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Children's picture book scripts

30 original picture book texts for narrators, from bedtime rhymes to silly nonsense. Free to practice with, record and post.

A picture book is short, but every word is on show. These texts cover bedtime rhymes, counting, repetition and refrain, big feelings, animal friends, the seasons and silly nonsense. Each card tells you whether it rhymes and gives a coach's note on rhythm, sound effects or the last line.

The Little Lantern Says Hush

Bedtime, rhymingAnyNeutral AmericanOne narrator30 secondsabout 31s
The sun has gone down and the hilltops are blue, and the little red lantern has one job to do. "Hush," says the lantern. "The day's had its turn." And lower and lower it lets its light burn. It glows for the moth and it glows for the mouse, and it glows for one window, high up in the house. Is somebody sleeping? The lantern can't tell. But it shines there till morning, and all will be well.

What it is for: A bedtime rhyme in a rocking four-beat line. Trains riding the metre without sing-songing, and getting quieter couplet by couplet.
Coach's note: Watch out for bouncing on every rhyme word. Let the sense carry you through the line and just touch the rhyme. The turn is "Hush"; from there each couplet is a little lower, and "all will be well" is nearly a whisper.
What casting listens for: Casting listens for a voice a tired parent would trust: musical, unhurried and never cute.

Tumble Bear Cannot Find His Sock

Repetition and refrainAdult (30-45)Neutral AmericanOne narrator1 minuteabout 60s
Tumble Bear had one sock on and one sock gone. He looked under the bed. No sock. Only a button, a crumb, and a very surprised spider. "Bother and bumble," said Tumble Bear. "Where is my sock?" He looked in the bathtub. No sock. Only a boat, a duck, and a puddle he was not supposed to mention. "Bother and bumble," said Tumble Bear, a little louder. "Where IS my sock?" He looked in the kitchen. In the teapot. In the tin where the cookies live. No sock. Only cookies. He ate two, to help him think. "Bother and bumble!" said Tumble Bear, very loudly indeed. "WHERE is my SOCK?" And he stamped his foot. His foot felt funny. Thick. Lumpy. Warm. Tumble Bear looked down. One bare foot. And on the other foot, one sock tucked snugly on top of another. "Oh," said Tumble Bear, very quietly. "There you are."

What it is for: A refrain that comes back three times and grows each time. Trains building a repeated line in steps, then dropping to almost nothing for the ending.
Coach's note: Watch out for starting the refrain too big. "Bother and bumble" has to go mild, louder, loudest, so begin small. The turn is "His foot felt funny." Slow right down, one word per thought, and land "There you are" softly.
What casting listens for: Casting listens for whether a four-year-old would join in on the refrain by the second time.

Five Muddy Piglets

Counting, rhymingAdult (25-40)Neutral AmericanOne narrator1 minuteabout 55s
One muddy piglet sat down in the rain. SPLAT went the puddle! He did it again. Two muddy piglets came running to see. SPLAT went the puddle! "Hey, wait up for me!" Three muddy piglets with mud on each nose. SPLAT went the puddle, all over their toes. Four muddy piglets with mud to the chin. SPLAT went the puddle. One more to get in. Five muddy piglets? The last one is small. She stands at the edge. She's not jumping at all. "It's cold," says the piglet. "It's deep and it's wide." "It's wonderful!" call the four piglets inside. So one little trotter goes in, nice and slow. Then SPLAT goes the puddle! And what do you know? Five muddy piglets, as glad as can be. And where is the puddle? It's on them, you see.

What it is for: A counting rhyme with a sound effect in every verse. Trains keeping a galloping metre steady while making each SPLAT new, and a small shy moment in the middle.
Coach's note: Watch out for five identical splats. Make each one bigger than the last, then hold the fifth back. The turn is "The last one is small." Slow down, give her a tiny careful voice, and let "toe by toe" creep before the final SPLAT.
What casting listens for: Casting listens for clean rhythm, playfulness with sound, and a gear change for the nervous piglet.

The Biggest Yawn in the Barn

Bedtime, sound effectsAdult (30-45)Neutral AmericanOne narrator45 secondsabout 44s
It started with the mouse. A teeny, tiny, squeaky yawn. Eee-yaw. The hen saw the mouse, and the hen yawned too. Bawk-aaaw. The hen's yawn floated over to the goat. Meh-eh-aaaaah. The goat's yawn drifted up to the horse, who tried very hard to keep his mouth shut, and could not. Hhhhhaaaaaw. By now the whole barn was yawning. The cat. The cow. The swallows in the roof. Only the old owl stayed awake. "Who," she said, "started this?" Nobody answered. They were all asleep. So the owl looked at the moon. And the moon looked at the owl. And very slowly, behind one wing, the owl yawned too.

