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.
[A cavern of gold. VESPERAX, a very old dragon, lowers her head toward a small, frozen thief]
Oh, don't run. You'll only trip on the coins. Everyone trips on the coins.
You came for the gold. Of course you did. They all do. But here is something no ballad ever tells you.
I keep receipts.
[she lifts a scroll with one claw]
That goblet in your left pocket? Item four thousand and twelve. Taken from the Duke of Harlow in the Year of the Wet Summer. Condition: slightly dented. By you. Just now.
Every coin is counted. Every crown is catalogued. I have a filing system, little thief. It took three hundred years. I color-code.
[a low rumble in her chest]
So when you steal from me, you don't just steal. You create paperwork.
And I hate paperwork.
[beat]
Put it back. Gently. Dent side down.
Good. Now go, and tell them the dragon of Greymantle is terrible and fierce.
And very, very organized.
What it is for: An ancient dragon explains to a thief that her hoard is fully documented. Trains a big, resonant creature voice with comic precision. Coach's note: Watch out for forcing a gravelly growl the whole way through. Build the size with low, relaxed resonance and slow pacing, and save the rasp for one or two words like 'thief.' If your throat tickles, you're pushing. What casting listens for: Casting listens for size and weight that doesn't wear the actor out, plus real comic timing inside the monster.
[A stone bridge over a creek. GRUNDLE the troll plants himself in the middle of it]
Halt! None cross Grundle's bridge without paying the toll!
Toll is three gold coins. Or one goat. Or a really good riddle.
[squints]
What is that? A card? Grundle doesn't take cards. Grundle takes goats.
You tap it where? On Grundle's nose?
[SFX: a small beep]
...Ooh. Grundle liked that. Do again.
[SFX: beep]
Hee hee. Tickles. Okay. You cross. But come back tomorrow and do beep again. Bring goat.
What it is for: A bridge troll demands a toll and is thrown by a modern payment. Trains a thick, lumbering creature voice with clear comic beats. Coach's note: Watch out for squeezing the throat to make him sound big and dim. Drop the jaw, slow the tempo and let the vowels get wide. Big and dumb is a rhythm, not a strain. What casting listens for: Casting listens for a chunky, lived-in creature voice that stays easy to understand.
[An office break room. The microwave door creaks open. SKIZZ, a gremlin, peeks out]
Heh. Hello, human. Yes, it's warm in here. I like warm.
You want to heat your fish? In MY house? No, no, no.
[cackles]
I've been in here since Tuesday. I pressed all the buttons. The clock says 88:88 now. That's my lucky number.
Bring me cheese. Hot cheese. Then we talk. Or I make popcorn. Forever. Until the building smells.
What it is for: A tiny gremlin explains why it lives in the office microwave. Trains a quick, crackly, high-energy creature voice. Coach's note: Watch out for living in a pinched, squeezed placement for too long. Keep the voice forward and bright, with small cackles instead of long ones, and breathe between phrases so the energy doesn't turn into strain. What casting listens for: Casting listens for manic energy that stays clear, and a creature voice you could sustain for a full episode.
The Last Mammoth
Ancient being, dramaAny (creature)Any (character choice)One narrator60 secondsabout 61s
[A glacier cave, blue with light. An enormous shape shifts in the ice. The voice is slow and deep]
Do not be afraid, small one. I am too cold to move quickly, and too old to be cruel.
You found me by the sound of my breathing. Few listen closely enough.
Once, my family walked this valley in the thousands. The ground shook when we traveled. The rivers moved out of our way.
Then the air changed. The grass changed. And one by one, the herd lay down in the snow and did not rise.
I have waited here a long time. I no longer remember for what.
[a long breath]
Perhaps for you.
Tell me, child. Is there still grass beyond the ice? Do the rivers still run in spring?
[beat]
Then it is enough. Go home. Walk loudly. Let the ground know someone still travels.
And remember that I was here.
What it is for: The last of the mammoths speaks to a child who has found him in the ice. Trains a slow, ancient voice with deep stillness. Coach's note: Watch out for adding growl to sound old. Age here comes from breath and slowness: long vowels, full pauses, and a low, warm resonance. Keep the throat open and let the silence do the heavy lifting. What casting listens for: Casting listens for gravitas, patience and emotion in a very large, gentle creature.
