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Health and wellness audiobook scripts

30 original wellbeing excerpts for narrators, kind and practical, written in the voice of made-up authors. Free to practice with, record and post.

Wellbeing books need a calm, kind voice that never preaches. These excerpts cover sleep routines, walking, cooking at home, stress, habits, getting older and caring for someone else. They are practice texts written by us, not medical advice. Each card has a coach's note.

To the Corner and Back

Walking, starting smallAdult (30-45)Neutral AmericanOne narrator30 secondsabout 28s
I am not going to ask you to walk five miles. I am going to ask you to walk to the end of your street and back. That is it. Put on whatever shoes are by the door. Go to the corner, look at whatever is there, and come home. It will not change your life. It might change your afternoon, and afternoons are what a life is made of.

What it is for: A gentle wellbeing open at audition length. Trains an invitation that carries no pressure at all.
Coach's note: Watch out for selling it. The whole point is how little is being asked. The turn is 'It will not change your life', and the last clause is a thought, not a slogan.
What casting listens for: Wellness casting listens for kindness without the yoga-studio hush. A real person, talking normally.

Lights Low

Sleep, winding downAdult (40-55)Neutral AmericanOne narrator30 secondsabout 31s
About an hour before bed, I walk through the house and turn off the big lights. Just the lamps stay on. Nobody told me to. I started the winter my husband worked nights, because the house felt too bright for one person. I cannot promise it will do a thing for you. I only know that when the rooms go soft and yellow, something in me gets the message. The day is closing. I am allowed to stop.

What it is for: A small personal ritual, told plainly. Trains a calm read that makes no promises.
Coach's note: Watch out for drifting into a sleepy voice. Stay present. 'I cannot promise it will do a thing for you' is honest, not apologetic. The turn is 'something in me gets the message.'
What casting listens for: Casting listens for stillness with a pulse: restful, but awake.

Just One Pot Tonight

Cooking, simple suppersMature (55+)Southern USOne narrator30 secondsabout 29s
You do not need a recipe tonight. You need one pot. Put an onion in it with a little oil. While that softens, look in the refrigerator and see what needs using up. A carrot. Half a pepper. The end of a chicken. In it goes, with some broth or a can of tomatoes. In half an hour you will have supper, and the kitchen will smell like somebody lives here. Somebody does.

What it is for: Home-cooking encouragement with a Southern warmth. Trains practical instructions that sound like company in the kitchen.
Coach's note: Watch out for reading the ingredients as a recipe. She is looking in your refrigerator with you. The turn is the last two words, 'Somebody does.' Leave air before them.
What casting listens for: Casting listens for comfort and capability, a voice that makes cooking sound possible on a tired night.

The Chair by the Bed

Caregiving, small momentsAdult (40-55)Neutral AmericanOne narrator30 secondsabout 32s
In my mother's last year, I spent a great deal of time in the chair by her bed, and for months I thought I was supposed to be doing something in it. Fluffing. Fetching. Fixing. One afternoon she put her hand on my arm and said, sit still, you are making me tired. So I sat. We watched the birds at the feeder. It was the most useful thing I did all week, and it looked exactly like nothing.

What it is for: A caregiving memory with humor inside the tenderness. Trains emotional restraint in a very short space.
Coach's note: Watch out for playing it sad from the top. The mother's line is funny and she means it to be. The turn is 'So I sat.' The last line is dry, and the feeling is underneath it.
What casting listens for: Casting listens for whether you can let a listener feel something without telling them to.

Four O'Clock at the Kitchen Table

Stress, worryAdult (40-55)Neutral AmericanOne narrator45 secondsabout 46s
My grandmother had a saying. Worry all you like, she told me, but do it at the kitchen table at four o'clock, and not in my hallway. So when something starts circling at ten in the morning, I write it on a scrap of paper and tell it, four o'clock. Then at four I sit down with a cup of tea and the scraps. Here is what surprised me. About half of them have gone stale by then. That sorted itself out, I think. The other half are still real, and they deserve the table. If yours never leave you alone, though, please talk to your doctor. That is what they are there for.

What it is for: A homespun habit passed down from a grandmother, ending with a responsible pointer to a doctor. Trains moving from humor to sincerity.
Coach's note: Watch out for tacking the doctor line on like a disclaimer. Say it to someone you are worried about. The turn is 'Here is what surprised me.' Grandmother's saying is brisk, not cute.
What casting listens for: Casting listens for the change of weight in the final paragraph. It has to sound meant.