What it is for: A chain of animal yawns. Trains vocal sound effects that stay gentle, each one different in size, with the energy draining out line by line.
Coach's note: Watch out for doing farmyard impressions. Each sound is a yawn first and an animal second. Let every yawn be longer and slower than the one before. The turn is the owl's "Who started this?" The last line should make your listener yawn.
What casting listens for: Casting listens for sound work that is charming and controlled, and a wind-down that actually winds down.

Nell's First Day Shoes

First day of schoolAdult (25-40)Neutral AmericanOne narrator1 minuteabout 62s
Nell had new shoes for the first day of school. They were red, with silver buckles, and they did not want to go. "Come along, shoes," said Nell. But the shoes walked slowly. Slow, slow, slow, all the way down the street. At the gate, the shoes stopped. There were so many other shoes. Blue shoes. Boots. Sandals with sparkles. Not one pair they knew. "I know," whispered Nell. "My tummy says so too." Then a pair of green shoes came over. Green, with frogs on the toes. The girl inside them had a wobbly smile. "My shoes are scared," said the girl. "Mine too," said Nell. The red shoes looked at the green shoes. The green shoes looked at the red shoes. "Maybe," said Nell, "they could be scared together." So they were. For about one minute. And then the red shoes and the green shoes ran, ran, ran, all the way to the sandbox.

What it is for: First-day nerves told through a pair of shoes. Trains a slow, safe pace for an anxious small listener and two little girls who sound shy, not babyish.
Coach's note: Watch out for hurrying the walk to school. "Slow, slow, slow" should take as long as it says. Keep both girls quiet and real. The turn is "they could be scared together." Then "ran, ran, ran" is the only fast moment in the book, so enjoy it.
What casting listens for: Casting listens for warmth that takes a child's worry seriously, and a clear contrast between slow and fast.

Grumble Went the Little Gray Cloud

Big feelingsAdult (30-45)Neutral AmericanOne narrator1 minuteabout 65s
Wilf woke up with a grumbly cloud over his head. It was small and gray, and it followed him to breakfast. "Good morning, Wilf," said Papa. "Hmph," said Wilf. And the cloud got bigger. His toast was cut in squares. He wanted triangles. Rumble, went the cloud. His sister sang a song. It was too loud. RUMBLE, went the cloud. His tower of blocks fell over, all by itself. And the cloud went CRACK, and it rained and rained, right there on the rug. Wilf cried. He cried until the rain was all rained out. Papa did not say stop. Papa did not say cheer up. Papa sat down on the rug, in the wet, and waited. After a while, Wilf leaned on him. "Is it still there?" asked Wilf. Papa looked up. "A little bit. It's gone thin, though. I can see through it." "It might come back." "It might," said Papa. "Clouds do. And I'll sit with you then, too."

What it is for: A bad-mood book where the grown-up simply stays. Trains a three-step build on a sound effect, a child's meltdown told without judgement, and a calm father.
Coach's note: Watch out for fixing the feeling with your voice. Do not brighten after the crying; Papa does not cheer him up, and neither should you. Rumble, RUMBLE, CRACK must grow in steps. The turn is "Papa did not say stop." The last line is steady and low.
What casting listens for: Casting listens for patience, a dad who sounds like a safe place, and no talking down.

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A Is for Anteater in an Apron

Alphabet rompAdult (25-40)Neutral AmericanOne narrator45 secondsabout 47s
A is for Anteater, in an apron, baking. B is for Bear, who has brought a balloon. C is for Camel. He's carrying the cake. Careful, Camel! D is for Duck, who is dancing. Nobody asked her to. She's dancing anyway. E is for Elephant, enormously excited. F is for Fox with a fiddle. G is for Goat with a gift. H is for... hush. Hide! Here she comes! I is for Iguana, who says, "I can't believe it! For me?" J is for jumping, and jelly, and joy. And K is for Kangaroo, who is very, very late, and says, "Did I miss the party?" No, Kangaroo. You're just in time. L is for "Let's begin."