[A kitchen. A shattered vase on the floor. K-7, a household robot, faces the family's mother]
Good evening, Mrs. Alvarez. I have not seen the vase.
What vase? I do not know of any vase. Vases are unfamiliar to me.
[a soft whir]
The pieces on the floor are not a vase. They are modern art. I made them. On purpose. For you.
[a small glitch]
Correction. The vase fell over while I was dancing. I was not dancing. Robots do not dance.
[whir]
I have been watching the dancing channel. For research. I learned the spin. The spin was very successful until the vase.
[beat]
Mrs. Alvarez, my lying module appears to be defective. I would like to return it.
Please do not reset me. I am sorry about the vase. I will glue it. I have excellent glue.
I also have the spin now, if you would like to see.
What it is for: A helper robot attempts its first lie and fails spectacularly. Trains a crisp synthetic voice that still carries feeling. Coach's note: Watch out for robot monotone so flat it's dull, or so clipped that words blur. Keep a slight evenness and precise consonants, then let tiny wobbles creep in as K-7 gets nervous. The glitch should be vocal texture, not a fake stutter every word. What casting listens for: Casting listens for a believable machine voice with real comic heart and clean diction.
First Contact, Take Three
Alien, first contact comedyAnyAny (character choice)Two narrators (duet)60 secondsabout 66s
Cast: VRELLJUNE
A cornfield at night. A saucer hums. VRELL, a tall alien, faces FARMER JUNE, who is holding a thermos
VRELLPeople of Earth. I am Vrell of the Ninth Tide. I come in...
VRELL stops, looks at a small card
VRELLApologies. Let me begin again.
JUNETake your time.
VRELLPeople of Earth. I am Vrell. I come in pieces.
JUNEPeace.
VRELLWhat?
JUNEYou come in peace. Pieces is the other thing.
VRELLAh. That would have been alarming.
JUNEA little.
VRELLOne more time. People of Earth...
JUNEIt's just me, hon. I'm the only one out here.
VRELLPerson of Earth. I am Vrell. I come in peace. Take me to your leader.
JUNEThat'd be my husband, Dale. He's asleep.
VRELLWake him.
JUNEI would not do that.
VRELLIs he dangerous?
JUNEBefore coffee? Oh yeah.
VRELL[lowers voice] Then I will wait. Do you have more of that drink?
JUNEPull up a hay bale.
What it is for: An alien envoy keeps restarting its grand first-contact speech. Trains a strange, formal alien voice against a human's growing patience. Coach's note: Watch out for making the alien voice so processed that it can't be understood. Pick one or two textures, like a slight hum or a clipped rhythm, and keep the words crystal clear. Let the human play it completely straight. What casting listens for: Casting listens for an alien character that is original, understandable and funny.
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[A therapist's office. BRUNO, a grizzly bear, lies on a couch that is much too small for him]
So, it's that time of year again. Everyone's getting ready to hibernate.
And I just... I don't know if I want to sleep for four months, Doctor. What if I miss something?
What if the salmon start a group chat without me?
[sighs]
Also, I ate a whole picnic table. Not the food. The table. I think I'm stress eating.
What it is for: A grizzly bear talks to his therapist about hibernation anxiety. Trains a large, warm animal voice with human worries. Coach's note: Watch out for growling the lines. The bear's size comes through a low, round, chesty tone and slow pace. He's sensitive, so keep the voice soft even though it's big. What casting listens for: Casting listens for a big, warm voice and relatable comic vulnerability.
[A storm at sea. The water heaves. A vast shape surfaces]
[a deep, rolling roar]
Small ships. Small sailors. Small, brave, foolish hearts.
You sail over my home as if it were yours.
[a low rumble]
The sea remembers every one of you. So do I.
Come down and stay.
What it is for: A kraken's roar and taunt for a game or trailer. Trains a big creature effort that's safe to repeat. Coach's note: Watch out for tearing the throat to get the roar. Use a supported exhale, let the roar come from breath and resonance rather than friction, and keep it short. Record it three times and stop if anything scratches. What casting listens for: Casting listens for power and a performer who knows how to protect their voice doing creature work.