Nearest Wins

Habits, making it easyAdult (30-45)Neutral AmericanOne narrator45 secondsabout 48s
If you want to do something every day, do not start with willpower. Start with furniture. Look at where things are in your house. The walking shoes in the back of the closet, under a box. The fruit in the bottom drawer of the refrigerator, where fruit goes to be forgotten. The book you meant to read, upstairs, while you sit downstairs. Now move them. Shoes by the front door. Fruit in a bowl on the counter. Book on the arm of the chair. You have not become a more disciplined person. You are exactly as tired and distracted as you were this morning. You have just made the good thing the nearest thing, and most days, nearest wins.

What it is for: Practical habit advice with a light comic edge. Trains a list of household details that each need their own picture.
Coach's note: Watch out for rushing the two matching lists (where things are, where to move them). They are a before and after. The turn is 'You have not become a more disciplined person.' The last two words are the title, so land them.
What casting listens for: Casting listens for an easy, amused authority. A friend who has figured one thing out.

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Somebody Made the Stairs Taller

Aging, humorMature (55+)Midwestern USOne narrator45 secondsabout 47s
Somebody has been making the stairs in my house taller. I cannot prove it, but I have my suspicions. I am seventy-three. For a couple of years I was angry about all of it. The knees, the reading glasses on a string. Then my granddaughter, who is six, watched me get up out of a low chair. It took a while. There were sound effects. And she said, very seriously, Grandpa, you are good at that. I laughed until I had to sit back down. But she was right. I have had to get good at it. Nobody tells you that getting older is a skill, and that you are allowed to be proud of how you manage.

What it is for: An older man laughing at himself and then meaning it. Trains comic timing that opens into something true.
Coach's note: Watch out for doing a grumpy-old-man voice. He is funny because he is honest. The granddaughter's line is the turn: say it seriously, the way a six-year-old would. Then let 'I have had to get good at it' be a small surprise to him.
What casting listens for: Casting listens for real age in the voice and no self-pity.

Sunday Soup

Cooking, cooking aheadMature (55+)Midwestern USOne narrator45 secondsabout 46s
Every Sunday afternoon I make a pot of soup big enough for a church basement, and there are only two of us. It started the year my husband was laid up and I was running back and forth. So I cooked once. Monday we eat it as is. Tuesday it goes over rice. By Thursday a jar goes to the fellow next door, who pretends he does not need it. I am not telling you it is good for you. I am no dietitian. I am telling you that on a hard Wednesday, I open the refrigerator and supper is already there, and it feels like a kindness from somebody who knew I would be tired.

What it is for: A no-nonsense Midwestern home cook. Trains plain talk with affection underneath, and an honest 'I am no dietitian.'
Coach's note: Watch out for getting cozy too soon. She is practical until the last sentence. The turn is 'I am not telling you it is good for you.' The neighbor who 'pretends he does not need it' is a quick smile.
What casting listens for: Casting listens for a voice you would trust with a casserole and a secret.

Let It Wait Its Turn

Habits, morningsYoung adult (18-25)Neutral AmericanOne narrator45 secondsabout 47s
Here is a small experiment. Tomorrow morning, before you pick up your phone, do one thing. Open the curtains. Drink a glass of water. Stand at the window and see what the weather is doing with your own eyes, instead of reading about it. I am not against the phone. I love my phone. But I noticed that for years, the first voice in my head every day was somebody else's. A headline. An email from work. A stranger being angry about something. So now I get the first five minutes. Five minutes where the day belongs to me, before I hand it over. You can keep the phone by the bed. Just let it wait its turn.

What it is for: A younger wellbeing voice with no lecture in it. Trains sounding current and sincere at once.
Coach's note: Watch out for sounding anti-phone. 'I love my phone' has to be true. The turn is 'the first voice in my head every day was somebody else's.' Keep the last line light, almost a shrug.
What casting listens for: Casting listens for a natural, unforced younger read that does not tip into influencer.