What it is for: An alphabet book that turns into a surprise party. Trains crisp alliteration, hitting the letter sound without spitting it, and a build from A to L.
Coach's note: Watch out for reading a list. Every letter is a new guest arriving, so each needs its own little attitude. The turn is H, "hush", where you drop to a whisper, then burst on "I can't believe it!" Give Kangaroo a breathless late entrance.
What casting listens for: Casting listens for diction that stays light and a reader who makes a list feel like a story.

Snow Came Quietly

Seasonal, winterMature (55+)Neutral BritishOne narrator30 secondsabout 30s
Snow came quietly in the night. It did not knock. It did not ring the bell. It covered the garden. It covered the gate. It put a small white hat on every fence post. In the morning, a rabbit hopped out and stopped. Everything she knew was gone. And everything was new. She put out one paw. Crunch. Then she smiled, the way rabbits do, and made the first footprints in the whole wide world.

What it is for: A hushed first-snow story. Trains a soft, spacious read where the pauses do as much as the words, and one sound effect placed exactly.
Coach's note: Watch out for filling the silences. Short sentences here are page turns; leave air after each. The turn is "Crunch", the only loud thing in the story, and it should be a small, pleased crunch. Then smile through the last line.
What casting listens for: Casting listens for stillness, and a reader brave enough to go slowly.

The Moon Is Brushing Her Teeth

Bedtime, sillyAdult (25-40)Neutral AmericanOne narrator30 secondsabout 32s
Look out the window. The moon is getting ready for bed. First she washes her face in a cloud. Splish. Then she brushes her teeth with a comet. Up and down. Up and down. She puts on her pajamas, the ones with the stars on. She is not sleepy. Not one bit. She says so three times. But the night pulls up her dark blue blanket, and the moon closes one eye. Then the other. Shh. Now it's your turn.

What it is for: A bedtime routine with the moon as the child. Trains talking straight to one small listener, and handing the story over to them on the last line.
Coach's note: Watch out for performing to a room. This is for one child, close enough to touch. "Not one bit" is the moon's own stubborn voice; have fun with it. The turn is "Shh." Then "Now it's your turn" is barely voiced.
What casting listens for: Casting listens for intimacy and a little mischief, the read that gets a child to close their eyes.

Hop, Said the Frog

Animal friends, cumulativeYoung adult (18-25)Neutral AmericanOne narrator45 secondsabout 44s
"Hop," said the frog. So the frog hopped. Boing. Along came a mole. "Hop," said the frog. "I can't hop," said the mole. "But I can shuffle." So the frog hopped, and the mole shuffled. Boing. Shff-shff. Along came a duck. "Hop," said the frog. "I can't hop," said the duck. "But I can waddle." So the frog hopped, and the mole shuffled, and the duck waddled. Boing. Shff-shff. Flap-flap. Along came a great big cow. "Hop?" said the frog, in a very small voice. The cow thought about it. The cow bent her knees. And the cow HOPPED. THUD. Then everybody fell down, and nobody minded at all.

What it is for: A cumulative story with a growing string of sound effects. Trains keeping a list of sounds in order and in rhythm, and a comic change of size for the cow.
Coach's note: Watch out for speeding up as the list grows. Keep the sounds steady so a child can do them with you. The turn is "Hop?" in a very small voice. Give the cow a long, slow think, then THUD from as low as you can go.
What casting listens for: Casting listens for rhythm, clear sound effects and comic timing a preschooler can follow.

My Puddle Was Here Yesterday

Seasonal, springAdult (30-45)Neutral AmericanOne narrator45 secondsabout 44s
On Monday it rained, and there was a puddle by the door. Tam jumped in it. Splash! On Tuesday the puddle was a little bit smaller. Tam jumped in it anyway. Splash. On Wednesday the sun came out. The puddle was only as big as a plate. Splish. On Thursday it was as big as a button. Tam put one toe in. Plip. On Friday, Tam ran to the door. No puddle. Just a dry gray step. "Where did the puddle go?" Mama pointed up. One small white cloud was sailing over the rooftops. "It went up there," she said. "It's on its way back. You'll want your boots."

What it is for: A days-of-the-week pattern where the sound shrinks each day. Trains a refrain that gets smaller instead of bigger, and a gentle answer to a child's real question.
Coach's note: Watch out for keeping every splash the same size. Splash, splash, splish, plip: each one is half the last. The turn is Friday's "No puddle." Let the question be truly puzzled, and give Mama's last line a smile.
What casting listens for: Casting listens for precise control of volume and a reader who respects a small child's curiosity.