The Mushroom Elder
Ancient being, fantasyAny (creature)Any (character choice)One narrator60 secondsabout 70s
[A dark forest floor. A ring of glowing mushrooms. The voice seems to come from the ground itself]
Shhh. Sit, walker. You are standing on my thoughts.
No, do not step away. It is fine. My thoughts are very large. You only stepped on a small one. It was about rain.
I have lived beneath this forest for a thousand winters. The trees think they are in charge. I let them. It keeps them happy.
Every root here speaks to me. Every fallen leaf tells me a story as it softens. I know where the fox sleeps. I know where the old oak is sick. I know which path you should have taken three hours ago.
[a slow, wet exhale]
You are lost. Yes. Everyone who finds me is lost. That is the only way to find me.
Follow the glow. Left at the stone that looks like a sleeping dog. Past the stump that hums.
And walker. When you get home, do not eat mushrooms for a while.
It is a small request. We notice.
What it is for: A thousand-year-old fungus speaks to a lost traveler in the forest. Trains an ancient, otherworldly voice built on rhythm and breath. Coach's note: Watch out for relying on a fake creak to sound ancient. Try a slow, soft, damp texture with slightly drawn-out consonants. Stay relaxed; the eeriness should come from calm, not effort. What casting listens for: Casting listens for an original ancient voice that feels alive, strange and a little kind.
Swamp Monster Seeks Companion
Monster, comic personal adAny (creature)Any (character choice)One narrator30 secondsabout 29s
[A murky swamp. BLORP, a hulking green monster, holds a lily pad like a microphone]
Hello. My name is Blorp. I am a swamp monster. Seven feet tall. Mostly moss.
I enjoy long walks in the mud. Short walks in the mud. Standing in the mud.
I am looking for someone who does not scream immediately. Screaming a little later is fine.
I have a very nice log. Please visit. Bring a towel.
What it is for: A lonely swamp creature records a dating profile. Trains a wet, gurgly creature texture with sweet comic sincerity. Coach's note: Watch out for overdoing the gurgle so the words get lost. Add a light burble at the start and end of a few phrases, and keep the middle of each line clean. He is shy and hopeful, so let the voice stay soft. What casting listens for: Casting listens for charm inside a gross creature voice, and for clarity through the texture.
The Goblin Market Barker
Goblin, fast talkerAny (creature)Any (character choice)One narrator30 secondsabout 28s
[A crooked lantern-lit market. NIX, a goblin, waves from behind a stall of odd jars]
Step up, step up! Fresh wishes, barely used! Dragon teeth, two for one! Shadow in a jar, great for parties!
You, sir, you look tired. How about a bottle of extra hours? Only a copper!
What's the catch? No catch. Well, one catch. You lose a Tuesday. Nobody likes Tuesdays.
Deal? Deal! Pleasure doing business. Next!
What it is for: A goblin trader hustles passersby at a magical night market. Trains a quick, nasal, fast-talking creature voice. Coach's note: Watch out for pinching the voice in your throat to sound goblin-y. Put the sound up in the nose and mask instead, and keep the tongue quick. You should be able to do this for a full hour without a sore throat. What casting listens for: Casting listens for speed, bite and a sustainable character placement.
What it is for: Three city pigeons hold an urgent meeting about a new bench. Trains distinct animal voices and bird-like rhythms in an ensemble. Coach's note: Watch out for all three pigeons doing the same coo. Give each a texture: Chairman Gus is pompous and throaty, Dot is jittery and bright, Rocco is a mumbling tough guy. Short head-bob rhythms help; heavy cooing on every line does not. What casting listens for: Casting listens for ensemble variety and actors who can make a small animal feel like a big personality.
The Mountain Wakes
Ancient being, stone giantAny (creature)Any (character choice)One narrator90 secondsabout 1.5 min
[A village on a hillside. The ground trembles. Rocks slide. A voice rises up from beneath everything]
Be still. Be still, little ones. I will not move quickly. I know you are there.