Tuesday Is a Door

Caregiving, asking for helpAdult (40-55)Neutral AmericanOne narrator45 secondsabout 48s
When you are looking after someone, people will say, let me know if you need anything. And you will say, thank you, we are fine. You are not fine. You are too tired to think of an answer. So let me give you one. The next time somebody offers, say this. Could you sit with Dad from two until four on Tuesday, so I can go to the grocery store by myself? Be that specific. A day, a time, a task. People want to help. But most of them are standing at the edge of your situation, not knowing where the door is. Tuesday is a door. You are not asking for a favor. You are letting them in.

What it is for: Direct, loving advice to an exhausted caregiver. Trains saying a hard truth gently ('You are not fine').
Coach's note: Watch out for hitting 'You are not fine' as an accusation. It is recognition. The sample request should sound like a real phone call. The turn is 'Tuesday is a door.'
What casting listens for: Casting listens for someone who has been there, and who is on the listener's side in every word.

What Is This Room For

Sleep, the bedroomAdult (30-45)Neutral AmericanOne narrator1 minuteabout 63s
Walk into your bedroom and look at it the way a stranger would. What is this room for? For most people I talk to, the honest answer is everything. There is a laundry basket that never empties. A laptop on the nightstand. A treadmill wearing three sweaters. I am not here to tell you a tidy room will fix your sleep. I do not know your sleep, and if it has been bad for a while, that is a conversation to have with your doctor, not with a book. What I can tell you is what I did. I took the work out. The laptop, the charger with its little blue light. I carried it all down the hall and shut the door on it. The room got quieter, even though none of those things had been making a sound. Now when I walk in, there is only one thing asking for my attention. It is the bed.

What it is for: A room-by-room wellbeing passage that carefully avoids promising results. Trains honesty as a selling point.
Coach's note: Watch out for reading the clutter list with disgust. It is everyone's bedroom, including the author's. The doctor line is sincere and unhurried. The turn is 'What I can tell you is what I did.' The final sentence is the payoff, so set it apart.
What casting listens for: Casting listens for a narrator who sounds trustworthy precisely because she will not overclaim.

Walking With Louise

Walking, friendshipMature (55+)Neutral AmericanOne narrator1 minuteabout 63s
For eleven years, I have walked with Louise Tanaka at seven in the morning, and we have never once called it exercise. We met when our dogs did. Her dog has since passed on, and so has mine, and nobody suggested we stop. Past the school, around the pond, up the hill she complains about, and back. We are not fast. A man with a cane passed us in April and we have not gotten over it. What we do is talk. Some of the hardest things I have said out loud, I said looking straight ahead at a duck. That is the secret, I think. You can say almost anything when you are both facing the same direction. My doctor is pleased that I walk. I let her think it is for my health. Really, I go because at seven o'clock, Louise will be standing at the corner, and I would not dream of leaving her there.

What it is for: A portrait of a long friendship disguised as a walking chapter. Trains wry humor and a quiet, loyal ending.
Coach's note: Watch out for missing the jokes. 'A man with a cane passed us' and 'looking straight ahead at a duck' need a straight face. The turn is 'That is the secret, I think.' The last line is devotion, said lightly.
What casting listens for: Casting listens for an older woman with wit, the kind of narrator listeners write to.

One Dropped Plate

Habits, starting againAdult (30-45)Neutral AmericanOne narrator1 minuteabout 62s
So you missed a day. Maybe you missed a week. The walking, the journal, the going to bed on time, whatever it was. You had a good run going, and then life came through like weather. A small, unhelpful voice is going to say, well, there is no point now. Might as well wait until Monday. Or January. Do not wait. That voice is not being sensible. It is being tidy. It wants a clean starting line, and there is no such thing. A woman in one of my classes, Bernadette Osei, put it better than I ever have. She said, when I drop a plate, I do not go and smash the rest of the cupboard. One missed day is a dropped plate. Sweep it up. Then do the thing today. Badly, briefly, at the wrong time. It does not have to be a fresh start. It just has to be a next one.

What it is for: Talking someone out of giving up. Trains warm firmness and a quoted line from a class member.
Coach's note: Watch out for lecturing. The listener already feels bad. Voice the 'unhelpful voice' lightly, as something you know well. Bernadette's line is the turn, and it wants to sound like a real person being funny by accident.
What casting listens for: Casting listens for encouragement that has some spine in it.

