and tells a friend why. Trains gentle, sincere character work with no jokes to hide behind. Coach's note: Watch out for playing it sad from the first word. She's trying to be brave, so start light and let the truth arrive. The turn is 'I was so busy listening to the others', which is the real reason. What casting listens for: Casting listens for honesty and a light touch that can make a family audience tear up.
[Elf worker barks for a workshop level. Record each line as its own take]
[idle]
Hammer, hammer, sand. Hammer, hammer, sand.
Who keeps taking the blue paint?
Has anyone seen my other shoe? It curls up at the end.
[player walks past]
Oh! Hi! Don't step on the train set.
Careful, that one's still wet.
[player picks something up]
Hey, that's not wrapped yet!
Put it down gently, please.
[alarm]
Conveyor jam! Line three! Everybody duck!
[success]
Another one done. Only nine million to go.
What it is for: Ambient barks for elf workers in a holiday video game. Trains clean, separable one-liners that each need their own start and finish. Coach's note: Watch out for running the lines together. Each bark fires alone, often many times, so give each its own shape and end it cleanly. Vary the energy so they don't sound like a loop. What casting listens for: Game casting listens for variety inside one character and lines an editor can cut without fixing.
Hollyberry's Market Stall
Video game, vendorMature (55+)Any (character choice)One narrator60 secondsabout 58s
[GRANNY HOLLYBERRY runs a stall at the winter market. Record each line as its own take]
[greeting]
Oh, come in out of the cold, sweetheart. Warm your hands on the lantern.
There's my favorite shopper. Snow on your boots, I see.
[browsing]
The mittens are knitted by me. The scarves are knitted by my sister. Hers are lumpier.
Those gingerbread houses are for looking. The broken one's for eating.
[buy]
Lovely choice. I'll put a bow on it.
There you go. Mind it doesn't melt.
[sell]
Hmm. A pine cone. Well, I can always use a pine cone.
[can't afford]
Not quite enough, dear. Go sing a carol or two and come back.
Oh, you're a bit short. Have a cookie while you think about it.
[goodbye]
Stay warm out there! And watch the ice by the fountain.
Off you pop. Happy holidays, love.
What it is for: A cheerful old vendor at a holiday market in a cozy game records a full shop set. Trains one warm character held steady across separate trigger lines. Coach's note: Watch out for playing it as one long speech. Every line triggers alone. Give the two 'can't afford' lines different flavors so they can rotate, and keep the warmth the same from greeting to goodbye. What casting listens for: Game casting listens for a voice players are happy to hear fifty times, and clean, separable takes.
Winter Witch Boss Barks
Video game, boss barksAdult (40-55)Any (character choice)One narrator15 secondsabout 25s
[MORWEN, the Winter Witch. Boss fight barks. Record each line as its own take]
[fight start]
You came all this way to lose in the cold.
[attack]
Freeze!
Let it snow.
[taking damage]
You'll pay for that.
My ice!
[low health]
No. Not again. Not to you.
[player defeated]
Stay. It's quiet here.
[witch defeated]
Fine. Have your Christmas. I hope it rains.
What it is for: Combat lines for the Winter Witch boss fight. Trains short, powerful villain barks that cut through music and effects. Coach's note: Watch out for screaming every line. Bosses need range: some lines are cold and quiet, some are big. Keep a clean start and end on each so the game can play them in any order. What casting listens for: Game casting listens for menace across different intensities, with lines that read clearly in a noisy mix.
Snowball Fight Barks
Video game, kid barksAnyNeutral AmericanOne narrator15 secondsabout 16s
[A kid character in a snowball fight. Record each line as its own take]
Incoming!
Missed me!
Aw, right in the hat!
That's it. You're getting the big one.
Cover me! I'm out of snow!
We win! We win!
What it is for: Kid character barks for a snowball fight mini-game. Trains short, real-sounding kid reactions. Coach's note: Watch out for making every line the same level of excited. Hits, misses and wins all feel different. Keep each one short and clean. What casting listens for: Casting listens for a believable kid voice with quick, varied reactions.