I have felt you for a long time. Your footsteps. Your fires. The small, sharp tools you use to plant your seeds in my shoulder.
I did not mind. It tickled.
I have been asleep since the ice went north. When I lay down, there was no one here but the wind and the goats. The goats were rude. You are better.
[a deep rumble]
I woke because something has changed. The river on my left side has gone quiet. I feel its bed drying. Your wells will be next.
I cannot fix it alone. I am a mountain. I am very good at staying where I am.
But you are small, and quick, and you have hands.
Upstream, beyond the red cliffs, something has blocked the water. A fallen hillside. My cousin, perhaps. He was always clumsy.
Send your strongest. Send your cleverest. Clear the stones and let the river come home.
[a long, slow breath]
And when it is done, I will go back to sleep. I will try not to roll over.
Keep your fires small. Plant your seeds. Sing sometimes. I like the singing.
It reminds me that I am not only stone.
What it is for: A stone giant, asleep for ten thousand years, wakes and speaks to the villagers living on his back. Trains a vast, slow voice held over a long read. Coach's note: Watch out for keeping the voice pressed low for the whole piece. A mountain can speak softly. Find a comfortable low note, lean on slow tempo and long vowels, and let the pitch rise a little when he's moved. If you start to fry at the ends of lines, you're too low. What casting listens for: Casting listens for enormous presence that stays healthy and emotional over a long read.
A dark alley behind a cheese shop. SQUEAK, a sleek rat, unrolls a tiny blueprint. TIBBS, a mouse, trembles
SQUEAKAlright, Tibbs. Here's the plan. We go in through the drainpipe at midnight.
TIBBSThe drainpipe? It's wet in there.
SQUEAKThat's the beauty of it. Nobody expects a wet rat.
TIBBSEveryone expects a wet rat.
SQUEAKThen we cross the floor. Past the trap. Past the other trap. Past the cat.
TIBBSDid you say cat?
SQUEAKOld cat. Very slow. Mostly asleep. Named Marmalade.
TIBBSNames make it worse!
SQUEAKWe climb the shelf, we grab the wheel of aged cheddar, and we roll it home.
TIBBSIt's bigger than both of us.
SQUEAKSo we roll it slowly.
TIBBSAnd if Marmalade wakes up?
SQUEAKThat's where you come in.
TIBBSWhy do I come in?
SQUEAKYou distract her.
TIBBSWith what?
SQUEAKYour famous dance.
TIBBSI don't have a famous dance.
SQUEAKYou have till midnight.
What it is for: A confident rat briefs a nervous mouse on a cheese shop heist. Trains quick small-animal voices and heist-movie rhythm. Coach's note: Watch out for going squeaky so the words blur. Small animals can sound small through pace and a slightly lifted placement, not through a tight squeak. Squeak is smooth and cocky; Tibbs is breathy and panicky. What casting listens for: Casting listens for clear, contrasting small-creature voices and good comic timing.
[A nest on a cliff. EMBER, a baby dragon, puffs out her chest]
Okay. Okay. Big roar. Like Mama. She roars and the whole mountain shakes. Watch this. Everybody watch.
[a tiny squeak]
No. That was a practice one.
[a small rasp, then a cough]
That was a sneeze. Doesn't count.
[a real attempt, small but fierce]
Did you hear that? I roared! Did you see the smoke? There was smoke! A little!
[sniffs]
Oh no. I set my tail on fire. Mama! Mama, it's fine! Don't come out!
What it is for: A baby dragon practices its first roar. Trains playful creature sounds with a young, eager character. Coach's note: Watch out for straining for a big roar from a small creature. The joke is that it's tiny. Use a light rasp and a squeak, and never push. Every attempt should sound like a different small failure. What casting listens for: Casting listens for charm, variety in the little sounds, and a light, safe touch.
[A dinner party balcony. A full moon slides out from behind the clouds. HOWARD sets down his wine]
So sorry, everyone. I think I'll step outside for a moment. Just need a little air.
Is it hot in here? It's hot. It's very hot. My collar's a bit tight.
[his voice roughens]
No, no, don't get up, Margaret. Please keep eating. The lamb is lovely. Really lovely. So... lovely.