The Kettle Rule

Stress, pausesAdult (40-55)Neutral BritishOne narrator1 minuteabout 63s
I have a rule in my house, and it is the only wisdom I can claim to have invented. While the kettle is boiling, I am not allowed to do anything else. It began as a joke. I used to fill the kettle, switch it on, and then fly round the kitchen. Unload the dishwasher. I would come back to find the water had boiled and gone cold, and I had made a cup of nothing. So one morning I simply stood there. Hands on the worktop. I watched the steam come up. I looked out at next door's cat sitting on the shed. It takes about three minutes. Three minutes in which nobody can reasonably expect anything of me. I have tried meditation, and I spent the whole time composing a shopping list. I recommend it. Not as a cure for anything. Just as a small door in the day that you are allowed to stand in.

What it is for: Self-deprecating British humor about doing nothing for three minutes. Trains comic understatement and a modest, careful close.
Coach's note: Watch out for pushing the jokes. 'A cup of nothing' and the shopping list are muttered asides. The turn is 'So one morning I simply stood there.' Note 'Not as a cure for anything': say it clearly, it matters.
What casting listens for: Casting listens for dry charm and an accent that sounds like a kitchen, not a stage.

Set the Table

Cooking, eating aloneMature (55+)Neutral AmericanOne narrator1 minuteabout 64s
After my wife died, I ate standing up at the counter for the better part of a year. Crackers, mostly. Whatever did not need a plate. I could not see the point of dirtying a pan for one person. My daughter noticed. She did not lecture me. She mailed me a single place mat, with a note that said, Dad, set the table. I felt foolish the first night. One place mat. One fork. I made an omelet, and I sat down in my own chair to eat it, and I put the radio on. It was the first meal I had tasted in months. I am not going to tell you what to eat. That is between you and your doctor. I am only going to tell you what my daughter told me. You are still somebody worth cooking for. Even on a Tuesday. Even if the only one at the table to say thank you is you.

What it is for: A widower's story about cooking for one. Trains grief carried lightly, with a practical, dignified voice.
Coach's note: Watch out for leaning into the sadness of 'After my wife died.' He states it and moves on. The turn is 'It was the first meal I had tasted in months.' The daughter's note is four words: do not decorate them.
What casting listens for: Casting listens for an older male voice with warmth and no self-pity, and for the catch that never quite comes.

The Job Sheet

Caregiving, getting organizedAdult (40-55)Midwestern USOne narrator1 minuteabout 63s
When Walter Brzezinski's wife came home from the hospital, she came with a folder an inch thick, and Walter, who had been a machinist for thirty-eight years, read every page twice. It did not help. Appointments, phone numbers, instructions from four different offices that did not seem to have met each other. So he did what he would have done at the shop. He made a job sheet. One piece of paper, on the refrigerator, in block capitals. Who to call, and for what. Which questions were for the doctor, so he would stop trying to answer them himself at two in the morning. Walter was not a man who talked about being frightened. But he told his daughter that the folder had made him feel stupid, and the list made him feel like he had a job he knew how to do. Sometimes that is the whole difference. Not less to carry. Just a handle on it.

What it is for: A third-person caregiving story about a practical man. Trains narrating someone else's fear with respect.
Coach's note: Watch out for making Walter pitiable. He is competent, and that is how he copes. The turn is 'So he did what he would have done at the shop.' The last two short sentences are the meaning, so separate them.
What casting listens for: Casting listens for a steady, plainspoken narrator who lets a quiet man keep his dignity.

A Bedtime for Grown-Ups

Sleep, routineAdult (30-45)Neutral AmericanOne narrator1 minuteabout 62s
When you were small, somebody gave you a bedtime. A bath, a story, the light out. But somebody else was in charge of ending your day. Then you grew up, and the job passed to you, and nobody mentioned it. So now your day does not end. It just runs out. You fall asleep on the couch, or you scroll in bed until your arm gets tired. Give yourself what that grown-up gave you. Not a rule. A routine. Three small things, in the same order, every night. Mine are dull. I lay out tomorrow's clothes. I wash my face. I read four pages of something with no bad news in it. I am not promising you perfect sleep. Nobody honest can, and if sleep is a real struggle for you, please talk to your doctor. A day deserves an ending. You would do it for a child. You are allowed to do it for yourself.