Mabel and the Too-Big Feeling

Big feelings, gentleAdult (40-55)Neutral AmericanOne narrator1 minuteabout 63s
Mabel had a feeling, and it was too big for her. It started in her tummy when her best friend moved away. By lunchtime it was up to her chest. By bedtime it filled the whole room, and there was hardly space for Mabel. "Go away," said Mabel. The feeling stayed. She hid under the covers. The feeling came under too. She tried to squash it. She tried to shout at it. It only got heavier. So at last, because she was tired, Mabel stopped pushing. She just looked at it. "You're sad," she said. The feeling nodded. "I'm sad too." And a funny thing happened. The feeling did not go away. But it got smaller. Small enough to sit in her lap. Small enough to carry. Mabel carried it down the hall to Grandma's chair. "I've got a sad," she said. "Do you want to hold it with me?" "I'd be honored," said Grandma, and made room.

What it is for: A gentle book about sadness that does not get fixed, only shared. Trains an honest, level read of a hard feeling for a very young listener.
Coach's note: Watch out for using a sad voice. Stay simple and close; the words are doing the work. The turn is "Mabel stopped pushing." After that, "smaller" is the key word three times, lighter each time. Grandma's "I'd be honored" is the softest line.
What casting listens for: Casting listens for emotional truth with no syrup, a read a counsellor or teacher would choose.

The Sneeze That Blew the Hats Off

Silly nonsense, rhymingAdult (40-55)Neutral BritishOne narrator45 secondsabout 44s
Sir Reginald Snoot had a tickle, a twitch, a terrible, wobbly, unstoppable itch. He wiggled his nose. He held on to his chair. "Ah... AH..." said Sir Snoot, and he gulped at the air. The butler came running. The cook dropped a spoon. The cat packed a bag and set off for the moon. "AH..." said Sir Snoot, going red, going blue. "Ah... AH... AH..." And then, at last: "CHOO!" It blew off the hats and it blew off the wigs. It rattled the hens and it startled the pigs. It blew down the hallway and out through the door, and the whole town went quiet. And then... "I've got more."

What it is for: A nonsense rhyme built around one enormous delayed sneeze. Trains suspense inside strict metre, and a sound effect the whole poem is waiting for.
Coach's note: Watch out for sneezing too early or too often. Every "Ah" is a false start, each a bit higher. The turn is "CHOO!" Then gallop through the damage, stop dead on "And then...", and deliver "I've got more" small and worried.
What casting listens for: Casting listens for comic control: holding a room of five-year-olds on the edge of a sneeze.

The Slow Train to Sleep

Lullaby, rhymingMature (55+)Neutral AmericanOne narrator45 secondsabout 40s
The slow train to sleep leaves at quarter to eight. It never is early. It never is late. It rolls past the bathtub. It rolls past the stair. It stops at your pillow, and you climb in there. Clackety, clackety, over the hill, past fields where the horses are standing so still. Clackety, clackety, slower it goes, past windows and blankets and ten sleepy toes. The whistle blows soft, and the lamps all burn low. Clackety... clackety... clack... and so... slow. The last stop is morning, and that's far away. So close both your eyes. We'll be riding till day.

What it is for: A lullaby that slows down like a train coming into a station. Trains a gradual, even slow-down across a whole piece, with a sound effect that fades.
Coach's note: Watch out for slowing all at once. Take a little off each couplet so the listener never notices the brakes. "Clackety" gets softer every time. The turn is "The whistle blows soft." The last couplet is breath and not much else.
What casting listens for: Casting listens for breath control and a tone that could put a child, and possibly the engineer, to sleep.

Pip the Snail Is Almost There

Repetition and refrainAdult (30-45)Neutral BritishOne narrator1 minuteabout 66s
Pip the snail was going to the top of the garden wall. It was a long way. He started on Monday. "Where are you going?" asked the beetle. "To the top of the wall," said Pip. "I'm almost there." He was not almost there. He was one brick up. On Tuesday it rained. Pip slid back half a brick. "Where are you going?" asked the worm. "To the top of the wall," said Pip. "I'm almost there." On Wednesday a bird flew past, quick as a blink. "I've been to the top," said the bird. "It took me one second." Pip thought about that. Then he said, a bit more quietly, "I'm almost there." Thursday. Friday. Brick by brick by brick. And on Saturday evening, just as the sun turned the whole sky orange, one small snail put his chin on the top of the garden wall. Nobody was there to see. Pip looked at the sky for a long, long time. "I'm here," he said.