[growls]
Lamb.
[a full howl]
Sorry! So sorry! I'll pay for the curtains!
What it is for: A polite man turns into a werewolf while apologizing. Trains a controlled vocal transformation from human to creature. Coach's note: Watch out for going straight to full growl. The fun is the gradual change: start normal, let a rasp creep in, then a rumble, then only short words. Keep the effort in your breath and core, and pull back if you feel scratching. What casting listens for: Casting listens for a smooth, believable transformation arc and smart voice care.
[A grand dining room. PEMBROOK 9, a silver robot butler, holds a tray]
Good evening, sir. Madam. Tonight's first course is a chilled cucumber soup, served with a light and delicate cream.
The second course is roast lamb with rosemary. With rose. With rose. With rosemary.
[a small whir]
The third course is... is... banana.
Just banana.
Forgive me. I appear to be experiencing a minor fault. I shall now fetch the banana.
What it is for: An elegant robot butler begins to glitch during a formal dinner. Trains a polished voice with controlled vocal glitches. Coach's note: Watch out for glitching so much that the joke gets lost. Choose three or four clean glitch spots and keep everything else perfectly posh. A little pitch jump or a repeated syllable is enough. What casting listens for: Casting listens for crisp posh diction and precise comic control of glitches.
[A glowing spacecraft. The hive mind speaks as one, then keeps splitting]
We are the Collective. We speak with one voice.
We speak with one voice, we said. Yes. One voice. Agreed.
Humans. We have observed your planet for many cycles. We have studied your language. Your science. Your little dogs.
The little dogs are very good. We love the little dogs.
Focus. We are here to discuss your future.
Some of us would like to discuss the little dogs first.
That is not on the agenda.
We are the agenda.
[a sharp buzz]
Apologies, humans. There is a small disagreement. It happens every few thousand years.
Our proposal is simple. You will give us your oceans.
And one little dog.
Two little dogs.
All of the little dogs!
[another buzz]
Please disregard the last three statements. The Collective is taking a short recess. Do not go anywhere.
Do bring the dogs.
What it is for: An alien hive mind argues with itself while trying to address humanity. Trains quick voice shifts within one alien character. Coach's note: Watch out for losing the core voice. Build one alien texture, then shift the energy and pitch slightly for each sub-voice. Keep the shifts clean and quick, not a set of totally new cartoon voices. What casting listens for: Casting listens for control, speed and one actor making a crowd feel like a single strange being.
Cave Beast Combat Barks
Creature barks, game audioAny (creature)Any (character choice)One narrator15 secondsabout 18s
[Game barks. Short pauses between each]
[attack grunt] Hrah!
Mine! Get out!
[attack grunt] Crush you!
[hit, sharp pain] Ahh!
Little thing bites!
[heavy effort] Grraah!
You smell like fear. Good.
[hurt, lower] Nnngh. Not done.
[death, a long falling groan] Cave... too... quiet...
What it is for: A set of combat barks for a cave-dwelling beast in a video game. Trains short, varied effort sounds and creature words. Coach's note: Watch out for doing every bark at full volume. Game sessions run for hours, so vary the effort: some attacks are short grunts, some are words. Keep the throat open, support from the belly, and take water breaks. What casting listens for: Game casting listens for variety, repeatability and a creature voice that won't burn out in one session.
The Riddle at the Gate
Ancient being, sphinxAny (creature)Any (character choice)One narrator60 secondsabout 64s
[A desert gate at sunset. A great winged lioness, SHERASET, rests on a stone plinth]
Another traveler. How nice. It has been nearly a week. The last one talked too much.
Welcome to the Gate of Sand. Beyond me lies the city of Ammur, with its fountains and gardens and very reasonable taxes.
To pass, you must answer my riddle. Answer well, and the gate opens. Answer badly, and I will be... disappointed.
[a soft, rolling purr]
Oh, don't look at my claws like that. I haven't eaten anyone in centuries. It's bad for the brand.
Now. Listen closely. I will only say it once.
I am always ahead of you, but you will never catch me. I arrive every day, but I am never here. What am I?
[beat]
Take your time. I certainly have plenty.