What it is for: A soothing but clear-headed sleep-routine passage. Trains a parental warmth turned toward the adult listener.
Coach's note: Watch out for going lullaby. This is a daytime conversation about nighttime. The turn is 'So now your day does not end. It just runs out.' The doctor sentence is plain and kind. Finish on permission, not instruction.
What casting listens for: Casting listens for a soft voice with clear consonants, calm without being drowsy.

The Bench Halfway

Walking, pacing yourselfMature (55+)Southern USOne narrator1 minuteabout 62s
There is a bench about halfway around Pruitt Lake, and for the longest time I would not sit on it. I was sixty-eight years old and too proud for a bench. I figured if I sat down, that was the beginning of the end. Next thing you know they would be bringing me soup. So I would go by it at a march, breathing like a freight train. One morning it was a fellow about my age, with a thermos. He said, you know, the lake looks the same from here, and you get to actually see it. I said I was fine. He said, I did not ask if you were fine. I asked if you wanted some coffee. Well. I sat. His name is Earl. We have had coffee on that bench most mornings since. Turns out the bench was not quitting. It was just the part of the walk I had been skipping.

What it is for: A proud older Southern man learning to sit down. Trains two-person storytelling inside one narrator, and a gentle comic exchange.
Coach's note: Watch out for giving Earl a second accent. Same region, slower and drier, that is all. The turn is 'Well. I sat.' Two words, two beats. The last line is the lesson, said like he just worked it out.
What casting listens for: Casting listens for an authentic, unforced Southern read and for the pride melting on 'I sat.'

An Hour Called Held

Stress, protecting timeAdult (40-55)Neutral AmericanOne narrator1 minuteabout 63s
Take out your calendar for the coming week and find one hour with nothing in it. Now do a strange thing. Write in that hour. Give it a name, so that it looks like an appointment. I call mine, simply, held. An empty hour does not stay empty. Somebody asks, are you free Thursday at three, and you look, and you are, so you say yes. You were not free. You were just unguarded. A school principal I worked with, Tomas Reyes, told me he had not had an unplanned hour since his kids were born. When he blocked one, he sat in his car in the driveway and did not know what to do with it. That is fine. You do not have to do anything with it. The point is that once a week, when someone asks if you are free, you get to look at your calendar and honestly say, no. I have something.

What it is for: Calendar advice with a human story in it. Trains instruction, anecdote and payoff in one minute.
Coach's note: Watch out for sounding like a productivity guru. This is about rest, not output. The turn is 'You were not free. You were just unguarded.' The final quoted answer, 'no. I have something', should sound quietly pleased.
What casting listens for: Casting listens for a grounded, grown-up read that respects a busy listener.

Enough Broth

Cooking, learning lateAdult (30-45)Neutral AmericanOne narrator1 minuteabout 63s
I learned to cook at thirty-four, and I learned from a woman who had been dead for six years. My mother never used a recipe, and she never let me help. When she died, I got her knife and a tin box of index cards that turned out to be mostly grocery lists. There was one real card. Chicken and rice, in her slanting hand, with no amounts on it. Some onion. Enough broth. Cook until done. I made it nine times. I stood there and said, enough broth, Mom? Enough for what? Around the sixth try, I stopped measuring and started watching. I smelled when the onion went sweet. And on the ninth night, I took a bite, and there she was. She had not left the amounts off to be difficult. She had left them off because that was the lesson. You have to stand there. You have to pay attention. That was always the recipe.

What it is for: A food memoir passage about a mother and a recipe card. Trains a build to one emotional line and a clear-eyed finish.
Coach's note: Watch out for crying on 'and there she was.' Let the listener do that. Play the frustration honestly ('Enough for what?') so the turn has somewhere to come from. The turn is 'I stopped measuring and started watching.'
What casting listens for: Casting listens for humor and grief in the same voice, and a last line delivered like a discovery.

The Good Enough Day

Habits, expectationsAdult (30-45)AustralianOne narrator1 minuteabout 64s
Let me guess how your plan looks. Up at five. A run. A green breakfast. A tidy inbox, in bed by nine-thirty with a book. Lovely. And how many days has that actually happened? Right. Me neither. The trouble with the perfect day is that you can only fail it. One sleep-in and the whole thing is in the bin, and then you reckon, well, I have stuffed it now, pass the biscuits. So I keep a short list called the good enough day. Three things. Go outside. Eat one meal sitting down. Ring or message one person I like. On a shocker, when the car will not start and the dog has eaten something, I can still tick off three. I am not making big claims. But I go to bed most nights having kept a promise to myself, and that is a nicer way to turn out the light than a list of everything I got wrong.