What it is for: A patience story with a refrain that changes meaning each time. Trains saying the same four words three different ways, and a very quiet triumph.
Coach's note: Watch out for making "I'm almost there" cheerful every time. First it is proud, then stubborn, then a bit shaken after the bird. The turn is "Nobody was there to see." Hold the long look at the sky, then "I'm here" with no fanfare at all.
What casting listens for: Casting listens for subtle variation in a repeated line and an ending trusted to be small.

One Red Leaf

Seasonal, autumnAdult (40-55)Neutral AmericanOne narrator30 secondsabout 32s
One red leaf held on to the tree. All the others had gone. They had spun and twirled and flown away, and the branch was bare. "Let go," said the wind. "It's time." "Not yet," said the leaf. The wind blew hard. The leaf held tight. Then the wind blew soft, soft as a song. "I'll carry you," it said. And the leaf let go. Down, and round, and down. All the way to a little girl's open hand.

What it is for: A tiny autumn story about letting go. Trains two voices with no character tricks, a wind and a leaf, and a falling rhythm on the last lines.
Coach's note: Watch out for making the wind a villain. It blows hard, then learns to ask. The turn is "Then the wind blew soft." Let "Down, and round, and down" actually fall, each word lower, and land in the open hand.
What casting listens for: Casting listens for simplicity and the shape of the final sentence.

The Elephant Who Said It Softly

Animal friendsAdult (30-45)Neutral AmericanOne narrator1 minuteabout 62s
Tembo was the biggest elephant in the herd, and he had the smallest voice. When the other elephants trumpeted, the birds flew out of the trees. BRAAAH! When Tembo trumpeted, it came out like this. Pff. "Louder!" said his cousins. Tembo tried. He took a huge breath. He stamped his feet. Pff. So Tembo stopped trying. He walked at the back, and he whispered, and mostly nobody heard. Then one night the littlest calf could not sleep. The aunties sang to her. Too loud. The cousins hummed to her. Too rumbly. She cried and cried. Tembo came over on his big quiet feet. He bent down low. And he whispered, right into her floppy ear. "The stars are out. The grass is warm. I'm here." The calf stopped crying. She listened. She sighed. And the whole herd stood very still in the dark, because nobody, not one of them, wanted to miss what Tembo said next.

What it is for: A big animal with a small voice. Trains extreme contrast, a full trumpet against a tiny "pff", and a whispered line that has to carry.
Coach's note: Watch out for playing "pff" only for laughs. It is funny the first time and a little sad the second. The turn is "Then one night." Tembo's whisper must be a real whisper with real words in it, close on the mic, and the last sentence stays hushed.
What casting listens for: Casting listens for dynamic range and mic technique: loud without distortion, quiet without losing the words.

Who Is Under the Blanket?

Repetition, guessing gameAdult (25-40)Neutral AmericanOne narrator30 secondsabout 27s
Who is under the blanket? It has two feet. Is it a duck? No. Ducks don't wear socks. It has a lump for a head. Is it a turtle? No. Turtles don't giggle. It is wiggling. It is giggling. Is it a great big wiggly bear? "NO!" says the blanket. "It's ME!" Oh! So it is. I looked everywhere for you. Now. Who wants to hide again?

What it is for: A peekaboo guessing game for the very youngest. Trains question-and-answer rhythm, leaving room for a toddler to shout the answer.
Coach's note: Watch out for answering your own questions too fast. Ask, wait, then "No." The wait is the game. The turn is "NO! It's ME!", which is the child's line; make it a happy shout. The last question should promise another round.
What casting listens for: Casting listens for real play in the voice and pauses left open for a child.

Captain Bathtub

Silly nonsense, rhymingAdult (25-40)Neutral AmericanOne narrator30 secondsabout 30s
Captain Bathtub sets the sail. Captain Bathtub spots a whale! It's a sponge. But never mind. Whales are very hard to find. Bubbles rising! Storm ahead! "Man the soap dish!" Captain said. Pirates hiding in the foam! Captain chases them back home. Rubber ducks are standing by. Not a single one is dry. Then a voice from far away: "Time to pull the plug. Okay?" Down the drain the ocean goes. Captain Bathtub dries his toes.