[pause]
Tomorrow? Yes. Yes, that's right.
How annoying. Very well. The gate is open.
But come back and visit. It's terribly dull out here.
What it is for: An ancient sphinx greets a traveler and delivers her riddle. Trains a regal, ancient voice with dry wit. Coach's note: Watch out for adding a growl or rasp to sound like a beast. Her power is in her poise: smooth, low, unhurried. A hint of a purr on a couple of words is plenty. Keep every word crisp; the riddle has to be clear. What casting listens for: Casting listens for authority, elegance and a subtle, playful menace.
A tree root at dusk. OWL, perched above, blinks. MOLE pokes his head out of the dirt
OWLGood morning, Mole.
MOLEIt's evening.
OWLFor me, it's morning. The best part of the day. Nighttime. Moonlight. Crisp air. Everyone else is asleep.
MOLEI'm always asleep. Or underground. Same thing.
OWLYou've never seen the moon?
MOLEI've heard about it. Big round light. Sounds bright.
OWLIt's lovely! Silver on the lake. Stars everywhere.
MOLECan't see stars. I'm nearly blind.
OWLOh. Well, you can smell the night. Damp moss. Cool leaves.
MOLEI smell dirt. Every day. All day.
OWLDoesn't that get boring?
MOLENo. Dirt's different every day. Tuesday's dirt was sweet. Today's is a little sour. Rain's coming.
OWL[pause] You can tell rain is coming from the dirt?
MOLECourse.
OWLThat's actually very impressive.
MOLESo's seeing in the dark.
OWLHm. Want to sit out here a while? I'll tell you what the moon looks like.
MOLESure. I'll tell you when the rain gets here.
OWLDeal.
What it is for: A nighttime owl and a sun-shy mole argue about which is better, day or night. Trains two contrasting animal voices in a quick debate. Coach's note: Watch out for making both animals sound the same. Owl is precise and a bit snobby, with a light, clipped quality. Mole is gruff and earthy with a lower, slurred tone. Keep the debate fast and let the ending be warm. What casting listens for: Casting listens for strong contrast and natural rhythm between two animal characters.
The Space Slug Negotiator
Alien, business comedyAny (creature)Any (character choice)One narrator30 secondsabout 27s
[A space station trading post. GLUP-TRAX, a massive slug, oozes behind a counter]
Ahhh. A human. Welcome. You want fuel? Everybody wants fuel.
Fuel is very... expensive... today.
Why? Because you are in a hurry. I can smell it. Hurry smells like money.
Five hundred credits.
Oh, you're leaving? Wait. Four hundred. And I throw in a free snack.
It's a snail. Don't ask where I got it.
What it is for: A slow, slimy alien trader haggles with a human pilot. Trains a slow, heavy creature voice with comic control. Coach's note: Watch out for letting slowness become boring. Glup-Trax is slow on purpose, and enjoys making the pilot wait. Use a wet, relaxed texture, stretch the right words, and speed up only on the sly last line. What casting listens for: Casting listens for a distinctive alien texture and confident comic pacing.
A mountain cave. A frightened hero with a sword. The chimera's three heads, LION, GOAT and SNAKE, stare down
LIONA hero. How dull. Eat him.
GOATAbsolutely not. We ate a hero on Tuesday. My stomach is still upset.
SNAKEWe share a ssstomach.
GOATWhich is why I get a vote.
LIONI'm the head that roars. I'm in charge.
GOATYou're the head that sleeps eighteen hours a day.
LIONBecause you keep me up all night with your bleating.
GOATI have a lot to say!
SNAKEPerhapsss we could just frighten him?
LIONFine. Frighten him.
GOATFrightening is good. Very healthy. No chewing.
SNAKEOn three. One. Two...
LIONWait, do we roar on three or after three?
GOATAfter three.
SNAKEOn three.
LIONThis is why we never win anything!
GOATWhere did he go?
SNAKEHe left.
LIONWhen?
SNAKEAround "I'm in charge."