What it is for: A cheerful Australian puncturing the perfect morning routine. Trains banter with the listener and an honest, modest claim.
Coach's note: Watch out for racing the slang. 'Stuffed it' and 'a shocker' should fall out naturally. The turn is 'Right. Me neither.' Give the listener a beat to answer the question first. Soften for the last paragraph.
What casting listens for: Casting listens for a genuine Australian rhythm and a narrator you would happily have a cuppa with.

What My Hands Remember

Aging, loss and what staysMature (55+)Neutral AmericanOne narrator1 minuteabout 63s
I cannot open a jar anymore. I start there so you do not mistake this for a cheerful chapter where getting old turns out to be a gift. Some of it is plain loss. My hands were strong, and now they are not, and I miss them the way you would miss a friend. My doctor and I have talked it over, and the medical part stays with her. What I want to tell you about is the piano. I had not played in thirty years. My niece's old upright ended up in my front room, and one evening I sat down. My fingers were slow. But they knew where to go. A hymn from when I was eleven came out of them, and I did not have to think at all. My hands have forgotten jars. They have not forgotten everything. There is more of me still in here than I can see on a bad day.

What it is for: An honest passage about losing strength, with no forced silver lining. Trains truthfulness and a late, earned lift.
Coach's note: Watch out for rushing to the comfort. She says plainly this is not a cheerful chapter, so believe her. The turn is 'What I want to tell you about is the piano.' Keep 'on a bad day' in the last line. She still has them.
What casting listens for: Casting listens for an older voice that can hold loss and stubbornness together.

Two Men in Pajamas

Caregiving, exhaustionAdult (40-55)Neutral AmericanOne narrator1 minuteabout 63s
Nobody tells you about three in the morning. When my father moved in with us, I had a plan for the days. I did not have a plan for the nights. He would wake up and not know the house. I would hear him in the hallway, and we would stand there, two men in pajamas, and I would tell him where he was. I did that for five months before I told anyone I was not sleeping. I thought being tired was the price, and that a good son paid it without mentioning it. It was my own doctor who caught it. She asked how I was, and I said fine, and she put her pen down and waited. I will not tell you what we worked out. Your situation is different, and you need your own people. I will tell you the sentence she said. You are also a patient in that house. Act like it.

What it is for: A son caring for his father, told without drama. Trains a male narrator's vulnerability and a quoted line that has to stick.
Coach's note: Watch out for performing tiredness. He is organized and matter-of-fact, which is why the hallway image hurts. The turn is 'she put her pen down and waited.' The doctor's sentence at the end is the keeper. Give it its own breath.
What casting listens for: Casting listens for understatement, and for the love under 'two men in pajamas.'

The Carrots Do Not Care

Stress, patienceAdult (40-55)Neutral BritishOne narrator1 minuteabout 64s
I took on the allotment the spring after I was made redundant, so that I would have somewhere to be at nine in the morning. I made a spreadsheet. I sowed three rows of carrots and went back the next day to see how they were getting on. Nothing, of course. I stood over bare soil like a manager waiting for a late report. The old boy on the next plot, Mr. Adeyemi, watched me do this for a week. Finally he leaned on his fork and said, it will not come up any faster for being supervised. For thirty years I had believed that if a thing was not happening, I was not pushing hard enough. Carrots do not care. You water, you weed, you wait. Your worry is no use to them. They came up in the third week, by a clock that had nothing to do with me. I deleted the spreadsheet. I kept the plot.

What it is for: A redundant manager meets a vegetable plot. Trains British self-mockery and a lesson delivered by someone else.
Coach's note: Watch out for making Mr. Adeyemi a wise-old-man cliche. He is just amused. The turn is 'For thirty years I had believed.' The last two sentences are a matched pair, deleted and kept, so balance them.
What casting listens for: Casting listens for a dry, intelligent read and a narrator who can laugh at his former self.