Good Morning, North Pole
Preschool host, show openerAdult (25-40)Neutral AmericanOne narrator30 secondsabout 29s
[NOEL, host of a preschool show, stands in a snowy workshop and waves]
Good morning, North Pole friends! It's me, Noel.
Today is a very busy day. The elves need our help to finish the toys.
Are you ready to help?
[waits]
Yay! First, we need to find the red ball. Can you see something red?
[waits]
Where? Next to the reindeer? You found it! Great looking. Now let's find something green!
What it is for: A preschool host opens a holiday episode and asks the kids at home to help. Trains warmth, clarity and real pauses for a child to answer. Coach's note: Watch out for rushing the pauses. A three-year-old needs the full beat to look and point. Big smile, but a real person, not a sugar rush. What casting listens for: Preschool casting listens for someone a parent would trust: bright, patient and never phony.
[A frozen sea. KODIAK, a very large polar bear, speaks to the camera]
I am an apex predator. I want that understood.
I weigh more than a piano. I can smell a seal from a mile away. I have swum for nine days straight.
And every December, what do I get?
[holds up a card]
This. Me. In a scarf. Drinking cocoa. With a little heart over my head.
I don't own a scarf. I don't like cocoa. I have never, in my life, made a heart.
I once chased a walrus across an entire bay. Nobody put that on a card. Where's the walrus card? There's no walrus card.
[a family of tourists waves. He waves back, then catches himself]
Don't. Don't wave. That's how it starts.
Next thing you know you're on a mug.
[sighs]
Fine. One picture. But I'm not smiling.
[beat]
I'm smiling a little. Don't tell anyone.
What it is for: A huge polar bear is tired of being on greeting cards. Trains a big, warm creature voice with comic frustration. Coach's note: Watch out for forcing a growl. Size comes from slow pacing and low, relaxed resonance. The comedy is that he's trying so hard to be scary and nobody will let him. What casting listens for: Casting listens for weight and warmth in a big voice, and natural comic timing.
[A kitchen counter at midnight. CAPTAIN GINGERSNAP draws a candy-cane sword]
Cookie Guard, to me! The dog is awake. The dog is hungry.
We are crisp. We are brave. We have icing.
Hold the counter! Not one crumb!
What it is for: A tiny gingerbread soldier rallies his troops on the kitchen counter. Trains big, confident commitment in very few words. Coach's note: Watch out for winking at the joke. He believes every word. Land 'Hold the counter!' like a battle cry. What casting listens for: Casting listens for instant confidence and a voice that sounds three inches tall and fearless.
[A mirror in the elf dormitory. FIZZ practices]
Okay. Okay. Just say it.
[formal]
Good evening, sir. I regret to inform you that the sleigh has experienced an unscheduled change in shape.
No. Too much.
[casual]
Hey, big guy! Funny story about the sleigh. You're gonna laugh.
He's not gonna laugh.
[blaming]
So, Blitzen was standing very close to the sleigh, and I'm not saying anything, but I'm just saying he was there.
No. Blitzen didn't do anything. Blitzen's lovely.
[singing]
Santa, Santa, don't be mad, the sleigh is bent and I feel bad.
No. Absolutely not.
[sits down]
Okay.
[quiet, honest]
Santa, I backed the sleigh into the barn door. The left runner's bent. I'm really sorry. I'll fix it tonight, even if it takes all night.
[beat]
That's it. That's the one.
[knock on the door]
Oh no. He's here.
What it is for: An elf rehearses telling Santa that he broke the sleigh. Trains comic nerves with several false starts and a clean build. Coach's note: Watch out for playing all the attempts the same way. Each practice version should be a different idea: too formal, too casual, blaming the reindeer. The real one at the end is short and honest. What casting listens for: Casting listens for comic variety inside one character and a believable arc.
[A snowy field at night. Far away, one candle burns in a farmhouse window]
You can see me, can't you? Good. Keep looking. Don't look at the snow. The snow will only tell you you're lost.