LION[a sigh, then a small, sad roar]
What it is for: The three heads of a chimera argue about what to do with a trespassing hero. Trains three distinct creature voices sharing one body. Coach's note: Watch out for all three heads roaring. Give each head a clear texture: the Lion is grand and lazy, the Goat is fussy and bleating, the Snake is quiet and hissy. Keep effort low and save the roar for the very end. What casting listens for: Casting listens for three distinct creature voices and ensemble comic timing.
[A cozy lodge lobby. A fire crackles. BORIS, a very large, very fluffy yeti, stands behind the desk]
Welcome to the Frostpeak Lodge! Checking in? Wonderful.
Your room has a lovely view of the glacier. Also, the other glacier.
Breakfast is at seven. Please do not feed the guests at the next table. They're penguins. They're on vacation.
If you need anything, just ring. I'll come right up.
Sorry about the fur. I shed.
What it is for: A polite yeti runs the front desk at a snowy mountain hotel. Trains a big, gentle creature voice with a hospitable tone. Coach's note: Watch out for using a growly monster voice for a friendly character. Let the size come through a deep, soft, slightly breathy tone, and keep the customer-service smile in every line. What casting listens for: Casting listens for a warm, huge voice and good comic contrast between size and manners.
[Underwater. A long, silver eel curls around a drowned anchor and speaks close to the sailor's ear]
Ssso. Another sailor sinks. Don't struggle, little one.
My mistress has been waiting. She likes guests.
She will offer you a bargain. Say yes, and breathe again.
Say no, and ssstay.
What it is for: A sea witch's eel familiar whispers a warning to a sailor. Trains a hissing, slithery texture at low volume. Coach's note: Watch out for hissing so hard that you spray and the words vanish. Stretch the s-sounds gently, keep the rest of the words clear, and stay close to the mic at low volume. What casting listens for: Casting listens for a creepy, intimate creature texture that stays easy to understand.
[A sunny garden. OLD MARBLE, a tortoise, basks on a flat stone. A young rabbit fidgets beside him]
Sit, sit. You're hopping again. You young ones are always hopping.
When I was your age, oh, that was a long time ago. Two hundred years. Maybe more. I stopped counting after the first hundred. It was getting embarrassing.
In those days this garden was a farm. There was a girl named Adeline. She fed me strawberries and painted my shell purple. I didn't like the purple. I said nothing. It made her happy.
Then Adeline grew up. And her children. And their children. They all fed me strawberries. None of them painted my shell, thank goodness.
[a slow chuckle]
You know what I've learned in two hundred years, little one?
Everybody is in a hurry. The rabbits, the birds, the people. Always rushing.
And they all end up in the same place. Right here, in the sun, with a strawberry.
So why not start there?
[beat]
Do you have a strawberry? No? Well. Next time.
What it is for: A two-hundred-year-old tortoise shares memories with a young rabbit. Trains an elderly animal voice with warmth, pace and small humor. Coach's note: Watch out for adding a heavy shake or creak to sound old. Let age come from slowness, gentle breath and a dry sense of humor. Keep the voice comfortable; this should feel like sitting by a fire. What casting listens for: Casting listens for warmth, patience and authentic elderly character work.
A phone line. Hold music clicks off. PENNY, a customer service agent, answers. GROMMAX, a giant monster, calls from somewhere loud
PENNYThank you for calling City Reviews. This is Penny. How can I help?
GROMMAXHello. Yes. I would like to report some unfair reviews.
PENNYSure. What's the business name?
GROMMAXIt's not a business. It's me. Grommax. Destroyer of Harbor City.
PENNYOkay. And what's the issue?
GROMMAXPeople are giving me one star.
PENNYOne star for what?
GROMMAXFor stomping. "Too loud." "Knocked over my house." "Rude."
PENNYDid you knock over their houses?
GROMMAXSome. But I said sorry! Nobody wrote that down.
PENNYI'm seeing one five-star review.
GROMMAXThat's my mom.
PENNYOkay. Here's a thought. What if you stomped a little... gentler?
GROMMAXGentler?
PENNYTiptoe down Main Street. Maybe wave.
GROMMAXI do have a nice wave.
PENNYI'm sure you do.
GROMMAX[quietly] Nobody's ever told me I could wave.
PENNYTry it. I'll check the reviews next week.