The Photograph Drawer

Aging, family memoryMature (55+)Southern USOne narrator1 minuteabout 63s
On the first Sunday of every month, Odessa Marlowe, who was eighty-one, took one photograph out of the drawer in her hall table and telephoned a grandchild. The drawer held some sixty years of pictures, and she had come to understand that she was the last person alive who knew who was in them. So she would choose one. A man on a porch step with a guitar. And she would call, and say, get a pencil, I am going to tell you about your great-uncle Cleve. The grandchildren were polite about it. Then they started calling her. Is it Sunday yet, Grandmama? Which one did you pull? She wrote the names on the backs as she went, shaky handwriting and all. Folks kept telling Odessa she ought to rest. She saw no reason to. She had a drawer full of people who needed introducing, and she was the only one left who could do the honors.

What it is for: A third-person portrait of an older woman with a purpose. Trains Southern storytelling and a strong, proud ending.
Coach's note: Watch out for making Odessa frail. She is in charge of this story. Her phone line, 'get a pencil', is an order. The turn is 'Then they started calling her.' Lift the final sentence. It is a declaration.
What casting listens for: Casting listens for grace and humor in the accent, and admiration without sentiment.

A Plum in My Pocket

Walking, noticingAdult (30-45)Neutral AmericanOne narrator1 minuteabout 64s
There is a way of walking that I see a lot of. Head down, arms pumping, eyes on a watch. If that is working for you, wonderful. Carry on. But if you have started to dread it, try this. Tomorrow, leave the watch at home, and give yourself one small assignment. Find three things you have never noticed on your own street. I tried it on a block I had lived on for nine years. I found a house with a blue door I would have sworn was green. I found a brass plaque on the church wall, and a plum tree hanging over the sidewalk, heavy with fruit nobody was picking. Nine years. I had been walking through my own neighborhood like a commuter through an airport. I cannot tell you how far I went, or how fast. I only know I came home in a better mood than I left in, with a plum in my pocket.

What it is for: An invitation to walk for curiosity rather than numbers. Trains moving from instruction into a first-person example and out again.
Coach's note: Watch out for sneering at the watch-walkers. 'If that is working for you, wonderful' is sincere. The turn is 'Nine years.' The three discoveries are three small delights, each different. End on a smile.
What casting listens for: Casting listens for lightness and an observant, unhurried quality.

The Year I Stopped Fixing My Sleep

Sleep, letting goAdult (40-55)Neutral AmericanOne narrator90 secondsabout 1.6 min
For about two years, I treated my sleep like a broken appliance. I bought things. A special pillow, then a different special pillow. Curtains thick enough to stop a searchlight. A little machine that made the sound of rain, and another that made the sound of a fan, in case rain was the problem. I read articles at midnight about why I should not be reading articles at midnight. And every evening, around nine, I would get nervous. I would lie down like someone sitting an exam. You can guess how that went. What changed things was not a product. It was a conversation. I told my doctor the whole saga, pillows and all. She listened, asked sensible questions, and checked a few things that needed checking. I would urge you to do the same if you are where I was. Do not spend two years guessing. And then she said something I have kept. You cannot make yourself sleep. Nobody can. You can only stop standing at the door looking for it. So I quit keeping score. I kept the plain habits, the regular bedtime, the dim lamps. But if I was awake, I was awake. I would sit in the armchair with a dull book, and go back when I felt like it. I still have the odd bad night. Everybody does. The difference is that now it is only a night. It used to be a verdict.

What it is for: A long personal sleep story that points firmly to a doctor and promises nothing. Trains comic build, a serious middle and a quiet close.
Coach's note: Watch out for playing the gadget list at one level. It should escalate, each purchase sillier. Then change gear completely for 'It was a conversation.' The doctor's line is the turn. The last two sentences are short: night, verdict. Let the second one drop.
What casting listens for: Casting listens for range inside one calm voice: funny, then honest, then at peace.