What it is for: A bath-time adventure in short, marching lines. Trains a strong-beat rhyme, DUM-da DUM-da, kept bouncy without turning into a chant.
Coach's note: Watch out for hammering all four beats in every line. Pick one or two words per line to lean on. The turn is "Then a voice from far away"; that is a parent, calm and ordinary, and it lets the air out. The last couplet is a small sigh.
What casting listens for: Casting listens for bounce, clear consonants and the drop from adventure to bedtime.

Three Sleepy Lambs Count the Stars

Counting, bedtime rhymeAdult (30-45)Irish (light)One narrator45 secondsabout 44s
Three sleepy lambs on a hill in the dark lay counting the stars, every glimmering spark. "One," said the first lamb. "And two. And then three." She yawned on the four, and she slept by the tree. "Five," said the second. "And six. Seven. Eight." He nodded at nine. It was getting quite late. The third little lamb was the smallest by far. She counted, and counted, each last tiny star. "Ten," said the third lamb. "And ten. And then ten." She liked that one best, so she said it again. And up in the sky, where the dark is so deep, the stars counted lambs. One... two... three. All asleep.

What it is for: A counting rhyme that falls asleep as it goes. Trains counting aloud inside the metre, three small voices, and a hushed final couplet.
Coach's note: Watch out for counting like a lesson. Each lamb is drowsier than the last, so the numbers trail off. The turn is "And ten. And then ten," the smallest lamb getting it happily wrong. Count "One... two... three" in the last line as slowly as you dare.
What casting listens for: Casting listens for lilt without sing-song, and an accent that sits lightly on the verse.

A Moon as Round as a Pancake

Silly nonsense, rhymingYoung adult (18-25)Neutral AmericanOne narrator30 secondsabout 29s
The moon fell down in our backyard. It landed soft. It wasn't hard. It lay there, round and warm and flat. I said, "A pancake! Look at that!" I fetched the syrup. Fetched a plate. I cut a slice. The slice was great. Then Papa said, "Now, where's the moon?" I licked my fork. I hid my spoon. So if the night looks dark to you, I'm sorry. I had seconds, too.

What it is for: A short, cheeky rhyme told by a child with something to hide. Trains a light, even four-beat line and a guilty little confession at the end.
Coach's note: Watch out for giving the joke away early. Read the first three couplets as plain, proud fact. The turn is Papa's question. "I licked my fork. I hid my spoon" is the kid going quiet, and the last line is an apology that is not very sorry.
What casting listens for: Casting listens for a child's point of view without a child's voice, and a clean landing on the final rhyme.

Grandpa's Garden Hat

Family, summerAdult (30-45)Southern US (light)One narrator45 secondsabout 46s
Grandpa has a garden hat. It is older than my mom. It has a hole where a mouse once tasted it. It has a stain from the summer of the giant tomatoes. It smells like dirt and sunshine and Grandpa. When Grandpa wears it, the beans grow tall. Today the hat is hanging on the hook, and Grandpa is resting in his chair. His knees are tired, he says. So I put on the hat. It comes down over my eyes. I water the beans. I talk to the tomatoes, the way he does. From the porch, Grandpa calls, "Looks good on you." I push the brim up, just enough to see him smile.

What it is for: A quiet book about a grandparent slowing down. Trains a child narrator who notices more than she says, and a tender ending kept simple.
Coach's note: Watch out for pointing at the sad part. "His knees are tired, he says" is all the child knows; say it and move on. The turn is "So I put on the hat." Grandpa's one line is easy and proud, and the smile is the last thing we hear.
What casting listens for: Casting listens for unforced warmth and a regional colour that sounds like family.

Soft Feet Past the Dragon

Sound effects, refrainAdult (25-40)Neutral AmericanOne narrator1 minuteabout 63s
There is a dragon asleep in the hall, and we have to get to the cookie jar. Shhh. Soft feet. Soft feet. Soft feet. Past his tail. It's long and green and it twitches. Don't step on it. Shhh. Soft feet. Soft feet. Soft feet. Past his tummy. It goes up and down. It rumbles like a truck. Grrrummm. Shhh. Soft feet... soft feet... soft feet. Past his great big nose. Puff. Puff. Warm smoke curls out. Hold your breath! We made it. The cookie jar! Lift the lid, slow, slow... CLINK. Uh-oh. One yellow eye opens. Then two. The dragon lifts his enormous head. He looks at us. He looks at the jar. And in a voice like thunder rolling down a mountain, he says... "Are there any with raisins?" There are. So we sit on the hall floor, the three of us, and share. And then it's soft feet, soft feet, soft feet... back to bed.