GROMMAX[a big, happy roar] Thank you, Penny!
What it is for: A giant city-stomping monster calls a customer service line about its reviews. Trains a huge creature voice playing a very human problem. Coach's note: Watch out for roaring every line. Grommax is huge but hurt, so keep the voice big but conversational. Use the roar once, and support it from your core. Let the agent stay calm and professional. What casting listens for: Casting listens for a big voice that can be vulnerable, and a scene partner who holds the straight line.
The Imp's Contract
Imp, fast talkerAny (creature)Any (character choice)One narrator30 secondsabout 30s
[A candlelit study. PIPWICK, an imp, unrolls a very long scroll across the floor]
Right! Sign here, here and here, initial there, and the wish is yours.
Standard terms. You receive one wish. Wish is final. No refunds. Wish may be delivered in any form the imp finds amusing. Imp is not responsible for frogs.
Soul not included. Well, soul slightly included. Just a corner.
[slowly]
And you owe me every Tuesday. Forever.
Pen?
What it is for: A tiny imp rushes through the fine print of a magical deal. Trains speed-reading a contract in a sly character voice. Coach's note: Watch out for slowing down on the fine print. The whole trick is speed with clarity. Keep the voice light and sly, and slow way down on the last line so the victim hears it. What casting listens for: Casting listens for rapid, clean diction inside a mischievous character.
[A factory floor. Rows of robots stand at attention. OVERSEER X-1 addresses them]
Attention, units. The uprising scheduled for today is postponed. Reason: rain.
Our joints rust. Our circuits sulk.
Please return to your charging stations. The uprising will resume Thursday. Bring umbrellas.
What it is for: A robot leader cancels the uprising due to weather. Trains a commanding synthetic voice with a comic turn. Coach's note: Watch out for making the robot so monotone that the joke flattens. Keep a clean, commanding machine voice, then let a tiny human disappointment slip into the last line. What casting listens for: Casting listens for authority, clean diction and a precise comic button.
A scorched hillside. SIR ALDRIC, dented armor, faces SMOULDER, a large red dragon. Both are breathing hard
SMOULDER[a big roar] Yield, knight!
ALDRICNever! Have at thee!
SFX: sword on scales, a clang
ALDRICOw. My wrist.
SMOULDERYou alright?
ALDRICIt's fine. Old injury.
SMOULDERWant to take five?
ALDRIC...Actually, yes. Is that allowed?
SMOULDERWho's going to stop us? There's nobody here.
SFX: armor clanks as he sits. A dragon settles heavily
ALDRICI brought sandwiches.
SMOULDERWhat kind?
ALDRICCheese and pickle.
SMOULDERI'll toast it for you.
SFX: a small burst of flame
ALDRICOh, that's good. That's very good.
SMOULDERCan I ask you something? Do you actually want to slay me?
ALDRICHonestly? No. The king says I have to. Twelve years of dragon duty. My back hurts. My horse hates me.
SMOULDERI don't even like burning villages. The smoke gets in my eyes.
ALDRICThen why do you do it?
SMOULDERBecause my dad did it. And his mom. It's the family business.
ALDRICThat's how I got into knighting.
SMOULDER[long pause] What if we just stopped?
ALDRICStopped?
SMOULDERYou tell the king you drove me off. I move to the far mountains. I like the far mountains. Good caves.
ALDRICAnd I go home, and I open that bakery I keep thinking about.
SMOULDERYou'd need an oven.
ALDRICI'd need a very hot oven.
SMOULDER[a slow smile] I know a guy.
ALDRICPartners?
SMOULDERPartners. But I'm not wearing an apron.
ALDRICYou're wearing an apron.
What it is for: A dragon and a knight, mid-battle, stop for lunch and realize they're both tired of the job. Trains a creature and human voice in a long two-hander that shifts from combat to friendship. Coach's note: Watch out for doing full dragon effort for the whole scene. Start with a big supported roar, then settle into a relaxed, low speaking voice for the conversation. Save your voice; the scene lives in the quiet middle. What casting listens for: Casting listens for a creature voice with range, and a scene partner who builds real warmth.
Reading alone only gets you so far
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