Eleven Lamp Posts

Walking, after a setbackMature (55+)Neutral BritishOne narrator90 secondsabout 1.6 min
After my operation, and I shan't bore you with which one, the physiotherapist asked me what I wanted to be able to do again. I said, I want to walk to the shops and carry my own bag home. It is four hundred yards. She did not laugh. She wrote it down, and she set out what I was to do and what I was not, and I did precisely as I was told. I would say the same to you. Whoever is looking after you knows your case. I do not. What I can tell you about is the lamp posts. There are eleven between my gate and the shop. The first week I was allowed out, I walked to the second one, touched it, and came home. I felt ridiculous. A grown woman, patting a lamp post. The next week, the fourth. Then the sixth, where there is a low wall just the right height for sitting on. It took most of the spring. I am not a patient person, and I complained a good deal, mainly to the lamp posts. Then one morning in May I reached the shop. I bought a loaf and a newspaper. And I walked home with the bag in my hand, quite slowly, past all eleven. I did not tell anyone. I put the kettle on. But I shall tell you. It was one of the proudest mornings of my life.

What it is for: A recovery story measured in lamp posts, with the medical side left firmly to the professionals. Trains long-form pacing and a restrained, triumphant finish.
Coach's note: Watch out for sentimentality. She is brisk, funny and impatient. Keep the progress steps (second, fourth, sixth) climbing. The turn is 'Then one morning in May I reached the shop.' The very last sentence is the only place she lets it show, so save it.
What casting listens for: Casting listens for a spirited older British voice and real control over a slow build.

The Thursday Table

Cooking, the family tableAdult (40-55)Neutral AmericanOne narrator90 secondsabout 1.6 min
For most of a year, the Okonkwo-Hale family did not eat a single meal together, and nobody could have told you when it stopped. There was no decision. There was a new job with a late shift. There was soccer, then band, then a teenager who preferred her room. Dinner became something each person solved alone, out of a different container. It was the father, Ray, who noticed. He realized one evening that he did not know the name of his son's best friend. He did not call a family meeting. He announced that on Thursdays, he was cooking, and that anybody who was home at six-thirty could have some. The first Thursday, it was Ray and a pan of burned enchiladas. The kids took plates upstairs. He did it again the next week. And the next. He never once complained about who was missing. By the second month, his daughter had started drifting down early, to tell him he was chopping the onions wrong. By the third, his son was bringing the best friend, whose name, it turned out, was Mateo, and who could eat four enchiladas without visible effort. Ray will tell you he is not much of a cook, and he is right. The food was never the point. He set a table once a week, and kept setting it, and waited. Sooner or later, a family will usually come to see what smells so good.

What it is for: A third-person family story with a slow payoff. Trains narrative non-fiction pacing across months of story time.
Coach's note: Watch out for moralizing about families. The narrator blames nobody. Mark the passing weeks (first Thursday, second month, third) so the listener feels time working. The turn is 'He never once complained about who was missing.' Mateo and the four enchiladas is the laugh.
What casting listens for: Casting listens for an easy storyteller who trusts a small domestic story to be enough.

The One Doing the Holding

Caregiving, looking after yourselfAdult (40-55)AustralianOne narrator90 secondsabout 1.6 min
If you are caring for someone you love, I would like to talk to you for a minute. Not about them. About you. I know. You have not got time. I looked after my mum for six years, and if someone had handed me a book about self-care, I would have used it to prop up the wobbly table. So I will not tell you to take a bubble bath. I will tell you three things I wish someone had said to me. First. You are going to have days when you are not kind. You will snap at someone who cannot help what is happening to them, and afterwards you will feel like the worst person in the country. You are not. You are a tired person. Say sorry, and carry on. Second. You are allowed to still want things. A weekend away. Wanting your own life does not mean you love them any less. Third, and this is the one I really need you to hear. Keep your own appointments. The dentist. The check-up. I cancelled mine for two years running, because Mum's always came first, and my doctor was not impressed. You are holding somebody up. But the one doing the holding has to stay standing. Nobody is going to give you permission to look after yourself, love. So I am giving it to you now. Go on. Ring and make the appointment.

What it is for: A straight-talking Australian carer speaking to another carer. Trains a numbered, three-point structure with real feeling in each point.
Coach's note: Watch out for reading the three points at the same temperature. First is forgiveness, second is permission, third is an instruction, and it is the one she needs you to hear. The turn is 'Third.' Keep 'love' in the last paragraph natural. No drawl.
What casting listens for: Casting listens for warmth with grit: someone who has done six years of this and will not waste your time.

Questions

What tone works for a wellness book?

Calm and level, like a friend who has been through it. Don't whisper and don't sell. Give the listener room to think.

Is this medical advice?

No. These are practice scripts for narrators, written in the voice of made-up authors. For anything about your own health, see your doctor.

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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