Look at me.
There's a fence on your left. Follow it. It goes all the way to the gate.
You're cold, I know. Your hands hurt. Put them in your pockets and keep walking. I'll still be here.
I've been burning since sundown. Someone left me here for you. She said, keep the light on, he'll be home late.
[the wind drops]
That's the gate. Lift the latch. It sticks a little.
Now the steps. Three of them. Nearly there.
Don't worry about the dog. He barks at everyone. He'll be glad it's you.
[a door opens, warm light]
There.
You're home.
I can go out now.
What it is for: A candle in a farmhouse window speaks to a traveler lost in the snow. Trains a soft, intimate read with a slow, steady pace. Coach's note: Watch out for going breathy and sleepy. She's gentle, but she has a job: guide the traveler home. Keep the directions clear. The warmth peaks on 'Someone left me here for you.' What casting listens for: Casting listens for a calm, trustworthy voice with real tenderness and clear diction.
[A cave of ice. An egg cracks. FROSTBITE, a tiny dragon, tumbles out]
[small squeaks]
Hi?
[sniffs]
Cold. Nice cold.
[looks at her own wings]
Wings! Two wings. Flap, flap.
[falls over]
Okay. Later wings.
[takes a big breath]
[the tiniest puff of frost]
Ooh. Snow! I made snow! Again. Again!
Mama, look! I'm a big scary dragon. Rawr!
What it is for: A brand-new ice dragon hatches and tries its first frost breath. Trains a small creature voice with sounds and a few words. Coach's note: Watch out for doing only noises. The audience has to follow her thoughts, so make the few words clear. The first frost breath is a tiny puff, not a roar. What casting listens for: Casting listens for charm, clear creature choices and sounds the actor can repeat.
Once Upon a Snowy Night
Holiday special narrator, openingMature (55+)Neutral AmericanOne narrator90 secondsabout 78s
[A snowy village in miniature. A NARRATOR sits beside a fire]
Well, hello there. Come in, come in. Shake the snow off. There's room by the fire.
You've come on just the right night. It's Christmas Eve in Little Thimble, and the whole town is busy.
Over there is the baker, Mrs. Abernathy, pulling her last tray of buns out of the oven. She'll give the burnt ones to the birds. She always does.
And there's the mayor, trying to put the star on the town tree. He's tried four times. He's going to try five.
And there's old Mr. Finch, walking his dog, who is wearing a much better sweater than he is.
And up on the hill, in the smallest house with the crooked chimney, is a girl named Hazel. She's nine. She's sitting at the window. And she's waiting for a letter that hasn't come.
[the fire crackles]
Now, Hazel doesn't know it yet, but tonight, somebody is going to knock on her door. And it isn't who she thinks.
And this is where our story starts.
So pull your blanket up. Get your cocoa. And let's go and see who's knocking.
What it is for: The narrator opens a classic-style holiday TV special. Trains warm, storybook narration that invites a whole family in. Coach's note: Watch out for going syrupy or too slow. He's a storyteller by the fire, so keep it conversational and let the twinkle come from the details. The turn is 'And this is where our story starts', which leans in. What casting listens for: Casting listens for warmth, a smile and a voice a family would happily hear every December.
[A park fence. One red MITTEN has been placed on a post by a kind stranger]
Someone put me on this post so I'd be easy to find. That was nice.
That was Tuesday.
We were a pair. Left and right. You don't see one of us without the other.
Well. You do now.
I have a theory. I think he's in the dryer. Things go in that dryer and they don't come out.
[a kid runs past wearing one red mitten]
Wait. Is that... Hey! Hey! Over here!
What it is for: A single mitten waits on a park fence for its missing partner. Trains comic melancholy that stays light. Coach's note: Watch out for playing real grief. It's sad in a silly way. Keep the pace up and let 'I think he's in the dryer' land as a small, brave theory. What casting listens for: Casting listens for a light touch with feeling, and good timing on a sad joke.