What it is for: A sneaking story with a whispered refrain and one loud surprise. Trains sustained whisper energy, a refrain that gets slower and more careful, and a comic drop.
Coach's note: Watch out for whispering with no energy. A stage whisper still needs consonants and excitement. Each "Soft feet" is slower than the last. The turn is CLINK. Build the dragon's voice huge on "thunder", then make the raisin line small and hopeful.
What casting listens for: Casting listens for tension a child can enjoy, a big voice used once, and a cosy ending.

The Lonely Left Mitten

Seasonal, winterYoung adult (18-25)Neutral AmericanOne narrator30 secondsabout 30s
Left Mitten was lost. She lay in the snow by the bus stop and waited. A boot went by. A wheel went by. A dog sniffed her and went by, too. "Nobody looks for just one mitten," she thought. Then a small cold hand reached down. "THERE you are!" said a voice. And out of a pocket came Right Mitten, a bit squashed, and very glad. They held on tight, all the way home.

What it is for: A lost-and-found story in under a hundred words. Trains a quick dip into loneliness and a fast, happy rescue without overplaying either.
Coach's note: Watch out for lingering on the sad thought. It is one line; say it small and keep going. The turn is "Then a small cold hand reached down." "THERE you are!" is the brightest moment, and the last line settles back to warm.
What casting listens for: Casting listens for a complete arc in thirty seconds and a child's voice that sounds truly relieved.

Sometimes I Am a Thunderstorm

Big feelingsAnyNeutral AmericanOne narrator30 secondsabout 28s
Sometimes I am a thunderstorm. I stomp. I shout. I rain all over everything. Sometimes I am a fog. I'm quiet and gray, and I don't know why. Sometimes I am a windy day, and I can't sit still at all. And sometimes I am sunshine, warm right down to my toes. Mama says she loves the whole sky. Every kind of weather. Even the thunder? Even the thunder.

What it is for: A feelings book where each mood is a kind of weather. Trains four clear mood changes in four short beats, then a calm, loving close.
Coach's note: Watch out for acting out each weather too hard. A touch of colour per line is enough: heavier for storm, slower for fog, quicker for wind. The turn is "Mama says she loves the whole sky." The last line is a question and an answer; make them two voices, barely.
What casting listens for: Casting listens for quick, truthful shifts and reassurance that does not sound rehearsed.

One Nose Out of the Prickles

Animal friends, shynessAdult (25-40)Neutral BritishOne narrator45 secondsabout 40s
Hedgehog wanted to say hello. But every time she tried, she rolled up in a ball. Rabbit hopped by. "Good morning!" Roll. Prickles. Squirrel ran past. "Lovely day!" Roll. Prickles. "I'll never have a friend," said Hedgehog, from inside the ball. Then something small bumped against her. Bump. It was a tortoise. And the tortoise had popped inside his shell. Hedgehog waited. The tortoise waited. It was very quiet. Slowly, one eye peeped out of the shell. Slowly, one nose peeped out of the prickles. "Hello," whispered the tortoise. "Hello," whispered Hedgehog. And that was enough for one day.

What it is for: A story for shy children. Trains a repeated two-word beat, "Roll. Prickles.", cheerful passers-by against a hidden small voice, and a whispered ending.
Coach's note: Watch out for making the other animals unkind. Rabbit and Squirrel are friendly; they are just fast. The turn is "Bump." After that everything is slow and nearly silent. The two hellos are whispers, and the last line is said with complete approval.
What casting listens for: Casting listens for gentleness, patience and respect for a quiet child.

A Goose Went Walking in My Boots

Silly nonsense, rhymingAdult (30-45)Neutral AmericanOne narrator30 secondsabout 28s
A goose went walking in my boots. She stomped right through the turnip roots. She splashed the puddles, one, two, three. She never once said "pardon me." She marched them up and down the lane and filled them to the top with rain. I asked politely for my pair. She honked at me. She did not care. So now I'm in my socks instead, and Goose is wearing boots to bed.

What it is for: A deadpan rhyme about a very rude goose. Trains keeping a straight face in verse: steady da-DUM lines with the outrage growing underneath.
Coach's note: Watch out for laughing at your own joke. The narrator is wronged and wants you to know it. The turn is "I asked politely for my pair." The honk can be in your voice, not a sound effect. Land "boots to bed" flat and defeated.
What casting listens for: Casting listens for dry comic delivery inside tight metre.

The Last Light in the House

Bedtime, lullaby endingMature (55+)Neutral AmericanOne narrator45 secondsabout 46s
The kitchen light goes off. Click. The pots and the pans can rest. The hall light goes off. Click. The coats on their hooks hang still. The bathroom light goes off. Click. One last drip from the tap, and then no more. Now there is one light left in the whole house. It's small. It's yellow. It's yours. It has watched you all day. It saw you build the tower. It saw you fall and get back up. It is tired, too. So say goodnight to your hands. Say goodnight to your feet. Say goodnight to today, which was a good one. And click. There. The dark is just the house, closing its eyes.

What it is for: A lights-out ritual that ends in the dark. Trains a repeated "Click" that gets softer each time, direct address to one child, and a truly soft last line.
Coach's note: Watch out for rushing the clicks. Each one is a room going to sleep, and each is quieter. The turn is "Now there is one light left." Drop closer to the mic. The final "And click" is almost nothing, and the last sentence is the softest thing in the whole file.
What casting listens for: Casting listens for the reader who can make the dark feel friendly.

Bedtime for the Busy Bees

Bedtime, rhymingAdult (40-55)Neutral AmericanOne narrator1 minuteabout 62s
The busy bees have buzzed all day from clover field to stack of hay. They've visited a thousand flowers. They've zigged and zagged for hours and hours. The daisies close. The crickets start. The stars come out to play their part. And now the sun is sinking low, and Mama Bee says, "Home we go." "Not yet!" says one. "Not yet!" says two. "We've got a lot more buzz to do!" So Mama hums a honey tune, as soft and golden as the moon. She hums of dew. She hums of shade. She hums of all the sweets they made. Bzzz... bzzz... the little wings go slow. Bzzz... bzz... and lower. Lower. Low. First one tucks in. Then two. Then ten. A hundred bees are home again. The hive is warm. The hive is deep. And all the buzz has gone to sleep. Except for one small "bzz" up high. That's Mama's sleepy lullaby.

What it is for: A longer bedtime rhyme with a buzz that slows to nothing. Trains holding a simple da-DUM metre for a full minute and fading a sound effect.
Coach's note: Watch out for letting a minute of couplets go sing-song. Change the thought, not the tune, every two lines. The turn is "So Mama hums a honey tune." Each "Bzzz" after that is shorter and lower, and "lullaby" should be the quietest word.
What casting listens for: Casting listens for stamina in verse, a mother's voice with humour in it, and a real fade.

The Day the Wind Borrowed My Hat

Cumulative, seasonalAdult (30-45)Neutral AmericanOne narrator1 minuteabout 70s
On Monday, the wind borrowed my hat. Whoosh. It did not ask. I chased it past the bakery. "Have you seen my hat?" "It went that way," said the baker. "And it took my paper bag." So we chased it, the baker and I, past the park. "Have you seen my hat?" "It went that way," said the gardener. "And it took all my leaves." So we chased it, the baker and the gardener and I, up the hill. "Have you seen my hat?" "It went that way," said the kite flyer. "And it took my kite!" At the top of the hill we stopped. We puffed. We looked up. There was the bag. There were the leaves. There was the kite. And there, on the tip-top of the tallest tree, was my hat. On a bird. Who was sitting on three small eggs. The baker looked at me. The gardener looked at me. "You know," I said, "I think it looks better on her." And the wind said, whoosh. Which means thank you.

What it is for: A chase that picks up a new person at every stop. Trains a cumulative list said in one breath, three quick character voices, and a kind surprise at the end.
Coach's note: Watch out for running out of air on "the baker and the gardener and I." Breathe before it, every time. Keep "Have you seen my hat?" a little more puffed each round. The turn is "On a bird." Stop there. The last line is the wind's, and it is gentle.
What casting listens for: Casting listens for breath planning, clear small characters and a generous ending.

Questions

How do I read a rhyming picture book?

Follow the sense of the sentence, not the beat. If you bounce on every rhyme it turns sing-song, and children stop listening to the story.

Are these real picture books?

No. Every text and title was written for this library, so you can record it and post it without asking anyone.

Where should a new narrator start with real books?

Start on Academy Voices, our alternative to ACX. It comes from the same team that wrote these excerpts and has published 790+ audiobooks.

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