[SANTA'S office. PIP, the smallest elf, stands on a chair to be seen]
Santa, I have prepared five reasons why I should ride the sleigh this year. Please hold your questions until the end.
Reason one. I'm small. I don't take up much room. I could fit in the cup holder.
Reason two. I know every street in Belgium. I studied.
Reason three. I can read the list upside down, which is how you hold it.
Reason four. I don't get airsick. I tested it on the swing. Mostly.
Reason five.
[beat]
This is the real one.
I've made toys for six years, and I've never seen a kid open one. Not once. I just want to see one. Just one face, on one morning.
[small]
That's all my reasons.
You can ask questions now.
What it is for: The youngest elf makes her case to Santa for riding along this year. Trains a kid voice with a real argument and a clear build. Coach's note: Watch out for whining. Pip has prepared a speech and she's proud of it. Count the reasons on your fingers. The turn is the honest bit at the end, 'I just want to see one.' What casting listens for: Casting listens for a believable child with spirit and a heartfelt finish.
[The top of a pine tree. OLD BARNABY, an owl, squints at the sky]
Hoo goes there?
Ah. A sleigh. Eight reindeer. Running late again.
Every year, the same. Hoo's surprised?
Not me.
Back to sleep. Wake me in March.
What it is for: A sleepy old owl keeps watch for the sleigh. Trains a short, distinct character with slow comic timing. Coach's note: Watch out for rushing. He's an old owl who has seen everything. Keep it slow and let the 'Hoo' be part of the line, not a sound effect. What casting listens for: Casting listens for a clear, specific old character in very few words.
[The ice palace. SNIVEL, a small snow goblin, scuttles in]
Mistress! Good news and bad news.
Good news, I found the sleigh. Just like you said. Big, red, very shiny.
Bad news. Small change of plan.
I was going to freeze it. Then the reindeer looked at me. With the big eyes.
And one of them licked my hat.
[beat]
So I brushed them. All eight. Ninety minutes. They loved it.
What it is for: The Winter Witch's dim but loyal henchman reports on a mission. Trains a comic sidekick voice with fast, guilty energy. Coach's note: Watch out for playing stupid as slow. He's quick, just wrong. Rattle through the report and let the guilt show on 'Small change of plan.' What casting listens for: Casting listens for a fun sidekick voice with energy and clear comic beats.
[A bunk room of sleepy young elves. GRANDPA TWILL sits in a rocking chair]
Alright, alright. One story. Then it's eyes shut.
This was a long time ago. I was a young elf, about your size. And one Christmas Eve, the lights went out. All of them. The whole North Pole.
No lights in the workshop. No lights in the barn. You couldn't see your own hat.
The sleigh was half packed. The reindeer were stamping. Somebody was crying. I think it was me.
And then, way at the back of the workshop, somebody struck a match.
It was Mrs. Claus. Of course it was. She lit one candle and held it up, and she said, well, we know where the toys go. We'll just have to do it by feel.
So we did. We made a line, every elf, holding the shoulder of the elf in front. And we passed those toys, hand to hand, in the dark, all the way to the sleigh.
And you know what? We weren't even late.
[quieter]
And when the lights came back on, there was a whole line of us. Holding on. Smiling at nothing.
[whisper]
Now. Eyes shut. Every one of you.
Goodnight.
What it is for: An old elf tells the little ones about the year the lights went out at the North Pole. Trains a slow, cozy bedtime read with a little suspense. Coach's note: Watch out for getting so soft the story disappears. He's a grandpa telling his favorite story. Let the middle build, then bring it back down to a whisper at the end so the kids fall asleep. What casting listens for: Casting listens for a warm, old storyteller who can build tension and then calm a room.
Questions
How do I keep a character voice from wearing out my throat?
Build the voice from attitude first and placement second. If it hurts after a few lines, ease the pitch and push less air.
Can I use these scripts in a demo or a social video?
Yes. They are written by us and free to practice with, record and post.
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.